Nia Easley

In this course, students acquire technical proficiency in the various stencil printing methods. Individual exploration and development in the medium is encouraged and supported by individual instruction and group critiques.

A drawing is made whenever an object in motion touches the surface of another and evidence of their meeting is left behind. Images will be generated by examining a range of traditional and contemporary drawing techniques with an emphasis on analog processes and material exploration. Whether one?s style is gestural and improvisational or systemic and detail-oriented, drawing will be used as a device to access ideas and expand conceptual vocabulary. Printmaking then becomes an extension of the drawing process, infusing a richness of surface, color, texture, and layering. Examining the physical relationship between drawing and printing is a priority, with a focus on direct printing techniques such as monoprinting and heat transfers alongside hand-painting and collage. A strong emphasis will be placed on developing a personal and innovative visual language, as well as challenging notions of scale, site and material.

Readings, slide presentations and field trips will focus on course related topics.

Students present finished and in-process works at three critiques throughout the semester.

Students will develop professional practices including collaborative and independent work situations, via roles as commissioned artist, master printer, or artist-designer. Students will seek real-world clients to complete assignments, foster relationships with graphic designers, small presses, or their artist peers. Contemporary alternative print production and distribution models such as the integration of art, music and publishing prevalent in DIY scenes (1990s and 2000s), to emerging artist multiple/subscription programs and book/print fairs will be also be studied.

This Graduate Seminar will focus on resuscitating marginalized histories through art and design - with an emphasis on the inherently political nature of knowledge production. The course content will be anchored in ideas around community, Black histories in Chicago, minoritization, and the many stories that can be found in a place as explored through creative works by artists and designers. We will consider how artists and designers engage with histories using both existing and new/innovative research and creative methodologies including (for example) data visualization, embodied or performative strategies, oral histories, archives, collections, etc. We will explore the challenges of creatively responding to histories that have been marginalized or even erased by the dominant (white, Eurocentric, classed) mainstream. Students will engage with histories of their choosing, various forms of research, and creative methodologies to further their practice and interests.

We will investigate how archives are used to maintain or challenge the status quo through readings and talks. Some examples include reading Secrecy, Archives, and the Public Interest by Howard Zinn; looking at W.E.B. Du Bois' 'Data Portraits' of turn of the 20th century Black America; online resources including the Tumblr accounts: Medievalpoc and Black Contemporary Art; visiting the Joan Flasch Artists' Book Collection, and/or the Cataloging and Metadata Librarian from the Chicago History Museum.

Work to be completed will include readings with written response component; group discussion; creative interpretation of the themes of the class intended to further students' own research and practice including but not limited to written and/or creative projects.