Wksp:Creative Criticism |
Writing |
5001 (006) |
Fall 2024 |
Description
This course is about writing at the crossroads of cultural criticism, creative nonfiction, memoir, fiction and poetry. It is designed for visual scholars looking to expand their mode of critique and for creative writers interested in cultural criticism. The seminar is conducted largely as a writing critique workshop, and much of the time in class is spent discussing student work in progress. At different points throughout the semester we also discuss the writing strategies of diverse contemporary authors.
Readings for the course vary, but have included texts by authors such as Maggie Nelson, Claudia Rankine, T Fleischmann, Kate Zambreno, Kathleen Stewart, Carol Mavor, Saidiya Hartman, and Wayne Koestenbaum.
Students in the class will present work in progress in a writing workshop twice, help to lead the discussion of an assigned reading once, give formal commentary on student work twice, and complete a polished piece of writing for the end of the semester.
|
Class Number
2315
Credits
3
|
Top:Photography Studies |
Visual and Critical Studies |
5010 (002) |
Spring 2025 |
Description
In the introduction to Burning with Desire, Geoffrey Batchen suggests that the study of photography has been largely divided by two opposing points of view, one that is interested in the essential, formal characteristics of photography and another that considers photography, and photographic meaning, to be determined by cultural context. Starting with this general rubric, we examine how that divide is addressed, reinforced, reconfigured and dismantled in recent studies of photography. Readings range from the pre-history of photography to digital imaging. We discuss works by cultural historians and art historians, and consider both popular and professional photographic practices. Texts will include books by Geoffrey Batchen, Carol Mavor, Robin Kelsey, Blake Stimson, and Christopher Pinney, among others. Class assignments include rigorous weekly discussions of the readings, two turns at leading class discussions, a final presentation based on the final project for the course, and a final project that may be written (15 pages) or studio-based.
|
Class Number
2223
Credits
3
|
Top:Creative Criticism |
Visual and Critical Studies |
5010 (003) |
Fall 2024 |
Description
This course is about writing at the crossroads of cultural criticism, creative nonfiction, memoir, fiction and poetry. It is designed for visual scholars looking to expand their mode of critique and for creative writers interested in cultural criticism. The seminar is conducted largely as a writing critique workshop, and much of the time in class is spent discussing student work in progress. At different points throughout the semester we also discuss the writing strategies of diverse contemporary authors.
Readings for the course vary, but have included texts by authors such as Maggie Nelson, Claudia Rankine, T Fleischmann, Kate Zambreno, Kathleen Stewart, Carol Mavor, Saidiya Hartman, and Wayne Koestenbaum.
Students in the class will present work in progress in a writing workshop twice, help to lead the discussion of an assigned reading once, give formal commentary on student work twice, and complete a polished piece of writing for the end of the semester.
|
Class Number
1034
Credits
3
|
Top:Photography Studies |
Art History, Theory, and Criticism |
5060 (001) |
Spring 2025 |
Description
In the introduction to Burning with Desire, Geoffrey Batchen suggests that the study of photography has been largely divided by two opposing points of view, one that is interested in the essential, formal characteristics of photography and another that considers photography, and photographic meaning, to be determined by cultural context. Starting with this general rubric, we examine how that divide is addressed, reinforced, reconfigured and dismantled in recent studies of photography. Readings range from the pre-history of photography to digital imaging. We discuss works by cultural historians and art historians, and consider both popular and professional photographic practices. Texts will include books by Geoffrey Batchen, Carol Mavor, Robin Kelsey, Blake Stimson, and Christopher Pinney, among others. Class assignments include rigorous weekly discussions of the readings, two turns at leading class discussions, a final presentation based on the final project for the course, and a final project that may be written (15 pages) or studio-based.
|
Class Number
2205
Credits
3
|
Thesis II |
Visual and Critical Studies |
6999 (001) |
Spring 2025 |
Description
This independent study course is a continuation of Thesis I and is taken with the student's primary thesis advisor to facilitate completion of the thesis. Research and approval (by the advisor and the rest of the student's committee) of the thesis topic and approach should have been completed during Thesis I. Students work closely with a thesis advisor during this semester in addition to scheduling meetings with other faculty on his or her committee whose input may prove useful in their research. This course covers the final completion and submission of the master's thesis. It is required for the Master of Arts in Visual and Critical Studies.
|
Class Number
2422
Credits
3
|