FA 598: Graduate Seminar
Spring 2012 - Tuesday 4:15 - 5:50

Michelle Forsyth, Associate Professor
Office Hours: by appointment, Office Room #: FA 7015
Email: mforsyth@wsu.edu

Course Description:

Topics in contemporary issues, theory, and criticism. May be repeated for credit; cumulative maximum 6 hours.

Course Objectives:

Over the course of the semester you will learn to articulate your work both orally and in the written form. You will become familiar with the process of applying for teaching positions, grants, residencies, and exhibitions will learn to promote your work on the web. We will begin by examining the role of the Art School and the importance of the MFA within the field of cultural production. You will be asked to address your role within the field of cultural production and examine your work in relation to contemporary practices. You will be required to present your work formally in the form of a PowerPoint presentation, a teaching portfolio, a website, and a grant or residency application.

Grading:

Handouts, discussions, and presentations will contribute to your studio practice and critical facility. Interaction and collaboration with your peers will be an important aspect of the learning process. Attendance is mandatory. You can miss no more than 5 classes to pass. (Breakdown: Teaching Portfolio 20%; Grant/Residency Application 20%; Artist Statement/PowerPoint Presentation 20%; Website 20%; Participation 20%.) Attendance at all visiting artist lectures is required.

Disability Resource Center Reasonable Accommodations Statement:

Reasonable accommodations are available for students who have a documented disability. Please notify the instructor during the first week of class of any accommodations needed for the course. Late notification may mean that requested accommodations might not be available. All accommodations must be approved through the Disability Resource Center located in the Administration Annex Room 205, 335-3417.

In Case of Emergency:

WSU students should always be prepared to take steps to maintain their own safety during any emergency situation. The information at the link below can help you be better prepared: http://oem.wsu.edu/emergencies

Required Textbooks:

Steven Henry Madoff. Art School (Propositions for the 21st Century), (Cambridge; MIT Press, 2009)
Heather Darcy Bhandari and Jonathan Melber, ART/WORK: Everything You Need to Know (and Do)
As You Pursue Your Art Career, (New York; Free Press, 2009)
Jackie Battenfield, The Artist's Guide: How to Make a Living Doing What You Love, (Philadelphia;
Anchor Books, 2009)
Deborah Obalil ed, Artists Communities: A Directory of Residencies that Offer Time and Space for
Creativity, (New York: Allworth Press, 2005)
Peter Nesbett, Letters to a Young Artist, (New York: Darte Publishing LLC, 2006)

Optional Textbooks:

Mary Morris Heiberger and Julia Miller Vick, The Academic Job Search Handbook (3rd Edition),
(Philadelphia: University of Pennsylvania Press, 2001)
James Elkins, Why Art Cannot Be Taught. (Chicago; University of Illinois Press, 2001)
Ellen Liberatori, A Guide to Getting Arts Grants, (New York: Allworth Press, 2006)
Gigi Rosenberg, The Artist’s Guide to Grant Writing, (New York: Watson-Guptill Publications, 2010)
Howard Singerman, Art Subjects: Making Artists in the American University. (Berkley: University of
California Press, 1999)
Kate Turabian, A Manual for Writers of Term Papers, Theses, and Dissertations (Chicago Guides to
Writing, Editing, and Publishing), (Chicago: University Of Chicago Press, 1996) Course Projects:
This graduate seminar will comprise of four major projects including:

Projects

Project 1: Teaching Portfolio
Write ten small personal narratives regarding experiences as a student and/or as a new teacher. These narratives will be an exercise in writing in the first person. For class discussion we will address our experiences in academia in relation to the weekly readings. Using the readings and your narratives as a starting point, you will be asked to consider your philosophical position regarding teaching. You will develop these ideas into a teaching philosophy. You will also be asked to put together a teaching portfolio including cover letter, cv, artist statement, teaching philosophy, and work samples.

