SAIC Graduate Viewbook 2017 by School of the Art Institute of Chicago

CONTENTS

WELCOME

CHICAGO

RECENT HIGHLIGHTS AT SAIC

THE ART INSTITUTE OF CHICAGO AND THE MODERN WING

PUBLIC PROGRAMS

ACADEMIC RESOURCES

LIBRARIES AND SPECIAL COLLECTIONS

ON-CAMPUS EXHIBITION OPPORTUNITIES

CAMPUS LIFE

WELCOME

At SAIC, our students are explorers, inventors and thinkers.

The dynamic of creative making and critical thinking is at the core of SAIC. While technology has created a pathway for the invention of new tools and approaches to the process of making, traditional forms of skilled fabrication and craft also resonate with new energy. Accelerating interconnectivity around the world informs the school’s conversation on transculturalism and globalization. Additionally, we are working within an era where social practice moves art to an even wider audience across traditional, experiential, and digital platforms. These fundamental shifts in our collective experience are at the core of what artmaking is about; today, artists are recognized not only as makers of images, objects, and events, a position this museum-school prizes, but designers of cities and public spaces, scholars of visual languages, producers of global culture, and agents of change within small and large diverse communities. At SAIC, our students are inventive makers and thinkers. They develop a deep understanding of historical and theoretical contexts while reimagining new frameworks for a broad spectrum of forms and ideas. Our emphasis on process teaches students to grapple with the salience of their work while investigating diverse paths of inquiry. We prize experimentation and expect a process of trial and error to bring outcomes both speculative and fully formed. In this light, even the most spectacular failures become catalysts for transformation and artistic growth. The latest addition to the graduate program offerings is our Low-Residency MFA which offers a curriculum that is structured in the summer, but flexible during the academic year, allowing students to develop an individualized three-year plan of study that integrates studio work with art history, theory, philosophy, and poetics. Students explore their practice through the lens of three themes—attention, sensation, and perception—that highlight the complex process of making. A combination of rigorous summer sessions, online curricula, one-on-one advising, critiques, and a wide variety of readings engage MFA students in a unique, collective learning experience led by a rotating roster of world-class faculty. SAIC is famous for its faculty: working artists, designers, educators, and intellectuals who have helped shape the curriculum to prepare students for a professional life in art and design. Faculty are skilled in many media and technologies and well versed in contemporary theoretical debates and history, and as such are leaders in their respective areas, committed to building a stimulating environment for the exchange of ideas and the production of art and design. Chicago’s active art and design scene, which includes established blue chip galleries and major architecture & design firms, as well as younger galleries and alternative spaces, provides an ideal backdrop for students at the school. There are key international venues for contemporary art and design, including the Art Institute’s Modern Wing, the Museum of Contemporary Art, the Renaissance Society, and the Museum for Contemporary Photography. SAIC holds a prominent position in the Chicago art and design community, which helps our students gain access to many areas of the professional art world locally and beyond. The following pages contain the details of life at SAIC, including our departments, campus life, professional opportunities, and admissions information. More than half of the book is dedicated to our 31 graduate programs, with images of students, faculty, and their work to give you a sense of the vibrant atmosphere of our community. Read the following information seriously, and imagine how you might develop a course of study at SAIC suited to your own work and desire. I hope you join us for this invigorating learning experience. Come and shape the world with other bold creatives.

Lisa Wainwright, Dean of Faculty 1

CHICAGO The School of the Art Institute of Chicago’s (SAIC) urban campus places students in the epicenter of a vibrant, historic community unlike any other major city in the U.S. This central location gives artists, designers, and scholars what they need to produce work—proximity to renowned art institutions and gallery spaces, access to a legacy of artistic production across performing and visual arts fields, and immersion in a dynamic urban landscape rich in cultural history. The city’s diverse heritage and thriving arts scene nourishes and supports visionaries in every creative field. Chicago’s pop-up spaces, apartment galleries, and artist collectives co-exist with centuries-old cultural institutions, municipal buildings, and grand scale theaters. Classes and partnerships that link SAIC to its surrounding urban fabric abound, with the school’s newly formed “Chicago Desk” acting as a portal for community-based projects to flow in and out of the institution. SAIC students draw intentionally from the city for internships, volunteer opportunities, and employment at the same time they inhabit and infiltrate Chicago’s vast and diverse network of neighborhoods in exploratory and unplanned ways. Beyond downtown lies a multicultural mosaic of neighborhoods and communities, all easily accessible through the famous raised tracks of one of the oldest public transportation systems in the country. SAIC students take advantage of gallery openings, film festivals, radio shows, music clubs, restaurants, food festivals, theater, and dance performances. On any given day, the number of cultural activities on and off campus is staggering—the greatest challenge is to choose among the diversity of options available across the city. Chicago has character. People who live here admit to being changed by the urban contours. They know it’s impossible to get lost in a city whose lake is always on the east. They learn to love deep-dish pizza and the low rumble of the trains overhead. They become not just citizens of one of the largest and most famous cities in America, they also become part of its fabric. Chicagoans—either born and bred, or just here temporarily—each participate in the collective building and transforming of a city that is always moving, always in the process of becoming something more.

EMIL FERRIS (MFA 2010) DEBUT GRAPHIC NOVEL RECEIVING CRITICAL ACCLAIM (PHOTO COURTESY OF EW.COM)

GLADYS NILSSON (BFA 1962, HON 2016) STAR BIRD, 1968. COURTESY OF LARRY AND EVELYN ARONSON

HONG SANG-SOO (MFA 1989) ON THE BEACH AT NIGHT ALONE (COURTESY OF FINECUT)

RECENT HIGHLIGHTS AT SAIC

The Smithsonian recently published the article “New Exhibition Lets You Look at Art While Playing Pinball,” about art on pinball machines and its influence on the Chicago-based art collectives the Chicago Imagists and Hairy Who. The Chicago Imagists and Hairy Who include several SAIC community members and alumni, Art Green (BFA 1965, HON 2016), Constantino Mitchell (SAIC 1979), Gladys Nilsson (BFA 1962, HON 2016, Painting and Drawing), James T. Nutt (BFA 1967, HON 2016), Suellen Rocca (BFA 1964, HON 2016), Barbara A. Rossi (MFA 1970, Painting and Drawing) and Karl A. Wirsum (BFA 1961, HON 2016), whose work is shown alongside vintage, playable pinball machines in the exhibit, Kings and Queens: Pinball, Imagists and Chicago at the Elmhurst Art Museum. Emil Ferris (MFA 2010) recently released her debut graphic novel, My Favorite Thing is Monsters, to critical acclaim, and is finding herself in the spotlight with profiles in The New Yorker, New York Times, and Chicago magazine. SAIC was named number one in the Midwest for Animation School Programs by Animation Career Review’s yearly survey. SAIC’s program was also ranked ninth nationally among private schools and colleges, and tenth nationally, which is the top five percent of all schools considered in the survey. The Department of Film, Video, New Media, and Animation excels in its variety of approaches from high definition video, new media art, experimental 3D animation, hand-drawn animation, and filmmaking.

RASHID JOHNSON THURGOOD IN THE HOUR OF CHAOS, 2009. (VIA BROOKLYN MUSEUM)

SAIC, a global leader in art and design education, is closing in on a $50 million goal in its first-ever major public fundraising campaign, Beautiful/Work: The Campaign for SAIC. One year ago, SAIC President Elissa Tenny and Chancellor Walter Massey publicly announced the campaign. The effort has now raised $46.4 million, providing increased scholarship opportunities, faculty support and programming.

Several SAIC alumni are featured in the Brooklyn Museum’s show The Legacy of Lynching: Confronting Racial Terror in America. As part of a partnership with the nonprofit Equal Justice Initiative, the exhibition combines research on the history of violence against Black people and communities with works from the museum’s collection. Sanford Biggers (MFA 1999), Elizabeth Catlett (SAIC 1941), Theaster Gates (HON 2014), Rashid Johnson (SAIC 2004–05), and Dread Scott (BFA 1989) are among the artists shown. Hong Sang-soo’s (MFA 1989) film On the Beach at Night Alone won the prestigious Wilf Family Foundation Award (worth $20,000) for best international film at the 34th Jerusalem Film Festival, reports Variety.

THE ART INSTITUTE OF CHICAGO AND THE MODERN WING Since the late 19th century, when the museum collection of the Art Institute was established as a study center for the School of the Art Institute, students have used the museum’s vast holdings to inspire and inform their creative and scholarly practices. No other school of art and design can claim such a major museum as part of their campus. And now with the addition of the Modern Wing, this resource is unparalleled. Many of our students’ art history classes take place in the museum, and assignments often include analyses and responses to the holdings. Studio faculty use the collection to amplify discussion through observing actual examples of surfaces, forms, color, and techniques. Considering the New York School and the merits of gestural abstraction, for example, while standing in front of Willem de Kooning’s Excavation of 1950 is a profound experience. Marcel Wanders’s Airborne Snotty Vase: Influenza, 2001, made from an enlarged digital recording of a human sneeze rapid prototyped into a delicate vase, or Chicago architect Stanley Tigerman’s photomontage, The Titanic of 1978, bring historical and contemporary design directly to SAIC design students. And the encyclopedic nature of the collection means that global representation is always at hand. From a Power Figure (Nkisi Nkondi) from the Republic of Congo to a Chinese Neolithic Globular Jar with intricately painted abstract designs, world culture and its myriad visual representations is here to be examined, critiqued, appropriated, and built upon by the engaged student. The relationship of the museum and the school, where the display of the finest works of art and design shares space with the activity of experimental studios, is productively dynamic. We are one of the few museum schools in the country, and as such our students gain a solid footing in the traditions of visual culture from the Art Institute’s extraordinary assets.

PUBLIC PROGRAMS VISITING ARTISTS PROGRAM One of the oldest public programs at SAIC, the Visiting Artists Program (VAP) is an invaluable resource to students and the public alike. VAP staff organize free public lectures, screenings, performances, and readings with some of the most influential thinkers and practitioners working today. VAP arranges studio critiques and roundtable discussions for students, providing them with direct access to world-renowned speakers working across disciplines, including Caroline Bergval, Sonya Clark, Ann Cvetkovich, Cao Fei, Fischerspooner, Ann Hamilton, Juliana Huxtable, Josh Kline, Daniel Joseph Martinez, Claudia Rankine, Wael Shawky, Tal R, Walid Raad, and Chris Ware.

GENE SISKEL FILM CENTER The Gene Siskel Film Center (GSFC) presents approximately 1,600 screenings and 200 guest artist appearances a year to more than 65,000 film enthusiasts at its downtown, double-theater space. Students can take advantage of the $5 student rate and the theaterâ&#x20AC;&#x2122;s close proximity to SAIC academic buildings, enjoying access to independent, international, and classic documentary films, as well as a number of themed film festivals. In collaboration with the Film, Video, New Media, and Animation department and the Video Data Bank, the theater also hosts Conversations at the Edge (CATE), a dynamic weekly series of screenings, artist talks, and performances by some of the most important media artists of yesterday and today.

THE PARLOR ROOM LECTURE SERIES Parlor Room is a visiting artist program and lecture series created, run, budgeted, and curated by Photography graduate students. The series provokes dialogue and connections with artists, curators, thinkers, and critics through public presentations, studio visits, and informal group events with graduate students and faculty. Parlor Room guests have included Frank Wagner, Thomas Elsaesser, Helen Molesworth, and Luis Gispert. The Parlor Room series is offered in addition to other visiting artist lectures run independently by departments across SAIC.

INTERLINK The student-run Interlink program invites artists, gallerists, and curators to visit graduate students, conduct studio visits, and give a noon-hour presentation. The program offers graduate students a unique opportunity to interface with local and national practitioners in a more intimate setting than a traditional public lecture.

JULIANA HUXTABLE, AN ARTIST, DJ, AND MODEL WHO WORKS IN PHOTOGRAPHY, VIDEO, PERFORMANCE, POETRY, AND MUSIC.

CHRIS WARE, AN AMERICAN CARTOONIST.

FISCHERSPOONER: DISTINGUISHED ALUMNI LECTURE SERIES.

DANIEL JOSEPH MARTINEZ, A LOS ANGELES BASED CONTEMPORARY ARTIST.

ACADEMIC RESOURCES INSTRUCTIONAL SHOPS AND FACILITIES Serving a population of more than 3,500 students, SAIC is one of the most well-appointed schools of art and design in the country. The facilities and equipment outfitted in all campus buildings provide the necessary resources for students to produce a variety of work across all disciplines. The wood and metal shops include a wide range of saws, drill presses, lathes, sanders, jointers, hot and cold fabrication capabilities, gas and electric welding stations, plasma cutters, gas-fired forges, a grinding room, and other equipment. The Advanced Output Center is SAIC’s prototyping lab specializing in laser cutting and 3D digital scanning and printing. The self-serve facilities are open to all students who complete an authorization workshop. The Service Bureau is SAIC’s on-campus professional digital-output center, specializing in laser printing and archival-quality inkjet printing. Facilities include wide-format Epson printers that can produce prints up to 64” wide, with services including binding, folding, button making, vinyl cutting, bulk paper cutting, laptop monitor calibration, laminating, and CD/DVD duplication and printing.

MEDIA CENTERS SAIC’s media centers in the MacLean, Sharp, and Columbus buildings allow students to check out a range of state-of-the-art audiovisual equipment for videography, filmmaking, and photography. Equipment includes high definition and 4K video cameras such as the Blackmagic Ursa Mini, the Canon 7D and 5D Mark III, 7” field monitors, portable HD projectors, and a Canon 7D video kit.

CAREER AND PROFESSIONAL EXPERIENCE The Career and Professional Experience office helps graduate students find opportunities for exhibitions, employment, fellowships and offers job/teaching workshops throughout the year. The Internship Program successfully places 50 to 60 graduate students per academic year in Chicago and throughout the country. Students are able to gain valuable work experience while earning course credit.

OX-BOW A serene artist colony and retreat center located in Michigan, Ox-Bow offers graduate students the opportunity to experience artmaking in a noninstitutional, yet rigorous, academic environment. Students can take one- or two-week intensives for credit and non-credit in a variety of studio areas.

LIBRARIES AND SPECIAL COLLECTIONS SAIC’s libraries, archives, and special collections are specially suited to respond to the evolving and expansive research needs of graduate students. Resources include traditional library and archival collections along with interdisciplinary, multimedia, and site-specific resources that embrace all subjects related to art and design. The John M. Flaxman Library serves as an epicenter for student research and study, with more than 130,000 books, magazines, movies, and sound recordings that support the entire SAIC curriculum. A growing number of scholarly materials are available online, including 110,000+ ebooks and ejournals, 150+ databases, and over 200,000 digital images—in addition to our campus digital repository, the SAIC Digital Libraries. Within the Art Institute museum are the Ryerson & Burnham Libraries, offering an extensive research collection that reflects the encyclopedic character of the museum’s collections. Resources include catalogues raisonnes, scholarly journals, auction catalogs, comics, artists’ sketchbooks, and documents of Chicago-area artists and architects. Students may also expand their research practices beyond the scope of the printed word to the numerous Special Collections of objects, artifacts, and media located within and outside of the libraries. Joan Flasch Artists’ Book Collection allows hands-on experience with 10,000+ artists’ books, periodicals, and multiples, providing a selective yet broad overview of the field of artists’ publishing since the early 1960s. The Fashion Resource Center houses contemporary and historical fashion publications, designer interviews, videos, and a large collection of innovative garments and accessories for students to engage in hands-on examination. The Video Data Bank is a leading resource in the U.S. for video by and about contemporary artists. The collection includes more than 650 artists’ works and 6,000 video art titles, and parallels the history of the video art form. The 16mm Film Study Collection is an impressive catalogue of several hundred reels that encompasses the history of film through early cinema, documentaries, animation, experimental, and avant-garde film—including work from local filmmakers, as well as a number of films by Joseph Cornell. The Roger Brown Study Collection is a house museum, intimate study collection, and archive of contemporary objects, folk and tribal art, costumes, furniture, and textiles assembled for inspiration by alumnus and artist Roger Brown. The Randolph Street Gallery Archives contain historical records of performance, sculpture, and visual and other art forms created or curated by local and international artists during the two-decade history of this legendary Chicago institution. 13

ON-CAMPUS EXHIBITION OPPORTUNITIES The SAIC campus showcases a diversity of student artwork across multiple exhibition venues. Students can propose to exhibit their work in a variety of formats and locations.

SAIC’S DEPARTMENT OF EXHIBITIONS AND EXHIBITION STUDIES Through programming in the Sullivan Galleries, Student Union Galleries, and other temporary locations on and off campus, the Department of Exhibitions and Exhibition Studies seeks to generate new research around issues, ideas, and professional practices in art and design, while stimulating dialogue among the wider arts community.

SULLIVAN GALLERIES The Sullivan Galleries represent 32,000 square feet of exhibition space. Located in the historic site of Louis Sullivan’s masterpiece, the Carson Pirie Scott & Co. building, the galleries feature exhibitions, performances, lectures, and screenings by SAIC students, faculty, and guest artists. The end-of-year MFA, BFA, Post-Bacc in Studio, and Graduate Design exhibitions are held here.

STUDENT UNION GALLERIES (SUGs) The LeRoy Neiman Center Gallery Gallery X Producing between 12 and 15 exhibitions of student work each year, SUGs has become a staple of SAIC student life— a place where student artists and curators can present and challenge their work in a public setting. Any enrolled student may submit a proposal for an exhibition, allowing for programs that provide a more open exchange across disciplines and departments, as well as with vital members of Chicago’s art community. SUGs has two exhibition spaces, Gallery X in SAIC’s Columbus Drive building and the LeRoy Neiman Center Gallery, housed on the first floor of the new, highly visible student center at the corner of Wabash Avenue and Monroe Street.

NON-GALLERY SPACES There are a number of unconventional spaces for students to exhibit work across campus. The Department of Exhibitions and Exhibition Studies reviews proposals and works with students and faculty to realize projects that necessitate installation in hallways, outside spaces, public meeting rooms, or other spaces. Other vital programs include: ExTV – a student-run broadcast platform that shows student films, videos, and animations as well as hosting independent media, lectures, special events, and a community bulletin board. Free Radio SAIC – a student-run Internet station whose “anything goes” format allows students to experiment with eclectic performances, narratives, and sounds. F Newsmagazine – distributing 6,000 copies a month across the city, F News is a unique and widely read vehicle for displaying student writing and art, including fiction, reporting, poetry, essays, criticism, comics, and illustration. The Video Hall – located in the heavily trafficked entrance of the Sharp Building, this space displays film, video, and animation pieces, as well as 2D and 3D work digitally. The LeRoy Neiman Center – the student center has 25 Christie MicroTiles available for proposals to present video installations.

CAMPUS LIFE SAIC’s urban campus provides a unique experience for students. All campus buildings are in the heart of the Chicago Loop within walking distance of one another for easy travel between classes. Academic buildings include the Sullivan Center, MacLean Center, the Lakeview Building, 280 South Columbus Drive, and the Sharp Building. Exhibitions, film screenings, and cultural programming are just steps away at the Art Institute of Chicago and the Gene Siskel Film Center.

RESIDENCE LIFE Many graduate students choose to live on campus in renovated residence halls located in the heart of the Loop. The three residence halls, which house more than 800 students, are within walking distance of the city’s vibrant cultural life, including museums, shops, restaurants, Lake Michigan, Millennium Park, and the gallery district. Rooms feature panoramic views of the city, 24-hour security, high-speed Internet, and private kitchens and bathrooms.

THE LEROY NEIMAN CENTER The LeRoy Neiman Center serves as a campus hub at SAIC and is made possible by a generous gift from SAIC alumnus and famed illustrator LeRoy Neiman and his wife Janet, who met at SAIC as students. Located in the Sharp Building at the corner of Wabash and Monroe, this two-story space is a place to meet with other students, attend events, view student work, eat, and converse. The campus center is outfitted with a full-service café to grab a quick meal or snack between classes. It’s also home to events ranging from ARTBASH, an exhibition of first-year student work, to visiting artist lectures, to performances by musicians and sound artists.

STUDENT GROUPS The interests of the diverse student population at SAIC are reflected in the student groups—there are currently more than 70 groups formed by and open to students, and more are being formed each semester. Current groups include Yoga Group, Black at SAIC, SAIC Choir, and the Student Wellness Support Group as well as groups celebrating cultures from India, China, Korea, Japan and Iran. Student groups can be formed by any collective of interested students, allowing for use of campus facilities for meetings and programs, and possible funding from Student Government.

STUDENT SERVICES The quality of life and education at SAIC extends beyond the studio and classroom. SAIC provides a variety of services and programs that help students develop not only artistically and academically, but also physically, emotionally, and socially. Student services include Career and Professional Experience (CAPX), Academic Advising, Counseling Services, Health Services, Wellness Center, Disability and Learning Resource Center, Writing Center, International Affairs, and Multicultural Affairs. 16

DEANâ&#x20AC;&#x2122;S OVERVIEW As a new dean at SAIC I have been meeting many of our students for the first time. Like them, I find myself in a place of discovery and exploration. Often we hear from students who might be creating as yet unnamed hybrid fields of study and research. We also hear of internationally active faculty guiding our conversations. We work within world-class studio and classroom facilities, special library collections, an encyclopedic museum, and a vibrant metropolis. SAIC takes such conversations as being at the heart of a unique educational experience in the center of one of the worldâ&#x20AC;&#x2122;s most vibrant cultural contexts. Chicago is a hotbed of creative activity, ideally suited for students who are setting the stage for the next phases of development across the larger fields of art, architecture, design and culture. It is also a staging ground on which the position of the student can form, perform and reform culture from the bottom up. Our students and faculty are at the forefront of asking the important questions of the day in relation to creating the cultures of tomorrow. We act locally and with a global perspective. This requires nimbleness and rigor that takes advantage of the many tools and opportunities that SAIC and Chicago offer. The graduate curriculum is subversive and makes essential resistance and persistence possible. On any given week at SAIC, grad students could be privately viewing the unique drawing collection at the Art Institute of Chicago, participating in seminars with leading contemporary artists and designers, investigating social and educational models with our art historians, presenting their work to other students and faculty, and working with local populations of young high school age artists. The number of activities, lectures, classes, visiting artists, and choices of faculty mentors can be dizzying. This curricular strategy prompts our graduate students to surrender habitual perspectives and become freshly engaged in remapping what they see as key zones of the cultural landscape. While at SAIC, graduate students learn how to grapple with and more deeply understand the world in which we live. Daily, I see the commitment that makes all of this possible in our students. Imagination, drive, and exploration fuel our questions for each other as we collectively ask what we will create next.

Our students and faculty are at the forefront of asking the important questions of the day in relation to creating the cultures of tomorrow.

Arnold Kemp, Dean of Graduate Studies

STUDIO PROGRAMS MASTER OF FINE ARTS IN STUDIO Architecture

Art and Technology Studies

Ceramics

Design for Emerging Technologies

Designed Objects

Fiber and Material Studies

Film, Video, New Media, and Animation

Painting and Drawing

Performance

Photography

Printmedia

Sculpture

Sound

Visual Communication Design

Low-Residency MFA

MASTER OF FINE ARTS IN WRITING Writing

POST-BACCALAUREATE CERTIFICATE Studio

103

MASTER OF FINE ARTS IN STUDIO SAICâ&#x20AC;&#x2122;s highly acclaimed Master of Fine Arts in Studio is a 60-credit program that supports creative work, inquiry, and investigation across 14 different departments as part of the advanced preparation of fine arts practitioners. Students entering into either our residential or Low-Residency MFA have the distinct advantage of gaining in-depth knowledge and competence in a single field of specialization or acquiring advanced competencies across multiple fields of study. We encourage our students to move beyond their home departments and work with faculty and peers in any area that supports their graduate work and research. Graduate studios for MFA students are spread across campus in clusters that allow for robust interdisciplinary exchange. Graduate-level courses and topical seminars support individual studio work by exposing students to the larger dialogues around the production, exhibition, and function of art as well as its expanded cultural production and reception. Students design a personalized curriculum by choosing from a wide variety of seminars, courses, and graduate advisors linked to numerous studio, design, and academic departments. Graduate critiques, central to the MFA experience, alternate between discipline-specific panels in the fall semester and interdisciplinary panels in the spring semester.

CREDIT HOUR SUMMARY Studio - MFA 6009 Graduate Projects, Seminars and/or a maximum of 12 credits of 3000 level and above studios

Art History - ARTHI 5002 Graduate Survey of Modern and Contemporary Art

Art History Electives at the 4000 level or above

Electives - Any courses in any area at 3000 level or above

Participation in four graduate critiques Participation in the graduate exhibition or equivalent Total Credit Hours

The purpose of the MFA degree is to prepare students to enter into their chosen fields of practice or to pursue their unique professional pathways as independent artists or cultural practitioners. It is a rigorous and demanding degree in ways that often exceed the boundaries of the studio. As important as demonstrating perfection of technical skills, articulate communication, and conceptual acuity is a studentâ&#x20AC;&#x2122;s ability to demonstrate insight, independence, and a generosity of spirit. Each of the studio departments at SAIC has a distinct but porous culture which we invite you to read about in the pages that follow. Our extraordinary faculty and facilities are at the core of the MFA program, but the exceptionally talented student body drawn from national and international contexts is what makes graduate study at SAIC unparalleled.

DAVID THOMAS, 2017

NAHYEONG LIM PAPER-POP PAVILLION, 2014â&#x20AC;&#x201C;2015

LONGTAN YANG, 2017

MASTER OF FINE ARTS IN STUDIO

ARCHITECTURE The MFA in Studio, Architecture program supports advanced work in architecture and its related fields that calls upon a broad range of art and design disciplines to challenge how architecture is defined and practiced. saic.edu/aiado

SARAH AZIZ ARCHITECTURAL TYPOLOGIES, 2015

SAICâ&#x20AC;&#x2122;s Master of Fine Arts (MFA) in Studio, Architecture is a 60 credit hour program designed to offer maximum flexibility in addressing your individual needs as a student. Following admission through the department, you will design your two-year plan of study based on optimizing the offerings and opportunities available throughout SAIC. You are encouraged to seek out curricular advising as needed from a variety of available sources including the dean, graduate dean, graduate division chair, department heads, academic advising, the graduate admissions office, and your peers. The MFA in Studio program offers an expansive educational model in which designers engage history, critical thinking, and work across disciplines. We encourage our MFA Studio students to move beyond their home departments, working with faculty and peers in any area that supports their graduate work and research. Graduate studios for MFA students in AIADO are clustered to provide community and easy access to the Sullivan fabrication facilities. Graduate-level courses and topical seminars support individual studio work by exposing students to the larger dialogues around the production, exhibition, and function of art and design as well as their expanded cultural production and reception. Students design a personalized curriculum by choosing from a wide variety of seminars, courses, and graduate advisors linked to numerous studio, design, and academic departments. Graduate critiques, central to the MFA experience, alternate between discipline-specific panels in the fall semester and interdisciplinary panels in the spring semester.

FULL-TIME FACULTY ELLEN GRIMES LINDA KEANE THOMAS KONG ANN LUI CARL RAY MILLER ANDERS NEREIM BENJAMIN NICHOLSON DOUGLAS PANCOAST HENNIE REYNDERS, PHD JONATHAN SOLOMON TRISTAN Dâ&#x20AC;&#x2122;ESTREE STERK For complete faculty listing visit: saic.edu/aiado/faculty

SARAH AZIZ PENUMBRA, 2015

FACILITIES The Advanced Output Center

150w + 120w laser cutters

3D printers, including an Mcor that uses paper as building material, a Dimension that uses ABS filament, and an Objet that uses acrylic resin

3D scanners, including an Artec Eva, a Handyscan, point cloud, and a NextEngine

42” Colorwave 600 Printer and 32” TDS320 Printer

A flatbed scanner and a large format scanner

The Sullivan Fabrication Studio

The open nature of the design curriculum encourages self-motivated students to take advantage of the breadth of classes to shape their own unique pathways.

