ART THEORY AND PRACTICE

Welcome to the Department of Art Theory & Practice (AT&P) at the Weinberg College of Arts and Sciences, Northwestern University. The department has both an undergraduate program, offering a baccalaureate degree, and a graduate program, offering a Masters of Fine Arts degree.

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recent visiting artists

2009-2010

Anna Biller | Mike Hoolbloom |
Theaster Gates

2008-2009

Tom Marioni | Fritz Haeg |Dan Graham | Andrea Bowers |Deborah Stratman | William J. O'Brien
Gaylen Gerber | Geof Oppenheimer | Amanda Ross-Ho

2007 - 08
Hamza Walker | The Speculative Archive | Claire Sherman | Harrel Fletcher | Faith Wilding | Catherine Sullivan | Nayland Blake | Chris
Sperandio | Emily Jacir | Anoka
Faruquee | Emna Zghal | Robert A. Pruitt | Claire Bishop |
Cheryl Donegan | Takao Kawaguchi

2006 - 07
Kamrooz Aram | Coco Fusco | Scott Reeder | Sara Black | Sharon Hayes | Salem Collo-Julin & Marc Fischer | Pedro Lasch | Stan Shellabarger | Mendi and Keith Obadike | OUT OF SIGHT

2005 - 06
Amy Adler | Mequitta Ahuja | Paul Chan | Patty Chang | Ken Fandell | Pamela Fraser | Gareth James | Virgil Marti | Dave McKenzie | Ernesto Neto | Mai-Thu Perret | POST POST STUDIO

2004 - 05
Ben Butler | Sean Duffy | Sam Durant | Diana Fridd | Inigo Manglano-Ovalle | Damir Niksic | Katy Siegel | Stephanie Snider | Tony Tasset | Shirley Tse | Mel Ziegler

 

2003 - 04
Cindy Bernard | Andrea Fraser | Michelle Grabner | Renee Green | Laura Owens | Dan Perjovschi | Richard Rezac | Howard Singerman | Christopher Wool

2002 - 03
Gregg Bordowitz | Michael Corris | Simon Grennan & Chris Sperandio | Joseph Grigley | Helen Mirra | Amy Sillman

post post studio image

POST POST STUDIO: Reconsidering Sites of Artistic Production & Intervention. Panelists: Amy Adler, Conrad Bakker, Michelle Grabner, Gareth James & Dave McKenzie; moderated by Lane Relyea. Often readymade and site-specific, produced on the grounds of and in collaboration with some sponsoring institution, post-studio has become such a dominant approach that questions have been leveled at its presumed status as inherently critical and progressive. Has post-studio art developed too complimentary a relationship with a much expanded institutional art world, replacing criticality with affirmation? Is it time to rethink the strategic possibilities of the studio, as holding out the potential for reclaiming some critical vantage? Could it be that such critical distance only owes to the fact that the studio has been rendered increasingly obsolete, now that value and authority reside more in information than in objects, in circulations than in sites, and now that production and exhibition, private and public no longer correspond to physical spaces and states but are increasingly defined within disembodied, virtual realms? Have we entered a post-post-studio age?