Cortney Lederer

The life of an artist is largely self-directed and self-managed. Reflecting on our current gig economy, we know that artists have always been considered the original gig workers tasked with managing an active studio practice, alongside multiple jobs and projects. DIY: Self-Management for Artists looks to the inherent management tools embodied in artistic practice, as a theoretical and practical framework to apply toward managing a sustainable and purposeful professional and personal life. This class will explore listening and critical feedback, project development and management, marketing and branding strategy, strategic planning, negotiation, building and maintaining networks, and portfolio development.

Readings will vary, and include articles and excerpts from: How to do Nothing: Resisting the Attention Economy by Jenny Odell, The Art of Gathering: How we Meet and Why it Matters by Priya Parker, Start with Why: How Great Leaders Inspire Everyone to Take Action by Simon Sinek, Critical Response Process: A Method for Getting Useful Feedback on Anything you Make from Dance to Dessert by Liz Lerman; The Artist?s Guide: How to Make a Living Doing What You Love by Jackie Battenfield, Making: Your Life as an Artist by Andrew Simonet, Living and Sustaining a Creative Life: Essays by 40 Working Artists by Sharon.Loudon

Course work will vary but will include readings and critical writing responses throughout the semester, the development of a written project scope, regular class presentations and a final project on one aspect of a student's portfolio.

The Management Studio is a space in which to explore 21st century leadership and management though a practice based investigation of contemporary organizational, project, and leadership models with an eye toward designing frameworks for the future. In addition to investigating so-called traditional management models, students will engage with current cultural management/leadership theory and practice around sustainability, networks, leadership, collaboration, equity, engagement, and governance, as well as emergent models for supporting innovation, creativity, and adaptation.

A distinguishing element of this course is the project-based learning environment. Management Studio integrates skill-building projects into the course work for the purpose of practicing and developing individual and group strategies. The projects in the studio are developed with external and internal partners and engage a broad set of skill building opportunities. Students select projects based on interest and personal development trajectories.

The premise of this course is that participants will be active leaders in shaping the future of cultural/arts management. As such, the course invites broad and active participation and preparation for every class meeting. As a ?hands on? examination of management practice and theory, students are urged to critically engage with the material and to participate in class discussions, projects, presentations and debates. Each student will work on an ongoing project in addition to class preparation to include reading, discussion and presentation. Class will generally be divided into two sections. The first section will include discussion and/or presentations of readings and assignments. The second section will include project report outs and project work/discussion.

The ProSeminar program converges the complex narratives of policy, theory, and artistic and management practice through a series of guest talks and discussions. Guests invited for each semester program engage a broad set of practices which intersect with cultural resources and how they are articulated, (re)presented, sustained, accessed, used, and supported. A distinguishing characteristic of many of the Fall semester guests is their leadership in advancing both discourse and action in their field by navigating complex and often inert systems and power structures to instigate and produce new ideas; and by affecting behaviors and systems critical to the future.

The ProSeminar program converges the complex narratives of policy, theory, and artistic and management practice through a series of guest talks and discussions. Guests invited for each semester program engage a broad set of practices which intersect with cultural resources and how they are articulated, (re)presented, sustained, accessed, used, and supported. A distinguishing characteristic of many of the Fall semester guests is their leadership in advancing both discourse and action in their field by navigating complex and often inert systems and power structures to instigate and produce new ideas; and by affecting behaviors and systems critical to the future.

This course seeks to be more than the sum of its parts--an environment where new ideas can emerge and develop. Broad participation and active listening are essential. Students are expected to read guest biographies and materials advanced by guest speakers before class, and to be prepared to participate in discussions. All materials will be made available in advance of class meetings. Following each lecture, each student will be required to write and submit a critical reflection on the knowledge, ideas and stories presented by the guest speaker. This exercise should include reflections on the presentation and should be at least two to three paragraphs of critical writing. Following the guest presentation, there will be a facilitated discussion with the entire class. The time allotted for this may vary from class to class, specifically as it pertains to off-site visits.