Dedicated fabrication workshop equipped with a full range of hand tools and industrial wood and metal working machines including tablesaws, bandsaws, jointer, planer, mortiser, drill-press, sanders, lathe, etc.

Material sales center with sheet goods, hardwoods, plastics, foam, etc.

2 CNC Routers (4’ x 8’ Highspeed; 2’ x 2’ Prototyping)

Large bed vacuum thermo-former (2’ x 4’)

Assorted sewing machines for soft good production (industrial, walking-foot, saddle stitcher, portable)

Mold making facility with plaster mixing, dust collection, fume extractor and vacuum chamber

Large high flow paint and finishing hood

On-site materials library

Dedicated workspace in large, open-plan communal studios

YILIN ZHU PENITENT TREE, WOOD AND SOIL, 2013

PHOTO CREDIT (TOP ROW): ZIV ZE’EV COHEN

PHOTO CREDIT: LONG SANG LAI

PHOTO CREDIT: ZIV ZE’EV COHEN

MASTER OF FINE ARTS IN STUDIO

ART AND TECHNOLOGY STUDIES Faculty and students in the Art and Technology Studies department are pioneers and innovators who not only create new aesthetic experiences, they invent the very tools and processes needed for their realization. saic.edu/ats

INTAE HWANG PHOTO CREDIT: ZIV ZEâ&#x20AC;&#x2122;EV 2014 COHEN ALCOHOL USE DISORDER,

Technological art calls for new aesthetic approaches, relies on unusual materials and skills, and most importantly, requires different modes of thinking than other media. Art and Technology Studies (ATS) students appropriate, repurpose, and subvert technological systems to unlock new creative possibilities. They create and manipulate objects, images, sound, text, music, voice, and movement with custom-written software, newly fabricated materials, unconventional processes, and new methods of integrating other technologies. This DIY and hacking philosophy is embodied throughout the ATS curriculum.

A WORLD-CLASS COMMUNITY OF FACULTY ATS faculty are artists with national and international reputations who are also leading theoreticians, master machinists, computer scientists, engineers, composers, and inventors. They teach the complexities of programming, electronics, fabrication, and other practices in ways that take full advantage of the freedom inherent in an interdisciplinary environment. Students gain an understanding of the social, political, and economic forces that drive the development and utilization of technology and are prepared for the rapidly developing arena of globalization.

CUTTING-EDGE CURRICULUM In ATS new technologies are not simply viewed as flashy new tools for making art, but as freshly minted cultural material that we subvert, improve, question, co-opt, demystify, and share. Thus, we are committed to embracing new technologies to both expand the possibilities of existing artistic processes and to critically engage with them. In addition to selecting and working closely with graduate advisors via Graduate Projects, students in the ATS department may take several graduate courses on topics relevant to the discipline. Recent examples include: Art and Biotechnology, Performing Interactivity, Electronic Media Colloquium, and Experimental Media in Art and Technology. Department courses as well as those taught in collaboration with other departments provide opportunities for study in electronics and kinetics, games, virtual reality, mixed and augmented reality, mobile applications, networked objects, wearables, soft computing, bio art, data-driven live performance, digital sound, interactive installation, light performance, performative sculptural objects, and holography.

FULL-TIME FACULTY CHRISTOPHER BAKER LEE BLALOCK HEATHER DEWEY-HAGBORG TIFFANY HOLMES EDUARDO KAC JUDD MORRISSEY JACOB TONSKI

AFFILIATED FULL-TIME FACULTY SHAWN DECKER JAN TICHY

For complete faculty listing visit: saic.edu/ats

FACILITIES

Graduate students develop advanced knowledge of the history and theory of art and technology. Students learn programming concepts and languages, in addition to electronics, kinetics, and digital fabrication.

Bio Art Lab facilitates artistic research utilizing the tools and techniques of molecular biology including DNA extraction and amplification, PCR, culturing of bacteria, protein expression, and synthetic biology.

Kinetics Lab is fully equipped with a fabrication and machining facility, power supplies, extensive hand tools, and hundreds of electronic and mechanical components.

Electronics Lab contains all of the tools and electronic parts to quickly develop new hardware. We support a range of microcontrollers from Atmel (e.g., Arduino) to modern ARM processors (e.g., Raspberry Pi).

Surface-Mount Lab is outfitted with tools and equipment to produce circuit boards using surface-mount electronics. Students are able to design, mill, assemble, and prototype circuits in-house.

Digital Audio Lab features keyboards, samplers, analog and digital synthesizers, a surround-sound system, live recording capabilities, specialized audio software, as well as key support equipment.

I/O Lab runs a suite of 3D printers and desktop milling machines as well as a 3D scanner. The lab is adaptable and encourages experimentation within rapidprototyping, part-making, and digital fabrication techniques.

Light Lab enables students to produce neon works, explore digital control of neon pieces, and experiment with additional light sources, such as LEDs.

Black Box Studio is a flexible studio/screening/project space with light control, video and sound projection, and ceiling grid for testing and exhibiting installations, sculptures, and spectacles. The Black Box Studio is also equipped with a “C-Wall” or “Single Wall CAVE” using stereoscopic 3D video, motion tracking systems, head mount displays, and multichannel audio.

Flex Space is a multi-purpose facility that hosts a wide range of activities, including exhibitions, lectures, performances, workshops, receptions—in addition to allowing the ATS community to come together in small groups and improvise according to need.

Individual graduate studios create space for experimentation, conceptualization, and construction of individual and collaborative projects.

PHOTO CREDIT: ZIV ZE’EV COHEN

SUKJOON LEE CODE READING, 2017

HANE HAIYIN CHO MIRRORING OUR STATE, 2017 PHOTO CREDIT: ZIV ZEâ&#x20AC;&#x2122;EV COHEN

YEWEN DONG, 2017

DAVID SIEVER A LAST SLEEP IN THE EVERLASTING WINTER, 2017

LUCIA “LULU” VINCENZA SBARDELLATI DINO SHOWS OFF TO THE GROUP WHILE AN UNKNOWN FIGURE WATCHES FROM UNDER THE BED, 2016-2017

MASTER OF FINE ARTS IN STUDIO

CERAMICS The Ceramics department provides the materials, skills, and processes traditional to the medium, but emboldens our students to subvert the ordinary.

saic.edu/ceramics

ANGEL MARIN IT’S MY PITY PARTY, 2017

Ceramics students experience a wealth of traditional and high-tech approaches to production while engaging in critical reflection about the complexities and malleability of the medium. They create work that ranges from traditional vessels to contemporary installations, performance, mixed media, time arts, or community-based practices. In a field with a strong attachment to traditional and established models, the Ceramics department at SAIC encourages experimentation in order to develop a new language for ceramic art production in the form of objects, designed multiples, collaborations, and installations.

BREADTH AND DEPTH OF STUDY Ceramics faculty teach students to investigate the relationships between idea and realization, tradition and innovation, and art and craft. Unique to SAIC, graduate students may take courses across disciplines and work with graduate advisors in any department to broaden their skills and the content of their work. Additionally, students participate in interdisciplinary critiques with panels composed of faculty and visiting artists from all fields, alternating with disciplinary critiques, allowing a broad context for critical feedback. Ceramics graduate students develop cohesive bodies of work, displaying well-developed content and superior technical skills for their practices.

WORLD-CLASS RESOURCES

FULL-TIME FACULTY

SAIC faculty and students influence and embrace a culture of investigation, exploration, innovation, and conceptual growth and play a vital role in shaping contemporary discourse in the field. The Art Institute of Chicago’s collections of ceramics, design, architectural ornamentation, painting, and sculpture provide an outstanding resource for study. The city itself is rich in ceramics resources, from architectural façades to the extensive holdings of the Field Museum, Oriental Institute, and others.

MARIE HERMANN

There is an ever-increasing number of ceramic-based work in galleries and museums throughout the city, making Chicago an ideal setting in which to engage in the in-depth study of a changing discipline within a department committed to interdisciplinary practice and experimental research.

WILLIAM O’BRIEN KATHERINE ROSS

For complete faculty listing visit: saic.edu/ceramics

FACILITIES Ceramics students have access to state-of-the-art equipment and facilities, including:

MOLLY PATTSON EXPLODED WINDOW, 2016; DOOR FRAME, 2015

TIF SUNG FORTUNA, 2015

Clay and glaze mixers Extruder, slab roller, and wheels Free bulk materials (clay, slip, and glazes) Mold-making facilities Fully equipped casting facilities 18 gas and electric kilns Three state-of-the-art Blaauw computer-automated gas kilns Two departmental installation/gallery spaces Individual graduate studios Ceramic color decal printer Walk-in spray booth 3-D Potterbot ceramic printer Cold working equipment: lapping machine, water feed drill press with diamond coring bits, large diamond brick wet saw, diamond tile wet saw

MORGAN RICHARDSON DO YOU LIKE CAKE?, 2016

THE LAKE WALK

Creating a Culture of Nurturing and Self-care

While the ballroom does not usually transform into a bakery at night, this evening was special— part of a series of Radical Care Workshops launched in the spring of 2017. kasdjfldskjfldsk lkdjflasdkjflkadsjf lkasdjfldskjfd lkjsdlfkjdl lkajdslfkjdlk lkadsjfladk aldkjfldakj After a day spent working in the studio,

Barbara Ann Teer and Afrofuturist sci-fi

“People were blown away by the fresh

attending classes, and preparing for end

author Octavia Butler during the first walk.

bread,” says Kapsalis. “The generosity

of semester projects, students and faculty

Kapsalis and faculty member Kamau Patton

and exchange were very powerful.”

met in SAIC’s ballroom to bake bread. While

led the second, Acoustic Ecology #3, in

the ballroom does not usually transform

which participants walked downtown and

into a bakery at night, this evening was

enjoyed Patton’s curated playlist of sounds

special—part of a series of Radical Care

broadcast from a pirate radio station he

Workshops launched in the spring of 2017.

had set up in the MacLean Center. For the

The workshops were inspired by students from Terri Kapsalis’s Wandering Uterus course. At the start of the semester, Kapsalis observed

Wainwright, students were encouraged to bring a favorite poster or protest banner.

Take Space, Make Space: Active Listening & Radical Communication, at which students learned how to use active listening to create space for intentional dialogue. Tibetan Buddhist Lama Lobsang Palden introduced students to breathing techniques. Bystander Intervention 101 Training focused on ways

that her students felt an urgency to be more

In addition to the walks, there were a variety

to intervene in public instances of oppressive

politically involved while taking better care of

of other events, including the Baking Bread

interpersonal violence and harassment

themselves. How could they better serve their

workshop that emphasized the meditative

while considering the safety of all parties.

communities while preserving their mental

and social quality of food preparation.

health? Students proposed group walks by

Students and faculty engaged in new cultural

the lake as one way to build relationships

explorations by making Peruvian salted

and share resources with each other.

bread and Jamaican cocoa bread which

Faculty member D. Denenge Duyst-Akpem led students on a ritual release and manifestation inspired by National Black Theatre founder

third walk, led by Dean of Faculty Lisa

Other Radical Care Workshops included

they shared with SAIC students, faculty, and staff as they arrived for classes.

“Caring for others and self-care are bound together,” Kapsalis says.

PROJECT PROFILE THE LAKE WALK FACULTY INVOLVED: Terri Kapsalis, D. Denenge Duyst-Akpem, Kamau Patton, Lisa Wainwright

STUDENTS INVOLVED: Students in Kapsalisâ&#x20AC;&#x2122; Wandering Uterus course, and the entire SAIC community.

SUMMARY: Events and workshops inspired by students and faculty who desire to be politically involved and mentally nutured.

JOYCE LEE, 2017

TING TSENG, 2017

MASTER OF FINE ARTS IN STUDIO

DESIGN FOR EMERGING TECHNOLOGIES The MFA in Studio, Design for Emerging Technologies program offers students resources in interface design, physical interaction design, information architecture, physical computing, software-based optimization and analysis, and design for embedded control and robotic activation. saic.edu/aiado SAICâ&#x20AC;&#x2122;s Master of Fine Arts (MFA) in Studio, Design for Emerging Technologies is a 60 credit hour program designed to offer maximum flexibility in addressing your individual needs as a student. Following admission through the department, you will design your two-year plan of study based on optimizing the offerings and opportunities available throughout SAIC. You are encouraged to seek out curricular advising as needed from a variety of available sources including the dean, graduate dean, graduate division chair, department heads, academic advising, the graduate admissions office, and your peers. The MFA in Studio program offers an expansive educational model in which designers engage history, critical thinking, and work across disciplines. We encourage our MFA Studio students to move beyond their home departments, working with faculty and peers in any area that supports their graduate work and research. Graduate studios for MFA students in AIADO are clustered to provide community and easy access to the Sullivan fabrication facilities. Graduate-level courses and topical seminars support individual studio work by exposing students to the larger dialogues around the production, exhibition, and function of art and design as well as their expanded cultural production and reception. Students design a personalized curriculum by choosing from a wide variety of seminars, courses, and graduate advisors linked to numerous studio, design, and academic departments. Graduate critiques, central to the MFA experience, alternate between discipline-specific panels in the fall semester and interdisciplinary panels in the spring semester.

FULL-TIME FACULTY ILONA GAYNOR ELLEN GRIMES LINDA KEANE THOMAS KONG ANN LUI CARL RAY MILLER ANDERS NEREIM BENJAMIN NICHOLSON PETER OYLER DOUGLAS PANCOAST TIM PARSONS HENNIE REYNDERS, PHD JONATHAN SOLOMON TRISTAN Dâ&#x20AC;&#x2122;ESTREE STERK JIM TERMEER For complete faculty listing visit: saic.edu/aiado/faculty

FACILITIES The Advanced Output Center

150w + 120w laser cutters

3D printers, including an Mcor that uses paper as building material, a Dimension that uses ABS filament, and an Objet that uses acrylic resin

3D scanners, including an Artec Eva, a Handyscan, a point cloud scanner, and a NextEngine

42” Colorwave 600 Printer and 32” TDS320 Printer

A flatbed scanner and a large format scanner

The Sullivan Fabrication Studio

Deep investigations in the studio context are required, emphasizing the notion that the art of thinking and making translate into explorations that are useful beyond the traditional realms of design.

Dedicated fabrication workshop equipped with a full range of hand tools and industrial wood and metal working machines, including tablesaws, bandsaws, jointer, planer, mortiser, drill-press, sanders, lathe, etc.

Material sales center with sheet goods, hardwoods, plastics, foam, etc.

2 CNC Routers (4’ x 8’ Highspeed; 2’ x 2’ Prototyping)

Large bed vacuum thermo-former (2’ x 4’)

Assorted sewing machines for soft good production (industrial, walking-foot, saddle stitcher, portable)

Mold making facility with plaster mixing, dust collection, fume extractor, and vacuum chamber

Large high flow paint and finishing hood

On-site materials library

Individual graduate studios

KIBEOM BYUN, 2017

SERGEY DUNAEV ARCHITECTURAL OPTIMIZATION OF BUILDING SHAPE (GENERATIVE DESIGN), 2015

NORMAN TEAGUE SELF PORTRAIT, 2016

SUNGJUN KIM JACKS UP, 2016

NORMAN TEAGUE, 2017

JOEY ASAL, 2017

MASTER OF FINE ARTS IN STUDIO

DESIGNED OBJECTS The MFA in Studio, Designed Objects program is suited to design practitioners looking to advance, define and reinvent their practice. Working amongst a vibrant and diverse community of makers and scholars, MFA Designed Objects students selfdesign their program of study by choosing graduate advisers and coursework from departments across the school. saic.edu/aiado

NORMAN TEAGUE SINMI, 2014

SAICâ&#x20AC;&#x2122;s Master of Fine Arts (MFA) in Studio, Designed Objects is a 60 credit hour program designed to offer maximum flexibility in addressing your individual needs as a student. Following admission through the department, you will design your two-year plan of study based on optimizing the offerings and opportunities available throughout SAIC. You are encouraged to seek out curricular advising as needed from a variety of available sources including the dean, graduate dean, graduate division chair, department heads, academic advising, the graduate admissions office, and your peers. The MFA in Studio program offers an expansive educational model in which designers engage history, critical thinking, and work across disciplines. We encourage our MFA Studio students to move beyond their home departments, working with faculty and peers in any area that supports their graduate work and research. Graduate studios for MFA students in AIADO are clustered to provide community and easy access to the Sullivan fabrication facilities. Graduate-level courses and topical seminars support individual studio work by exposing students to the larger dialogues around the production, exhibition, and function of art and design as well as their expanded cultural production and reception. Students design a personalized curriculum by choosing from a wide variety of seminars, courses, and graduate advisors linked to numerous studio, design, and academic departments. Graduate critiques, central to the MFA experience, alternate between discipline-specific panels in the fall semester and interdisciplinary panels in the spring semester.

FULL-TIME FACULTY ILONA GAYNOR

MFA VERSUS MDDO

MICHAEL GOLEC

In contrast to the MFA in Studio, Designed Objects, the Master of Design in Designed Objects (MDDO) program is for individuals who need immersive training to build the critical and technical skills necessary for advanced object design practice. The 66-credit MDDO program is for students who wish to study within a structured, class-based curriculum. Students in both the MFA and the MDDO programs are encouraged to pursue experimental practice and are challenged to find their individual voices as designers.

PETER OYLER TIM PARSONS JIM TERMEER JONATHAN SOLOMON BESS WILLIAMSON

For complete faculty listing visit: saic.edu/aiado/faculty

FACILITIES The Advanced Output Center

150w + 120w laser cutters

3D printers, including an Mcor that uses paper as building material, a Dimension that uses ABS filament, and an Objet that uses acrylic resin

3D scanners including an Artec Eva, a Handyscan, and a NextEngine

42” Colorwave 600 Printer and 32” TDS320 Printer

A flatbed scanner and a large format scanner

The Sullivan Fabrication Studio

TING-YU TSENG, 2017

Students have access to distinguished faculty who traverse the field with broad experience in designing, making, and critically analyzing designed objects.

Material sales center with sheet goods, hardwoods, plastics, foam, etc.

2 CNC Routers (4’ x 8’ Highspeed; 2’ x 2’ Prototyping)

Large bed vacuum thermo-former (2’ x 4’)

Assorted sewing machines for soft good production (industrial, walking-foot, saddle stitcher, portable)

Mold making facility with plaster mixing, dust collection, fume extractor and vacuum chamber

Large high flow paint and finishing hood

On-site materials library

Individual graduate studios

NORMAN TEAGUE OBJECTS OF FAMILIARITY, 2016

KEELEY HAFTNER SEARCHING FOR METAPHORS WITH MASSES TO MATCH THE WEIGHT OF THEIR SUBJECTS, 2016

MASTER OF FINE ARTS IN STUDIO

FIBER AND MATERIAL STUDIES The Fiber and Material Studies department offers a progressive program of study that encourages in-depth engagement with textile materials, processes, discourses, histories, politics, and forms. saic.edu/fiber Led by a distinguished faculty of artists and theorists that includes some of the most innovative and accomplished practitioners in the field, the Department of Fiber and Material Studies (FMS) is one of the largest, best resourced, and most significant programs of its kind in the world. FMS encourages an interdisciplinary approach to the investigation of relationships among concept, materiality, and process in contemporary art. The program emphasizes the creation of textile and fiber arts within a contemporary, crossdisciplinary context. We support and foster experimentation across materials, contexts, politics, and forms. Students are engaged in thinking about and through cloth, print, textile construction, surface, and other hand processes, while at the same time exploring new technologies and computer-assisted tools, installation, site responsive, performance, and participatory and collaborative approaches. Teaching and learning emphasize the histories, processes, and politics that are deeply interwoven into the discipline of fiber. Stressing the inseparability of thinking, making, and meaning, these themes and contexts are investigated from a variety of perspectives, with students drawing from theory, personal and collective identity, self-directed research, and hands-on material investigations to inform and propel their creative practices.

COURSE OF STUDY Students explore materiality, context, and concept through in-depth, individual advising with faculty of their choosing from within the department or other studio areas across the school. This one-on-one, tutorial-based learning is augmented by medium specific and interdisciplinary graduate seminars, art history courses, and optional studio classes in FMS and/or other departments across SAIC. Specific classes and seminars like Contemporary Histories: Fiber, Textiles/Globalism, Production: The Politics of Making, and Micro/Macro Textiles: Artist Research (taught in the Textile Resource Center using the teaching collection) enable students to engage more deeply with the history of the textile medium and current developments in the field, while further supporting the development of their creative practices. Students also participate in critiques, individual studio visits, and round-table discussions with visiting artists and scholars like Ann Hamilton, Jenni Sorkin, Christine Checinska, Alistair McAuley, Elana Herzog, Namita Gupta Wiggers, Glenn Adamson, Elissa Auther, Josh Faught, Chakaia Booker, Richard Sennett, and Miyoshi Barosh.

INTERDISCIPLINARY We foster connections and crossovers between FMS and other studio and design areas at the school. Students are encouraged to take courses in other art and design departments in order to enrich and deepen their practices. Students may work with faculty from across the school, and connect with students from other disciplines in SAICâ&#x20AC;&#x2122;s cross-disciplinary graduate studio arrangements.

FULL-TIME FACULTY MICHAEL ANDREWS DIANA GUERRERO-MACIĂ JOAN LIVINGSTONE CHRISTINE TARKOWSKI LISA VINEBAUM ANNE WILSON

For complete faculty listing visit: saic.edu/fiber

FACILITIES Graduate students are encouraged to take courses in other departments to explore and implement the techniques, traditions, and particular rigors of various disciplines in order to enrich and deepen their practice.

The Fiber and Material Studies department has some of the most expansive and wellequipped facilities in the country. Spanning two floors, the department has workshops and facilities for screen printing, immersion dyeing, weaving, felting, paper making, knitting, spinning, textile construction, installation and sculpture, and sewing and embroidery. Graduate students can attend workshops and have 24-hour access to the studios. Specialized equipment in the department includes:

One TC-1 and two TC-2 Digital Jacquard Looms

Dobby loom

Floor looms [4 to 16 harness]

Table looms

Fully equipped screen printing studio, including dark-room facilities and large (16 ft. to 40 ft. in length) printing tables

Large format heat transfer press

Fully equipped dye studio including facilities for natural dye and indigo

Brother industrial 10-needle embroidery machine and four additional computerized embroidery machines

Long arm quilting machines, free motion sewing stations, and an assortment of sewing machines

Industrial sergers and sewing machines

Knitting machines

A complete papermaking studio including a Hollander beater

Plotter/cutter

Smart lecture/critique spaces

The Textile Resource Center (TRC) is a hands-on study collection of textiles and textile artifacts (including lace, weavings, quilt blocks, embellished textiles, and print samples) from countries within Africa, Central and South Asia, Europe, and the Americas, together with new technological substrates and materials; and artists’ samples and projects. The TRC also houses a discipline-specific library focused on instructional texts, international textiles, fiber and craft theory, and textile history; the collection also includes artist monographs, exhibition catalogs, journals, rare and out of print books and catalogs, videos, recorded lectures, and a digital database and bibliography.

DYLAN FISH WITH DANIEL JOHNSTONE, ENCRYPTED_ARCHIVE_03.fff, 03/13/2017, 2017.

The two see their partnership as completely synergistic.

THE COLLABORATION

Jonathan Rockford and Martin Scheeler’s coordination is so nimble and symbiotic you wouldn’t guess that they are practitioners in two completely different fields of study at two different universities. The collaboration between Rockford, an MFA

these structures into porcelain,” explains

from its final interpretation. I think that’s an

student in Fiber and Material Studies at SAIC,

Rockford. “Martin is researching fluid

important quality regardless of your field,

and Scheeler, a PhD candidate in Physics at

dynamics, and knots and vortices are an

and it’s definitely something I’m trying to

the University of Chicago, is supported by a

important aspect of his work. So we had a

integrate back into my practice of science.”

grant from the Arts, Science & Culture Initiative range of common interests to begin with.” (ASCI), established by the University of Chicago to bring artists and scientists together to explore the intersection of the two disciplines.

gave him the freedom to explore new

us a pretty natural pairing is that, by virtue of

methods and technologies more deeply,

our professions and personalities, we’re both

enabling a fresh view of his own work. “This

Rockford and Scheeler’s project examines the

fascinated by a huge array of objects and ideas, project has verified the important role that

transformations that connect the physical

regardless of what world they’re born of.”

to the digital world—in one instance, using computer sensing to translate the motion of a crochet hook into digital sculpture, and in another, capturing interpersonal gestures using a jacket that filters the pressure and intensity of a hug through a digital lens. The two see their partnership as completely synergistic.

For Rockford, working with a physicist

Scheeler adds, “I think the thing that makes

SAIC’s Chancellor Walter Massey, a prominent physicist, believes that these kinds of connections can manifest new ways of seeing

research can play in art-making. I think the skills and the insight I have gained from working with a world-class scientist will fortify the rest of my artistic career.”

the world that neither artist nor scientist

While the ASCI grant is designed to foster

could produce alone. The work done by

close connections between practitioners in the

Scheeler and Rockford bears out this notion.

arts and sciences, in this case it also formed

Scheeler says that working with an artist has focused his attention on process as

“I’d been working sculpturally with looping

well as end product. “I’ve been exposed

techniques, creating forms that have

to a different way of creating meaning,

torus-like geometries, and translating

in which the actual process is inextricable

a lasting friendship. “We mesh really well, on both a personal and an intellectual level,” says Scheeler. “Some of our best ideas are conceived in the moments when we’re learning about each other and connecting as individuals.”

PROJECT PROFILE THE COLLABORATION STUDENTS INVOLVED: Jonathan Rockford and Martin Scheeler

SUMMARY: An MFA student in Fiber and Material Studies at SAIC and a PhD candidate in Physics at the University of Chicago pioneer ways of seeing that neither artist nor scientist could produce alone.

IRMAK KARASU, 2017

PEISHI ZHANG RUSSIAN DOLL 2017

A COLLECTIVE PROJECT ROMANTIC APP, 2017

JOE HOULBERG SUR, 2017

ERYKA DELLENBACH OLDER THAN LOVE, 2017

MASTER OF FINE ARTS IN STUDIO

FILM, VIDEO, NEW MEDIA, AND ANIMATION Drawing on the department’s progressive curriculum and the expertise of SAIC faculty across diverse disciplines, graduate students in Film, Video, New Media, and Animation engage in formal experimentation, technical innovation, and critical investigation in all forms of moving-image media. saic.edu/fvnma The FVNMA department reaches beyond conventional approaches to media by investigating the possibilities of nonfiction and narrative film and video, moving-image installation, analog and digital animation, interactive art, and web-based projects and additionally offering seminar courses in media preservation, curatorial practices, and media art histories.

INTERNATIONALLY-RECOGNIZED FACULTY OF ARTISTS AND SCHOLARS FVNMA faculty work is represented in museums and galleries; presented at major international festivals of film and media; screened in art cinemas and at music and performance venues; embraced in community-based projects; and featured in prominent arts publications.

