Special Topics for Summer 2019 + Fall 2019

Special Topics 

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

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

Fall 2019

AHIS 404 F001 – Art Now: Topics in Contemporary Art
Wednesdays, 8:30am – 11:20am, Fall 2019
Instructor: Rob Stone
Topic: Vocalese
This course explores the often rather enigmatic social and aesthetic relationships that have developed between modern aural and modern visual space since the middle of the twentieth century. We will pay attention to the acoustic ecology movement, international traditions of avant-garde and experimental composition, soundscaping and the emergence of world musics.

However, we will also be listening for less easily defined examples of the way sound helps shape visual arts, cinema, architecture and so forth by paying attention to such things as the sound design in sub-Saharan African cinema, the textures of experimental jazz, silences, the murmur of conversation in queues, the sound made by buildings and how to correctly listen to dust on vinyl records.

From this starting point, the aim of the course is to consider and engage in a broader, global history of the technical and poetic production of aural social space and the role of art practices in that. For this iteration of the course we will focus on the notion of accent as a way of thinking about, among other things, voices and archives.

In preparation, you might like to read Michael Nyman’s book Experimental Music or Cornelius Cardew’s essay ‘Toward an Ethic of Improvisation’.

AHIS 404 F002 – Art Now: Topics in Contemporary Art
Wednesdays, 1:00pm – 3:50pm, Fall 2019
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 Fall 2019 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 in and behind the scene.

CRAM 303 F001D – Ceramics Practices: Topics (6)

Fridays, 8:30am – 3:50pm, Fall 2019

Instructor: Julie York

Topic: From Ground to Table: Investigations in the Tableware

In this section students will explore techniques, ideas, and a vocabulary of form that relates to making ceramic objects for the table.  Various processes will be demonstrated, such as model and mold making, slump and hump molds, wheel throwing and hand-building.  Students will experiment with techniques and materials to develop their ability to work with ceramics, and will determine their own method of production for the whole semester, provided it relates to the subject of tableware.  In addition to making, students will be asked to conduct individual research outside the studio to help them consider larger contextual issues and create a discourse around their personal interests through ceramic materials and tableware forms. Both functional and conceptual forms of making and thinking about tableware will be the focus.

Please note that wheel throwing can be used in this class however students must have prior knowledge / instruction on how to wheel throw. 

Course Learning Outcomes

Students will gain greater knowledge of a variety of processes, techniques, and equipment used in ceramics.

Students will develop: (1) a larger technical framework of materials and processes; (2) a more sophisticated level of craftsmanship through the handling and control of the material; (3) a body of work through experimentation; (4) a dialogue about the work; (5) a deeper conceptual and critical approach to functional object making; and (6) a broader understanding of ceramics within a contemporary design context. 

FMSA 420 F001 – Special Topics in Film + Screen Arts (3)

Fridays, 1:00pm-3:50pm 

Instructor: Lindsay McIntyre


While cultural industries and artists embrace digital technologies for filmmaking and media art, analogue film technologies such as 8, Super-8, and 16mm film production and analogue audio and even VHS have enjoyed a renaissance amongst artist-practitioners in a worldwide movement often called Handmade Cinema, Conceptual Cinema and the old monikers of Avant-garde, Visionary, Experimental Film, Para- or Expanded Cinema. Often employing hand-processing and chemistry, making one’s own filmstock, performance and live presentations, collectives and co-creational stategies, and even digital interventions, analogue film is no longer treated as “capture media” but rather utilized/ and celebrated in concert with performance and its material properties and rich historical legacies, both locally and internationally. This hands-on, special topics course offers a critical overview of the practice regarding both historical and contemporary work, and a space to seek the integration of theory and practice. Expanded cinema, optical printing, eco-processing, interfaces with the digital, film finishing processes, chemical manipulation, advanced film cameras, DIY maker culture and other practices may be explored.

PHOT 306 F001G – Special Topics in Photography (3)

VAST 310 F001G – Visual Arts: Special Topics (3)

Thursdays, 12:30pm – 3:20pm, Fall 2019

Instructor: Raymond Boisjoly

Topic: Ideas of Culture and Cultural Practice

This studio course will look at ideas of both culture and cultural practices as they have intersected with the understanding and production of art. Students will be encouraged to look at aspects of contemporary culture to inform their self-directed artistic work. The course will draw on the possibility that work reflects the world we live in while producing another.

