School starts back up on September 7th and for those of you who are debating whether or not to follow along this semester, here is what I’ll be taking. I’ve decided to to step outside of my photo comfort zone and learn more about video and performance art. I want to try to have as much new sensory stimulation as possible to help shape and inform my work. We’ll see how it goes!
History of Video Art 1965-1985
What is referred to as “video art” has become a ubiquitous feature of 21st-century art practice, yet it is an art form whose emergence is still a relatively fresh aspect of contemporary art history. This course will explore the origins of video art, examining its sources in film, photography and performance art. Through screenings of key works; discussion with artists, critics and curators, and in directed readings, students will be exposed to important works and individuals associated with the first two decades of video. Special attention will be paid to an understanding of the cultural and social context that supported the emergence of video art. We will focus upon the evolution of video art from both a technological perspective as well as the development of a video’s critical and institutional framework. Artists whose works will be viewed and discussed include Nam June Paik, Jud Yalkut, Wolf Vostell, Andy Warhol, Bruce Nauman, Yoko Ono, Peter Campus, Vito Acconci, Frank Gillette, Juan Downey, Joan Jonas, Chris Burden, Lynda Benglis, Stanton Kaye, Iras Schneider, Andy Mann, Martha Rosler, Allen Sekula, Shigeko Kubota, Bill Viola, Gary Hill, Mary Lucier, Woody and Steina Vasulka, Ilene Segalove, William Wegman, Tony Oursler, Klaus vom Bruch, Muntadas, Keith Sonnier, Bruce and Norman Yonemoto, Lynn Hershman, Dara Birnbaum, Ant Farm, TVTV, Videofreex, Marcel Odenbach, Thierry Kuntzel, David Hall, Dan Graham, Valie Export, Douglas Davis, Doug Hall, Marina Abromovic, Eleanor Antin, Richard Serra, Adrian Piper, Terry Fox, Howard Fried, Paul Kos, Paul McCarthy, Mike Kelley and Ernie Kovacs.
Master Critique III
Group critique seminars are the focal point of student activity in any given semester. Assisted by their peers, and guided by prominent figures in the visual arts, students will concentrate on producing a coherent body of work that best reflects their individual talents and challenges the current boundaries of their media.
Thesis Forms I
This course is required as a preparation for the second-year thesis. Students will finalize the central ideas for their thesis projects, and consider appropriate strategies for the form, presentation and distribution of these ideas. In a highly practical way, the course considers the history and features of various visual solutions available to photographic artists, depending on their audiences and goals. Books, exhibitions, installations, interactive presentations—the course helps students identify the questions each form raises, and work through them to find appropriate answers for their own projects.
Criticism & Theory: Critical Reading
This course will combine a format of reading and classroom discussions aimed at providing critical perspectives on the issues that inform the practice of contemporary art and photography. Readings include texts by artists, writers and theorists of the past three decades that bear upon the practice of the students’ art-making today. Students will be required to develop a framework from these readings that is relevant to their own objectives. Discussion will be based on interdisciplinary study, screenings and exhibitions.