Special Topics for Summer 2016 and Fall 2016

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 2016

AHIS 333 SU01 – SU04 – Interdisciplinary Forums (3)

Mondays and Wednesdays, 1:00pm– 4:00pm Summer 2016 (Term 2)

Instructor: Phil Smith

Topic: The Non-Stop Mirror (Stage): Post-Modernism and Popular Culture

If you’re looking for love / in a looking-glass world / it’s really hard to find. - Bryan Ferry, “Mother of Pearl” (1973)

As much as there may be a general longing to move beyond the age of post-modernism, the current candidacy of a certain reality TV show host for U.S. President can be seen as but one more affirmation that we are still very much immersed in a post-modernist epoch.

Accordingly this course will examine the relationship between post-modernism and popular culture including whether post-modernism can be seen as beginning substantially earlier (i.e. the late 1930s) than is often formulated, what its effects are on art, “high” culture, and social conditions might be, and, in particular, whether popular culture can be seen as not simply one manifestation of post-modernism, but in fact is the root cause and brute force behind it.

These perspectives will be explored through lectures, screenings, and guest speakers as well as in the seminars that follow each lecture. Possible fields and mediums to be addressed over the course of the term include movies, television, comics, animation, video games, popular music, and advertising.

AHIS 336 SU01 – Historical + Contemporary Movements (3)

Mondays and Wednesdays, 9:00am– 11:50am Summer 2016 (Term 2)

Instructor: Ariane Noël de Tilly

Topic: Art and Revolution
This special topic course will focus on the role and function of art during several revolutions since the French Revolution, including the Russian Revolution, the Mexican Revolution, the Chinese Cultural Revolution, and the Algerian Revolution. One of the aims of this course is to further understand how the revolutionaries, counter-revolutionaries and/or artists defined the role of art in these periods of revolution. During the course of the semester, we will look at the different types of works produced in the context of these revolutions, from paintings to caricatures, from propaganda posters to films.

CCID 202 SU01 & CCID 302 SU01 – Fieldwork: Topics (3)

Mondays and Wednesdays, 9:00am – 11:50am, Summer 2016 (Term 1)

Student must be available for the festival on July 15-17 in order to enroll

Instructor: Cameron Cartiere

Topic: Finding your Rhythm: The Vancouver Folk Music Festival

This CCID practice-based course offers students a unique opportunity to engage in coursework focused on embedded practice that includes an off-site fieldwork experience. This class will focus directly on producing works for the Vancouver Folk Music Festival. Students will create their own practice-based project proposals based on site research, cultural context, and independent studio work. This is an opportunity to develop practical experience working in the public realm and to explore new approaches for understanding audience, engagement, and negotiation.

This course is open to students in any degree program and any major. Students will be participating in the Vancouver Folk Music Festival after the class has completed. This participation will include executing the works developed in class. Students will receive full passes to the festival, back stage access, and food.

Locations:

Part 1: Emily Carr University Campus and site visits to Jericho Beach.

Part 2: July 15 – 17 Vancouver Folk Music Festival, Jericho Beach

CCID 302 SU02 & CCID 302 SU03 – Fieldwork: Topics (3)

Section 1 (Term 1) and Section 2 (Term 2) Summer 2016

Hybrid course – part online and a 2 week field study component from June 15 to 30 and July 17 to 31

Instructor: Haig Armen & Keith Doyle

Topic: Design Workshops in Milan, Italy

With the ubiquity of networks and emerging technologies our creative spaces are transforming, becoming displaced and distributed. Emily Carr University will explore the concept of the distributed design studio by hosting a variety of design challenges over the summer of 2016 in Milan, Italy.

This Culture and Community Interdisciplinary (CCID) practice based topics course, will offer students an opportunity to engage in coursework focused on embedded practice that includes an off-site fieldwork experience. This includes various sites and locations away from the University campus, including but not limited to long distance fieldtrips, field houses, neighbourhood houses, community centres, and other learning spaces related to curriculum. Students will create their own practice-based projects based on site research, cultural context, and independent studio work related to specific learning outcomes, and research requirements of the faculty teaching the course. This course is open to students in any degree program.