The relationship between art and non-art, and the means through which materials, objects, images and actions move between these two categories, will guide our work. Hal Foster’s “The Artist as Ethnographer” will be a key point of reference: bit.ly/Foster_artistasethnographer   

These courses are in conjunction with HUMN 311 F001 – Visual Art Seminar – see below.

HUMN 311 F001 – Visual Art Seminar
Thursdays, 3:50pm – 6:40pm, Fall 2019
Instructor: Raymond Boisjoly
Topic: Ideas of Culture and Cultural Practice
This seminar will look at ideas of both culture and cultural practices as they have intersected with the understanding and production of art. Of particular importance will be the intersection of surrealism, the historical avant-garde movement, and anthropology, the study of human societies and cultures. The concepts of otherness and alterity will be looked at in terms of cultural cross pollination through intercultural communication to centre our questioning of our understandings of our own positions in the world as it impacts the work we make and our relations to one another.

HUMN 311  F002 – Visual Art Seminar
Weekdays, Times, Fall 2019
Instructor: Alex Phillips
Topic: The Artist as Ethnographer
This course examines “the ethnographic turn” in contemporary art and its implications for the visual arts. The phrase “ethnographic turn” refers to a movement in contemporary art whereby artists have adopted the methodologies of 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 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. Artists whose work will be reviewed include Joseph Beuys, Fred Wilson, Louise Lawler, Mark Dion, Andrea Fraser, Sam Durant, Lothar Baumgarten, Iris Haussler, James Luna, Juan Munoz and Liz Magor, among others. The course includes readings in art history and anthropology, field trips to selected exhibitions, and a studio project or research paper.

HUMN 311 F004 – Visual Art Seminar
Tuesdays, 12:30pm – 3:20pm, Fall 2019
Instructor: Art Perry
Topic: The Beat Aesthetic:  Poetics & Politics in Post-War American Culture/Counterculture
This HUMN 311 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.

HUMN 311 F005 – Visual Art Seminar
Thursdays, 12:30pm – 3:20pm, Fall 2019
Instructor: Art Perry
Topic: The Beat Aesthetic:  Poetics & Politics in Post-War American Culture/Counterculture
This HUMN 311 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.

HUMN 311 F006  – Visual Art Seminar
Wednesdays, 1:00pm – 3:50pm, Fall 2019
Instructor: Cameron Cartiere
Topic: Latitudes and Longitudes: The Art of Finding Place

This seminar will examine the “long horizons” of visual art and psychogeography. From the Situationists to Superflex, we will explore how artists have embraced an approach to expanded geography that utilizes mapping, playfulness, and the practice of getting lost. Throughout the course we will visit a range of subjects addressing place, urbanism, drifting, and site-specificity. Topics will include: a brief history of psychogeography, artists working in the environment, navigating through urban/suburban/rural terrains, and the map as a creative meeting place.

ILUS 306 F001 - Illustration Practices: Topics (6)

Mondays, 1:00pm – 7:20pm, Fall 2019

Instructor: Daniel Drennan ElAwar

Topic: Illustrated Narrative

This class will establish an expansive and holistic approach to working with variations on the illustrated book form, from comics and graphic novels to illustrated texts. It will include an emphasis on research that touches on various disciplines such as linguistics; literary and cultural theory; economic and political history; various related media such as music, cinema, and literature; as well as popular cultural forms, both formal/formalized and informal. The class will also reference various levels of popular culture, and will engage students in a full analysis of the mediation, potential, and substance of their work, as well as their audience and use of media in order to visually manifest a narrative of their creation. 

The aspects of form examined in the class will include:

Historical: An overview of cultural and historical precedence to the medium;

Narrative: An examination of storytelling and narrative styles and how they have an impact on manifestations of image and text;

Structural: A study of the internal aspects of time, space, pacing, and rhythm, and their precursors in as well as similarities to other cultural forms;

Pictorial/material: An exploration of appropriate technique, craft, medium, and base;

Literal: An introduction to the craft of bookbinding, and the various cultural traditions related thereto.

