Graduate Curriculum & Courses
Graduate Curriculum & Courses
The Master of Fine Arts (MFA) program is designed to offer maximum flexibility in addressing the needs of each individual student. Following admission through a department, students design their two-year plan of study based on optimizing the offerings and opportunities available throughout SAIC.
Review the Master of Fine Arts in Studio curriculum and degree requirements. Note: This is information for the current academic year. Any future curricular changes will be made when the new catalog is published.
Graduate Projects 6009
Graduate Projects 6009 advising, an ongoing individual dialogue with a wide range of faculty advisors, is at the heart of the MFA program at SAIC, encouraging interdisciplinary study across the curriculum. Standard enrollment consists of two Graduate Projects 6009 advisors, one graduate-level seminar, and an art history course each semester. The remainder of credits required for the full-time 15-credit hour load may include academic or studio electives. All MFA students must register for a minimum of one and no more than two Graduate Projects 6009 sections each semester. Students may request permission from the Graduate Program Advisor to take a third Graduate Projects 6009 section after priority registration.
In their final year, students must take one Exhibition 6009 section. The advising and grade for this course will be tied to the final exhibition. When taking undergraduate studio coursework, the student is responsible for understanding the faculty member’s expectations about completion of assignments, attendance, and any other criteria for earning credit. MFA students interested in completing a written thesis must take a research course and Research 6009 section and obtain approval from the associate dean of Graduate Studies.
Graduate Critiques
As one of the principle means of assessment each semester, you will be required to participate in Critique Week, a week-long schedule of critiques during which classes are suspended.
Fall semester critiques are organized by department with panels representing the discipline. This provides you with an opportunity to understand the department’s expectations, have your work reviewed from a disciplinary point of view, and to reiterate the expectations for graduate study.
Spring semester critiques are interdisciplinary, with panel members and students from across SAIC disciplines. Interdisciplinary critiques allow for a broad range of responses to your work, and are intended to assess the success of your work for a more general, albeit highly informed audience. Critique panels include faculty, visiting artists, and fellow graduate students.
Graduate Exhibition or Equivalent
At the conclusion of your studies, you will present work in the SAIC Graduate Thesis Exhibition, other end-of-year events at SAIC, or the Gene Siskel Film Center—or arrange with the graduate dean or division chair for an alternative thesis of equal professional quality. Each year, more than 200 graduate students exhibit work, screen videos and films, and present time-based works, writings, and performance to a collective audience of 30,000 people.
Students wishing to install work around prevalent themes, strategies, or stylistic affinities can participate in a juried and curated section of the SAIC Graduate Thesis Exhibition. A faculty and staff committee conducts extensive studio visits and, as a collaborative project with student participants, organizes and installs the show in designated space at the exhibition.
Undergraduate Courses
MFA students are advised to understand the expectations of their faculty when enrolled in undergraduate studio classes. Although graduate students are an asset to the group dynamic, faculty requirements for graduate students in undergraduate classes are variable. The student is responsible for understanding the faculty member's expectations about completion of assignments, attendance, and any other criteria for earning credit. To assure that graduate students are working at degree level, they are permitted no more than one undergraduate studio course (3000 level and above) per semester without permission of the dean of graduate studies. Courses at the 1000 and 2000 level are allowed only with permission.
Course Listing
| Title | Catalog | Instructor | Schedule |
|---|---|---|---|
| Introduction to Sculptural Practices | 1101 (002) | Jefferson Pinder | Wed
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Sculptural Practices | 1101 (003) | Nyeema Morgan | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Sculptural Practices | 1101 (004) | David Sprecher | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesOpen to Freshmen only. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Sculptural Practices | 2001 (001) | Nelly Agassi | Mon
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesPrerequisite: Must be a sophomore or above. |
Class Number |
Credits |
DepartmentLocation |
| Introduction to Sculptural Practices | 2001 (002) | Daniel Gordon Baird | Tues
9:00 AM - 3:00 PM In Person |
Description
This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture.
