This opened doors to experimentation with unorthodox methodologies, exploration of the unconscious, re-consideration of so-called "outsider" art-and more. Readings, discussions, and field trips put these practices into cultural and theoretical context. In this course, I propose a reading of post-war art history as seen, in part,through the periodical prism of one of the field's most important, signature events - the five-yearly Documenta exhibition in Kassel, Germany.
Starting with the founding edition organized by Arnold Bode and ending with the edition which I worked on as a curator, we will discuss one chapter of Documenta's history per class alongside related events like the Venice and Sao Paulo biennials and Skulptur. As a history of exhibition making and curatorial practice, the course will also draw on recent developments in museum culture and the everyday politics of the art world's various institutions, and will be recounted in part from the perspective of exhibition-making experience.
The class will consist of hands-on curatorial exercises, as well as writing and reading assignments that mirror and follow the year arc of our historical periodization. This architecture studio course will explore the concept of spaces created as memorials or for the purpose of holding or preserving memories. Design projects and spatial concepts will be the main focus for the class.
Students will also research and critique existing built projects and visit spaces around the city to form a basis for understanding and analyzing architecture.
Students will generate a portfolio of 2D and 3D spatial explorations throughout the quarter. Visits to exhibitions around Chicago and current events stories will serve as starting points for project subjects. Students are required to attend the first seminar to enroll in the course. Excursions across the city will occur during regular meeting times, but a make-up option will be outlined and permitted.
Though basic tools and materials for model making will be available for sharing during studio or through a tool library, some students may find it beneficial to obtain their own items for use outside of class time and to supplement what is provided. Instructor s : N. 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. Note s : Camera and light meter required. Shopcraft: Methods and Materials. 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. Costume Design and Technology for the Stage. In this course, students will learn the basics of designing costumes for theatrical productions, encompassing the skills of theatrical rendering and sketching, as well as the implementation of the design and basic sewing techniques.
Students will learn to adopt a vocabulary using the elements and principles of design, understand and experience the process intrinsic to producing costumes for the theater, analyze the production needs related to costumes, and prepare a finalized costume design for a theatrical production. Computers dynamically simulate the details of any other medium. This course looks past traditional media and engages with the computer as a "metamedium"; an environment with infinite degrees of representation.
Relationships between form and content will be explored and exploited through editing, augmenting, and deconstructing the data that makes up digital media. Students will digitally improvise with experimental and expanded approaches to creating new media art. Topics surveyed will include: aesthetics as filters, algorithms as art, metadata as content, glitches as tools, and hystorical dream machines.
In addition to making new media art, we will consider our relationship to contemporary media and the politics of digital agency in an increasingly connected world. Reset your expectations of video games! Video games can be political, experimental, and poetic. New media artists have been leveraging unconventional approaches to interactive media for decades.
This studio course will playfully explore the methods, tools, and environments used to create artgames and machinima. Develop, hack, mod, and utilize video games as an artistic medium. Challenge the rules, mechanics, and interfaces of existing video games and consider the infinite possibilities of artgames. This course is a 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 artist's studio?
Visual art is a communicative form that requires subject matter, and this course 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. This course will screen and discuss films made mostly by Chicagoans, concentrating on the period after WWII, until when Hollywood began using Chicago as a location. By examining various genres, including those not normally interrogated by academics, such as educational and industrial films, we will consider whether there is a Chicago style of filmmaking. Technological advances that enabled both film and video to escape the restrictions of the studio and go hand-held, into city streets and homes, will be discussed.
If there is a Chicago style of filmmaking, one must look at the landscape of the city-the design, the politics, the cultures and labor of its people and how they live their lives. The protagonists and villains of Chicago stories are the politicians and community organizers, our locations are the neighborhoods, and the set designers are Mies Van Der Rohe and the Chicago Housing Authority.
Some prior painting experience is required. This studio aims to support the development of a student's personal visual investigation through painting, while also challenging habits of thought and making. We will ask questions about form, content, and context with words and with paint. Participation in group critiques, discussion, and one or two field trips will be required.
