Curriculum & Courses

This course plunges students into content and ideas that universities often leave until graduate school, as we consider the role played by the 'critical' in 'visual and critical studies.' For the past ten years, it has been referred to as 'a primer for the art world.' It will still, mostly, provide you with a working vocabulary and crash course as to bodies of knowledge integral to the study of visual culture. At the same time, to productively engage in a reflective critique of society and culture, it will consider 'texts' from as diverse and contemporaneous a group of scholars, theorists, critics, and cultural producers as possible, from both inside and outside the academic institution.

Hybrid Practices seeks to bring artistic experimentation and research-based scholarship together. In general, Visual and Critical Studies promotes academic and artistic hybridity as a way to examine the social forces that shape our lives. Many fields will be engaged, including queer and feminist theory, literature, social identity, postcolonial studies, art history, and philosophy. The goal is to support student practices by exposing them to various critical conversations related to politics (social life) and art (general creativity). This course prioritizes artists historically marginalized because of their social identities, including gender, race, ethnicity, able-bodiedness, sexual orientation, and more.
Some artist, writers, and thinkers to be considered include, Black Audio Film Collective, Glenn Ligon, #decolonizethisplace, Sky Hopinka, Park McArthur, Sunaura Taylor, Michel Foucault, Super Futures Haunt Qollective, and Judith Butler. Screenings will include a variety of videos related to contemporary art and critical theory, including ¿Martha Rosler Reads Vogue: Wishing, Dreaming, Winning, Spending,¿ Forensic Architecture¿s 'Rebel Architecture: The Architecture of Violence,' Coco Fusco¿s ¿TED Ethology: Primate Visions of the Human Mind,¿ Paper Tiger TV¿s ¿Donna Haraway Reads the National Geographic on Primates,¿ and Democracy Now¿s ¿Freed but Not Free: Artists at the Venice Biennale Respond to the #BlackLivesMatter Movement.¿
Coursework includes a reading schedule, research-supported discussions, moments of creative presentation/critique, and writing assignments that engage hybrid approaches to culture, history, and theory.

This course is an investigation of how media communicate messages and how we interpret them. From political propaganda to advertisements, television news to ?tweets?, we examine a process of critically 'reading' the many messages that we encounter on a daily basis. Through readings, class discussions, presentations and writing assignments we come to grips with what critic Stuart Ewen has called a world of 'all consuming images.' Readings include works by Plato, Marshall McLuhan, Neil Postman, Susan Sontag, Stuart and Elizabeth Ewen, and Henry Jenkins. Assignments include short critical essays on contemporary media, an in-depth at home exam based on class activity and readings, and a term paper or media presentation that analyses a current critical issue in media.

This interdisciplinary course approaches the topic of gender, race, and medicine from cultural, historical, and scientific perspectives. We consider hysteria (purported to be caused by a 'wandering uterus') and other mental afflictions associated with sex, gender and race, the foundation of U.S. gynecology and its dependence on enslaved bodies, the Feminist Health Movement and its legacy, queer and trans health issues, and sexual health education. Readings include works by Audre Lourde, Charlotte Perkins Gilman, Mia Mingus, Alice Dreger, and Elaine Showalter. We will also consider the ways in which artists have addressed issues of gender, race and medicine in their work. Assignments include an interview project, written reflections, and a final research-based project.

This course is an experimental seminar devoted to recent discussions about disability in the US and in Europe: how is disability represented, and how are these representations constructed? Readings include the following, among many other texts: Georgina Kleege's Sight Unseen, Julia Kristeva's recent essays on disability, and several Supreme Court Opinions regarding ADA, including Alabama v. Garrett, Toyota v. Williams, and Tennessee v. Lane. In the second half of the semester, seminar participants present papers and related research on disability as a social and theoretical construction.