HUMN 305 SU91 – Studies in the Humanities (3)

Online, Summer 2016 (Term 2)

Instructor: Aaron Peck

Topic:  Slow Looking

The online magazine Triple Canopy has described its intention as attempting to "slow down the Internet" -- we, too, in this course, will want to slow down and think seriously about a set of images, seeing what thoughts we can bring to bear on them after prolonged contemplation through a varieties of readings across the humanities. This course, titled "Slow Looking," intends to slow down the way we look at visual information. From paintings from Old Masters, such as Nicholas Poussin, Edouard Manet and Artimessia Gentileschi, to contemporary artists such as Kerry James Marshall and Jeff Wall, to celebrity selfies, like those of Kim Kardashian, and to war reportage and advertising, this course demands that we look closely and rigorously at one image per week, and we will supplement that looking with readings from art history, philosophy, critical theory, history, literature, or literary criticism. This course also demands that we take images from high art as seriously as we do the kind of images we merely swipe away on our iPhones. So every week, you will be required to slow down and spend a lot of time with one picture. We will analyze that image through the proverbial lens of a specific text and also through our own observations of looking at it. Required forums and discussions will be also used to further perform close readings of the image, a way of slowing down and looking.

HUMN 311 SU02 – Visual Art Seminar (3)

Tuesdays and Thursdays, 4:30pm – 7:20pm, Summer 2016 (Term 2)

Instructor: Phil Smith

Topic: Art Practices and Popular Music 

“The Beatles have had a bigger influence on me than Picasso.”        -Damien Hirst (artist), 2009

From Piet Mondrian’s affinity for “boogie-woogie” music to Jackson Pollock’s preferred studio soundtrack of jazz, from the music/art fusion of the punk rock scene of the 1970s to Jeff Koons’s 2013 CD cover for Lady Gaga and Damien Hirst’s mini-manifesto above, visual art and popular music have long had a particularly close and often symbiotic relationship. Accordingly, this course will explore a number of songwriters, performers, and artists who exemplify this cross-pollination of disciplines with particular attention paid to four convergent concepts: process, performance, persona and professional practice.

By looking at popular music from both a historical/aesthetic and a creative/process perspective, we will also focus on the collaborative and collective aspects of this form from the Broadway musicals and blues of the 1920s to today’s digital and post-genre musical landscape, as well as the ways in which strategies of music making (and marketing) may continue to inform a contemporary art practice. Reflecting the content and approach of the course, assignments and projects will range from the written to the audio and/or visual.

Please note:  no prior musical background or knowledge is needed for this course.

ILUS 208 SU01 – Illustration Practices: Topics (3)

Mondays and Wednesdays, 1:00pm – 3:50pm, Summer 2016 (Term 2)

Instructor: Jesse Garbe

Topic: Figure and Narrative

This course concentrates on making illustrations of the human figure. Parallel to this, the class will also examine the figures relationship to narrative images and broader cultural concerns, such as one finds in popular culture, cultural theory and art/ illustration history. Projects will be structured around existing cultural narratives and will focus on developing tools and techniques for depicting the figure. Topics of discussion will include proportion/ distortion, tonal variation, anatomy and their relationship to conveying ideas. There will also be regular critiques and discussions to support students in their investigations and to address any practical concerns that arise. A final grade will be based on participation, progress and inventiveness, and the development of observational, subjective and relevant technical skills.

