| Introduction To Fiber/Material Studies |
2000 (001) |
Carina Yepez |
Mon
9:00 AM - 3:00 PM
In Person
|
|
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips.
By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities.
Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.
|
Class Number
1388
|
Credits
3
|
Department
Fiber and Material Studies
Location
Sharp 902
|
| Introduction To Fiber/Material Studies |
2000 (003) |
Vanessa Viruet |
Mon/Wed
6:45 PM - 9:15 PM
In Person
|
|
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips.
By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities.
Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.
|
Class Number
1402
|
Credits
3
|
Department
Fiber and Material Studies
Location
Sharp 902
|
| Introduction To Fiber/Material Studies |
2000 (004) |
Sofía Fernández Díaz |
Tues
3:30 PM - 9:15 PM
In Person
|
|
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips.
By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities.
Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.
|
Class Number
1390
|
Credits
3
|
Department
Fiber and Material Studies
Location
Sharp 902
|
| Introduction To Fiber/Material Studies |
2000 (005) |
Erica Littlejohn |
Wed
9:00 AM - 3:00 PM
In Person
|
|
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips.
By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities.
Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.
|
Class Number
1403
|
Credits
3
|
Department
Fiber and Material Studies
Location
Sharp 1014
|
| Introduction To Fiber/Material Studies |
2000 (006) |
Christian Ortiz |
Tues
9:00 AM - 3:00 PM
In Person
|
|
Description
This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips.
By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities.
Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.
|
Class Number
2137
|
Credits
3
|
Department
Fiber and Material Studies
Location
Sharp 1014
|
| Woven Structure Basics |
2002 (001) |
Jerry Bleem |
Tues
9:00 AM - 3:00 PM
In Person
|
|
Description
This course is an introduction to floor loom hand weaving through the study of basic weave structures, woven image techniques and fiber types. Traditional and experimental use of material and technique will be used to explore double weaves, painted warps and a variety of hand-manipulated techniques including tapestry, brocade and inlay.
Students will study the global histories of woven cloth through a variety of readings, presentations, and class discussions. Works by artists such as Diedrick Brackens, Lenore Tawney, and Gunta Stolzl will be discussed as well as writings by thinkers such as Anni Albers, T'ai Smith, Dieter Hoffman-Axthelm as primary points of departure. Students will study basic weaving draft patterns and will complete independent research into artists and techniques of interest. The conceptual and material considerations of contemporary craft-based art will be a major component of this course.
Students will produce 2-6 finished weavings over the course of the semester through their exploration and research of a variety of techniques on 4-harness floor looms.
|
Class Number
1391
|
Credits
3
|
Department
Fiber and Material Studies
Location
Sharp 1011
|
| Print for Fabric and Alternative Materials I |
2004 (001) |
Sarita Garcia |
Mon
9:00 AM - 3:00 PM
In Person
|
|
Description
In this course, a wide range of processes for screenprinting onto fabric and alternative substrates are demonstrated, including the use of textile inks, fiber reactive dyes, resist and discharge, and heat transfers of foils and disperse dyes. Students will use hand drawn, computer generated, and photographic images to explore foundational screen print techniques and concepts such as monoprinting, multiples, color relationships, composition, and basic repeat patterns. Interdisciplinary and experimental uses of the printed surface are encouraged throughout the development of personal research and practice.
The class is augmented by relevant lectures, readings and visits to AIC, artist studios and galleries.
Students present finished and in-process works at three critiques throughout the semester.
|
Class Number
1401
|
Credits
3
|
Department
Fiber and Material Studies
Location
Sharp 905
|
| Stitch |
2005 (001) |
Christian Ortiz |
Mon
9:00 AM - 3:00 PM
In Person
|
|
Description
This course explores various approaches to altering, enriching, and transforming the surface of pliable materials and forms. Emphasis is on the surface treatment and its relationship to structure while using conventional and non-conventional materials. Students work with a broad range of hand and machine stitching techniques that can include embroidery, embellishment, piecing, quilting, applique, and working with treatments like paints, dyes, adhesives, and collage. Special attention is paid to the histories of these techniques and how they are being utilized in contemporary art. Technical demonstrations, assigned readings, group discussions, lectures and field trips will augment student learning. The course is structured to support students in the development of their studio arts practice by equipping them with a variety of technical skills and encouraging them to pursue projects driven by their own formal, material, and conceptual concerns. Individual and group critiques are integral to the course.
