Special Topics for Fall 2014
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.
AHIS 325 F002 – Studies in Modern Art (3)
Wednesdays, 4:30pm – 7:30pm, Fall 2014
Instructor: Art Perry
Topic: The Beat Aesthetic: Poetics & Politics in Post-War American Culture/Counterculture
This AHIS-325 course deals with the art – painting, poetry, novels, films, music – as well as the social politics and hipness generated by outsiders, by being “cool”, by being “Beat”. The term Beat or Beat Generation comes from street talk of the late 1940s. It meant beaten. “The world against me” said Herbert Hunke, who introduced the term to William S. Burroughs, Allen Ginsberg and Jack Kerouac. The Beat Aesthetic studies the growth of Beat counterculture in America that gave rise to jazz musicians like Charlie “Bird” Parker and writers such as Diane De Prima, Leroy Jones (Amira Baraka), Kerouac and Ginsberg. Other artists covered in the course include John Cassavetes, Robert Frank, Diane Arbus, Laurie Anderson, The Fugs, Anais Nin, Bob Dylan, Lou Reed, Leonard Cohen, Patti Smith, Iggy Pop, The New York Dolls, Jean-Michel Basquait and Tom Waits. Dig it.
AHIS 325 F003 – Studies in Modern Art (3)
Mondays, 8:30am – 11:20pm, Fall 2014
Instructor: Ariane Noel de Tilly
Topic: Giving Up Painting? Time-based Art Practices After WWII
This course surveys the emergence of time-based art practices (performances, happenings, environments, installations, video, etc.) after World War II. By analyzing the multiple legacies of the early avant-garde, this course will consider the social, political, and philosophical questions raised by these new art practices. Moreover, these time-based art practices were accompanied by dramatic shifts in aesthetic preferences and they also redefined considerably the audiences for whom they were of interest. This is our subject matter. Over the course of the term, we will discuss different manifestations of the Gutai Group, Fluxus, Viennese Actionism, along with early performance, video, and film-based works. The art practices of the following artists will be examined: Jiro Yoshihara, Kazuo Shiraga, Atsuko Tanaka, Allan Kaprow, Claes Oldenburg, Allan Kaprow, Alison Knowles, George Maciunas, Otto Mühl, Hermann Nitsch, Josef Beuys, Nam June Paik, Charlotte Moorman, Vito Acconci, Chris Burden, Yoko Ono, Carolee Schneemann, VALIE EXPORT, Joan Jonas, Ana Mendieta, Andy Warhol, Michael Snow, Joyce Wieland, and several others. This will enable us to see how these artists renewed the visual vocabulary, but also how more traditional practices, such as painting and sculpture, were never given up entirely.
This course qualifies as credit toward the Curatorial Practice minor
AHIS 328 F001 – Studies in Global Modernisms (3)
Mondays 8:30am – 11:20am, Fall 2014
Instructor: Jamie Hilder
This course will use the history of piracy as an entrance to a discussion about how various art practices challenge conventional ideas of modernism. Beginning with maritime piracy in the 18th century, and moving through pirate radio, digital piracy, and contemporary maritime piracy in the Gulf of Aden, the course will consider how artists from various geographies address notions of property, nationhood, collectivity, and violence in an age of globalization.
AHIS 333 F001 – Interdisciplinary Forums (3)
Thursdays, 3:50pm – 8:00pm, Fall 2014
Instructor: Randy Lee Cutler + Sadira Rodrigues
Topic: The Art School
Emily Carr University will soon be moving to a new campus at Great Northern Way. At this important moment in our institution’s history, we will consider the Art School by exploring the practices of art education in academic, practical, ethical, and philosophical terms. What are the legacies that we are part of that we want to carry forward? What are the philosophies and principles that define us as a community? What are new forms of practice and pedagogy that need to be imagined? In order to look forward, this course looks back as the historical and contemporary models that have defined the Art School and its intersection with interdisciplinarity, pedagogy, free schools, craft and applied practices, and the studio critique. Lectures will bring together diverse thinkers, ranging from the formation of the German Bauhaus to dramatic demands and changes in the art world (professionalization, information technologies, and shifts in art-making). This course seeks to raise fundamental questions about the education of today's artists, and towards this students will be encouraged to be self-reflexive in considering their own education and how personal engagement informs a robust educational experience.