Basic supplies for the class will be provided, but students may wish to purchase additional supplies. More information will be provided on the first day of class. Introduction to Puppetry invites students to explore the vast and dynamic world of the history of Puppet Theater and expertly trains students in multiple forms of the medium. From Bun Ra Ku to hand puppetry, Mask Performance to Shadow Puppetry, Toy Theater to banners and contastorias, students will be exposed to the form through real examples of sophisticated objects and expert direction.
Students will be immersed in the history, literature, and philosophy of the ritual and performance of the puppet, and will be provided the opportunity to build their own draft of a short production. Instructor s : F. Focusing on experimental moving-image approaches at a crucial moment in the emerging medium of virtual reality, this class will explore and interrogate each stage of production for VR. By hacking their way around the barriers and conventions of current software and hardware to create new optical experiences, students will design, construct and deploy new ways of capturing the world with cameras and develop new strategies and interactive logics for placing images into virtual spaces.
Underpinning these explorations will be a careful discussion, dissection and reconstruction of techniques found in the emerging VR "canon" that spans new modes of journalism and documentary, computer games, and narrative "VR cinema. Students will be expected to complete short "sketches" of approaches in VR towards a final short VR experience. Focusing on experimental moving-image approaches at a crucial moment in the emerging medium of augmented reality, this class will explore and interrogate each stage of production of AR works.
Students in this production-based class will examine the techniques and opportunities of this new kind of moving image. During this class we'll study the construction of examples across a gamut from locative media, journalism, and gameplay-based works to museum installations. Students will complete a series of critical essays and sketches towards a final augmented reality project using a custom set of software tools developed in and for the class. This class will examine the history and production of "hard" sound-image relationships through the lens of computational form.
Through studying the range of digital and mechanical tools that have sought to couple the senses - from 19th century color organs and dreams of synesthesia, through music videos and contemporary new media installations, to recent advances in "machine listening" - students will complete a series of critical essays and sketches leading towards a final project using custom software developed in and for the class.
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This production-based class will explore the possibilities and limits of capturing the world with imaging approaches that go beyond the conventional camera. What new and experimental image-based artworks can be created with technologies such as laser scanning, structured light projection, time of flight cameras, photogrammetry, stereography, motion capture, sensor augmented cameras or light field photography? This hands-on course welcomes students with production experience while being designed to keep established tools and commercial practices off-kilter and constantly in question. On the fiftieth anniversary of our course couples the study of revolutionary films and films about revolution with seminal readings on revolutionary ideology and on the theory of film and video.
The goal will be to articulate the mechanics of revolution and its representation in time-based media. Students will produce a video or videos adapting the rich archive of revolutionary film for today's situation. The films screened will be drawn primarily from Soviet and US cinema, from the s to the present day, proceeding more or less chronologically.
Readings will acquaint students with contemporary assessments of the emancipatory potential of film.
A meta analysis. As a whole, the book provides a collection of tools and techniques which can be referred to time and again, as well as a wealth of examples. The results of the aforementioned studies indicate that concurrent visual feedback is rather unfavorable for learning simple motor tasks. Thus meaning and form undergo the mutual expansion and transformation which lies at the heart of creative experience. At this point they can be named, they take on a temporal and spatial dimension and they take effect within a cultural field.
Instructor s : R. Bird; C. This course will allow students to continue working on projects begun in the Intro to 16mm Production course or developing a new small-scale project , in addition to developing skills with the following: sophisticated approaches to cinematography comparative and reflective light metering, color negative exposure ; varying workflows for post-production editing analog and digital ; and sound recording and design.
Students will meet as a group for lectures, technical demonstrations and a shooting workshop. Course meeting time will also be set aside for individual conferences with the instructor to address project development and completion. Students should expect to budget between Instructor permission required.
Students will bid for entry to the class by emailing tcomerford uchicago. Priority will be given to students who have previously completed the Intro to 16mm course, followed by CMS and DOVA majors, from graduate students to first-years. Students whose bids are accepted will be registered officially by the instructor at the first class meeting.
Studio skills are developed while contending with the central task of articulating ideas through a resistant medium. Toward the end of the quarter, students who wish to apply for the Honors Track may submit their applications to the Department. Visits to museums, galleries, and other cultural and commercial sites required, as is attendance at designated events.
Wolniak, A. Students who plan to study abroad in Spring of their third year should contact the Department and register for Junior Seminar in their second year.