PrerequisitesPrerequisite: Must be a sophomore or above. |
Class Number |
Credits |
DepartmentLocation |
| Woodworking | 2005 (001) | Kierstin Siegl | Wed
9:00 AM - 3:00 PM In Person |
Description
Students are introduced to the fundamental principles and practices of woodworking through lectures, demonstrations, and projects.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Mold Making and Casting | 2008 (001) | Jeffrey Prokash | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course builds upon the fundamentals of mold making and casting as a means to replicate, transcribe, and gather material information from the world we inhabit. You will be introduced to a broad range of mold making and casting materials and processes, including multi-part plaster molds and plaster casting, silicone and latex rubbers for molding and casting, ceramic shell and lost wax, alginate and life casting, 3D printed molds, slip casting, plastics, and various organic materials. We will use these materials and processes to investigate and record the surfaces and volumes of objects, bodies, sites, and environments, and translate them into sculptural form. Drawing from a rich history of mold making and casting practices, we will consider how traditional processes, time-tested conventions, and innovative experimentation can inform contemporary sculptural practice while facilitating the production of new work. Through hands-on experimentation, we will examine how mold making can generate meaning, reveal information, and open new possibilities for sculptural inquiry.
|
Class Number |
Credits |
DepartmentLocation |
| Carving | 2009 (001) | Johnny Doley | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is designed to introduce students to the basic techniques of subtractive sculpture. Students will be encouraged to develop an innovative body of work within a material based format. A wide range of carving techniques and materials will be introduced. Historical models will provide vocabulary for understanding methodology and ideas. In class presentations will also acquaint students with artists who approach carving within postmodern ideologies. New technologies such as laser cutting will be introduced. A directed and productive approach to studio practice will be cultivated.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Art of Crossing the Street | 2027 (001) | Joshua Rios | Thurs
12:15 PM - 3:00 PM In Person |
Description
This course asks the question, `How can artists cross the street without leaving their art behind?' This class hopes to raise issues of citizenship, creativity, collaboration, community, environment, and the changing roles of artists at the end of the twentieth century and the start of the twenty-first. Students study historical and contemporary examples of how artists have found the time, space, and resources to do and present their work, and how they make alliances with other artists and other communities to achieve professional, cultural, and political goals. Students help plan curricular innovations at SAIC and participate in related activities such as visiting artists programming. They explore the possibility, in part through on-site visits, of establishing or strengthening ties between SAIC and various communities throughout Chicago. Students further develop course themes through substantial written assignments and through applications of these ideas in their studio practice. The goal of the course is to give students the motivation, knowledge, and tools to take an active role as citizens in a multicultural democratic society.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Extreme Craft | 2036 (001) | Mindy Rose Schwartz | Wed
9:00 AM - 3:00 PM In Person |
Description
Now, more than ever, sculpture is the most inclusive category of artmaking. Yet even at the height of this expanded field, a residual hierarchy remains when it comes to means associated with craft. In this course students examine traditional sculpture and craft processes in relation to notions of taste, class, gender, age. Students consider skill or craftsmanship; utility and decoration; commercial pressures vs. aesthetics standards and are encouraged to examine their own relationship to specific materials, processes, and techniques as a source of meaning and foundation for sculptural practice.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Pattern Making for Sculpture | 2074 (001) | Juan Angel Chavez | Tues, Tues
3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person |
Description
Patternmaking is at the heart of metalworking, woodworking, fashion, architecture and many other disciplines. Why? Because so many materials are available in sheet form. Students in this course will investigate a range of processes by which flat sheet materials like paper, wood, metal, fabric, vinyl, and plastic can be used to make volumetric, three-dimensional forms. Patternmaking for Sculpture will teach the student digital and analogue methods of designing, cutting, and assembling 3D work. Practical strategies as well as contemporary industrial use and the history of patternmaking will be explored to give each student a range of options for making their own work, whether it be art or design.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Foundry Basics | 2113 (001) | FÁTIMA | Wed
9:00 AM - 3:00 PM In Person |
Description
This course introduces the aesthetic, technical, and historical aspects of the casting process as it relates to sculpture. Students learn basic skills in waxworking, investment applications, furnace and kiln operation, metal finishing and chasing, and patination. Lost wax and ceramic shell will be the primary techniques utilized for pattern generation and molding in this course. Students develop these skills through a series of studies that culminate in a final project.