ILUS 306 F003 - Illustration Practices: Topics (6)

Wednesdays, 8:30am – 3:50pm, Fall 2019

Instructor: Amory Abbott

Topic: Digital Strategies in Contemporary Illustration

In this section of ILUS 306 Topics, we will be addrerssing the rising use of digital technologies in modern day illustration. Assignments in this course will explore ares of the illustration field that use digital tools like Photoshop, Clipstudio, Illustrator, ProCreate, and others as a primary media, as well as how they can be comined with traditional "analog" media to create unique and complex works. Areas of the idustry we will cover include concept art, character design, comics and graphic novels, and publication design. An intermediate knowledge and access to digital applications is necessary for this course.

MDIA 300 F001 – Media Thematic (6)

Mondays, 1:00pm-7:20pm

Instructor: Peter Bussigel

Topic: Media Ontologies/Hybridities: Systems for Play

This is a course in collective approaches to media art. Drawing on a broad range of methods that include event scores, video art, game structures, and music improvisation, we will explore current and historical experiments in collective media making. Projects provide time and space to work with our convenient classroom ensemble and an opportunity to think critically and generatively about the systems with/in which we live. Each week, a significant part of our class time will be dedicated to playing, practicing, and discussing student pieces (scores, scripts, rules, etc). No specific technical experience is required, though students are encouraged to incorporate existing media skills into their work. A willingness to take risks and step outside of one’s comfort zone is necessary.

MHIS 405 F001 – Topics in Contemporary Photography
Monday, 1:00pm – 3:50pm, Fall 2019
Instructor: Raymond Boisjoly
Topic: The Varied Phenomena of Photographic Practices
The section of Topics in Contemporary Photography will look at the varied phenomena that might be said to constitute photography. Drawing on readings, film screenings, student presentations, and in class discussions, we will look at the ways objects, machines, images, technologies, processes, meanings, uses, and temporalities each contribute to our understanding of photography as a complex field of study and practice.

PNTG 315 F001 – Painting Practices: Topic (6)

Wednesdays, 1:00pm – 7:20pm, Fall 2019

Instructor: TBA

Topic: Sense of Touch

The course will center conversations around “facture,” a word used to describe how paint is applied on a painting and the characteristics of this touch. Facture is one of the most elemental components of painting and directly contributes to painting’s reflection of the discourses and visual vocabularies of its time. It is key in reconsidering Modernist histories of gestural painting as well as entertaining how these meanings have shifted in the context of our world today where social relationships, points of contact and Global modernisms situate us and are situated by us differently. Through readings, discusssions and presentations, we will explore facture’s multifaceted and contradictory operations, and redefine its terms through discussions of our own paintings. Students will be expected to commit a substantial amount of time to develop an individual body of work which we will critique with special regard to this course’s themes.

SCLP 312 F001M – Sculpture: Special Topics (3)

SOUN 316 F001M – Sonic Environments + Objects (3)

Tuesdays, 3:50pm – 6:40pm, Fall 2019

Instructor: Peter Bussigel

Topic: Sonic Environments + Objects

This studio course navigates the space between sound and sculpture, where physical materials and audible vibrations meet and interact. Drawing from material practices, media theory, sound art, and experimental music, students will learn about acoustics, sound systems, basic electronics, speakers, and mechatronics. In addition to workshops and projects, we will also look at the history of sound sculpture and experimental sound practices, attending to the intermedial and often disruptive potential of sound, noise, and listening.

SCLP 312 F002 – Sculpture: Special Topics (3)

Mondays, 1:00pm – 3:50pm, Fall 2019

Instructor: Emily Hermant

Topic: Fiber Sculpture

This studio course examines the resurgence of fiber in contemporary art practice and provides a critical lens through which to examine issues of gender and labor, class, domesticity, utility and decoration, skill, time, process, value and production. The historical and theoretical content of the course will provide students with the necessary grounding to broaden their ideas about the role of fiber in contemporary sculpture practice. Students will learn about the histories that inform this initially utilitarian tradition, to an experimental, hybrid platform for artists to create dynamic, sculptural forms.  Students will be introduced to tools, materials and processes used to produce fiber-based sculpture. Through a series of assigned and self-directed projects, students will experiment with malleable, fibrous materials and construction methods such as weaving, sewing and basketry to create three-dimensional fiber structures. Research, readings, discussions, and critiques are an integral part of the course.

