ARTV 10100. Visual Language: On Images. 100 Units.

Through studio work and critical discussions on 2D form, this course is designed to reveal the conventions of images and image-making. Basic formal elements and principles of art are presented, but they are also put into practice to reveal perennial issues in a visual field. Form is studied as a means to communicate content. Topics as varied as, but not limited to, illusion, analogy, metaphor, time and memory, nature and culture, abstraction, the role of the author, and universal systems can be illuminated through these primary investigations. Visits to museums and other fieldwork required, as is participation in studio exercises and group critiques. Students must attend class for the full first week to confirm enrollment. Sign up for the wait list for this course at dova.uchicago.edu/content/wait-list-core-courses-0.

Terms Offered: Autumn, Winter, Spring
Note(s): ARTV 10100, 10200, and 10300 may be taken in sequence or individually. This course meets the general education requirement in the dramatic, musical, and visual arts. Previous experience in media-based studio courses not accepted as a substitute for this course.
Equivalent Course(s): TAPS 28444

ARTV 10200. Visual Language: On Objects. 100 Units.

Through studio work and critical discussions on 3D form, this course is intended to reveal the conventions of sculpture while investigating its modes of production. Basic formal elements and principles of art are presented, but also put into practice to reveal perennial issues in a visual field. Form is studied as a means to communicate content. Topics as varied as, but not limited to, platonic form, analogy, metaphor, verisimilitude, abstraction, nature and culture, and the body politic can be illuminated through these primary investigations. Visits to museums and other fieldwork required, as is participation in studio exercises and group critiques. Students must attend class for the full first week to confirm enrollment. Sign up for the wait list for this course at dova.uchicago.edu/content/wait-list-core-courses-0.

Terms Offered: Autumn, Winter, Spring
Note(s): ARTV 10100, 10200, and 10300 may be taken in sequence or individually. This course meets the general education requirement in the dramatic, musical, and visual arts. Previous experience in media-based studio courses not accepted as a substitute for this course.
Equivalent Course(s): TAPS 28445

ARTV 10300. Visual Language: On Time and Space. 100 Units.

Through studio work and critical discussion on four-dimensional form, this course is designed to reveal the conventions of the moving image, performance, and/or the production of digital-based media. Basic formal elements and principles of art are presented, but also put into practice to reveal perennial issues in a visual field. Form is studied as a means to communicate content. Topics as varied as but not limited to narrative, mechanical reproduction, verisimilitude, historical tableaux, time and memory, the body politic, and the role of the author can be illuminated through these primary investigations. Some sections focus solely on performance; others incorporate moving image technology. Please check the time schedule for details. Visits to museums and other fieldwork required, as is participation in studio exercises and group critiques. Students must attend class for the full first week in order to confirm enrollment. Sign up for the wait list for this course at dova.uchicago.edu/content/wait-list-core-courses-0.

Terms Offered: Autumn, Winter, Spring
Note(s): ARTV 10100, 10200, and 10300 may be taken in sequence or individually. This course meets the general education requirement in the dramatic, musical, and visual arts. Previous experience in media-based studio courses not accepted as a substitute for this course.
Equivalent Course(s): CMST 10300,TAPS 23400

ARTV 15000. Art Practice and Theory. 100 Units.

This course examines the place of artistic practice in contemporary culture and the rhetoric of images. Emphasis is placed on the visual arts, examining discourses such as the assignment of value to works, the formation of taste, the relationship between individual production and institutional practices, the role of authorship (intentionality) in the construction of meaning, the gate-keeping functions of curatorial and critical practice, the function and maintenance of categorical distinctions constituting "otherness" (high/low, naive, primitive, outside), the relationship between truth and authenticity, and the uses of art (e.g., transcendence, decoration, activism, therapy, play). Visits to museums, galleries, and other cultural and commercial sites required, as is attendance at designated events.

Instructor(s): Z. Cahill, S. Huffman.     Terms Offered: Autumn, Winter
Note(s): It is recommended that students who are majoring in visual arts enroll in this required course before their fourth year. Open to nonmajors with consent of instructor. This course does not meet the general education requirement in the dramatic, musical, and visual arts.

ARTV 21001. Figure Drawing: Trans/Figuration. 100 Units.