ANIM 325 F002 – Special Topics in Animation (3)
Fridays, 8:30am – 11:20am, Fall 2014
Instructor: Woonam Kim
Topic: Case Study: Animation Production for Clients
This class involves a collaboration-oriented and team-based approach to animation production. We will work towards creating a finished product based on client needs. Students will research and develop visual concepts, taking these concepts through many stages of pre-production and actual production. Students will learn about and practice various methods of animation production. Working with peers, students are required to create a final animation project as a team.
Wednesdays, 1:00pm – 3:50pm, Fall 2014
Instructor: Sarah Van Borek
Topic: EcoMUSICology (in partnership with the David Suzuki Foundation)
EcoMUSICology is a dynamic public education project in partnership with Canada's leading environmental organization, the David Suzuki Foundation. Students will have exciting outdoor adventures and collaborate with local musicians and a sound recording engineer to create original songs and music videos promoting a Regional Green Infrastructure Network across Metro Vancouver. Students will learn the basics of sound recording and editing and will record site-specific animal, earth and human-generated sounds as well as create unique, musical sounds using found materials in nature, to contribute to the song creation process. Students will also learn basics in camera, lighting, art direction and video editing while working collaboratively in teams to produce music videos that further develop key messages of songs. The project will provide students with an opportunity to participate in a radio show on Emily Carr’s radio station and possibly have their work featured in a museum exhibition (TBC). The course will culminate with a public screening and concert event as a catalyst for community dialogue. Students will develop professional relationships with project partners at the David Suzuki Foundation. Students in Film, Video, Photography and Animation are encouraged to apply but students from all disciplines are welcome.
Tuesdays, 12:30pm – 3:20pm, Fall 2014
Instructor: Zoe Kreye
Unlearning is the tool for sustaining your creative process. With a balanced combination of theory and practice this is class equips students for life of creativity.
Theory: Many artists today are organizing education platforms and framing their artworks as learning processes. These frameworks propose education as an approachable, accessible model for community engagement, where publics can make meaningful contact. This so called “pedagogical turn” shows an increased development of initiatives looking for alternatives to established educational settings and questioning the politics of education in relation to society. With an individualist ethos still shaping our current western education system, there is newfound hope in evolving heterotopias and projects of self-organization, collaboration and open exchange. In order to reposition ourselves and adapt to these rapidly transforming realities we need to critically UNLEARN; produce alternative fields of thought and action. Course curriculum will introduce the heritage of questioning education; as in the 1920s with Rudolf Steiner, John Dewey, the Bauhaus, Joseph Beuys; combine with the impact of social movements such as class, race and gender activism. As well we will look at contemporary examples: Interflugs (Berlin), Learning Site (Berlin), Shikshantar (Udaipur), Anhoek School (New York), School of the Future (New York), Malmö Free University for Women (Malmö), Radical Education Research Collective (Toronto), Temporary Services (Copenhagen), Deschooling Society Serpentine Gallery (London).
Practice: Unlearning holds inherent a new way of critically reflecting change – while at the same time acknowledging the challenges (maybe in some cases even impossibility) of the task. It alludes to an active and ongoing experimental process, full of attempts and failure while trying to make a new path. It is a reversing – a backwards movement – in order to move forwards again in a new direction. Students will move through varied unlearning practices: performance, dance, movement, public intervention, physical theatre, meditation, intuition training, and expressive arts.
