John D Neff

This seminar explores questions of cinema and television in relation to the larger issues concerning visual representations and definitions of sexuality and gender. Themes and approaches include theories of spectatorship, in particular, feminist, postcolonial, and queer theories of looking as related to sexuality and gender; stereotypes and social roles; and the interplay between unconscious processes and forms of representation.

The course consists of weekly discussions based on screenings of moving image work, as well as critical and theoretical texts that, from a variety of perspectives, address these issues. Some of the scholars and artists we will study include Jose Mu?oz, B. Ruby Rich, Leotine Sagan, Jean Genet, Kenneth Anger, Shu Lea Cheang, Barbara Hammer, Frederic Moffet, Gregg Bordowitz, Cassils, David Getsy, Liz Rosenfeld, Marlon Riggs, Judith Butler, Vaginal Davis, Dee Rees, Lana Wachowski and Lilly Wachowski, Cheryl Dunye, Richard Fung, George Kuchar

Course work will include in-class discussions, screening/reading responses, a midterm critical response essay, and a final research paper

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

This 1.5 credit synchronous online course provides a forum for structured group discussion of students¿ studio work during remote semesters. Attendance at regularly scheduled synchronous meetings is required for this course.

The project of this course is developing students¿ skills around the observation of artworks, the verbal interpretation of artworks, and the framing of generative questions about studio practices.

In the course, students will present their own artwork and respond to colleagues¿ works within the context of facilitated group discussions on Zoom. A modest amount of asynchronous coursework will take place through Canvas and other platforms.

Regular synchronous course meetings will take place Thursdays 6-7 pm Central and Saturdays 11-12 pm Central.

This 1.5 credit synchronous online course provides a forum for structured group discussion of students¿ studio work during remote semesters. Attendance at regularly scheduled synchronous meetings is required for this course.

The project of this course is developing students¿ skills around the observation of artworks, the verbal interpretation of artworks, and the framing of generative questions about studio practices.

In the course, students will present their own artwork and respond to colleagues¿ works within the context of facilitated group discussions on Zoom. A modest amount of asynchronous coursework will take place through Canvas and other platforms.

Regular synchronous course meetings will take place Thursdays 6-7 pm Central and Saturdays 11-12 pm Central.

What are the most urgent issues in contemporary art now? This online course addresses the central themes and ideas shaping the production and distribution of art. Students will develop and manage their own blogs and participate in continuing online discussions. The final requirement will be a finished paper.

This course will examine contemporary theories of the image and image circulation. Rooted in art histories of photography, the course will expand to cover many media, with a special emphasis on digital technologies. The artworks and writings discussed will pay special attention to the subjective effects of modern image ecologies. Authors encountered will range widely, including Tina Campt, Vilém Flusser, Byung-Chul Han, and Susan Schuppli.

This course combines study of texts on aesthetics and language¿concentrating on works that experiment with autobiographical forms¿with short writing exercises encouraging students to reimagine genres of art writing such as artist statements, interviews, press releases, and reviews. The authors explored will include Theresa Hak Kyung Cha, Peter Ho Davies, Lara Mimosa Montes, Claudia Rankine and Anne Truitt. Students will share short responses to readings and brief writing exercises every week. Students will complete a final project of their design, one formed in conversation with their classmates. Throughout the semester, there will be regular, required synchronous meetings (Mondays, 6 PM CST) via Zoom for discussion of course exercises and materials as well as asynchronous meetings when required.

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

This seminar-style online course will examine relationships between architecture and painting, with special attention paid to ways that color shapes our experience of space. An introductory section will focus on some theories of aesthetic, spatial, and visual experience. The body of the course will be a series of case studies of artworks, with a concentration on works of international Modern and Contemporary abstract art. The course will conclude with student directed projects informed by our studies. Authors will include Sarah Ahmed and Gaston Bachelard. Artists discussed will include Eileen Gray, Dr. Esther Mahlangu, Toshiko Horiuchi MacAdam and Judy Ledgerwood. Students will be asked to contribute their own readings and references to the synchronous and asynchronous discussions as well.

Guided Studies are intensive, self-driven courses of study that have a clear rationale for their configuration and articulate an expressed need in terms of a student's scholarly, material, and theoretical research. As a 3 credit course, a Guided Study constitutes 135 hours of study and production on the part of the student, including four meetings (virtual or otherwise) with a supervising faculty who has expertise in the research areas. On the Guided Study syllabus co-produced by the LRMFA student and supervising faculty, expected research accomplishments must be formulated, alongside a course description, learning objectives, evaluation criteria, a proposed timeline, a communication plan, and a suggested reading list or bibliography. Open to Low Residency MFA students only.

The Graduate Projects course allows students to focus in private sessions on the development of their work and research from their home studio or mobile platforms. The continued development of ideas and approaches initiated during the summer Graduate Studio Seminar will be supported through in-person and online conversation with SAIC Program Mentors. These liaisons are intended to support the off-campus development of work while also providing personal connections to SAIC's vast global network of distinguished alumni. Open to Low Residency MFA students only.

The Graduate Projects course allows students to focus in private sessions on the development of their work and research from their home studio or mobile platforms. The continued development of ideas and approaches initiated during the summer Graduate Studio Seminar will be supported through in-person and online conversation with SAIC Program Mentors. These liaisons are intended to support the off-campus development of work while also providing personal connections to SAIC's vast global network of distinguished alumni. Open to Low Residency MFA students only.