|
Class Number |
Credits |
DepartmentLocation |
| Foundry Basics | 2113 (002) | Julie A. Nagle | Tues
9:00 AM - 3:00 PM In Person |
Description
This course introduces the aesthetic, technical, and historical aspects of the casting process as it relates to sculpture. Students learn basic skills in waxworking, investment applications, furnace and kiln operation, metal finishing and chasing, and patination. Lost wax and ceramic shell will be the primary techniques utilized for pattern generation and molding in this course. Students develop these skills through a series of studies that culminate in a final project.
|
Class Number |
Credits |
DepartmentLocation |
| The Colossal & The Small | 3013 (001) | Kelly F. Kaczynski | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course investigates issues of size and scale through lectures and discussions, outside readings, and the studio work of the participants. Its aim is to pursue our attraction to the gargantuan and the miniature. The course examines not only the formal factors which effect our perceptions, but, more importantly, the social, political, and psychological implications of such works. Issues of public and private space are addressed by comparing the monumental and the propagandistic elements of spectacle, as well as the enchanted, intimate, and fetish qualities of the small. Topics discussed range from Mt. Rushmore and the Statue of Liberty to David Hammons's Bliz-aard Ball Sale. Student projects are generated from their own related interests and concerns with interdisciplinary work encouraged.
|
Class Number |
Credits |
DepartmentLocation |
| Digital Projects | 3049 (001) | Cody Norman | Wed
9:00 AM - 3:00 PM In Person |
Description
Digital Projects is an experimental sculpture studio with an emphasis on CNC (computer numerical controlled) milling, routing and surfacing. Students will be introduced to Computer Aided Design (CAD) and Computer Aided Machining (CAM) to produce finished works in a range of materials including wood, foam, wax, aluminum and plastic. Experience with Rhino, Fusion360, Maya, Blender or another CAD package is useful but not necessary. Students will use a range of CNC output options in the Columbus Digital Fabrication Studio, the Materials Lab and elsewhere on and off the SAIC campus. Digital Projects will give students ample time to learn new digital subtractive techniques and experiment with how to integrate them into their own critical and conceptual framework.
|
Class Number |
Credits |
DepartmentLocation |
| Metalworks | 3063 (001) | Dan Price | Tues
9:00 AM - 3:00 PM In Person |
Description
Metalworks is a let's-get-to-basics class for working with steel. Join the class to learn basic metal fabrication, including: cutting, forming, forging, welding and finishing. This class will guide you as you build your projects in steel. You'll learn about structural systems and histories relevant to art and design with an emphasis on techniques and methodologies relevant to metalwork. You will integrate your learning to produce a set of finished works using historic and contemporary technologies. If it's metal, It's here. Designing, Fabricating, Forging, Finishing. Make it in metal.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Socially Engaged Art: In Practice | 3072 (001) | Amy Yoes | Thurs
9:00 AM - 3:00 PM In Person |
Description
In the last generation, art has claimed new territory. This expanded field involves not only art viewing contexts, but spaces of daily life and practice, socio-political spheres, and draws regularly from non-art disciplines. The motivations and methods utilized in this work are diverse yet highly contested. In this studio seminar course we will pack our proverbial bags and take a trip into the grossly expanded field of socially engaged art and social practice.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Foundry: Industrial Morphologies | 3115 (001) | Julie A. Nagle | Fri
9:00 AM - 3:00 PM In Person |
Description
Advances in metallurgy and foundry practices provided the spark for the Industrial Revolution that transformed the world. In this intermediate level metal casting course, students explore how technological developments, material innovations, principles of mass production and distribution, and the mechanization of work have influenced the shape of contemporary social, economic, and political structures. While emphasis is placed on foundry techniques in this course, a variety of industrial materials and processes are explored including computer scanning, data manipulation and rapid-prototyping technologies. Students learn to access industrial services via the internet and off-campus field trips.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| SCULP: Plans, Proposals, Provocation | 3927 (001) | Elena Ailes | Thurs
6:45 PM - 9:30 PM In Person |
Description
How can artists use professional tools to connect with the art world while engaging with communities, institutions and organizations? In what ways can artists stimulate the public's imagination? Speculative proposals can communicate radical and provocative possibilities to inspire change. In this class students will explore the fantastic, utopic and dystopic that can be made possible within the limits of a hypothetical proposal. During the semester, students will use models, plans, diagrams and sculptural forms to create speculative proposals as standalone 'finished' pieces that imagine realities beyond current financial, physical, legal or practical constraints. The semester will culminate in the presentation of student projects. The class will organize, plan and promote the dissemination of the finished proposals, focusing on unique forms of distribution, presentation and public engagement.
