Advanced Fiber and Material Studies Studio FALL 2011

Generally: Tuesdays 9-4 class meetings, Thursdays 9-4 studio day Room 1005 Christy Matson: cmatso@saic.edu Diana Guerrero-Maci: dguerrero@saic.edu 312-899-5080

Fiber and Material Studies Advanced Undergraduate Class website: www.fibermaterialstudies.com/advanced_studio/index.php SYLLABUS is subject to revisions and additions. We will notify students of any changes the week before in class or through SAIC email. Thurs September 1 week 1 FIRST DAY: -Introductions, get-to-know-you, discuss course outline, Writing Fellow, review preliminary syllabus, lockers and space set-up, discuss SAIC facilities and authorization, tour 9th floors, discuss visiting artist line-up, bringing in readings, discuss giving an artist talk, discuss website, discuss 1st assignment, discuss timeline and proposal for exhibition -Student Field Trip to MCA Mark Bradford HOMEWORK: -Complete Questionnaire including a written draft of your proposed semester timeline and bring these for individual meetings next week. -Bring two hard copies + cover sheet to your meeting. Tues Sept 6 and Thurs Sept 8 week 2 TUESDAY: -Assignment #1- Redraft & Revise {see below} Individual meetings with Christy & Diana -PLEASE PRINT OUT FOR MEETING (2 copies): Questionnaire, draft of proposed semester timeline, statement + cover sheet THURSDAY: Studio day HOMEWORK: Complete 1st assignment. GROUP A: Email first draft of Artist Statement to Katie Tues Sept 13 and Thurs Sept 15 week 3 TUESDAY: GROUP CRITIQUE of 1st assignment, Faculty presentation HOMEWORK: Begin work on Presentation- you may need to document work and think about your process THURSDAY: Studio day + Group A: Individual Meetings with Writing Fellow HOMEWORK: Prepare 15-minute presentation with @15-20 images. You may present slides, video, or digital files on the digital projector. Consider the order of the work, chronologically, or starting from the most recent work, discuss the history of your work, the material and conceptual concerns, and the direction you want your work to move in. Presentations will be timed, so make sure you do practice runs! GROUP

B: Email first draft of Artist Statement to Katie Tues Sept 20 and Thurs 22 week 4 TUESDAY: Student Presentations 9:00 DONT BE LATE- Room 903 IMPORTANT- your slides should be in a power point format READY TO VIEW from your laptop. Afternoon: West Loop GALLERY VISITS Western Exhibition, Three Walls, TBA THURSDAY: Studio Day. GROUP B: Email first draft of Artist Statement to Katie Tues Sept 27 and Thurs Sept 29 week 5 TUESDAY: One-on-one meetings with Diana & Christy THURSDAY: Studio Day HOMEWORK: Finish Individual project for Critique. GROUP A: Email revised draft of Artist Statement to Katie Tues Oct 4 and Thurs Oct 6 TUESDAY: GROUP CRITIQUE INDIVIDUAL PROJECTS THURSDAY: Studio Day. Group A Individual Meetings with Writing Fellow Homework: GROUP B: Email revised draft of Artist Statement to Katie week 6

Tues Oct 11 and Thurs Oct 13 week 7 TUESDAY: One on one meetings with Christy & Diana THURSDAY: Studio day Group B Individual Meetings with Writing Fellow Homework: First draft of CV (2 copies). Bring images and come prepared to begin uploading images and statements to class website. HOMEWORK: Attend BFA show opening Friday OCT 14 Tuesday Oct 18 and Thurs Oct 20 TUESDAY: Discuss show title/postcard/publicity/CV/website Student pick committees THURSDAY: Studio day Tuesday Oct 25 and Thurs Oct 27 TUESDAY: One-on-one meetings with Christy & Diana Homework: Complete final draft of artist statement. THURSDAY: Studio day One-on-one meetings with Writing Fellow Tues Nov 1 and Thurs Nov 3 week 10 TUESDAY: CLASS SWAP WITH ADV. SCULPTURE STUDIO details TBA THURSDAY: studio day group crits next class! HOMEWORK: Finish project for Critique. GROUP A: Email draft of writing assignment to Katie Tues Nov 8 and Thurs Nov 10 week 11 TUESDAY: GROUP CRITIQUE #2 THURSDAY: Studio day + Group A: Meetings with Writing Fellow HOMEWORK: Complete final version of statement, Begin preparations for second presentation on research and sources for your work GROUP B: Email draft of writing week 8