Course work will vary but typically includes the creation of samples, critique projects, and reading responses.
|
Class Number
1396
|
Credits
3
|
Department
Fiber and Material Studies
Area of Study
Costume Design
Location
Sharp 1014
|
| Drawn to Print |
2016 (001) |
Nia Easley |
Thurs
9:00 AM - 3:00 PM
In Person
|
|
Description
A drawing is made whenever an object in motion touches the surface of another and evidence of their meeting is left behind. Images will be generated by examining a range of traditional and contemporary drawing techniques with an emphasis on analog processes and material exploration. Whether one?s style is gestural and improvisational or systemic and detail-oriented, drawing will be used as a device to access ideas and expand conceptual vocabulary. Printmaking then becomes an extension of the drawing process, infusing a richness of surface, color, texture, and layering. Examining the physical relationship between drawing and printing is a priority, with a focus on direct printing techniques such as monoprinting and heat transfers alongside hand-painting and collage. A strong emphasis will be placed on developing a personal and innovative visual language, as well as challenging notions of scale, site and material.
Readings, slide presentations and field trips will focus on course related topics.
Students present finished and in-process works at three critiques throughout the semester.
|
Class Number
1397
|
Credits
3
|
Department
Fiber and Material Studies
Location
Sharp 905
|
| Soft Logic |
2018 (001) |
Nelly Agassi |
Thurs
9:00 AM - 3:00 PM
In Person
|
|
Description
Throughout the course students will focus on the idea of softness and develop projects framed with readings on affect, intimacy, ?radical softness?, touch, and ?soft? identities so as to tease out ideas on what it means to be soft. Students will be introduced and encouraged to experiment from texture to form with hand manipulated and machine techniques like reverse needle felting, latch hooking, tucking, stabilizing, boning, armature building, fabric heat manipulating, natural dyeing, flocking, and fringe crocheting.
Readings will include Sara Ahmed?s ?Happy Objects?, Alexander Thereoux?s ?Soft Balm, Soft Menace?, and Sianne Ngai?s ?The Cuteness of the Avant-Garde?.
Two experimentation samples will be required in order to manifest these conceptual underpinnings through a variety of techniques. These samples act as playful guides that leads to two major projects with written statements. This course also require artist and reading presentations.
|
Class Number
1398
|
Credits
3
|
Department
Fiber and Material Studies
Area of Study
Costume Design
Location
Sharp 1014
|
| Tapestry |
2037 (001) |
Danielle Lasker |
Mon/Wed
6:45 PM - 9:15 PM
In Person
|
|
Description
The class will examine the many possibilities of creating woven forms using a tapestry loom (also called a frame loom). Students will begin by experimenting with the basic techniques of tapestry and plain weave as they explore ways of creating surface, image, texture and various color effects within a woven form. Students will then learn more complex tapestry weaving techniques. A variety of tapestry looms will be considered, including possibilities for constructing looms of varying dimensions and sizes. Contemporary weaving projects, along with historical references, will be presented through discussions, visual presentations, demonstrations, readings, and close-up examinations of woven textiles. This course is open to all levels.
Tapestry works by contemporary artists such as Diedrick Brackens, kg, Erin M. Riley, Terri Friedman, Aiko Tezuka, Josh Faught, Julia Bland, Sarah Zapata, and Erasto ?Tito? Mendoza will be shown, together with seminal works by artists whose tapestry works spurred the emergence of the field of fiber in the 1950s through early 1970s: Trude Guermonprez, Anni Albers, Lenore Tawney, Olgs de Amaral, Tadeusz Beutlich, and Magdalena Abakanowicz. Contemporary frame loom weaving will be contextualized through visual presentations and readings exploring relevant histories of weaving across the Americas, Asia, Africa, Europe, and the Middle East, together with examples of present day weaving workshops and institutions like the Museo Textil de Oaxaca (Mexico), the Centro de Textiles Tradicionales del Cusco (Peru),the Manufacture Nationale des Tapisseries Senegal (Senegal), and Sadu House (Kuwait).
Course work will vary but typically includes the creation of woven samples, 3 or 4 finished works, reading responses, and short research assignments and/or presentations.
|
Class Number
2139
|
Credits
3
|
Department
Fiber and Material Studies
Area of Study
Digital Communication, Community & Social Engagement, Gender and Sexuality
Location
Sharp 1005
|
| Craft and Object in Contemporary Art |
2900 (036) |
Stacia Laura Yeapanis |
Wed
12:15 PM - 3:00 PM
In Person
|
|
Description
The word 'craft' has been used both as a badge of honor and as a dismissive slur. This seminar will explore the stereotypes, the history and the changing status of craft in relation to contemporary art in America.
We will read essays by craft theorists and makers including Marie Lo, M. Anna Fariello, Bruce Metcalf, L.J. Roberts and Namita Gupta Wiggers and watch the PBS Docuseries 'Craft in America' to help us triangulate an ever-shifting definition of craft. Students will bring previously-critiqued, in-process and revised work to 3 critiques, where an emphasis will be placed not just on WHAT objects mean but also HOW they mean.