PrerequisitesPrerequisite: Sophomore seminar course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Sculpture: Interdisciplinary Projects | 4002 (001) | Daniel Gordon Baird | Thurs
9:00 AM - 3:00 PM In Person |
Description
This advanced, interdisciplinary course provides a generative space for developing and understanding creative projects through the discourse of the field of Sculpture. Students in this course come together from various departments to enrich the content of their work through critique and conversation with Sculpture faculty and other advanced level students from across the school. Weekly readings inform the development of self-directed creative projects which form the basis for discussion and may form the basis for a thesis body of work.
PrerequisitesPrerequisite: 3 credits SCULP 2000 or SCULP 3000-level; open to Juniors and Seniors only. |
Class Number |
Credits |
DepartmentLocation |
| Knowledge Lab: Learning With Companion Species | 4018 (001) | Kayla Anderson | Mon
9:00 AM - 3:00 PM In Person |
Description
As Botanist Robin Wall Kimmerer states 'we Americans are reluctant to learn a foreign language of our own species, let alone another species. But imagine the possibilities, the access we would have to different perspectives, the things we might see through other eyes, the wisdom that surrounds us. There are intelligences other than our own, teachers all around us. Imagine how much less lonely the world would be.¿ In this course, we will look to non-human teachers to guide us in the creation of artworks, gaining new perspectives on the lives of non-humans, what they have to teach us about our own human culture, and the wider world around us. Each student will choose one companion (plant, animal, fungus, mineral etc.) to complete a field guide on and to make studio work in conversation with throughout the semester. We will also learn from other artists and writers who engage the more-than-human world, moving through the following themes: Collection & Attention, Cultural Histories of Nature, Material Matters, and Perception / Audience / Umwelt. This class will also include field trips to see how 'nature' is presented and curated, including to the Field Museum, the Lincoln Park Zoo and Conservatory, and any current relevant exhibitions.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Sculptural Practices Studio | 4020 (001) | Adrian Wong, Nyeema Morgan | Mon, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This course provides a forum for in depth critiques and exploration of students' individual directions within the context of sculptural practice. Both technical and conceptual input will be given on a tutorial basis. Group discussions, readings, slide/video presentations, field trips and visiting lecturers may augment this class. Enrolled students will be assigned a studio space in the Columbus building. A maximum of 15 students will be admitted per semester. IMPORTANT: This course requires instructor consent. Please do not email the instructor directly. Instead, fill out the form found at this link, https://tinyurl.com/yjpm32ww, to submit your portfolio and application before the deadline.