week 9

assignment to Katie Tues Nov 15 and Thurs Nov 17 week 12 TUESDAY: Research Presentations + Bring images of work + Final Artist Statement DUE (to be uploaded to class site) THURSDAY: studio day. Group B: Meetings with Writing Fellow Tues Nov 22 and Thurs Nov 24 week 13 TUESDAY: Studio day THURSDAY: Thanksgiving Tues Nov 29 and Thurs Dec 1 week 14 TUESDAY: Studio Day THURSDAY: Install Show - Christy FRIDAY: Install Show + PM: OPENING OF SHOW Tues Dec 6, Thurs Dec 8 CRIT WEEK week 15 TUESDAY: FINAL CRITIQUE AT GALLERY with Visiting Critic Britton Bertrand DE-INSTALLATION date TBA Tues Dec 13 and Thurs Dec 15 week 16 TUESDAY: Final class wrap-up + final drafts of CV, artists statements, and images for website THURSDAY: Studio clean out

Course Requirements and Expectations: 6 hours Tuesday 3 hours outside studio time 6 hours Thursday + 3 hours outside studio time =18 total hours minimum work time expected each week. + Have a good time, be engaged, and expand your brain. Be opinionated, ask questions, and participate in our discussions and critiques. The hard facts, the law of the land + Miss a critique = no credit, Dont show up for studio = no credit + Class begins at 9:00arrive after this time and it counts as an absence. 3 or more absences equal no credit. Class ends at 4pm-- leave early = an absence. + If you cannot attend class, you are responsible for contacting us through email or phone, as well as being updated about missed events by another class member. + You are responsible for knowing what is scheduled and what is expected from

you in this class. Check our class space on the portal and your email for updates and syllabus changes before each class. For example, we might switch field trips and times according to our presenters schedules, so be aware of what is happening prior to each class. + Writing Fellows role and required student participation: We have accepted an opportunity to work with a new initiative at SAIC to help you become better writers. Katie Waddell, Art History and Arts Admin grad student, will be working with you on drafts and revisions of your artist statement at the beginning of the semester and again near the end of the semester. Katie will be giving you more information about your process of working with her, but here are the basics: you will turn in a first draft of your statement to her and to your teachers. Katie will read your statement closely and provide written comments on the draft, and you will have a one-on-one meeting with her to review her suggestions for improvements. Then you will revise your draft and turn in your final version to Diana and Christy. Final is in quotes because an artist statement is an everevolving piece. Katie, Diana and Christy will help you develop a productive process of drafting and revising that you will be able to apply to any of your writing in the future. Please note if you miss your meeting with Katie, you will be given an absence for the class. If you have any questions on this process, please direct them to Christy, Diana or Katie at kwadde1@saic.edu. + Accommodations for Students with Disabilities: Any student in need of academic adjustments or accommodations because of a disability should contact SAIC's Disability and Learning Resource Center (DLRC) at 312-499-4278, or email dlrc@saic.edu. DLRC staff will review the student's disability documentation and will work with the student to determine reasonable accommodations. The DLRC will then provide the student with a letter outlining approved accommodations. This letter must be presented to the instructor, as early in the semester as possible, so that accommodations can be implemented. Students please contact the DLRC as early as possible. + SAIC Plagiarism Statement: The School of the Art Institute of Chicago prohibits academic misconduct, which includes "both plagiarism and cheating, and may consist of the submission of the work of another as one's own; unauthorized assistance on a test or assignment; submission of the same work for more than one class without the knowledge and consent of all instructors; or the failure to properly cite texts or ideas from other sources" (Students' Rights and Responsibilities, Student Handbook, http://www.saic.edu/pdf/life/pdf_files/rights.pdf). Noon Hour Grad Presentations, Room 903 Sharp: Presentations begin at 12:10 pm and should last 30-40 minutes. Sarah Hasse Alexandra Milukhin Sarah Jones Troy Briggs Christalena Hughmanick Hannah Givler Corkey Sinks Barbara Jenkins Erin Chlagmo Allison Wade Monday Sept. 19 Tuesday Sept. 27 Tuesday Oct. 04 Wednesday Oct. 12 Friday Oct. 21 Thursday Oct 27 Tuesday Nov. 01 Wednesday Nov. 09 Monday Nov. 14 Thursday Dec. 01

