MICA Alum featured at Maryland Art Place
Opening Reception: July 14 @ 6pm
Artist Panel Discussion: July 21 @ 8pm
Exhibition Dates: July 14 - August 20
Every year MAP's Program Advisory Committee (PAC) curates Young Blood, an annual exhibition of works by recent Baltimore-area Masters of Fine Art graduates. This years show will highlight exceptional works ranging from painting, sculpture, installation, sound and video.
2016 Young Blood Artists:
Tom Boram (UMBC)
Elena Debold (UMBC)
Sarah Eargle (Towson)
Taha Heydari (MICA)
Kei Ito (MICA)
Andrew Paul Keiper (MICA)
Dane Winkler (UMCP)
Jowita Wyszomirska (UMCP)
Maryland Art Place
218 West Saratoga Street
Baltimore, MD 21201
Call for Artist: GradEx Solo Shows
MFA Studio Art Student in DC Group Show
Prince and Other Departed Legends - Reception
Friday, 7.15.16, 7:00 - 9:00 PM
Hosted by: Civilian Art Projects
4718 14th St NW, Washington, DC 20011
Civilian Art Projects seeks to commemorate the lives of legends, namely the iconic Prince and other precious souls we have lost from the material world. If you make prints of Prince or another dead legend, especially Lemmy from Motorhead or David Bowie, we would like to see them. Paintings, photos, etchings, projections, t-shirts also welcome. Performances by Ada Xiayu Hao and Katie Macyshyn.
VISITING ARTIST LECTURE SERIES
5:00-7:00 PM, L160 & Center for Art Education Gallery
Sponsored by the MA in Art Education
Sherri Fisher is the Visual Arts Department Chair at Patapsco High School & Center for the Arts in Baltimore County, MD, USA. An art educator for over ten years, Sherri she has been recognized, at district and state levels, for the quality of her teaching, and both the Kennedy Center and The College Board have commended her school for excellence in arts integration. She holds a BFA from Purchase College SUNY and a MAAE from the Maryland Institute College of Art (2010). Sherri serves as the Eastern Region Secondary Representative for the National Art Education Association and has presented at many national conferences on the aesthetic values of high school students as well as on classroom culture. In 2011 Sherri traveled extensively in Peru with the Fulbright-‐Hays Group Projects Abroad program, sponsored by Morgan State University. In 2015 Sherri undertook an independent Fulbright in Finland, as an artist-‐scholar associated with Aalto University. And this year Ms. Fisher was named NAEA Eastern Region High School Art Educator of the Year and Baltimore County Chamber of Commerce Teacher of the Year, Southeast Area.
5:30 - 7:00 PM, Lazarus Auditorium
Sponsored by the MFA in Studio Art
Alexander Alberro is the Virginia Bloedel Wright Professor of Art History at Barnard College, Columbia University. He received his M.A. degree in Art History from the University of British Columbia, and his Ph.D. in Art History from Northwestern University. Alberro's writings have appeared in a wide variety of journals and exhibition catalogues. He is also the author of Abstraction in Reverse: The Reconfigured Spectator in Mid-Twentieth Century Latin American Art (University of Chicago Press, forthcoming); Conceptual Art and the Politics of Publicity (MIT, 2003), and has edited books on contemporary art including Working Conditions: The Writings of Hans Haacke (MIT, forthcoming), Institutional Critique: An Anthology of Artists Writings; Art After Conceptual Art (MIT, 2009); Museum Highlights (MIT, 2005), Recording Conceptual Art (University of California, 2001), Two-Way Mirror Power (MIT 1999); and Conceptual Art: A Critical Anthology (MIT, 1999). Alberro is a recipient of fellowships from the National Endowment of the Humanities, the George A. and Eliza Howard Foundation, and the Whitney Museum of American Art, and has taught at the University of Florida and the University of California at Berkeley. He is presently at work on a volume that explores the new forms of art and spectatorship that have crystallized in the past two decades. He has been a featured speaker at many universities and cultural institutions throughout the world, and has appeared in several documentary films on contemporary art.
