Graduate Courses

This course considers the history and possibilities of imagining and representing the Other and the Unknown. It is centered on the close study of films, texts and media, including Yermek Shinarbaev's Revenge, on the Korean diaspora in central Asia; Susana Aikin's The Salt Mines; Kpop; and texts drawn from critical theory, fiction, and the news. Through experimentations with various media, ranging from writing and storytelling to films and diagrams, students are asked to find ways to bring the unknown to the realm of the familiar, while questioning the merits of this practice.

This course explores the burgeoning field of social practice art. Today artists working in the field of social practice focus on aesthetics, ethics, collaboration, media strategies, & social activism as central issues that inform their artworks & projects that are designed for public & social spaces. In the United States, visual art that engaged the public directly began in the late 1950s & coincided with the local “decentralization” efforts that, in the arts, resulted in community-based art practices that envisioned the public as diverse, socially-engaged, & contributed to an expansive aesthetic consciousness. Understanding this history contextualizes social practice art & allows us to interrogate the ways artists blur the lines between object making, performance, activism, grass roots organizing & pedagogy.

How to collect art for both private and public collections. Factors of aesthetics, taste, and economics are discussed as well as the historic development of collections since the Renaissance. Special attention is given to corporate collections and collecting for investment. Guest lectures.

A wide range of contemporary visual and critical methodologies used in art criticism are explored, along with an extensive evaluation of writing techniques from a variety of sources including major international newspapers, journals, books, and on-line and print art publications.

Through a series of lectures, seminars, guest speakers, and workshops, students will be introduced to issues and recent research in art education. Students will have the opportunity to learn about available teaching and learning resources, share and critique artwork, and discuss their practices as artists, teachers, intellectuals, and activists within the contexts of contemporary art education. This course will also serve as a forum for fostering academic community through networking, sharing resources and planning special projects.

Studio work focused on enabling artists functioning as therapists to use their creative capacities in the service of individuals with adjustment problems and emotional disabilities.

The evolution of alternative spaces in New York City from the 1950s through the early 1990s. Critically investigates varying definitions to the term "alternative," and considers the impact of new art forms/new ideas upon the nonprofit and for profit sectors of the art world at that time. Students learn about the work of emerging, underrepresented, established artists whose art reflects cultural and stylistic diversity. Students gain insight into how administrators serve both their artists and constituencies and respond to the changing needs of their communities.

This course explores different ways artists have interacted with money, in choosing a subject, dealing with the marketplace, and formulating life choices. The course combines theory and studio practice with lecture and discussion and includes art critiques with an active critical engagement. For each of the seven topic units, students may do art projects as well as present or write responses. Open to studio artists in any discipline, those interested in critical theory or art history, and those engaged in arts administration.

This class surveys theories of contemporary art from the 1970s to the present. Class meetings provide an overview of the parallel appearance of new art forms and the critical theories associated with them. Areas to be explored include contemporary media culture, the politics of the image and identity, social constructions, memory and history as these relate to art theory and criticism.

Art as therapy for adolescent populations. Topics will cover a range of disorders such as the emotionally disturbed, the disabled, the intellectually and/or neurologically impaired, and the socioeconomically deprived. There will be a demonstration of techniques used in long or short-term treatment. Students will learn the role of the art therapist as a member of the therapeutic team in bringing about behavioral change or improved ability to deal with immediate life situations, methods, of evaluation, and treatment will be addressed.

An investigation of art therapy in numerous settings for adults with either acute or mild disturbances. Demonstration of art therapy techniques (utilizing studio activities) used in long-or short-term treatment. Discussion and art experience appropriate to use with talented adult group.

Art as therapy with the emotionally disturbed, children with physical disabilies, the intellectually and/or neurologically impaired, and socioeconomically deprived children. Considers the problems and methods of art therapy for children with either aculte or mild disturbances. Demonstrations of art therapy techniques (utlizing studio activities) used in long-or short-term treatment. The role of art therapist in relation to other members of the therapeutic team in bringing about character change or improved ability to deal with immediate life situations. Methods of evaluation and treatment are discussed. Illustrated lectures, reading, and discussion.

Theoretical foundation and close study of assessment techniques in family art therapy. Art intervention techniques will also be introduced. Several theoretical approaches to family therapy will be studied - psychodynamics and systems theory. Lecture, slide and videotape presentation included.

Deals primarily with the theory and application of art therapy techniques for various types of groups in mental health facilities. Lecture, discussion, and studio work emphasize practical utilization of group techniques.

The course examines principles and practices of managing a performing artist's career with emphasis on the promotion and planning process used in the live performance sector. Lectures and discussions focus on people and issues that shape an artist's career.

Today, some of the most interesting, dynamic and relevant learning spaces in education are generative in-between spaces or what we are calling “third spaces” that allow us to imagine new ways of learning and working together, relating to each other, and imagining an alternative humane and just world. This course explores these third spaces through a multi-sensory, interdisciplinary and experiential way of learning in order to capture their embodied nature: readings, artworks, creative workshops, field trips, art projects, and guest lectures.

Today, some of the most interesting, dynamic and relevant learning spaces in education are generative in-between spaces or what we are calling “third spaces” that allow us to imagine new ways of learning and working together, relating to each other, and imagining an alternative humane and just world. This course explores these third spaces through a multisensory, interdisciplinary and experiential way of learning in order to capture their embodied nature: readings, artworks, creative workshops, field trips, art projects, and guest lectures.

Artistic activism is a practice grounded in envisioning new ways of acting and thinking in our communities in order to create social change. It challenges the notion that art practice, research, and social activism are discrete entities. As a form of “militant” or radical research, this praxis based class focuses on a range of different forms of artistic activism as casestudies to understand how artists use creative research strategies to engage with communities, social movements, and cities. A major part of the class focuses on collaborative fieldwork in the public realm or in communities.

Arts organizations rely on the support and sponsorship of public and private agencies and individuals. This course focuses on current issues and approaches to building public understanding and legislative support for the arts, and examines the context and growth of arts advocacy in the U.S. Students will develop hands-on skills to initiate and sustain effective relationships with policy makers and other arts stake holders. Topics include cultural policy, the arts economy, political structures and processes, coalition building, cultural diplomacy, as well as internet and media advocacy.

Dramatic play and its contributions to an integrated early childhood curriculum.