CUTTING-EDGE RESOURCES The SAIC campus provides a rich array of resources for graduate students to utilize in their research and creative practices. The Art Institute of Chicago’s Film, Video, and New Media Gallery showcases artists whose practices have helped to define the field and correlate strongly with the department’s vision. SAIC’s Gene Siskel Film Center, a year-round cinematheque, is an invaluable resource for FVNMA students—a venue for viewing world cinema, a showcase for student work at the department’s year-end Festival, and a collaborator with Conversations at the Edge (CATE). A dynamic weekly series of screenings, artist talks, and performances, CATE provides access to compelling contemporary media artists. The Video Data Bank is an internationally recognized resource that houses thousands of videotapes by and about contemporary artists. The Flaxman Library’s 16mm Film Study Collection includes extensive holdings by acknowledged masters of film art. Finally, FVNMA’s Phil Morton Memorial Research Archive contains numerous videotapes that document the development of the department as well as the local, national, and international communities of media art.

FULL-TIME FACULTY MELIKA BASS JON CATES DANIEL EISENBERG TIRTZA EVEN CLAUDIA HART KURT HENTSCHLAGER BRUCE JENKINS FREDERIC MOFFET MARY PATTEN CHRISTOPHER SULLIVAN JAMES TRAINOR THORSTEN TRIMPOP For complete faculty listing visit: saic.edu/fvnma

FACILITIES AND EQUIPMENT

RED camera package, Blackmagic URSA Mini 4.6K, Sony PXW- Z100 camera package, Blackmagic Pocket Cine Camera, Canon 5D Mark III cameras, Canon 60D and 7D cameras and Sony EX3 camera

Arriflex SR2 Super 16 mm and 16mm Éclair and Bolex 16mm motion picture cameras and accessories

Steenbeck flatbed editing machines, JK and Oxberry optical printers‚ 16mm and Super 8 HD telecine suite, over 50 Final Cut Pro editing systems with 8 core Mac Pros in advanced editing labs and suites

Sandin Image Processor analog video synthesis system and Tachyons+ video art machines

Advanced digital animation suites with Wacom monitors and a dedicated render farm

Oxberry animation stand and Mobile Dragon Stop Motion Animation carts

Shooting studios, including a green screen cyclorama studio For a complete list of FVNMA equipment, visit: blogs.saic.edu/fvnmatech/fvnmaequipment-list. STEPHANIE YAN CHINA STAGE, 2017

FVNMA graduate students often invent interdisciplinary hybrid work exploiting traditional forms to create new avenues of expression, and the department is highly supportive of this exploration and risk-taking. 56

ZUQIANG PENG NAN, 2017

“Heaving their sledgehammers into the piano, ‘the concert’ begins.”

THE CONCERT

A group of five sledgehammer-wielding performers in hazmat suits solemnly file onto the stage of SAIC’s ballroom. Under a spotlight sits a vintage baby grand piano. “Ready? “ calls a voice from the wings.

later, he heard the Liberal Arts department

dedicated to the project, and others presented a

“Let’s do it,” declares Simon Anderson,

needed to discard an old piano that had

pataphysical piece in SAIC’s exhibition space.

Associate Professor of Art History.

sustained environmental damage.

Heaving their sledgehammers into

Without hesitation, he told them, “I

up an entirely new way of seeing, free

the piano, “the concert” begins.

can take that off your hands.”

of effort and pretense,” says Prarna

Over the course of the next hour, groups of

To prepare, students watched the original

performers take the stage using hammers,

performance and studied its historical,

The spectacle of the concert set a high bar

blunt objects, and power tools demolishing

conceptual, and practical contexts. “We

for future Pataphysics seminar projects.

the instrument with bold swings and short,

rehearsed with an old guitar,” explains

Though he plans on teaching the course

methodical taps. Beguiled audience members

Anderson. “I tried to get my students

again, Anderson doesn’t have any plans for

film the spectacle, with some even grabbing

accustomed to the idea of breaking things

future re-enactments. “How can I top this?”

tools and joining in the destruction.

without having an emotional reaction. This

Anderson recalls the inspiration behind re-enacting Philip Corner’s 1962 concert

which the notion of music can be pushed.”

“Piano Activities” with students from

Although the concert ended with the last piano

his Pataphysics graduate seminar.

string breaking and audience members carrying

While traveling in Europe in 2012, he saw Philip Corner deliver a rare performance of the iconic Fluxus event, and the experience was still in his mind when, a couple of years

wasn’t about venting, but the extreme to

the instrument’s remains away as souvenirs, echoes of the performance reverberate. One student sculpted wooden hammers from pieces of the piano, another made a website

“For me, destroying the piano opened

Mansukhani, one of the performers.

PROJECT PROFILE THE CONCERT FACULTY INVOLVED: Simon Anderson

STUDENTS INVOLVED: Students of the Pataphysics seminar

SUMMARY: Art History students push the notion of music to its limits in a live re-enactment of Philip Corner’s 1962 concert “Piano Activities.”

HEESU JEON CANDLELIGHT VIGIL, 2017

JOSERIBERTO PEREZ ACCENTUATED PERIPHERIES, 2016–7 FLATE RATE, 2016–2017 ACTION STRICKEN, 2016–2017

MEGHAN BORAH HISTORY HAS TURNED THE PAGE (UH HUH) 2017 PLATFORMS 11 AND 12, 2017

MASTER OF FINE ARTS IN STUDIO

PAINTING AND DRAWING With an emphasis on studio production, critical discussion, and experimentation, the Painting and Drawing department at SAIC reflects and reinforces the diversity of approaches that propels artmaking today and for the future. saic.edu/ptdw

SAIC’s Painting and Drawing department offers students a wide range of traditional and experimental approaches that will give them the procedural and conceptual tools to build a sustainable practice. Under the guidance of an esteemed core graduate faculty, and with access to resources unique to SAIC, students can develop their individual studio practices using the critical and historical frameworks necessary to inform their aesthetic and conceptual decisions.

FREEDOM TO EXPLORE The Painting and Drawing department encourages students to explore a full range of creative methods—some students investigate their own take on traditional painting practices, while others expand their work into other media and/or materials, including printmedia, film and video, digital imaging, and performance. SAIC’s Painting and Drawing community supports multiple points of view and a full exchange of ideas between them, while helping students develop critical perspectives for their work.

RENOWNED FACULTY SAIC’s Painting and Drawing faculty regularly exhibit their work in important galleries, museums, and other institutions internationally. They have been awarded grants from the National Endowment for the Arts, Fulbright Program, and the Tiffany, Ford, Guggenheim, Warhol, and Newhouse Foundations. While the majority of Painting and Drawing faculty are working artists, critics and curators are also included. The department has an active visiting artists program, in which a variety of artists, critics, and curators give lectures and individual or group critiques. Chicago has an active gallery scene that includes established and emerging galleries as well as apartment galleries and alternative spaces, many with direct connections to SAIC.

FACULTY CANDIDA ALVAREZ CLAIRE ASHLEY PHYLLIS BRAMSON SUSANNA COFFEY JOSH DIHLE MARI EASTMAN ANDREW FALKOWSKI JUDITH GEICHMAN GAYLEN GERBER MICHELLE GRABNER EVAN GRUZIS DAN GUNN ANNE HARRIS RICHARD HULL CLAUDINE ISÉ MICHIKO ITATANI SAM JAFFE ARNOLD KEMP JOSÉ LERMA JIM LUTES MATTHEW MORRIS TERRY R. MYERS FRANK PIATEK SCOTT REEDER TYSON REEDER RICHARD REZAC ADAM SCOTT

For complete faculty listing visit: saic.edu/ptdw

FACILITIES SAIC’s Department of Painting and Drawing offers graduate students the following equipment and facilities:

Individual studios

Three large, naturally lit critique spaces

Computer labs

Free figure model sessions

Laser cutters

Access to video and audio editing equipment and professional grade digital cameras and light kits

Affordable digital printing

Well-ventilated spray booths

Storage racks

IGNACIO MANRIQUE FELIX SUEÑA CON UNA TELARAÑA, UN ELEFANTE LLAMADO CRISOSTOMO Y EL DIVINO NIÑO, 2017

The Painting and Drawing department reflects and reinforces the diversity of approaches that propels artmaking today and for the future.

SARAH LEE UNTITLED (17-02), 2017

ANGELIKI TSOLI, 2017

MARCELA TORRES, 2017

MÁIRÉAD DELANEY, 2017

MASTER OF FINE ARTS IN STUDIO

PERFORMANCE One of the only graduate-level contemporary live art departments in the country, the Performance program educates a new generation of artists who will continue to produce work that not only makes history, but makes a difference in the world. saic.edu/performance

MÁIRE WITT O’NEILL IN COLLABORATION WITH MÍA+MÁIRE PRODUCED BY SOFT PANTS STUDIOS REALITY IS PROVISIONAL (PROVISIONAL TITLE) FEATURING SAD GIRLS CLUB TV S4 E1–6,, 2015–2017

The Performance department has a long history of producing artists who create highly experimental work that responds to radically changing concepts of the body, time-based art, social practice, new media technologies, and the social and cultural conditions of a globally mobile society. Exceeding boundaries is at the heart of the Performance Department ethos, and students are encouraged to explore diverse artistic disciplines and ideas in their performance research through performance re-enactments, socially engaged/activist performance, abandoned practices, performance lectures, immersive technologies and social networking performance, tactical and site-specific performance and choreographic actions.

INTERDISCIPLINARY EXPLORATIONS AND RIGOROUS CRITIQUE SAIC’s interdisciplinary curriculum complements the fluid nature of performance by allowing students to study in other departments and engage with graduate advisors both within and beyond the Performance department as suits their individual practices. Rigorous approaches to assessment and critique are applied throughout the program, with an emphasis on structured dialogue and response.

PROFESSIONAL PRACTICE OPPORTUNITIES

FULL-TIME FACULTY

Department Faculty are established, practicing artists with significant international reputations. The department aims to nurture students as independent practitioners, and provide guidance and encouragement for showings and curatorial projects. Graduate students have the opportunity to share their work with wider audiences through public events such as the annual Fall New Blood Performance Festival and the Spring MFA Performance IMPACT Thesis Festival. Guest artists are regularly invited for symposia, workshops, and individual graduate critique sessions, including Faith Wilding, Lee Wen, Ron Athey, Jaime McMurry, Martha Wilson, Tim Miller, Sally J. Morgan, Kira O’Reilly, Vlatka Horvat, La Ribot, and Manuel Vason, as well as department alumni such as Tania Bruguera and Jillian Peña. The department also has an ongoing program of visiting representatives from organizations such as Franklin Furnace Inc. and Performa (NYC), as well as guest producers and curators from key international performance events including the SPILL International Festival of Performance (UK), City of Women (Slovenia) and the ANTI Festival (Finland) amongst others. In all cases these guests engage in dialogues with students about the development of their performance practice, sharing networks and opportunities to help students find a place and role for their work in the outside world.

ROBIN DEACON WERNER HERTERICH LIN HIXSON MARK JEFFERY ROBERTO SIFUENTES

For complete faculty listing visit: saic.edu/performance

CHICAGO While at SAIC, many performance students work collaboratively or individually in the galleries and spaces in Chicago’s performance community, including a network of experimental, non-traditional, and artist-initiated spaces. In many cases, the city itself becomes an urban classroom as students engage with numerous communities through projects and performances. Our students are challenged to think of themselves not simply as individual artists, but as active participants in the shaping of contemporary culture.

FACILITIES Students have access to an 80’ x 40’ x 14’ multi-use performance space, as well as a dedicated graduate performance studio and installation space, both with a programmable LCD lighting system, and a wide range of audio visual equipment at their disposal, including a 4K video camera. Students also have exclusive access to a dedicated performance department video edit suite. These spaces are managed by a performance technician who works closely with students to help realize their projects from inception to completion. LAUREN STEINBERG, 2017

During their time at SAIC, many Performance students work collaboratively or individually in the various galleries and spaces in Chicago’s performance community, which includes a citywide network of experimental, non-traditional, and artist-initiated spaces.

EMILIO ROJAS MANUAL TO BE (TO KILL) OR TO FORGIVE MY OWN FATHER, 2015â&#x20AC;&#x201C;ONGOING

“When you finally visit a place you’ve studied in Art History texts, it feels like a dream.”

THE CURATORIAL ASSISTANT

“When you finally visit a place you’ve studied in Art History texts, it feels like a dream,” says Denise Marie

Bennett, whose final year in graduate school was spent in Istanbul. Bennett, a Master of Arts in Modern and Contemporary Art History and Master of Arts in Arts Administration and Policy Dual Degree student, wasn’t on a study trip; she was there as the Curatorial Assistant for the second Istanbul Design Biennial. She earned the opportunity when Zöe Ryan,

because you won’t find a book or

discussions in Istanbul. She interviewed

the Art Institute Museum’s curator of design,

scholarship or criticism yet,” she explains.

many designers during the first days of

asked Art History faculty to recommend

“It takes skill and creativity.”

the exhibition, and this program was a

a student with an exceptional research background. Ryan had just been appointed

vital part of the biennial,” Ryan says.

and exactly what you need for a high

For Bennett, after a year of researching

speed and complex project like

these artists, it was surreal to

a biennial,” says Ryan.

meet them all in person.

Prior to the biennial opening, Bennett

Back in Chicago, Bennett discovered that the

conducted extensive research on the

biennial had changed the course of her own

designers and architects involved in the

research. “Originally I wanted to pursue a

exhibition, supported the catalogue, and

curatorial career, but now I’m looking more

gathered images to accompany Ryan’s

closely at architecture and design. I decided

Bennett gained expertise in innovative

essay. She did such an outstanding job

to write my thesis on experimental design

research methods through her graduate

that Ryan decided to offer her

collectives in the ’70s. Chicago is the premier

seminars and by working on an archival

another opportunity.

city for architecture, so I’m in the right place.”

curator of the biennial and needed someone with a bright mind who could sift through and organize a lot of information quickly. When Bennett, describing her research qualifications during the interview, confidently said that she could “find anything,” she was hired.

project for Contemporary Art Group during her internship. “It’s sometimes difficult to research contemporary practitioners,

“Her energy and enthusiasm is contagious

“We had been so impressed with how Denise integrated herself into the project that we invited her to lead a series of public

PROJECT PROFILE THE CURATORIAL ASSISTANT STUDENT INVOLVED: Denise Marie Bennett ART INSTITUTE OF CHICAGO’S CURATOR OF DESIGN: Zöe Ryan

SUMMARY: A graduate student is exposed to eye-opening career experience when she is invited to work as the Curatorial Assistant of the 2nd Istanbul Design Biennial.

MICHAEL ASBILL TABLEAU VERT (ELLSWORTH KELLY AND JERRY JONES), 2017

DARRYL TERRELL BLK BOY COLORED, 2017

RENLUKA MAHARAJ CONTESTED BELONGING, 2016

DAVID YUN FLOATING HEAVY, 2017

MASTER OF FINE ARTS IN STUDIO

PHOTOGRAPHY The Photography program, widely considered one of the strongest in the country, is continually reinterpreting social and visual culture through both traditional and experimental forms of image making. saic.edu/photo

ZHIYUAN YANG YANGSâ&#x20AC;&#x2122; FANTASIES, 2017

SAICâ&#x20AC;&#x2122;s graduate Photography program is committed to investigating the potential of the medium, providing education that extends far beyond technical considerations. The faculty, extremely diverse in their own practices, support a multiplicity of student approaches and investigations. They train students to be sensitive, perceptive problem-solvers capable of operating as artists, intellectuals, and professionals in complex cultural environments. Students are encouraged to focus on developing their practices through the study of history and contemporary cultures, and to engage in research that contextualizes their personal interests.

AN INTELLECTUALLY RIGOROUS CURRICULUM Through the critique process, students develop and refine the ability to speak about their work and the work of others, and in art history and graduate seminars, they develop their critical writing skills. To prepare for post-MFA public careers and artist lectures, all graduate students present two public lectures on their work. These presentations offer students the opportunity to reflect upon the trajectory of their work while honing their ability to articulate their personal visions. The MFA program in the Department of Photography offers students private studios, ample opportunities for networking and professional practice, state-of-theart facilities, and guaranteed teaching assistantships for all four semesters, setting the framework for a program that not only emphasizes conceptual and technical discipline, but nurtures the student as an emergent, professional artist.

ENGAGEMENT WITH VISITING ARTISTS Through the student-run Parlor Room Lecture Series, graduate students are given the unique opportunity to select, recruit, and work closely with visiting artists and curators such as Moyra Davey, Walead Beshty, and Carolyn ChristovBakargiev. Students are responsible for all follow-through, including travel and accommodation arrangements. Each artist, critic, or curator who comes to SAIC through the program is involved in critiques, a roundtable discussion with graduate students, and a reception. These artist visits can result in collaborations, exhibitions, and other opportunities that would not have been possible without this networking experience.

FULL-TIME FACULTY AIMEE BEAUBIEN JONAS BECKER ROBERT CLARKE-DAVIS LATOYA RUBY FRAZIER ALAN LABB CLAIRE PENTECOST DAWIT L. PETROS OLIVER SANN JAN TICHY

For complete faculty listing visit: saic.edu/photo

FACILITIES

Faculty train students to be sensitive, perceptive problem-solvers capable of operating as artists, intellectuals, and professionals in complex cultural environments.

LINDSAY HUTCHENS HOLDING MY BREATH, HOLDING DAD’S FACE, 2016 A WINDOW, WALL, AND THE CLOSEST EARTH, 2016

Individual graduate studios with dedicated critique space

More than 2,000 square feet of state-of-the-art digital facilities, including over 30 editing workstations with Mac Pro and color-calibrated monitors, Imacon film scanners, a large format flatbed film scanner, flatbed scanners, 21 professional digital printers with output up to 42” wide, print viewing stations

2 Advanced Checkout Centers with 35mm and medium format cameras, full-frame DSLRs, medium format digital back systems, 4x5 and 8x10 view cameras, a large selection of lenses, accessories, strobe, LED and hot light kits, analog and digital lab equipment

Black-and-white darkroom with 13 enlargers

Alternative processes for palladium, wet plate collodion, other historic processes, and black and white film developing facility

Shooting studio with a high-end strobe system, backdrops, a tethered phase one digital back system

Dedicated Grad high-spec work station including data storage unit

SAIC Service Bureau for printing up to 62” on a wide variety of paper and other media

MICHELLE MARIE MURPHY SHE + THEY IN SPACE (CHAPTERS 2, 7, AND 0), 2017

MARY ANCEL PORTAL I, 2016

MOHADESEH RAHIMITABAR UNTITLED, 2017

CONOR STECHSCHULTE UNTITLED, 2017

PETER PAUL DEPASQUALIE BEST FRIEND ERIC MAX RODRIGUEZ (DIPTYCH), 2015

MASTER OF FINE ARTS IN STUDIO

PRINTMEDIA While acknowledging the rich history and tradition of print, SAIC’s Printmedia department expands the definition and engagement of contemporary print. With an emphasis on material exploration, the MFA program encourages discourse with the aesthetics, applications and distributive opportunities of print media and related fields. saic.edu/printmedia

ASHLEY PASTORE SQUISHES, 2017

Graduate students in SAIC’s Department of Printmedia engage issues of contemporary art by employing a wide variety of printing techniques and developing technologies and media. They work across disciplines to create prints, artists’ books, three-dimensional objects, installations, new media and time arts. The department’s fundamental philosophy is interdisciplinary with a focus on experimentation and the processes of research and discovery necessary to bring ideas from conception to fruition. The Printmedia department’s distinguished faculty are accomplished artists committed to expanding the notions of print. They are engaged in contemporary theoretical debates, and are committed to building a diverse, exciting environment for the exchange and production of cultural objects, images, and ideas.

ACTIVE ENGAGEMENT The cornerstone of SAIC’s graduate studio program is its focus on tutorially guided studio practice. Each semester, in addition to selecting graduate advisors from within the department, students can select from more than 100 graduate faculty advisors at SAIC representing a myriad of disciplines, approaches, and intellectual positions. Ultimately, it is the student’s work that drives the choice of an advisor, and both disciplinary and interdisciplinary work is supported and advanced. All graduate students in the Department of Printmedia are eligible for up to two teaching assistantships per semester where they provide technical and instructional support to faculty in the classroom. TAA positions are also available each semester where two second-year graduate students co-teach an intro level printmaking class. The Department of Printmedia hosts a number of visiting artists, critics and scholars for lectures, critiques and collaborations providing opportunities for students to engage in a community beyond SAIC. The department also organizes annual graduate lectures in which students present their studio research to faculty and students from all disciplines.

FULL-TIME FACULTY SHAURYA KUMAR AYANAH MOOR PETER POWER JINA VALENTINE OLI WATT

For complete faculty listing visit: saic.edu/printmedia

EQUIPMENT AND FACILITIES

MARY ANCEL, 2017

Printmedia degree candidates are eligible for teaching assistantships each semester, in which they provide technical and instructional support to faculty teaching undergraduate classes.

Individual graduate studios with 24 hour access

Printmaking facility covering more than 11,000 square feet

6 Intaglio/Relief presses

15 screen printing stations with 2 large format vacuum tables

4 lithography presses and 1 hand offset press

Offset studio with 3 automated presses using direct-to-plate printing and 1 risograph

Darkrooms for screenprinting, lithography, and intaglio

Artists’ books/bookbinding studio

Fully equipped Macintosh computer lab with workstations, scanners and large/medium format printers

Access to laser cutters, 3D printers and scanners, CNC routers and other advanced digital and analog technologies

Access to highly regarded collections of prints and multiples in the Joan Flasch Artists’ Book Collection at SAIC and the Glore Print and Drawing Study Room at the Art Institute of Chicago

NURIA MONTIEL REPEAT BUT CHANGE (II), 2017

“We’re not producing prototypes that are not the finished thing; we’re producing the finished thing.”

THE MILAN PROJECT

For the past 10 years, students have participated in the intensive process of conceiving and producing objects in Chicago, then presenting and selling them in Milan. Miiko He (MDes 2017) designs objects that

Each year students are challenged with a set

people from the area about design and how

tell stories. Rest Awhile is an incense burner

of constraints they must respond to with

to fabricate products to sell. Lisa Cheng Smith

comprised of a bronze base that captures

their designs, with this year’s challenging

(MDes 2010) took an early version of the course

smoke swirls within a glass dome; this

them to incorporate light into heirloom-

and now serves at the Chief Design Officer at

visual metaphor of concealing internal

quality objects to be cast in bronze and

Areaware, a New York City-based company

chaos invites people to set aside the cares

glass by SAIC’s partner West Supply.

that produces functional everyday objects.

“It was really important for us in this

“I’d say the main thing that students get

particular project to have a partner who not

out of this class is working in a professional

only could fabricate everything, but could

atmosphere,” said Parsons. “We’re not

be part of the of the education process

producing prototypes that are not the finished

of the world by losing themselves in the beauty of the object. Rest Awhile was one of many student-designed projects created as part of SAIC’s 2017 yearlong External Partnerships: Milan course.

in helping students understand how a

thing; we’re producing the finished thing. So,

She and her classmates along with design

concept moves into production and how

everything about that has to be considered,

professionals and buyers for major retailers

objects like this get made,” said Nugent.

including the presentation of the show itself.”

from around the world converged in Milan, Italy, this spring eager to see the hottest trends of the year during Milan Design Week. The class, taught by Professors Helen Maria Nugent and Tim Parsons, exhibited its own unique line of serially produced multiples, titled whatnot x West Supply at Spazio Rossana Orlandi gallery.

The professional experience of creating a product from conception to completion has helped past students launch successful careers including Norman Teague (MFA 2016) who now uses the power of design to change lives in the Bronzeville neighborhood on Chicago’s South Side. He runs a studio that teaches young

PROJECT PROFILE THE MILAN PROJECT FACULTY INVOLVED: Tim Parsons, Helen Maria Nugent

STUDENTS INVOLVED: Students from the External Partnerships: Milan course.

SUMMARY: An SAIC course gives 12 students the unique opportunity to work as professional designers and exhibit their work in Milan during Design Week.

RYAN COMPTON RE-STRUCTURE OF THE INBETWEEN (DETAIL), 2017

ALEX BACH PHONE DRAWING, 2017

MASTER OF FINE ARTS IN STUDIO

SCULPTURE SAICâ&#x20AC;&#x2122;s Sculpture department encourages students to work fluidly across media, from casting bronze to organizing public spectacles, from growing food to high-tech digital fabrication. saic.edu/sculpture

KELSEY HARRISON MORTISE AND TENON ARCH, 2017

SAICâ&#x20AC;&#x2122;s highly regarded Sculpture department is one of the most innovative programs in the world. We are committed to giving form to social, environmental, and theoretical concerns. The department facilitates experimentation and engagement with site-based projects, metal fabrication, woodworking, metal casting, mold-making, figure studies, sustainable materials and systems, research-based and science-related projects, and international exhibition and curatorial practices. The program also supports contemporary and interdisciplinary processes and skills, including mixed-media installation, video- and web-based projects, puppetry, public art proposals and practices, and 3D digital modeling and fabrication.

INSIDE THE STUDIO, AROUND THE GLOBE Graduate sculpture seminars ground students in the theoretical concerns of the field and also immerse students in interdisciplinary critique, writing, and exhibition practices. The department encourages students to move outside the studio, making projects with a worldwide trajectory. Local and international visiting artists present a range of sculptural perspectives and practices in lectures and critiques throughout the year.

PROFESSIONAL PREPARATION AND COLLABORATION Graduate Sculpture students present their work in a public lecture series, which offers a distinctive opportunity to hone presentation skills. Combined with exhibitions and interdisciplinary critiques and seminars, our creative environment inspires interdepartmental collaborations among MFA students. Workshops and open lab hours held throughout the year, such as Sculpture Boot Camp, Digital Fridays and Community 3D Modeling Workshop provide specific skills and opportunities for professional practice. Exhibitions of student work in the on-campus sculpture gallery, the presence of a greenhouse and growing space in the courtyard, and special events such as the offcampus iron pour each spring produce lasting bonds between students and faculty while building community in the department. The department is also committed to collaborative exhibitions, community-based projects, and environmental art.

FULL-TIME FACULTY SARA BLACK STEPHANIE BROOKS MARY JANE JACOB CAROLYN OTTMERS JEFFERSON PINDER DAN PRICE LAN TUAZON FRANCES WHITEHEAD ADRIAN WONG For complete faculty listing visit: saic.edu/sculpture

FACILITIES

MIGUEL SBASTIDA FOR AS LONG AS POSSIBLE, 2017

SCULPTURE DIALOGUES Each semester, Graduate Sculpture students present their work alongside the departmental visiting artists in a public lecture series. This offers students a distinctive opportunity to open and interrogate their own practices within a supportive but rigorous environment of intellectual exchange. 82

Comprehensive woodshop

Metal shop with hot and cold fabrication capabilities that include gas, MIG, TIG, arc forging, and CNC plasma cutting

Digital fabrication facilities, including 60 and 150 watt laser cutting machines and 3D printers

Foundry equipped to pour bronze and aluminum into ceramic shell, sand, and classical investment molds. Iron pours take place off campus.