SOCS 300 F001 – Studies in the Social Sciences
Wednesdays, 4:30pm – 7:20pm, Fall 2019
Instructor: Rob Stone
Topic: Making Room – Spatial Practice in a Time of Diaspora
This course takes architecture, urbanism and design as both a starting point and point of return to think about changes in spatial practice and spatial sensibility in a time of modern diaspora. We will look at the formation of different kinds of domestic, civic, rural and metropolitan space that have come about in a period since the mid C20th, and the different kinds of social relationships that these spaces appear to have engendered. 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, the possible relationships between mutuality and difference, and the disassembling of the novel spaces of internet sociability.

SOCS 300 F002 – Studies in the Social Sciences
Wednesdays, 8:30am – 11:20am, Fall 2019
Instructor: Alex Phillips
Topic: Zombies in Film
This course will examine why zombie films have gone from being an obscure horror genre to a widespread cultural phenomena. Why has George Romero’s low budget film Night of the Living Dead inspired hundreds of imitators, a television series, and an avalanche of undead cultural artifacts such as books, T shirts, video games, and music? 

Taking an anthropological approach to the zombie craze, this course will treat zombie films as cultural documents, looking at their historical roots in ideas about primitivism, cannibalism, and the Haitian Voudun religion. It will identify critiques of mainstream society, consumerism, and gender, race, and class difference contained in zombie films, while examining why the refusal of the dead to stay that way speaks to longstanding fears about the restlessness of the deceased. The course will draw on a variety of sources such as Val Lewton’s 1940’s film: I Walked with a Zombie, Wade Davis’s The Serpent and the Rainbow: A Harvard Scientist’s Astonishing Journey into the Secret World of Haitian Voodoo, Zombies, and Magic, and numerous films from Romero classics such as Night of the Living Dead and Dawn of the Dead, to comedies, hybrid films, and Britain’s 28 Days Later.

SOCS 300 F003 – Studies in the Social Sciences
Fridays, 8:30am – 11:20am, Fall 2019
Instructor: Chris Jones
Topic: Ways of Knowing
Art is a crucial way to know something. This course will introduce students to a range of theoretical discourses that address different ways of knowing, including: intuition, speculation, mediation, affect, embodiment, as well as topics associated with the philosophy of science such as objectivity and realism. Students will review critical readings in the field to develop both written and creative responses to topics. All topics will be discussed in terms that are relevant to the history of art and visual culture.

VAST 310 F002B – Visual Arts: Special Topics (3)

NMSA 312 F002B – Performance Art (3)

Thursdays, 3:50pm – 6:40pm, Fall 2019

Instructor: TBA

Topic: Performance Art

This course facilitates a broad skill and technical level for students interested in focusing on or incorporating performance in their work. Through classroom workshops, exercises, readings, and discussion, students gain a thorough understanding of Performance Art and its implications. Students will experience a range of performance practices, some of which engage live audience or public arenas and video and other mediums within a gallery setting. Students develop a concept, thematic/subject area into clear and concise project proposals and public engagement. Students develop informed and critically engaged artworks, experiences or presences, including experimentation with form and sensitivity to social contexts. Students will be required to keep a record of their processes and choices during the production of their work, so that after critique, their methodologies can be shared. This course elucidates performance strategies and supports students exploring performance in relation to their own divergent practices.

VAST 320 F002P – Visual Arts Thematic (6)

VAST 420 F002P – Visual Arts Thematic II (6)

Fridays, 8:30am – 3:50pm, Fall 2019

Instructor: Brendan Tang

Topic: Narratives of Identity:  What We Do With Who We Are

This course explores how concepts of identity and related narrative can play a role in an artistic practice. These particular devices can be employed in many ways, such as the unpacking Divya Mehra does in her very personal and humorous neon and photographic works, or the political re-framing of current cultural issues seen in the ceramic works of Ai Wei Wei, or the moving dissection of historical events as seen in Kent Monkman’s epic paintings and performances. 
Through presentations of historical and contemporary practices, gallery visits, and critiques, we will deeply examine concepts of identity and the use of narrative devices in art.  Students will be required to create a research schedule and related works investigating their own stories, to respond to assigned readings, and to participate in discussion of the topics being covered. Students are invited to utilize mediums that are most relevant to their research.

