| Venice Exhibition |
Off Campus |
3000 (004) |
Winter 2026 |
|
Description
This three-week study trip combines the presentation of a student-generated exhibition in Venice with an exploration of the city itself as a unique cultural, historical, and ecological location. During the study trip, students will install and maintain an exhibition developed in the prior fall 2025 Venice Exhibition Seminar at the gallery of the Czok Foundation in Venice, Italy, providing a concrete outcome to the research, curation, and production undertaken during the previous semester. This includes installing and de-installing the exhibition, presenting public programs, and interfacing with the Venetian public and the city¿s cultural practitioners. The program provides a rare opportunity for students to collaborate with the socially-minded Marta Czok Foundation and its gallery staff to present their work in an international setting. Concurrently, students will visit important cultural and ecological sites in and around Venice, including museums, churches, historic neighborhoods, and artisan work spaces. Students taking the study trip for studio credit are encouraged to integrate their on-site practice with the exhibition, and those taking art history credit are invited to direct their research and writing towards the interaction of the exhibition with the city of Venice.
|
Class Number
1033
Credits
0
|
| Sound and Image |
Art & Technology / Sound Practices |
3011 (001) |
Spring 2026 |
|
Description
This course focuses on the relationship of sound to moving image, and introduces post-production techniques and strategies that address this relationship as a compositional imperative. Thorough instruction is given on digital audio post-production techniques for moving image, including recording, sound file imports, soundtrack composition and assembly, sound design, and mixing in stereo and surround-sound. This is supplemented by presentations on acoustics and auditory perception. Assigned readings in theories and strategies of sound-image relationships inform studio instruction. Assigned projects focus on gaining post-production skills, and students produce independent projects of their own that integrate sound and moving image.
Artists include Chantal Dumas, Walter Verdin, Deborah Stratman, Lucrecia Martel, Martin Scorcese, Abigail Child, Frederic Moffet, Gyorgi Palvi, Francis Ford Coppola, Gary Hill, and others. Writings in theory include texts by Michel Chion, Rick Altman, and others.
The student?s independent image-and-sound work is foregrounded and supported; supplemental assigned projects include sound sequence composition and ADR recording and mixing.
|
Class Number
2227
Credits
3
|
| Sound and Image |
Film, Video, New Media, and Animation |
3011 (001) |
Spring 2026 |
|
Description
This course focuses on the relationship of sound to moving image, and introduces post-production techniques and strategies that address this relationship as a compositional imperative. Thorough instruction is given on digital audio post-production techniques for moving image, including recording, sound file imports, soundtrack composition and assembly, sound design, and mixing in stereo and surround-sound. This is supplemented by presentations on acoustics and auditory perception. Assigned readings in theories and strategies of sound-image relationships inform studio instruction. Assigned projects focus on gaining post-production skills, and students produce independent projects of their own that integrate sound and moving image.
Artists include Chantal Dumas, Walter Verdin, Deborah Stratman, Lucrecia Martel, Martin Scorcese, Abigail Child, Frederic Moffet, Gyorgi Palvi, Francis Ford Coppola, Gary Hill, and others. Writings in theory include texts by Michel Chion, Rick Altman, and others.
The student?s independent image-and-sound work is foregrounded and supported; supplemental assigned projects include sound sequence composition and ADR recording and mixing.
|
Class Number
2226
Credits
3
|
| Venice Exhibition Seminar |
Art History, Theory, and Criticism |
4053 (001) |
Fall 2025 |
|
Description
This seminar provides a framework for developing an exhibition at the Czok Foundation in Venice, Italy that will take place in the January interim period. The participating students will create all of the content and the curatorial approach from their own practices, from the artworks, curatorial approach, exhibition design, and accompanying texts and online materials. Practitioners will be able to show their own work in this centrally located gallery in Venice. Graduate students and advanced undergraduate students from studio arts, design practices, art history, curatorial practices, arts administration, and other programs are invited and enrolled students are encouraged to commit to both the 15-week fall 2025 seminar and a 3-week study trip in Venice in winter interim 2025-26 to install and present the exhibition on site.