Mold-making shop with rotocaster, vacuum chamber, and high-vent capacities

Industrial sewing machines

PC-based computer lab with Intuos Cintiq tablets for 3D visualization, GIS, modeling, and animation development

Indoor and outdoor exhibition spaces

Organic outdoor garden

Large individual graduate studios

MARINA VIOLA CAVADINI OVERLAPS, CORRESPONDENCES, CONTRADICTIONS, 2017

ANNA ORLIKOWSKA THIS SPACE BETWEEN US, 2O16

AUSTEN BROWN MUDROOM, 2O15

MASTER OF FINE ARTS IN STUDIO

SOUND One of the few programs in the country to consider sound outside a strictly musical context, SAIC’s MFA in Sound program pushes students to extend and explore the medium, considering its experimental, aesthetic, critical, and conceptual dimensions. saic.edu/sound

ADAM JAMES BACH | |, 2016–17

The Sound department’s interdisciplinary approach to making sound includes analog and digital studio-based audio craft, computer programming, performance (improvisation and repertoire), sound installation, hardware design, text-based sound work, songwriting, and radio. Students are trained to engage in self-critique and pursue technical research at an advanced level; the nature of the work produced is entirely dependent upon the student’s own processes, interests, and obsessions.

A PEERLESS PROGRAM SAIC’s Sound department offers an uncommonly individualized approach to the history and production of experimental music and audio art. Our world-renowned faculty include audio artists, performance artists, composers, instrument builders, improvisers, authors, and producers who draw upon diverse disciplines to create a distinctive curricular mix of music and sound art, analog and digital technologies, recording studio technique and live performance. In addition, scholars like Seth Kim-Cohen (Art History) teach classes in sound art history and theory and studio artists in other disciplines such as Nick Cave (Fashion) incorporate sound into their own practice in unique ways.

SPIRIT OF INVENTION As makers in an emergent field, Sound students routinely invent new tools and processes—building hardware and programming software to generate music and sound art, and designing and building acoustic and electronic instruments. The small department size creates a cozy, intimate community among students, and much of the curriculum comprises close, one-on-one mentoring with faculty advisors.

FULL-TIME FACULTY NICOLAS COLLINS SHAWN DECKER LOU MALLOZZI

Every graduate student in Sound is guaranteed a Sonic Arts Fellowship each semester. These professional training positions range from traditional teaching assistantships to curating the Waveforms series, organizing and hosting the Visiting Artists series, maintaining the departmental website and blog, and running tutorial help labs for undergraduate courses. For complete faculty listing visit: saic.edu/sound

FACILITIES Five sound studios and four work stations, each equipped with:

High-quality analog and digital mixers

Pro Tools digital editing systems

Vintage MIDI synthesizers and samplers

Vintage and contemporary analog synthesizers and signal processors

A variety of outboard processing gear

Several rare signal processors

Studio microphones

Performance controllers

MAX/MSP

SuperCollider

IRCAM Tools

Purpose built labs for software and hardware design and development, and instrument construction

Several workstations for graduate student use, including a small studio with a Yamaha Disklavier computer-controlled acoustic piano

An inventory of portable equipment, including systems for high-quality digital recording on location MIKOLAJ SZATKO MILLENNIUM ALLEY / ALEJA TYSIACLECIA, 2015–2016

As makers in an emergent field, Sound students routinely invent new tools and processes—building hardware and programming software to generate music and sound art, and designing and building acoustic and electronic instruments. 86

NEAL MARKOWSKY 5/13 - 10/14 - 4/15 (PNO), 2015

JOSE RESENDIZ 2014-2017, 2017

MASTER OF FINE ARTS IN STUDIO

VISUAL COMMUNICATION DESIGN Led by faculty who are actively engaged in design thinking and practice, Visual Communication Design students are challenged to think critically about what they create, take risks in their work, and experience the value and transformative ability of design. saic.edu/viscom MENGXI CUI HOME, LAND, 2017

Renowned Visual Communication Design (VCD) faculty represent the diversity of contemporary design practice, research and pedagogy, with thriving practices, both self-initiated and client-associated, physical and virtual, individual and collaborative. Students work with faculty to broaden and deepen their understanding of the field, acquire new skills and approaches, and develop an innovative and mature body of work.

METHODOLOGIES AND INTERDISCIPLINARY EXPERIMENTATION Graduate students begin their coursework with critique seminars designed to encourage experimentation with new methodologies to further develop their individual work and exploration. Subsequent semesters are less structured— allowing each student to work with individual advisors, generate individualized content, and experiment with other related disciplines—with work eventually culminating in a fully realized visual thesis exhibited in the MFA show. Students take part in advanced study of the history and interpretation of visual communication design through curricula that explore how the discipline has been influenced by, and in turn influences, cultural, social, political, industrial, and technological forces.

FULL-TIME FACULTY JOHN BOWERS STEPHEN FARRELL

DESIGN AT THE INTERSECTION OF ARTISTIC DISCIPLINES

RENATE GOKL

Striking a balance between guidance and self-direction, the VCD program offers both rigorous coursework and individualized attention in an open and interdisciplinary environment. Students are encouraged to explore related departments at SAIC—Printmedia; Writing; Photography; Film, Video, New Media, and Animation; Architecture; among others—to extend their design work into new territories. Experiences with like-minded artists and designers working in various media allow students to make inventive, poetic, informative, expansive, and often unexpected connections in their own creative work.

GEOFFREY ALAN RHODES

BJ KRIVANEK

For complete faculty listing visit: saic.edu/viscom

Recent Visiting Designers

The extensive and recently renovated department facilities include:

DANIEL SEOL L I F E + B O O K, 2017

Maura Frana Martin Venezky Warren Lehrer Antonio Alcala Lucille Tenazas Lorraine Wild Karen and Philip Zimmermann Design Information Alliance Katherine McCoy Design for Democracy Plazm Arem Duplessis Sol Sender Rick Valicenti Marcia Lausen Paul Elliman Mark Addison Smith

FACILITIES

Graduate students have the curricular freedom and resources to transcend the traditional boundaries of design, whether it is through the creation of new hybrid media, forms of cultural expression, or interaction and experience.

Graduate studios with office or studio work spaces

Networked computer software template

Large screen monitors

Resource room (design journals, media, and publications)

SAIC Service Bureau (binding, papers, and large format printing)

Fully equipped letterpress and type shop

LI HAN DEBACH-THE VISUALIZATION OF BACH’S “WELL-TEMPERED CLAVICHORD”, 2016-2017

PETER BECK SIMPLE TOOLS, 2014

FATMA AL-REMAIHI UNTITLED (MY ARMY), 2015

MASTER OF FINE ARTS IN STUDIO

LOW-RESIDENCY MFA The Low-Residency MFA program is designed for the 21st-century artist whose work and life demands both a rigorous engagement with an artistic community as well as flexibility, fluidity, and a self-directed approach. saic.edu/lowres SAIC’s Low-Residency Master of Fine Arts program is open to artists, writers, educators, curators, and historians. The flexibly structured curriculum supports a three-year plan of study that integrates studio work with art history, theory, philosophy, and poetry. Three consecutive summer residencies at SAIC bring students together to create, construct, and critique work during six-week intensives structured through both studio- and classroom-based courses and symposia. Studio work builds toward a major thesis project with both exhibited and written components. Supported by faculty based at SAIC, students spend spring and fall semesters taking classes online and working remotely from a home studio, paired with a local SAIC program mentor. The three-year program is organized into three topic-driven themes that investigate the philosophy of art.

The first year focuses on the notion of attention. Students learn to mobilize the senses and construct objects to explore the process of capturing or destabilizing the attention of the viewer.

The second year, devoted to the subject of sensation, explores the thoughts, feelings, moods, and actions that drive the process of making.

The third year explores the history of perception, including theories of questioning the distinction between the viewing subject and the object of his or her perception.

SUMMER SESSIONS Summer sessions in the Low-Res MFA program consist of weekly colloquia and studio visits with faculty and visiting artists. A wide variety of readings—drawn from artists’ writing, art historical texts, literature, philosophy, and poetry— guide discussions that concentrate on methods of artmaking, distribution, and interpretation. Graduating students will use summer critique sessions to gain constructive feedback on the final stages of studio and written theses. In addition, a series of specialized professional practice courses are offered throughout the three years. During the first summer, students are introduced to online library resources and to all digital research, communication, and dissemination tools necessary for use during off-campus semesters. In the second summer, studio and gallery units throughout Chicago provide a starting point for practical and philosophical discussions about the production and dissemination of students’ work. In the final year, faculty support students in the development of networks, tools, resources, and contacts needed to continue transitioning from a graduate program to professional contexts.

CORE FACULTY D. DENENGE AKPEM GIOVANNI ALOI LEE BLALOCK GREGG BORDOWITZ IRINA BOTEA TOUFIC EL RASSI DELINDA COLLIER DANA DEGIULIO ANDREW FALKOWSKI LINDSEY FRENCH CLAUDIA HART KELLY KACZYNSKI TERRI KAPSALIS SETH KIM-COHEN JOHN NEFF HAMZA WALKER

VISITING ARTISTS AND SCHOLARS STEPHEN ANDREWS WAFAA BILAL MOYRA DAVEY CORRINE FITZPATRICK MIGUEL GUTIERREZ STEFFANI JEMISON RIVA LEHRER EILEEN MYLES TREVOR PAGLEN ANDREA RAY JASON SIMON PAMELA SNEED A.L. STEINER LYNNE TILLMAN WU TSANG

For complete faculty listing visit: saic.edu/lowres

CONNECTION WITH SAIC FACULTY AND VISITING ARTISTS A rotating core of SAIC faculty continuously delivers on-campus and online curricula through a range of methods, including individual and group critiques, one-on-one studio advising, seminars concerning art history and philosophy, technical labs, discussion groups, online forums, and thesis composition tutorials, as well as pedagogical and professional development workshops. During the summer residency, visiting artists spend weekends presenting their work, participating in the Graduate Studio Seminar and making studio visits. In addition to visiting artists and scholars who are new to our program, we will continue to welcome back a number of visitors who have been working with the program since its inception: Matthew Buckingham, Alejandro Cesarco, Andrea Fraser, Kira Lynn Harris, Zoe Leonard, Glenn Ligon, Josiah McElheny, Rodney McMillian, Helen Molesworth, and Yvonne Rainer. The returning artists and scholars are able to expand upon group discussions from the previous year and are an essential component of the growing Low Res MFA community. These practicing mentors and peers will serve as models for navigating the current art world and engaging MFA students in a collective learning experience—exchanging ideas and thinking in an environment committed to mutual support and constructive criticism.

CURRICULUM REQUIREMENTS Studio

Art History/Theory

Flex Credit Electives

TOTAL CREDIT HOURS

YEAR 1

YEAR 2

YEAR 3

Participation in all Graduate Studio Seminars

Participation in Graduate Exhibition or equivalent

SUMMER

FALL

SPRING

ANY SEMESTER

Graduate Studio Seminar (4.5 cr)

Completion of Flex Credit Electives

Art History/Theory: Attention (3 cr)

Graduate Projects: Independent Studio (3 cr)

Professional Practices: Digital Interfaces (1.5 cr)

Art History/Theory: Art Ideas (3 cr)

Art History/Theory: Writing Art (3 cr)

Graduate Studio Seminar (4.5 cr)

Completion of Flex Credit Electives

Art History/Theory: Sensation (3 cr)

Graduate Projects: Independent Studio (3 cr)

Art History/Theory: Special Topics (3 cr)

Thesis Composition (4.5 cr)

Professional Practices: Cultural Liaisons (1.5 cr)

Graduate Studio Seminar (4.5 cr)

Art History/Theory: Perception (3 cr)

Thesis: Public Presentation (1.5 cr)

Professional Practices: Expanded Networks (1.5 cr)

PIA CRUZALEGUI UNTITLED, 2016

“This artistic project actively provided fodder for scientific research.”

THE PERFORMANCE ARTIST

On a cold evening in January 2015, Water Street Studios in Batavia, Illinois opened its doors for its first solo exhibition. “Observations of Final States in Interactions,” a set of installations based on interviews with four physicists, was a conceptual workspace created by artist and SAIC alum Meghan Moe Beitiks. The multimedia show—which took place

The series comprises multimedia experiences

the process of building the gassing station,

just two miles down the road from Fermilab,

that use video, performative lecture, and

drawing from previous versions of ‘Lab for

the particle physics laboratory where Beitiks

audience interactivity to create what Beitiks

Apologies and Forgiveness,’” she explains.

conducted her research—utilized chalk

calls a “trans-human act.” The third in

drawings, video projections, quotes, and

the series—Beitiks’ final thesis project at

laboratory objects to draw parallels between

SAIC—involved performing scenes from

the interactions among subatomic particles

the movie Fat Man and Little Boy in the

and the human process for perceiving

context of a nuclear accident that occurred

self-identity. One review declared that the

in 1946 while instructing the audience

show “opens up communication between

to participate in various ways, including

the layperson and the physicist, who is

breathing along with a clip of John Cusack.

[both] studying and being studied.”

After receiving the Claire Rosen and Samuel

Beitiks, a 2013 MFA Performance alumna,

Edes Foundation Prize for Emerging Artists

is no stranger to challenging the divide

in 2014, Beitiks continued her work with

between scientific research and artistic

the bacteria at the University of Western

practice. While still a student at SAIC, she

Australia’s unique laboratory, SymbioticA,

became fascinated with the radioactive-

which provides space for artists to connect

uranium-breathing bacteria Geobacter

with residents and scientific staff. There she

sulfurreducens and developed the first three

built her own gassing station modeled after

of a series of performative pieces called

the air conditioning unit in the lab. “Over the

“Lab for Apologies and Forgiveness.”

course of the next three months, I wrote a script and crafted a performative lecture about

When an unidentified culture was found growing in one of the gassing station’s tubes, the scientists named the strain after Beitiks. “They have an honors student isolating that bacteria now,” she says. “So this artistic project actively provided fodder for scientific research.” Beitiks says that her conceptual critical thinking emerged while she still was making work as a student. “At SAIC you’re part of a real community of creators and thinkers and you’re being influenced from all sides. Everyone’s challenging you all the time, every day.”

PROJECT PROFILE THE PERFORMANCE ARTIST ALUMNA INVOLVED: Meghan Moe Beitiks

SUMMARY: An SAIC alumna challenges the conventional divide between the worlds of scientific research and artistic practice in her multimedia exhibition.

EMILY MARTIN, NATHANAEL JONES, CAROLINE MCCRAW MFAW THESIS READING, 2017

NATASHA MIJARES SANA SANA, 2017

TIM BUNGEROTH MFAW THESIS READING, 2017

REBECCA NAKABA AN ABRIDGED FIELD GUIDE TO MUSSELS OF THE PACIFIC COAST, 2016â&#x20AC;&#x201C;17

MALIKA BUKHARI MFAW THESIS READING, 2017

MASTER OF FINE ARTS IN WRITING

WRITING Writers at SAIC embrace the tensions within, between, and beyond the genres of writing to provoke passionate content and electrify form. saic.edu/mfaw

DAVID HALE HW-PI-“AUDREY”, 2017

Modeled on studio art training, SAIC’s two-year Master of Fine Arts in Writing (MFAW) program celebrates writing as art, and offers a fresh alternative to other workshop-driven programs. One-on-one graduate projects with stellar faculty are the heart of our curriculum, leaving room to imagine longer, wilder and more ambitious work.

ARTISTIC FREEDOM Students tap the unique potential of transdisciplinary writing in an art school, connected with a world-class art museum. They cross freely between poetry, fiction, playwriting, screenwriting, comics, non-fiction and electives from across the school into painting, performance, film, sculpture, fashion, photography, sound, etc. They get excited about flash fiction, epic verse, commercial novels, ekphrastic songs, poetic theater, comic books, printmaking…and they design their own track of interests.

ACCLAIMED FACULTY MENTORS MFAW faculty are highly regarded as leaders in their disciplines with awardwinning expertise. They maintain vibrant local, national, and international profiles, and teach to their passions. Equally extraordinary in the art of advising intuition, they fold and unfold what is possible.

FULL-TIME FACULTY SALLY ALATALO

PROFESSIONAL PREPARATION

JESSE BALL

Though we emphasize process, our writers also prepare to sustain robust careers with a diversity of professional techniques and skills from immersive workshops, interdisciplinary seminars and intimate critique panels. Our alumni not only exceed boundaries, they become leaders of new scenes and movements in the writing trade. They exhibit breathtaking innovation, independence and a generosity for the larger public good.

MARK BOOTH

Our trustee merit scholarships are awarded based on exceptional promise by the Admissions Committee. We offer a limited number of writing fellowships, teaching assistantships, incentive awards and small project grants. Our two MFAW fellowship awards for graduating writers are juried by such writers as Bhanu Kapil, Daniel Alexander (Jomama) Jones, Thalia Field, Eula Bliss, Ben Marcus and Fanny Howe. We also launched a one-year teaching fellowship award for one distinguished alumni.

RUTH MARGRAFF

Writing students who demonstrate a studio practice can apply for studio space and exhibit in the Sullivan Galleries’ MFA Spring Show. All graduating writing students are featured in our artisan publication Collected and many gain editorial and performance experience with the award-winning F Newsmagazine, student-curated lectures, Ballroom readings, and other presses, theaters, bookstores, salons and galleries in the greater Chicago area.

JANET DESAULNIERS CALVIN FORBES SARA LEVINE

JAMES MCMANUS BETH NUGENT

VISITING POET 2017–18 MAI DER VANG For complete faculty listing visit: saic.edu/mfaw

Recent Visiting Artists

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WRIT 5001 Writing Workshop

WRIT 5500 Topics in Writing Seminar

MFA 6009 Graduate Projects (minimum of 12 credits with writing advisors)

Electives

Courses at the 3000 level or above. Art History courses must be at the 4000 level or above

Participation in four graduate critiques

Inclusion in graduate publication or participation in the Graduate Exhibition or equivalent

Completion of the thesis

TOTAL CREDIT HOURS

Students may elect internships to satisfy up to 6 hours of elective credit.

ALEX SHAPIRO MFAW THESIS READING, 2017

Justin Torres George Saunders Cristina Henriquez Peggy Choy Dah Teatar (Serbia) Claudia Rankine Guy Maddin (in collaboration with the Chicago Humanities Festival) Soham Patel Helene Achanzar Noel Pabillo-Mariano Timothy Yu Fatimah Asghar Srikanth Reddy (with Kundiman) Brenda Lozano Luis Felipe Fabre Aguillón- Mata (with Make Literary Magazine) Ann Hamilton Caroline Bergvall Cathy Park Hong Roger Reeves Safiya Sinclair

CURRICULUM REQUIREMENTS

SHERAE RIMPSEY MEDDLING IN THE AFTERLIFE, 2016

no images

101

FRANCESCA UDESCHINI TRACCE, 2017

HANNAH BUDDIG, 2017

KARA SCHULTZ MY BODYBAG, 2016

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POST-BACCALAUREATE CERTIFICATE IN STUDIO Post-Baccalaureate students in Studio come from a wide range of academic disciplines, but they all share the same goal of elevating their creative practice to a new level of conceptual and technical proficiency. saic.edu/pbs

SAIC’s Post-Baccalaureate Certificate in Studio program provides students who have an undergraduate degree with an opportunity to expand their work in a large, professional fine arts school environment. The two-semester program is designed to help students develop their artistic visions and technical proficiency and produce strong bodies of work to position themselves competitively for admission to Master of Fine Arts (MFA) programs. Applicants may be individuals with a Bachelor of Arts or Bachelor of Science who need an additional year of studio experience to prepare a portfolio, individuals with a degree in art who wish to pursue work in a medium different from their undergraduate major, or international students requiring a year of intensive studio work typical of the United States educational system before beginning an MFA program. The curriculum combines the rigorous tutorial aspects of graduate school with the formal coursework of an advanced undergraduate program. Students supplement their studio work with two art history classes, a one-semester post-baccalaureate seminar (or equivalent studio work), and an optional studio seminar. They may choose to focus on one of the following departments:

Art and Technology Studies

Film, Video, New Media, and Animation

Printmedia

Ceramics

Painting and Drawing

Sound

Fiber and Material Studies

Performance

Visual Communication Design

Completion of the Post-Baccalaureate Certificate in Studio does not guarantee admission to SAIC’s MFA in Studio program. Credits taken while a Post-Baccalaureate student cannot be counted toward an MFA in Studio degree at SAIC should you later be accepted into that program.

CURRICULUM REQUIREMENTS Post-Baccalaureate Studio Seminar

Painting students take PBACC 5002

Visual Communication Design students take PBACC 5320

All others take a graduate seminar from area of concentration

PPBACC 5009 Post-Baccalaureate Projects

6-12

3-6 credits each semester from any studio area Studio

6-12

3-6 credits each semester from any studio area Art History

ARTHI 5002 Survey of Modern and Contemporary Art (3)

Art History course 2000 level or above (3)

Participation in two Graduate Critiques TOTAL CREDIT HOURS

2014 Whitney Biennial Artists who were SAIC Post-Bacc Students: Tony Lewis Elijah Burgher Molly ZuckermanHartung Rebecca Morris For more information about our graduation rates, the median debt of students who completed the program, and other important information, please visit our website at saic.edu/gedt/studio. 103

DESIGN PROGRAMS MASTER OF ARCHITECTURE Architecture Architecture, Option 2

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with an Emphasis in Interior Architecture with an Emphasis in Interior Architecture, Option 2

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MASTER OF SCIENCE Historic Preservation

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MASTER OF DESIGN Designed Objects

123

Fashion, Body and Garment

129

P O S T- B A C C A L A U R E A T E C E R T I F I C A T E Fashion, Body and Garment

133

105

ANNE KASPER AN INTIMATE STREETSCAPE

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DESIGN PROGRAMS The design curriculum atÂ SAIC encourages a mode of practice that is both rigorous and visionary in its unfolding. Through the schoolâ&#x20AC;&#x2122;s introductory and complex advanced-level studios which address a wide range of social, cultural, historical, economic, and technological issues, SAIC is known for its integrated approach to design education and its commitment to nurturing a future-oriented ethos for both studentsÂ and faculty. The Masters of Architecture, Design, and Science degrees are course-based programs in the fields of architecture, interior architecture, designed objects, fashion, body and garment, and historic preservation. These programs expose students at an advanced level to the strategies, histories, and aesthetics of design practice in its many forms. Within a teaching format that combines studios, labs, seminars, and fieldwork augmented by art and design history and visual studies curricula, design students engage in both material and conceptual explorations that take advantage of the art school setting. Central to each program is a core discipline-based curriculum that is enhanced through a matrix of interdisciplinary offerings and electives. In pursuing their degrees, students at SAIC have access to an extensive range of production facilities, a robust visiting artist and designer program, numerous industry partnerships, site-based studios focused on the urban fabric of Chicago, and a strong network for internship placements. Whether studying within the NAAB-accredited Architecture program, gaining professional credentials in Historic Preservation, or engaging in research and fabrication through the Designed Objects or Fashion, Body and Garment programs, students operate within a dynamic setting that continually expands entrepreneurial and experimental modes of thinking.

SAIC is known for its integrated approach to design education and its commitment to nurturing a future-oriented ethos for both students and faculty.

107

MATTHEW HAMAKER, 2017

SEYCHELLE REED, 2017

SERGEY DUNAEV GENERATIVE ITERATION, 2016

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MASTER OF ARCHITECTURE Students in the MArch program learn the history, theory and technique of architectural design, developing the skills and critical thinking to excel in practice and to lead the discipline to new futures. saic.edu/aiado

SARAH AZIZ, 2017

The School of the Art Institute of Chicago offers a National Architectural Accrediting Board (NAAB) accredited Master of Architecture (MArch) degree: a full 3-year MArch and a two-year, accelerated MArch track for students with an undergraduate, pre-professional bachelor’s degree in architecture or architectural technology. In the MArch programs we teach through hands-on inquiry, experimentation and exploration, developing the skills and experience necessary for professional practice and the critical thinking necessary to expand the mandate of architecture, develop new ideas and formulate innovative modes of practice. Coursework combines project-based design studios organized around a timely intellectual focus, technical courses in building structures, systems, professional practice, architectural technology, and electives in architectural history and theory. We encourage MArch students to develop their practice by taking courses in other departments across SAIC and by applying to AIADO’s External Partnership courses. In their final year, students complete a rigorous comprehensive studio and pursue a self-directed design thesis under the supervision of faculty in the Department. Thesis project work is made visible through public presentations, critique and exhibitions.

C E RT I F I C AT E I N H I S T O R I C P R E S E RVAT I O N All MArch students have an opportunity to pursue a Certificate in Historic Preservation through coursework in SAIC’s Historic Preservation Program, one of the top programs in the nation. Working with Chicago’s rich history of historic structures, students gain expertise and experience with the practice, theory and science of preservation.

F U L L - T I M E F A C U LT Y ELLEN GRIMES LINDA KEANE THOMAS KONG ANN LUI CARL RAY MILLER ANDERS NEREIM BEN NICHOLSON DOUGLAS PANCOAST HENNIE REYNDERS, PHD JONATHAN SOLOMON TRISTAN D’ESTRÉE STERK

STUDIO AND BEYOND Through independent studios and joint ventures, students gain the ability to translate ideas into meaningful objects and environments. Recent industry projects and external partnerships include collaborations with the communities and institutions in and around Chicago, Chicago Architecture Biennial, CB2, Samsung, Industreal, Danese Milano, Tacoma Museum of Glass, Rossana Orlandi (Salone Internazionale del Mobile), Brand.It, Haworth, and Dupont Corian.

For complete faculty listing visit: saic.edu/aiado/faculty

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MASTER OF ARCHITECTURE (3 YEARS)

The Master of Architecture degree program begins with a foundation of required skills and grounding in the histories and theories specific to architecture, engineering, and design. Applications are open to students who have earned a Bachelor’s degree. Acadenuc and/or work experience in architecture, environmental or interior design, or related fields are recommended, but not required.

CURRICULUM REQUIREMENTS First Summer Intensive

(may be waived, depending on transcript review) AIADO 5004 Design Visualization (3) AIADO 5005 Design Materialization (3) First Year Fall

AIADO 5110 Arch/Inarch: Grad Studio 1 (6) AIADO 5113 Arch/Inarch: Construction Systems (3) ARTHI 5102 Spaces in Architectural History (3) Elective (3) First Year Spring

AIADO 5120 Arch/Inarch: Grad Studio 2 (6) AIADO 5123 Arch/Inarch: Structures 1 (3) ARTHI 5122 Critical Traditions: History of Architecture and Design (3) Elective (3) Second Summer (Off Campus)

(may be waived, depending on transcript review) Off-Campus Study Trip (3) Off-Campus Study Trip (3) Second Year Fall

ARCH 6110 Architecture: Grad Studio 3 (6) AIADO 6112 Arch/Inarch: Nodes/Networks (3) Art History Elective (3) Elective (3) Second Year Spring

ARCH 6120 Architecture: Grad Studio 4 (6) AIADO 6123 Arch/Inarch: Codes, Specs, Joints (3) Art History Elective (3) Elective (3) Third Year Fall

ARCH 6210 Architecture: Grad Studio 5 (6) AIADO 6212 Arch/Inarch: Choreographed Systems (3) AIADO 6213 Arch/Inarch: Thesis Strategies (3) Elective (3)

The third year culminates in work with artists in the wider SAIC community, with teams of artists and designers placing work in the public realm.

Third Year Spring AIADO 6221 Arch/Inarch: Structures 2 (3) AIADO 6222 Arch/Inarch: Practice Economies (3) TOTAL CREDIT HOURS Participation in scheduled graduate critiques Participation in Graduate Design Exhibition

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AIADO 6220 Arch/Inarch: Grad Studio 6: Thesis (9)

90102

MASTER OF ARCHITECTURE, OPTION 2 (2 YEARS)

Students with undergraduate pre-professional bachelor’s degrees in architectural studies, architectural technology, or interior design may be accepted into the two-year, 60-credit MArch, Option 2 program. Students must fulfill 45 credits of non-architectural collegelevel coursework as required for graduation from a NAAB-accredited Master of Architecture degree program. Students admitted into the Option 2 program may also be missing one or two specific topical architectural classes, and if so will be required to take those classes at SAIC.

