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Working Collaboratively:Art & The Group Dynamic

Course No. PTG35X.1  Credits: 3.0

Though the image of the artist is that of the solitary individual striving to express their vision the contemporary practice of art is peppered with numerous examples of artists collaborating. These extend form something as simple as organizing a group exhibition, to the type of social interventions practiced by the Guerrilla Girls or the work of such entities as Gilbert and George, or the collective N55. This course through projects, readings, and critiques will explore the dynamic of working collaboratively. Each exercise will address different processes, skill-sets and interpersonal relationships. This course is open to students from all disciplines and is not media specific. 3 credits.

Working Collaboratively:Art & The Group Dynamic

Course No. PTG45X.1  Credits: 3.0

Though the image of the artist is that of the solitary individual striving to express their vision the contemporary practice of art is peppered with numerous examples of artists collaborating. These extend form something as simple as organizing a group exhibition, to the type of social interventions practiced by the Guerrilla Girls or the work of such entities as Gilbert and George, or the collective N55. This course through projects, readings, and critiques will explore the dynamic of working collaboratively. Each exercise will address different processes, skill-sets and interpersonal relationships. This course is open to students from all disciplines and is not media specific. 3 credits.

World Cinemas

Course No. ACD 374X  Credits: 3.0

Writing on film aesthetics in 1930, a year marked by global financial crisis and mounting political conflict, Béla Balázs did not feel it was possible to speak of the “people of the world.” But if that day were ever to arrive, he predicted, film would be there “ready and waiting to provide the universal spirit with its corresponding technique of expression.” Today we talk about how technology has altered the world, making it feel smaller and infinitely expanded at the same time. But can we still say film holds the promise of universal expression? If not, what does it promise now? What, in other words, do film’s techniques of expression correspond to in our contemporary world? In this course, we will spend time looking carefully at cinematic technique in films produced all over the world during the course of the medium’s history. At the same time we will also look carefully at the ideas and fantasies that animate “world cinema” as a label for certain kind of films without taking for granted that this phrase always means or has meant the same thing. Why do some critics and theorists embrace this term while others find it inadequate, a bad fit, something in need of qualification or replacement? What corrections and critiques have these writers offered? How do their observations change the way we see film technique and our own unexamined assumptions about how film makes the world available to each of us as viewers? May be applied to fulfill the non-Western art history requirement. $25 course fee required.

Writing + Inquiry I: Basic Composition + Contemporary Ideas

Course No. LLC 101  Credits: 3.0
Faculty Daniel Tranberg | Donald Modica | Jonathan Rosati | Joyce Kessler | Katherine Clark | Kevin Risner | Mark Bassett | Olatubosun Ogunsanwo

A composition-intensive course that emphasizes basic composition skills, while introducing basic research and documentation skills. Along with cultivating the concomitant skills in critical reading and thinking, this course also introduces an explicitly theoretical approach to contemporary culture. Twenty pages of student expository writing will be required. Offered fall.

Writing + Inquiry II: Research and Intellectual Traditions

Course No. LLC 102  Credits: 3.0
Faculty Daniel Tranberg | Donald Modica | Jonathan Rosati | Joyce Kessler | Katherine Clark | Kevin Risner | Mark Bassett | Mary Assad | Olatubosun Ogunsanwo | Timothy Geaghan
Prerequisite(s) Writing + Inquiry I: Basic Composition + Contemporary Ideas

An intermediate writing and research course based in readings on the western intellectual and cultural heritage and their global contexts. The course will emphasize the basic research skills involved in both academic writing and studio processes. Twenty pages of student expository writing will be required. Prerequisite LLC 101. Offered spring.

Writing + Inquiry III: Narrative Forms

Course No. LLC 203  Credits: 3.0
Faculty Christian Moody | Clifford Borress | Daniel Tranberg | Joyce Kessler | Kevin Risner | Mark Bassett | Olatubosun Ogunsanwo
Prerequisite(s) Writing + Inquiry I: Basic Composition + Contemporary Ideas

This course continues to build students' skills in writing, research, critical thinking, and argument, while introducing a survey of narrative forms and critical methods based in narratology to be used in the analysis and understanding of narrative. This course can be taken in either the fall or the spring and must be completed by the end of the Sophomore year. Prerequisite LLC 101.

Writing about Material Culture

Course No. LLC 212W  Credits: 3.0
Faculty Mark Bassett

How is the material world understood in human culture? What do “things” mean — and why? Students will investigate various disciplinary approaches to material culture, through Freudian, semiotic, sociological, Marxist, and archaeological studies. Interdisciplinary approaches will be emphasized. In addition, the course will illuminate our personal attachments, the hidden history of things, our experience of material consciousness (as artists and designers), and the scholarly “packaging” of objects in support of cultural/art history.

Writing for the Art + Design Career

Course No. LLC 204W  Credits: 3.0
Faculty Joyce Kessler

This course offers students the opportunity to develop strong writing skills for the types of writing involved in art and design careers. The first and biggest part of this course is devoted to these career-related forms and is predicated on an exploration of the relationship between the rhetorical and the design arts. The culminating project for this section of the course, therefore, will be a portfolio containing the final versions of each of the writing assignments, designed to showcase visually the collected written works, and thus also to demonstrate the extent to which the student has pursued the relationship between rhetoric and design. Each student's portfolio will contain the types of career documents relevant to her/his own particular emphases or goals within the art/design fields represented by the particular group of students in the class. A later, smaller part of the course will explore the theories and argument strategies of art critical essays and reviews as models for the students' own assignments in critical writing. These assignments will include one art or design show review and one critical essay on an art or design subject selected by the student for the relevance of its subject to his/her own studio work. Class work will focus on writing, tutorials, and peer editing/critique, allowing students ample opportunity to become comfortable with, and even accomplished in, the kinds of writing necessary for self-presentation and critical engagement in visual arts careers. Fulfills Humanities/Cultural Studies distribution requirement. Creative Writing Concentration course.

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