We will also read and discuss texts on the history and theory of curating; the history of Venice, in particular its relation to art making and exhibiting (Biennale) and an expanded critical exploration of its 'international' status vis-a-vis globalization, commerce, and colonialism; strategies for communal production; and the relationship between institutional settings and artistic practice.
|
Class Number
2276
Credits
3
|
| Interdisciplinary Seminar: ATSP |
Art & Technology / Sound Practices |
5005 (001) |
Fall 2025 |
|
Description
This seminar introduces topics, theories, strategies, and histories fundamental to the two complementary areas of Art + Technology / Sound Practices (AT/SP). Designed as an immersion into the department's intertwined legacies and curriculum, it is intended for first-year AT/SP graduate students, but open to all in the Graduate Program. The seminar is taught by two faculty who represent the AT and SP areas, each providing a focused approach in small-group settings.
Art + Technology: Hito Steyrel, Kelly Pendergrast, Jenny Odell, Wendy Chun, Antonio Negri, Raqs Media Collective, Olia Lialina,Trevor Paglan, Olia Lialina, Rafael Lozanno Hemmer, Micha Cardenas, Harun Farocki, Liam Gillick, Ian Cheng, Casey Reas, Auria Harvey, Stephanie Dinkins.
Sound: Samson Young, Mendi + Keith Obadike, Alvin Lucier, Eliane Radigue, Laetitia Sonami, Imai Norio, Christina Kubisch, Pamela Z, Cauleen Smith, Christoph Cox, George E. Lewis, Seth Kim-Cohen, Julia Eckhardt, Pierre Schaeffer, Jean-Luc Nancy, Joseph Grigely, Dylan Robinson.
Weekly readings and discussions are required, as well as informed responses to artists¿ works presented. students will present work for critique and fully particpate in critique sessions.
|
Class Number
2381
Credits
3
|
| ATSP Exhibition Practices Seminar |
Art & Technology / Sound Practices |
5006 (001) |
Spring 2026 |
|
Description
This seminar focuses on the presentation of technological and sound works in exhibition and live performance contexts. It is a required seminar for second-semester AT/SP graduate students. Students will develop skills for presenting their work in a professional manner to maximize the public's encounter with media installations, live performances with media and/or sound components, video/sound screenings or installations, conceptual art works, and alternative curatorial scenarios.
We will survey a number of artists' works specifically as they were presented in exhibitions or events, and include visiting professionals who are experts in exhibition installation, media arts presentation, and live performance production. We will specifically draw on SAIC staff for these expertise.
Students will present their work and that of others in small- and large-group exhibitions and presentations both on and off campus.
|
Class Number
2368
Credits
3
|
| Venice Exhibition |
Off Campus |
5050 (001) |
Winter 2026 |
|
Description
This three-week study trip combines the presentation of a student-generated exhibition in Venice with an exploration of the city itself as a unique cultural, historical, and ecological location. During the study trip, students will install and maintain an exhibition developed in the prior fall 2025 Venice Exhibition Seminar at the gallery of the Czok Foundation in Venice, Italy, providing a concrete outcome to the research, curation, and production undertaken during the previous semester. This includes installing and de-installing the exhibition, presenting public programs, and interfacing with the Venetian public and the city¿s cultural practitioners. The program provides a rare opportunity for students to collaborate with the socially-minded Marta Czok Foundation and its gallery staff to present their work in an international setting. Concurrently, students will visit important cultural and ecological sites in and around Venice, including museums, churches, historic neighborhoods, and artisan work spaces. Students taking the study trip for studio credit are encouraged to integrate their on-site practice with the exhibition, and those taking art history credit are invited to direct their research and writing towards the interaction of the exhibition with the city of Venice.
