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Amy Vogel

Associate Professor

Contact

Bio

Associate Professor, Interim Director Contemporary Practices (2002). BFA and Art Education Certification, 1990, The University of Colorado, Boulder; MFA, 1995, California College of Arts, Oakland, CA. Exhibitions: Larissa Goldston Gallery, NY; Paul Kotula Projects, Detroit; Air de Paris; Edward Mitterrand Gallery, Geneva; Albright-Knox Art Gallery, Buffalo; Western Exhibitions, Chicago; FLAG Art Foundation, NY; White Columns, NY. Publications: To Hell With Journals. Bibliography: Artforum, The New Yorker, Art in America, The New York Times. Awards: Yaddo Foundation, Roger Brown Residency.

Personal Statement

Amy Vogel is Associate Professor and Interim Director of the Department of Contemporary Practices. She joined what was then called the First Year Program in 2008. Amy played a key role evolving the First Year Program into the Department of Contemporary Practices, and was Co-Chair of the Department between 2008–2012.

As an artist, Vogel has had solo exhibitions at Larissa Goldston (NY), Paul Kotula (Detroit), Edward Mitterrand (Geneva), and Air de Paris (Paris). In 2014 she had a survey of 15 years' work, entitled Amy Vogel: A Paraperspective, at the Cleve Carney Gallery at the College of DuPage. She has participated in group shows at Western Exhibitions (Chicago), White Columns (NY), The Suburban (Oak Park), FRAC Haute-Normandie (Sotteville-lès-Roue), Francesca Pia (Zürich), and other venues. Vogel has collaborated with Joseph Grigely on many projects, including shows at the Orange County Museum of Art; the MCA, Chicago; The Douglas Hyde Gallery, Dublin; the Berlin Biennial; the Yokohama Triennial; Mathildenhöfe, Darmstadt; the French Academy in Rome, and other international venues. She has had reviews in national and international periodicals, including the Chicago Tribune, the New York Times, and Artforum.

Courses

Title Department Catalog Term

Description

In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.

Class Number

1297

Credits

3

Description

This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement. Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others.

Class Number

1687

Credits

3

Description

This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement. Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others.

Class Number

1329

Credits

3

Description

In our increasingly fast world, what is the value of slowness? What happens when we purposely slow down or are forced to slow down, in our making and thinking? Does slowness equal exclusion and FOMO or does it, or can it, have cultural purpose and value? How might puttering be regarded as a research practice? Some of the subtopics covered in this studio class will include: the still life in relation to the slow life, loiterature, growing things, movement, drifting, the Slow Art Movement, and slowness as a perceptual practice.

Class Number

1659

Credits

3

Description

This is a 0 credit study trip placeholder course. Specific credit courses will be applied to your enrollment for the term based on your Study Trip Preregistration information.

Class Number

1011

Credits

0

Description

Class Number

1013

Credits

3 - 6