Summer 2019

AHIS 325 SU01 – Studies in Modern Art (3)

Wednesdays + Fridays, 9:00 am – 11:50 am, Summer 2019

Instructor: Marisa C. Sánchez


 The frequency with which Samuel Beckett’s writings—from Proust (1931) to Catastrophe (1982), have dispersed throughout post-war contemporary art, by artists working in film, video, large-scale installations and socially-engaged work, is the starting point for this seminar. This course is guided by three questions: In what ways have Beckett’s texts emerged and dispersed within contemporary art? What is the theoretical significance of the appearance of Beckett’s texts within contemporary art practices? And, what do Beckett’s texts afford visual artists? Through readings and discussions on artists including Bruce Nauman, Stan Douglas, Judith Barry, Atom Egoyan, Paul Chan, and Tania Bruguera, among others, we will explore what these artists learned from reading Beckett and how his writings are a catalyst through which to explore such topics as: subjectivity, technological obsolescence, and power. The syllabus will include writings by Beckett alongside art historical and theoretical texts.

CCID 202 SU02B + CCID 302 SU02B – Fieldwork: Topics (3)

Tuesdays + Thursdays, 1:00 pm – 3:50 pm, Summer 2019

Instructor: Amanda Huynh

Topic: Reciprocity / Recipe / City

In this course students will look at the ways we can define resiliency, keep our neighbourhood nourished, and what it means to create a community of care. With the resources at 312 Main, a community co-op in the Downtown Eastside (DTES), close to historic Chinatown and Hogan’s Alley, students will have the opportunity to contribute to generative city-building. Exploration will be done through the lens of food and foraging as a way of acknowledging land, place, and knowledge. Through a practice-based approach, students will be able to ground their expertise not only within the community but within the physical space at 312 Main, and its history. We will build upon research ethics towards informed community consent and empowering voices in the DTES community not as subjects, but as experts. Classes will be an intercultural, intergenerational mix of events, exchange, feasting, lectures, and making, with time for students to develop and reflect on their work enlivening on-site archives, and bridging stories and conversation in preparing for the unknowable futures on unceded Coast Salish territories.

CCID 202 SU01A + CCID 302 SU01A – Fieldwork: Topics (3)

Course times and days vary, listed on course outline, Summer 2019

Instructor: Elvira Hufschmid

Topic: Aesthetic Transformations and Urban Farming

The City of Vancouver initiated a bold action plan called Greenest City, a strategy for staying on the leading edge of urban sustainability by 2020. As part of this plan, the city has been supporting citizen's initiatives of growing healthy food in urban areas, and thereby allowing for the emergence of over 110 community gardens. In this course, we will take Vancouver's urban organic agriculture movement as a starting point for our artistic explorations. Our field trips will lead us to several community gardens, field houses, and an urban farm where we will have the opportunity to engage with local farmers and activists. We will let ourselves be inspired by plant communication, the botany of desire, animal complicity, the beauty of decay, invasive species, or ‘seeds as commons’, and we will research the social, political and historical significance of local food production, as well as our relationship to the land. In this context, what does it mean to be on the unceded territories of the Coast Salish peoples? This course focuses on transdisciplinarity and encourages students to investigate different mediums and strategies, and how those can be made productive to express an idea. Students will be introduced to ‘Aesthetic Transformation’ as an idea-generating approach in art making that engages them to develop a body of independent work based on their individual interests. Practice-based exercises, such as drawing from observation, performative explorations, video recording and sound editing, material examination, conceptual inquiry, as well as collaboration and critical reflection, will serve to fuel the creative process. This class requires students to participate in various field trips around the city, rain or shine.

CCID 202 SU03C + CCID 302 SU03C, Fieldwork: Topics (3)

Course times and days vary, listed on course outline, Summer 2019

Sarah van Borek

Topic: Making Waveforms, an outdoor education meets art activism program championing global water security.

Come play outside while making a global impact! Offered in association with Canada's leading environmental organization, the David Suzuki Foundation (DSF), and in collaboration with the Native Education College (NEC), the Beaty Biodiversity Museum, and the Future Water Institute (FWI) in South Africa. This course is part of the instructor’s PhD research on reconciliation through [site-specific, media arts based] environmental education on the water-climate change nexus in Canada and South Africa. Students are invited to be co-investigators in this study aimed at creating a model of curriculum that can be applied internationally. Students who register for this course are NOT required to participate in the research. No prior video experience is required.