Marxism isn't just about the 'real world' critique of capitalism and the potential rise of communism. Many thinkers and critics who have written in the wake of Karl Marx have tried to articulate what it means (and why it's important) to read like a Marxist, to understand literature, art, and all the rest of human culture as a historical expression of the human condition under capital. This course serves as an introduction to Marxism and Marxist aesthetics, literary criticism, and cultural critique. We will begin by reading Marx and Engels, and then spend most of the semester considering core concepts as they develop over the subsequent century and a half of Marxist art, literary, and cultural criticism. We will ask questions like: what is the relationship between narrative representation, socio-political life, and its underlying economic forces? Do artworks produce autonomous worlds and meanings or are they entirely shaped by capitalism and class society? How do artifacts like novels, poems, theatrical texts, films, or visual artworks theorize history and society? What do the rise of specific forms, genres, and popular cultural practices tell us about social history? To what extent is it useful to read like/as a Marxist (and are there limitations in doing so)?

If a society?s order of reasons disempowers its citizens, why not weaponize the irrational? This was the premise of various, systemic reactions against the ?ego? in the midlate 20th century. In Europe, the United States, and former colonies, some of this activity can be read as an extension of the historical avant garde?s investigation of altered states of consciousness and ?madness.? The neo-avant garde sometimes used the tools of rational science to deconstruct its premises, reconstruct the real, and promote a more demotic culture. This course takes an international approach and samples practices and discourses of Dadaism, Surrealism, free jazz, performance and conceptual art, dance, film, ?relational aesthetics,? and experimental poetics. We will place a special emphasis on the way indeterminacy claims to ameliorate conflicts between political commitment and aesthetic quality.

This course will provide a link between Issues in Visual and Critical Studies, required of all first-year B.A. students, and the Thesis Seminar required in their final year. Typically, students will take this course at the end of their second year of full-time study. Building on the Issues course, early in the course students will read material that suggests the range of possibilities for visual and critical studies. Then each student will undertake a project that focuses on some aspect of visual and critical studies of particular interest to them. The project must include a substantial written component, although it might also make use of other media. Student presentation of their projects, as works in progress and then completed work, will provide opportunity for discussion of how they might give coherence to their final semesters of study. This will include suggestions for connections they might make among different aspects of their education, and will serve as an early stage in the process of developing a senior thesis project.

This course will focus on socially engaged art practices through which participants are encouraged to be directly involved in the creative process. The seminar will explore project planning, strategies of engagement, participatory methodologies and the development of resources designed to facilitate working in collaborative situations with social groups, communities and publics. Participatory art considers approaches to art making which engage publics in generative processes that allow participants to become co-authors as well as observers of the work. At its core, participatory art requires that the artist makes space for co-creation by removing themselves from the work or receding enough so as to become an equal partner and participant in the project. In this seminar we will explore ideas of authorship, authority, agency and interaction as themes central to generative collaborations between artist, audience and environment.

This course offers an introduction to the thought of the French philosopher Gilles Deleuze (1925-1995). Deleuze was one of the 20th century?s most influential critical theorists, almost single-handedly revising the reputation of Nietzsche in France, critiquing psychoanalysis in its postmodern heyday, and devising new approaches to ontology, leftist political theory, and literary and art theory. To this day, his concepts are frequently deployed in critical theory of all kinds, especially those concepts he developed in collaboration with activist and psychoanalyst Felix Guattari. Such concepts have even been accused of radical chic, and he remains a frequently cited but ?difficult? author to read. This course provides an introduction to the reading of Deleuze?s work. The goal of the course is to familiarize you with the contours of his career and acquaint you with his peculiar style of writing. It also acquaints you with a (very) few subsequent elaborations on Deleuzian thought. The course is structured into units corresponding to the core notions of becoming, encounter, schizoanalysis, and the rhizome. A fifth unit pursues Deleuze?s involvement with aesthetics and models some ways of applying Deleuzian thought.

Expect to read much of Deleuze's own writing, critical reflections on it by Thomas Hirschorn and Elizabeth Grosz, among others..., and then to write two substantial essays elaborating on this material, attempting to make it serve your own interests as artists, historians, etc.

This studio seminar is centered around intergenerational queer art-making within the context of The LGBTQ+ Intergenerational Dialogue Project, which is a partnership between The Senior Services Program at The Center on Halsted and faculty members Adam Greteman and Karen Morris of SAIC. This spring course is run as a workshop in which students focus on intergenerational creative production with LGBTQ+ elders. Classes will be held at both SAIC and Center on Halsted. Students and elders will share a meal together after class meetings at Center on Halsted, and take at least one field trip together.