CURRICULUM REQUIREMENTS First Year Fall

ARCH 6110 Architecture: Grad Studio 3 (6) AIADO 6112 Arch/Inarch: Nodes/Networks (3) ARTHI 5102 Spaces in Architectural History (3) Elective (3) First Year Spring

ARCH 6120 Architecture: Grad Studio 4 (6) AIADO 6123 Arch/Inarch: Codes, Specs, Joints (3) ARTHI 5122 Critical Traditions: History of Architecture and Design (3) Elective (3) Second Year Fall

ARCH 6210 Architecture: Grad Studio 5 (6) AIADO 6212 Arch/Inarch: Choreographed Systems (3) ARCH 6213 Arch/Inarch: Thesis Strategies (3) Elective (3) Second Year Spring

AIADO 6220 Arch/Inarch: Grad Studio 6: Thesis (9) AIADO 6221 Arch/Inarch: Structures 2 (3) AIADO 6222 Arch/Inarch: Practice Economies (3) TOTAL CREDIT HOURS

Participation in scheduled graduate critiques Participation in Graduate Design Exhibition

FA C I L I T I E S The Advanced Output Center 150w + 120w laser cutters 3D printers, including an Mcor that uses paper as building material, a Dimension that uses ABS filament, and an Objet that uses acrylic resin

The Sullivan Fabrication Studio Dedicated fabrication workshop equipped with a full range of hand tools and industrial wood and metal working machines including tablesaws, bandsaws, jointer, planer, mortiser, drill-press, sanders, lathe, etc.

3D scanners, including an Artec Eva, a Handyscan, a Point Cloud, and a NextEngine

Material sales center with sheet goods, hardwoods, plastics, foam, etc.

42” Colorwave 600 Printer and 32” TDS320 Printer

Assorted sewing machines for soft good production (industrial, walking-foot, saddle stitcher, p0ortable)

A flatbed scanner and a large format scanner

2 CNC Routers (4’x 8’ Highspeed; 2’x 2’ Prototyping) Large bed vacuum thermo-former (2’x 4’)

Mold making facility with plaster mixing, dust collection, fume extractor, and vacuum chamber Large high-flow paint and finishing hood Materials library Dedicated workspace in large, open-plan communal studios

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KIM ARCINIEGA, 2017

KATE BARBARIA, 2015

OLIVE OUYANG, 2016

LINA ALSHARIF, 2016

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MASTER OF ARCHITECTURE WITH AN EMPHASIS IN INTERIOR ARCHITECTURE

Students in the MArch with an Emphasis in Interior Architecture program gain all the expertise necessary for the practice of architecture, while developing the sensibilities specific to the growing field of Interior Architecture. saic.edu/aiado JULIE DALGA, 2014

The School of the Art Institute of Chicago (SAIC) offers two Master of Architecture (MArch) with an Emphasis in Interior Architecture degrees. Both are professional degrees accredited by the National Architectural Accrediting Board (NAAB). Unique among architecture graduate degrees, SAIC’s two MArch with an Emphasis in Interior Architecture options recognize and underscore the significance of architectural design where form, structure and enclosure are considered in proximity to materials, objects, human needs and experience. Housed within an interdisciplinary educational community, the degrees provide a provocative and intellectually stimulating context for exploring the social, cultural and technological implications of architectural spaces designed from the inside out. Interior Architecture is a growing professional field where architects have an increasing impact. In the MArch programs, we teach through hands-on inquiry, experimentation and exploration to develop the skills and critical knowledge necessary for the development of new spatial ideas and invention in the field of interior architecture. The curriculum is centered on a series of project-based studios supported by courses in building structures, building technology, professional practice and electives in architectural history and theory. MArch students are encouraged to develop and expand their practice by taking courses in other departments across SAIC, as well as by applying to AIADO’s External Partnership courses. In their final year, students complete a rigorous comprehensive design studio and pursue a self-directed design thesis under the supervision of faculty in the department.

STUDIO AND BEYOND Through independent studios and joint ventures, students gain the ability to realize impactful ideas into objects and environments across different scales. Recent industry projects and external partnerships include collaborations with the Chicago Architecture Biennale, CB2, Samsung, Industreal, Danese Milano, Tacoma Museum of Glass, Rossana Orlandi (Salone Internazionale del Mobile), Brand.It, Haworth and Dupont Corian.

For complete faculty listing visit: saic.edu/aiado/faculty

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MASTER OF ARCHITECTURE WITH AN EMPHASIS IN INTERIOR ARCHITECTURE (3 YEARS)

SAIC’s program is a carefully choreographed studio sequence, offering students all of the foundational skills required of an architect and the sensibilities required of the contemporary interior architect, with a grounding in the histories and theories specific to the design of interior spaces.

CURRICULUM REQUIREMENTS First Summer Intensive

(may be waived, depending on transcript review) AIADO 5004 Design Visualization (3) AIADO 5005 Design Materialization (3) First Year Fall

AIADO 5110 Arch/Inarch: Grad Studio 1 (6) AIADO 5113 Arch/Inarch: Construction Systems (3) ARTHI 5102 Spaces in Architectural History (3) Elective (3) First Year Spring

AIADO 5120 Arch/Inarch: Grad Studio 2 (6) AIADO 5123 Arch/Inarch: Structures 1 (3) ARTHI 5122 Critical Traditions: History of Architecture and Design (3) Elective (3) Second Summer (Off Campus)

(may be waived, depending on transcript review) Off-Campus Study Trip (3) Off-Campus Study Trip (3) Second Year Fall

INARC 6110 Interior Arch: Grad Studio 3 (6) AIADO 6112 Arch/Inarch: Nodes/Networks (3) Art History Elective (3) Elective (3) Second Year Spring

INARC 6120 Interior Arch: Grad Studio 4 (6) AIADO 6123 Arch/Inarch: Codes, Specs, Joints (3) Art History Elective (3) Elective (3) Third Year Fall

INARC 6210 Interior Arch: Grad Studio 5 (6) AIADO 6212 Arch/Inarch: Choreographed Systems (3) AIADO 6213 Arch/Inarch: Thesis Strategies (3) Elective (3) Third Year Spring

Artists, designers, and architects work beside one another and exchange conceptual and theoretical ideas during critical seminars.

AIADO 6221 Arch/Inarch: Structures 2 (3) AIADO 6222 Arch/Inarch: Practice Economies (3) TOTAL CREDIT HOURS Participation in scheduled graduate critiques Participation in Graduate Design Exhibition

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AIADO 6220 Arch/Inarch: Grad Studio 6: Thesis (9)

90102

MASTER OF ARCHITECTURE WITH AN EMPHASIS IN INTERIOR ARCHITECTURE, OPTION 2 (2 YEARS)

Students with undergraduate pre-professional bachelor’s degrees in architectural studies, architectural technology, or interior design may be accepted into the twoyear, 60-credit accelerated program. Students must fulfill 45 credits of non-architectural college-level coursework as required for graduation from a NAAB-accredited Master of Architecture degree program. Students admitted into the Option 2 program may also be lacking one or two specific topical architectural classes, and if so will be required to take those classes at SAIC.

CURRICULUM REQUIREMENTS First Year Fall

INARC 6110 Interior Arch: Grad Studio 3 (6) AIADO 6112 Arch/Inarch: Nodes/Networks (3) ARTHI 5122 Critical Traditions in the History of Architecture and Design (3) Elective (3) First Year Spring

INARC 6120 Interior Arch: Grad Studio 4 (6) AIADO 6123 Arch/Inarch: Codes, Specs, Joints (3) Art History (3) Elective (3) Second Year Fall

INARC 6210 Interior Arch: Grad Studio 5 (6) AIADO 6212 Arch/Inarch: Choreographed Systems (3) AIADO 6213 Arch/Inarch: Thesis Strategies (3) Elective (3) Second Year Spring

AIADO 6220 Arch/Inarch: Grad Studio 6 - Thesis (9) AIADO 6221 Arch/Inarch: Structures 2 (3) AIADO 6222 Arch/Inarch: Practice Economies (3) TOTAL CREDIT HOURS

Participation in scheduled graduate critiques Participation in Graduate Design Exhibition

FA C I L I T I E S The Advanced Output Center 150w + 120w laser cutters

The Sullivan Fabrication Studio

3D printers, including an Mcor that uses paper as building material, a Dimension that uses ABS filament, and an Objet that uses acrylic resin

3D scanners, including an Artec Eva, a Handyscan, a Point Cloud, and a NextEngine

2 CNC Routers (4’x 8’ Highspeed; 2’x 2’ Prototyping)

42” Colorwave 600 Printer and 32” TDS320 Printer A flatbed scanner and a large format scanner

Material sales center with sheet goods, hardwoods, plastics, foam, etc. Large bed vacuum thermo-former (2’ x 4’) Assorted sewing machines for soft good production (industrial, walking-foot, saddle stitcher, portable) Mold making facility with plaster mixing, dust collection, fume extractor, and vacuum chamber Large high-flow paint and finishing hood On-site materials library Dedicated workspace in large, open-plan communal studios

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“I think the environment we live in is shaped by what we, as a society, deem valuable enough to save.”

THE PRESERVATIONIST

Erin Weevers, a graduate student in Historic Preservation, spent an entire semester inching her way through the Roger Brown Study Collection (RBSC), climbing two winding stairways and meticulously measuring space from floor-to-

ceiling, wall-to-wall—even paying heed to a multitude of hanging objects. Through her SAIC internship experience she had landed a rare opportunity: to spend a semester as the collection’s Design Drawing and Curatorial Assistant. The Study Collection, a house museum

the house’s identity, and—in historic

says her SAIC experience at the

given to SAIC by artist and alumnus Roger

preservation terms—its integrity.

RBSC was worth every minute.

“I come from an architectural design

From Stone’s perspective, Weever’s

background, but this wasn’t like any

work has been invaluable.

Brown in 1997, is a repository of objects collected over a lifetime and carefully arranged in visual conversation. It is also a hands-on laboratory. “We try to get all aspects of the organization, documentation, and interpretation of the site keyed into academic programming whenever we

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project I’ve done,” she explains. “I went into it feeling well prepared because I had wonderful professors who taught me how to look at buildings, to understand

can,” says Lisa Stone, curator of the RBSC.

how and why they’re put together, and

“Any meaningful project that we have,

how their construction impacts use,

we try to offer to a student or class.”

functionality, and preservation.”

“Erin came on board when we were

“I think the environment we live in

starting to re-catalogue the entire

is shaped by what we, as a society,

collection,” adds Stone, “and even though

deem valuable enough to save—and

we had floor plans of most of the site

I’ve learned that this should be an

we needed good elevation drawings.”

intentional and thoughtful process.”

Weevers created interior elevations, plans,

After graduation, Weevers took a

and details of the entire second floor,

job as a curatorial assistant for the

honoring Brown’s original arrangements,

University of Alberta Museums and

“Erin took on this project like it was a piece of cake. She did a really marvelous job because she understood the space and what we wanted to do. We’ll use the plans she created forever.”

PROJECT PROFILE THE PRESERVATIONIST FACULTY INVOLVED: Lisa Stone other Historic Preservation faculty

STUDENT INVOLVED: Erin Weevers

SUMMARY: A graduate student in Historic Preservation lands a rare opportunity to spend a semester preserving the integrity of a lifetime of collections.

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MASTER OF SCIENCE

H I S T O R I C P R E S E R V AT I O N SAIC’s dynamic Master of Science in Historic Preservation (MSHP) prepares graduates to conserve, restore, and revitalize the built environment through the comprehensive exploration of science, history, creative arts, politics, and technology. saic.edu/mshp

SAIC’s MSHP program is an intensive two-year, 60-credit program covering restoration design, materials conservation, architectural history, preservation planning, and specific areas of interest through elective coursework. Students gain valuable professional experience through internships, and investigate an area of personal and professional concern in great depth through a two-semester thesis tutorial. Graduates go on to become preservation planners, consultants to restoration architects, historic interior designers, historic site managers, historic building materials consultants, contractors, site interpreters, preservation researchers, and advocates.

CONNECTIONS AND FIRSTHAND EXPERIENCE MSHP faculty are respected professionals who believe that preserving and reusing historic buildings, furnishings, sites, and landscapes creates continuity between the past, present, and future, and contributes significantly to the health of our culture and society. Their professional affiliations in Chicago and abroad provide a powerful network of connections. MSHP students complete a 210-hour internship with preservation agencies, conservators, restoration architects, or designers of their choosing. This hands-on experience exposes students to the latest preservation techniques and provides one-on-one involvement with practicing professionals.

C H I C A G O – A L I V I N G L A B O R AT O RY The program uses Chicago as a laboratory, and nearly all department projects involve Chicago or Chicago-area buildings and sites, often resulting in community-based projects that serve the public. An excellent example is the Recent Past Survey, an ongoing project documenting buildings of the mid20th century in Cook County, Illinois. Many of these buildings went unrecognized as significant by their communities prior to the work of the Recent Past Survey program. The program’s effort was heralded in local newspapers and on the radio, and has helped these forgotten treasures gain new respect in their neighborhoods.

F U L L - T I M E F A C U LT Y ROLF ACHILLES RICHARD FRIEDMAN DON KALEC MICHAEL LAMBERT JIM PETERS CHARLES PIPAL LYNETTE STUHLMACHER ANNE SULLIVAN R. TERRY TATUM NEAL VOGEL TIM WITTMAN For complete faculty listing visit: saic.edu/mshp

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THESES Wacker’s Manual: Tool for Progressive Reform and Model for City Planning Education Preserving Affordable Housing in Chicago’s Residential Hotels The Making of North Kenwood Preserving Canada’s First Subway: Vitrolite and the TTC A Mitzvah in Historic Preservation: The Need for Conservation of Roman Jewish Stone Epitaphs The Influence of Historic Preservation on Urban Neighborhood Revitalization Perkins Off the Prairie: The Collected Works of Dwight H. Perkins 988 Foundries: Geography of Historic Chicago Foundries 1904-1927 National Museum of Mexican Art: A Preservation Plan Unmanned Aerial Vehicle (UAV) Utilization as a Tool for Documentation

CURRICULUM REQUIREMENTS First Year Fall

HPRES 5002 Archival Documentation (3) HPRES 5003 Historic Materials and Technology (3) HPRES 5006 History and Theory of Historic Preservation (3) HPRES 5008 Physical Documentation (3) HPRES 5014 Preservation Planning (3) First Year Spring

HPRES 5010 Restoration Design Studio (3) HPRES 5012 Building Diagnostics (3) HPRES 6008 Preservation Law (3) ARTHI 4505 History of American Commercial and Civic Architecture (3) or ARTHI 4509 History of American Residential and Institutional Architecture (3) or Elective (3) Second Year Fall

HPRES 5015 Preservation Planning Studio (3) HPRES 5543 American Interior Design (3) HPRES 6006 Building Conservation Lab (3) HPRES 6010 Thesis I (3) Electives (3) Second Year Spring

ARTHI 4505 History of American Commercial and Civic Architecture (3) or ARTHI 4509 History of American Residential and Institutional Architecture (3) HPRES 6014 Thesis II (3) Electives (9) TOTAL CREDIT HOURS

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TEAGAN CHATTERLEY MULTEA TOOL, 2017

LOUIS KISHFY SEXTING ROULETTE KIOSK, 2016

SONIYA KHASGIWALE, 2017

YING CUI, 2017

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MASTER OF DESIGN

DESIGNED OBJECTS The MDDO is a professional degree program with a taught curriculum that offers students the critical skills to imagine and create meaningful objects, systems, environments and experiences while challenging the boundaries of the field of design itself. saic.edu/aiado

DEFINING THE NEXT DESIGNER Designers reimagine the objects and systems that mediate our daily lives. Borrowing critically from product, furniture, interaction, and systems design, the MDDO program teaches designers to be agents of change who maintain an expansive understanding of the object. We encourage MDDO students to develop their practice by taking courses in other departments across SAIC and by applying to AIADOâ&#x20AC;&#x2122;s External Partnership courses. Future designers need to be thinking designers - practitioners willing to explore unknown territory and work with problems not yet defined. By establishing open platforms for rigorous thinking and making, the department encourages students to challenge the fluid borderline that outlines design, opening the profession to unexpected possibilities.

JAY HYUN KIM COSMOS, 2016

The MDDO is a two-year, 66-credit program with a carefully sequenced, course-based curriculum built for students who seek immersion in the critical and technical skills specific to the extended practice of object design. Providing a creative and intellectual context in which designed things are closely examined, the MDDO program focuses on the critical rethinking of objects and the changing relationship between things, ideas, users, and contexts. Though the program is grounded in experimental practice, students are challenged to find their individual voice as a designer. This important aspect of the program is manifested in the diversity of thesis projects, where students employ experimental, commercial, critical, social, or speculative approaches to design.

F U L L - T I M E F A C U LT Y ILONA GAYNOR MICHAEL GOLEC PETER OYLER TIM PARSONS JIM TERMEER BESS WILLIAMSON

For complete faculty listing visit: saic.edu/aiado/faculty

M D D O V E R S U S M FA In contrast to the MDDO, the two-year Master of Fine Arts (MFA) in Studio, Designed Objects is for students with previous experience and a strong portfolio in three-dimensional design practice, and the ability to self-manage an extended program of independent study. The tutorial structure of the MFA in Designed Objects allows students to pursue independently directed projects while working with faculty advisors on a one to one basis each semester. 123

CURRICULUM REQUIREMENTS First Summer Intensive

DESOB 5050 Refresh: Summer Intensive (6) First Year Fall

DESOB 5150 Studio 1: Reset (3) DESOB 5152 Research Methods Lab (3) DESOB 5154 Global Reset Studio Seminar (3) ARTHI 5120 Survey of Modern and Contemporary Arch. and Design (3) Elective (3) First Year Spring

42” Colorwave 600 Printer and 32” TDS320 Printer

DESOB 5160 Studio 2: Discover (4.5)

A flatbed scanner and a large format scanner

DESOB 5164 Material Intelligence Studio Seminar (3)

DESOB 5162 Prototyping Methods Lab (1.5) ARTHI 5105 Theories of Things: Art/ Design/ Objects (3) Elective (3)

The Sullivan Fabrication Studio

Second Year Fall

Dedicated fabrication workshop equipped with a full range of hand tools and industrial wood and metal-working machines including tablesaws, bandsaws, jointer, planer, mortiser, drill-press, sanders, lathe, etc.

DESOB 6154 Material Futures Studio Seminar (3)

Material sales center with sheet goods, hardwoods, plastics, foam, etc. 2 CNC Routers (4’x 8’ Highspeed; 2’x 2’ Prototyping)

DESOB 6150 Thesis Studio 1: Initiate (6) Elective or internship (3) Elective (3) Second Year Spring

DESOB 6160 Thesis Studio 2: Manifest (4.5) DESOB 6162 Positioning Methods Lab (1.5) DESOB 6164 Leadership Matters Studio Seminar (3) ARTHI 6120 Critical Issues in Designed Objects (3) Elective (3) TOTAL CREDIT HOURS

Participation in scheduled Graduate Critiques Participation in Graduate Design Exhibition

Large bed vacuum thermoformer (2’ x 4’)

Mold-making facility with plaster mixing, dust collection, fume extractor, and vacuum chamber Large high-flow paint and finishing hood On-site materials library Dedicated workspace in large, open-plan communal studios

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CHANG LIU CRYLUS, 2016

Assorted sewing machines for soft good production (industrial, walking-foot, saddle stitcher, portable)

SI CHEN, 2017

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“Leo Burnett was first on my list.”

THE INTERNSHIP

SAIC’s Career and Professional Experience (CAPX) office, offering over 500 national and international internships with a broad array of employers, plays a vital role in SAIC’s integrated student experience. Advisors work closely with students to develop a personalized career path allowing them to earn course credit while forming important career connections and gaining valuable practical experience in their field of study. For Visual Communication Design student

campaign and ultimately presented it to the

her coursework at SAIC for preparing her

Yi Qu, the support of the Internship program

client, gaining invaluable experience that

to take on this role. “The VCD program

was vital. She worked closely with advisors to

complemented her own work as a designer.

provided an open environment where I

select companies and interview for the ideal internship to round out her MFA experience.

“The most interesting thing I learned as a creative intern is to make everything

“English is not my first language, so my

inviting and fun to read,” says Qu,

interviews took a little more time than

whose MFA thesis work explored the

others,” she explains. But she had her eye on

temporal nature of text-based works.

the prize: “Leo Burnett was first on my list.”

When her internship ended, Qu turned to the

In the summer of 2014, Qu achieved her

CAPX office to get help revising her resume

goal and got a glimpse into the world of

and preparing for an even bigger prize -

global advertising. As a Creative Intern at Leo Burnett Chicago, one of the world’s

interviewing for a full-time job at Leo Burnett.

premier advertising agencies, she led

Her success with the Kraft campaign had

a team that created a new integrated,

given her the edge: Qu is now the Junior

non-traditional campaign to launch

Art Director at Leo Burnett, where she

Kraft String Cheese. Qu steered concept

works on generating ideas for pitches,

development, the look and feel of the entire

branding, and launching public designs. She credits not just the CAPX office but

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could explore the balance between guidance and self-direction. And it really helped me have design thinking as an art director.”

PROJECT PROFILE THE CO-OP INTERNSHIP STUDENT INVOLVED: Yi Qu

ORGANIZATION INVOLVED: Leo Burnett

SUMMARY: An SAIC internship provides a student with an invaluable real-world experience that complements her own work as a designer.

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RONG ZHANG , 2017

ALE XIA ROACH , 2017

NICK MAHSHIE, 2017

SH UANG GUO (SHALY ), 2017

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MASTER OF DESIGN

FA S H I O N , B O D Y A N D G A R M E N T SAIC’s groundbreaking Master of Design in Fashion, Body and Garment moves beyond the merging of fine art with fashion design to explore the body in motion, on show, in suspension, in conversation, and immersed in the world. saic.edu/mdfbg

VINCENT YU, 2017

This intensive, two-year program begins with an investigation of the intimate relationship of garment as second skin and expands to the exploration of fashion within the context of community, sustainability, technology, and the industry. The trajectory, leading up to the final Design Thesis Exhibition, is built upon the students’ prior working knowledge of their fashion sensibility, their design and construction skills, and their overall technical capabilities. Students expand upon their foundation through dedicated design studios, topical seminars, self-directed research, and technical labs, bolstered by required design history and theory courses. In the final year, students may take coursework from across SAIC’s acclaimed departments — Sculpture, Performance, Art and Technology Studies — to complement and support their design practice.

C O N N E C T I O N S A N D I N N O VAT I O N S Students engage directly with the department’s internationally renowned faculty of fashion innovators, including premier visionary Nick Cave and designer Liat Smetstad. The required Professional Practice Seminars introduce students to business strategies, marketing, and designer-branding concepts. Graduates from the Fashion, Body and Garment program are well prepared to be responsive participants dynamically engaging the contemporary fashion and art world; they are working within design studios, practicing on their own, and displaying their work within gallery, installation, performance, and theatrical settings.

SPECIALIZED RESOURCES SAIC’s Fashion Resource Center is a vital hands-on collection of late 20th- and 21st-century designer garments and accessories representative of extreme innovation. The collections of the Art Institute of Chicago, the Visiting Artists Program’s ambitious lecture series, the large-scale annual fashion show at SAIC, and the many design initiatives underway at SAIC provide a wellspring of possibility for a graduate student championing far-flung notions of fashion.

F A C U LT Y NICK CAVE ABIGAIL GLAUM-LATHBURY ANKE LOH KATRIN SCHNABL LIAT SMESTAD

For complete faculty listing visit: saic.edu/mdfbg

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CURRICULUM REQUIREMENTS First Year Fall

FASH 5310 Design Studio 1: Dress, Un-Dress, Re-Dress (6)

In the final year, students may take coursework from across SAIC’s acclaimed departments —Sculpture, Performance, Art and Technology Studies—to complement and support their design practice.

ARTHI 5311 Advanced Fabrication Lab (3) ARTHI 5002 Survey of Modern and Contemporary Art (3) or ARTHI 5120 Survey of Modern and Contemporary Architecture and Design (3) Elective (3) First Year Spring

FASH 5330 Design Studio 2: Interfacing Fashion (6) ARTHI 5561 Critical Perspectives in Fashion, Body and Garment II (3) Electives (6) Second Year Fall

FASH 6310 Design Studio 3: Contextualizing Fashion (6) ARTHI 5560 Critical Perspectives in Fashion, Body and Garment (3) FASH 6315 Seminar: Professional Practice (3) Elective (3) Second Year Spring

FASH 6330 Design Studio 4: Fashion, Fusion, Vision (6) FASH 6335 Seminar: Professional Practice 2 (3) Elective (3) Art history elective (3) TOTAL CREDIT HOURS Participation in four Graduate Critiques Participation in Graduate Design Exhibition

SAUMITRA CHANDRATREYA, 2017

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NELSON CANTADA, 2017

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BERFIN ATAMAN, 2017

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P O S T- B A C C A L A U R E AT E C E R T I F I C AT E

FA S H I O N , B O D Y A N D G A R M E N T Through an invigorating, accelerated curriculum, the PostBaccalaureate Certificate in Fashion, Body and Garment prepares students for the rigor and challenge of a master’s program or professional work in the fashion industry. saic.edu/pbfbg SAIC’s Post-Baccalaureate Certificate in Fashion, Body and Garment provides students who have an undergraduate degree with an opportunity to further develop their technical and conceptual skills in a large, professional fine arts school environment. Some students enter the program as a transitional preparation for graduate school, while others seek its practical groundwork for internships and careers in the fashion industry. Applicants to the program include students with a bachelor’s degree who need an additional year of foundational work to prepare a portfolio, individuals with an undergraduate or graduate degree in art who wish to pursue work in fashion design, or international students seeking to complete a year of intensive studio work typical of the U.S. educational system before beginning a master’slevel program in design. The curriculum offers formal coursework with methods- and materials-oriented labs, studio research and development, and art and design history courses. The course-based, three-semester intensive advances students’ skills in engaging with cloth as a medium and guides each student through the creation of a personal fashion collection. Through a combination of dedicated design studios, topical seminars, self-directed research, technical labs, design history and theory courses, plus a wide range of electives, students explore a breadth of possibilities yet achieve an in-depth focus within their individual practices. KELLEY O’BRIEN, 2017

Summer Intensive

FASH 5101 Design Studio I (6) Fall Semester

FASH 5110 Design Studio II (6) FASH Elective (3) ARTHI 2566 History of Dress (3) or ARTHI 4560 Defining Contemporary Dress (3) Spring Semester

FASH 5130 Design Studio III (6) FASH Elective (3) ARTHI 3567 Dress and Society (3) or ARTHI 4562 Shape of Contemporary Dress (3) TOTAL CREDIT HOURS Participation in two Graduate Critiques

F A C U LT Y NICK CAVE ANKE LOH

For more information about our graduation rates, the median debt of students who completed the program, and other important information, please visit our website at saic.edu/ gedt/fashion.