Figure drawing is an experience that engages us visually, physically, emotionally, and psychologically. This many-faceted relationship is examined through the use of a variety of traditional and experimental materials, set-ups, and drawing methods. Assignments and class critiques investigate different models of stylistic invention, ranging from realism to comic expression. This studio class includes readings, field trips, and class projects that address the human form as source for developing your own visual responses to related issues—such as identity, narrative, and social critique.

Instructor(s): K. Desjardins     Terms Offered: Winter
Prerequisite(s): ARTV 10100, 10200, or 10300
Equivalent Course(s): ARTV 31001

ARTV 21900. Color Theory and Practice. 100 Units.

This course will introduce students to practical aspects of color mixing and the visual impacts of specific color combinations through a series of studio exercises and projects. Conceptual and theoretical investigations into optics, the science of color, and psychological and symbolic effects will contribute to an overall understanding of color in relation to visual culture and perception.

Instructor(s): S. Wolniak     Terms Offered: Winter
Prerequisite(s): ARTV 10100, 10200, or 10300
Equivalent Course(s): ARTV 31900

ARTV 22000-22002. Introduction to Painting I-II.

This studio course introduces students to the fundamental elements of painting (its language and methodologies) as they learn how to initiate and develop an individualized investigation into subject matter and meaning. This course emphasizes group critiques and discussion. Courses taught concurrently.

ARTV 22200. Introduction to Sculpture. 100 Units.

This course introduces the fundamentals of sculptural practice. Building on the historical, aesthetic, and technical strategies of making and thinking about sculpture, students are directed toward the realization of 3D objects. Assignments are intended to explore materials and process so as to facilitate students' development of an idea to a completed object. Discussions and gallery visits help engender an understanding of sculpture within a societal and historical context. Visits to galleries required.

Instructor(s): G. Oppenheimer     Terms Offered: Winter
Prerequisite(s): ARTV 10100, 10200, or 10300
Equivalent Course(s): ARTV 32000,TAPS 28448

ARTV 22305. Performing Tableware. 100 Units.

Performing Tableware takes the actions and objects of the table as a site of research. Through demonstrations, readings and production, tableware will be considered in the context of contemporary practices in design, sculpture, installation, and performance.  Materially rooted in ceramics, this course gives students the opportunity to highlight, interrupt or subvert the patterns associated with sitting around table. Student will engage in the full range of ceramic processes in this course. Developing projects through a process of questioning behavior and the intimate functions of objects of the table, students will extend and challenge their material knowledge. The class will provide workshops on techniques grounded in the traditions of tableware including china painting, glaze decals, and demonstrations on mold-making for slipcasting multiple objects.

Instructor(s): A. Ginsburg     Terms Offered: Autumn
Prerequisite(s): ARTV 10100, 10200, or 10300
Equivalent Course(s): ARTV 32305

ARTV 22307. How to House a Kiln. 100 Units.

How best to design an outdoor kiln building adjacent to the Logan Center for the Arts? This course will be a design charrette. Students will explore the history and design of small spaces, the specific needs of a kiln building, and how to best facilitate a connection between a kiln building and the Logan Center. Taking into account ideas of the appendage, the axillary, and the outgrowth, this course will examine the long history of architecture and design as students work towards an end goal, producing four design plans to propose to the University of Chicago. Working both independently and in groups, student-driven design concepts will be researched, questioned, and developed into design proposals. An experimental hands-on approach, beginning with mind mapping, sketching, and diagrammatic representation will lead to scale modeling and include easily accessible digital 3-D software. Students will work across disciplines and skill sets, drawing on principles and techniques from the fields of art, design, engineering, material studies, and architecture through readings, independent research, and guest lecturers. Open to all students.

Instructor(s): A. Ginsburg     Terms Offered: Spring
Prerequisite(s): ARTV 10100, 10200, or 10300
Equivalent Course(s): ARTV 32307

ARTV 22500. Digital Imaging. 100 Units.

This studio course introduces fundamental tools and concepts used in the production of computer-mediated artwork. Instruction includes a survey of standard digital imaging software and hardware (i.e., Photoshop, scanners, storage, printing, etc), as well as exposure to more sophisticated methods. We also view and discuss the historical precedents and current practice of media art. Using input and output hardware, students complete conceptually driven projects emphasizing personal direction while gaining core digital knowledge.

Instructor(s): J. Salavon     Terms Offered: Winter, Spring
Prerequisite(s): ARTV 10100, 10200, or 10300
Equivalent Course(s): ARTV 32500,CMST 28801,CMST 38801

ARTV 22502. Data and Algorithm in Art. 100 Units.

