|Students go for a group paddle during last summer's Parks Canada: Keji class. Erica Flake Photo. |
Eye Wear Design. Global Tattoo Histories. Parks Canada: Keji.
Some of the most innovative classes of the academic year are offered during NSCAD’s summer semester, attracting NSCAD students, transfer students from other universities, visiting professionals and alumni.
NSCAD offers a wide array of classes across all disciplines and levels, from Foundation to senior studio classes. Most classes are offered in two blocks -- from May 1 to June 19 and from June 26 to August 15.
Summer courses also introduce students to visiting teachers, such as eyewear designer Lee Sungyeoul from South Korea, fashion designer Tabitha Osler from Belgium, experimental filmmaker Daïchi Saïto, from Montreal and book artist Susan Mills from New York.
For more details on the courses available, please see the Web Advisor link on the nscad.ca website. Apply early as many courses have limited seats.
Teaching Visual Art (EDAR-5110): Through this intensive two-week course, art educator and artist Rene Forrestall introduces students to basic art skills and sensitivities, developmental aspects of visual art education, and pedagogies relating to art education. Students may be teachers working at the elementary or secondary level. (July 10 to July 21)
The Art and Culture of Comics (AHIS 2654) – This survey course taught by Sara Affleck presents a history of image and text-based storytelling including “bande dessinee” in France, Belgium and Quebec; manga from Japan; and comics and graphic novels from North America. (June 26 to August 15)
| ||Tattooed boy from Burma, circa 1900. See: Global Tattoo Histories. |
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Global Tattoo Histories (AHIS-2658) – This survey course investigates the global histories of tattooing from ancient times through to the present. Taking a broad approach, the class will consider tattooing across geographies, eras and social and cultural groups. Jamie Jelinski, who has a research interest in the history of Indigenous and non-Indigenous tattooing in Canada, will teach this class. (May 1 to June 19)
|Sewing class in the Mission of the Daughters of Charity, Nsona-Mbata, Belgian Congo, postcard, unknown photographer, c. 1910. See: Photography and Colonialism. |
Photography and Colonialism (AHIS 3473) – Through an examination of images and travelogues produced by European travelers, ethnographers, missionaries, and military officials, this course taught by Sharon Murray will explore how photography was used as a tool of colonialism and a promoter of the "colonial gaze." We will also examine examples of Indigenous photographers who challenged colonial authority with the camera. (June 26 to August 15)
|Video still by Rajee Pana Jeji Shergill (BFA 2008, BA 2011). See: Asian Art History|
Asian Art History (AHIS 3476) – Taught by Marlene Ramos, this course is an overview of the contemporary art production in Asia. This course will explore whether the factors surrounding the development of visual arts in Asia -- colonialism, militarization, industrialization and urbanization -- are in fact the basis of disparity and the systematic implementation of discriminatory policies against members of a certain gender, social class, racial and ethnic backgrounds.. (May 1 to June 19)
|Ceramic artist Rachel deConde is teaching Introductory Throwing. |
Introductory Throwing (CERM-2110): Ceramic artist Rachel deCondé teaches the fundamentals of wheel-thrown pottery. Students will explore a variety of pottery forms, learn basic throwing techniques, and investigate glaze and firing methodologies. (May 1 to June 19)
Workshop: Natural Dyes (CRFT-2007): Textile artist Joanna Close leads an interdisciplinary investigation into the cultural basis for natural dyes in European and North American textile history. Students will learn to use plants and chemical mordants to dye yarn. (May 1 to June 19)
|Students will use plants to create natural dyes in the summer craft workshop taught by Joanna Close. |
Workshop: Jewellery Material Matters (CRAFT-2019): In this course taught by contemporary jewellery artist Despo Sophocleous, students will have the opportunity to approach jewellery and object making through exploring alternative materials. Students will focus on developing methods of translating their ideas into three-dimensional forms. (May 1 to June 19)
Workshop: Book Arts
|Despo Sophocleous, passing through 1, 2015, cherry, steel, cotton. See: Workshop: Jewellery Material Matters|
(CRFT-2100/FINA 2100): Visual artist Susan Mills
leads this course in which students will investigate selected traditional and non-traditional processes for binding books, making boxes, and creating decorative papers.
