Independent Study Program

Curriculum


The Detroit ISP is a mission driven to explore new models of transmission in education through art and the City. That art is a form of education is a fundamental conviction behind the Detroit ISP. We want to find new ways of posing the basic question, What is it to teach or learn through Art? and to do so within the framework of an Independent Study Program where Fellows in interdisciplinary dialogue are supported through an intellectual community in the development of a distinctive critical practice. The traditional Crit is no longer the main vehicle of learning. We are proposing new forms of collaboration between Fellows and Mentors in the development of a Work-Forum where ideas, materials, research, and methodologies are explored and shared in a non-hierarchical practice for which conversation is a model. This requires a durational and embedded practice on the part of both artists and all who would provide responses to work that is always the outcome of durational processes and practices, where the work is also a process, a becoming. The DDD Detroit Independent Study Program is an attempt to explore and to articulate new models and critical practices of what an education through Art, an education of embodied mind could be.

The core of the Detroit ISP curriculum is an Independent Study Proposal prepared by a Fellow as part of the application to the ISP and worked on during the fall Session of the academic year with a Committee to support the Fellow. The Independent Study Proposal outlines research to be undertaken over an academic year (two Sessions) culminating in an installation (individually or in a group) and a written Report. It is a Report and not a thesis since there is nothing definitive about the research.

In addition, each Program will have its own lead person (curator | scholar | artist), a Director of Practice; for Critical Studies + Art Writing, the lead person will be a Director of Studies. Each student will have a proposal (circa 1,500 words) for independent study that will be the core of their practice over the academic year. After the initial 2 weeks of introductory shared readings with the Director of Critical Studies + Art Writing, each Program will be overseen by its Director of Practice - or Director of Studies for Critical Studies - who will organize twice weekly seminars for students (one in Practice and one in Critical Studies in which all participate) as well as meetings between students in the Program and visiting curators | scholars | artists. The Director of Practice | Critical Studies + Art Writing will also be responsible for organizing visits in the city, readings, screenings, and community conversations amongst students as well as between students and Visitors. Each Friday, the entire cohort will meet for lunch and community conversation based on agreed reading and topics for open discussion bearing on the practice of the ISP community. A Session consists of weekly meetings for 10 weeks (a quarter), followed by 3 weeks of no seminars when Fellows will be allowed time to synthesize their work from the preceding quarter and meet with their Committee or have one-on-one meetings with their mentors who should be available to discuss independent work and issues stemming from the semester of critical practice. The spring semester will reproduce this structure with more advanced work and conversations on developments in independent critical practice in the Workforum. The academic year will end with: 1. an exhibition of works with accompanying publications / documentations, 2. a symposium organized by the cohort (and open to the public); 3. the curators and critical theorists are also expected to prepare publications appropriate to their field. At a minimum, all publications should be available online at the ISP’s website and where resources permit print copies should be made available. Guidelines for publications and a timetable for these expectations will be agreed by the end of the fall Session of each year.


An Interdisciplinary Program

The DDD ISP is a non-degree, non-certificate work space consisting of three interrelated, interdisciplinary programs:

01

Studio +
Post-studio

For Dada, art was “a hysteria born of the studio” (Tzara), while the Surrealist, André Breton, pointed to the street “where alone he expected anything to happen” (The Lost Steps) - Art Happens Here, read the slogan at CalArts. Much of modern and avant-garde art of the twentieth-century pushed against the frame of studio art and its accompanying forms of display - the gallery, the museum, etc. - resulting in new experimental forms such as Happenings, Performance Art, Land Art, etc., and eventually - but not necessarily sequentially - Social Practice or socially engaged art, and Public Art. Today, many practitioners - for example, Paul Chan, Suzanne Lacy, Rick Lowe, Theaster Gates - have both a studio practice and a social / post-studio practice. For many artist-thinkers the issue is less one of genre than the role of the City and one’s relationship to the City (Danny Libeskind, for example, or the urban histories of Lewis Mumford, or MoMA’s Reconstructions: Architecture and Blackness in America, for example) in terms of medium or as representation. The Program in Studio + Post-Studio welcomes practitioners who wish to explore media and practices, histories and representations in a framework of critical practice. In Studio + Post-Studio, conversations are structured around embedded and durational participation in the Work-Forum where viewers and makers come prepared for extended dialogue.

Critical Studies
+ Art Writing

02

At the DDD ISP, Critical Studies is grasped as a field of discourse with its own distinctive language and concepts developed by artists in collaboration with philosophers, psycho-analysts, poets, novelists, critics, and artist-writers. - Just as Stuart Hall organized a distinctive approach to Cultural Studies, artists and writers have long developed a distinctive conception of Critical Practice: Thomas Mann, for example, who said that we must read Marx with Hölderlin, Breton and the Surrealists who first brought together the thought of Hegel, Marx, and Freud; think, too, of Lacanian psycho-analysis and feminism, the artist-writers from Robert Motherwell and Donald Judd through to Theresa Hak Kuung Cha or Lorraine O’Grady, or, drawing on more recent developments in Critical Practice, the relationship between Afro-Pessimism (Saidiya Hartman) and Black artists (Arthur Jafa). The core of Critical Studies + Art Writing is a consideration of the role of art in accounts of experience and criticality and the historical and critical explorations of the languages for talking about art made available by a given culture.

Curatorial
Practice

03

Since the age of the project show - Harald Szeemann, Jean-Hubert Martin, Catherine David, Okwui Enwezor, for example - Curatorial Practice has come to mean curation as research, investigation, knowledge-production, and not simply the organization of display, though display has its logics. Curatorial Practice welcomes Fellows who want to explore local practices, facilitate work outside the normal parameters of visibility  as well as explore modes and spaces of display in terms of representations and image-economies.