CCID 300 SU03C + CCID 400 SU01D, Fieldwork: Topics (3)

Tuesdays + Thursdays, 1:00 pm – 3:50 pm, Summer 2019

Instructor: Hannah Jickling

Through an introverted lens, this course will investigate performance as method and mind-set towards the development of: studio work, research-based practice and community-centered projects. Drawing on the work of artists such as Allora and Calzadilla (Land Mark, 2001-02) and Lee Lozano (Drop Out Piece, 1970 -), PERFORMANCE FOR INTROVERTS will initiate individual and collaborative experiments to examine artists’ quieter roles in social and aesthetic spheres. Here we will entertain performance as a headspace, a form of trespassing, a kind of self-removal, a form of safety and as the passing of time. In a visual art context, PERFORMANCE FOR INTROVERTS will also navigate fraught relationships to audience and documentation. Coursework will include material fabrication, group exercises, readings, field-trips and individual projects. Students are expected to purchase some supplies and must be willing to spend time outdoors.

CRAM 204 SU01E Ceramics: Special Topics (3)

CRAM 304 SU01E Ceramics: Special Topics (3)

Monday and Wednesdays, 1:00pm – 3:50pm, Summer Term 1

Instructor: Heather Dahl

Topics: Advanced Wheelthrowing

Advanced Wheelthrowing is for students who want to continue to develop and grow their skills using the wheel as a tool to consider form, function and scale. Students will develop methods for throwing and altering their wheelthrown forms, along with throwing larger forms while exploring themes and concepts that create a critical dialogue within contemporary art, design and craft culture. They will continue to learn to fire electric and gas kilns, and to develop glazing and surfacing materials in new ways. Using clay, students acquire practical, critical and historical tools to consider ceramics and pottery within contemporary culture and current art practices. Demonstrations, discussions, and presentations are regularly scheduled. Assigned and self-directed projects are developed and discussed in critiques.

Priority is given to CRCP and VIAR students in Year 2. Previous experience on the wheel is strongly recommended.

HUMN 305 SU01 – Studies in the Humanities (3)

Tuesdays + Thursdays, 4:00 pm – 6:50 pm, Summer 2019

Instructor: Jacqueline Witkowski

Topic: Tactics of disruption: performance, writing, and protest in South America, 1960-1980
This course will address visual art production and writing by a select group of artists in South America from 1960-1980. Beginning with how artists established shifts from a Euro-American modernism and the definition of conceptualism under a Latin American rubric, the course will focus on the art forms that evolved from concrete poetry and art to become approaches that were centred on writing and performance as vehicles of protest against violent governments. Texts by artists will be used to supplement the theoretical and historical readings, with each week focusing on art practices connected to poetry, asemic writing, and hermetic literature, all which are example of the generated writing alongside visual art forms during this period. Throughout the course, special emphasis will be placed on the development of visual literacy, specifically by building the conceptual and communicative tools necessary for critically looking, thinking, and writing about art; it seeks to break down the perception of a barrier between writing on the one hand and art-making on the other.

HUMN 305 SU90 – Studies in the Humanities (3)

Online Course, Summer 2019

Instructor: Magnolia Pauker

Topic: Counterpublic Dialogue(s): Inter Views in Politics, Philosophy, and the Contemporary
This course will investigate the emerging field of Performance Philosophy with a focus on the interview as a distinct form of social practice therein. Approaching philosophy as itself a mode of performance, we will investigate its diverse forms by reading and viewing interviews, lectures, essays, and book excerpts. Our focus will be on the interview as a social practice, a mode of public engagement, where theory and practice intersect and through which the philosophical venue opens into the public. Readings will be drawn from the work of Michel Foucault, Gilles Deleuze, Judith Butler, and Gayatri Chakravorty Spivak among others. Screenings will include: Agarrando Pueblo (1978), Examined Life (2008), Edward Said, The Last Interview (2004), excerpts from Gilles Deleuze from A to Z (1996), The Gleaners and I (2000), and Derrida (2002), along with archival footage of televised interviews. Students will have the opportunity to research, conduct, and publish an interview or thought paper for their term projects. The course will be conducted entirely online and students will not be required to attend campus.

