Special Topics for Fall 2013

Special Topics 

Please note: this page will be updated as information is confirmed. In case of a discrepancy between this page and InsideEC, the information on InsideEC will be deemed correct.

  • Additional information on these courses is available at https://inside.ecuad.ca
  • Most credit courses have prerequisites that are clearly outlined on the website.

Summer 2014

Please note: more Summer special topics courses are awaiting confirmation.

CCID 300 SU01A

Mondays and Wednesdays, 9:00am – 11:50am Summer 2014 (Term 2)

Instructor: Hannah Jickling & Helen Reed

Topic: The Wanderer

The Wanderer is a Community Projects course in which students apply conceptual, visual and tactile skills to projects that engage the environment and inhabitants in and around Vancouver. Much of the class content will focus on excursions, exercises and assignments, augmented with readings and lectures. The Wanderer will explores cultural and artistic traditions of walking & wandering as strategies for respite & reflection, protest & demonstration, as well as research & rumination.

With recognition that there are diverse forms of art production – from objects, to ideas, to experiences – this course will explore both active and reflective work.  Methodologies such as slowness, aimlessness and chance encounters will be employed.

AHIS 333 SU01

Mondays and Wednesdays, 1:00pm – 4:50pm Summer 2014 (Term 2)

Instructor: Allison Collins

Topic: MAKING IT :  Practicing Art from ARC to industry

This course will cast a critical look at roles of the artist, investigating a range of art practice 'types' across several disciplines and industries. Over the 12 weeks of the course guest lecturers will present on topics addressing the different shape and orientation of artistic practice, with an emphasis on criticality and self-determination. Topics will include: a brief history of artist-run centres, industry archetypes (pros and cons), entering the museum and institutional critique, the freelancer vs the artist, and the artist as 'agent.'  

HUMN 305 SU90

Online course, Summer 2014 (Term 1)

Instructor: Aaron Peck

Topic: Art Writing

In the 1980s, the term "art writing" begins to replace the more restrictive "art criticism" to describe a formally inventive, less evaluative genre of writing in art. In fact, the word "genre" might be too misleading for the proliferation of different kinds of writing that begin to accompany art, instead of merely judging it. "Art criticism" per se continues to thrive in magazines and websites, such as Frieze, Artforum, and e-flux, but "art writing" as such begins to appear in an "expanded field" of exhibition catalogues, novels, or alternative publications. Intending to explore and critique this notion, this course will survey a variety of examples of post-1980s North American art writing: from the 1980s with Lynne Tillman's persona "Madame Realism," Dennis Cooper's early cultural journalism, and Jeanne Randolph's "ficto-criticism"; to the 1990s with Mark von Schlegell's science fiction novels and the art-world novels of Chris Kraus; to the 2000s with the so-called "parallel texts" of Lisa Robertson, magazines such as Maria Fusco's The Happy Hypocrite, and societies such as the International Necronautical Society of Simon Critchely and Tom McCarthy; and finally to more recent examples, such as American writer Travis Jeppesen or international art-world curators Carolyn Christov-Bakargiev, Tirdad Zolghadr, and Raimundas Malasauskas.

HUMN 306 SU01

Tuesdays and Thursdays, 1:00pm-3:50pm, Summer 2014 (Term 1)

Instructor: Bonne Zabolotney

Topic: Investigating Design in a Gendered World

In the late 1990s/early 2000s, various journal articles, books, and design exhibits appeared that addressed women’s contribution to the practice, history, and critical theory in the field of design. Some scholars took up the charge to redistribute creative acknowledgement throughout history, recognizing and emphasizing the contributions of Charlotte Perriand, Ray Eames, Lily Reich, and many other women studying and teaching at Bauhaus; some recognized that women were almost solely responsible for the consumption of designed goods during the second half of the 20th century that led to unsustainable industries relying on constant production and consumption; and some worked to resolve the dialectic relationship between craft-based practices of women and the larger industrial concerns that used craft as a stepping stone in economic and cultural progress.

This work of recognizing the role of women in the field seemed to stop after mid-2000s, as if the identification and acknowledgement of the female role was a goal that was achieved. It did not, however, leave designers and scholars with tools and knowledge to shift practices towards inclusive and culturally sustainable methods. Since then the gendered aspect of differentiated design remain targeted towards the female consumer, and the differentiated roles in design practices still remain: 

“Today, when the word ‘mainstream’ has become blurred and ambiguous and what was once considered fringe has become the core of reality, feminist criticism is operating from within the system. It has the same necessary function as fractal geometry: that of describing reality in closer, truer, and more revealing detail. Women and other groups —ethnic, economic, religious — have at least acquired cultural power in part because of their having been marginalized in the past. Therefore, it is almost axiomatic that feminist critics do to wish to impose any absolute viewpoint and call instead for all other relative critiques to complete and enrich the picture” (Paola Antonelli, foreword, Design and Feminism, 1999).

Rather than blame aspects of the industry, or to attempt to rewrite history, this course aims to uncover the complexity in the female designer-maker-user space, and to use our newfound understanding of this space as a way to address diversity and difference —not only in regards to gender, but culturally, socially, and ethnically — in our approach to producing and consuming design.

HUMN 311 SU01

Mondays and Wednesdays, 9:00am – 11:50am, Summer 2014 (Term 1)

Instructor: Annie Briard

Topic: Wonderstruck: art, science and awe

Wonder has sparked creative, philosophical and scientific works throughout history. Generating inspiration, it can produce memorable experiences. But how do we foster wonderment as a strategy for art making? This seminar will explore the uses and occurrences of wonderment from a visual arts lens, particularly focusing on its role within visual perception and contemporary media. Key theoretical texts from Bachelard, Baudrillard, Deleuze and Haraway will be linked to a wide range of cultural producers including James Turell, David Lynch, David Hoffos, Char Davies, and others to situate wonder within the current field of cultural production. Through creative experiments, reflective projects, lectures and discussions, we will shape an understanding of how wonderment informs our own practices regardless of the material or method.

PHOT 306 SU01

Tuesday, and Thursdays, 9:00am – 11:50am, Summer 2014 (Term 2)

Instructor: Farah Nosh

Topic: The Portrait as Narrative  

The Portrait as Narrative course is a blend of photojournalism; presentation of story, and portraiture; the photographer’s portrayal of their subject. Emphasis will be around what makes a strong visual narrative, the ethics and the integrity of the photographer, how to build rapport with those one photographs, and how to establish your style.  We will look briefly at what it takes to get published. Of course we want our work to be seen!

This course expects students to have an ease with the technical aspects of photography and their gear as the course will be dedicated to portraiture itself. The six-week class will be a progression of portraiture culminating in one final portrait story project.  Instructor Farah Nosh’s award-winning narrative portraiture have featured in The New York Times and on the cover of TIME magazine.