Fall 2016

AHIS 328 F001 - Studies in the Global Modernism (3)

Mondays, 8:30am – 11:20am, Fall 2016

Instructor: Sadira Rodrigues

Topic: The Museum as Symptom: Framing the “Other” in Exhibition Practice

Museums since the 19th century have played an important role in how cultures and peoples from across the globe have been framed and represented in Western society. Many of the stereotypes that we retain today about other cultures have found their roots in the art and exhibitions of museums and their colonial histories. This course will look at museums and examine the ways in which their exhibitions and collections practices are part of the complex framing of other cultures. We will study the museum as a space of ritual, national identity formation and post-colonial imagination. In particular, we will examine the museum as a site of “cultural brokering”, where the representation of cultures is often through a western, Eurocentric lens. We will also examine exhibitions that also attempt to challenge the limitations of this model. In particular we will look at 1989 as a point of rupture, when a shift towards globalization marked the beginnings of new ways of framing the “other”. Through an examination of key texts and exhibitions from across the disciplines students will discuss issues pertaining to cultural practices in post-colonial and settler colonial situations. These issues include nation and nationalism, modernism(s) in the West and elsewhere, ethnicity, Indigeneity, diaspora, identity, authenticity, hybridity, culture and tradition.

AHIS 333 F001 - F003 - Interdisciplinary Forums (3)

Wednesdays, 4:30pm – 7:20pm, Fall 2016

Instructor: Randy Lee Cutler

Topic: Chroma

Through the convergence of diverse perspectives this course considers the art and politics of colour in the construction of aesthetic forms, philosophical phenomena and scientific artifacts. Whether thought of as chroma, colour or pigment, their affective and symbolic intensities offer us poetic access into historical and contemporary modes of aesthetic engagement. Thinking across and between artistic practices how does colour carry meaning particularly in how it manifests emotional and cultural differences? And how do visual experiments with a focus on colour whether light, hue or saturation draw and enlarge on artistic practices? Within this framework, the instructor's lectures are complimented by visiting speakers and media presentations providing an exploration into the performance of colour in our daily lives. 

AHIS 404 F001 – Art Now: Topics in Contemporary Art (3)

Fridays, 1pm – 3:50pm, Fall 2016

Instructor: Patrik Andersson

Topic: Art in Vancouver: 1970 to the Present

Art Now: Topics in Contemporary Art is a senior academic seminar aimed at introducing students to current issues in contemporary art. The Spring 2015 session is titled Art in Vancouver: 1970 to the Present and will focus on artists, art and institutions that have helped make Vancouver’s art scene what it is today. This review is aimed at initiating an in-depth discussion of the role local art has played within national and global discourses while grounded in regional politics and aesthetics. In this way, the course is provides a select historical and contemporary geography of Vancouver’s art scene that should be useful in asking questions about the state of local and global contemporary art.  The course requires students to participate in class room discussions and numerous field trips to galleries and museums where they will not only look at art but meet people working behind the scene.

CCID 200 F001A and CCID 300 F001A – Community Projects (3)

Thursdays, 12:30pm – 3:20pm, Fall 2016

Instructor: Holly Schmidt

Topic: Community, Collaboration & Pedagogy

Irit Rogoff’s 2008 essay, Turning brought attention to contemporary artistic and curatorial practices that take up the purpose, methods and spaces of education. This course will examine the work of artists, curators and educators who have sought out the emergent potential of pedagogical practices including: Pablo Helguera, Harrel Fletcher, and Jen Delos Reyes. Through readings, dialogue and creative practice we will explore the productive overlap between education, art and curatorial practices as they are performed inside and outside of institutional contexts such as the gallery, classroom and community centre.

This course will be held in the event space of the Contemporary Art Gallery, a public art gallery dedicated to the exhibition of national and international contemporary visual art and the commissioning of socially engaged projects through the Field House Artist-in-Residence. The context of the gallery and residency offers opportunities to engage with gallery staff, local and visiting artists, and partner organizations in order to develop a nuanced understanding of the pedagogical possibilities in contemporary art. The course will culminate in a collaborative student-led event for the public.

CCID 202 F001C and CCID 302 F001C - Fieldwork: Topics (3)

Wednesdays, 1pm – 3:50pm, Fall 2016

Instructor: Cameron Cartiere

Topic: Open Studio

This class is designed as an open studio, so students will be able to work directly on their own practice. The outcomes for each student will be determined individually with the instructor depending on the scope and scale of each project proposed.  Some projects may be able to reach full realization, others may result in extensive research and a proposal for execution. Students will have an opportunity to test ideas, meet artists in the field, and participate on external projects.