AUBRIE MEYER LIAT SMESTAD For complete faculty listing visit: saic.edu/pbfbg

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ACADEMIC PROGRAMS MASTER OF ARTS Art Education

139

Teaching

143

Art Therapy and Counseling

147

Arts Administration and Policy

153

Modern and Contemporary Art History

157

Dual Degree Program

161

New Arts Journalism

165

Visual and Critical Studies

169

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MASTERS PROGRAMS Informed. Embedded. Activated. Responsive. Reinvigorated. These terms sketch out a rough profile of the academic scholarship and professional preparation that are characteristic of SAIC’s Master of Arts degrees. Within the crucible of an art and design school, the departments of Modern Art History, Theory, and Criticism; Visual and Critical Studies; Arts Administration and Policy; Art Education; Art Therapy; and New Arts Journalism encourage graduate students to reforge their identities as researchers, writers, cultural leaders, pedagogues, and therapists in response to the richness of a studio and museum school. The activated working environment of SAIC and its position within the urban fabric of Chicago are extraordinary motivators for scholarship to take on new forms in relation to dynamic settings. In addition to the thriving studio, lab, and seminar culture at SAIC, the school’s distinctive atmosphere is shaped by its historical integration with the Art Institute of Chicago, which has formed a single entity with SAIC since the late 19th century. Students have unrestricted access to the Art Institute’s exhibition spaces and the Ryerson and Burnham Libraries. Research resources at SAIC are uniquely resonant with the history of the school. In addition to the materials and digital resources available through the newly renovated John M. Flaxman Library, SAIC is home to the Fashion Resource Center, Joan Flasch Artists’ Book Collection, Randolph Street Gallery Archives, 16mm Film Study Collection, and the Video Data Bank. Additionally, we see the city of Chicago as yet another kind of library—a “living resource” that continues to activate and challenge our presumptions, perspectives, and research. Over the years, SAIC has developed relationships with the Department of Cultural Affairs and Special Events; Chicago Public Schools; Chicago Park District; the University of Chicago’s Art, Science, and Culture Initiative as well as numerous museums, galleries, and fieldwork placement sites. Situated in this historic city, SAIC and the Art Institute together hold some of the most important records of cultural activity associated with any art and design school in America. The reputation of our exceptional academic programs is testament to the power that comes from place. Studio, seminar, library, archive, museum, city—each of these make up the expanded classrooms that are SAIC.

The activated working environment of SAIC and its position within the urban fabric of Chicago are extraordinary motivators for scholarship to take on new forms in relation to dynamic settings.

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138

MASTER OF ARTS IN

ART EDUCATION SAIC’s Master of Arts in Art Education program educates exceptional artists, designers, teachers, curators, educators, and activists while contributing to the creation of a culture that values diversity, creativity, and social justice. Our students pursue research and fieldwork in established art education settings as well as in fields such as environmentalism, social practice, science, health, human rights and literacy. saic.edu/maae The 36-credit Master of Arts in Art Education (MAAE) program is designed for those seeking skills to be effective art and design educators and agents of change. Courses engage such topics as social theory for artists, museum studies, ethical and pedagogical issues, and art history. Degree candidates supplement their research-based practices with electives in areas such as studio arts, design, exhibition studies, arts administration, art and design education, art history, writing, visual and critical studies, and professional experience in fieldwork and internships. The program culminates in a written thesis, or a thesis project that combines a written component with other media, developed through a sequence of courses in which students formulate areas of interest, research focus, and a fieldwork project. The thesis is presented in a public symposium and submitted to the library.

CRITICAL CITIZENSHIP A key concept in the MA in Art Education program is that of the critical citizen—an individual who is self-reflective, has a deep concern for the lives of others, and actively questions and challenges the social, political, and cultural structures and discourses that comprise everyday life. Critical citizenship constitutes the active, democratic engagement of educators and learners in the production and exchange of all forms of social and cultural communication.

FIELDWORK, PRACTICAL EXPERIENCE, AND OUTCOMES

FULL-TIME FACULTY ADAM GRETEMAN

Students actively engage in professional practice during their course of study through a fieldwork component which may be located at a museum, community organization, arts education organization, nonprofit, or other site directly related to the individual student’s career goals or interests.

OLIVIA GUDE

Additionally, the program’s location in Chicago offers myriad opportunities to interpret and teach art, design, and visual culture in diverse community settings. The accomplishments of our graduates are many. Recent MAAE students have worked at the Art Institute of Chicago, Museum of Contemporary Art, Chicago Children’s Museum, Chicago Park District, Chicago Public Schools, Street-Level Youth Media, Project Onward, Insight Arts, Rumble Arts Center, South Side Community Art Center, Young Chicago Authors, Louder Than A Bomb, The Resource Center, Trilogy Behavioral Healthcare, Harold Washington Library, Birmingham Southern College, Story Catchers Theatre, Batavia Artists Association, Hubbard Street Dance, Little Village High School, and NEXT.cc.

NICOLE MARROQUIN

ANDRES L. HERNANDEZ DREA HOWENSTEIN

JOHN PLOOF JAMES ELNISKI

For complete faculty listing visit: saic.edu/maae

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THESES

Museum Game Night: How a Pop Pedagogy Program Went Viral, Transgressed Museum Code and Brought Young Adults Into the Museum

Sisterhood is Still Powerful: Creating Feminist Spaces Through Participatory Art

Representation in Children’s Literature and Storytelling in Art Education

Getting Lost: An Always-On Immersion Within Art Museums’ Contemporary Social Media‚ Collaboration in a Makerspace For

Art Education Seminars

ARTED 5028 ARTED 5030 ARTED 5109 ARTED 5125 ARTED 5210 ARTED 5116 ARTED 5900 ARTED 6030

Art as a Social Force (3) Museum as Critical Curriculum (3) Dialectical Practices in Research & Cultural Production (3) Doing Democracy (3) Cyberpedagogy or Cyberpedagogy Lab (3) Interpretation: Exploring Meaning & Identifying Bias (3) Cultural Approaches to Production (3) Museum Education: History, Theory & Practice (3)

Art History

Emphasis Area Electives*

Programs: Exploring the Issues of Voice, Time, Immediacy and Control

Art Education Art History, Theory, and Criticism (4000-level and above) Arts Administration and Policy Designed Objects Design Education Exhibition Studies Fieldwork/SAIC internship Historic Preservation Liberal Arts Studio Writing 9

ARTED 6105 Fieldwork (3) ARTED 6109 Thesis I: Research Methodologies (3) ARTED 6110 Thesis II: MAAE (3)

TOTAL CREDIT HOURS

* Emphasis area electives are chosen in consultation with the program director or faculty advisor. A minimum of six credits of electives must be at the graduate level.

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Choose three courses in any combination of:

Through Art: Advocating for

ARTHI 5002 Graduate Survey of Modern & Contemporary Art (3)

Social Media in Art Museum Teen

Communication and Collaboration

Choose three of the following:

Professional Core

Monumental Public Art

ARTED 5103 Social Theory for Artists & Cultural Workers (3) ARTED 5105 Ethical and Pedagogical Issues (3)

Developmental Disabilities

Critically Transforming Chicago’s

the Rights of Students With

A Guide to “Formless Growth”: Democratic Educational Space

Required Art Education Seminars

Artists With Dis/Abilities

CURRICULUM REQUIREMENTS

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MASTER OF ARTS IN

TEACHING The Master of Arts in Teaching program nurtures a unique kind of art educator who is both professionally grounded in practice and engaged in the larger discourse around contemporary visual culture, social justice, and community-based change.

saic.edu/mat

The 48-credit Master of Arts in Teaching (MAT) teacher preparation program prepares candidates to become critical teachers of art and visual culture. The program meets the current requirements for the State of Illinois K-12 Visual Arts Professional Educator License. SAICâ&#x20AC;&#x2122;s teacher preparation program includes training in both elementary and secondary settings. The MAT program is committed to a vision of art education that supports community engagement and social justice through the development of rigorously informed and engaged teachers. Candidates in the MAT program learn to interpret and teach art and visual culture while fostering empowerment and meaningful participation in a democratic environment for all students. Chicago, as the vibrant base of the program, offers opportunities to interpret and teach art and visual culture in diverse community settings, including schools, museums, and galleries. The curriculum is grounded in seminars that address ethical and pedagogical issues, the history and philosophy of public education, and cyber-pedagogy, which introduces the use of digital technologies in cultural production and art education. To complete their studies, MAT candidates present thesis topics emphasizing their areas of interest and academic and artistic strengths. Previous thesis topics include using stop motion animation to engage gender stereotypes in elementary schools, the role of digital media in developing culturally relevant pedagogy, critical explorations of community in art education, and graffiti- based arts curriculum.

FIELDWORK AND CLINICAL EXPERIENCE MAT candidates complement their rigorous academic training with more than 550 hours of hands-on experience in Chicago classrooms. Pre-clinical fieldwork begins with an observation practice that focuses on classroom management, teacher feedback, curriculum development, and diversity issues. Faculty supervisors work closely with MAT candidates during their teaching apprenticeships by visiting their schools and offering extensive evaluations and one-on-one mentorship. This applied education offers candidates a direct view of contemporary public education, along with the experience to interpret and teach art and visual culture in a classroom setting. MAT candidates enrich and deepen their academic and clinical practices by attending or participating in public educational events, including a yearly Teachers for Social Justice Curriculum Fair, Chicago School Board meetings, community activist events, exhibitions, readings, and film screenings.

FULL-TIME FACULTY JAMES ELNISKI ADAM J. GRETEMAN OLIVIA GUDE ANDRES L. HERNANDEZ DREA HOWENSTEIN NICOLE MARROQUIN JOHN PLOOF For complete faculty listing visit: saic.edu/mat

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CRITICAL CITIZENSHIP A core aim of the MAT program is to teach degree candidates to respond to the needs of contemporary learners through active and reflective interactions with visual culture.

The city of Chicago is a vibrant classroom that offers opportunities to interpret and teach art and visual culture in diverse community settings.

SAIC’s interdisciplinary spirit is present in the MAT program; teacher candidates are encouraged to augment their critical and academic work with electives in other fine arts disciplines, such as painting and drawing, sculpture, performance, and filmmaking. SAIC understands that many of its future teachers are also artists and therefore encourages candidates to enrich their courses of study with foundational studio-based practices.

CURRICULUM REQUIREMENTS Teacher Preparation Core

SAIC’s teacher preparation program meets current requirements for the Illinois K-12 Visual Arts Professional Educator License. Although SAIC’s teacher preparation coursework often meets the teacher licensure requirements for other states and countries, SAIC cannot guarantee that an Illinois Professional Educator License will be honored outside of Illinois.

Preclinical and Clinical Fieldwork

ARTED 5290 Graduate Art Education Thesis (3) ARTED 6110 Thesis II: MAT (3)

Electives—advanced art/design history, studio, or art/design analysis, chosen from the graduate areas, including studio areas, Art History, Exhibition Studies, or Arts Administration and Policy

ARTED 6190 Fieldwork: Elementary & Secondary Experiences (3) ARTED 6290 Apprentice Teaching (9)

Thesis Research

ARTED 5011 Understanding Curriculum (3) ARTED 5105 Ethical & Pedagogical Issues (3) ARTED 5120 Histories, Theories, and Philosophies of American Public Education (3) ARTED 5125 Doing Democracy: Pedagogies of Critical Multiculturalism (3) ARTED 5200 Cyberpedagogy (3) ARTED 5211 Curriculum & Instruction (3) ARTED 5220 Psychological, Sociological, and Phenomenological Approaches to Teaching (3) ARTED 6100 Cultural Approaches to Production (3)

Completion of the thesis

TOTAL CREDIT HOURS

THESES

144

Clay as a Social Medium: Utilizing Technology in the Ceramic Arts Classroom Body Multiples: Exploring the Relationship Between Body and Identity Through Performance and Video Media Mash-up: When High School Students ‘Talk Back’ to the News Past Present, Future Perfect?: Mythologizing the Self With Adolescents Playing Seriously: A Study of “Potential Space” in the High School Art Classroom Everyday Life in the Art Classroom: Engaging in Ideas of Resilience and Resistance Through Collaborative Retablos Take a Step Back to Move Forward: Learning About Art History With High School Students Through a Critical Book Binding Project Animating Gender: Kindergarten Students Using Stop Motion Animation to Explore Gender Stereotypes in Popular Culture What is Culturally Relevant Pedagogy?: Teaching Digital Media Projects With High School Students in the Chicago South Side as an Insider and Outsider Out of the Classroom and Into the Spectacle: Exploration, Disruption, and Transformation of School Spaces Through Interventionist Art Practices

145

146

MASTER OF ARTS IN

ART THERAPY AND COUNSELING SAIC’s Master of Arts in Art Therapy and Counseling program cultivates influential, compassionate leaders who are critically engaged with the social and cultural contexts surrounding artmaking and healing. saic.edu/maatc

The Master of Arts in Art Therapy and Counseling (MAATC) program is a national leader in articulating the role of the artist and art therapist. MAATC students are fully engaged in the intellectual dimensions of art therapy theory, research, and philosophy, as well as important trends in related fields such as contemporary art, counseling and psychology. The MAATC curriculum is designed to meet the standards for post-graduation application for Registration and Board Certification with the Art Therapy Credentials Board, as well as the academic requirements to sit for the Illinois counseling licensure tests and similarly designed exams in other states.

LEADING PRACTITIONERS, EXPERIENCE, AND CONNECTIONS The departmental faculty members, due to their combined clinical experience and scholarly and artistic backgrounds, have helped establish social service resources across the U.S. and around the world. They have contributed to the profession through publications, presentations, exhibitions, clinical innovations, and professional leadership, and students benefit from their commitment to the field and their vast array of professional connections. Additionally, students embark upon professional practice through required fieldwork experience, which may be selected from a diverse array of healthcare and social service settings, including psychiatric facilities, residential care, schools, community organizations, drug treatment centers, and correctional facilities. Exposure to the unique challenges, ethical dilemmas, and successes of their fieldwork settings—as well as the opportunity to work with both children and adults—enriches the students’ understanding of the application of art therapy in multiple contexts.

ARTISTIC AND THERAPEUTIC PRACTICE The dynamic production and exploration of art is central to art therapy, and MAATC students’ practices are profoundly shaped by their peers at one of the best art and design schools in the world. Artmaking is thoroughly incorporated into the art therapy curriculum, and students are required to take 9 credits of studio coursework. Through academic and studio courses, exhibitions, and events, SAIC influences students’ creative visions and offers them the opportunity to produce innovative creative projects and individualized educational initiatives.

FULL-TIME FACULTY LEAH GIPSON EVA MARXEN CATHY MOON SAVNEET K TALWAR RANDY M. VICK

For complete faculty listing visit: saic.edu/maatc

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THESES

148

African American Men in Art Therapy: Exploring and Expanding the Diversity in the Profession Strengthening the Foundations: An Introduction to the Role of Conceptual Metaphor in Art Therapy Ain’t No Girl…Femme! Queer Femme Identity and Art Making Code Switching in the Therapeutic Environment: A Bilingual Art Therapist’s Perspective Redacted/Reenacted: An ArtBased Inquiry on the Experience of Childhood Sexual Abuse Talking in Church: Spiritual Narratives of Korean-American Women Poetics of Memory: Phenomenological Study of an Autoethnographic Art Object My Kind/a Ar(T)herapy = TraumaInformed + Culturally Competent + Integrated Arts + Positive Youth Development Making Time for Culture Change: Art Therapy as Method for Cultivating Lived Time in Dementia Care Using Animation with Children in Art Therapy to Improve SelfExpression and Address Individual Social-Emotional Goals Strategies for Developing Programs for the Arts, Health & Well-Being Across the Military Continuum Beyond Language: Communication and Connection Through Puppetry for People With Intellectual Disabilities and Verbal Impairment Promoting Meaningful Experiences With Art: A Survey on Art Therapy in Art Museums Art Therapy Programming for Siblings of Pediatric Oncology Patients: Strategies for Developing a Grant Proposal Installation Art Therapy: The Development of an Interactive Art Exhibition to Foster Adolescent Expression The Development of MultiSensory Stimulus Pictures (MSSP) Application for Tablets Finding Home in a Body: Disability Justice and Radical Lessons for Art Therapy Practice Queer Connections: The Role of Art in LGBTQ Communities

MAATC COURSE SEQUENCE First Year Fall

ARTTHER 5001 Materials and Media in Art Therapy (3) ARTTHER 5002 Psychopathology (3) ARTTHER 5003 History and Theory of Art Therapy (3) ARTTHER 5025 Counseling Techniques (3)

First Year Spring

ARTTHER 5008 Assessment and Evaluation in Art Therapy (3) ARTTHER 5019 Group Art Therapy (3) ARTTHER 6008 Cultural Dimensions in Art Therapy (3) Studio Elective (3)

Second Year Fall

ARTTHER 5010 Human Growth and Development (3) ARTTHER 5020 Art Therapy Fieldwork I (1.5) ARTTHER 6002 Ethical and Legal Issues I (1.5) ARTTHER 6018 Family Art Therapy (3) Studio Elective (3) 12

Second Year Spring

ARTTHER 5009 Research in Art Therapy (3) ARTTHER 6001 Art Therapy Fieldwork II (1.5) ARTTHER 6003 Ethical and Legal Issues in Art Therapy II (1.5) ARTTHER 6007 Substance Use (3)

Third Year Fall

ARTTHER 6020 Art Therapy Fieldwork III (3) ARTTHER 6019 Art Therapy Graduate Project (3) OR * ARTTHER 6010 Graduate Thesis I: Art Therapy (3)

Third Year Spring

6 or 9

ARTTHER 6006 Professional Development and Career Counseling (3) ARTTHER 6020 Art Therapy Fieldwork III (3) * ARTTHER 6011 Graduate Thesis II: Art Therapy (3)

TOTAL CREDIT HOURS

60 or 63

* Optional: Students electing to take the 6-credit thesis option can enroll in Thesis II in lieu of a studio elective, or for an additional 3 credits. Students may choose to complete studio classes during the summer semester or winter interim. An elective non-studio course may be substituted for 1 studio with the prior approval of the Department Chair. Note: ALL course days and times are subject to change. According to U.S. regulations, international students are eligible for internship experiences only after completing 2 semesters of education. However, an exception is made for programs such as SAIC’s MAATC program in which practicum is required in the first year. International students with F-1 visa status are required to turn in a Curricular Practical Training (CPT) form to the International Affairs Office for each fieldwork site and each semester of fieldwork, prior to beginning their fieldwork experience. Failure to do so jeopardizes the student’s visa status. Students who take summer classes must fill out the Summer Institutional Aid Form available in Self-Service under Student Services.

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“Not only did the women who presented survive their trailblazing adventures, they are flourishing and still having fun.”

THE PIONEERS

This one-day symposium, celebrating the book, Women in New Media Arts: Perspectives on Innovative Collaboration, examined the achievements of women in media art and emerging technologies from the 1980s onward.

One of SAIC’s core values is making history—or

Sandor, Brenda Laurel, Jane Veeder, and Copper

the future by standing on each other’s shoulders,”

as we said in the 1970s, herstory,” remarked SAIC

Giloth, the symposium championed the work of

reflected Claudia Hart, panelist and Associate

President Elissa Tenny during her introduction

women from different generations and featured

Professor of Film, Video, New Media, and Animation.

at Pioneers on the Prairie: Celebrating

discourse about the complexities of making work

“Even without consciously understanding it, we all

Women in New Media symposium.

in a field traditionally dominated by men.

channel a shared insight bigger than ourselves.”

Coinciding with the release of the book Women

A spirit of festivity permeated the day—

in New Media Arts: Perspectives on Innovative

manufactured fog, meant to offer a visual

Collaboration, the event highlighted the

representation of “the cloud,” rolled over the

traditionally underrepresented accomplishments

ballroom stage and gathered around the audience’s

of women in new media, and celebrated seminal

feet. In response to a student question about

contributions of SAIC’s faculty, staff, and

who the panelists would have loved to see speak

alumni to the fields of video art, virtual reality,

at the event, the crowd shouted suggestions

data visualization, and cyberfeminism.

from Harriet Tubman to Ada Lovelace. And

“So many of the key women who helped define the field of new media in Chicago were affiliated with SAIC in some way,” says Tiffany Holmes,

150

Sandor remarked, “Not only did the women who presented survive their trailblazing adventures, they are flourishing and still having fun.”

Undergraduate Dean and Professor of Art and

“We experienced as a community the way three

Technology Studies. Featuring presentations

generations of women technologists—including

by many of those pioneers, including Ellen

our SAIC students—are in the process of building

PROJECT PROFILE THE PIONEERS FACULTY INVOLVED: Lee Blalock, Claudia Hart, Tiffany Holmes, Terri Kapsalis, Marlena Novak, Joan Truckenbrod, Jessica Westbrook, Faith Wilding (Professor Emeritus)

ARTIST INVOLVED: More than a dozen New Media artists

SUMMARY: Pioneers on the Prairie: Celebrating Women in New Media Arts looks at the achievements and strategies of women working in new media .

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MASTER OF ARTS IN

ARTS ADMINISTRATION AND POLICY SAIC’s Master of Arts in Arts Administration and Policy prepares students to actively and creatively respond to the highly complex environments that impact the production, reception, and circulation of the arts. saic.edu/maaap

The Master of Arts in Arts Administration and Policy (MAAAP) is a two-year, 48-credit program that focuses on the critical explorations and skills relevant to contemporary cultural management. The department’s mission is to educate emerging professionals in the arts to become the leaders of the next generation of arts and culture organizations and to develop an ongoing, dynamic vision of the role of the arts in the life of our society. We believe that arts administration is an arena of knowledge, discourse, and discovery that is also accountable for the improvement of the civic and cultural spheres. Our goals are: • To help students develop professional practices that are based on a commitment to and knowledge of the arts • To work as a community to develop practices and paradigms that re-envision the types of organizations that suit 21st-century needs and realities • To train students to think critically and politically, so that they are able not only to operate within the complex environment within which contemporary culture operates, but to actively imagine and foster its betterment • To develop ongoing individual and collaborative approaches to learning that will enhance the specific intellectual and career goals of each student • To educate students in ways that stress an underlying commitment to ethics as a social baseline and as a professional value • To actively participate, as part of the SAIC community, in developing practices that expand the contributions that art and design make to local, national, and global cultural life

ENGAGEMENT IN THE SAIC COMMUNITY SAIC was the first art school to develop an in-house arts administration department, and it continues to be rare in that regard. This unique placement has enabled students to forge interdisciplinary and collaborative projects that break down barriers between artists and administrators.

FULL-TIME FACULTY KATE DUMBLETON NICHOLAS LOWE ADELHEID MERS RACHEL WEISS

Professionally active faculty teach courses across a broad spectrum of topics and skill sets, many of them housed in project-based environments. Students also choose electives from across the SAIC curriculum to support their areas of interest and professional goals and forge connections across SAIC’s renowned graduate student community. For complete faculty listing visit: saic.edu/maaap

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HANDS-ON EXPERIENCE Students individualize their fieldwork experience to suit their own professional goals, choosing from a broad selection of museums, private galleries, and nonprofit cultural organizations in Chicago and internationally.

The MAAAP program emphasizes hands-on work in professional settings. Students individualize their curricular paths to suit their own professional goals, interacting with a broad selection of cultural organizations, including museums, galleries, artist-run organizations, and nonprofit cultural organizations in Chicago and internationally. Our Management Studio immerses student teams in some of the most vibrant and forward-thinking projects and institutions in the city, spanning media, genre, and aesthetic borders. ProSeminar 1 brings a series of distinguished guest lecturers to the department on a weekly basis. MAAAP alumni enjoy a high rate of post-graduation success. Previous students have gone on to professional positions at the Art Institute of Chicago, Creative Time, Chicago Humanities Festival, Field Museum, Joffrey Ballet, Sundance Film Festival, U.S. State Department, MAXXI/Rome, Chiang Mai Museum, and the Museum of Modern Art in New York.

CURRICULUM REQUIREMENTS Critical and Cultural Policy Studies

* Each semester, a list of courses that satisfy the requirements for Narrative/Presentation and Contemporary Theory/Philosophy is available from the Arts Administration and Policy administrative office.

ARTSAD 5005 Arts Organizations in Society (3) ARTSAD 5100 ProSeminar 1: Foundation (3) CHOOSE EITHER: −− ARTSAD 5505 Law, Politics, and the Arts (3) −− ARTSAD 6018 Art Economies (3) Narrative/Presentation* (3) Contemporary Theory/Philosophy* (3)

Management Studies

Research and Professional Practice

ARTSAD 5200 ProSeminar 2: Research (3) ARTSAD 6085 Thesis I (3) ARTSAD 6095 Thesis II (3)

Completion of the thesis

TOTAL CREDIT HOURS

THESES

154

ARTSAD 5054 Management Studio I (first year, Fall) (3) ARTSAD 5055: Management Studio II (first year, Spring) (3) ARTSAD 5056: Management Studio III (second year, Fall or Spring) (3) ARTSAD 5017 Financial Management (3)

Electives: Seminar or Internships

Diversity, Access, and Participation in Contemporary Arts Philanthropy State of Art Archiving in Iran, Now & Then Youth Curatorial Programs: Meaning-Making in a Participatory Climate A Parallel World: Hip Hop Dance in China Racing Culture: Exploring Race, Inclusion and Equity in Arts Institutions (Unknowingly Not) Islands: Independent Artists, Record Labels, & the Colonized Mind Creative Responsibility: The Place of Civically Engaged Artists in Mexico City

155

Art History students push the notion of music to its limits in a live re-enactment of Philip Corner’s 1962 concert “Piano Activities.”

156

MASTER OF ARTS IN

MODERN AND CONTEMPORARY ART HISTORY Graduate students in SAIC’s Art History program pursue research in a prestigious art school connected with a major museum, work with a large department of full-time faculty specializing in modern and contemporary art and design with a global focus, and challenge, debate, and re-envision the field of art history on an ongoing basis. saic.edu/maah The Master of Arts in Modern and Contemporary Art History (MAAH) is a two-year, 36-credit master’s program specializing in modern and contemporary art from a global perspective. Faculty research extends to art and design practices around the world and remains on the cutting edge of present trends in the field. Students engage in the study of a wide range of artists, art and design practices, and art institutions. Their research culminates in an original contribution to the scholarship in the form of a master’s thesis written under the supervision of a full-time faculty member in the department. There is also an option for students to pursue a specialized course of study in Design History within the MAAH. MAAH students enjoy successful careers after graduation, going on to influential positions in museums, art galleries, alternative venues, publishing, and academia.

GLOBALLY RECOGNIZED FACULTY The department is characterized by its commitment to the study of modern and contemporary art, design, and theory in their global and transnational contexts, with full-time faculty research specialties covering Africa, Latin America, South Asia, East Asia, Europe, and North America. Full-time faculty are scholars with global reputations and are winners of many national and international fellowships and honors, including National Endowment for the Humanities, École Normale Supérieure, Guggenheim, Graham Foundation, Center for Advanced Study in the Visual Arts, Institute for Advanced Study, and Getty Foundation grants as well as appointments at prominent art institutions and scholarly journals. All full-time faculty hold PhDs and are the core faculty for the graduate program in modern and contemporary art history. Their teaching engages with interdisciplinary perspectives such as media studies, performance studies, material culture studies, visual studies, philosophy, and gender studies.

CAMPUS AND CITYWIDE RESOURCES Chicago is a world-class city with a vibrant art scene, and MAAH students enjoy dynamic involvement with contemporary art and exhibitions in the area. Students have access to major cultural institutions such as the Art Institute of Chicago and its Modern Wing, Museum of Contemporary Art, Chicago, and numerous artist-run galleries and community-based organizations in the city’s independent art scene. Students also have access to SAIC’s libraries and research centers, Video Data Bank, Fashion Resource Center, Roger Brown Study Collection, and the Gene Siskel Film Center. In addition, SAIC attracts numerous visiting artists, historians, and critics, creating opportunities for students to interact and network.