HUMN 306 SU01 – Studies in the Humanities (3)

Tuesdays + Thursdays, 9:00 am – 11:50 am, Summer 2019

Instructor: Jeffrey Swartz

Topic: From Design Criticism to Critical Design
This course engages criticism in contemporary design from complementary perspectives: while design criticism is about design, critical design is done through design. Using historical and theoretical references from all design fields, the course encourages students to both write design criticism and produce critical and activist design, conceiving design projects in function of critical intent. The idea of criticism of design follows traditional modes, usually taking the form of spoken discourse or published text, including in audio-visual format or on social media. Yet it is also an idea in crisis, as many specialists hold. Is design criticism necessary for design practice to advance? Are design professionals versed in its functions and mechanisms? What do we need to know to think, speak and write critically about design? Here the importance of understanding historical cases of design debates and recent theoretical currents in design is emphasised. Students are invited to analyse design criticism while writing critical texts. Criticism through design, identified by British duo Dunne & Raby as critical or speculative design, responds to the idea that design knowledge is acquired and advanced in practice, within the project. Whether addressing the demands of users or clients, or working independently as a self-initiated practice, it wraps itself in further layers of meaning and involves communicational skill. It is often particularly appropriate for display and exhibition; rhetorical components feature prominently; it is often humorous or ironic. Since it addresses other designers and can be provocative or symbolic, it is a form of meta-design: critical design is loaded. Historical examples, such as 1960s Italian radical design and currents in social design (emphasising community participation, service, paradigmatic transition and sustainability, amongst others), help illuminate and contextualise the idea. Contemporary examples of critical design (Jurgen Bey, Martí Guixé, Natalie Jeremijenko, Sputniko!) as well as academic research on the movement’s political and cultural biases are provided. Finally, reflection on design criticism and critical design leads us to consider research on design’s relationship to social and political causes, where designers emerge as activists, working individually or collectively. This historical, theoretical and practical course is meant for students of all design disciplines. It also has crossover interest for students of art and media.

HUMN 306 SU02 – Studies in the Humanities (3)

Tuesdays – Fridays 10:00 am – 4:00 pm, Summer 2019

Instructor: Rita Wong

Topic: Sacrifice Zone or Sacred Zone? Staying with the Troubles & the Treasures of the Peace River Valley
Much of British Columbia’s wealth is built on the sacrifices of Indigenous peoples and their lands. For example, the WAC Bennett and Peace Canyon dams built on the Peace River, which provide approximately a third of BC’s electricity, flooded an enormous land mass, displacing and traumatizing Indigenous peoples and residents of areas that are now underwater. Today, the Site C dam threatens to become a similar sacrifice zone on Treaty 8 territory in northeast BC, flooding an area the length of the distance from Vancouver to Chilliwack. Caleb Behn suggests that reconciliation with Indigenous peoples leads to reconciliation with the land. This course explores what such reconciliation would look like through the example of the Site C dam, which is currently proceeding despite a legal battle by the West Moberly and Prophet River First Nations who have sought an injunction to stop the dam. BC Hydro apologized for the painful impact of the WAC Bennett dam in 2016, yet it continues to clear cut and plow over forests, planning to flood sacred land for the controversial Site C dam. In 2019, the United Nation’s Committee on the Elimination of Racial Discrimination called on Canada to suspend the dam in light of how it violates Aboriginal rights that should be protected under Treaty 8.

ILUS 208 SU01 Illustration Process: Topics (3)

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

Instructor: Rozita Moini Shirazi

Topics: Colour in Illustration

In this course, Students will learn how text transforms into illustrative images; in addition, they will develop their skills to study the perception of colour for the variety of visual images with emphasis on the elements and principals of colour in Illustration. Students will be encouraged to be self-motivated and will be given a series of small projects. The study of additive and subtractive colour, development of colour perception, expression with colour and its relationship in composition, harmony and contrast in Illustration will be practiced and critiqued. Meanwhile, they will learn how an Illustrative image can be effective, artistic and relevant to the text, subject matter, and colour. Throughout the term, I will provide articles and slides to familiarize students with diverse aspects of the power of colour in visual imagery/illustration, and we will hold discussion in class.