The class will take place at the Oak Park Field House near the Oakridge/Marpole Community Centre (59th & Oak). The field house is part of the Vancouver Parks Department’s Artists Studio project.

CRAM 204 F001L and CRAM 304 F001L – Ceramics Special Topic (3)

Wednesdays, 1pm-3:50pm, Fall 2016

Instructor: TBA

Topic: Digital Methods for Ceramics

This special topics course provides a broad investigation into the creative use of new digital technologies and their relationship to contemporary surface and form. Assigned projects will explore various strategies for the creation and combination of 2D surface pattern and 3D form via a range of output technologies (decal printers, laser cutters, 3D printers). We will explore how the creative integration of digital technologies can provide for multiple new opportunities and efficiencies within personal expression.
Note: The intent of this course is to develop broad competencies with digital methods and outputs as they relate to contemporary ceramic practice; however, we will be working only indirectly with ceramic material.

CRAM 303 F002K– Ceramic Practices: Topics (6)

Mondays, 1pm – 7:20pm, Fall 2016

Instructor: Justin Novak

Topic: Toys and Figurines
This course will explore the potential of iconography and allegory in contemporary figures, as we examine the phenomenon of "Designer Toys". Students will use ceramic processes to explore creative strategies common to “Urban Vinyl”, a subversive genre that has merged traditional character design and merchandising with artistic expression from a wide range of underground subcultures. Although the class is largely devoted to sculptural form and surface decoration, there will be opportunities to develop broader strategies through the creation of accompanying labels, literature, web graphics and packaging. Cross-listed as an Illustration course as well as a Ceramics offering, the intention is to bring together a diversity of skills and approaches in a collaborative learning environment. Those enrolled as CRAM-303 students will bring experience with ceramic materials and 3D methods, while the ILUS-306 students will bring graphic sensibilities which will aid in the creation of vibrant surface designs.

CRAM 303 F001F – Ceramic Practices: Topics (6)

Tuesdays, 8:30am – 3:20pm, Fall 2016

Instructor: Julie York

Topic: Art and Anthropology: Cultural Makers

This special topic class is designed for students interested in creating ceramics at the intermediate and advanced level, through researching subjects that surround cultural anthropology.  This class will investigate the collection at the UBC Museum of Anthropology (“MOA”) through various lectures and museum visits.  A variety of material techniques and processes related to ceramics will be covered in response to ideas surrounding the field of anthropology and museum ideologies.  The specific collection at the MOA will be the starting point for creative practices to emerge using the material of ceramics.

The class will involve hands-on studio work.  Students are expected to keep an open mind with regard to problem solving and to challenge themselves in all areas of research, skill building, and experimentation. The class will encourage self-directed growth, to prepare students to find their own practices.  Both sculptural and functional practices are welcome.

FVIM 416 F001 - Special Topics in Integrated Media (3)

Fridays, 1pm – 3:50pm, Fall 2016

Instructor: Julie Andreyev

Topic: Media Ecologies

Are you an animal, plant, and microbe enthusiast? Are you interested in the forces of the Earth and how they intra-relate with your day to day actions? Do you want to expand more-than-human being into your media practice? This course is for artists who want to foster their creativity through ways of seeing the world as a place of flourishing for all beings. The course focuses on contemporary thought and media practices that explore more-than-human creativity, and human and nonhuman intra-creativity—creative making with other species. The course offers exercises in expanding perception through sensing and making in the field and in the studio. Students are encouraged to experiment with how creative processes contribute to ecological awareness. The course includes lectures, readings, discussions and exercises. Students will be asked to create a project in the medium of their choice—film, video, sound, text, installation, web, performance, projection, photography, etc.—based on the ideas, sensings and materials offered in the course. Students may use this course to inform their graduating project. This course is open all students in the University who have completed second year.