This curriculum will equip students to develop object based and performative artworks that stretch beyond their prescribed and perceived confines. Class time will be active, based in workshops, presentations, off-site experiments and discussions of weekly readings. Assignments will integrate studio and professional practices and be applicable for students across departments and levels.
This course qualifies as credit towards the SPACE minor
Wednesday, 1:00pm – 3:50pm, Fall 2014
Instructor: Hannah Jickling + Helen Reed
Topic: Communities of Practice: Art + Pedagogy (in partnership with the Vancouver School Board)
Together with the Vancouver School Board, this course will allow students the opportunity to explore their practices through the design and delivery of a seven-week art-program for students within a K-12 environment. Support for will be provided for project development, classroom management and age-appropriate planning. Course material and preparation will draw from current discourse surrounding ‘the pedagogical turn’ allowing students to consider: the classroom as an exhibition space, curriculum design as a form of curating and the presence of young people in the co-creation of contemporary art discourse.
Students will be introduced to methods that inform the design, delivery, and evaluation of community-based arts programming. The course is a unique opportunity to explore how values, ethics, and assumptions shape us as artists, learners, teachers and, ultimately, as “global citizens”. The goal of this Community Service Learning course is to deepen students' civic responsibility through the provision of rich experiential learning opportunities that are intrinsically tied to academic content.
This course qualifies as credit toward the SPACE minor.
ENGL 300 F001 – Writing Criticism (3)
Wednesdays, 4:30pm – 7:20pm, Fall 2014
Instructor: Aaron Peck
This course will start from the premise that there is no such thing a single or uniform object of study called “art criticism”—rather, in the present moment, a series of forms that different magazines, institutions, and commissions dictate. Furthermore, the course will argue that writing about art has a history, and through our readings, we will examine that history. We will not only look at the writers, but also the magazines and editors that gave platform to, in certain cases midwifed, or simply made those texts possible. Our readings will chart the development of a body of writing—a kind of canon of art criticism—that helps navigate a number of theoretical and aesthetic concerns. And then, alongside our readings, we will practice the current forms of that discipline (bullet reviews, short reviews, long reviews, exhibition catalog essays, experimental/poetic essays). In brief, this course will focus on the development of Enlightenment ideas about “art,” exploring the history and theory of this discipline, and is thus defined mostly by Western concepts of art and art writing. The course will end by ask whether that idea of “art” (or “Art in general” or “Art as such”) continues to have relevance, and, as a result, what that answer might mean for contemporary art writing.
This course qualifies as credit toward the Art + Text minor
HUMN 306 F001 – Studies in Humanities: Design (3)
Thursdays, 7:00pm – 9:50pm, Fall 2014
Instructor: Rob Stone
Topic: Making Space
This course takes architecture, urbanism and design as a starting point to think about changes in spatial practice and spatial sensibility in the period since mid-C20th. We will look at the formation of different kinds of domestic, civic, rural and metropolitan space during this time, and the different kinds of social relationships that they seem to have promoted. Our sources will come from examples of architecture, town planning and design, and the literatures on them, as well as cinema, choreography and visual art. We will also develop an appropriate theoretical understanding of the ‘subject’ of spatial discourse, one that draws on questions concerning the politicization and eroticization of space, elements of psychoanalysis and cartography, and the disassembling of the novel spaces of internet sociability.
HUMN 311 F001 - Visual Art Seminar (3)
Tuesdays, 12:30pm – 3:20pm, Fall 2014
Instructor: Art Perry
Topic: Words & Images: The Alchemy of Language into Visual Art
Language has been the subtext behind much of twentieth and twenty-first century artistic practice. Whether it is critical writings, artist manifestos, appropriated theories from cultural, political or academic sources, words have shaped much of modern culture’s more avant-garde visual art. Keeping this in mind Words & Images will look at the transformative power of literature, poetry and drama on the visual arts. This course will study different variants of expression within the visual arts (painting, photography, video and film) that have been influenced by or adapted from literary sources. The transfer from page to screen will be a theme running throughout this course. Films and video art have been a prime way to visualize many of the complexities within contemporary literature, poetry and drama, and thereby providing entry into the often-unapproachable tangle of modernist and postmodern writings. Words & Images will also study contemporary artists whose work refers to writings that are more personal or specific to their own directives: for example Bill Viola’s use of writings by St Francis of Assisi and St John of the Cross, Laurie Anderson’s incorporation of William Burroughs ‘cut-ups’ or Stan Douglas’s debt to Samuel Beckett.
