1 - 7 of 7 results for: ITALIC

Why art? Why choose art? What does art do for you and for the world? What can you do, say, feel, or know through art that might be difficult to accomplish by other means? How does art stimulate an engagement with the world and, in turn, how do we use that engagement to better understand ourselves? Whether you go on to be a practicing artist, a patron, an avid reader, or a weekend museum-goer, how can the principles of art help you reflect on the life you make for yourself?

ITALIC 92, Art Worlds: Conversations between Artists and Scholars. This course is built around a series of conversations between nine scholar/critic and artist pairs. We will be entering the conversation in media res, as it were, since all of these pairs have histories together; they've had studio visits, late-night phone calls, email and text conversations. Usually the scholar has written about the artist and maybe the artist has suggested reading and viewing lists to the scholar. They've helped each other feel seen, and often be seen in a more literal way.The conversations will concentrate on these questions: How do artists and scholars work across the divide between practice and theory? How should you build your art world and who will be in it? The pairs will discuss their respective practices (art-making, writing, researching, community-building) and engage in conversation about the artist's work. In advance of each conversation, students will read about something written by the scholar/critic about the artist. Each artist will also design a short art-making prompt for enrolled students to complete and share through the course website. Students will share their artworks weekly in small critique groups. Only students enrolled in the 2-unit option will receive WAYS CE credit.

How does art move around the world? And how does this movement influence what we know of art and of the world itself? Most university courses in the history of the arts are divided by geography; one might study Chinese or English or Indian art, music, literature, or performance, each in their own separate classes. But how do we account for the ways that art and ideas move across cultures? What can studying art from one place tell us about that place - and about our own places and times, which might be far away? Historically the movement of art has revealed global power structures, as well as local interests, agency, and rootedness. Globalization is commonly equated with contemporary multinational corporations, from Apple to Amazon to AliExpress, but earlier periods of global exchange have also materially shaped what art is and can be. Art can reflect and reveal a global movement of peoples and ideas, as well as the raw materials that make art possible - whether words, woods, animals, minerals, or melodies. What else does art carry with it when it moves? And how does art that is rooted in place tell us more about that place and the wider world at the same time? We will focus in lectures on case studies that explore how art and artists respond to place, whether their own local environments or more far-reaching ones. In a series of workshops, students will work towards creating a site-specific final project to be exhibited at Burbank.

As a PWR 1 course, ITALIC's art-focused writing section develops your writing and research abilities by engaging with the theory and practice of rhetoric. The theme for ITALIC 91 was "creating," and in this writing course you'll be creating arguments through research, rhetoric, and writing. You can explore a topic of your choice for your research-based writing assignments, learning more about the critical, intellectual, and academic discourses around a specific artist, artwork, medium, genre, or art movement.

Student-led courses in the arts. Topics change quarterly. Open to ALL students but current ITALIC students and alumni will be given priority.

Get your hands dirty with natural materials and rethink the role of science and natural history in art. Over the ten weeks of this class, we'll be making art - and our own art materials. Or, rather, we'll be borrowing them from the earth. Many of these are ancient practices: we'll make iron gall ink, lichen and plant dyes. We'll make yarn, weavings and paper from natural fibers. We'll forage and fire wild clay. We'll transform these old ways into new art works and, at the same time, transform our experience of art in the world from something that's stowed away in climate-controlled vaults and archives into something that's always changing and deeply connected to the living earth, as we all are.