HUMN 311 F001 – Visual Art Seminar (3)

Mondays, 8:30am-11:20am, Fall 2016

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 practices. The scope of study will focus primarily on artists’ books, but will also consider journals, magazines, and web projects published by artists. This course will provide students with the opportunity to develop and produce a publication and research and develop an exhibition.

HUMN 311 F002 – Visual Art Seminar (3)

Tuesdays, 12:30pm-3:20pm, Fall 2016

Instructor: Alex Philips

Topic: Sculpture and the Ethnographic Turn

This course examines “the ethnographic turn” in contemporary art and its implications for sculpture, the visual arts, curators, and exhibition designers. The phrase “ethnographic turn” refers to a movement in contemporary art whereby artists have adopted the methodologies of ethnographic collecting and display developed by anthropologists. The artistic use of social scientific methods parallels the recognition within postmodern anthropology that its documents too are cultural products. By turning a mirror on the methodologies of museum collecting and display, artists have been critiquing the operations of power in and outside these institutions.The course will survey such issues as the acquisition and display of cultural artifacts, the critique of social scientific authority, the history of exhibit design, the tension between the real and the represented, and the role of artists as participant-observers in the field of anthropology. 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, Kent Monkman, and Liz Magor, among others. The course includes readings in art history, anthropology, and museology, field trips to selected exhibitions, and a sustained studio project or research paper. This course is suitable for students in Visual Art, Curatorial Studies, or Exhbition Design.

HUMN 311 F003 – Visual Art Seminar (3)

Tuesdays, 12:30pm – 3:20pm, Fall 2016

Instructor: Cameron Cartiere

Topic: Community-Based Environmental Art

(this course would be cross-listed with UBC Okanagan and co-taught with Nancy Holmes – each week graduate students from UBCO will be video-conferencing in for a 2 hour overlap to engage with ECU students)

This course will focus on theories and practices of community-based environmental art, which can include community arts and eco-activism as well as community-specific art practices. The course will focus on the social responsibility of artists and the relevance of art to society.  The course will discuss trends in a variety of art practices (writing, visual art, film, performance) that reframe art as a method for community groups and activists to explore and engage with contemporary societal issues regarding the environment, as well as a method for artists to contribute original approaches to these issues.  The course aims to define, theorize and critically engage with the growing body of work in this area, including artistic case studies and documentation, critical and theoretical debates, and application of this theory by engaging in a large, multi-city ecoart project.

HUMN 311 F004 – Visual Art Seminar (3)

Thursdays, 8:30am-11:20am, Fall 2016

Instructor: Jay White

Topic: Art and the Anthropocene
“The Anthropocene" is a contested term for the current geological era of planet Earth. The term describes contemporary human impact on the planet's geology and ecosystems as so vast that it will be recorded in the geological record of the planet. In response to the escalating concern over climate change and irreversible ecological transformation, the human species is finding itself tasked with massive challenges in responding to events that might not be immediately apparent in our everyday lived experience. For many of us, this call-to-action coincides with a need to radically transform the ways we perceive and act as global citizens and human subjects.
This course will examine the ways that contemporary artists respond to a situation where humans find ourselves decentred, de-prioritized, and entangled in uncertain and potentially dangerous relationships with other entities. How do we represent, translate, and relate in scales and durations that are too big or small for our sensing bodies to perceive? As thinking, feeling cultural producers, how can we respond to this potentially catastrophic situation? What new definitions of 'life' emerge when we reconsider our relationships with other people, species, phenomena and objects?
Through readings, field work, writing, discussions and individual projects, we will attempt to integrate and consider these urgent issues in our own practices.

