ACAD 310 - Topics in Studio Practice
The course will build on knowledge, skills and practices developed in program specific majors to support emergent inquiry in studio practice relative to a topic, and recognize the capacity of works of art to engage with the contemporary. The learning in this course will be delivered through a range of activities and assignments such as studio projects, readings, critique and presentations. Relative to their practice and the topic, by the end of the course students will understand how to evaluate the effectiveness of a range of practical and conceptual/theoretical perspectives; analyze, evaluate and apply relevant research, and reframe their practice through experimentation and an exploration of a range of media and processes as well as reflect on and evaluate their own and others’ work.
ACAD 310 A | Identity and Place
What is your world lens? How do you see the world based on your life narrative? How can this translate into work that reflects your interests, experiences, and ideas? This course will address topics surrounding ideas of identity and place by using an interdisciplinary process with a focus on studio projects, readings, critique and presentations. Students will create a body of work addressing these ideas.
ACAD 310 B | Lost in the Interzone
Losing things is about the familiar falling away, getting lost is about the unfamiliar appearing”(Rebecca Solnit).
This is a course on the peripatetic; a look at the art practice of walking, psychogeography, and an update to the notion of the flaneur/flaneuse. This course will examine historical definitions of these terms and explore their meaning in contemporary practices. The artist Mowry Baden once suggested that his sculptures were an “antidote to the virtual”. This course will have the students out of the classroom and into the city: walking, exploring and responding through assignments such as loitering, field guides, material objects and site specific performative pieces. Readings from a variety of sources on historical practices and current theory on the peripatetic will be assigned to support studio work.
ACAD 310 C | From within the dark and fearful shadows
In this course students will be challenged to consider and produce their work while reflecting on horror as a speculative and generative site; within which the contemporary artist can confront the looming specters of environmental collapse, mass extinction, genocide and nuclear apocalypse. Exploring concepts of horror through its romantic, metaphysical, spiritualist, literary, industrial and pop cultural permutations, students will investigate the many forms of horror —from Frankenstein to killer drones —that have shaped the modern era and its art alike. This course will engage the gothic, grotesque, deranged, haunted and eerie and will assist students through readings, screenings, lectures, workshops and conversation to develop their work from within these dark and fearful shadows.
ACAD 310 D | Collaboration
How do artists collaborate? How is agency defined and understood in collaborative practice? What are the politics of collaborative practice? What are the conditions under which artistic collaborations develop? When do collaborations begin and end? How can artists take risks together and with collaborators both human and nonhuman?
In this studio-based course, we will examine, discuss and enact various methodologies of artistic collaboration. Artists have to navigate hierarchical and horizontal collaborative structures in historical and contemporary art. Students will learn about artworks and contemporary art practices of which conscious collaboration is central including participatory practices, collaborations between artists, professionals with backgrounds outside of the arts, audiences, and communities, including the more-than-human world. Together, we will examine the complexities of artistic collaboration, develop ways of working together while examining the political, technological, social and ethical dimensions of collaboration.
ACAD 310 E | The Human Figure in Phantasmagorical Imagery
In this studio course, students explore representations of the human form through the lens of various formal and conceptual motifs informant of surrealism. Interdisciplinary projects investigate this notion as divulged through a range of constituent themes applicable to pictorial, spatial, and time-based depictions of the figure such as fragmentation, distortion, disembodiment, mirroring, abjection, self-othering, phenomenological encounters, and the integration of symbols. Students may interpret these cues through the media and material methodologies encapsulated within their own studio research, or by experimenting within new and unknown processes. In addition to the production of works, students will critically contextualize their own artistic ideas through group critiques, and discussions extrapolating upon assigned readings relevant to the themes addressed within the course. Students' aesthetic and theoretical research will be substantiated by regular case-studies presented by the instructor which examine contemporary and historical surrealist representations of the human body as manifest in visual art and a range of creative media including film, fictional literature, perceptual phenomena, choreography, and lyricism within poetry and music.
ACAD 310 F | 'tell them I said no'
In this studio seminar class students will explore contemporary notions of radical, reactive, resistant, and rebellious ways of thinking and making. Students will be introduced to a variety of topics which question how artists respond to complex power dynamics to form individual and collective identities. In class readings and discussion will empower students to respond to engaged pedagogical methodologies that provide support to start the process to have complex exchanges regarding the responsibilities attached to being an artist. Through intervention and site specific projects, students will be encouraged to address a variety of challenging creative strategies including production & dissemination of various printed matter (zines, stickers, artist books), wearable art as protest, and the currency of artist multiples. Through a feminist lens students will explore a variety of identity based ways of flexing their practices to consider larger narratives. What is the role of the artist? How can artists provoke and agitate to change perspectives? Can artists communicate effectively through their work and encourage participation, critical exchange, and potential change? This process of questioning will encourage students to start to expand contexts to be inclusive and challenge existing interdisciplinary practices.
ACAD 310 G | Invisible / Visible
Instructor Course Description: This studio course is designed to give students an in-depth, semester-long investigation into the topic of invisibility as a theoretical framework for examining the thematic complexity of representation in contemporary art in relation to their own artistic practice. Students will be challenged to explore experiences of invisibility in order to reinforce or enhance their understanding of art to the limits beyond visible experience. They will critically examine the research and theoretical perspectives of others and their own personal and cultural beliefs, values, and ethics about invisibility and the dematerialisation of art (where the emphasis is on concept rather than physical forms). Forms of expression pertaining to the categories of the visible and the invisible will be explored in order to convey experiences that often remain mysterious or enigmatic such as the `hidden realities' in everyday life-world as well as the invisible traces of human history and the real and the imaginary in literature and cinema. Various interdisciplinary processes investigating both hand-made and photo/digital matrixes will be introduced such as the act of 'covering up', of hiding and veiling (as well as de- and reconstructing objects and images) to alter meaning and create more expressionistic or psychologically charged studio work. The area of focus or concentration will pertain to the discovery and analysis, interpretation and creation, of studio work within an intellectual / aesthetic thematic context of material production. The course will employ a variety of instructional methods to accomplish its objectives, including some of the following: lectures, audio visual materials (including video presentations), small group discussions, experimental hands-on studio research, presentations, discussion seminars, and group critiques.
Nine (9) 200-level studio credits plus three (3) 200-level SCCS credits.
|A||31489||Flynn, Brian|| |
|B||31490||Sutherland, Barbara|| |
|C||31491||TBA, Instructor|| |
|D||31492||Bartol, Alana|| |
|E||31493||Dyck, Megan|| |
|F||31550||Meszaros, Sondra|| |
|G||31561||Rusnak, Tanya|| |