Fiber & Material Studies Departmental Fall 2011 lectures: MARK NEWPORT Lecture: Wednesday, October 19th, 2011 Time: 12 noon Location: Price Auditorium (AIC) Note: This public lecture is free (with museum admission) and made possible by the William Bronson and Grayce Slovet Mitchell Lectureship in Fiber and Material Studies at the School of the Art Institute of Chicago Bio: Mark Newport was born in Amsterdam, NY and attended the Kansas City Art Institute (BFA) and the School of the Art Institute of Chicago (MFA). Newports work has been exhibited internationally. Recent awards include grants from Creative Capital Foundation and the Arizona Commission on the Arts. Newports work is in the collections of The Whitney Museum of American Art; The Renwick Gallery of the Smithsonian American Art Museum and The Detroit Institute of Arts. The Lemberg Gallery and Greg Kucera Gallery represent his work. Newport is the Artist-in-Residence and Head of Fiber at the Cranbrook Academy of Art. JENNI SORKIN: Ancient Modernisms Distinguished Alumni Lecture Series VAP Lecture: Wednesday, November 2, 6:00 p.m. Location: SAIC Columbus Auditorium, 280 S. Columbus Dr. Free admission Jenni Sorkin (BFA, 1999) is Assistant Professor of Critical Theory, Media, and Design at the University of Houston. She is currently completing her book Live Form: Craft as Participation, which examines the confluence of gender, artistic labor, and craft pedagogy from 1950 to 1975. She has written numerous in-depth catalog essays on feminist art and material culture topics, and her writing has appeared in the New Art Examiner, Art Journal, Art Monthly, NU: The Nordic Art Review, Frieze, The Journal of Modern Craft, Modern Painters, and Third Text. She has lectured at CalArts; Dia Beacon, Ohio University; School of Visual Arts, New York; Santa Monica Museum of Art; Museum of Contemporary Art, Miami; Textile Museum of Canada; and the Southern Alberta Art Gallery. In 2010 she co-organized Blind Spots/Puntos Ciegos: Feminisms, Cinema, and Performance, for the Eighth International Symposium of Contemporary Art Theory, held in Mexico City. She holds a PhD in the History of Art from Yale University, an MA from the Center for Curatorial Studies, Bard College, and a BFA from the School of the Art Institute of Chicago. From 201011, she was a Post-Doctoral Fellow at the Getty Research Institute in Los Angeles. JOSH FAUGHT Lecture: Wednesday, November 16th, 2011 Time: 12 noon Location: Price Auditorium (AIC) Note: This public lecture is free (with museum admission) and made possible by the William Bronson and Grayce Slovet Mitchell Lectureship in Fiber and Material Studies at the School of the Art Institute of Chicago Bio: Reveling in the suburban panic punctuated by an hysterical self-help culture, compulsion toward decoration, and docudramatic tragedy, Josh Faught's current work uses elements of textiles, collage, sculpture, and painting to triangulate between a space that negotiates the history of textiles, a social/political history, and personal history. These mythologized reconfigurations respond to ongoing interests surrounding possibilities in narrative between object, ornamentation, sexual difference, desire, and the site of domestic dysfunction. Performing or sublimating a fabulous sense of isolation or disconnectedness, these objects borrow an expressive vernacular from the art fabric movement; a moment where threads