A range of artists, works, scholars, and activist groups will be introduced during the first third of the course as students get to know one another and the purpose of the course. This will potentially include the following: Marlon Riggs, Lesbian Avengers, Chase Joynt, ACT-UP, Ron Athey, S.T.A.R., Paul Preciado, E. Patrick Johnson, Mickalene Thomas, and others. Over the course of the latter 2/3rd of the semester, students collaborate with LGBTQ+ elders in small groups to conceive and produce work related to LGBTQ+ experiences, histories, and issues. Each small group decides on topic(s) and medium(s) while working with the instructors to create a list of relevant readings, films, and/or podcasts they will engage as part of the research and production process.

Over the course of the semester, students collaborate with LGBTQ+ elders in small groups to conceive and produce work related to LGBTQ+ experiences, histories, and issues. Final projects might take the form of visual art, video, oral history, photography, writing, a podcast, or something else. This work will be showcased on the project¿s website (generationliberation.com) and have the potential to be expanded into a range of other educational resources.

In 1976, as noted by a recent Viewpoint Magazine piece, Johnny 'Guitar' Watson, a former sessions player for Frank Zappa, whose landmark West Coast funk compositions effortlessly fused his auto-theoretical 'gangster of love' persona with post-soul, pre-discotheque blues guitar, released the eponymous single from his album Ain't That A Bitch the same year Milton Friedman won the Nobel Prize in Economics. And I quote: Everything is outta pocket! / Somebody do something! / The present situation is abstract! In 2015, James Franco committed to film the character 'Alien,' purportedly based on real-life Houston-based rapper Riff Raff (who has a giant tattoo on his chest of Bart Simpson holding a beaker that reads,'The Freestyle Scientist'). Right around the time of Friedman's victory speech (titled 'Inflation and Unemployment,' and dedicated to the memory of Alfred Nobel), Dr. Funkenstein (George Clinton, the 'cool ghoul with the funk transplant') and his Holy Mothership began to hover around a new consumer class of Thumpasorus peoples, just as Parliament-Funkadelic's cosmological dispersion mirrored another kind of outsourcing?paraphrasing here, but why not put the jobs someplace they've never been perceived to be, like a spaceship. Funk, then the history of automation, then aliens. The shared history isn't some mute-poetic post-automatic ontological flirtation: it's embedded in Kurt Vonnegut's first novel Player Piano, and intertwined with the anomie registered by the twentieth century's increasing alienation of assembly line workers and e-commerce representatives. In 1963, Detroit autoworker and Marxist activist James Boggs wrote The American Revolution: Pages from a Negro Worker's Notebook, about his experiences on the Chrysler assembly line, where he presupposed a new generation of the working class made obsolete by advances in heavy labor automation, left without a body to sell or their own labor-power to broker the deal. How did blip blip Marx's Labor Theory of Value 010101 Space is the Place Where I Go All Alone take us through deregulated technocratic neoliberalism and to the other side: via the simulated proprietary satellite mapping that Curtis Mayfield may or may not have fever-dreamed in 'Diamonds in the Back'? We know that it knows the Waze to your Uber Pool's rendezvous with the Awesome Power of a Fully Operational Mothership (T.A.P.O.A.F.O.M.). 'Abdul Jabar couldn't have made these prices/with a sky hook.' Long story short: funk emerged in the waning days of Fordism's hold on the American economy, before drums largely lived in machines and workers were brokered out of politics. Funk parallels Jimmy Hoffa, Wattstax, the death of Henry Ford's crony Harry Bennett, the arguments of Jefferson Cowrie's Last Days of the Working Class, Dock Ellis throwing a perfect game on LSD, the goddamned Deer Hunter, stagflation, the threat of nuclear annihilation and concerts mounted against such, pro-labor PACs, Betty Davis's 'Politician Man,' two energy crises, the Business Roundtable Lobby, Bootsy Collins dropping acid and flipping over the handlebars of his road bike in the middle of the woods triggering an out of body experience, and good ol' monetarist theory. P-Funk's Mothership is now in the Smithsonian Museum. 'Strike on Computers!,' as Watson suggested. I once climbed through a window of the abandoned Studebaker-Packard Plant one Detroit afternoon in 1996 and cut my foot on a shard of glass perhaps manufactured in the form of a Pepsi bottle at the Mack Avenue warehouse two blocks away or two decades before. I bled for a while through an anklet, but then we listened to the Fugees cover Roberta Flack's 'Killing Me Softly' on someone's CD of The Score (playback technology developed by the Advent Corporation) the rest of the ride home.