Mini Narratives Due: January 18
First Draft of Teaching Philosophy Due: January 24
First Draft of Artist Statement Due: February 21
First Draft of Teaching Portfolio Due: January 31
Final Teaching Portfolio Due: February 14

Project 2: Lecture/Presentation
For this project you will write a 5-page lecture and give a PowerPoint presentation on your work. You will read from your paper. You should be able to clearly articulate the ideas behind your work and present them as clearly as possible. In the presentation you should touch on what influences your work, your autobiographical background and/or your work in relation to the history of art. You may think of this as a precursor to your thesis paper. This will be a public lecture.
First Draft of Lecture Due: March 6
Presentation: See Schedule

Project 3: Website
For this project you will be asked to create a website for your work. Your website will include images of your work, statement, and your artist resume.
Website should be live: April 24

Project 4: Grant/Residency Application
You will prepare a grant or a residency application. If you choose the grant please conform to all guidelines of the foundation of your choice. If you choose a residency application, you will actually send it out. Your writing for this project will vary in length and may include your cv, artist statement, project proposal, and/or visuals. Please package this project as a complete application ready to put into the mail.
First Draft Due: March 26
Final Draft Due: April 24

Tentative Course Schedule:

Week 1 – January 10
Introduction to course, expectations, grading policy.
First person mini-narratives assigned.
Readings:
Deborah Soloman, "How to succeed in Art," New York Times Magazine
K. Kitchel," The M.F.A.: Academia's Pyramid Scheme," New Art Examiner, v. 26 no. 5 (February
1999), p. 33-7.
J. Cooper, "Report From the Trenches: Teaching Fine Art at Community College," New Art Examiner, v.
27 no. 5 (February 2000), p. 28-31+
Jori Finkel, "Tales From the Crit: For Art Students May is the Cruelest Month," The New York Times, April 30, 2006
Steven Henry Madoff, "School is Out: Rethinking Art Education Today," Modern Painters, September
2007, p. 74 – 79.
Lane Rylyea, "All Systems Blow: The Rise of DIY Art Schools," Modern Painters, September 2007,
p. 81 – 85.
Claire Bishop, "The New Masters of Liberal Arts: Artist Rewrite the Rules of Pedagogy," Modern Painters, September 2007, p. 87 – 89.

Week 2 – January 17
Graduate Degrees in Fine Art
First person mini-narratives due
Discuss readings and personal mini-narratives. Develop discussion and mini-narratives into a teaching philosophy
Readings:
Ernesto Pujol, “On the Ground: Practical Observations for Regenerating Art Education,” Art School
(Propositions for the 21st Century) p. 1-13
Thierry de Duve, “An Ethics: Putting Transmission in Its Proper Place in the Art World,” Art School
(Propositions for the 21st Century) p. 15-24
Borris Groys, “Education by Infection,” Art School (Propositions for the 21st Century) p. 25-32
Ann Lauterbach “The Thing Seen: Reimagining Art Education for Now,” Art School (Propositions for the 21st Century) p. 85-97.
Steven Henry Madoff, “States of Exception,” Art School (Propositions for the 21st Century) p. 271-284.

Week 3 – January 24
Discuss readings. Preparing a CV, Assembling a teaching portfolio.
First Draft of Teaching Philosophy due
Readings:
CAA Guidelines Handout.
“Questionnaires,” Art School (Propositions for the 21st Century), p. 289-328
Peter Nesbett, Letters to a Young Artist, (New York: Darte Publishing LLC, 2006)

Week 4 – January 31
Applying for jobs, listings, letters of rec, and the interview process.
First draft of teaching portfolio due.
Reading:
Chris M. Golde, "After the Offer; Before the Deal: Negotiating Your First Teaching Job," Academic
Bulletin of the American Association of University Professors, January/ February 1999, Volume 85, No. 1, p. 44-49.
Jackie Battenfield, “How to Assess, Plan and Take Action,” The Artist’s Guide: How to Make a Living
Doing What You Do, p. 3-23
Heather Darcy Bhandari and Jonathan Melber, “ The Big Picture” and “Groundwork,” ART/WORK:
Everything You Need to Know (and Do) As You Pursue Your Art Career, (New York; Free Press, 2009) p. 75-87.

