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Course Criteria
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3.00 Credits
PQ: ARTV 10100 or 10200, or consent of instructor. This course is a continuation of ARTV 22200 that deepens the student's understanding of the relationship between material and meaning. Because the nature of contemporary sculpture is often the opposite of what is expected, (i.e., fragmented, ephemeral, and soft, as opposed to solid, permanent, and heavy) material selection and manipulation play a vital role in creating sculptural objects. Context and spatial manipulation as strategies for art making are also emphasized, resulting in a project that involves site-specific installation. Slide presentations, gallery visits, and critical discussion supplement studio work time. Field trips required. Lab fee $70. G. Oppenheimer. Winter.
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3.00 Credits
This intensive lab introduces 16mm film production, experimenting with various film stocks and basic lighting designs. The class is organized around a series of production situations with students working in crews. Each crew learns to operate and maintain the 16mm Bolex film camera and tripod, as well as Arri lights, gels, diffusion, and grip equipment. The final project is an in-camera edit. Lab fee $100. J. Hoffman. Autumn.
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3.00 Credits
PQ: ARTV 10100 or 10200, or consent of instructor. Each student in this course is encouraged to make independent work that chases drawing at the most personal and ambitious level, including the expectation that students' work in other media is also nurtured in the process. Each week students make drawings that embody an individual visual response to a particular specification (e.g., single vs. plural media, three distinct layers, weakest ability, observed vs. invented, extreme vs. removed, nonvisual source, collaboration, transformation, most radical drawings). All class meetings are group critiques of student work. Lab fee $70. S. Wolniak. Autumn, Spring.
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2.00 Credits
This course focuses on the making of independent documentary video. Examples of direct cinema, cinéma vérité, the essay, ethnographic film, the diary and self-reflexive cinema, historical and biographical film, agitprop/activist forms, and guerilla television are screened and discussed. Topics include the ethics and politics of representation and the shifting lines between fact and fiction. Labs explore video preproduction, camera, sound, and editing. Students develop an idea for a documentary video; form crews; and produce, edit, and screen a five-minute documentary. Two-hour lab required in addition to class tim e. Lab fee $70. J. Hoffman. Winter
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3.00 Credits
PQ: ARTV 10100 or 10200, or consent of instructor. This course addresses the exchange and influence between contemporary visual arts production, the media, popular culture, and the transformation of traditional social norms that program the conventions on identity. At the time of the final presentation, the transformation and the built outfit is accompanied with a set of gestures, body language, and behaviors, as well as location and situation that informs the created persona. Although sculpture oriented, the course engages in other artistic practices and includes group critiques and discussion. We read texts by authors including Jones, Goffman, Mu oz, and Schechner; and we see work by artists including Yonibare, Kusama, Clark, Duchamp, Picabia, Bausch, and Amorales. Visits to galleries, museums, and other cultural sites required. Lab fee $60. T. Bruguera. Spring.
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3.00 Credits
PQ: ARTV 10100 or 10200, or consent of instructor. This course surveys performance art by combining historical readings with re-enactments of historical performances. We highlight movements including Futurism and Accionism, as well as individuals including Vito Acconci, Joseph Beuys, and Marina Abramovic. Students study the interdisciplinary quality of performance art and its relationship to theater, visual arts, and social context, particularly the politics of the body and social intervention. We read texts by Goldberg, Phelan, Carr, Goffman, Bourriaud, Kapprow, Danto, and Schechner. Classroom time is divided between group critiques and discussion. Visits to galleries, museums, and other cultural sites required. T. Bruguera. Spring.
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3.00 Credits
PQ: Any 10000-level ARTH or ARTV course, or consent of instructor. This course explores the concept of media and mediation in very broad terms, looking not only at modern technical media and mass media but also at the very idea of a medium as a means of communication, a set of institutional practices, and a "habitat" in which images proliferate and take on a "life of their own." Readings include classic texts (e. g., Plat o's Allegory of the Cave and Craty lus, Aristot le's Poe tics) and modern texts (e.g., Mar shall McLu han's Understanding Media, Regis De bray's Med iology, Fr iedrich Ki ttler's Gramophone, Film, Type writer). We also look at recent film s (e.g., The Matrix, e XistenZ) that project fantasies of a world of total mediation and hyperreality. Course requirements include one "show and tell" presentation that introduces a specif ic medium. W. J. T. Mitchell
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3.00 Credits
Public art has experienced tremendous change in the past twenty years, no longer stopping at the monumental forms of the early twentieth century. They have come to include temporary, socially charged, and environmentally responsive projects. What is this new public art, and how does it engage and inform public discourse This course seeks to tease out answers by surveying contemporary projects, both nationally and internationally. We also look at the processes by which artists and their works are selected and the implications of their work within the communities of their development. Field trips required. Lab fee $50. T. Gates. Spring.
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3.00 Credits
Autumn, Winter, Spring.
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3.00 Credits
PQ: Advanced experience in theater and consent of instructor. These courses are designed for students wishing to pursue advanced study in a specific field of theater/performance. Intensive study and reading is expected. Attendance at performances and labs required. Interested students should contact the TAPS office.
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