HUMN 311 F090 – Visual Art Seminar (3)

Online course, Fall 2016

Instructor: Merritt Johnson

Topic: Visibility and Invisibility: land, body, culture, nation, aesthetic, past present future
Visibility and invisibility contain everything. Everything is either seen physically, or is metaphorically through knowing/understanding/acknowledgement; or unseen (unacknowledged/known/understood).
This course will use sight and vision, the visible and the invisible as a way of exploring art making in relation to land, body, culture, nation, aesthetic, and the mutability of sight through time. The instructor will contribute from her own area of practice, as a cross-disciplinary artist and introduce artworks, and readings that are relevant to contemporary practice in North America including but not limited to Indigenous perspectives.
Students will further explore their own diverse practices in connection to visibility and invisibility. The possibility to expand the topic and create connections between varied forms of practice and areas of interest and applicability are vast and encouraged.
Students of all backgrounds are welcomed to work within and across any discipline including but not limited to: drawing, painting, print, sculpture, installation, sound, video, performance, photography, web-based, social practice, and collaboration.

ILUS 208 F001 – Illustration Process: Topic (3)

Wednesdays, 8:30am-11:20am, Fall 2016

Instructor: Neil Wedman

Topic: Life Drawing for Narrative

Essential to all narrative is the presence of an animate figure –either human or human like- whose actions and volitions propels the story and lends it personality.  In illustration these figures often carry the likenesses of their character traits in their physiognomy and bearing. Basic skills of observation and making drawings from life enhance a person’s ability to render such characters with subtlety, incisiveness and individuality.  This course provides each student and opportunity to study anatomy, gesture, portraiture, caricature and costume from models in the studio and other sources with an explicit concern for the portrayal of narrative and, of course, expand their life drawing skills in general.     

ILUS 305 F001 – Illustration Genres: Topic (3)

Mondays, 8:30am-3:20pm, Fall 2016

Instructor: Robin Mitchell-Cranfield

Topic: Design for Illustration

This practical course is designed for illustration students who would like to have a better understanding of design and art-direction. Students will learn how to develop their practice with a better understanding of art direction, typography, and production. This course will leave students more prepared for real-world projects. Small assignments throughout the term will allow student to explore communication design through illustration. Students will complete a term project designed to enhance their portfolio.

ILUS 305 F002 – Illustration Genres: Topics (3)

Thursdays, 8:30am-11:20am, Fall 2016

Instructor: Miriam Libicki

Topic: Comics and Identity

With examples from MAUS to FUN HOME to AMERICAN BORN CHINESE and ARAB OF THE FUTURE, comix have proven a powerful and popular vehicle for examining identities. Comix contain both visual and verbal rhetorical strategies, and are ideally positioned, in the internet age, to communicate unmediated across geography and culture. In this class we’ll explore both the potentials and the problems of cartooning the Self and cartooning the Other.

ILUS 306 F001 - Illustration Practices: Topics (6)

Fridays, 8:30am – 3:50pm, Fall 2016

Instructor: Jesse Garbe

Topic: Illustration in the Anthropocene
The term Anthropocene designates the time when human activities started to significantly impact our ecological and geological systems. In popular use it has become associated with the processes of climate change, habitat destruction and the loss of biodiversity on the planet earth. It is truly a global movement and evidence for it can be found in the sediment and ice core samples dating back to the mid-20th century. But how does one react to this grand event within the discipline of illustration? In this course we will be exploring how illustrators can participate in these conversations. We will also be investigating the role that images have in our culture and their ability to challenge, educate and display ecological issues.

ILUS 306 F002K – Illustration Practices: Topics (6)

Mondays, 1pm – 7:20pm, Fall 2016

Instructor: Justin Novak

Topic: Toys and Figurines

This course will explore the potential of iconography and allegory in contemporary figures, as we examine the phenomenon of "Designer Toys". Students will use ceramic processes to explore creative strategies common to ?Urban Vinyl?, a subversive genre that has merged traditional character design and merchandising with artistic expression from a wide range of underground subcultures. Although the class is largely devoted to sculptural form and surface decoration, there will be opportunities to develop broader strategies through the creation of accompanying labels, literature, web graphics and packaging. Cross-listed as an Illustration course as well as a Ceramics offering, the intention is to bring together a diversity of skills and approaches in a collaborative learning environment. Those enrolled as CRAM-303 students will bring experience with ceramic materials and 3D methods, while the ILUS-306 students will bring graphic sensibilities which will aid in the creation of vibrant surface designs.