Week 5 – February 7
Arrange individual meetings this week in lieu of class.
Review teaching philosophy and teaching portfolio.

Week 6 – February 14
Defining yourself and what you do. Artist statements.
We will discuss jargon and targeting messages to audiences in specific situations
Teaching portfolio due.
Readings:
Roberta Smith, "What We Talk About When We Talk About Art," The New York Times, Dec
23, 2007
Jackie Battenfield, “How to Assemble the Essential Tools to Support Your Work,” The Artist’s Guide: How to Make a Living Doing What You Do, p. 24-69

Week 7 – February 21
Peer Networking, Collectives, Blogs, Artist Registries.
First drat of Artist Statement due.
Readings:
Jackie Battenfield, “How to Get Started: Peer Networking, Readiness, and Creating Your Own
Opportunities,” The Artist’s Guide: How to Make a Living Doing What You Do, p. 73-94

Week 8 – February 28
Exhibiting your work
Commercial Galleries, Alternative Spaces, College Galleries, and Cooperative Galleries, Juried Exhibitions and Trade Shows. Opportunity Listings, nyfa.org, collegeart.org
Readings:
Jackie Battenfield, “How to Introduce Your Work to the Community: Researching and Exhibition in
Nonprofit Spaces” & “How to Build Long-Term Relationships,” The Artist’s Guide: How to Make a Living Doing What You Do, p. 95-156
Heather Darcy Bhandari and Jonathan Melber, “Submission Materials,” “The Gallery Courtship,” and
“Gallery Representation” ART/WORK: Everything You Need to Know (and Do) As You Pursue Your Art Career, (New York; Free Press, 2009) p. 49-73.

Week 9 – March 6
Contracts, Crates and Other Business.
First Draft of Lecture Due
Readings:
Jackie Battenfield, “How to Read and work with the fine print: Contracts, Legal Issues and the Fine Art of Negotiation,” The Artist’s Guide: How to Make a Living Doing What You Do, p. 95-156
Heather Darcy Bhandari and Jonathan Melber, “Getting Your Work to the show”, “Consignments” and
Loans and Commissions,” ART/WORK: Everything You Need to Know (and Do) As You Pursue Your Art Career, (New York; Free Press, 2009) p. 191-244.

Spring Vacation: March 13

Week 10 – March 20
How to find out about grants, awards, and residencies and how to get them.
Readings:
Jackie Battenfield, “How to Find Even More Support: Grants, Residencies, Gifts,” The Artist’s Guide: How to Make a Living Doing What You Do, p. 197-240
Deborah Obalil ed, Artists Communities: A Directory of Residencies that Offer Time and Space for
Creativity, (New York: Allworth Press, 2005)

Week 11 – March 27
Developing a web presence. Websites, blogs and networking via the web. The Basics of Building a website with Dreamweaver and other options.
First Draft of grant or residency application due.
Reading:
Heather Darcy Bhandari and Jonathan Melber, “Websites and Business Cards,” ART/WORK: Everything You Need to Know (and Do) As You Pursue Your Art Career, (New York; Free Press, 2009) p. 75-87.

Week 12 – April 3
Individual Meetings to discuss grant/residency proposals and website development.

Week 13 – April 10
30 minute presentations (___________, ___________) followed by discussion.

Week 14 – April 17
30 minute presentations (___________, ___________) followed by discussion.

Week 15 – April 24
30 minute presentations (___________, ___________) followed by discussion.
Final Website should be up online today.
Final grant or residency application due.

First Year Review Shows:
April 2 – 6 ______________________________
April 9 – 13 ______________________________
April 16 – 20 ______________________________
April 23 – 27 ______________________________