|
Class Number |
Credits |
DepartmentLocation |
| Advanced Sculptural Practices Studio | 4020 (001) | Adrian Wong, Nyeema Morgan | Mon, Tues
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This course provides a forum for in depth critiques and exploration of students' individual directions within the context of sculptural practice. Both technical and conceptual input will be given on a tutorial basis. Group discussions, readings, slide/video presentations, field trips and visiting lecturers may augment this class. Enrolled students will be assigned a studio space in the Columbus building. A maximum of 15 students will be admitted per semester. IMPORTANT: This course requires instructor consent. Please do not email the instructor directly. Instead, fill out the form found at this link, https://tinyurl.com/yjpm32ww, to submit your portfolio and application before the deadline.
|
Class Number |
Credits |
DepartmentLocation |
| Woodworking in the 21st Century | 4500 (001) | Jeffrey Prokash | Fri
9:00 AM - 3:00 PM In Person |
Description
This course explores how contemporary artists, architects, and designers are sourcing and utilizing wood in a world of disappearing resources. Architects and designers are returning to the use of timber in their work, claiming it to be a bold 21st century material due to the emergence of sustainable, engineered wood products. Demonstrations, slide lectures, discussions, readings and field trips will engage: urban logging practices, arboretums, recycled construction materials, sustainable practices, ecologies, economics, veneers, and faux wood. Students will advance their knowledge of wood selection and fabrication while producing art and design work in a variety of wood products.
PrerequisitesPrerequisite: SCULP 1101 or SCULP 2001 or SCULP 2005 or SCULP 3060 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Sculpture Skill-Based Bootcamp | 4901 (001) | Juan Angel Chavez | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course introduces students to the basics of sculpture fabrication and production. Students of this course will become authorized to use the department's facilities through a series of material projects and assignments that enable safe and competent work in three areas: Moldmaking, Metal Fabrication and Woodworking. The class will design and make molds suitable for casting models from simple and complex patterns in the mold-making studio. The class will use cutting, bending, rolling, welding and finishing techniques in the Metal Fabrication Studio to produce a project in steel. In the Woodshop, the class will learn to design a project in wood using the following machine tools: table saw, dado blades, jointer, planer, band saw, router, pneumatic brad nailer, and sanders. Upon completing Sculpture Bootcamp, students will have the authorizations and experience they need to take full advantage of the sculpture department open shop facilities.
|
Class Number |
Credits |
DepartmentLocation |
| SCULP: Into the Field | 4919 (001) | Wed
12:15 PM - 3:00 PM In Person |
|
DescriptionThis interdisciplinary studio seminar provides a grounding in concepts, histories, practices, and potentialities of the field as reflected in the department's four curricular themes: Permanence and Ephemerality, Public Practice, Space and Place, and Systems. It is designed to help students develop, document and position a body of focused, self-initiated work that demonstrates conceptual understanding and technical ability in relation to the evolving field of contemporary sculpture. In-depth faculty mentoring and peer discussion supports students as they prepare a public presentation or exhibition of their work. In addition to addressing specific themes identified by individual faculty, the class examines tensions and connections between sculpture, architecture, designed objects and new media as they extend and complicate our notions of an expanded sculptural field. PrerequisitesPrerequisite: Professional practice course |
Class Number |
Credits |
DepartmentLocation |
| Direct Access: Foundry | 5003 (001) | Andrew Hunter | Mon
12:15 PM - 3:00 PM In Person |
Description
This interdisciplinary studio seminar based in the foundry is designed for graduate students interested in exploring metal casting as a material integrated into individual studio and research practice. The first portion of the course focuses on technical instruction in foundry processes and project development. The second portion emphasizes independent projects, advising, and critical discussions.
