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 | Strong, not silent, and listening: artists' writing and art-writing.
This course will situate students and their research/practice within the historical, social, and political context of art-writing. Extended forms of writing will include text-based artworks, performance, spoken word, storytelling, poetry, automatic writing, art books/multiples, and socially-engaged practices. The act of deep listening, mindfulness, and tuning-in will be exercised and students are asked to consider their motivations towards a revolutionary world-building. Emphasis will be placed on artists whose work may exist within or express the positions of marginalized groups including but not exclusive to sexuality, people of colour, non-binary, and indigenous perspectives. Coursework will include studio visits, critique, seminar, exhibition, presentation, and self-publishing.
ACAD 310 B | Truth, Lies & Lore
Whether enacting alternative performance personas or inventing new realities through objects, documents, parafiction, installation, or technology, this class offers a platform for playful reinterpretation and fabrication of ‘truths’ thus conveying new insights and perceptions to disrupt and question established conventions. Cryptozoology and pseudoscience (for example) thrive in popular culture today and propel modern mythologies. Portraiture in all its facets has compelled and deceived viewers with a centuries-long reputation for the manipulation and invention of identity and character. In an age of fake news and misinformation, the exploration of platforms for deception possesses renewed relevance. How do ideas of truth change over time, and why does manipulation of it continue to survive, thrive, deceive, and fascinate us? Through any studio media and through research and discourse, students explore the mutable space between truth, lies, and lore. Within this course students of all disciplines are invited to excavate what is hidden and what is revealed; and to question our collective perceptions of veracity.
ACAD 310 C | On Slowness
In this studio-based course, students will examine slowness as a contemporary strategy in art to confront and expand the present, and to consider the meaning of temporality. Through focused research, students will consider the aesthetics of slowness and its relationship to different strategies of art making and presentation, including hesitation, delay, deceleration, repetition, distraction, duration, and simultaneity. The course will examine contemporary artwork from across disciplines, and students will produce a body of work relative to their own practice. Assessment will be based on studio visits, group discussions, research presentations, and the presentation of completed artwork.
ACAD 310 D | Mapping, Magic, and Language: the Power of the Mark
In this studio course students will explore the histories, mythologies, and concepts of mark-making through varying lenses such as magic, ritual, language, writing, math, and mapping. Alongside critical and contextual readings, students will enact and explore varying forms, methods, and applications of marking as well as examining how a body might be implicated or directed by a mark. We will examine how the mark manifests in various spaces, for example: political borders, faerie circles, banishing spells, and cuneiform. The class will query the relationship between a mark and where it is implemented: who is marking what, what constitutes a mark, where is the mark put, how does the mark change space and effect bodies, social interactions, civic spaces, and political atmospheres? We will use various methods to look at these questions: phenomenology, proprioception, and affect theory and explore how varying materials and processes effect meaning making: a mark becomes a boundary, a delineation of power, or a way to alter perception. In this interdisciplinary course, material exploration will encompass traditional mediums as well as contemporary practices such as performance, social practice, and installation. Through readings, writing, discussion, and critique, students will examine how the gestural act of marking can structure and orient perception and how this produces patterns, meaning, and order in the world.
ACAD 310 E | Colour: Affect and Perception
For both artists and designers, colour is a ubiquitous language: treasured — though seldom fully appreciated for it’s impact as a psychological force within subconscious communication, or as an elemental player in phenomenological queries, and anthropological contexts. In this studio course, colour is revered two-fold: as an aesthetic mainstay; capacitating endless navigable perceptual maneuvers to be explored through visual experimentation, and as a fundamental channel of human experience serving to inform our understanding of place, persona, narrative, and circumstance. Herein, we will examine the primacy of colour through both traditional pictorial exercises, as well as multi-sensorial approaches which integrate sculptural, written, audio, and time-based methods as supplemental modes for perceiving and describing colour. Such themes as the nomenclature of colour, contemporary and historical cross-cultural applications and interpretations of colour, and theoretical treatises from both archival and present-day artists and thinkers will be investigated through regular slideshow presentations and seminars to compliment specific projects. Students will learn to locate colour as an aspect of their personal artistic vocabulary: entreating poetical applications while garnering a respect for colour theory in its range of utilitarian and creative praxis.
Nine (9) 200-level studio credits plus three (3) 200-level SCCS credits.
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