5:00 - 700 PM, Lazarus Auditorium
Sponsored by the MFA in Studio Art
Questions of composition, physicality of form and plasticity continue to play an important role in the perception of Rosa Barba’s work. Her interest on how film articulates space places the work and the viewer in a new relationship. It is written through the subject matter of her films, each a topographic study of modernity’s unconscious: remote deserts inscribed with geometric secrets; electronic soundscapes where rhythms, pulses and drones coalesce and dissipate; where images are interlaced with screens of text and the spoken words of artists, poets, geographers. These are spaces of memory and uncertainty, more legible as reassuring myth than the unstable reality they represent. During the last few years, Barba has had solo exhibitions in the United States and internationally, including the Albertinum in Dresden, Germany (2015); MIT List Visual Arts Center, Cambridge MA, USA (2015); CAC (Contemporary Art Center), Vilnius, Lithuania (2014); MAXXI (Museo Nazionale delle Arti del XXI secolo), Rome (2014); Turner Contemporary, Margate, UK (2013); Bergen Kunsthall, Norway (2013); Cornerhouse, Manchester, UK (2013); MUSAC (Museo de Arte Contemporáneo de Castilla y León), León, Spain (2013), Jeu de Paume, Paris (2012); Kunsthaus Zürich, Switzerland (2012). She has participated in many group exhibitions, including Centre Pompidou, Metz, France, MASS MoCA, North Adams, (2014–2015); Akademie der Künste, Berlin (2014); Kunstmuseum Liechtenstein, Vaduz, Switzerland (2014); Liverpool Biennale (2010); and 53rd and 56th Biennale di Venezia (2009, 2015). Barba’s work is represented in numerous international museum collections, and her films have been shown in festivals worldwide. In 2015 Rosa Barba was awarded the 46th PIAC, International Prize for Contemporary Art, Fondation Prince Pierre de Monaco, and the NEW:VISION Award, CPH:DOX, Copenhagen. Her work has been widely published, in the monographic books Rosa Barba: White Is an Image (2011), Rosa Barba: Time as Perspective (2013), both Hatje Cantz publishing and Rosa Barba: In Conversation With (2011), Mousse Publishing and Rosa Barba: The Color Out of Space (2016), Dancing Foxes publishing, among others.
GRADUATE ELECTIVE GUIDE
Sign Up for Fall Courses!
Suggested Liberal Arts Courses
Students build their knowledge of design discourse and professional design methodologies through a mix of readings, writings, lectures, and discussions. Students deepen their vocabulary for discussing, evaluating, and observing a broad range of design practices, including typography, branding, experience design, service design, information design, social design, and design for sustainability. Students are required to respond each week to intensive writings by contemporary and historic designers, critics, and theorists. This course prepares students for framing and producing an independent thesis project.
CWRT 403 Advanced Creative Writing
The advanced topics courses offer students opportunities to go deeply into a particular genre. Where the emphasis in introductory and intermediate writing workshops is on exploration, experiment and on developing a critical sensibility, the advanced courses invite a commitment to a specific body of work: a collection of poems; personal or critical essays; a novella or collection of short stories. Each semester faculty teaching these courses will offer specific, focused topics for their particular course.
AH 332 History of Photography
Surveys of the development of photography from its prehistory through the present day. It includes an examination of the interrelationships between photography and other arts, the effect of technology on the photographic image, the tradition of the popular photograph, as well as the study of major photographers and photographic movements.
AH 360 African American Art
An overview of the history of African-American art from the colonial era to the present, with an emphasis on subjects such as the idea of a distinctively African-American art, the notion of “invisibility,” and the Harlem Renaissance. Also concentrates on ways in which artists have used creativity to confront, deny, or complicate understandings of racial identity and racism, and encourages a familiarity with individual artists such as Henry Ossawa Tanner, James Van Der Zee, Aaron Douglas, Romare Bearden, and Adrian Piper.
AH 316 African Art Forms
Examines traditional art forms from the continent of Africa. It deals with conceptual, philosophical, and aesthetic issues in African art, and with the fundamental character of its iconography, movement, and form.
