Gore Capitalism: Contemporary Cinema and Crisis |
Art History, Theory, and Criticism |
2588 (001) |
Spring 2025 |
Description
'Gore Capitalism' takes its title from Sayak Valencia's recent book on narcotrafficking and 'necropolitics': contemporary governments' paradoxical disregard for the lives of their own citizens. Using global contemporary cinema, we will examine troublingly consistent dynamics of repression and crisis around the world: Black marginalization and death in the United States; racist ecofascism in Brazil; the African migration crisis; neo-genocide of indigenous populations; and many others. Following Valencia's link between necropolitics and the horror genre, selected films have a genre bent toward horror, ghost stories and other modes of mysticism that serve to represent traumatic realities. But they also periodically shift into realism, as in Jasmila Zbanic's Quo Vadis, Aida?, about the Bosnian War. In the end, history becomes a key category that contemporary films are exploring-- to better contextualize today's crises and excavate strategies and solutions from the past.
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Class Number
1090
Credits
3
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Contemporary Art+Criticism NYC |
Off Campus |
3000 (004) |
Winter 2025 |
Description
New York City is a cultural center, and no matter where you choose to live and work as an artist or cultural producer, you will need to negotiate the economic, critical, and institutional hierarchies governing this metropolis. This trip starts to map the different art worlds that operate in this city and their intersections, making sense of NYC's complexity and energy by tracing the dynamic pathways through which art travels: the connections between artists, dealers, collectors, institutions, and critical voices. During ten intensely busy days in January, this study trip will investigate the full range of contemporary art production in the city, visiting artists' studios, non-profit spaces, residencies, commercial galleries, and major museums. The class will benefit from numerous ¿behind-the-scenes¿ opportunities to engage with parts of the NYC art world not usually open to the public. This class is essential for the ongoing practice of mapping the ever-changing cultural landscape, understanding its dominant signifiers, and critically assessing its blind spots.
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Class Number
1044
Credits
0
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Contemporary Art+Criticism NYC |
Off Campus |
3050 (004) |
Winter 2025 |
Description
New York City is a cultural center, and no matter where you choose to live and work as an artist or cultural producer, you will need to negotiate the economic, critical, and institutional hierarchies governing this metropolis. This trip starts to map the different art worlds that operate in this city and their intersections, making sense of NYC's complexity and energy by tracing the dynamic pathways through which art travels: the connections between artists, dealers, collectors, institutions, and critical voices. During ten intensely busy days in January, this study trip will investigate the full range of contemporary art production in the city, visiting artists' studios, non-profit spaces, residencies, commercial galleries, and major museums. The class will benefit from numerous ¿behind-the-scenes¿ opportunities to engage with parts of the NYC art world not usually open to the public. This class is essential for the ongoing practice of mapping the ever-changing cultural landscape, understanding its dominant signifiers, and critically assessing its blind spots.
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Class Number
1045
Credits
3 - 6
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Contemporary Art+Criticism NYC |
Off Campus |
4050 (002) |
Winter 2025 |
Description
New York City is a cultural center, and no matter where you choose to live and work as an artist or cultural producer, you will need to negotiate the economic, critical, and institutional hierarchies governing this metropolis. This trip starts to map the different art worlds that operate in this city and their intersections, making sense of NYC's complexity and energy by tracing the dynamic pathways through which art travels: the connections between artists, dealers, collectors, institutions, and critical voices. During ten intensely busy days in January, this study trip will investigate the full range of contemporary art production in the city, visiting artists' studios, non-profit spaces, residencies, commercial galleries, and major museums. The class will benefit from numerous ¿behind-the-scenes¿ opportunities to engage with parts of the NYC art world not usually open to the public. This class is essential for the ongoing practice of mapping the ever-changing cultural landscape, understanding its dominant signifiers, and critically assessing its blind spots.
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Class Number
1046
Credits
3
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Topics in Modern and Contemporary Art |
Masters in Fine Arts Low Residency |
5002 (001) |
Summer 2025 |
Description
This classes introduces topics, themes, methods and theories of modern and contemporary art from the late 19th century to the present. The class is geared at incoming MFA students to engage in issues relevant to art historical methods to supplement their artistic practice. Individual instructors will adapt the content based on their individual areas of expertise.
Content will vary depending on instructors but include key texts in Modern and Contemporary art history.
The course will include reading by relevant scholars in the field of Modern and Contemporary Art. Students will turn in weekly responses, take quizzes and tests and possibly write a research paper at the end of the semester
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Class Number
1219
Credits
3
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Art Now: Contemporary Debates, Visiting Artists |
Art History, Theory, and Criticism |
5026 (001) |
Spring 2025 |
Description
Using the Spring 2025 Visiting Artist Program (VAP) lectures as a point of departure, this seminar addresses some of the most urgent issues and debates shaping the production and distribution of art right now. The class will attend all of the VAP lectures on Tuesday nights throughout the term, followed by exclusive discussions with the artists in question on Wednesday mornings. Seminar readings will include texts and interviews on each visiting artist, as well as broader texts that expand their concerns to larger concerns in cultural, social and political spheres. We will repeatedly ask our visitors and ourselves: what is it that art has to offer that is unique from activism, journalism, media studies, sociology, or any other field of inquiry or action?
Founded in 1868, the Visiting Artists Program is one of the oldest public programs of the School of the Art Institute of Chicago. It has featured over 1,000 international artists, designers, and scholars representing more than 70 countries through a diverse mix of lectures, screenings, conversations, and readings. Attending the lectures on Tuesdays and the seminar on Wednesday morning is mandatory, which means that students' schedules will need to be free both times. Class will meet both Tuesday and Wednesday on weeks when there is a VAP lecture, and only on Wednesdays when there is no lecture. Assignments will include a journal with short responses to all the lectures and a final paper or creative project related to course material.
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Class Number
2244
Credits
3
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Art Now: Contemporary Debates, Visiting Artists |
Graduate Studies |
5026 (001) |
Spring 2025 |
Description
Using the Spring 2025 Visiting Artist Program (VAP) lectures as a point of departure, this seminar addresses some of the most urgent issues and debates shaping the production and distribution of art right now. The class will attend all of the VAP lectures on Tuesday nights throughout the term, followed by exclusive discussions with the artists in question on Wednesday mornings. Seminar readings will include texts and interviews on each visiting artist, as well as broader texts that expand their concerns to larger concerns in cultural, social and political spheres. We will repeatedly ask our visitors and ourselves: what is it that art has to offer that is unique from activism, journalism, media studies, sociology, or any other field of inquiry or action?
Founded in 1868, the Visiting Artists Program is one of the oldest public programs of the School of the Art Institute of Chicago. It has featured over 1,000 international artists, designers, and scholars representing more than 70 countries through a diverse mix of lectures, screenings, conversations, and readings. Attending the lectures on Tuesdays and the seminar on Wednesday morning is mandatory, which means that students' schedules will need to be free both times. Class will meet both Tuesday and Wednesday on weeks when there is a VAP lecture, and only on Wednesdays when there is no lecture. Assignments will include a journal with short responses to all the lectures and a final paper or creative project related to course material.
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Class Number
2245
Credits
3
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Thesis Tutorial II |
Art History, Theory, and Criticism |
6999 (004) |
Spring 2025 |
Description
This independent study program for Master of Arts in Modern Art History, Theory, and Criticism candidates is taken in the final term of coursework.
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Class Number
2428
Credits
3
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