Graduate Studies: Art
Courses: Fall 2010
Masters Project 1 (GSA-501)
Masters Project 2 (GSA-502)
Masters Project 3 (GSA-551)
Masters Project 4 (GSA-552)
Jeremy Gilbert-Rolfe, faculty
N/A, SD-1, 6 credits
These courses represent the required studio meetings with the Core and Adjunct faculties for all Grad Art candidates from M1 to M4.
Masters Thesis 5 (AGA-601)
Masters Thesis 6 (AGA-651)
Jeremy Gilbert-Rolfe, faculty
This course represents meetings and all other work done by Grad Art candidates from M5 to M6 in development of their final shows and theses in conjunction with their thesis committees.
Painting Workshop (AGA-553)
TH 10-4, SD1, 3 credits
Sculpture Workshop (AGA-503)
Lita Albuquerque, Time Martin, Pauline Stella-Sanchez
T 10-4, SD1, 3 credits
Photography Workshop (AGA-510)
Stan Douglas, Walead Beshty
M 12-3, LAT, 3 credits
Photography, as a medium and a discourse, is caught between its late modern industrial origins, and its dispersal and dissolution in the age of digitalization, producing a contentious field for both practitioners and theorists alike. Covering the broad field of contemporary theoretical and practical approaches to photography and its history, and moreover seeking to integrate these theoretical and practical applications of the medium, this course charts contemporary debates and practices surrounding the medium of photography through the lens of Vilém Flusser’s “Toward a Philosophy of Photography.” Ranging from apparatus theory, to semiotics, epistemological to ontological understandings of the medium, students will be exposed to a range of polarities that govern the contemporary discussion of photographic practices, along side an examination of the productive possibilities of the photographic medium itself.
Concurrent enrollment in Tech Lab (AGA-505) is required for all students.
Tech Lab (AGA-505)
Fri 10-1, SC-254, 3 credits
This course is offered three times per year with a different emphasis each term:
-Fall: A beginning course geared towards Graduate Students in Art with a concentration on photo based mediums. The aim is for students to come away from this class with the technical skills needed to produce photo, film and/or video art including pre-production planning, production and post-production strategies.
-Spring: Demonstration Central - a series of workshops given by visiting professionals working in the field. Sample Workshops: Writing for Film & Video, Pre-production. Planning, Camera, Lighting, Sound, Editing, and Installation Techniques.
-Summer: Independent Study for incoming students with technical demonstrations as needed.
Theories of Construction (AGA-506)
Bruce Hainley (01, T 4-7)
Cindy Bernard (02, T 4-7)
Annette Weisser (03, Th 4-7)
SD-1, 3 credits
Concerned with the critiquing of student work. The object of the class is to develop, through class analysis, a sense of the theoretical implications and foundations of the work of each of the participants. Section placement assigned by the faculty.
Thesis Study Group (AGA-617)
Amy Gerstler, Gabrielle Jennings
W 4:30PM-6:30PM, SC-254, 3 credits
This course supports students in the development of their written theses. Students will be required to submit their own writing and participate in group discussions. Required for all 3rd through 6th term students.
Graduate Seminar (AGA-554)
Lita Albuquerque, Annette Weisser, Bruce Hainley
T 7:30PM-10PM, LAT, 0 credits
This course is a visiting lecture series held in conjunction with the Graduate Fine Art program. Guests include internationally recognized artists, critics, art historians, architects, filmmakers, and writers from Los Angeles and around the globe. The course is mandatory every term.
The Revolution to Art History (Art History Pt. II) (AGA-586)
Diana Thater, Jason Smith, Jeremy Gilbert-Rolfe
Fri 1PM-4PM, SC-254, 3 credits
Classic German-style Art History brought to you by Diana Thater via H.W. Janson and G.W.F. Hegel. Disruption brought to you by Jason Smith and Jeremy Gilbert-Rolfe. Eight museum visits, four classroom lectures and two films. This term we will begin our class with the French Revolution and end with the 1990s.
You must take this class if you suffer from three or more of the following conditions:
- You have never studied the formal history of art
- You've never seen the coolness that is neo-gothic architecture
- You like Casper David Friedrich but don't know why
- You like Monet but wonder why there are so many calendars
- You've never read Baudelaire
- You don't know about the dustbin of history
- You can't tell the difference between Russian Constructivism and de Stijl
- You have no clue what Clement Greenberg was on about
- You think Warhol invented Pop
- You want to know about what happened when and try to figure out what it means to you and your work
Jacques Rancière: From Intellectual Emancipation to Aesthetic Education (AGA-539)
Jason Smith, Annette Weisser
M 4-7, SC-254, 3 credits
The theme of the class will be that of “Aesthetic Education,” a philosophical and political program first proposed by Friedrich Schiller in the last decade of the 18th century and the subject of Rancière’s recent innovative work on the relation between aesthetics and politics. For Rancière, politics is not primarily the exercise or struggle for power but the institution of a certain type of space and time, a mode of visibility and intelligibility that creates a tear in the consensual fabric of a given form of collective life. Under certain circumstances, art can institute just such a space and time, in which the fundamental polarities of experience—activity and passivity, form and matter, appearance and reality—are suspended and transformed. Friedrich Schiller’s Letters on the Aesthetic Education of Man offers, according to Rancière, an unsurpassed model for the construction of a space of non-domination, of “free play”; the aesthetic education of man, in turn, is nothing less than a program for an “aesthetic revolution,” “a revolution of sensible existence.”
The readings for this class will include several key texts by Jacques Rancière devoted to aesthetic, pedagogy and politics.