| Sensitivity & Exposure: Concepts and Techniques in Light Based Printing |
Printmedia |
3036 (001) |
Fall 2024 |
|
Description
In this course, we'll delve into the intriguing intersection of photography and printmaking, acquiring light and pressure-based printing skills and conceptually integrating them into an art practice that approaches print as a site-responsive medium, sensitive to light, pressure, and context. The introductory section explores the material sensitivity of embossing and frottage, treating them as akin to documentary photography. The second section introduces light sensitivity through cyanotype and gelatin silver processes, engaging directly with objects and surfaces. The final segment employs digital fabrication to create laser-engraved linoleum blocks and printed photogravure plates, enabling relief and intaglio inking techniques and printing processes. The course will introduce pivotal artists associated with taught printing techniques and their historical context. We'll explore the works of artists such as Anna Atkins and Albrecht Durer, who played significant roles in the development of their respective techniques. We'll also examine figures like Alfred Stieglitz and Robert Overby, who influenced the trajectory of their media, and contemporary artists like William Kentridge and Do Ho Suh, who have reshaped our perception of print. Additionally, we'll read and screen 'Contact: Art and the Pull of Print' by Jennifer Roberts from Harvard, and invite her for an online discussion with our students. The coursework will adhere to a media and technique-based structure, with the creation of six bodies of work with separate critiques.
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Class Number
2201
Credits
3
|
| Sensitivity & Exposure: Concepts and Techniques in Light Based Printing |
Photography |
3036 (001) |
Fall 2024 |
|
Description
In this course, we'll delve into the intriguing intersection of photography and printmaking, acquiring light and pressure-based printing skills and conceptually integrating them into an art practice that approaches print as a site-responsive medium, sensitive to light, pressure, and context. The introductory section explores the material sensitivity of embossing and frottage, treating them as akin to documentary photography. The second section introduces light sensitivity through cyanotype and gelatin silver processes, engaging directly with objects and surfaces. The final segment employs digital fabrication to create laser-engraved linoleum blocks and printed photogravure plates, enabling relief and intaglio inking techniques and printing processes. The course will introduce pivotal artists associated with taught printing techniques and their historical context. We'll explore the works of artists such as Anna Atkins and Albrecht Durer, who played significant roles in the development of their respective techniques. We'll also examine figures like Alfred Stieglitz and Robert Overby, who influenced the trajectory of their media, and contemporary artists like William Kentridge and Do Ho Suh, who have reshaped our perception of print. Additionally, we'll read and screen 'Contact: Art and the Pull of Print' by Jennifer Roberts from Harvard, and invite her for an online discussion with our students. The coursework will adhere to a media and technique-based structure, with the creation of six bodies of work with separate critiques.
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Class Number
2200
Credits
3
|
| Digital Light Projections |
Photography |
3050 (001) |
Fall 2024 |
|
Description
This course embraces the concept of projection as a broad field of art practice. Starting with the magic lantern, the course investigates the history of projection related practices that shape the parameters of visual perception and communication. Deconstructing the concept of the screen, the course focuses on projection in sculptural and installation contexts. Microcontrollers and Adobe software is used in unorthodox ways to shape visual elements for digital light projection. History of visual, technical and conceptual use of light is accessed to investigate the interactions of projections with objects and space.
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Class Number
1824
Credits
3
|
| Digital Light Projections |
Art & Technology / Sound Practices |
3050 (001) |
Fall 2024 |
|
Description
This course embraces the concept of projection as a broad field of art practice. Starting with the magic lantern, the course investigates the history of projection related practices that shape the parameters of visual perception and communication. Deconstructing the concept of the screen, the course focuses on projection in sculptural and installation contexts. Microcontrollers and Adobe software is used in unorthodox ways to shape visual elements for digital light projection. History of visual, technical and conceptual use of light is accessed to investigate the interactions of projections with objects and space.
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Class Number
1236
Credits
3
|
| Advanced Photography/Individual Projects |
Photography |
4003 (001) |
Spring 2024 |
|
Description
This class concentrates on self-initiated work with an emphasis on student-drivencreative research and intensive project development. Students explore inventive ways to present work while experimenting with different strategies to deliver relevant contextual information. Independent work is reinforced with ongoing group discussions exploring broader issues around how artists and artworks communicate a complex of meanings. This class supports the production of a focused body of work and can be taken multiple times as well as in conjunction with Senior Capstone in preparation for your BFA exhibition. Models of open-ended creative research, production and professional engagement is explored in readings, screenings and discussions. Class activities include combinations of lectures, discussions, workshops, critiques, independent work time and individual meetings. Students are expected to set personal goals while working through a single project or set of concerns for the entire semester to advance work that demonstrates technical facility and expanded knowledge of the conceptual underpinnings of the ever-evolving fields of contemporary photography and visual culture. Participants refine statements and proposals, employ creative approaches to editing a body of work in preparation for presentation in various venues and formats while developing a broader understanding of how to support the promotion of the work.
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Class Number
1352
Credits
3
|
| Public Light and Space |
Art and Technology Studies |
4032 (001) |
Spring 2024 |
|
Description
Public Light and Space examines concepts and develops plans for art projects based on light, space and public interaction. The projects are conceptualized and planned in response to the opportunities afforded by specific locations around the city of Chicago. Particular attention is focused on elements such as digital light projection, controlled light sources, and light-responsive materials. The course investigates concepts and understandings of public space and the history of art in these spaces. The class offers a critical examination of the active role played by light and its dynamics in selected art movements. A series of technical workshops builds proficiency to lend support to the development of the final, publicly exhibited project. Visiting artists, critics and Chicagoans assist in refining the project ideas, as they are being chosen and developed.
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Class Number
1794
Credits
3
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| Public Light and Space |
Photography |
4032 (001) |
Spring 2024 |
|
Description
Public Light and Space examines concepts and develops plans for art projects based on light, space and public interaction. The projects are conceptualized and planned in response to the opportunities afforded by specific locations around the city of Chicago. Particular attention is focused on elements such as digital light projection, controlled light sources, and light-responsive materials. The course investigates concepts and understandings of public space and the history of art in these spaces. The class offers a critical examination of the active role played by light and its dynamics in selected art movements. A series of technical workshops builds proficiency to lend support to the development of the final, publicly exhibited project. Visiting artists, critics and Chicagoans assist in refining the project ideas, as they are being chosen and developed.
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Class Number
1927
Credits
3
|
| Graduate Projects: Photography |
Masters in Fine Arts |
6009 (056) |
Spring 2024 |
|
Description
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.
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Class Number
1262
Credits
3 - 6
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| Graduate Projects: Photography |
Masters in Fine Arts |
6009 (057) |
Fall 2024 |
|
Description
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.
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Class Number
1700
Credits
3
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