Corrine E. Fitzpatrick

In this course, you will be pushed to explore and limber up your particular voice as a writer, and to refine your own understanding of how your voice-on-the-page relates to your voice-as-an-artist. Over four deadlines¿Opening Gambit (aka Proposal) + Bibliography; Outline; Rough Draft; Final Draft¿you will interrogate and articulate what it is that drives your creative practice in general, and your thesis exhibition work in particular. Context matters, and it is a many-sided thing. Through correspondence and conversation with myself and your assigned ¿thesis buddy,¿ you will consider how cultural, personal, socio-political, art historical, theoretical, embodied, mystical, geographic, daily, unconscious (and other!) factors interact to inform the work you have made to date, and your work that is yet to come. I accept and encourage an adventurous and promiscuous approach to genre, form, and style. Here and now, at the pesky dawn of generative language models¿ ubiquity, it is imperative that artists hone their human voices, with all of the texture, pathos, and sentient idiosyncrasies such voicing might contain. Setting the Bones treats the Thesis Statement less as a culmination (or explication), and more as a contemplation¿a well-constructed bridge to whatever path you may chart next.

Taken every semester across the Graduate Division, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.