ADCA 620 Contemporary Art, Technology and Design (2-2)3
This course explores the formative relationship between new media technologies, the visual arts and design from the mid-twentieth century to the present. It asks: What are the aesthetics and politics of using advanced technologies like the television, the computer, and the Internet to create art or design? How have scientific ideas from fields as disparate as engineering and biology transformed traditional ways of thinking about the art object? The course will consider the dramatic cultural and social impact of science and technology on the art and design world from the early Cold War to today. This course will provide both a chronological survey of the
period, focused on selected case studies, and a thematic investigation of major debates and issues.
Reference Books:
1. Coles, A. (2007). Design and art. London: Whitechapel.
2. Durant, M. A., & Marsching, J. D. (2006). Blur of the otherwordly: Contemporary Art, Technology and the paranormal. Baltimore: University of Maryland, Fine Arts Gallery.
3. Gronlund, M. (2017). Contemporary Art and digital culture. London: Routledge.
ADCA 630 Alternative Design in Ceramic Art (2-2)3
This course will concentrate on modern ceramic design, considering artists’ thoughts about the ceramics industry and their functional and aesthetic consequences. The students will review different design approaches around the world, as well as various ceramics design methodologies used in art world, and will support each case with a practical example from the field. Students will also explore the idea of sustainability, usage of alternative materials and material challenges.
Reference Books:
1. Gault, R. (2014). Paperclay: Art and practice. Philadelphia: University of Pennsylvania Press.
2. Bloomfield, L. (2020). Special effect glazes. S.l.: AMER CERAMIC SOCIETY.
3. Schwartzkopf, D. (2020). Creative pottery: Innovative techniques and experimental designs in thrown and handbuilt ceramics. Quarto Publishing Group USA.
ADCA 631 Ceramic Sculpture (2-2)3
In this course, students will choose and develop a project idea and then transform it into an art project out of clay and work on it as a sculpture. All traditional ceramic concepts aside, the main focus of this course is to create sculptural works that stand on their own body with knowledge of ‘form’. Also, it presents issues, which give the student experiences in developing ideas based on contemporary culture. Sculpture processes which are additive and subtractive, plaster mold making, plus pinch, coil building, extrusion and slab construction methods as applied to sculpture will be taught. Glaze lectures, including a technical introduction to raw materials, will be included. An introduction to electric kiln firing is also presented. The class format will include image presentations and demonstrations of hand building and sculpture techniques. Class lectures will incorporate highlights from ceramic history along with many contemporary examples.
Reference Books:
1. Acton, Mary (2014). Learning to look at sculpture, New York: Routledge
2. Büttner, Philippe (2017). Alberto Giacometti: Beyond bronze: masterworks in plaster and other materials, Published in conjunction with the exhibition in Kunsthaus Z©ơrich
3. Hopkins David. (1955). After modern art: 1945-2017. Oxford: Oxford University Press.
ADCA 621 Advanced Drawing Studio (2-2)3
This course intends to continue development of technical skills with an emphasis on the exploration of traditional and contemporary drawing practices. Through analyzing contemporary artists and their works, studio and on-on-one critiques, readings, and discussion, a broader definition of drawing will be explored. Additionally, students will explore formal and experimental drawing techniques to reinforce content for class-based projects and self-sustained thematic projects.
Reference Books:
1. Asunción, J., Guasch, G., Brunelle, M., & Cortabarria, B. (2009). Drawing. Happauge, NY: Barron's.
2. Barber, B. (2016). Drawing anatomy: An artists' guide to the human figure. London, UK: Arcturus Publishing.
3. Brown, C. (2013). Master drawings. Oxford: Ashmolean Museum.
ADCA 603 Art and Criticism (3-0)3
This course will focus on exploring research strategies including the collection, interpretation and presentation of visual information. Students will read selected writings by artists, film and video makers, art historians, critics, designers and arts professionals on a weekly basis, contribute to class discussions, and examine their own creative strategies. The students will examine contemporary art, design and film by considering their philosophies, writings, and working methodologies and become familiar with contemporary theory and criticism as it applies to art, film and design.
Reference Books:
1. Bickers, P. (2021). The ends of art criticism. London, UK: Lund Humphries.
2. Earnest, J. (2018). What it means to write about art: Interviews with art critics. New York, NY: David Zwirner Books.
3. Davis, B. (2022). Art in the after-culture: Capitalist crisis and cultural strategy. Chicago, IL: Haymarket Books.
ADCA 604 Public Environment and Art (3-0)3
Environmental art; stems from a historical engagement with the landscape through painting and also encompasses the scope of the urban landscape. This course will enable students to consider, through a range of art practices how the development of environmental issues in art has stimulated artists to engage with a wider audience. Initially students will explore, through project work, key areas such as human/animal relations, climate change and ecology, the city and globalization and the imagery of nature. Through a combination of research and studio practices using drawing, painting, mixed media and photography, students will directly engage with these issues as an entry point of study before developing their own position and ideas into a range of related artworks.