This course qualifies as credit toward the Art + Text minor
HUMN 311 F002 - Visual Art Seminar (3)
Tuesday, 3:50pm – 6:40pm, Fall 2014
Instructor: Alex Phillips
Topic: Sculpture and the Ethnographic Turn
This course examines “the ethnographic turn” in contemporary art and its implications for sculpture. The phrase “ethnographic turn” refers to a movement in contemporary art whereby artists have adopted the methodologies of ethnographic collecting and display developed by anthropology. The artistic use of social scientific methods parallels the recognition within postmodern anthropology that its documents too are cultural products. The course will survey such issues as the preservation and display of cultural artifacts, the role of the archive, the critique of social scientific authority, the history of exhibit design, the tension between the real and the represented, and issues concerning the funding of public and private museums and galleries. Artists whose work will be reviewed include Joseph Beuys, Fred Wilson, Louise Lawler, Mark Dion, Andrea Fraser, Sam Durant, Lothar Baumgarten, Iris Haussler, Juan Munoz and Liz Magor, among others. The course includes readings in art history and anthropology, field trips to selected exhibitions, and a sustained studio project.
HUMN 311 F003 – Visual Art Seminar (3)
Wednesdays. 1:00pm – 3:50pm, Fall 2014
Instructor: Randy Lee Cutler
Farmacy seeks to explore the relationships between art, food, agriculture and medicine. There is a long and rich history of artists taking up food as a material from still life painting, artist cookbooks and garden projects to the meal as a performative and sculptural practice to name but a few examples. How do artists understand medicine, healing and an ethics of care in their engagement with food? What are the ways in which hospitality, conviviality, embodiment and affect inform our relationship to nourishment? Designed around the instructor’s own research based practice, this course looks at a range of endeavours that visualize Farmacy as an artistic sensibility.Through a range of art historical and contemporary examples this course will examine strategies for living a creative and conscious life where the production and distribution of foodstuffs have an integral effect on human, plant and animal existence.
HUMN 311 F004 - Visual Art Seminar (3)
Wednesdays, 4:30pm – 7:20pm, Fall 2014
This course will address pattern in a broad sense, with particular attention paid to the many traditions in the textile medium. We will discuss how natural processes dictate or affect pattern formation and how patterns –in a range of media– reflect the needs, expectations and worldview of their makers. Elements of time, perception and scale enter the discussion. In addition to historical and ethnic examples we will encounter many contemporary artists who incorporate ideas around pattern into their practices. Readings for discussion may include topics such as psychology/behaviour, fractals, natural or human-made structures, camouflage, and biorhythms.
Course learning outcomes:
This course will develop your ability to incorporate a wide range of ideas regarding pattern into your own work. The assignments and readings will allow you to coherently analyze, discuss and write about the context and meaning of patterns as well as the decorative or symbolic elements that constitute them. You will gain an appreciation for the role patterns play in contemporary fine art and craft practices through their structures, historical evolution and materiality.
HUMN 311 F005 - Visual Art Seminar (3)
Wednesdays, 4:30pm – 7:20pm, Fall 2014
Instructor: Kathy Slade
Topic: The Practice of Artists’ Publishing
This course will focus on artists’ publishing projects from the 1960’s to the present. Through a series of readings, group presentations, and assignments we will investigate the roll of publishing within a wider art context and consider its structure and position in relationship to the legacy of Conceptual art and Fluxus practices. The scope of study will focus primarily on artists’ books, art in book form, but will also consider journals, and magazines. The Practice of Artists’ Publishing will provide students with the opportunity to work closely with the Emily Carr Library’s Artists’ Book Collection and to develop and produce a publication.
