Topics in Modern and Contemporary Art |
Masters in Fine Arts Low Residency |
5002 (001) |
Summer 2024 |
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
1216
Credits
3
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Contact Zones |
Art History, Theory, and Criticism |
5002 (003) |
Fall 2024 |
Description
This course aims to recontextualize modern and contemporary art and design in relation to long-neglected histories of colonialism, slavery and global Blackness. Simply put, the 'new' in art and design never happens in a vacuum, but via 'contact zones' with asymmetrical relationships of power, innovation and representation. We will place particular emphasis on both lived and constructed experiences of race; the phenomenological research of Impressionists, Post-Impressionists and abstract artists before and after World War II; the materiality of collage, readymades, actions, and other revolutionary strategies of historical and neo-avant-gardes; the urgent messaging of decolonial struggles, new nations and third-worldism; ‘60s and ‘70s critiques of mediation; and post-medium, “antagonistic” and radically empathic examples of contemporary art. This class includes consistent visits to the Art Institute of Chicago to experience and discuss relevant works of art in person.
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Class Number
1180
Credits
3
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Networks and Latin American Art |
Art History, Theory, and Criticism |
5344 (001) |
Fall 2024 |
Description
This course focuses on the role of international networks in the history of modern and contemporary Latin American art. Reflecting critically on the recent surge in popularity for Latin American art as reflected in a major initiatives such as the 60-odd exhibitions of Pacific Standard Time: LA/LA: A Celebration Beyond Borders in 2017, we will trace the activity of key figures abroad as well as links that existed between different cities and countries within the region. Attention will be paid to the less-discussed question of how ?peripheral? artists affect the international milieus in which they participate. Topics include exchanges between the region?s prewar avant-gardes and their European counterparts; the stakes of indigenism for the Americas as a whole; developmentalist cultural networks running North-South, South-North, and South-South; the peregrinations of advocates of participatory abstraction in the 1950s and 1960s; networks of political art and activism in the 1960s; the spread of cybernetics as a social and artistic model in the 1970s; Latinx art in the United States and its interconnection of artistic milieus in Los Angeles, Mexico City, New York and San Juan; the rise of biennials and their implications for contemporary Latin American art; and a present moment marked by crisis, a resurgence of neofascist populism, and artistic responses that aim for solidarity with parallel situations in other parts of the world. We will attend to different varieties of networks: artistic (in the sense of Pierre Bourdieu?s ?position-taking?), ideological, informational, economic, political, and medial. Some of these networks overlap, while others, such as contemporaneous political and artistic circuits, remained at vexing, mutually aware distances. If networks can form between artists, between artists and institutions, and exclusively between institutions, they can also be seen as more elusive conditioning factors of perception, communication, and aesthetics. Our aim will not only be to do art history, but to reflect on how histories are crafted, and indeed, how international networks flourish in contemporary scholarly and curatorial practice devoted to Latin American modern and contemporary art?a field still very much in formation. How is this art being accounted for, both at home and abroad? Is its deeply cosmopolitan, networked character adequately represented and explicated amidst what Manuel Castells calls our ?network society?? Is the network the ultimate conduit for innovation, or a hermetic, exclusivist circuit? This seminar will incorporate events and exhibitions related to Latin American art in Chicago this fall, including Kaira M. Caba?as' lecture at SAIC (Sept. 12) and Pop America at Block Museum (curated by Esther Gabara, October 2). In addition to the term paper, class members will write a short review of the latter show, relating this curatorial intervention to historical class readings and discussion.
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Class Number
2269
Credits
3
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Intelligent Artifice: A.I. and its Past Lives |
Art History, Theory, and Criticism |
5755 (001) |
Spring 2024 |
Description
This course updates a seminar, ARTHI 5755 'Art and Information Theory,' to offer historical context for the contemporary fascination with Artificial Intelligence, or AI. While we will consider some contemporary art incorporating AI-- a genre still in its infancy-- our primary focus will be the myriad manifestations of autopoiesis-- self-organization, self-correction, self-awareness-- in histories of 20th and 21st-century art, design and computation. Our larger objective will be to consider how cybernetics and other interdisciplinary loci of research in the 20th century have informed our contemporary rhetoric and experience of intelligent machines-- and to anticipate what might be coming next. The seminar's emphasis on machine intelligence will inevitably draw us to the literature and plentiful artwork on other modes of 'non-human' consciousness, including that of plants and animals, which has also received considerable attention from artists. FOR ALL CATEGORIES BELOW, THESE ARE PARTIAL LISTS: Artists: hannah baer, Linda Dounia, Orphan Drift, Memo Atken, Ian Cheng, Refik Anadol, Rashaad Newsome, L[3]^2, Aria Dean, Hito Steyerl, 0100101110101101.org, Mark Tribe, Douglas Davis, Eduardo Kac, Olivier Auber, Gretchen Bender, Roy Ascott, Agnes Denes, Luis Benedit, Hans Haacke, Andy Warhol, Lazlo Moholy-Nagy Authors: N. Katherine Hayles, Meredith Tromble, Dan McQuillan, S. Matthew Liao, Mark Wigley, Sadie Plant, Rosalind Krauss, Margaret A. Boden, Vilém Flusser, Paul Virilio, Jack Burnham, Humberto Maturana, Gregory Bateson, Marshall McLuhan, James Boggs, Norbert Weiner, Alan Turing. Media: openai.com (ChatGPT), bard.google.com, bing.com/create, jasper.ai, midjourney.com, stablediffusionweb.com, Elf.Tech, copysmith.ai, and further A.I. content generators that appear between now and February 2024. In addition to the standard 15-20 pp. term paper that is required at the 5000 level by my department, shorter assignments in this seminar will encourage students to explore, test and play with A.I. chatbots to research its implications for academic research and writing. Likewise, we will also probe A.I. image, music and video generators to examine the technology's capacities at present for future art and design. I will leave maximum for students to explore aspects of these nascent tools that they are most interested in.
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Class Number
2375
Credits
3
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Thesis Tutorial |
Art History, Theory, and Criticism |
5999 (001) |
Summer 2024 |
Description
The thesis, as the final requirement to be fulfilled for the Masters of Art degree in Modern Art History, Theory, and Criticism, demonstrates the student's ability to present a lucid, sustained work of scholarly research and critical thinking on a specific topic in the field of 19th, 20th and 21st-century art. The thesis indicates the student's thorough command of the available documentation and scholarly research on the subject and suggests clearly-defined objectives and a methodologically-sound approach to a fresh assessment of the topic. This seminar assists the student in selecting, researching, analyzing, designing, organizing, and writing the Art History thesis. Students learn how to select and narrow their topic by organizing materials; preparing an outline, abstract, and bibliography; and defending their proposal before a faculty panel. During this semester, they select their thesis committee and complete most of the research. This seminar is required for the Master of Arts in Modern Art History, Theory, and Criticism and is taken in the second or third semester of course work.
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Class Number
1282
Credits
3
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Thesis Tutorial II |
Art History, Theory, and Criticism |
6999 (004) |
Spring 2024 |
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
2538
Credits
3
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