Traditional and contemporary foundry techniques¿including lost wax casting, lost 3D print casting, mold making, and various pattern-making processes¿will be addressed through readings and demonstrations. The work of contemporary artists such as Hank Willis Thomas, Louise Bourgeois, Simone Leigh, and Debra Butterfield will be discussed for both technical and conceptual consideration. Methods for developing works that incorporate cast metal elements into mixed-media projects will also be explored. Students are expected to develop and produce either a moderately scaled project or a series of small projects utilizing foundry processes as a significant component. Completed works will be presented for a culminating critique. Junior and senior undergraduate students may enroll in this course by emailing the instructor to request authorization to register. |
Class Number |
Credits |
DepartmentLocation |
| Transformation: Responsive Critical Engagement for Artists and Designers | 5006 (001) | Dan Price | Tues
3:30 PM - 6:15 PM In Person |
Description
This seminar course introduces graduate students to a set of provocative concepts and conversations relevant to the theme of transformation. From the act of creation in the studio to establishing a critical position to living a rich and evolving life as an artist, this course challenges students to integrate intention with production and to articulate, re¿ne, and develop their expressive and working methods. This theory-to-practice seminar will develop the student¿s ability to make, look, question, articulate and discuss artwork with con¿dence and intelligence.
The core of Transformation: A Seminar is an interrelated set of 12 texts. These texts engage theories of culture, art, anthropology, disability and gender. Authors include: Natassja Martin, David Getsy, Camille Henrot, Pierre Huyghe, Sheila Heti, Rebecca Solnit, Toby Siebers, Maggie Nelson, Hito Steyerl, Paul Preciado, Avery Gordon and Sky Hopinka. Each week, students create an artwork or material reflection in response to that week's reading. The class views and critiques each response as a means of engaging a conversation on the assigned material. Each week, the assignment is the same: 'Make something that promotes your position on the assigned content. Instead of using language to promote your idea, use your creative capacity to respond with an artwork or material reflection. You can make sculptures, drawings, videos, photos, performances or collaged images to capture your position on the assigned content. You can make nearly anything, as long as it is a critical response that embodies a genuine expression of your position.' |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Sculpture Dialogues 1: Theory, and Practice Seminar | 5102 (001) | Lan Tuazon | Wed
8:30 AM - 11:15 AM In Person |
Description
Sculpture has the widest scope and breadth of artistic production precisely because it is a discipline based on the material conditions of reality. Understanding sculpture demands a trans-historical, philosophical and interdisciplinary model of art balanced with a diet of critical theory to maintain its relevance to contemporary practice. With sculpture as a discipline responding to newer socio-political and ecological imperatives, this seminar establishes criteria of sculpture in the expanded field as an integration of systems, sites, bodies, and objects. Assigned readings will address these four themes as the discipline¿s center of gravity and provide newer perspectives identified by each course instructor to nurture sculpture¿s continued interdisciplinary expansion. Students will develop a shared language that will help them understand how to position their work as well as interpret and respond critically to the work of others. This seminar¿s content is delivered through texts, workshops, lectures, and is augmented by a monthly colloquia called Sculpture Dialogues, a school-wide event where students are launched into a public and professional presentation of their work in a panel co-presenting with a visiting artist or arts practitioner.
Course reading assigments include Susan Buck-Morss, Byung-Chul Han, Mary Douglas, Fred Turner, Eduardo Kohn, and Suzi Gablik. Slide lectures of artist works from 1960's and onward including works inn sculpture, installation, dance, and artist research. The seminar has readings due for the first 4-5 classes, readings are designed to build a shared cultural language in philosophy, contemporary art, and theory and addresses current cultural and ecological imperatives. Concepts and theories are applied through the interpretation of current artistic practices delivered through slide lectures and put into practice in 3 group critiques, 2 writing assignments, 1 portfolio analysis, and 1 public presentation. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Grad Projects:Sculpture | 6009 (001) | Alex Chitty |
TBD - TBD In Person |
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.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Sculpture | 6009 (002) | Adrian Wong |
TBD - TBD In Person |
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.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Sculpture | 6009 (003) | Nyeema Morgan |
TBD - TBD In Person |
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.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Sculpture | 6009 (005) | Sara Black |
TBD - TBD In Person |
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.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Sculpture | 6009 (006) | Daniel Gordon Baird |
TBD - TBD In Person |
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.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
Take the Next Step
Visit the graduate admissions website or contact the graduate admissions office at 800.232.7242 or gradmiss@saic.edu.