This course qualifies as credit toward the Art + Text minor
HUMN 311 F006 – Visual Art Seminar (3)
Fridays, 1:00pm – 3:50pm, Fall 2014
Instructor: Erdem Taşdelen
Topic: Queer Theory
This course will explore the notion of queerness through a series of lectures, literary and theoretical texts, discussions, screenings, presentations and studio projects. We will review queer cultural production and focus on the work of queer visual artists in order to investigate how social and sexual norms have been and continue to be challenged. Readings for the course will introduce a number of salient topics and debates in queer theory, and will include texts by Michel Foucault, Eve Kosofsky Sedgwick, Judith Butler, Michael Warner, Sara Ahmed, Lee Edelman and Jasbir Puar.
HUMN 411 F001 – Written Project (3)
Tuesdays, 3:50pm – 6:40pm, Fall 2014
Instructor: Aaron Peck
This course will examine a variety of different approaches one can take to critical writing in the arts. As such, the course does not have a “theme.” Rather, every week, we will examine a different kind of writing vis-à-vis the arts: the so-called “parallel text,” the novel, “straight” art historical writing, art theory, and journalism. Each week, students will meet, expected to discuss the assigned texts, not only focusing on the content of the assignments, but also the formal strategies and approaches the writers took toward his or her subjects. The variety intends to provide a series of avenues for students in general, but particularly for students in the Critical and Cultural Studies major, to figure out how to execute a major writing project of their own design.
ILUS 208 F001 – Illustration Process: Topic (3)
Wednesday, 4:30pm – 7:20pm, Fall 2014
Instructor: Calef Brown
Topic: Illustration Design
This course will focus on the role of illustration as an element within a design framework and how illustrative and design elements integrate and support one another. There will be close examination of formal elements in the illustrative work, and how composition, color, surface, scale, and graphic quality impact the given concepts.
Included will be discussion of designer/illustrators beginning with William Morris and continuing up to contemporary artists who combine illustration and design in their practices. All of the projects will in some way include the use of typography and/or hand lettering, and leading practitioners of illustrative typography and their influences will be discussed. Options for class projects will include narrative works, posters, book jackets, packaging and self-promotional materials, and students will have the opportunity to collaborate in the roles of art director and illustrator.
ILUS 305 F002 – Illustration Genres: Topic (3)
Wednesdays, 8:30am – 11:20am, Fall 2014
Instructor: Ryan Heshka
Topic: Science Fiction
This course will explore science fiction as an illustrative genre, and examine various applications including book covers, posters, package design, editorial, and sequential/concept art. Science fiction in modern culture as well as an historical overview will be touched on. Students will be encouraged to explore, experiment and interpret the genre through various assignments and in-class exercises, utilizing design principles and materials to strengthen the visuals.
ILUS 306 F002 – Illustration Practices: Topic (6)
Fridays, 8:30am – 11:20am, Fall 2014
Instructor: Julie Morstad
Topic: Visual Metaphor
Visual metaphor is now a well-established and prevalent mode in the discipline of illustration. This course will investigate metaphor, allusion and symbolism as tools in visual communication. Students will work through a series of assignments utilizing these methods. The use of visual metaphor within context of the history of illustration will be examined.
ILUS 306 F003 – Illustration Practices: Topic (6)
Wednesday, 1:00pm – 7:20pm, Fall 2014
Instructor: Ryan Heshka
Topic: Allegory Narrative
In this course, students will explore multi-layered approaches to narrative illustration, with the focus on symbolic meaning in the visuals and story. Projects will range from single images to sequential and/or illustrated series, and an emphasis will be placed on methods and materials to support the visuals and message. Usage in commercial applications as well as personal pieces will be explored through a number of assignments and in-class exercises.
