The program runs yearly, ideally taking place over two years, however, arrangements may also be made for shorter or longer engagements. Each academic year is divided into four 6-week sessions, two in the Spring, and two in the Fall. Admissions and enrollment are on a rolling basis, and participants may enter the program in either February or September.
During each year of participation, in addition to coursework, each participant will be required to organize one exhibition, and to organize and facilitate one public workshop on a topic of their choosing.
A course in which the potentials of typography as a visual manifestation of language -- and the common boundaries it shares between graphic design, writing, architecture, and art -- are explored through conversation, typographic exercises, and self-directed publishing projects.
This class aims to practice the exercise of close reading and investigate different ways of approaching, traversing and generating textual, material and conceptual spaces. We will investigate ideas surrounding the spatiality of thought from a selection of texts that consider and perform the idea of space as text and text as space -- from the printed page, architecture, the city, the museum, to more speculative formulations.
The abbreviation cf., part of the citational family including the more common i.e. ("in other words") and e.g. ("for example"), indicates an encouragement to compare an example currently in question with a reference noted as contextually adjacent to it. While mutually distinct and complex, the invitation to pair the two infers certain analogical ties are useful in expanding upon the immediate discourse. In critique, associative references (historical, artistic, theoretical, literary) more often than not are approached in passing when the example being referred to is not plainly visible/accessible to all in its detail while the artwork or exhibition presumably is. Those listening who can recall something of the reference may feel included in its referral, while potentially having a differing perspective than its characterization; those who are unfamiliar with the reference may feel excluded and ultimately have only the degree to which it is being rhetorically articulated as their discursive material for an imbalanced comparison. Cf. provides an occasion to collectively consider cultural production and praxis set in direct comparison with references of substance to advance a contextual discourse. Each presenter will be responsible for providing one reference to their current work (a film, a text, another artwork, etc.) via images, documentation, pdf/print out, or screening to ground a comparative framing. Discussion will be rigorous in its attentiveness to detail with an emphasis on careful analysis over successive weeks.
This course considers the physical and conceptual frames, forms, and conditions that can inform, and define, our experience and understanding of art and environments.