ILUS 306 F003N – Illustration Practices: Topic (6)

Tuesdays, 8:30am-3:20pm, Fall 2016

Instructor: Nick Conbere

Topic: Narrative Etching

Artists and illustrators have traditionally used etching as a subtle and versatile medium for creating rich images and small editions. In this cross-listed Print Media and Illustration course, students will explore narrative content through etching and related print media techniques.

The course will provide opportunities for depicting and interpreting ideas, and artworks could range from short, fictional comics to conceptual investigations of narrative imagery. Students will learn a variety of techniques for 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.

INDD 330 F001F – Ceramics: Advanced (6)

Tuesdays, 8:30am – 3:20pm, Fall 2016

Instructor: Julie York

Topic: Art and Anthropology: Cultural Makers

This special topic class is designed for students interested in creating ceramics at the intermediate and advanced level, through researching subjects that surround cultural anthropology.  This class will investigate the collection at the UBC Museum of Anthropology (“MOA”) through various lectures and museum visits.  A variety of material techniques and processes related to ceramics will be covered in response to ideas surrounding the field of anthropology and museum ideologies.  The specific collection at the MOA will be the starting point for creative practices to emerge using the material of ceramics.

The class will involve hands-on studio work.  Students are expected to keep an open mind with regard to problem solving and to challenge themselves in all areas of research, skill building, and experimentation. The class will encourage self-directed growth, to prepare students to find their own practices.  Both sculptural and functional practices are welcome.

MHIS 329 F001 – Studies in Current Film/Video (3)

Tuesdays, 8:30am-11:20am and Wednesdays, 7:30pm-9:30pm, Fall 2016

Instructor: Alla Gadassik

Topic: History of Cinematography

This upper-level course considers the history of cinematography as both a history of specific technological innovations and as a history of various filmmaking philosophies. We will investigate the early development of key cinematography tools and techniques, by placing them in the context of various industries that employed and promoted different shooting styles. Topics will include less‐known histories, such as the camera's role in modern science and warfare, but also more dominant histories, such as the standardization of cinematography in mainstream studio filmmaking. In the process, we will trace the camera's many incarnations as a storyteller, a bodily prosthetic, a weapon, a scientific device, and even an autonomous agent with its own identity. We will also ask what cinematography might mean without a “camera,” both in cameraless animation and in contemporary CGI cinematography. Students are expected to attend weekly lectures and a separate weekly screening; complete independent readings; and conduct guided research toward a final project. Assignments will include shorter papers, an in-class final test, and a final paper or video-essay that will require outside research. Students should have some knowledge of formal film vocabulary and formal analysis, as covered in MHIS205. Please note that screenings will include potentially sensitive, upsetting, exhilarating, boring, spectacular, or puzzling material.

MHIS 429 F001 – Topics in Film/Video Theory (3)

Wednesdays, 9am-11:20am and 1pm-3:50pm, Fall 2016

Instructor: Alla Gadassik

Topic: Sci-Fi Cinema and the Philosophy of Technology

This advanced course uses seminal science fiction films as case studies for exploring key texts in the philosophy of technology, with a particular emphasis on media technology. How have media technologies transformed our understanding of reality? What is the relationship between organic and artificial organisms, or between natural and human-made environments? How do people imagine the media of the future, and what do those imagined futures reveal about their own cultural and social context? These crucial questions preoccupied media philosophers for over a century, and they are also questions that preoccupy many pioneering science fiction films. Every week students will tackle key texts by media theorists (eg. Marshall McLuhan; Vivian Sobchack) or philosophers of technology (eg. Jacques Ellul; Donna Harraway) alongside influential essays on science-fiction cinema (eg. Susan Sontag; J.P. Telotte). Required weekly screenings will be followed by short lectures, student presentations, and class discussion of the weekly topic. Assignments may include weekly short written responses, reading quizzes, individual presentations, and a final paper or video essay. Over the course of the semester students will advance their reading, writing, and critical inquiry skills; practice their discussion and presentation strategies; and tackle challenging questions independently and through seminar participation.

