Fall 2012 -
Graduate Course Description
Discipline and Number
7:00 PM - 9:45 PM
|Creativity: Visual Arts Workshop
Description of Course:
This course provides a framework for the development of a personal visual vocabulary and an opportunity for exchange in the context of group critique. Students are expected to have some proficiency in at least one medium involving digital and/or traditional studio art. (Students are strongly encouraged to contact the instructor in advance at firstname.lastname@example.org regarding preparation for this course.)
Structured around a series of individual portfolio reviews with the instructor, group critiques, open studio work sessions, lectures and discussions on readings in contemporary art, and student oral presentations on their artwork, the course emphasizes student creative productivity, along with engagement in contemporary art dialogues. Students will identify artists with which they have an affinity, locate vocabulary specific to their working process and conceptual approach, and develop a body of work in tandem with a refinement of ideas informing that portfolio. Readings will emphasize current issues in contemporary art and corresponding critical and theoretical discourses.
A selection of readings, available electronically:
Art and History:
Gibbons, Joan. "Revisions: The Reassembling of 'History.' " Contemporary Art and Memory: Images of Recollection and Remembrance. London: I.B. Tauris, 2007. 52-72. Print.
Gonzalez, Jennifer A. "Fred Wilson: Material Museology." Subject to Display: Reframing Race in Contemporary Installation Art. Boston: MIT Press, 2008. 65-119, 258-263. Print.
Solomon-Godeau, Abigail. "The Phantom Photographer." Art in America 10 (Nov. 2011) : 128-133. Print.
Art, Process, Concept: locating the artist's vocabulary:
Barliant, Claire. "Photography and the Object Manque." Art in America 3 (Mar. 2012) : 108-117. Print.
Demos, T.J. "Art after Nature: The Post-Natural Condition." Artforum 50.8 (Apr. 2012): 190-201. Print.
Deschenes, Liz ; Sholis, Brian. "In the Studio." Art in America 3 (Mar. 2012): 150-157. Print.
Ferguson, Russell. "Skin and Surface. " Jeanne Dunning: Study after Untitled. Ed. Heidi Zuckerman Jacobson. Berkeley: University of California, Berkeley Art Museum/Pacific Film Archive, 2006. 81-88. Print.
Jacobsen, Heidi Zuckerman. "Fox/Mouse/Belt: A Personal Field Guide to the Work of Mark Manders." Mark Manders: Parallel Occurrences/Documented Assignments. Eds. Heidi Zuckerman Jacobsen and Ann Philbin. Aspen, Colorado and Los Angeles: Aspen Art Press/Hammer Museum, 2010. 116-138. Print.
Jones, Caroline A. "Post-Studio/Postmodern/Postmortem." The Studio Reader: on the Space of Artists. Ed. Mary Jane Jacob and Michelle Grabner. Chicago: University of Chicago Press, 2010. 286-301. Print.
Koplos, Janet. "Secret Lives of Objects." Art in America 2 (Feb. 2012) : 92-97. Print.
Course Requirements/Evaluation Criteria:
Attendance and participation in class workshops, critiques, and discussions; production of artwork for periodic group and individual reviews of creative work; artist statement; oral presentation on creative work with outline; written and oral responses produced in the context of a peer review; presentation of artwork in a published format--artist book (published via online sites, such as blurb) or website.