were not to be walked upon or worn but could, by contrast, ventriloquize a sense of political urgency and delineate the presence of our bodies and our neurosis. Faught has exhibited his work in numerous venues including Lisa Cooley Fine Arts, New York, New York; Tanya Bonakdar Gallery, New York; The Seattle Art Museum, Seattle, Washington; The Museum of Contemporary Craft, Portland, Oregon; Greg Kucera Gallery, Seattle, Washington; The Baltimore Museum of Art, Baltimore, Maryland; Lehmann College, New York, New York; Front Room Gallery, Cleveland, Ohio; Roots and Culture Contemporary Art, Chicago, IL, among others. His work has also appeared in publications such as The New York Times, Art In America, The Studio Reader,Crafts (UK), and The New Yorker. ANTHEA BLACK- Pending Mid Oct/Early Nov Anthea Black is a Canadian artist, art writer and cultural worker. She has attended NSCAD University, Alberta College of Art and Design, The Banff Centre, the University of Western Ontario and several international conferences on contemporary art and craft. She has most recently exhibited as part of PopSex! Responses to the History of Sexual Science at the Illingworth Kerr Gallery / ACAD in Calgary, Gestures of Resistance at the Museum of Contemporary Craft in Portland, OR and QIY: Queer It Yourself Tools for Survival at the National Queer Arts Festival (USA). Her writing on contemporary art, craft, performance and queer film and video has been published widely and her collaborative research on craft and curatorial ethics with Nicole Burisch is included in new publications The Craft Reader (Berg Press) and Extra/ordinary: Craft and Contemporary Art (Duke University Press). She has curated SINCERITY OVERDRIVE, SUPER STRING, Echo+Response: lipsynchs and remixes for critical queer geographies and worked to present the work of over 120 artists in her roles as Director of Stride Gallery, Board President of M:ST Performative Art Festival, program committee member for the Fairy Tales Queer International Film Festival and Exhibitions Manager at the Art Gallery of Alberta. Her current research situates queer craft and collaborative practices in relation to the making and mapping of new geographies, utopias, and as a turn towards an imagined future.

1st Assignment: Redraft and Revise Critique on Tuesday September 13th

draft |draft| noun a preliminary version of a piece of writing : the first draft of the party's manifesto | [as adj. ] a draft document. a plan, sketch, or rough drawing. redraft verb |rdraft| [ trans. ] draft (a document, text, or map) again in a different way : [as adj. ] ( redrafted) I enclose a redrafted version. revise |rivz| verb [ trans. ] reconsider and alter (something) in the light of further evidence : he had cause to revise his opinion a moment after expressing it. reexamine and make alterations to (written or printed matter) : the book was published in 1960 and revised in 1968 | [as adj. ] ( revised) a revised edition. alter so as to make more efficient or realistic : [as adj. ] ( revised) the revised finance and administrative groups. ORIGIN mid 16th cent. (in the sense [look again or repeatedly (at)] ): from French rviser look at, or Latin revisere look at again, from re- again + visere (intensive form of videre to see ). Choose a recent project to redraft, revise and/or remake by September 13th. Look back at your work from the last year or two. Select a project that you are dissatisfied with in some way: you feel like you needed more time to achieve your goals; comments made during critique helped you realize where you went wrong or what you could do better; you had just learned a technique and now you know how to use it better; etc. Keep in mind that you have about 2 weeks to complete this warm-up assignment, so part of your challenge is to make a feasible choice. Be prepared to tell Diana and Christy about your project during your individual meeting on September 6th. And get started now!