Reference Books:
1. Kastner, j., wallis, B, 1998 Land and Environmental Art, London: Phaidon Press
2. Andrews, m., 1999, Landscape and Western Art Oxford: Oxford University Press
3. Grygutis, B. (2016). Public art/public space: The sculptural environments of Barbara Grygutis. San Francisco Bay Area, USA: ORO Editions.
ADCA 640 Artist-book Design (2-2)3
In this course students will be interested in designing and producing their own artist-books, to understand and work through the steps of taking their work off the screen and into print. Over this intensive course, they will explore and discuss concept development, the building of a visual layout, typographic and cover treatments, and production preparation. Through presentations, tutorials, assignments, and one-on-one development, students will think deeply about the creative choices behind their intended outcome and apply these strategies to best realize their intentions through both design and materials.
Reference Books:
1. Diehl, E. (2014). Bookbinding: Its background and technique. New York: Dover Publications.
2. Kyle, H., & Warchol, U. (2022). The art of the fold: How to make innovative books and paperstructures. London: Laurence King Publishing.
3. LaPlantz, S. (2002). Cover to cover: Creative techniques for making beautiful books, Journals & Albums. Asheville, NC: Lark Books.
ADCA 605 Aesthetics and Politics (3-0)3
This course will be built on the work covered in modern culture to examine in more detail and where possible in the original arguments about the intersections and frictions between aesthetics and politics in high, middle, and mass cultural forms of literature, performance, film and other media, in the work of: Adorno, Benjamin, Bloch, Brecht, Lowenthal, Lukacs and many more theorists.
Reference Books:
1. Adorno, T. W. (2020). Aesthetics and politics. London: Verso.
2. Ankersmit, F. R. (2010). Aesthetic politics: Political philosophy beyond fact and value. Stanford, CA: Stanford University Press.
3. Martin, R. (2015). Mediators: Aesthetics, politics, and the city. Minneapolis, MN: University of Minnesota Press.
ADCA 650 Film and the Moving Image (2-2)3
This course seeks to develop skills in perception, comprehension, and interpretation when dealing with film and other moving image media. It encourages the close analysis of audiovisual forms, their materials and formal attributes, and explores the range of questions and methods appropriate to the explication of a given film or moving image text. It also examines the intellectual structures basic to the systematic study and understanding of moving images. Most importantly, the course aims to foster in students the ability to translate this understanding into verbal expression, both oral and written. Texts and films are drawn from the history of narrative, experimental, animated, and documentary or non-fiction cinema. Screenings are a mandatory course component.
Reference Books:
1. Dell'aria, A. (2022). Moving image as public art: Sidewalk spectators and modes of enchantment. S.l.: palgrave macmillan.
2. Knowles, K. (2021). Experimental film and photochemical practices. Basingstoke: Palgrave Macmillan.
3. Carroll, N. (2010). Theorizing the moving image. Cambridge: Cambridge Univ. Press.
ADCA 641 Experimental Photography (2-2)3
The course is designed for advanced independent students wishing to add the element of experimentation to their work in photography. This course is designed to expand the student’s photographic vocabulary, to encourage experimentation, utilizing a variety of materials and techniques, and to push the boundaries of what makes a photograph. In technical terms, the class will be concentrated primarily on the experimentation of alternative techniques and the development of a personal portfolio. Class time will include slide presentations on work by a wide variety of photographers, past and present, to help clarify project goals and possible approaches as well as to inspire students in their own work.
Reference Books:
1. Blacklow, L. (2018). New dimensions in photo processes: A step-by-step manual for alternative techniques. New York: Routledge.
2. Cartwright, A. (2011). Altered art techniques for photographic imagery. United States: Quarry Books.
3. Antonini, M., Minniti, S., Gómez, F., Lungarella, G., & Bendandi, L. (2020). Experimental photography: London: Thames & Hudson.
ADCA 651 Documentary Production (2-2)3
The course has a twofold purpose. Firstly, it will aim to provide students with skills and different approaches to reading” documentary films that deal with social issues. After a brief theoretical introduction to documentary film theory, we will discuss and analyze selected documentaries treating issues of nationalism, racism, national identity, memory, and Central and Eastern European history. The second and larger part of the course will focus on practical filmmaking training with the aim of introducing students to how to visually express social issues. Elements of the training will include interview techniques, observation exercises, learning story construction and narrative structure, synopsis, treatment and script writing, camera using, sound recording, log writing, and film editing.
Reference Books:
1. Hampe, B. (2008). Making documentary films and Videos: A practical guide to planning, filming, and editing documentaries. New York: Henry Holt.
2. Chasse, B. (2019). The documentary Filmmaking master class: Tell your story from concept to distribution. New York: Allworth Press.
3. Rosenthal, A., & Eckhardt, N. (2016). Writing, directing, and producing documentary films and Digital Videos. Carbondale: Southern Illinois University Press.