ILUS 305 SU01 Illustration Genres: Topics (3)

Tuesday and Thursdays, 9:00am – 11:50am, Summer Term 1

Instructor: Jesse Garbe

Topics: Illustration in the Public Sphere

The public sphere is permeated by illustration practices. Often, and because of advertising’s dominant presence, this arena seems out of reach for the individual artist. This course however, will investigate and expose students to alternative spaces and mediums that illustrators can inhabit, create within and utilize in the public sphere. Through a series of guided and self-directed projects, the course will focus on the growing culture of street art, mural painting, sticker art, and posters as potential sites of resistance and creativity. Students will also be encouraged to work within a context specific framework and to explore alternative and innovative materials and their use.

INDD 350 SU01 – Topics in Industrial Design (3)

Mondays and Wednesdays, 9:00am-11:50am 

Instructor: Aaron Oussoren

Topic: Glass Casting

This course explores emergent methods of glass production as they relate to the contemporary object and sculpture. Projects will explore and incorporate digital fabrication methods in relation to traditional glassforming processes. Students will gain a general understanding of glass forming techniques, 3D printing processes, and CAD modelling. Students will gain a thorough understanding of the limitations and opportunities of implementing glass workflows within their practice. Projects will be self- directed within the pragmatic constraints of the class. Participation in group activities such as demonstrations, critiques and lectures is expected.

NOTE: About half of the calsses will take place at Terminal City Glass Co-op on Parker Street.

PHOT 306 SU01 Special Topics in Photography (3)

Wednesdays, 9:00am-12:00pm, 1pm-4pm and Fridays, 9:00am-12:20pm, Summer Term 2 

Instructor: Farah Nosh

Topics: Documentary

A long sought after course by ECUAD students, Documentary Photography with renowned photographer Farah Nosh. This July 2019 course will have two classroom sessions per week and one field component every Wednesday. The course will explore the history and evolution of documentary photography, and its impact globally.  It will look at the work of documentary photographers through time and place, with discussions on how analog and digital make for different experiences by the photographer and the subject.  Every Wednesday Farah will take students out shooting throughout various locations in and around Vancouver for practical discussions around light, access, portraiture, ethics and integrity, and how to push through self-limitations as a photographer. 

PNTG 315 SU01F Painting Practices: Topic (6)

Tuesdays and Thursdays, 9:00am-3:50pm, Summer Term 2 

Instructor: Rachelle Sawatsky and Kate Mosher Hall


This studio course will focus on developing work at the intersection of printmaking and painting in relationship to discourses in the field of contemporary art. The course will consist of open-ended painting assignments that approach printmaking in relation to different processes and concepts; alongside technical demonstrations, readings, and discussions with the intention of bringing forth multiple perspectives on contemporary painting and printmaking practices. Technical demonstrations will include CMYK printing and digital and analog techniques for creating screens, amongst others. Students are expected to present new work for their critiques and tutorials, participate in class discussions, and be well prepared to use their tutorials and their studio and lab time wisely. 

SOCS 300 SU01 – Studies in the Social Sciences (3)

Mondays + Wednesdays, 4:00 pm – 6:50 pm, Summer 2019

Instructor: Phil Smith

Topic: (Not So) Hidden Persuaders: “Hits”, Influencers, and the Mechanics of Persuasion
From the first days of media culture in the 1920s to the rise of what Adam Alter has termed “Irresistible Technologies”, the persuasive powers inherent in cultural production have been increasingly studied, codified, and accelerated. Accordingly, this course will examine the social, psychological, and cultural mechanisms of persuasion through a series of historical and contemporary case studies from art, design, and media (including examples from popular culture) in an attempt to further understand that which might initially reach an audience’s mind, heart, and/or brain (the distinctions among the three to be further discussed over the term) as well as the means by which, in show business parlance, to “keep ‘em coming back for more”. Through readings, discussions, and selected short screenings, the course will ultimately seek to address one of the defining questions currently facing creatives in all fields: if the means of cultural production are becoming more accessible, automated, and widespread, how then to best have one’s work still achieve recognition, that is, to cite a best-selling 1950s book on the subject (its title eerily prescient of the social media age), “How to Win Friends and Influence People” via one’s creative output.