Jess Atieno Ounga

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.

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.

Beginning, intermediate, and advanced levels are given technical guidance in the use of dyes and pigments on fabrics. Both hand-painting and -printing processes are explored. The technical vocabulary may include: silkscreen, photographic techniques, stencil and stamp printing, and direct painting. Intermediate and advanced students are introduced to a conceptual focus and a technical vocabulary and are encouraged to develop individual direction. Exploration of ideas will be augmented through research, discussions, group and individual critiques, slide presentations, and field trips.

This interdisciplinary course examines the book as a form, structurally and conceptually through material exploration. With a focus on how techniques and material exploration influence form and meaning, experimentation and concept development will be prioritized. Students will be introduced to a variety of printmaking and surface treatments on fabric and alternative materials while learning to structure their book forms. The course encourages critical thinking as to how image and text can exist within a tactile, sequential, or sculptural narrative. The course will feature readings, and visits to the Textile Resource Center and Joan Flasch Artist Book Collection.
Class readings will include: ¿Books Beyond Boundaries: The Book as Art¿ -Karen L. Estlund and Michael D. Reynolds that showcases contemporary artists¿ innovative approaches to the experimental book form. We will explore the works of : Fluxus Art, Candace Hicks, Louise Bourgeois,Jessica Tang, Victoria Villasana, Faith Ringlold, Lesley Dill, Lenore Tawney, Kiki Smith, and many more. The class will also visit the Joan Flasch Artist Book Collection +Archives and Textile resource Center.
Assignments will include creating experimental book forms using non-traditional materials, integrating text and imagery culminating in a final edition of three artist books.

This professional practice course that focuses on preparing for all things life after school. As scaffolding throughout the course we will explore the text, How to be an artist at night by Raqs media collective to explore a range of questions and themes in art practice at the intersection of contemporary life. What constitutes an education for the real world? How do we grow a community that supports and is in conversation with our work? What are the professional skills we need to sustain our practice outside the studio? How do we write about, talk about and present our work? What are the practices of self care we can cultivate to fuel our creativity?

Other readings will include teaching to transgress- Bell Hooks, The Artist's Guide: How to make a living doing what you love- Jackie Battenfield, The Social Production of Art- Janet Wolff. We will also watch and respond to short films. Course work will vary but will typically include writing an artist statement, bio and exhibition proposal.