ILUS 306 F004 – Illustration Practices: Topic (6)
Friday, 8:30am – 11:20am, Fall 2014
Instructor: Calef Brown
Topic: Humour in Illustration
This course will explore the many ways humour plays a part in the wider world of illustration, as well as in other contemporary art practices, including painting, sculpture, and installation. Lectures and assignments will cover various approaches to the subject and related strategies. A substantial focus of the class will be on visual and literary satire as a powerful force for political and social commentary. There will be historical content covered, beginning with Daumier and his contemporaries up to present day illustrators and fine artists using humour in their work.
How chosen media and working processes support the intentions of the artist will be also be a major aspect.The emphasis is on using humour in a way that resonates beyond the initial response to the work by incorporating subtextual content, and connections to real experience.
Project options will include narrative works – from zines to comics, artist series, posters, illustrative portraiture and caricature.
ISMA 200 F001 – Interactive and Social Media Art (3)
Wednesdays, 1:00pm – 4:30pm, Fall 2014
Instructor: Julie Andreyev
A special offering of this course includes research and practical production working with a thematic associated with the Vancouver Greenest City initiative, where students will work with ideas on sustainable urban practices and an ecologically friendly future for the City of Vancouver. One of the goals of the course is to provide students with practical knowledge and skills within a production-studio-like environment. This collaborative project enables students to engage with aspects of the project that best suits their interests and skill set. This may include the research and develop of interactive web based or installation projects, print design for promotion, community building through social media, and video/sound documentary practices. The course will also offer additional individual or small group projects, such as live audio-video performance using interactive software, and web-based projects. Students will attend chosen events at the New Forms Festival (September 18-21) which will be the basis for a review and presentation. The classroom time will be spent on seminar-based discussions, technical tutorials, presentations, one-on-one feedback sessions and group critiques.
MHIS 405 F001 – Topics in Contemporary Photography (3)
Thursday, 3:50pm-6:40pm, Fall 2014
Instructor: Howard Ursuliak
Topic: The Itinerant Languages of Photography
This section of Topics in Contemporary Photography takes its title, “The Itinerant Languages of Photography” from an interdisciplinary research project and exhibition produced by the Princeton University Art Museum. Initiated in 2010 and culminating in the exhibition that closed in January 2014, this large-scale experimental project sought to develop a photography research network to initiate new forms of international interdisciplinary collaboration. It brought together scholars, curators, photographers and artists from Latin America, Europe and the United States.
The phrase “itinerant languages” refers to the various means whereby photographs not only “speak” but also move across historical periods, national borders and different mediums. This course will examine the scope and nature of the project and exhibition, paying particular attention to the types of professional roles engaged in the international circuits of image production.
MHIS 429 F001 – Topics in Film/Video Theory (3)
Mondays, 8:30am – 11:20am + Thursdays 7:00pm – 9:00pm, Fall 2014
Instructor: Jody Baker
Topic: Realism and its discontents
This course will explore a range of realist traditions in film and television with attention to both technical and cultural processes of representation. With a focus on film and television language, the ideological implications of realist representation will emerge as we address issues of race, class gender, history and politics. This course will be theoretically rigorous and students will be conducting close, critical analyses of film and television texts in their written work. Topics will include early cinema and scientific inscription; post war Italian Neorealism and its influences; classical Hollywood cinema; documentary movements like direct cinema, cinéma vérité and the anthropological film; television procedural drama, news discourse, reality TV, and music video. Anti-realist responses like Surrealism, hyper-realism, self-reflexivity and radical documentary will also be covered.