FULL-TIME FACULTY SIMON ANDERSON SAMPADA ARANKE SHIBEN BANERJI ANNIE BOURNEUF DELINDA J. COLLIER JAMES ELKINS DAVID J. GETSY MICHAEL GOLEC SETH KIM-COHEN JENNIFER DOROTHY LEE JENNIFER NELSON DANIEL R. QUILES DAVID RASKIN NORA TAYLOR LISA WAINWRIGHT MECHTILD WIDRICH BESS WILLIAMSON

For complete faculty listing visit: saic.edu/maah

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CURRICULUM REQUIREMENTS Students have access to major cultural institutions such as the Art Institute of Chicago and its Modern Wing, the Museum of Contemporary Art, Chicago, and numerous artist-run galleries and communitybased organizations in the city’s independent art scene.

Historiography seminar—choose one of the following:

ARTHI 5007 History of Art History (3) * ARTHI 5008 History of Art Criticism and Theory (3)

Global Issues seminar (5000 level)

Focuses on art worlds outside of Europe and North America or focuses on Global Art Theory. A list of courses that satisfies this requirement is available from the department every semester. Graduate seminars in Modern and Contemporary Art History (5000 level)

Additional courses or seminars in Art History, Theory, and Criticism (4000-6000 level)

Interdisciplinary electives or additional courses or seminars in Art History, Theory, and Criticism (4000-6000 level)

Thesis research and writing

ARTHI 5999 Thesis I (3) ARTHI 6999 Thesis II (Independent Study) (3) Completion of thesis—a final thesis must be submitted to and approved by the thesis readers and the Department of Art History, Theory, and Criticism.

TOTAL CREDIT HOURS

* Students may elect to follow a specialized pathway in Design History. MAAH students electing to follow the Design History pathway are expected to take ARTHI 5007 as their historiography seminar and ARTHI 5576 History of Design Criticism. Course descriptions: saic.edu/academics/departments/art-history-theory-andcriticism/courses

THESES

158

The Value in Context: Michael Asher’s Displacements in Chicago, 1979 and 2005

Transmission as Medium: Fernsehgalerie Gerry Schum and Videogalerie Schum, 1968-1973

Technologies of Remembrance: Unresolved Historical Situations in Emily Jacir and Walid Raad’s Video Installations

Dada as Contagion: Metaphors of Syphilis in Berlin, 1917–1920

The Visible and the Tactile: The Chicago Work of Laszlo Moholy-Nagy, 1973–1946

Time Unbound and Off the Reel: Tony Conrad’s Yellow Movies

An Architecture of “The Provisional Paradigm”: Ray Kappe’s Residential and Educational Design, 1965–1976

Atomic Bombshells: Women, Sexuality, and Stereotyping in American Science Fiction Film Posters of the 1950s

Venezuelan Development In Vitro: The Environments of Domingo Álvarez, from 1967 to 1974

Accident or Movement: A Conceptual Analysis of Chinese Conceptual Photography of the 1990s

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MASTER OF ARTS

DUAL DEGREE

MODERN AND CONTEMPORARY ART HISTORY AND ARTS ADMINISTRATION AND POLICY The dual degree is a unique program designed to immerse students in both art history and arts administration, competitively positioning graduates for work in the areas they choose, from academia to curatorial positions and work in nonprofit organizations. saic.edu/maahmaaap

The Dual Masters of Arts in Modern and Contemporary Art History and Arts Administration and Policy is a three-year, 66-credit degree that provides students the ability to earn two synergistic degrees while maintaining the integrity and high standards of each degree. The curriculum is tailored to combine graduate studies in the history of modern and contemporary art, theory, and criticism, business administration, cultural policy, and curatorial practice. The two resulting degrees, a Master of Arts in Modern and Contemporary Art History (MAAH) and a Master of Arts in Arts Administration and Policy (MAAAP), prepare graduates for positions in museum administration and curating, work in nonprofit organizations, gallery management, academia, and foundation and cultural policy advocacy.

FULL-TIME FACULTY SIMON ANDERSON SAMPADA ARANKE SHIBEN BANERJI ANNIE BOURNEUF DELINDA J. COLLIER

WORLD-CLASS RESOURCES

KATE DUMBLETON

SAIC students have special access to incomparable resources including the Art Institute of Chicago and its Modern Wing, SAIC’s Flaxman libraries, numerous on- and off-campus collections, and public programs.

JAMES ELKINS

Students also have at their disposal a diverse array of arts, cultural and community organizations in Chicago, and have the opportunity to work in partnership with them on a variety of projects sponsored and led by the department’s Management Studio.

ON-CAMPUS OPPORTUNITIES

DAVID J. GETSY MICHAEL J. GOLEC SETH KIM-COHEN MAUD LAVIN

Students engage directly with current trends in the fields of art history through numerous events and lectures hosted by the Art History department. The Visiting Artists Program has brought in such distinguished artists as Graham Pullin, Arlene Shechet, Anab Jain, Lewis Hyde, Irene Hofmann, Xaviera Simmons, Kendell Geers, Ron Athey, Beatriz Milhazes, and Iñigo Manglano-Ovalle.

JENNIFER DOROTHY LEE

Each year, as part of the Lifton Lecture, a prominent scholar presents a public lecture on a topic related to modern and contemporary art history. A theme over the years has been an emphasis on women art historians and their contributions to the field. Students in their final year present their thesis before the department’s faculty and students.

JENNIFER NELSON

Dual degree students participate in the production of E-merge: journal of arts administration and policy. E-merge is an online journal produced by graduate students in the School of the Art Institute of Chicago’s Master of Arts Administration and Policy and Dual Degree programs, featuring collaborations with guest editors from the SAIC community. The journal is dedicated to fostering creative discussions amongst leading professionals, academics, and students, and provides dual degree candidates with valuable publication and journalmanagement experience.

NORA TAYLOR

NICHOLAS LOWE ADELHEID MERS

DANIEL R. QUILES DAVID RASKIN

RACHEL WEISS MECHTILD WIDRICH BESS WILLIAMSON For complete faculty listing visit: saic.edu/maahmaaap

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CURRICULUM REQUIREMENTS Students engage directly with current trends in the fields of art history through numerous events and lectures hosted by the Art History department, including the annual Stone Summer Theory Institute and Lifton Memorial Lecture.

Critical and Cultural Policy Studies

ARTSAD 5005 Arts Organizations in Society (3) ARTSAD 5100 ProSeminar 1: Foundation (3) Global Issues seminar (5000-level or above) that focuses on art worlds outside of Europe and North America or focuses on Global Art Theory. A list of courses that satisfies this requirement is available from the department every semester. (3) Narratives/Presentation* (3) Select one of the following:

** Within the 24 credits of Art History Studies that includes Graduate Seminars and additional courses in Art Historical Studies, at least one three-credit hour course must be designated nineteenth-century art history, and at least one three-credit hour course designated early-twentieth-century art history. A list of courses that satisfies this requirement is available from the Department of Art History, Theory, and Criticism each semester.

ARTHI 5007 History of Art History (3) or ARTHI 5008 History of Art Criticism (3)

Management and Leadership Studies

* Each semester, a list of courses that satisfy the requirements for “Narrative/Presentation” is available from the administrative office of Arts Administration and Policy, and a list for “Global” is available from the administrative office of the Art History, Theory, and Criticism department.

ARTSAD 5017 Financial Management (3) Management Studios (9) — ARTSAD 5054 Management Studio I (first year, Fall) — ARTSAD 5055 Management Studio II (first year, Spring) — ARTSAD 5056 Management Studio III (second or third year, Fall or Spring)

Research and Professional Practice

Art Historical Studies **

Completion of thesis—a final thesis must be submitted to and approved by the thesis readers

THESES

162

Graduate seminars (5000-level) in Art History, Theory, and Criticism (12) Additional courses or seminars in Art History, Theory, and Criticism [4000-level or above] (12)

Interdisciplinary electives at 4000-6000 level or additional courses or seminars in Art History, Theory, and Criticism (4000-6000 level)

ARTSAD 5200 ProSeminar 2: Research (3) ARTHI 5999 or ARTSAD 6085 Thesis I (3) ARTHI 6999 or ARTSAD 6095 Thesis II (3)

TOTAL CREDIT HOURS

163

164

MASTER OF ARTS IN

NEW ARTS JOURNALISM SAIC’s interdisciplinary ethos creates an ideal environment for the New Arts Journalism student to engage directly with artists, designers, and writers in order to develop an instinct for seeing the broader issues that underpin events in the world of contemporary art. saic.edu/manaj

The Master of Arts in New Arts Journalism (MANAJ) at SAIC is designed to provide students with the necessary skills and experiences to write about the arts for diverse audiences. Located in a vibrant school of contemporary art and design, the MANAJ program provides full engagement with the theory and practice of journalism as well as the opportunity to work closely with artists, art historians, cultural theorists, and art critics connected to a major American museum. The program helps aspiring journalists to refine their writing of reviews, essays, interviews, and feature stories, and examine the contexts of investigative reporting, the opinion piece, the documentary, and the critical essay in the context of art. Every student participates in at least one internship, which offers a valuable hands-on experience working at a Chicago media venue. The concluding thesis may comprise a publication or zine, investigative journalism, an extended narrative, or original research.

WRITING-INTENSIVE CURRICULUM Courses offered in the MANAJ program teach students how to design and maintain a website and blog, the theory behind how the web interfaces with communication, and also how print, photography, and video design principles impact journalism today. Students engage multiple structures of critical essays, reviews, interviews, think pieces, editorials, documentaries, and beat reporting, and their writing is repeatedly assessed in peer-group analyses. In the second and third semesters of the program, students begin to take electives that address their areas of interest and may include criticism and theory, studio work, liberal arts seminars, or study trips. The final semester is dedicated to thesis work.

PROFESSIONAL OPPORTUNITIES AFTER GRADUATION MANAJ graduates have applied their education in a variety of ways. There are alumni working at VH1 in New York, in public relations in Chicago, running the social media program at the Museum of Contemporary Art, Chicago, managing internal publications at Skidmore, Owings, and Merrill, editing their own zine in Los Angeles, working at Contratiempo Publications (Spanish publication in Chicago) and Kavi Gupta Gallery in Chicago, stringing for newspapers in Ohio and Kentucky, and working in marketing at the Center for Talent Development at Northwestern University. Others are freelancing for a wide range of publications and media outlets such as Gapers Block and ArtSlant.

FACULTY MARGARET HAWKINS SHAWNÉ MICHAELAIN HOLLOWAY MICHAEL MINER MEGAN O’GRADY DUSHKO PETROVICH SUSAN SNODGRASS LORI WAXMAN JAMES YOOD For complete faculty listing visit: saic.edu/manaj

165

CURRICULUM REQUIREMENTS Journalism

The concluding thesis may comprise a publication or zine, investigative journalism, an extended narrative, or original research.

NAJ 5100 Constituting Cultural News: Introduction to Journalism (3) NAJ 5120 Journalism Workshop I: Interview/Investigative Reporting (3) NAJ 5300 Arts Beat: Journalism for the Arts (3) NAJ 5500 SAIC Internship (3) NAJ 5754 Contemporary Art Criticism The Review, Opinion Piece, Critical Essay (3)

Production/Journalism

NAJ 5190 Thesis Workshop (3) NAJ 5200 Design for Writers: Print, Photo, and Video Production (3) NAJ 5220 Wired Writing: Culture and Community on the WWW (3) NAJ 5290 Portfolio as Thesis Preparation (3)

Cultural Models

NAJ 5002 Modern and Contemporary Art (3) Graduate Seminars (9): Concerning cultural models and modes of production and dissemination such as VCS 5003 History and Theory of Visual Studies. (Consult program advisor for appropriate courses)

Electives

Elective courses are chosen in consultation with and require the approval of the New Arts Journalism Director prior to registration.

Criticism, theory or writing (3) Academic courses (9): Liberal Arts, Art History, Studio, internships, or otherwise relevant engagement, including directed and independent studies Optional Study Trip (3)

TOTAL CREDIT HOURS

THESES

166

Looking for Self-Love: Ebony, Beauty, and Africa Reclaimed Mystic: A Podcast on Pagan Life www.mysticpodcast.org A Fairy Home Companion Art, Identity, and Criticism in East Africa Through the Lens of Art Networks and Cultural Production in Kenya POSH MAGAZINE: A fashion publication exploring traditional and modern themes within society, culture, women in the workforce and fashion Taking Back Chicago: How Youth Are Changing the Conversation of Violence in Chicago’s South and West Side Neighborhoods Space and Place in New Orleans’ Prospect Biennial Addressing the Veteran Crisis and Mending the Damage of War through the Creative Process Identity in the Absence of an Identifier: Essays on Indian Immigrant Identity The Lady Welder’s Handbook Now and Then: An Introduction to Chicago’s Alternative Art Spaces How to Make It in the Americas: The Working of an Independent Transnational Music Community Fan Fiction as Cultural Critique in the Cinematic World of Wes Anderson

167

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MASTER OF ARTS IN

VISUAL AND CRITICAL STUDIES Designed for students who are committed to making work in an interdisciplinary and postdisciplinary environment, SAICâ&#x20AC;&#x2122;s Visual and Critical Studies program integrates scholarly, studio, and hybrid research practices as part of an evolving paradigm that addresses the complexity of visual and critical practices in the twenty-first century. saic.edu/mavcs The Master of Arts in Visual and Critical Studies (MAVCS) program is designed for students who wish to pursue a scholarly and creative investigation into the production, circulation, and impact of visual images. Through immersive research intertwined with the processes of making and writing, students explore ways of seeing and representing social, cultural, and visual phenomena. The curriculum balances topic-based seminars, independent work with advisors, and electives to create a singularly interdisciplinary course of study. Depending on studentsâ&#x20AC;&#x2122; research interests, the final thesis may be a creative body of work that prioritizes writing or making. Graduate students organize an annual symposium and exhibition to share their research in a professional context.

A POSTDISCIPLINARY PROGRAM At the heart of MAVCS is a core structure of visual theory surrounded by a flexible curriculum in which students, guided by SAIC faculty advisors, design their own course structure to match their interests. The VCS program is designed to redefine disciplinary practices as a combination of interdisciplinary, transdisciplinary, and postdisciplinary thinking and making. A unique aspect of the MAVCS program is the option to combine creative and critical practices: some students have studios; some have desks; some have both. Curators and scholars from both inside and outside SAIC participate in critiques of MAVCS student work. This opportunity enables students to understand their work within a broader context and develop professional connections.

DIVERSE FACULTY MAVCS faculty are internationally recognized practitioners in their fields and share a common interest in taking disciplinary knowledge beyond the borders of conventional practice. The faculty include artists, designers, critics, writers, and scholars with diverse backgrounds: sound and performance, critical race studies and anthropology, mass culture and gender/sexuality studies, photography and social history, conceptual practices and textual criticism, as well as a range of emerging disciplines. The VCS faculty have won Guggenheim awards for both studio practice and critical scholarship.

FACULTY ROMI CRAWFORD JOSEPH GRIGELY TERRI KAPSALIS KRISTI MCGUIRE MAUD LAVIN KAREN MORRIS KAMAU AMU PATTON SHAWN MICHELLE SMITH

For complete faculty listing visit: saic.edu/mavcs

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VISITORS

Depending on students’ research interests, the final thesis may be a creative body of work that prioritizes either writing or making.

Recent visitors to VCS have included: Boris Groys (on changing the world through art), Gordon Hall (on object lessons), Lauren Berlant (on dissociative poetics), Akili Tommasino (on Black Panther Party newspapers), Ling Yang (on Boys’ Love in Chinese online culture), Pierre Von-Ow (on conversation pieces), Ben Kinmont (on social sculpture), Mitesh Dixit (on “Complex Projects” at Delft University of Technology, Netherlands), Nico Dockx (on archives), Åbäke (on socially reflexive design), Zak Kyes (on fighting with inanimate objects), Carlos Fernández Pello (on Caillois, camouflage, and night-sky constellations), Erica Barrish (on post-reductive minimalist practices of women from 1960–present), Szu-Han Ho (on transnational collaboration), Joey Orr (on public art actions) and Francois Piron (on the social life of books).

CURRICULUM REQUIREMENTS VCS 5003 History and Theory of Visual Studies

VCS 5004 Research and Production

VCS 5010 Topics in VCS

VCS 5999 Thesis I

VCS 6999 Thesis II

External criticism, theory, or methodology courses relevant to individual research

Electives

Advanced academic courses, studio advising, internships, or otherwise relevant engagement including directed and independent studies

Completion of thesis

TOTAL CREDIT HOURS

THESES

170

Nostalgic Historiography: An Evocation Before the Archive Sympathetic Resonances: Relationality and Affect in the Sonic Field Essays on Weather for a Post-Katrina Society Revising the Pharmacist and Its Imaginary Twin: A Strange Cartography and an Intentional Agent in the Process of Being Distinguished Again Meme in America: The Role of Viral Videos “Rather a Grave Subject...” The Critical Role of the Nineteenth Century Postmortem Photograph From Snapshot to Screenshot From Away: Viewing Shades of Whiteness Through the Lens of Tourism Concocting Corporeality: The Body in Contemporary Visual Art by Artists from South Korea Contemporary Pastness: Affect, Gender, and National Memory in New York City’s 9/11 Memorial Complex Comfort of Strangeness: A Conversation on Molecular Gastronomy, Taste, and Memory Objects of Palestine: Narratives of Chicago’s Diaspora

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DECODER, 2017 SUK JOON LEE

STUDENT WORK In a portfolio of work such as this one, it is a difficult task to translate the breadth and complexity of approaches embraced by an entire graduate population engaged in projects across all three of our studio, design, and academic fields. And what is more, the illusive evidence of process is nearly impossible to translate. How does one show the generation of an idea? Chronicle the myriad iterations assembled and tossed? Capture the sensations of lived experience? As you move through these pages, then, think of the portfolio as something between an anthropologist’s field notebook, a curatorial proposal, a visual diary, a set of travel postcards, an incomplete collection, and a Wunderkammer of our own temporary making. Rather than offering up a tidy package of material to sum up SAIC, perhaps these images and thesis titles might best be seen as the “dry tinder” of Michael Taussig’s dOCUMENTA essay, Fieldwork Notebooks. Taussig’s fieldnotes (he also mentions Roland Barthes and Joan Didion’s diaries, Walter Benjamin’s notebooks, and Le Corbusier’s sketchbooks) do not set down a factual record, but are filled instead with tinder that “sparks” and, which, “in the right hands at the right moment will burst into flame.” Produced in SAIC’s facilities, studios and study spaces; observed, nurtured and critiqued by faculty, staff, and peers; curated, interpreted, and exhibited within the spaces of the School and the Museum— here are just a few “sparks” for you to consider.

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LITTLE TOMORROW, 2017 AMBER HUFF

THIS MOMENT, 2017 YULING YU

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LANDSCAPE WITH AN UNKNOWN BOY, 2017 MILLY BARZELLAI

THE VACATION, 2017 CLAIRE POPE

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COSMIC WEB PROJECT: MATERIALIZING DARK MATTER USING THREE-DIMENSIONAL WOVEN TEXTILES, 2017 ISAAC FACIO

HERE I WAS BORN, AND HERE I DIED, 2017 GEORGE OLKEN

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CONTESTED BELONGING, 2016 RENLUKA MAHARAJ

INSTALLATION, 2017 PATRICK WILKINS

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UNTITLED, 2017 MÁIRE WITT O’NEILL

WET STREET SIDEWALK. 4. 10. 2017, 2017 YEWEN DONG

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THE VICTORIAN AND THE WHALE, 2017 MEREDITH LEICH

LITERALLY SCREAMING; SAME AF, 2017 ALEXANDER EXUM

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| |, 2016-2017 ADAM JAMES BACH

BEHOLD, GOO GOO TOO, 2017 JENNIFER CHEN-SU HUANG

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WHO’S AFRAID OF A FLORIDA WOMAN?, 2017 MOLLY COLLEEN O’CONNELL

UNTITLED (AMPHISBAENA: THAT WHICH GOES IN TWO DIRECTIONS), 2017 KE YI

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INSTALLATION, 2017 THOMAS BUECHELE

DOCUMENT (N.) (V.), 2017 ANDREW PACHECO

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UNTITLED, 2017 JUNG AH KIM

IMPROMPTU INTERVENTION, 2016â&#x20AC;&#x201C;2017 XIAOQING ZHU

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CHAIN REACTION_CROWD PSYCHOLOGY, 2017 YONG CHUL KWON

re-STRUCTURE OF THE INBETWEEN, 2017 RYAN COMPTON

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CONTENTS

CONNECT WITH US

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DEADLINES

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THE APPLICATION PROCESS

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INTERNATIONAL STUDENTS

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FINANCIAL AID AT SAIC

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STUDENT EMPLOYMENT

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ACCREDITATION AND NON-DISCRIMINATION POLICY

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CAMPUS MAP

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CONNECT WITH US

DEADLINES

THE SCHOOL OF THE ART INSTITUTE OF CHICAGO

JANUARY 10

JANUARY 15

FEBRUARY 1

Low-Residency Master of Fine Arts (final deadline) Master of Fine Arts in Studio -- Art and Technology Studies -- Ceramics -- Fiber and Material Studies -- Film, Video, New Media, and Animation -- Painting and Drawing -- Performance -- Photography -- Printmedia -- Sculpture -- Sound -- Visual Communication Design Master of Fine Arts in Writing Post-Baccalaureate Certificate in Visual Communication Design

Master of Architecture Master of Architecture, Option 2 Master of Architecture with an Emphasis in Interior Architecture Master of Architecture with an Emphasis in Interior Architecture, Option 2 Master of Arts in Art Therapy and Counseling Master of Fine Arts in Studio -- Design for Emerging Technologies -- Designed Objects -- Architecture Master of Design in Designed Objects Master of Design in Fashion, Body and Garment Master of Arts in Art Education Master of Arts in Teaching Master of Arts in Arts Administration and Policy Master of Arts in Modern and Contemporary Art History Dual Degree: MA in Arts Administration and Policy and MA in Modern and Contemporary Art History Post-Baccalaureate Certificate in Fashion, Body and Garment

Master of Arts in New Arts Journalism Master of Arts in Visual and Critical Studies Master of Science in Historic Preservation

GRADUATE ADMISSIONS 36 South Wabash Avenue Suite 1201 Chicago, IL 60603

FACEBOOK: saic.admissions INSTAGRAM: @saicpics

PHONE 312.629.6100 800.232.7242 FAX

312.629.6101

EMAIL gradmiss@saic.edu saic.edu/gr

ADMISSIONS EVENT INFORMATION The Office of Graduate Admissions hosts events on-campus and in cities across the country. In addition, we attend Graduate Portfolio Days located in select cities. saic.edu/grevents

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CAMPUS TOURS Campus tours are available year-round, and we encourage all prospective students to visit campus. For dates and to reserve your campus tour, visit saic.edu/tour.

APRIL 1 Post-Baccalaureate Certificate in Studio -- Art and Technology Studies -- Ceramics -- Fiber and Material Studies -- Film, Video, New Media, and Animation -- Painting and Drawing -- Performance -- Printmedia -- Sound

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Master of Science in Historic Preservation

THE APPLICATION PROCESS For admission to any of the graduate programs at the School of the Art Institute of Chicago, a conferred four-year baccalaureate degree from an accredited institution or verified equivalent is required.

APPLICANTS TO ALL 2. NONREFUNDABLE GRADUATE PROGRAMS APPLICATION FEE AND POST-BACCALAUREATE When you click the “submit” button on your online application, you will CERTIFICATES MUST be prompted to enter credit card SUBMIT THE FOLLOWING: information to pay the application 1. APPLICATION FOR ADMISSION

Applications must be submitted electronically via SlideRoom and can be accessed at saic.edu/gradapp. You may apply to up to three programs with one application and fee. If you are applying to either the MFA in Studio or Post-Baccalaureate Certificate in Studio you may select up to three studio departments of entry for each. You will need a separate portfolio for each MFA or Post-Baccalaureate Studio department to which you apply. Please note: Applications must be submitted prior to 11:00 p.m. Central Standard Time on the application due date and will be locked out after that time.

fee. Your application is not fully submitted until you have paid the application fee via credit card. Domestic and International application fee: $90.

3. TRANSCRIPTS You are required to upload a copy of your unofficial transcript.

Please upload an unofficial copy of your transcripts into SlideRoom. You must submit an official final transcript with graduation date sent via mail, email or fax from all colleges and universities should you be admitted, prior to the first day of classes. Transcripts can be sent to: SAIC Graduate Admissions 36 S. Wabash Ave., suite 1201 Chicago, IL 60603

Transcripts required as documentation of prerequisites for the following programs: Master of Arts in Teaching Applicants must demonstrate through a transcript analysis that they have met the prerequisites necessary to satisfy State of Illinois K–12 art education certification, including completion of 33 semester credits of studio coursework that may include courses in ceramics, drawing, graphic design, fiber, painting, performance art, photography, printmaking, sculpture, etc. These 33 semester credits should include 12 semester credits of upper division (junior, senior, or graduatelevel) studio coursework. Master of Arts in Art Therapy Applicants must demonstrate through a transcript analysis that they have completed 18 semester credit hours in studio art courses and 12 semester credits in psychology, including Abnormal Psychology and Developmental Psychology.

Applicants must demonstrate through a transcript analysis that they have completed a 3 semester credit hour course in each: Art History Survey and Architectural History. Master of Architecture, Option 2 and Master of Architecture with an Emphasis in Interior Architecture, Option 2 Applicants must demonstrate through a transcript analysis that they have completed 6 credit hours in Building Science, 3 credit hours in Structural Engineering, 6 credit hours in Architectural Design and 6 credit hours in Design Studios. Per NAAB requirements, Option 2 students should mail a binder of the syllabi and work produced in the above courses to the program director by April 1.

4. STATEMENT OF PURPOSE You are required to write a statement of purpose for each program to which you apply. These will be uploaded to the Attachments section of your electronic portfolio submission (required of all programs). For all programs with the exception of those listed below, describe in 500– 750 words how you came to focus on the body of work that you wish to pursue at the graduate level. Provide insight into possible future directions and goals for your work and how the program(s) to which you are applying is/are suited to and will solidify your professional goals. Statement of purpose requirements for the following programs: Master of Arts in Art Education

Describe your formal and informal education in the arts; work experience in the arts; commitment to education, humanitarian, or arts advocacy; and artistic accomplishments. Discuss your career goals and reasons for applying to SAIC and one or both of these programs. Master of Arts in Arts Administration and Policy Applicants should write a 500- to 750-word essay addressing the following questions: What do you see as the most pressing issues for the arts today, both locally and globally? What is the most significant experience you have had working in the arts, and why was it important? What do you admire in the people you have worked with, and why? What specific skills do you wish to develop, and why? What are your strengths and weaknesses? Dual Degree Master of Arts Administration and Policy and Master of Arts in Modern and Contemporary Art History Applicants must submit a statement of purpose for both the MA in Modern and Contemporary Art History AND the MA in Arts Administration and Policy. Low-Residency MFA Write an 800- to 1,000-word statement that describes your work or research. Discuss how you came to focus on the medium, body of work, or academic area you wish to pursue at the graduate level. Also discuss future directions or goals for your work, and describe how SAIC’s Low-Residency Master of Fine Arts is particularly suited to your professional goals.