An introduction to the use of data sources and algorithmic methods in visual art, this course explores the aesthetic and theoretical possibilities of computational art-making. Focusing on the diverse and ever expanding global data-feed, we will craft custom software processes to create works investigating the visual transformation of information. Additionally, software programming may be deployed independently, without a connection to source material. While placing an emphasis on creating new work, we will also survey the history of this type of art practice.

Instructor(s): J. Salavon     Terms Offered: Spring
Prerequisite(s): ARTV 10100, 10200, or 10300
Note(s): No prior experience with programming is necessary.
Equivalent Course(s): ARTV 32502

ARTV 23804. Experimental Animation. 100 Units.

Individually directed video shorts will be produced in this intensive studio course. Experimental and improvised approaches to stop-animation and motion picture art will combine digital production and post-production with analog and material methods of picture making. Early and experimental cinema, puppetry and contemporary low-tech animation strategies will be presented as formal and technical examples.

Instructor(s): S. Wolniak     Terms Offered: Autumn
Prerequisite(s): ARTV 10100, 10200, or 10300
Equivalent Course(s): ARTV 33804

ARTV 23833. Improvisational Dramaturgy. 100 Units.

Team-taught by Catherine Sullivan and visiting composers Sean Griffin and George Lewis, Improvisational Dramaturgy explores interdisciplinary and improvisational strategies for performance. Course work will be integrated with the development of a staging of an operatic composition by Lewis. Tentatively titled "Afterword," the piece explores the ecology of Lewis's 2008 award-winning book, A Power Stronger Than Itself: The A.A.C.M. and American Experimental Music. Issues of public assembly, spatial language, music as social text, documentation, collaboration, and the dynamics of improvisation will be explored in theory, history, and practice. The class will work as an ensemble, contributing original material and working with various groups both on and off campus. Students working in all disciplines are welcome. This course is sponsored by a Mellon Fellowship for Arts Practice and Scholarship at the Gray Center for Arts and Inquiry.

Instructor(s): C. Sullivan, S. Griffin, G. Lewis     Terms Offered: Spring
Equivalent Course(s): ARTV 33833,CRES 23833,CRES 38333,MUSI 26114,MUSI 38214,TAPS 28429

ARTV 23849. Politics of the Moving Image: Form, Content, Context. 100 Units.

This course sifts the terrain of art and film history for political problematics and considers the issues relevant to the entry of moving image into the sphere of the fine arts: from the avant-garde’s vision of a transformational Gesamtkunstwerk to the more practical negotiations of film versus video and installation versus screening. This production seminar is structured by a series of thematic screenings, discussions, and four substantial studio projects engaging higher level concepts central to the relationship between film and sculpture. Topics addressed range from montage, narrative, and apparatus to issues of labor, collective production, and exhibition design. Filmmakers and artists discussed may include Chris Marker, Peter Watkins, Anthony McCall, Diana Thater, and Mark Leckey.

Instructor(s): K. Pandian     Terms Offered: Autumn
Prerequisite(s): ARTV 10100, 10200, or 10300
Note(s): Attendance at screenings is mandatory
Equivalent Course(s): ARTV 33849

ARTV 23860. Studies in Sound Aesthetics. 100 Units.

This course will serve as an elaboration of the phenomenon of sound and an introduction to the history of its aesthetic usage with an emphasis on tactile production: hand­-soldering microphones and inducers, building simple circuits, twitching speakers, etc. This route will guide us through a performative history of sound art, meeting up with contemporary, digital sound techniques while outlining the physical bases (and basics) of sound production and transmission. Such a methodology will help us to investigate the shifts in socio-political thought and artistic practice that accompany developments in sound technology. In addition to two creative projects, students will research and remake a historically important sound art piece. In lieu of replaying these from the archives, class time will often be spent re-presenting these works live and re-imagined.

Instructor(s): M. Gibisser     Terms Offered: Spring
Equivalent Course(s): ARTV 33860,CMST 28905,CMST 38905

ARTV 23904. Senior Creative Thesis Workshop. 100 Units.

This seminar will focus on how to craft a creative thesis in film or video. Works-in-progress will be screened each week, and technical and structural issues relating to the work will be explored. The workshop will also develop the written portion of the creative thesis. The class is limited to seniors from CMS and DOVA, and MAPH students working on a creative thesis.