Course work includes weekly free-writing, reading discussions, and several assignments designed to help students articulate their artistic concerns and contextualize their work.
Prerequisites
Prerequisite: Must be a sophomore to enroll.
|
Class Number
2141
|
Credits
3
|
Department
Fiber and Material Studies
Location
Lakeview - 206
|
| Advanced Stitch |
3005 (001) |
Melissa Leandro |
Fri
9:00 AM - 3:00 PM
In Person
|
|
Description
In Advanced Stitch- Students pursue a strong personal direction while continuing to develop a technical vocabulary and conceptual concerns. Moving across hand stitching and embroidery to using free motion sewing machines, the long arm quilting machines and digital embroidery machines, the class explores themes of gesture, line, speed, slowness, process, and materiality, with an emphasis on surface manipulation and scale. Group critiques encourage individual goals and develop an ongoing dialogue about contemporary issues. Field trips, group discussions, visual presentations, and readings will augment this studio-focused course. Course work will vary but typically includes critique projects, samples, and reading responses.
Prerequisites
FIBER 2005 or Sophomore Level
|
Class Number
1395
|
Credits
3
|
Department
Fiber and Material Studies
Location
Sharp 1014
|
| Permeable Membranes |
3016 (001) |
Jade Yumang |
Fri
9:00 AM - 3:00 PM
In Person
|
|
Description
A membrane is a thin, typically planar structure or material that separates two environments, be those physical, molecular, or cultural. This class investigates this transitional space, and the potential for movement and transgression through it. Membrane structures are developed as surfaces, forms, and spatial relationships through techniques like chenille quilting, free motion sewing with a soluble membrane, nuno felting, papermaking in 2D and 3D, resist wax dyeing (batik), dip and wick dyeing, fabric burnout (devore) through silkscreening, protein/cellulose combination dyeing, and jacquard crocheting.
Readings on conceptual permeability will include Jean Baudrillard?s ?Simulacra and Simulations?, Andrew Ballantyne?s ?Remaking the Self in Heterotopia?, Homi K. Bhabha?s ?On `hybridity? and `moving beyond??, and Roger Cardinal?s ?Secrecy?.
Techniques will be divided into three major projects with written statements. This course also requires artist and reading presentations.
|
Class Number
1394
|
Credits
3
|
Department
Fiber and Material Studies
Location
Sharp 902
|
| Digital Jacquard Weaving: Zeroes and Ones |
3017 (001) |
Danielle Andress |
Thurs
9:00 AM - 3:00 PM
In Person
|
|
Description
The computer driven Jacquard goes beyond the limitations of a floor loom by interfacing with a computer to allow for direct control of individual threads. This course explores the historical and conceptual interstices of digital technology and hand weaving through the use of this loom
Utilizing Photoshop and Jacquard weaving software, students will realize projects that begin with digital source material and result in hand woven constructions. The strongly debated connection between the Jacquard loom?s use of punched cards and the history of computers will be central to the course, as will the contemporary use of the loom as a new media tool.
Studio work will blend work at the computer, weaving on the loom, reading, research and critical discussion.
Prerequisites
Prerequisite: Sophomore-level or above.
|
Class Number
1408
|
Credits
3
|
Department
Fiber and Material Studies
Area of Study
Digital Imaging
Location
Sharp 1011
|
| The Unpainted Picture |
3028 (001) |
Diana Guerrero-Maciá |
Wed
9:00 AM - 3:00 PM
In Person
|
|
Description
This studio course will consider how to compose a picture plane with a variety of materials including paper collage, fabric piecing, applique, heat press, direct dye application and other handwork, to create line and form. Students will make use of drawing and form invention methods including stitching and dying, in conjunction with, or in place of, painted surfaces. Projects and critiques will address the critical use of compositional elements and materials within the picture plane.
|
Class Number
1404
|
Credits
3
|
Department
Fiber and Material Studies
Location
Sharp 904
|
| Chemical Aftertaste: reactive processes for screen printing |
3029 (001) |
Teri Carson |
Tues
9:00 AM - 3:00 PM
In Person
|
|
Description
In this class, students will learn reactive processes for use in screen printing on fabric and pliable materials. Reactive processes are those that will chemically or physically alter the nature of the printed cloth and include; fiber reactive dyes, devoré or the burning away of fibers, bleaching and removing of color, and the sublimation of color from one surface to another. Screen printing will be the primary method of creating works, yet a broad disciplinary approach is encouraged.
Assignments will be framed to address concepts of alchemy and instability, and include readings of works by; Georges Bataille, Anthony Vidler, Luce Irigaray, Yve-Alain Bois and Rosalind Krauss.