ADCA 660 Animation Theory and Practice (2-2)3
Animators breathe life into characters and make them come alive on screen. Regardless of the medium used, the animation principles required to make characters believable are the same. With a focus on traditional, hand-drawn character animation, students learn key industry terminology and practice production procedures including how keys, breakdowns, and in-betweens, all combine to make fluid action. In interactive lectures and hands-on exercises, instructors stress basic principles as students explore squash and stretch, anticipation and settle, the wave principle, and overlapping action. Students also have the opportunity to develop skills in clean-up, the technique of producing a polished drawing from a rough animation.
Reference Books:
1. Zhuang, Y. (2008) Modern approach to Intelligent Animation: Theory and Practice. (n.d.). Scholars Portal.
2. Watt, A. H., & Watt, M. (2005). Advanced animation and rendering techniques: Theory and practice. New York, NY: ACM Press
3. Bailey, M., & Cunningham, S. (2012). Graphics shaders: Theory and practice. Boca Raton: CRC Press.
ADCA 670 Creative Design and Production Relationships (3-0)3
The course is designed with aspirations to develop skills in storytelling & production, and gain the connections needed for a career in creating content for TV, long & short-form film, music, advertising, web and social media. The course will develop design thinking, systems thinking and project implementation skills which typify contemporary design practice. Through an iterative and reflective approach, ideas are generated, tested and refined and the functional, environmental, economic, aesthetic, social and technological attributes of the design brief are considered.
Reference Books:
1. Hannah, G. G. (2006). Elements of design: Rowena Reed Kostellow and the structure of visual relationships. New York: Princeton Architectural Press.
2. Lupton, E., & Lupton, E. (2021). Design is storytelling. New York, NY: Cooper Hewitt, Smithsonian Design Museum.
3. Lupton, E. (2014). Graphic design thinking: Beyond brainstorming. New York: Princeton Architectural Press.
ADCA 671 Illustration (2-2)3
This course is designed to cover a range of topics in Illustration. Students will be introduced to the various paths they can take within illustration, including editorial, publishing, advertising, visual development, surface design, and fashion Illustration. The wide breadth of content in this course will reinforce critical aspects of the Illustration process, to include: conceptual thinking, expansive iteration, storytelling, and working within set project parameters. Students will learn that Illustration is not a medium or a way of making images, but rather a purpose, which can be approached from countless directions. This course is not media specific, and students will be encouraged to experiment with both analog and digital. Throughout this course, sketchbooks will be used as a problem-solving tool, as well as a means of visual exploration. Students will be introduced to the work of a wide range of contemporary and historic illustrators practicing in the paths covered by the course.
Reference Books:
1. Loomis, A. (2012). Creative illustration. London: Titan.
2. Cheung, V. (2022). Drawing attention: Custom Illustration Solutions for Brands Today. Hong Kong: Viction:ary.
3. Ebenstein, J., & Dauenheimer, M. (2021). Anatomica: The exquisite and unsettling art of human anatomy. London: Laurence King Publishing.
ADCA 672 Intercultural Advertising and Creative Strategy (3-0)3
Advertisers need communicate and connect effectively with people, regardless of language and cultural barriers. This course teaches how to develop compelling visuals matched with persuasive language in order to create memorable advertising campaigns. This course looks at the interactions of global markets and intercultural while offering advanced studies, evaluation, and application of cultural knowledge, theories, stakeholders, and trends in media, advertising and public relations. Students will also analyze the legal, ethical and political dimensions of social communications around the globe.
Reference Books:
1. Drewniany, B. L., & Jewler, A. J. (2014). Creative strategy in advertising. Australia, Brazil, Japan, Koreaa, Mexico, Singapore, Spain, United Kingdom, United States: Wadsworth Cengage Learning.
2. Altstiel, T., Grow, J., & Jennings, M. (2020). Advertising creative: Strategy, copy, design. Los Angeles: SAGE.
3. Altstiel, T., & Grow, J. (2006). Advertising strategy: Creative tactics from the outside/in. London: Sage Publications.
ADCA 673 New Trends in Typographic Design (2-2)3
This course focuses on the further exploration of typographic studies. Students will apply design and typography theory to conceptualize solutions to more complex visual communication problems through the use of professional level graphic design page layout software (InDesign). This intense focus in graphic design will further a student’s production skills and knowledge, extend the student’s capacity for conceptual thinking and visual problem solving, and allow for the further exploration of the creative and practical aspects of typography and the special relationship between type and image.
Reference Books:
1. Type addicted: The new trend of A to Z typo-graphics. (2010). Hong Kong: Viction: workshop.
2. Fawcett-Tang, R., & Jury, D. (2007). New typographic design. New Haven, CT: Yale University Press.
3. Lupton, E. (2010). Thinking with type 2nd reviosed expended edition: A critical guide for designers, writers and students. Princeton.