PHOT 323 F001 – Photography Practices: Topic
Thursdays, 8:30am-3:20pm, Fall 2014
Instructor: Althea Thauberger
Topic: Site and the Social
Our work together in this course will take as its starting point an examination of The Photographer as a researcher and agent who both responds to and generates social relations in the world. We will borrow and apply the critical dialogue originating in photographic history and theory relating to politics of representation and engagement/disengagement to diverse site-responsive and so called socially engaged practices including photography, performance/intervention, film/video, sculpture/installation, and theatre.
An expanded notion of site (situ) will be approached in our research and discussions. This will include both locations and situations of production as well as the political and economic circumstances of exhibition. For example, we will be investigating several recent instances of artist boycotts and withdrawals from international mega-shows including the 19th Sydney Biennale, the 2014 Whitney Biennial, Manifesta 10, ICI and Creative Time’s “Living as Form.”
In addition to readings, discussions, and a class presentation, students will produce an ambitious term project involving research around the histories and current issues of a particular site, its publics, the social and political implications of their interventions, and the contexts of presentation. Students will be free to work in the media of their choosing and collaboration will be encouraged.
Classes and critiques will be held in the classroom, as well as other locations relevant to our research, and a public presentation of the projects will be organized in the final week of classes.
Tuesdays, 8:30am – 11:20am, Fall 2014
Instructor: Nick Conbere
Topic: Narrative Etching
In this cross-listed Print Media and Illustration course, students will create narrative content through etching and related print media techniques. The course will provide opportunities for depicting, illustrating, and/or interpreting ideas, and artworks could range from comics to conceptually-based approaches. Students will learn a variety of techniques of producing monochromatic and multi-colour prints. Print processes may be used in conjunction with drawing, digital media, and other media as desired. This class is open to all students regardless of previous print media experience, accommodating beginning and advanced skills. Emphasis is placed on an exploration of contemporary narrative ideas as students explore meanings, complexities, and applications of their subject matter.
SOCS 300 F001 – Studies in the Social Sciences (3)
Thursdays, 3:50pm – 6:40pm, Fall 2014
Instructor: Jacqueline Turner
Topic: The New Nostalgia
Nostalgia has been typically viewed as a block to progress, keeping people mired in an idyllic past, but what if we viewed nostalgia as a gateway to progressive forms of future thought that occur out of an implicit understanding of personal and collective histories? Could the “new” nostalgia shape more utopian or optimistic ways of thinking through contemporary issues? Is a progressive melancholy possible? In this course we will examine contemporary examples of perpetual childhood including bronies, cosplay, normcore, hipsters, e-Bay collectors, and Star Wars enthusiasts up against critical thinkers like Rebecca Solnit whose work examines generational phases of adulthood. We will critique the work of artists like Douglas Coupland and graphic novelists Jillian Tamaki and Mariko Tamaki through the lens of nostalgia, as well as looking at gestural tendencies in painting and craft manifestos as potential forms of the “new” nostalgia. The overall frame of the course will be an investigation into sociologist Pierre Bourdieu’s notions of “structural nostalgia” and social capital.
SOCS 300 F002 – Studies in the Social Sciences (3)
Thursdays, 8:30am – 11:20am, Fall 2014
Instructor: Simon Levin
Topic: Walking as Knowing as Making
Through a sociological investigation of walking, this course will embody projects and methodologies for the mapping and recording of everyday spaces. Both a theory and practice course, students will use collection techniques and map making tools, to embark on ways of capturing and sharing our everyday walking patterns through neighborhoods, campuses, streets, cities and trails. An emphasis will be on how the collection of ambulatory experience can offer programmatic ways to shape social and personal identity. We will work closely with the work of artists and scholars to conceptualize investigative methodologies, psycho-geographic derives, performative rituals and artistic production. Through reserach,journals, presentations and papers we will map our walking ways.