Instructor(s): J. Hoffman     Terms Offered: Winter
Prerequisite(s): CMST 23930; CMST 23931; departmental approval of senior creative thesis project.
Equivalent Course(s): CMST 23904,ARTV 33904

ARTV 23905. Creative Thesis Workshop. 100 Units.

This seminar will focus on how to craft a creative thesis in film or video. Works-in-progress will be screened each week, and technical and structural issues relating to the work will be explored. The workshop will also develop the written portion of the creative thesis. The class is limited to seniors from CMS and DOVA, and MAPH students working on a creative thesis.

Instructor(s): Judy Hoffman     Terms Offered: Autumn, Winter
Prerequisite(s): CMST 23930; CMST 23931 or 27600; departmental approval of senior creative thesis project.
Equivalent Course(s): CMST 33905,ARTV 33905

ARTV 23920. Drawing II: Exploded Drawing. 100 Units.

This intensive studio course will explore wide-ranging strategies in drawing and two-dimensional composition. Interrogating conventions of representation and pictorial space, students will develop new formal and conceptual possibilities that relate to the complexities and changing perspectives of contemporary life. Drawing will be addressed as an expansive, open-ended outlet for thought and action. Emphasis will be on innovation within the fundamental structures of the medium, including its history, materials, and techniques.

Instructor(s): S. Wolniak     Terms Offered: Winter
Prerequisite(s): ARTV 10100, 10200, or 10300
Equivalent Course(s): ARTV 33920

ARTV 24000. Introduction to Black and White Film Photography. 100 Units.

Photography is a familiar medium due to its ubiquitous presence in our visual world, including popular culture and personal usage. In this class, students learn technical procedures and basic skills related to the 35mm camera, black and white film, and print development. They also begin to establish criteria for artistic expression. We investigate photography in relation to its historical and social context in order to more consciously engage the photograph's communicative and expressive possibilities. Course work culminates in a portfolio of works exemplary of the student's understanding of the medium. Field trips required.

Instructor(s): S. Huffman, L. Letinsky     Terms Offered: Autumn, Winter
Prerequisite(s): ARTV 10100, 10200, or 10300
Note(s): Camera and light meter required.
Equivalent Course(s): ARTV 34000,CMST 27600,CMST 37600

ARTV 24130. The Production of the Artist. 100 Units.

This course will develop a conversation about what constitutes the image of the contemporary artist. Written exercises will contribute to the development of the problem of how one produces oneself as an artist. The history of dematerialization in art practice from the 1960’s, and the discussion of globalization that emerged in the 1980’s will be brought to bear. How is the role and identity of the artist constructed in relation to various histories and to the prevailing movements of the moment such as institutional critique and relational aesthetics? This course is open to students of all disciplines who are interested in how the artist is constructed, not only as role or identity, but as a production site.

Instructor(s): R. Basbaum     Terms Offered: Autumn
Equivalent Course(s): ARTV 34130,LACS 24130,LACS 34130

ARTV 24201. Collage. 100 Units.

This studio course explores collage as a means for developing content and examining complex cultural and material relationships. Projects and assigned texts outline the history of collage as a dynamic art form with a strong political dimension, as well as critically addressing how it is being used today.

Instructor(s): S. Wolniak     Terms Offered: Autumn
Prerequisite(s): ARTV 10100, 10200, or 10300
Equivalent Course(s): ARTV 34201

ARTV 24301. Writing for Performance. 100 Units.

This course is an exploration of select texts for performance written by performance artists primarily but not entirely operating within the context of art. Via historical context and literary technique, students read, discuss, and analyze texts by various authors spanning the history of performance art: Hugo Ball, John Cage, Richard Foreman, Carolee Schneeman, Joseph Beuys, Karen Finley, Nature Theater of Oklahoma, John Leguizamo, and create and perform their own writing. Field trips and attendance at first class are required.

Instructor(s): W. Pope.L     Terms Offered: Autumn
Prerequisite(s): ARTV 10100, 10200, or 10300
Equivalent Course(s): ARTV 34301,TAPS 28414

ARTV 24401-24402. Photography I-II.

