LCAD-Catalog-2016-2018

LIBERAL ARTS ELECTIVES
FIGURATION AND MODERNISM
(LA515)
3 Units
This course traces the major movements and
canonical figures of Modernism from 1850-1960.
The theoretical underpinnings of Modernism are
examined through selected readings. The course will
follow the path of representational art and how it
was influenced by Modernist theories and processes
throughout the first half of the 20th century.
FIGURATION AND POSTMODERNISM
(LA520)
3 Units
This course will trace the development of
representational art since 1960 and coordinate it
with the major changes in the art world during this
period. Attention will be paid to the influence of late
Modernism, Pop Art, Minimalism, Process Art and
Photorealism, and other significant movements on
representational painting and drawing. Along with
the imagery of this period, the course will trace
the important theoretical bases of Postmodernism
including Structuralism and Deconstruction. The
course will also address contemporary representation
from past to present.
THEORY AND CRITICISM
(LA522)
3 Units
A course in contemporary representational art in
galleries and museums of the greater Los Angeles
area. Noted critic Peter Frank leads classes through
current exhibitions with critical examination of the
work on view. Theory and Criticism also includes
writing assignments on contemporary artists and
group critiques of student work.
MFA CREATIVE WRITING
FIRST SUMMER RESIDENCY
IDEATION 1
(CW501)
2 Units
In The Odyssey, Athena disguises herself as Mentor
and uses the identity to support Odysseus. She
provides him encouragement. She stokes his courage.
She implores him to venture out, to solve a great
mystery and unravel an epic narrative. And so it
will go in this course. Among mentors (yes, plural),
students present the ideas — general and specific
— that they intend to develop into manuscripts.
Implementing a modified version of the Critical
Response approach, students and mentors workshop
the ideas in preparation for the narrative and literary
development of the first year of non-residency.
STORYTELLING FOUNDATION
(CW502)
2 Units
In Ecological Literacy: Educating Our Children for
a Sustainable World, David W. Orr argues that our
planet “desperately need more peacemakers, healers,
restorers, storytellers, and lovers of every kind.” A
couple things about this: one, yes, he’s writing about
environmental concerns, but his values are consistent
with those of this program; two, he uses different
labels — peacemakers, storytellers, lovers, etc. — but
this program sees them essentially as synonyms;
and three, the notion that we need storytellers “of
every kind” is particularly important. Storytelling
is human. We all engage in it. That said, there are
different methods, forms, patterns, traditions, and
structures. The way stories are told in the United
States differs structurally from the Kishōtenketsu
structure used in China and Japan or the Robleto
structure used in Nicaragua. This survey lays a
solid foundation of comparative storytelling across
cultures and artistic genres, which prepares students
with an understanding of how their own stories can
be effectively told.
CRAFT JOURNAL 1: SEMINARS, LECTURES,
DISCUSSIONS
(CW503)
1 Units
According to Jim Jarmusch, “Nothing is original.
Steal from anywhere that resonates with inspiration
or fuels your imagination. Devour old films, new
films, music, books, paintings, photographs, poems,
dreams, random conversations, architecture, bridges,
street signs, trees, clouds, bodies of water, light and
shadows. Select only things to steal from that speak
directly to your soul. If you do this, your work (and
theft) will be authentic. Authenticity is invaluable;
originality is non-existent… In any case, always
remember what Jean-Luc Godard said: ‘It’s not where
you take things from - it’s where you take them to.’”
These sentiments are an effective description of the
organizing principles of this unit of work. Throughout
the low-residency, students attend seminars, lectures,
discussions, et al. and compose written reflections
on how the ideas therein inform their developing
creative processes.
FIRST YEAR OF NON-RESIDENCY
MANUSCRIPT WRITING 1
(CW504)
6 Units
“A non-writing writer is a monster courting insanity,”
says Franz Kafka. There will be no commitment
hearings in this first semester (or any semester!).
Having been paired with a semester-long mentor,
students work on developing their writing for the
purpose of fulfilling four manuscript submissions
throughout the semester.
Mentors impart guidance and support via an agreedupon
method of communication (videoconferencing,
teleconferencing, email, etc.).
DIRECTED READING AND RESEARCH 1
(CW505*)
3 Units
In Poor Richard’s Almanack, Benjamin Franklin offers
this sage advice: “Either write things worth reading,
or do things worth the writing.” Taken concurrently
with each section of Manuscript Writing, this course
allows students to inform their writing by doing
“things.” Mentors create a reading list for students
specific to manuscript needs, but students also
supplement the reading list with their own narrative
experiences. For instance, if a student manuscript
deals with a theme specific to injustice, the student
might conduct interviews with law enforcement
officers, convicted criminals, philosophers, and so
on. A more ambitious student might volunteer for a
nonprofit that combats injustice or participate in a
police ridealong. These experiences can then imbue
the writing with an authenticity that might not
otherwise be realized.
MANUSCRIPT WRITING 2
(CW554)
6 Units
If storytelling is about sharing a point of view, it’s
reasonable to assume that learning to craft stories
will benefit from a different point of view. Thus, in the
second semester, students pair with a new mentor,
thereby enjoying an opportunity to absorb a discrete
in-depth approach to craft and technique. Students
may continue work initiated in the first semester, or
they can experiment with a new project, genre, or
approach. As before, students fulfill four manuscript
submissions throughout the semester.
Mentors impart guidance and support via an agreedupon
method of communication (videoconferencing,
teleconferencing, email, etc.).
DIRECTED READING AND RESEARCH 2
(CW555)
3 Units
According to Zore Neale Hurston, “Research is
formalized curiosity; it is poking and prying with a
purpose.” The poking and prying of the first semester
continues here; though, because students are still
experimenting, the trajectory may have changed, and
mentors will assist students in adjusting as necessary.
SECOND SUMMER RESIDENCY
IDEATION 2
(CW601)
2 Units
With a full year of intensive writing behind them,
students will know all too well that writing is in many
ways an act of faith. Writer step out into the void of
imagination, compelled by creative impulses, and the
muses keep them from falling. This second ideation
course is about making that faithful commitment.
Writers present ideas for their final manuscript
and, along with their peers and mentors, apply a
modified version of the Critical Response approach in
preparation for the final year of non-residency.
CATALOG
252