Conspiracy Theory and Other Metanarratives

The term 'conspiracy theory' has long been used to indicate a narrative genre that includes a broad selection of arguments for the existence of systemic furtive acts. Cautiously construing a space between the unwarranted and the unidentifiable, conspiracy works to situate grand narratives at the core of distinctions between the individual and the institution, public and private life, and visible and invisible architectures. At the same time, the events that sustain conspiratorial knowing are often articulated as the products of secret plots that are largely unknown to the general public, actively questioning how concerns with collective memory, loss, and paranoia fuel both the desire for transparency and our projective urge to insert ourselves into our uncomfortable past and unknown future. From Wikileaks, the Cold War, and the Kennedy Assassination, nostalgia-driven television programs (Quantum Leap, You Are There), astrology, and the history of editorial redactions to the work of writers and artists such as Mark Lombardi, Pierre Huyghe, Dziga Vertov, Spaulding Gray, and Don Delillo, we'll examine how the sense of a 'master plot' shapes the way we narrate social and cultural experiences. What role do these narratives play in our struggle to assign meaning to events and artworks that are otherwise inexplicable? And how does our fascination with conspiracy--and its often melancholic and performative relationship to loss--address the potential of 'putting right what once went wrong'?

An investigation of media and cinematic representations of 'terrorism' through the 20th century up to the present. Primary 'texts' will be films, videos, and photography, supported by readings from a wide range of sources: historical, political economy, fiction, media criticism, oral histories. Students will screen and study propaganda films, narratives, film and video essays, and experimental works whose subject directly or obliquely addresses the subject of political violence. The course will examine the moblizing effects of these works, and seek to unpack a hefty suitcase of current debates about moral relativism, just and unjust wars, the problem of evil, and uses of violence in film.

In the last few decades there have been concerted efforts, on the part of historians and theorists, to analyze how the concept of race bears on the production of American art. Only recently has serious attention been given to analyzing the significance of race, as a discursive field of knowledge, to the production of American film. In the course we will investigate how the intersection of race and film, during a particularly salient period in American (film) history (1910-1937), works towards the production of a 'race film' industry. The course explores 'race films' as a genre-a genre used to describe independent filmmaking from within the African-American and Jewish communities respectively during the early part of the 20th century. The course also forces the historical relation of African-American and Jewish 'race films' to each other, as well as their relation to the mainstream filmmaking industry of the period. There will be regular screenings of 'race films' from both the Jewish and African-American traditions; an ongoing examination of audience, and a critical engagement of concepts such as 'race' and ethnicity.

This course is a continuation of Undergraduate Thesis: Research and Writing I. Students will continue to work on the drafts developed during the first semester and will meet at times as a group and at times individually with the instructor or teaching assistant. By the end of the semester, each student will have a 25-35 page superbly written thesis (maximum 45 pages), which will most likely (although it is not required) have visual content. Students will also present their thesis projects in the VCS Undergraduate Thesis Symposium at the end of the semester. Class meetings are used to discuss readings, workshop writing, share research methods and techniques, and discuss research and writing problems. Guest speakers and group visits to libraries may also be part of the class. Students are required to attend all meetings, participate actively in class discussions and workshops, present work in the symposium, and complete a polished thesis by the end of the semester.

This course is a continuation of Undergraduate Thesis: Research and Writing I. Students will continue to work on the drafts developed during the first semester and will meet at times as a group and at times individually with the instructor or teaching assistant. By the end of the semester, each student will have a 25-35 page superbly written thesis (maximum 45 pages), which will most likely (although it is not required) have visual content. Students will also present their thesis projects in the VCS Undergraduate Thesis Symposium at the end of the semester. Class meetings are used to discuss readings, workshop writing, share research methods and techniques, and discuss research and writing problems. Guest speakers and group visits to libraries may also be part of the class. Students are required to attend all meetings, participate actively in class discussions and workshops, present work in the symposium, and complete a polished thesis by the end of the semester.