The goal of this course is to develop students’ investigations and explorations in photography, building on beginning level experience and basic facility with this medium. Students pursue a line of artistic inquiry by participating in a process that involves experimentation, reading, gallery visits, critiques, and discussions, but mostly by producing images. Primary emphasis is placed upon the visual articulation of the ideas of students through their work, as well as the verbal expression of their ideas in class discussions, critiques, and artist’s statements. As a vital component of articulating ideas and inquiry, students will refine their skills, e.g., black and white or color printing, medium or large format camera usage, or experimenting with light-sensitive materials. Courses taught concurrently and can be repeated as part of an ongoing, developing photographic project.

ARTV 24550. Shopcraft: Methods and Materials. 100 Units.

Designed as a complementary course to the DOVA sculpture sequence, Shopcraft explores the tools and techniques available to students in the wood shop. Topics covered include shop safety; the properties of woods; the planning and material selection process for sculpture, furniture, and other woodworking applications; the care and use of hand tools; and interpreting and creating scale drawings and conceptual plans. A series of small projects designed to challenge and expand students' design, drafting, and woodworking skills are assigned. In addition, students are invited to incorporate projects from sculpture classes or their individual studio practice into the course.

Instructor(s): D. Wolf     Terms Offered: Autumn
Prerequisite(s): ARTV 10100, 10200, or 10300
Equivalent Course(s): ARTV 34550,TAPS 27900

ARTV 24552. Multiples in Wood and Metal. 100 Units.

This class aims to problematize both computerized and manual approaches to reproduction in wood and metal. Through discussion and project development, we will find productive space to employ hybrid processes, while maintaining critical inquiry into the meaning and conceptual avenues they create. We will focus on the following prototyping equipment: CNC, Laser Cutter, and 3-D printer. Additionally, welding and woodworking are major components to this class. It is not required that you have previous experience working with either of these materials, just fortitude and enthusiasm to learn about them.

Instructor(s): H. Givler     Terms Offered: Winter
Equivalent Course(s): ARTV 34552,TAPS 28443

ARTV 24702. Large-Scale Drawing. 100 Units.

You will work with a series of projects designed to (literally) expand your definition of drawing. Introduction to a range of technical approaches and strategies: traditional direct observation; micro to macro; collaboration; site-specific installation—to name just a few. Readings and written assignments introduce a historical trajectory that traces drawing on a large scale from the ritual of cave painting to 21st century site-specific institutional critique, including graffiti. Frequent study trips to venues throughout Chicago as well as to the Smart’s Prints and Drawings Study Room.

Instructor(s): K. Desjardins     Terms Offered: Spring
Prerequisite(s): ARTV 10100, 10200 or 10300
Equivalent Course(s): ARTV 34702

ARTV 24703. Mixed-Media Drawing: From Object to Concept. 100 Units.

An object of your choice will serve as a departure point for this process-oriented studio course that takes you through a sequenced exploration of a variety of mixed media drawing materials, methods, and approaches: from observation to abstraction--to the purely conceptual. Readings, critical writing, and discussion are intended to reinforce fluidity between theory, your ideas, and your art practice. This course is augmented by an image bank and gallery visits.

Instructor(s): K. Desjardins     Terms Offered: Autumn
Prerequisite(s): ARTV 10100, 10200, or 10300
Note(s): Open to all levels of experience.
Equivalent Course(s): ARTV 34703

ARTV 25100. Nonfiction Film: Representations and Performance. 100 Units.

This course attempts to define nonfiction cinema by looking at the history of its major modes (e.g., documentary, essay, ethnographic, agitprop film), as well as personal/autobiographical and experimental works that are less easily classifiable. We explore some of the theoretical discourses that surround this most philosophical of film genres (e.g., ethics and politics of representation; shifting lines between fact and fiction, truth and reality). The relationship between the documentary and the state is examined in light of the genre's tendency to inform and instruct. We consider the tensions of filmmaking and the performative aspects in front of the lens, as well as the performance of the camera itself. Finally, we look at the ways in which distribution and television effect the production and content of nonfiction film.

Instructor(s): J. Hoffman
Equivalent Course(s): CMST 28200,ARTV 35100,CMST 38200,HMRT 25101,HMRT 35101

ARTV 25201. Cinema and the First Avant-Garde, 1890-1933. 100 Units.

Equivalent Course(s): CMST 25201,ARTH 25205,CMST 45201

ARTV 25300. Introduction to Film Analysis. 100 Units.

This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles.

Instructor(s): Y. Tsivian, Staff     Terms Offered: Autumn, Spring
Note(s): Required of students majoring in Cinema and Media Studies
Equivalent Course(s): CMST 10100,ARTH 20000,ENGL 10800

ARTV 25400. Theories of Media. 100 Units.