Students will create three studio intensive projects for class critiques. Prior screen printing experience is recommended.
|
Class Number
2394
|
Credits
3
|
Department
Fiber and Material Studies
Location
Sharp 905
|
| Cloth at Scale |
3036 (001) |
Danielle Andress, Emily Winter |
Fri
9:00 AM - 3:00 PM
In Person
|
|
Description
This intensive studio course focuses on planning, experimentation, and production of woven works on traditional floor looms, computer-interfaced looms, and semi-industrial Dobby looms housed between the weaving studios in Fiber and Material Studies and The Weaving Mill (TWM), an artist-run industrial weaving studio in Humboldt Park which blends design, production, textile education and research-based practice. This course introduces students to experimental weaving designs, unconventional methods and materials, and the opportunity to produce their ideas at scale with access to the fully mechanized Dobby looms at The Weaving Mill.
Students will engage in rigorous studio practices, material culture research, and practical applications of their work. While conceptual questions around making will be central to the coursework, students will also be supported in identifying and researching the socio-economic and political ramifications of working in the language of woven cloth. Readings may include works by Hito Steryl, Rosalind Krauss, Jen Hewett, Anni Albers, T¿ai Smith, Peter Stallybrass, Karl Marx.
Over the course of the semester, students will produce a range of individually-motivated woven samples and studies, eventually working within the production parameters of the industrial looms at TWM to design and produce yardage for installation, object design, and artists¿ projects. Additionally, students will work alongside members of the W.E.F.T. program, a textile studio for adults with developmental disabilities run by TWM, broadening discussions around labor, value, ability and access
|
Class Number
2140
|
Credits
3
|
Department
Fiber and Material Studies
Area of Study
Community & Social Engagement, Art/Design and Politics, Sustainable Design
Location
Sharp 1011
|
| Cloth at Scale |
3036 (001) |
Danielle Andress, Emily Winter |
Fri
9:00 AM - 3:00 PM
In Person
|
|
Description
This intensive studio course focuses on planning, experimentation, and production of woven works on traditional floor looms, computer-interfaced looms, and semi-industrial Dobby looms housed between the weaving studios in Fiber and Material Studies and The Weaving Mill (TWM), an artist-run industrial weaving studio in Humboldt Park which blends design, production, textile education and research-based practice. This course introduces students to experimental weaving designs, unconventional methods and materials, and the opportunity to produce their ideas at scale with access to the fully mechanized Dobby looms at The Weaving Mill.
Students will engage in rigorous studio practices, material culture research, and practical applications of their work. While conceptual questions around making will be central to the coursework, students will also be supported in identifying and researching the socio-economic and political ramifications of working in the language of woven cloth. Readings may include works by Hito Steryl, Rosalind Krauss, Jen Hewett, Anni Albers, T¿ai Smith, Peter Stallybrass, Karl Marx.
Over the course of the semester, students will produce a range of individually-motivated woven samples and studies, eventually working within the production parameters of the industrial looms at TWM to design and produce yardage for installation, object design, and artists¿ projects. Additionally, students will work alongside members of the W.E.F.T. program, a textile studio for adults with developmental disabilities run by TWM, broadening discussions around labor, value, ability and access
|
Class Number
2140
|
Credits
3
|
Department
Fiber and Material Studies
Area of Study
Community & Social Engagement, Art/Design and Politics, Sustainable Design
Location
Sharp 1011
|
| Sculptural Basket Weaving |
3037 (001) |
Kate Smith |
Thurs
9:00 AM - 3:00 PM
In Person
|
|
Description
In this studio course students will explore basket weaving techniques and their interconnectedness to the history and traditions of the craft. The class will utilize both traditional and non-traditional methods and materials to investigate new ways of creative expression while carrying the long, multi-cultural basket weaving tradition.
Readings may include Revered Vessels: Custom and Innovation in Harari Basketry and Hybrid Basketry: Interweaving Digital Practice within Contemporary Craft. Students will be introduced to Native North American basket weaving and the ancient baskets of both Egypt and Israel to bring an understanding of the contemporary craft through its historical origins. Artists such as Hayakawa Shokosai, the Campana Brothers, and Ruth Asawa will be a point of reference for the class as a way to connect their own conceptual framework to this traditionally utilitarian craft.
Students should expect to produce a variety of technique-based samples as well as a midterm and a final culminating project. This course requires an artist presentation and assigned readings. Students will reflect on the readings with written responses to connect contemporary works with historical craft.
|
Class Number
1411
|
Credits
3
|
Department
Fiber and Material Studies
Area of Study
Art/Design and Politics
Location
Sharp 902
|