AH 391 Topics on Curatorial Studies
This course will synchronize its content and assignments to correspond with a developing exhibition and/or curatorial project. Students will investigate and consider curatorial theory while navigating curating practicalities. Contingent on corresponding exhibitions or projects, students may have the opportunity to engage directly with research, ancillary programming, exhibition design, and/or artwork. This course allows students and instructors to take advantage of local exhibitions, curatorial projects or thematic investigations relative to curatorial practices. This semester, one of the topics courses (391.02) will be in the MICA galleries for an exhibit on the artist William Christenberry. The other will be with the Maryland Historical Society (391.01).
AH 405 Exhibition Development Seminar
This seminar examines the curatorial practice process through the research, planning and production of a major exhibition. Students serve as curators, designers, and educators as they develop and implement proposals for the exhibit's graphic and exhibit designs, texts, public programs, community outreach, website, publications and public relations strategy. The Exhibition Development Seminar this year will take on the topic of prisons.
ED 5200 Art and Human Development
This course offers an examination of art and human development viewed through the development of drawing and visual symbolic language. Topics include the roots of the visual arts in infancy, the study of children’s drawings, the role of multiple drawing strategies in the development of visual symbolic language, and the influence of factors such as culture, psychology, mental growth, and overall development. A research project takes the class into a local school to conduct drawing research with learners from pre-kindergarten through grade 8. Findings are reported in oral reports, displays, and a class document. The course includes visits to see how drawing is taught in both comprehensive and specialized high schools. Students develop a researcher’s journal, recording and synthesizing the content of the course. The class is conducted seminar style and includes the opportunity to teach drawing lessons in collaboration with one or more peers.
ED 5202 Introduction to Teaching Art In the Schools
This seminar takes the student into the classrooms of elementary and secondary schools in the Greater Baltimore area. Students look at the art of teaching in observing, critiquing, and evaluating the educational environment, the act of teaching, and the relationship between instruction and learning. Travel to school sites required.
PHIL 383 Image, Time, Movement: Aesthetic philosophy of Deleuze in the light of Bergson
Proposes to study Gilles Deleuze’s philosophy by looking closely at his writings on the temporal art of cinema, and to a lesser extent, his writings on music. To understand Deleuze’s theory of these arts, the course examines his general concepts of movement, time, and the image. Since this aspect of Deleuze’s thinking is strongly influenced by his reception of Bergson, study also includes relevant texts by this somewhat neglected philosopher. Classwork includes the viewing of films.
HMST 340 Writing in the Humanities & Arts
Writing is important in all Humanistic Studies classes, but this class takes a practical stance. With publication as a goal, we will write for journals, blogs, conferences, and zines. Each student will produce and refine three essays, with the help of workshop-style critiques and selected readings. We will focus our energy in particular on art and cultural criticism, taking as our subjects of inquiry selected works of visual art, film, literature, and performance, as well as certain cultural phenomena. As we read the work of influential critics and write our own essays, we will consider the purpose, value, and potential of criticism, and strive to develop our own unique critical voices.
Suggested Studio Elective Courses
The Center for Social Design engages students in the process of problem solving and collaboration using the power of design to make a positive impact on society. Each semester, students work with a specific organization or initiative and focus on a specific objective or issue. Projects and partners change each semester. Past partners have included the Baltimore City Health Department, Baltimore City Public Schools, JHU Bloomberg School of Public Health, and Maryland Energy Administration. Past projects have focused on energy efficiency, food access, lead poisoning, HIV/AIDS, injury prevention, and health care to name a few. CSD students work alongside educators, design professionals, nonprofit and corporate organizations to research and experiment on the ways design can support project goals. Contact Mike Weikert for enrollment permission. <firstname.lastname@example.org>
AD 352 Urban Design
Introduces urban design in a studio format and covers issues of form, spatial relationships, and the mix of intention and circumstances to shape our cities. Students look at the city at a variety of scales: the street, park, and larger civic spaces. They examine the forces such as geography, transportation, political structure, and others that influence the design of cities. To build an understanding of urban processes, students look at cities through a variety of lenses, namely experiential, historic, and political. The studio includes research, readings, and short-term and longer-term projects. The longer term project includes looking at a site within Baltimore City in collaboration with the Baltimore City Department of Planning. The class concentrate on urban areas of Baltimore but look at other American cities and cities around the world as well.