This course will explore the concept of media and mediation in very broad terms, looking not only at modern technical media and mass media, but 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." The course will deal as much with ancient as with modern media, with writing, sculpture, and painting as well as television and virtual reality. Readings will include classic texts such as Plato's Allegory of the Cave and Cratylus, Aristotle's Poetics, and such modern texts as Marshall McLuhan's Understanding Media, Regis Debray's Mediology, and Friedrich Kittler's Gramophone, Film, Typewriter. We will explore questions such as the following: What is a medium? What is the relation of technology to media? How do media affect, simulate, and stimulate sensory experiences? What sense can we make of such concepts as the "unmediated" or "immediate"? How do media become intelligible and concrete in the form of "metapictures" or exemplary instances, as when a medium reflects on itself (films about films, paintings about painting)? Is there a system of media? How do we tell one medium from another, and how do they become "mixed" in hybrid, intermedial formations? We will also look at such recent films as The Matrix and Existenz that project fantasies of a world of total mediation and hyperreality. Students will be expected to do one "show and tell" presentation introducing a specific medium. There will also be several short writing exercises, and a final paper. (H)

Instructor(s): W. J. T. Mitchell     Terms Offered: Winter
Equivalent Course(s): ENGL 12800,AMER 30800,ARTH 25900,ARTH 35900,CMST 27800,CMST 37800,ENGL 32800

ARTV 26000. Introduction to Stage Design. 100 Units.

This course explores the application of the visual and aural arts to the varied forms of design for the stage (i.e., scenic, lighting, costume, sound). We pay particular attention to the development of a cogent and well-reasoned analysis of text and an articulate use of the elements of design through a set of guided practical projects.

Instructor(s): T. Burch     Terms Offered: Autumn
Note(s): Lab fee required. This course is offered in alternate years.
Equivalent Course(s): ARTV 36300

ARTV 26214. On Art and Life. 100 Units.

This class is an multidisciplinary intensive into the ways in which artistic production is dependent on and part of larger cultural tropes. Utilizing contemporary culture as a framework, how does art form connective tissues with the worlds that happen outside of the artists studio? Visual art is a communicative form that requires subject matter and this class will investigate the myriad of ways that artists mine culturally meaningful materials, forms, and images as both subjects and as palette.  Participation in several field trips and out-of-class film screenings is required. Reference materials are drawn from a variety of disciplines.

Instructor(s): G. Oppenheimer     Terms Offered: Spring
Prerequisite(s): ARTV 10100, 10200, or 10300
Equivalent Course(s): ARTV 36214

ARTV 26217. OPC Seminar 2014: Mental Space-Digressions in the Art of Contemporary Landscape. 100 Units.

This interdisciplinary course will examine the ways in which we can re-imagine of the genre of landscape to complicate our understanding of interiority and the external world. What does it means today to say, as Paul Cezanne put it, "The landscape thinks itself in me and I am its consciousness"? How can we think of the strange and un-budgeable mixture of landscape and consciousness as material to be worked with? Given the ever increasing virtualization of contemporary life, can we still breathe out-of-doors and touch the wildly complex sensorial phenomenon that was once un-problematically referred to simply as "Nature"? These are some of the key questions this course will explore through readings, visiting lecturers, film screenings, plein air painting, and other related activities. Texts will include writings by W. J. T. Mitchell, Robert Rosenblum, Henri Lefebrvre, Joseph Leo Koerner, Robert Smithson, Susan Hiller, and others.

Instructor(s): Z. Cahill     Terms Offered: Spring
Prerequisite(s): ARTV 10100, 10200 or 10300
Equivalent Course(s): ARTV 36217

ARTV 26411. Movies and Madness. 100 Units.

