A wide shot of a ceramics studio, featuring students working with pottery wheels and other tools.

Chun-Shan (Sandie) Yi

Assistant Professor

Contact

Bio

Concurrent Positions: Assistant professor. Board-certified art therapist. Co-director, Bodies of Work: Network of Disability Art and Culture. Education: MAATC, 2005, SAIC; MFA, UC Berkeley, 2010; PhD, UIC, 2022. Research Interests: Disability studies; access pedagogy; disability culture–informed art therapy. Publications: Art Therapy: Journal of the American Art Therapy Association; Canadian Journal of Disability Studies; Journal of Museum & Culture; Craft in art therapy: diverse approaches to the transformative power of craft materials and methods; Art Therapy for Social Justice: Radical Intersections. Bibliography: Catalyst: Feminism, Theory, Technoscience; Disability and art history; In Photography: A cultural history. Awards: 3Arts, Wynn Newhouse Awards, Anne Hopkins Scholarship.

Courses

Title Department Catalog Term

Description

What is disability? How do we see, read, hear, smell and feel about disability? How does society represent disability and illness? How do artists theoretically and conceptually engage disability in their own practices? This course offers students critical thinking tools to examine the meanings of disability created by current social, cultural, economic and political systems. Over the course of the semester, students develop artistic vocabulary in relation to visual and cultural representations of disability found in mainstream society and in Disability Culture/Disability Art contexts.

Readings include the following topics: disability frameworks, disability as intersectional identity, and representations in art, media, fashion, and design . Students learn about the range and complexity of disability representations through the works of contemporary artists such as Riva Lehrer, Laura Swanson, and Christine Sun Kim, and through the work of dance and performance art groups. Students also read the work of disability scholars including Carrie Sandahl, Rosemarie Garland-Thomson, Eli Clare, Alison Kafer, and Petra Kuppers.

Coursework includes bi-weekly writing responses, a disability culture event paper, a media report, and a final art and writing project.

Class Number

2101

Credits

3

Description

This course focuses on the intersecting ways artists engage people individually and collectively through the arts, including activism, education, therapy and social practice. Students will partner with galleries and organizations to realize a collectively developed project. Throughout the course close attention will be given to critical practices and methods, the ethics or working with community participants, self-reflexivity, the nature of professionalism within arts contexts, and the goals and impacts of art made with a participating public.

Class Number

2230

Credits

3

Description

This experiential class is designed for artists who wish to develop a studio practice with a focus on the deviant bodymind histories and the representation of disability/illness narratives. Including perspectives both inside and outside of an artistic, therapeutic, and/or medical context. Students will learn to integrate disability aesthetics (Sieber, 2010), critical 'knowing-making' (Hamraie, 2017), crip technoscience (Hammraie and Fritsch, 2019), Crip Couture (Yi, 2020) and other disability art and design concepts and practices in their work. Students who are interested in the following area of practice/discipline might benefit from taking this course: art therapy and counseling, design object, fashion design, visual critical studies and fiber and materials studies.
Artists/designers/theorists that may be referenced in the course include Panteha Abareshi, Kristina Veasey, Laura Splan, Rebecca Horn, Harriet Sanderson, Sins Invalid, Daniel Moraes, Lisa Bufano, Aimi Hamraie, Kelly Fritsch, Tobin Siebers.
Students will create artworks that serve as an 'extension' of their bodymind state. 'Extensions' can include but are not limited to body adornments; wearable designs; physical, emotional or psychological aids; relational/interactive performances. Students will explore and choose media that reflect the wearer's (and or participant's) haptic memories and experiences of deviancy. Light reading, lectures, class discussions, gallery visits and visiting artist's talk will provide inspiration for students to develop their project.

Class Number

2100

Credits

3