GD 535 Expanded Design
This hands-on course introduces students to a variety of topics related to expanded design, prototyping and interactivity through tutorials, collaborative experimentation and guided studio time. The course will survey design-centric techniques to utilize 3d software, Arduino/Processing and time-based media for web. Students will learn how to prepare files for digital fabrication and prototyping. The course will will enhance students’ understanding of expanded design processes as tools for experimentation, collaboration and reaching new audiences. Guest lectures and readings will provide a cultural and technical framework for process-based projects. This course is open to novices and to those seeking to expand their practice.
FA 5550 Cross-Practice Critique
Cross-Practice Critique is a diverse platform for MICA graduate students across programs to engage in critical discourse about their work and the work of their peers. The course will create an environment that fosters active participation, collaboration, writing, research and creative expression. Students will develop a variety of techniques for viewing, evaluating and responding to peer work, expanding their vocabulary to accommodate multiple disciplines. Students will participate in theoretical discussions concerning artistic practices and cultivate methods of verbal, visual and written communication in line with their personal artistic philosophy.
FILM 385 Blockbusters and Small Tales
"Heroes in all forms, gendered and non-gendered, expand our sense of possibility. As a result, similar metaphorical storytelling structures show up globally in narrative, documentary, and experimental films. The protagonist, whether human, animal, or of further invention embarks on a journey to seek an answer, goal, or treasure. In this course, storytelling structures will be examined via Hollywood Blockbusters and International Indie films. Filmmakers such as Akira Kurosawa, Niki Caro, Maya Deren, Julie Taymor, Jean-Luc Godard, and even George Lucas are all fair game for metaphorical examination. When truly understood, Metaphor is one of the most powerful tools to connect with one’s audience. This course will enable students interested in genres such as dreamlike-experimental, poetic-documentary, and/or science fiction to gain a deeper understanding of the universal elements that structure these types of storytelling. Additionally, the class will actively engage in expanding the filmic-definition of a worthwhile life and hero. The course focuses on a semester long project in conjunction with a comprehensive Film Treatment and Shot List.
FILM 340 Cinema History for Filmmakers
This studio course will survey the history of world cinema, from the silent era to the present, spanning over 125 years. Students will create films in response to particular historical genres, styles and production methods. Through extensive readings and screenings, students will explore how filmmakers influenced each other, how contemporary events shaped films and how filmmakers challenged established techniques and developed new technologies to enhance the cinema. Students will come to appreciate the many parallels in "global filmmaking" linking the past to the present and linking cinema from all over the world, that of Africa, Asia and the Middle East, as well as the West.
GFA 341 Climate Change and Sustainability
Our climate is rapidly changing due to the effects of human industry. Climate change is presenting the global society with the necessity for new criteria of industrial and social production. How will this include the production of art and design? The goal of this course is to present students with the challenge to examine, investigate, confront, and potentially apply what these criteria are. This class focuses on the theoretical, practical, and aesthetic issues of sustainability. Beginning with an overview of the history of the science of climate change, students look at global movements responding to this event. Students who are considering entering some aspect of this field are welcome as well as those who are seeking to extend their art practice to address the many issues encountered in the massive change toward global sustainability.
GFA 4015 Phenomena of Color
In this advanced color course, the phenomenological workings of color will be taught thoroughly and in depth, using Joseph Albers' text, "Interaction of Color." This intensive course of study will be augmented by other sources such as "The Art of Color" by Johannes Itten, as well as a wide range of texts on color theory. Through weekly assignments and hands-on exercises, students will develop a greater sense of color action, a better grasp of color theory, and a strong foundation to improve the use of color in their respective creative work, whatever their chosen medium. Lectures on related subjects such as the physics of light, color and the screen, etc., will be given. Students will also conduct research on a related topic of their choosing and give a presentation. The course is open to all upper division undergraduate students (juniors and seniors) and to all graduate students.
PD 350 Business Intelligence
This course will provide students with a foundation for creating a financially sustainable creative practice as an artist or designer. Essential topics will be paired with practical assignments directly related to each student’s creative work. Topics will include:
- Financial Literacy
- Project Management
- Autonomous Work v. Commercial Work
- Marketing and Research
- Budgeting and Accounting
- Taxes and Financial Planning
- Contracts and Negotiation
- Intellectual Property