We propose to investigate representations of madness in fictional, documentary, and experimental film. We divide the topic this way to emphasize the different dimensions of cinematic address to questions of mental illness, and the ways that film genres imply distinct formal and epistemological conventions for the representation of insanity. Documentary ranges from instructional and neutral reportage, to polemical, essayistic interventions in the politics of psychiatry and the asylum, the actual conditions of mental illness in real historical moments. Documentary also includes the tendency in new media for "the mad" to represent themselves in a variety of media. With experimental film, our aim will be to explore the ways that the cinematic medium can simulate experiences of mania, delirium, hallucination, obsession, depression, etc., inserting the spectator into the subject position of madness. We will explore the ways that film techniques such as shot-matching, voice-over, montage, and special effects of audio-visual manipulation function to convey dream sequences, altered states of consciousness, ideational or perceptual paradoxes, and extreme emotional states. Finally, narrative film we think of as potentially synthesizing these two strands of cinematic practice, weaving representations of actual, possible, or probable situations with the special effects of mad subjectivity. Our emphasis with narrative film will be to focus—not simply on the mentally ill subject as hero or monster—but on the institutional situation of madness, its place in a social and disciplinary context. Put simply, we want to consider films that portray both insanity and the sanatorium, both the deranged subject and the asylum, both the madwoman and the (often male) psychiatrist, both the irrational subject and the rational system. The overall aim of the seminar, then, is to raise the question of what movies bring to madness that was not representable in pre-cinematic media such as theater, opera, and literature, and what it was that the subject of madness brought to cinema, not only as a thematic issue but as defining possibility of film form as such. A more specific aim will be to establish a context for focusing on American Cold War movies, as well as more recent films that look back to the Cold War era, and films that directly address the anti-psychiatry movement of the 1960s. (H)

Instructor(s): W. J. T. Mitchell, J. Hoffman     Terms Offered: Autumn
Prerequisite(s): Third- or fourth-year standing
Equivalent Course(s): BPRO 26400,ARTH 26905,ARTH 36905,ARTV 36411,CMST 25550,CMST 35550,ENGL 28703,ENGL 38703

ARTV 26500-26600. History of International Cinema I-II.

This sequence is required of students majoring in Cinema and Media Studies. Taking these courses in sequence is strongly recommended but not required.

ARTV 26901. Picturing Words/Writing Images (Studio) 100 Units.

What is the relationship between reading and looking? Images in mind and images on paper—words in mind and on the page—we will explore the intersection of these different ways to think, read, and look, as we make poems, drawings, paintings, etc., in class. We will investigate the problem of representing language as it is expressed in the work produced in class. Studying works by contemporary visual artists like Jenny Holzer and Ann Hamilton, and practicing poets such as Susan Howe and Tom Phillips will inform our investigation. The course will feature visits to our studio by contemporary poets and visual artists, who will provide critiques of student work and discussion of their own ongoing projects. These visitors will help to frame our artistic and literary practice within the ongoing conversation between word and image in modern culture. We will ask, what are the cognitive, phenomenological, social, and aesthetic consequences of foregrounding the pictorial/visual aspect of alphabetical characters? (C, H)

Instructor(s): J. Stockholder, S. Reddy     Terms Offered: Autumn
Prerequisite(s): Third- or fourth-year standing. Previous experience in an arts studio or creative writing course recommended, but not required.
Equivalent Course(s): BPRO 26500,ARTV 36901,CRWR 26341,CRWR 46341,ENGL 24319,ENGL 34319

ARTV 27200. Painting. 100 Units.

Presuming fundamental considerations, this studio course emphasizes the purposeful and sustained development of a student's visual investigation through painting, accentuating both invention and clarity of image. Requirements include group critiques and discussion.

Instructor(s): K. Desjardins, D. Schutter     Terms Offered: Winter, Spring
Prerequisite(s): ARTV 10100, 10200, or 10300; and 22000 or 22002
Equivalent Course(s): ARTV 37200

ARTV 27203. Seminar/Independent Projects: Art after the End of Art. 100 Units.

Our departure point for this studio/seminar course will be a thorough reading of Arthur Danto’s After the End of Art. What did Danto mean when he declared the death of art history? We will look back in order to re-examine the Modernist trajectory (the idea of the art historical “narrative”) and look forward in order to critically engage with Danto’s idea of the present as a post-historical moment in which (in Danto’s words) “everything is possible.” What is art? What is art history? How do we distinguish between art and life? When is art a form of philosophical inquiry? What is the nature of interpretation and critique in the context of multiple contemporary artworlds? What is the impact of this discussion on our studio practice? You will be expected to work on a series of independent (or assigned) studio projects in conjunction with course readings and discussions. Bi-weekly studio critiques of independent or assigned studio work, off-site visits to museums and galleries, guest speakers, and attendance at designated events augment this course and are required.

Instructor(s): K. Desjardins     Terms Offered: Spring
Prerequisite(s): ARTV 10100, 10200 or 10300
Equivalent Course(s): ARTV 37203

ARTV 27910. Drawing After 1953. 100 Units.