This graduate-level course immerses students in research methods and resources for use in their Visual and Critical Studies coursework and their theses. Guest speakers include librarians and curators. Students combine study of general research information with the pursuit of individual research projects directed by the instructor. [This is a required course for first-year students in the MA in VCS program.]

In 1976, as noted by a recent Viewpoint Magazine piece, Johnny ?Guitar? Watson, a former sessions player for Frank Zappa, whose landmark West Coast funk compositions effortlessly fused his auto-theoretical ?gangster of love? persona with post-soul, pre-discotheque blues guitar, released the eponymous single from his album Ain?t That A Bitch?the same year Milton Friedman won the Nobel Prize in Economics. And I quote: ?Everything is outta pocket! / Somebody do something! / The present situation is abstract!? In 2015, James Franco committed to film the character ?Alien,? purportedly based on real-life Houston-based rapper Riff Raff (who has a giant tattoo on his chest of Bart Simpson holding a beaker that reads,?The Freestyle Scientist?). Right around the time of Friedman?s victory speech (titled ?Inflation and Unemployment,? and dedicated to the memory of Alfred Nobel), Dr. Funkenstein (George Clinton, the ?cool ghoul with the funk transplant') and his Holy Mothership began to hover around a new consumer class of Thumpasorus peoples, just as Parliament-Funkadelic?s cosmological dispersion mirrored another kind of outsourcing?paraphrasing here, but why not put the jobs someplace they?ve never been perceived to be, like a spaceship. Funk, then the history of automation, then aliens. The shared history isn?t some mute-poetic post-automatic ontological flirtation: it?s embedded in Kurt Vonnegut?s first novel Player Piano, and intertwined with the anomie registered by the twentieth century?s increasing alienation of assembly line workers and e-commerce representatives. In 1963, Detroit autoworker and Marxist activist James Boggs wrote The American Revolution: Pages from a Negro Worker?s Notebook, about his experiences on the Chrysler assembly line, where he presupposed a new generation of the working class made obsolete by advances in heavy labor automation, left without a body to sell or their own labor-power to broker the deal. How did blip blip Marx?s Labor Theory of Value 010101 Space is the Place Where I Go All Alone take us through deregulated technocratic neoliberalism and to the other side: via the simulated proprietary satellite mapping that Curtis Mayfield may or may not have fever-dreamed in ?Diamonds in the Back?? We know that it knows the Waze to your Uber Pool?s rendezvous with the Awesome Power of a Fully Operational Mothership (T.A.P.O.A.F.O.M.)? ?Abdul Jabar couldn?t have made these prices/with a sky hook.? Long story short: funk emerged in the waning days of Fordism?s hold on the American economy, before drums largely lived in machines and workers were brokered out of politics. Funk parallels Jimmy Hoffa, Wattstax, the death of Henry Ford?s crony Harry Bennett, the arguments of Jefferson Cowrie?s Last Days of the Working Class, Dock Ellis throwing a perfect game on LSD, the goddamned Deer Hunter, stagflation, the threat of nuclear annihilation and concerts mounted against such, pro-labor PACs, Betty Davis?s ?Politician Man,? two energy crises, the Business Roundtable Lobby, Bootsy Collins dropping acid and flipping over the handlebars of his road bike in the middle of the woods triggering an out of body experience, and good ol? monetarist theory. P-Funk?s Mothership is now in the Smithsonian Museum. ?Strike on Computers!,? as Watson suggested. I once climbed through a window of the abandoned Studebaker-Packard Plant one Detroit afternoon in 1996 and cut my foot on a shard of glass perhaps manufactured in the form of a Pepsi bottle at the Mack Avenue warehouse two blocks away or two decades before. I bled for a while through an anklet, but then we listened to the Fugees cover Roberta Flack?s ?Killing Me Softly? on someone?s CD of The Score (playback technology developed by the Advent Corporation) the rest of the ride home.

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.