|
Class Number
1038
Credits
3
|
| Venice Exhibition |
Off Campus |
5050 (001) |
Winter 2026 |
|
Description
This three-week study trip combines the presentation of a student-generated exhibition in Venice with an exploration of the city itself as a unique cultural, historical, and ecological location. During the study trip, students will install and maintain an exhibition developed in the prior fall 2025 Venice Exhibition Seminar at the gallery of the Czok Foundation in Venice, Italy, providing a concrete outcome to the research, curation, and production undertaken during the previous semester. This includes installing and de-installing the exhibition, presenting public programs, and interfacing with the Venetian public and the city¿s cultural practitioners. The program provides a rare opportunity for students to collaborate with the socially-minded Marta Czok Foundation and its gallery staff to present their work in an international setting. Concurrently, students will visit important cultural and ecological sites in and around Venice, including museums, churches, historic neighborhoods, and artisan work spaces. Students taking the study trip for studio credit are encouraged to integrate their on-site practice with the exhibition, and those taking art history credit are invited to direct their research and writing towards the interaction of the exhibition with the city of Venice.
|
Class Number
1037
Credits
3
|
| Venice Exhibition Seminar |
Art & Technology / Sound Practices |
5053 (001) |
Fall 2025 |
|
Description
This seminar provides a framework for developing an exhibition at the Czok Foundation in Venice, Italy that will take place in the January interim period. The participating students will create all of the content and the curatorial approach from their own practices, from the artworks, curatorial approach, exhibition design, and accompanying texts and online materials. Practitioners will be able to show their own work in this centrally located gallery in Venice. Graduate students and advanced undergraduate students from studio arts, design practices, art history, curatorial practices, arts administration, and other programs are invited and enrolled students are encouraged to commit to both the 15-week fall 2025 seminar and a 3-week study trip in Venice in winter interim 2025-26 to install and present the exhibition on site.
We will also read and discuss texts on the history and theory of curating; the history of Venice, in particular its relation to art making and exhibiting (Biennale) and an expanded critical exploration of its 'international' status vis-a-vis globalization, commerce, and colonialism; strategies for communal production; and the relationship between institutional settings and artistic practice.
|
Class Number
2395
Credits
3
|
| Interdisciplinary MFA Seminar: Out-Voicing |
Art & Technology / Sound Practices |
5121 (001) |
Spring 2026 |
|
Description
This interdisciplinary seminar explores the use of the human voice in performance, sound art, text-based work, social practice, installation, etc. The root of our investigation is the voice as human utterance and material encounter, both live and mediated. We shall interrogate and experiment with the interaction of the voice¿s semiotic and acoustic aspects, its potential to unite and rupture, and the aesthetic, situational, technological, gendered, racial, political, historical, and social aspects of text, language, voice, expression, and communication. Critiques of student work are supplemented by readings and screenings of works by artists, writers, historians, theorists, and linguists.
Works by artists, writers, historians, theorists, and linguists include Sarah Hennies, Christine Sun Kim, Benjamin Lee Whorf, Mendi and Keith Obadike, Alessandro Bosetti, Norie Neumark, Clarice Lispector, The Last Poets, Jeanne Favret-Saada, Roland Barthes, Jaap Blonk, Pamela Z, Mladen Dolar, Douglas Kahn, Sarah Nooter, Frances Dyson, Gregory Whitehead, Daniela Cascella, F. T. Marinetti, Timothy Donaldson, Alfred Wohlfson, and others.
All speech acts and vocalizations -- and the way those are listened to by others -- carry with them a panoply of cultural, gendered, historical and political implications, overtly or covertly. Thus, the topic is inherently one that embraces discourse on diversity, inclusion, identity, and power relations.
|
Class Number
2261
Credits
3
|
| Grad Projects:ArtTech & Sound Practices |
Art & Technology / Sound Practices |
6009 (004) |
Spring 2026 |
|
Description
Taken every semester, 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.
|
Class Number
2274
Credits
3 - 6
|
| Grad Projects:ArtTech & Sound Practices |
Art & Technology / Sound Practices |
6009 (004) |
Fall 2025 |
|
Description
Taken every semester, 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.
|
Class Number
2301
Credits
3 - 6
|