This class will explore the cultures of walking, identifying its shifting roles and contexts. From meditation to fitness, through pilgrimage to protest, walking and its representations embody a purposeful engagement with our immediate environment that is seemingly the antithesis of a technologically mediated existence. Coursework will include class lectures and three walked lectures, reading and critiquing papers by Walter Benjamin, Henri Lefebvre, Rebecca Solnit, Jane Rendell, Rosalyn Deutche, Miwon Kwan and Yi Fu Tuan and an in depth exposure to various walking artists, such as Francis Alys, Richard Long, Hamish Fulton, Christian Philipp Mueller, Tom Maroni, Francois Morelli, Janet Cardiff, Francesco Careri, Basia Irland and Simon Pope to name a few.
Tuesdays, 12:30pm – 6:40pm, Fall 2014
Instructor: Mark Igloliorte
Topic: Parts Per Million
hardly art, hardly starving
hardly art, hardly garbage
more colored liquid
no scent, no skin
more stained paper
more parts per million
“no culture icons”, More Parts Per Million, 2004
Parts Per Million is an inderdisciplinary studio course which explores how we each relate and participate with the world in unique and shared ways based on our personal cultural experiences. The two main sources of critical discourse will come from Indigenous perspectives and the works of the Situationist International. This pairing is at once complementary and contrasted, such as their different interpretations of the world (interconnected/international) to walking with a purpose (hunting/dérive).
Student’s artistic process and production will be informed by engaging with variety of content including (but not limited to) artworks, critical writings, websites and podcasts. In addition to their self-directed body of work students will be encouraged to develop adjunct activities which support, inform and invigorate their studio practice. This may take any number of forms. To illustrate from our two frameworks, Inuit games of dexterity also honed hunting skills while the Situationist International self published their mimeographed journal, ‘Potlatch’, to advance their critical discourse.
Indigenous perspective is not singular but a multitude of perspectives from the world, a nation and even within specific regions. In respect to this effort will be made to gather content from various sources.
Fridays, 8:30am – 3:50pm, Fall 2014
Instructor: Ingrid Koenig
Topic: Quantum Entanglements - Manifestations in Practice
This interdisciplinary studio course uses science as a lens through which to view and speak about the current world and invisible forces of the known universe, interacting with these perspectives in the context of art practice. Students investigate and experiment with conceptual and material transformations that arise from being inspired, informed and mystified by disciplines like physics phenomena. The breadth of scientific fields to be encountered will depend on students’ individual research interests, while weekly topics address themes such as particle behavior, biology and new materialism. The narrative of science contextualized in human experience, the abstract, embodied, misinterpreted, the complex rhizome, construction of knowledge, play of metaphor, connectivity, uncertainty, energy transformation, entropy, chaos theory, dark matter – these are all subjects for studio entanglements.
Students will participate in the Artist-in-Residence Program at TRIUMF, (the cyclotron particle accelerator, in the Laboratory for Particle and Nuclear Physics at UBC). They will also have a studio day at the Beaty Biodiversity Museum.
Mondays, 8:30am – 3:50pm, Fall 2014
Instructor: Maggie Groat
Topic: New Visions, Possible Futures
This interdisciplinary studio course enables students to give shape to the ever-changing world around them by envisioning and enacting possible futures. Through directed readings, off-campus experiences, studio-based explorations, material transformations and the development of conceptual methodologies, students will work towards the creation of artworks that engage the act of visioning. Topics of research and discussion include utopic, dystopic and apocalyptic visions, science fictional narratives, past visions of the future, salvage practices, DIY ethics and aesthetics, sustainable art and architectural practices, decolonial strategies, decentering, dreams, visioning in non-western cultures and environmental and social-political interventions in art. These themes will be discussed in relation to a broad range of contemporary and historical art practices, focused critical discourse, expanded cultural representations and material approaches. This course proposes methods of engagement in the world as a way for students to create curious, individualized interventions, situations, objects, and images in response to their individual interests and current environments. Students will be encouraged to consider the social-political relevance of imagining and the role of the artist in society in the wake of a new generation.