5. LETTERS OF REFERENCE You are responsible for securing 2 letters of reference (3 are required for applicants to the Master of Arts in Arts Administration and Policy; Master of Arts in Modern and Contemporary Art History and the Dual degree) from persons who are qualified to write about your potential for success at SAIC. If you are currently a student or a recent graduate, we recommend that letters of reference be from instructors. We prefer that letters of reference be submitted through SlideRoom. Your recommenders will be sent instructions after you provide their names and contact information on the application. If necessary, your recommenders may submit recommendations by mail. Be sure to supply them with stamped envelopes, ask them to sign across the seal and have them addressed to: SAIC Graduate Admissions 36 S. Wabash Ave., suite 1201 Chicago, IL 60603

6. PORTFOLIO/CRITICAL WRITING SAMPLE The Admissions Committee reviews portfolios for clear direction and the potential for development. The portfolio should consist of representative examples of recent work appropriate to the area(s) to which you are applying. You must submit a portfolio/critical writing sample for each program and/or studio area to which you are applying. If you do not submit a corresponding portfolio/critical writing sample, your application is considered incomplete. All portfolios must be submitted electronically through SlideRoom (though exceptions will be made for MFA in Studio: Film, Video, New Media, and Animation applicants).

Master of Arts in Teaching Please submit two statements of 500–1,000 words each. 204

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PORTFOLIO REQUIREMENTS MASTER OF FINE ARTS DEGREES & POST-BACCALAUREATE CERTIFICATES MFA in Studio & Post-Baccalaureate Certificate in Studio (all departments EXCEPT Film, Video, New Media, and Animation) 15–20 still images Painting and Drawing 12–15 images, or up to 20 minutes of interactive or time-based work MFA in Studio & Post-Baccalaureate Certificate in Film, Video, New Media, and Animation One or more works with a combined maximum total of 20 minutes in length. Please include your personal contributions if you were a collaborator. You may submit work digitally via SlideRoom (including a Vimeo link) or on playback DVDs. You may also submit work on digital tape format (SD or HD mini-DV tape). We also accept analog formats such as 16mm film prints. Include a portfolio inventory list that indicates the title, size, running time, date, medium, your explicit role in the production and any other pertinent information. Work on analog formats must be queued to starting point. If not in English, please include subtitles.

Low-Residency MFA If you are applying to the Low-Residency MFA as a studio artist, your portfolio should include samples of your recent work: -- 15–20 still images, or 15 minutes of audio, interactive, or time-based work or 10 still images and 10 minutes of audio, interactive, or time-based work If you are applying to the Low-Residency MFA as a writer, your portfolio should include samples of your recent work: -- 8 to 10 poems with or without critical commentary or 2 short stories or 2 short excerpts from a novel or 2 short works of nonfiction or 2 short excerpts from longer nonfiction essays or 2 recently published or delivered critical essays or scholarly papers If you are applying to the Low-Residency MFA as a curator, your portfolio should include samples of your recent work: -- 3 recent or pending curatorial project proposals accompanied by relevant text and images outlining each proposed project If you are applying to the Low-Residency MFA as an educator, your portfolio should include samples of your recent work: -- 3 sample syllabi along with support material describing your pedagogical philosophy or your personal artistic practice or 2 samples of written work in the education field— essays, conference papers, directed creative writing or 10–15 still images of your current studio work with annotated labels MFA in Writing Your portfolio should include a sample of your recent writing which may include any of the following (in .pdf format up to 10 MB each): -- 8–10 poems - 2 short stories -- 1 play or performance text - 1 hybrid text -- 1–2 short works of nonfiction from multi-genres

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MASTER OF ARTS DEGREES Master of Arts in Art Education Master of Arts in Teaching Submit a portfolio that represents your area of highest achievement in an arts profession. For example, studio-based work accompanied by descriptions; creative or scholarly writing; or documentation of art education projects in schools, museums, or community-based settings. A visual portfolio should consist of up to 20 images, or up to 10 minutes of time-based work, or a combination of the two as appropriate. Master of Arts in Art Therapy and Counseling Submit a portfolio that represents your current and focused body of work. The portfolio should consist of up to 15 images, or up to eight minutes of time-based work, or a combination of the two as appropriate. Master of Arts in Visual and Critical Studies Submit a 10- to 20-page critical writing sample that addresses a particular topic in visual and critical studies. The sample can also be in the form of writings that interpret and/or contextualize an accompanying selection of found images (excerpted from newspapers, magazines, film, or TV). Though not required, it is recommended that applicants with backgrounds in studio art or design submit a visual, audio, or related arts portfolio in addition to the required writing sample. Master of Arts in Arts Administration and Policy Submit a sample of your critical writing up to 2,000 words in length. This can be either an essay assignment from a previous course of study, an excerpt from a longer research paper, or a recently published article. Master of Arts in Modern and Contemporary Art History Submit a 15- to 25-page critical writing sample that demonstrates knowledge of the field, ability in research, and clarity of argumentation. Submissions should be written on a topic in modern or contemporary art history from the 19th century to the present, but papers dealing with earlier historical eras will be accepted if they are in dialogue with current debates and methods. Additionally, topics dealing with relevant theories and philosophies, visual studies, and film studies will be considered. Dual Degree: MA in Arts Administration and Policy and MA in Modern and Contemporary Art History Submit an ePortfolio meeting requirements for BOTH the MA in Arts Administration and Policy and the MA in Modern and Contemporary Art History (above).

MASTER OF ARCHITECTURE, DESIGN, AND SCIENCE DEGREES Master of Architecture Master of Architecture, Option 2 Master of Architecture with an Emphasis in Interior Architecture Master of Architecture with an Emphasis in Interior Architecture, Option 2 Master of Design in Designed Objects Applicants should submit a minimum of 5 different projects documented in up to 20 images, or up to 10 minutes of time-based work, or a combination of the two as appropriate. Master of Science in Historic Preservation Applicants with a background in studio art or design are required to submit a visual portfolio of up to 20 images. Applicants without a background in studio art or design are required to submit a 10- to 15-page critical writing sample addressing some aspect of historic preservation in lieu of a visual portfolio. Master of Design in Fashion, Body and Garment Post-Baccalaureate Certificate in Fashion, Body and Garment Applicants are required to submit a portfolio of up to 20 images or up to 10 minutes of time-based work or a combination of the two.

Master of Arts in New Arts Journalism Submit 10-20 pages of critical writing. You may submit a single writing sample or multiple shorter papers addressing topics in new arts journalism or contemporary culture.

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7. TEST SCORES SAIC’s TOEFL/ IELTS code is 1713 TOEFL or IELTS International students whose native language is not English, or who do not have a degree from a U.S.accredited university, are required to submit evidence of language proficiency. TOEFL or IELTS test score results should be submitted with your application materials. REQUIRED TEST SCORES: MFA in Studio and Post-Baccalaureate Certificate in Studio, Master of Design in Fashion, Body and Garment, and PostBaccalaureate Certificate in Fashion, Body and Garment programs: TOEFL: 85 IELTS: 6.5 For all other programs (including the Low-Residency MFA): TOEFL: 100 IELTS: 7.0

8. RÉSUMÉ Required for MA in Art Therapy and Counseling, MA in Visual and Critical Studies, MA in Arts Administration and Policy

9. INTERVIEWS MFA Art and Technology Studies; Arts Administration and Policy; Ceramics; Designed Objects; Dual Degree Program; Fashion, Body and Garment; Fiber and Material Studies; Film, Video, New Media, and Animation; Painting and Drawing; Performance; Photography; Printmedia; Sculpture; Sound; Visual Communication Design; and Writing applicants who pass a preliminary review are invited for an on-campus interview in late February. Notification will be sent in mid-February. Post-Baccalaureate Certificate in Studio Painting and Drawing: Applicants are required to contact Graduate Admissions at gradmiss@saic.edu to schedule an interview prior to the April 1 deadline. Master of Architecture Master of Architecture, Option 2 Master of Architecture with an Emphasis in Interior Architecture Master of Architecture with an Emphasis in Interior Architecture, Option 2 Applicants who pass a preliminary review are invited for an on-campus interview in late February. Notification will be sent in mid-February. Master of Arts in Art Education Master of Arts in Teaching After a preliminary review, the department will contact applicants for an interview.

Master of Arts in Art Therapy and Counseling In-person interviews are required. Group interviews are scheduled for dates in late February. For applicants residing outside the United States at the time of application, please contact the department at arttherapy@saic. edu or 312.899.7481 to schedule a Skype or phone interview. Applicants to other departments may receive an interview request at the discretion of the department.

DEFERRING ADMISSION New students may defer their enrollment for up to one academic year by contacting the Admissions office prior to the start of the fall semester. A tuition deposit is required in order to defer. All forms of SAIC scholarships are forfeited.

INTERNATIONAL STUDENTS SAIC has been welcoming international students to campus since our founding in 1866. Representing 30% of our population, international students form a vital and important part of our community. In Fall 2016, we enrolled nearly 920 international students from 48 countries. Our Office of International Student Services is committed to supporting our international student community. The staff provides specialized programming, new student orientation, and immigration advising and support. For details, see saic.edu/international.

IMPORTANT ADMISSION CONSIDERATIONS FOR INTERNATIONAL STUDENTS:

be submitted to Student Financial Services with all necessary supporting documentation including a copy of your passport and immigration documents.

Students whose native language is not English or who do not have a degree conferred by a U.S.accredited university are required to submit a TOEFL or IELTS score for admission. Please ensure that any transcripts sent to us that are not issued in English are accompanied by an English translation. Translations should be on official stationery and the translator must attest proficiency in the original language and indicate that the translations are accurate. For applicants whose departments require interviews, arrangements for Skype interviews should be made directly with the department.

International students are eligible for teaching assistantships and on-campus employment when available.

FINANCIAL AID

IMMIGRATION MATTERS

Your best source of financial assistance is often from your home country, as the U.S. government does not provide federal funding for international students to study in the U.S. Scholarships may be an option for you, and we suggest starting your research at saic.edu/sfs.

The most common immigration status our students hold is F-1 (student) status, which requires full-time enrollment during the academic year.

International students are not permitted to work in paid (or unpaid/ volunteer) positions off-campus unless registered for internship/ fieldwork credit and authorized by International Student Services.

MERIT SCHOLARSHIPS All students who receive admission to a graduate program are simultaneously reviewed for merit scholarship consideration. Merit scholarships are based on a holistic review of your portfolio and application materials.

CANADIAN CITIZENS While Canadian citizens enter as F-1 students on SAIC-issued immigration documentation, Canadian students are not required to apply for a physical Visa in their passport.

CERTIFICATE OF ELIGIBILITY (I-20) The U.S. government requires that all international applicants provide SAIC with evidence of your ability to pay a full year of tuition and living expenses before a Certificate of Eligibility (I-20) may be issued. To apply for your I-20 form, you will need to prepare the following documents: SAIC’s Immigration and Financial Matters packet Bank statement showing a full year of available funding Copy of your passport biographical page International Declaration of Intent

Our International Student Services team will help guide you through the immigration process.

If you plan to apply for loans in the U.S., you’ll find that most loan agencies require a co-signer who is a U.S. citizen or a permanent resident. Loan applications should 208

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FINANCIAL AID AND SCHOLARSHIPS AT SAIC All students are considered for all types of aid programs for which they are eligible. APPLYING FOR FINANCIAL AID AT SAIC Applicants applying for financial aid should file the Free Application for Federal Student Aid (FAFSA) at fafsa.gov in the month of October before enrolling. Students should submit information from a completed federal tax return using the IRS Data Retrieval Tool available in the FAFSA. SCHOLARSHIPS AND GRANTS To qualify for these forms of aid which do not require repayment, students must be enrolled for at least 6 credit hours in fall and spring terms, or 3 credits in summer or winter.

MARGOT AND THOMAS PRITZKER FAMILY FOUNDATION SCHOLARSHIP ELIGIBILITY: Master’s degree students with at least half-time enrollment. Students must demonstrate prior work or study experience in China; familiarity with Chinese language, culture, or history; and demonstrated intention of working in China after graduation. An online application is available during the admissions process. AWARD AMOUNT: $10,000 per year awarded in combination with needbased aid, and not to exceed tuition.

ELLEN SANDOR SCHOLARSHIP ELIGIBILITY: Master’s degree students in Art and Technology NEW ARTISTS SOCIETY Studies or Film, Video, New Media, SCHOLARSHIPS and Animation with at least halfELIGIBILITY: Master’s degree students time enrollment. Recipient is selected with at least half-time enrollment. during the admissions process. Recipients are selected during the admissions process. AWARD AMOUNT: Awarded every other year for $12,500/year for 2 AWARD AMOUNT: 50–100% of years. Awarded in combination with tuition, awarded in combination need-based aid, and not to exceed with need-based aid, and not to tuition. exceed tuition. LENORE G. TAWNEY FOUNDATION DEAN’S SCHOLARSHIPS SCHOLARSHIP ELIGIBILITY: Master’s degree students ELIGIBILITY: Master’s degree students with at least half-time enrollment. in Fiber and Material Studies with at Recipients are selected during the least half-time enrollment. Recipient admissions process. is selected during the admissions process. AWARD AMOUNT: 35% of tuition, awarded in combination with needAWARD AMOUNT: $2,000–$3,000 for based aid, and not to exceed tuition. the student’s first year, awarded in PRESIDENTIAL SCHOLARSHIPS ELIGIBILITY: Post-Baccalaureate students with at least half-time enrollment. Recipients are selected during the admissions process. AWARD AMOUNT: 50% of tuition awarded in combination with need-based aid, and not to exceed tuition.

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STUDENT FINANCIAL SERVICES 312.629.6600 saic.sfs@saic.edu // saic.edu/sfs for additional opportunities year in the amount of $5,000 per year for two years in combination with need-based aid, and not to exceed tuition.

AWARD AMOUNT: Awarded every other year in the amount of $12,000 per year for two years, for a total award of $24,000. Awarded in combination with need-based aid, and not to exceed tuition.

PRITZKER GRADUATE FELLOWSHIP ELIGIBILITY: Master’s degree students with at least half-time enrollment. Recipient is selected during the admissions process.

DANIEL BERGER BARBARA DEGENEVIEVE GRADUATE MERIT SCHOLARSHIP ELIGIBILITY: Master’s degree students in Photography with at least half-time enrollment. Recipient is selected during the admissions process. AWARD AMOUNT: Awarded in the amount of $5,000 per year for two years, for a total of $10,000. Awarded in combination with need-based aid, and not to exceed tuition.

AWARD AMOUNT: 50% of tuition, awarded in combination with needbased aid, and not to exceed tuition.

HOLLY HUNT GRADUATE MERIT FELLOWSHIPS ELIGIBILITY: Master’s degree students with at least half-time enrollment. Recipient is selected during the admissions process.

AWARD AMOUNT: Awarded every other year in the amount of $3,750 per year for two years in combination with need-based aid, and not to exceed tuition.

AWARD AMOUNT: Awarded in the amount of $10,000 per year for two years, for a total of $20,000. Awarded in combination with need-based aid, and not to exceed tuition. MENCOFF GRADUATE FELLOWSHIP Eligibility: Master’s degree students with at least half-time enrollment. Recipient is selected during the admissions process. AWARD AMOUNT: Awarded to one student for $25,000/year in combination with need-based aid, and not to exceed tuition.

combination with need-based aid, and not to exceed tuition. REAM FOUNDATION GRADUATE MERIT SCHOLARSHIP LYN BLUMENTHAL MEMORIAL Eligibility: Master’s degree students; SCHOLARSHIP ELIGIBILITY: Master’s degree students Israel experience with at least half-time enrollment. Recipient is selected during in Film, Video, New Media, and the admissions process. Animation with at least half-time enrollment. Recipient is selected AWARD AMOUNT: Awarded every other during the admissions process.

WILSON/LIVINGSTONE GRADUATE MERIT SCHOLARSHIP ELIGIBILITY: Master’s degree students in Fiber and Material Studies with at least half-time enrollment. Recipient is selected during the admissions process.

MOHN FAMILY GRADUATE FELLOW ELIGIBILITY: Master’s degree students in Art History with at least half-time enrollment. Recipient is selected during the admissions process. AWARD AMOUNT: Awarded every other year to one student in the amount of $10,000 for two years, for a total of $20,000. To be used for research and assisting the chosen professor receiving the Mohn Family Professor of Contemporary Art History. Awarded in combination with need-based aid, and not to exceed tuition. CHRISTOPHER WETZEL MEMORIAL FUND ELIGIBILITY: Master’s degree students in Art and Technology Studies or Film, Video, New Media, and Animation with at least half-time enrollment. Recipient is selected during the admissions process.

AWARD AMOUNT: Awarded in the amount of $17,500 per year for two years, for a total of $35,000. Awarded in combination with need-based aid, and not to exceed tuition.

ANNUAL AWARD AMOUNT: 20% of tuition per year (depending on start date), in combination with need-based aid, and not to exceed tuition.

JOHN H. BRYAN GRADUATE MERIT FELLOWSHIP ELIGIBILITY: Master’s degree students with at least half-time enrollment. Recipient is selected during the admissions process.

ENRICHMENT SCHOLARSHIPS ELIGIBILITY: Master’s degree or post-baccalaureate students with at least half-time enrollment. Recipients are selected during the admissions process.

AWARD AMOUNT: Awarded in the amount of $7,000 per year for two years, for a total of $14,000. Awarded in combination with need-based aid, and not to exceed tuition. LISA WAINWRIGHT GRADUATE MERIT SCHOLARSHIP FUND ELIGIBILITY: Master’s degree students with at least half-time enrollment. Recipient is selected during the admissions process. AWARD AMOUNT: Awarded to one student for $1,000/year for 2 years, in combination with need-based aid, and not to exceed tuition.

ANNUAL AWARD AMOUNT: $2,000 a year (depending on start date), in combination with need-based aid, and not to exceed tuition. SCHOOL GRANTS ELIGIBILITY: Master’s degree or postbaccalaureate certificate students with at least half-time enrollment who demonstrate financial need through the FAFSA. Apply at fafsa.gov ANNUAL AWARD AMOUNT: Variable, awarded in combination with scholarships and not to exceed tuition.

ENDOWED/RESTRICTED SCHOLARSHIPS ELIGIBILITY: Master’s degree or SHAPIRO GRADUATE post-baccalaureate certificate students RESEARCH FELLOWS ELIGIBILITY: Master’s degree students enrolled at least half-time. These scholarships are typically funded by with at least half-time enrollment. a benefactor who establishes criteria; Recipients are selected through the Dean’s Office as student employment. need-based recipients are identified through the FAFSA process and donor AWARD AMOUNT: Variable. criteria. A separate application is not required. RECOGNITION SCHOLARSHIPS ELIGIBILITY: Post-Baccalaureate ANNUAL AWARD AMOUNT: Variable, students with at least half-time awarded in combination with enrollment. Recipients are selected scholarships and not to exceed tuition. during the admissions process. LOANS AWARD AMOUNT: 30% of tuition, Students may qualify for low interest awarded in combination with rate loans based on FAFSA results need-based aid, and not to exceed and program regulations. Eligibility, tuition. borrowing levels, and interest rates vary INCENTIVE SCHOLARSHIPS from program to program. ELIGIBILITY: Master’s degree or The following may be available: post-baccalaureate certificate Federal Direct Unsubsidized students with at least half-time Stafford Loan enrollment. Recipients are selected during the admissions process. Federal Direct PLUS loans for graduate students Private Alternative Loans

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STUDENT EMPLOYMENT ON-CAMPUS EMPLOYMENT Jobs are available in many administrative and academic departments. Pay rates are based on job responsibilities and experience. Positions are posted on SAIC’s job opportunities database, saiclaunch.com.

FEDERAL WORK-STUDY Students who have demonstrated financial need through the FAFSA process are eligible to apply for jobs on campus. Jobs are available in many administrative and academic departments. Pay rates are based on job responsibilities and experience. SAIC can assist students in finding employment, but the receipt of a Federal Work-Study earning eligibility does not guarantee a job. International students are eligible to seek employment on campus and after securing a position are able to receive an Institutional Earning Eligibility.

TEACHING ASSISTANTSHIPS Each semester SAIC offers teaching assistantships (TAs) to graduate students. Duties vary by department and by class, but can include co-teaching responsibilities, research work, maintaining facilities, and/or grading papers. The number of hours varies by department, but generally totals six hours per week, per class. There are two types of TAs available: Instructor of Record positions involve teaching a class. These positions pay $22 per hour. Graduate Teaching Assistant positions pay $14 per hour, and involve assisting a teacher with a class or providing technical assistance in instructional shops or fabrication studios. Available TA positions are posted by departments on SAIC’s job opportunities database at saiclaunch.com one semester in advance.

SAIC INTERNSHIP PROGRAM The SAIC Internship Program through the Career and Professional Experience office gives students the opportunity to explore various art-related work experiences through paid and unpaid positions with leading creative and cultural organizations. Students must register, earn course credit and are charged tuition for their internships. Available Fall, Spring and Summer semesters. Go to our website saic.edu/careers to create your profile and search for internships on our database SAIC Compass. 212

ACCREDITATION AND NON-DISCRIMINATION POLICY ACCREDITATION INFORMATION The School of the Art Institute of Chicago (SAIC) and the Art Institute of Chicago (museum) are incorporated as a private, non-profit corporation. SAIC is a professional college of the visual and related arts, accredited since 1936 by the Higher Learning Commission, and as a charter member since 1948 by NASAD, the National Association of Schools of Art and Design. The School of the Art Institute of Chicago’s Art Education program is certified by the Illinois State Board of Education, and its Art Therapy program is approved by the Education and Approval Board of the American Art Therapy Association. SAIC is a member of the Council for Higher Education Accreditation, the American Association for Higher Education, National Art Education Association, College Art Association of America, Federation of Independent Illinois Colleges and Universities, Illinois Art Education Association, National Conference of Artists, College Scholarship Service, Council for Advancement and Support of Education, Institute of International Education, National Association for Foreign Student Affairs, American Association of University Women, National Association of College Admissions Counselors, American Association of Collegiate Registrars and Admissions Officers, College Entrance Examination Board, and the National Association of Student Personnel Administrators. In the United States, most state registration boards require a degree from an accredited professional degree program as a prerequisite for licensure. The National Architectural Accrediting Board (NAAB), which is the sole agency authorized to accredit

U.S. professional degree programs in architecture, recognizes three types of degrees: the Bachelor of Architecture, the Master of Architecture, and the Doctor of Architecture. A program may be granted a 6-year, 3-year, or 2-year term of accreditation, depending on the extent of its conformance with established educational standards. Doctor of Architecture and Master of Architecture degree programs may consist of a pre-professional undergraduate degree and a professional graduate degree that, when earned sequentially, constitute an accredited professional education. However, the pre-professional degree is not, by itself, recognized as an accredited degree. The School of the Art Institute of Chicago’s (SAIC) Department of Architecture, Interior Architecture, and Designed Objects (AIADO) offers the following NAAB-accredited degree programs:

Master of Architecture (102 credits, requirement: nonprofessional degree)

Master of Architecture, Option 2 (60 credits, requirement: preprofessional degree)

Master of Architecture with an Emphasis in Interior Architecture (102 credits, requirement: nonprofessional degree)

Master of Architecture with an Emphasis in Interior Architecture, Option 2 (60 credits, requirement: preprofessional degree)

SAIC was formally granted an eight-year term of accreditation by the National Architectural Accreditation Board effective January 1, 2014. The program is scheduled for its next accreditation visit in 2022.

NONDISCRIMINATION POLICY The Art Institute of Chicago, including both the School and the Museum, is committed to providing an inclusive and welcoming environment for its students, visitors, faculty, and staff, and to ensuring that educational and employment decisions are based on an individual’s abilities and qualifications. The Art Institute of Chicago does not tolerate unlawful discrimination based on race, color, sex, religion, national origin, disability, age, sexual orientation, gender identity, military or former military status, or any other status protected by federal, state or local law, in its programs and activities, public accommodations or employment practices.

Title IX Coordinator Lumturije “Luma” Asanoski Human Resources 116 S. Michigan Ave., suite 1200 Chicago, IL 60603 312.629.4165 | lasanoski@artic.edu Section 504 Coordinator Felice Dublon, PhD Vice President / Dean of Student Affairs The Office of Student Affairs 36 S. Wabash Ave., suite 1204 Chicago, IL 60603 312.629.6800 | fdublon@saic.edu For further information on notice of nondiscrimination, see the Office for Civil Rights Discrimination Complaint Form (www2.ed.gov/about/offices/list/ocr/ complaintintro.html) for the address and phone number of the office that serves your area, or call 800.421.3481.

CLERY ACT REPORTING The School of the Art Institute of Chicago’s Annual Security & Fire Safety Report can be accessed online at saic. edu/clery. Paper copies of this report may be obtained by contacting the Campus Security Office at 312.899.7442 or by emailing John Pack, Executive Director of Campus Security, at jpack@saic.edu. 213

1| 280 SOUTH COLUMBUS DRIVE Ceramics. Gallery X. MFA Studios. Painting and Drawing. Photography. Printmedia. Sculpture.

Prinz, David Ross, John Sisson, Jr.,BLVD JACKSON Christine Willett, Don Yoshida Printed by: Graphic ArtsGRANT Studio.PARK

SHARP BUILDING, 37 South Wabash Avenue Art Education. Art Therapy. Arts Administration and Policy. Contemporary Practices. Deans and Division Chairs. Fiber and Material Studies. Finance. John M. Flaxman Library. The LeRoy Neiman Center. Presidentâ&#x20AC;&#x2122;s Office. Student Union Galleries. Visiting Artists Program. Visual Communication Design. Writing Program.

SULLIVAN CENTER, 36 South Wabash Avenue Admissions. Architecture, Interior Architecture, and Designed Objects. Campus Life. Enrollment Services. Fashion Design. International Affairs. Multicultural Affairs. Office of Student Affairs. Ox-Bow. Registration and Records. Residence Life. Student Financial Services (Financial Aid, Student Accounts).

8| SULLIVAN GALLERIES, 33 South State Street 9| JONES HALL, 7 West Madison Avenue Residence Hall. 10| 162 NORTH STATE STREET RESIDENCES Residence Hall.

WASHINGTON ST

MILLENNIUM PARK

MADISON ST

MONROE ST

ADAMS ST

JACKSON BLVD

LAKE SHORE DRIVE

Photography Inc., Tony Favarula, James

MACLEAN CENTER, 112 South Michigan Avenue Art and Technology Studies. Art History, Theory, and Criticism. Computer Resources and Information Technology. Film, Video, New Media, and Animation. MFA Studios. SAIC Ballroom. Sound. Video Data Bank. Visual and Critical Studies. The Writing Center.

COLUMBUS DR

Principal photography: Erika Dufour

RANDOLPH ST

MICHIGAN AVE

Concept and design by: SAIC and TimeZoneOne.

LAKE SHORE DRIVE

COLUMBUS DR

MICHIGAN AVE

MONROE ST

4| LAKEVIEW BUILDING, 116 South Michigan Avenue Career and Professional Experience. Continuing Studies. Counseling Services. Disability and Learning Resource Center. Early College Program. F Newsmagazine. Health Services. Historic Preservation. Human Resources. Office of Institutional Advancement.

WABASH AVE

MILLENNIUM PARK

3| THE MODERN WING, 159 East Monroe Street

STATE ST

RANDOLPH ST

2| THE ART INSTITUTE OF CHICAGO, 111 South Michigan Avenue

DEARBORN ST

CAMPUS MAP

LAKE ST

JACKSON BLVD GRANT PARK

11| GENE SISKEL FILM CENTER, 164 North State Street

12| THE BUCKINGHAM, 59 East Van Buren Residence Hall.

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