For course description contact Art History.

Equivalent Course(s): ARTH 27610,ARTH 37610,ARTV 37910

ARTV 28008. The Fifth Dimension. 100 Units.

The course is conceived to function as a research unit for the exhibition The Fifth Dimension, which unfolds at the Logan Center Gallery December 17, 2013, to February 16, 2014. During these two months, works by seven international artists will be introduced into the Logan Center Gallery and the Logan Center building in a sequence rather than simultaneously, opening up the temporal conventions of an exhibition and attempting the gradual build-up of an atmosphere. Also appearing as ghosts or inspirations are Lorado Taft, Marcel Duchamp, Constantin Brancusi, and Sun Ra. The question of time—often understood as the fourth dimension—or what it means to render time paradoxical, to “pass it” (Taft by way of Henry Austin Dobson) or to “forget it” (Sun Ra)—will continue to surface. But rather than agree on the properties of the fifth dimension, the seminar will attempt to extend the atmosphere of the exhibition. The proceedings of the seminar will be recorded. Weekly seminars will involve lectures, discussions, and critiques; trips to several key sites that serve as inspiration for the exhibition; and visits by participating artists. Assignments will explore various forms of research and writing to open up the process of speculation to critical scrutiny and processes of critical scrutiny to forms that expand the conventions of art/historical practice. Exhibition making—as a means of engaging with artists and foregrounding their works as distinct forms of knowledge and inquiry—will serve as a model.

Instructor(s): M. Szewczyk     Terms Offered: Winter
Equivalent Course(s): ARTH 28008,ARTH 38008,ARTV 38008

ARTV 28204. Political Documentary Film. 100 Units.

This course explores the political documentary film, its intersection with historical and cultural events, and its opposition to Hollywood and traditional media. We will examine various documentary modes of production, from films with a social message, to advocacy and activist film, to counter-media and agit-prop. We will also consider the relationship between the filmmaker, film subject and audience, and how political documentaries are disseminated and, most importantly, part of political struggle.

Instructor(s): J. Hoffman
Equivalent Course(s): CMST 28201,ARTV 38204,CMST 38201

ARTV 29600. Junior Seminar. 100 Units.

This seminar prepares students who are majoring in visual arts for their senior project. The project is an independent studio project or a combined studio/research project that students begin in the summer preceding their fourth year. Students engage in two main activities: (1) a series of studio projects challenging the imagination and enlarging formal skills; and (2) an introduction to the contemporary art world through selected readings, lectures, careful analysis of art objects/events, and critical writing. Studio skills are developed while contending with the central task of articulating ideas through a resistant medium. Visits to museums, galleries, and other cultural and commercial sites required, as is attendance at designated events.

Instructor(s): S. Wolniak     Terms Offered: Spring
Prerequisite(s): Open to nonmajors with consent of Director of Undergraduate Studies.
Note(s): It is recommended that students who are majoring in visual arts enroll in this required course in Spring Quarter of their third year

ARTV 29700. Independent Study in Visual Arts. 100 Units.

Students in this reading course should have already done fundamental course work and be ready to explore a particular area of interest much more closely.

Terms Offered: Autumn, Winter, Spring
Prerequisite(s): ARTV 10100, 10200, or 10300 and consent of instructor
Note(s): Students are required to submit the College Reading and Research Course Form.

ARTV 29850. Senior Seminar. 100 Units.

This is a critique-based course utilizing group discussion and individual guidance in the service of advancing the senior project for students who are majoring in visual arts. Emphasis is placed on the continued development of student's artistic production that began in the preceding Junior Seminar, and continued throughout the intervening summer. Readings and written responses required. In addition to studio work, visits to museums and galleries required.

Instructor(s): K. Desjardins     Terms Offered: Autumn
Prerequisite(s): Consent of Director of Undergraduate Studies
Note(s): Required of students who are majoring in visual arts

ARTV 29900. Senior Project. 100 Units.

For Visual Arts majors in the Honors Track. This course provides an opportunity for students to engage in a sustained and intense development of their art practice in weekly critiques throughout the Winter Quarter.

Instructor(s): L. Letinsky     Terms Offered: Winter
Prerequisite(s): Consent of Director of Undergraduate Studies
Note(s): Required of students who are majoring in visual arts. Students are required to submit the College Reading and Research Course Form.