PHOT 323 F001 – Photography Practices: Topics (6)

Fridays, 8:30am – 3:50pm, Fall 2016

Instructor: Raymond Boisjoly

Topic: The Distances Between Photographs and Photographic Images
This special topics course will concern experimental approaches to image making using both analogue and digital photographic media. Departing from historical precedents such as photograms and following a trajectory encompassing other recent strategies of 'cameraless' photography in the darkroom and out, we will consider the possibilities of extra-depictive approaches, approaches not primarily concerned with the naturalistic depiction of the world, within contemporary art. A continuing discussion of the importance of both technological and conceptual developments involving photography will be used as a motivator for the production of diverse bodies of work.

PRNT 305 F003N – Print Media: Topic (6)

Tuesdays, 8:30am-3:20pm, Fall 2016

Instructor: Nick Conbere

Topic: Narrative Etching

Artists and illustrators have traditionally used etching as a subtle and versatile medium for creating rich images and small editions. In this cross-listed Print Media and Illustration course, students will explore narrative content through etching and related print media techniques.

The course will provide opportunities for depicting and interpreting ideas, and artworks could range from short, fictional comics to conceptual investigations of narrative imagery. Students will learn a variety of techniques for 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.

SCLP 312 F001 – Sculpture: Special Topics (3)

Tuesdays, 8:30am – 11:20am, Fall 2016

Instructor: Laura Piasta

Topic: Process

Through projects, discussions, readings and presentations this studio course will explore the notion of process in the context of contemporary sculpture practice. The projects developed for this course will be self-directed through material driven explorations, conceptual frameworks and or performative gestures. This course will focus on studio practice, studio visits and class critiques as well as visits to current exhibitions.

SOCS 300 F001 – Studies in the Social Sciences (3)

Thursdays, 8:30am – 11:20am, Fall 2016

Instructor: Elizabeth Lee

Topic: Public Life: Critical Dialogues on Race, Art and Politics

This course asks us to think critically about the complex relations between social groups and design landscapes so as to help us explore difficult questions about space and power. How do gender, race, sexuality, class and other social forms of differentiation intersect to constitute particular spaces, places, and boundaries? And, how are these spaces, places, and boundaries mobilized to justify geographies of exclusion of varying scope and scale? We will contemplate such questions in order to understand more fully and to address more responsibly a range of contemporary issues, including the continuing gender inequality in higher education and the racial politics of recent immigration policies. We will turn our attention to the city – as a contradictory site of both cosmopolitan hope and anti-social intolerance – to think more deeply about the dynamic links between the production of robust public space and the pursuit of engaged public life.

SOCS 300 F090 – Studies in the Social Sciences (3)

Online course, Fall 2016

Instructor: Sadira Rodrigues

Topic: Retreating To/From
This online course will look at forms of retreat as gestures of resistance. To retreat communicates agency through radical refusal - and retracting can be a powerful act of turning away from society. While often associated with self-alienation and passivity, this course will explore the positive intents of agency, challenge and refusal that can inform the act of retreat. We will explore the various forms that retreat can take – whether in the act of walking, in the gesture of exclusion, the undertaking of a residency or in the consideration of slowness. This course will be part theory and part practice. We will begin by looking at texts, projects, artistic practices and ideas on practices of retreat, and then you will create a retreat – conceptualize it, experience it, think through it, and reflect on its workings.

VAST 320 F001P – VAST 420 F001P – Visual Arts Thematic I & II (6)

Tuesdays, 12:30pm – 6:40pm, Fall 2016

Instructor: Ingrid Koenig

Topic: Black Holes and Other Entanglements in the Studio

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, and interacts 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 phenomena in physics and other probing areas. The breadth of scientific fields to be encountered will depend on students’ individual research interests, while weekly topics address themes such as quantum 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, (Laboratory for Particle and Nuclear Physics with its cyclotron particle accelerator). They will also have a studio day at the Beaty Biodiversity Museum.