Danielle Andress

Beginning, intermediate, and advanced levels are given technical guidance for exploration of the formal and expressive properties of woven structures. Introductions to the preparation of the loom and basic weaves are presented to beginners. Intermediate and advanced students are introduced to a conceptual focus and a technical vocabulary and encouraged to develop individual direction. Group as well as individual critiques are an important part of this course.

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.

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.

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

This course explores traditional and unconventional dyeing processes as the starting point for woven projects and is open to all levels of weavers and dyers. Students will dye yarn and pliable materials while learning techniques such as; warp and weft painting, ikat, and immersive dyeing as critical steps for color-driven loom weaving. This course includes the use of chemical acid and fiber reactive dyes as well as foundational, 4-harness weaving approaches. Each student will work on a dedicated 4-harness table top loom and be guided in planning and winding warps, dressing looms, and executing select weaving drafts.
Traditional dyeing in woven structures will be examined through works by foundational weavers such as; Lee ShinJa, Lenore Tawney, and Rowland Ricketts. The conversation will expand to include contemporary and experimental artists using linear-based dyeing techniques; Lena Kolb, Melissa Cody, Thúóng Hoài Trân, TIGRA TIGRA, Terri Friedman, and Diedrick Brackens.
Studio coursework will be augmented with texts considering the histories of dyeing and weaving practices, the politics of materials, and textile/fiber based critical theory. The course structure includes weekly studio assignments, reading, research presentations, workshops, and several extended individually focused projects to be presented in class critiques.

This course provides an interdisciplinary forum for in-depth critiques and exploration of students' individual directions within the context of contemporary art. This is a team-taught class and will utilize both instructors for critiques and group activities. Emphasis is on individual studio practice and the development of a more cohesive body of work within a faculty mentorship and peer-to-peer learning structure. Technical and conceptual input will be provided on a tutorial basis. Group discussions, readings, field trips to current exhibitions, and visiting lecturers augment this class. Professional practices will focus on the creation and display of discrete objects and/or installation work for the BFA Exhibition, supported by developing or refining a professional resume and an artist statement. Documentation of individual work for inclusion on the Fiber & Material Studies web page is also required. The print, dye, sewing, and mixed media facilities of the department are available to enrolled students to use. This class is for a minimum of 6 credit hours and is held weekly over a two-day period on Tuesdays and Thursdays. Open to Juniors and Seniors with instructor permission and signature. Course work varies but typically includes the production of major studio projects for critique, student presentations, professional development assignments, documentation of work, and the installation of work in the class display case and an open studio event.

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 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 is central to the course, as is the contemporary use of the loom as a new media tool.

Studio work blends work at the computer, weaving on the loom, reading, research and critical discussion. A personal laptop computer is required for this course. This course is a continuation of FIBER 3017.

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 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 is central to the course, as is the contemporary use of the loom as a new media tool.

Studio work blends work at the computer, weaving on the loom, reading, research and critical discussion. A personal laptop computer is required for this course. This course is a continuation of FIBER 3017.

This course provides an interdisciplinary forum for in-depth critiques and exploration of students' individual directions within the context of contemporary art. This is a team-taught class and will utilize both instructors for critiques and group activities. Emphasis is on individual studio practice and the development of a more cohesive body of work within a faculty mentorship and peer-to-peer learning structure. Technical and conceptual input will be provided on a tutorial basis. Group discussions, readings, field trips to current exhibitions, and visiting lecturers augment this class. Professional practices will focus on the creation and display of discrete objects and/or installation work for the BFA Exhibition, supported by developing or refining a professional resume and an artist statement. Documentation of individual work for inclusion on the Fiber & Material Studies web page is also required. The print, dye, sewing, and mixed media facilities of the department are available to enrolled students to use. This class is for a minimum of 6 credit hours and is held weekly over a two-day period on Tuesdays and Thursdays. Open to Juniors and Seniors with instructor permission and signature.

Course work varies but typically includes the production of major studio projects for critique, student presentations, professional development assignments, documentation of work, and the installation of work in the class display case and an open studio event.

Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.