Jewellery Workshop: Eye Wear Design (JWLY-3203): Eyewear designer Lee Sungyeoul leads this workshop to instruct students in the techniques and considerations of eyewear creation. A historical and contemporary overview of optics and eyewear will be given with emphasis on metal techniques and materials. Students will create two pairs of eyewear. (May 1 to May 24)
Workshop: Prototyping (TEXL-3220): In this course, students will explore and create a range of prototypes for fashion that build towards a collection through fabric, construction, market analysis and presentation techniques. This approach, led by fashion designer Tabitha Osler, will be a blend of research and making. (May 1 to June 19)
|In Fiber, Fabric, Fashion, students use nontraditional materials in constructing garments.|
Intermediate Fiber, Fabric Fashion (TEXL-3350): Taught by master artist Toshiko MacAdam, this course will continue the exploration between the body, culture, society and fashion. Term projects range from surface embellishment to conceptually driven notions of body covering. Non-traditional methods of construction are emphasized including the use of materials not common to fashion production. (May 1 to June 19)
Workshop: Language and Process for Studio Practice (DSGN-2006): Becka Barker teaches this course which turns the studio critique inside out and focuses on advancing our practices through how we speak. We critically explore the relationships of art to verbal expression with an eye toward helping students develop strategies and vocabulary for productive and stimulating dialogue. Critique is how we learn from each other as artists and audience. It's ground zero for developing discourse. Having the skills to verbally analyze, discuss, present, and respond to work has practical implications for curating, peer juries, commissions, and community arts engagement, as well as many other professional contexts. Up your crit game. (June 26 to Aug. 15)
|Rachel Whiteread, Ghost (1990); Do Ho Suh, Seoul Home (1999). See: Workshop: Construct the Anti Monument. |
Workshop: Construct the Anti Monument (DSGN-3326): Traditional monuments that have long-held histories as sanctioned public art for the purposes of celebration, propaganda and the commemoration of secular heroes are abundant in Halifax and will provide the subject matter for this 3000 level studio course. Through this intensive studio course led by Angela Henderson, students will engage in the process of developing and designing a response to counter a specific existing monument and the values it represents. (May 1 to June 19)
Master of Design – Intensive 1 (MDES-6030): Taught by Christopher Kaltenbach and Candace Ellicott, this course comprises a series of modules, including visual thinking, the role of writing in design practice, and the value of collaborative engagement. May 1 to August 15.
Master of Design: Studio 1 (MDES-6200): Students will engage in a series of projects that will develop their ability to combine theory and practice. Taught by Christopher Kaltenbach. May 1 to August 15.
|Figure drawing by Jeff MacLeod. 40 minute pose, conte on Fabriano paper, 11" by 16". Used with permission. Introductory Figure Drawing will be taught by Michael Fernandes.|
Introductory Figure Drawing (DRAW-2400): Artist and teacher Michael Fernandes leads this class in which students draw from the life model and address representations of the human figure. (May 1 to June 19)
|Laura Newman, Winter Scene, 2009. See: Workshop - Abstraction and Landscape|
Workshop: Abstraction and Landscape (PNTG-2609): Various approaches to abstraction are considered in this course taught by painter Andrew Hunt, with an emphasis on collecting and restructuring source material gathered from landscape based studies, in order to explore pictorial cues and non-traditional compositions. (May 1 to June 19)
|Charley Young, Boatshed, 2015, Woodcut and frottage. Charley will be teaching the summer course, Intro to Relief Printmaking.|
Intro to Relief Printmaking (PRTM-2015): Printmaker Charley Young teaches this introduction to monochromatic and multiple colour relief printmaking. Wood, fiberboard, Sintra, linoleum and other related materials will be used to explore relief printing techniques with oil-based inks. (May 1 to June 19)
Workshop: Foundry (SCLP-2105): Artist Sarah Maloney will introduce students to “cope-and-drag” sand casting, lost-wax ceramic shell casting, metal finishing and patina processes to produce three-dimensional objects in aluminum and bronze. (May 1 to June 19)
Foundation Drawing 1 (FNDN-1100): This course taught by artist Marilyn McAvoy introduces fundamental skills of representation in drawing. Spatial awareness is emphasized through the study of proportion, perspective, line quality, contour, positive and negative shapes, value and volume. Drawing from observation is the primary focus of exercises and assignments. (May 1 to June 19)
| Make a box like this in Foundation Wood and Metal. |
Foundation Wood and Metal (FNDN-1340): The course will introduce the use of wood and metal in art, craft and design practices. The wood shop section of the course is taught by Ken Lamb, the metal shop by Sandy Graham. (May 1 to June 19 / June 26 to Aug. 15)
Parks Canada: Keji (WTRA-2002): This two-week intensive course taught by anna sprague is an innovative collaboration between NSCAD and Parks Canada, a chance for students to get outside of the city and investigate their relationship to the natural environment though activities such as en plein air painting, landscape photography, site-specific installation, public intervention, or performative gestures. The work produced during this residency will be showcased in an exhibition to follow in the fall semester. (August 14 to 23)
|As part of a partnership with Parks Canada, students spend time outdoors and camp at Kejimkujik National Park as part of the intensive, two-week class, Parks Canada: Keji.|
Workshop: Process as Form (ARTS-2027): This studio/seminar course is designed to investigate various ways notions of process are embodied in cinematic works. Students will learn to develop their own approaches and integrate them into finished work. Taught by Daïchi Saïto, an experimental filmmaker based in Montreal. (June 26 to Aug. 15)
Workshop: Arts and Ecology (ARTS-2028): This studio class focuses on art practice in relation to contemporary and historical discourses on ecology. Through presentations, theoretical readings and discussions, the course taught by Michael Eddy will critically examine how artists have activated ideas from ecological thought and practice in their works. (June 26 to Aug. 15)
|Scarecrow for the Country Fair Beijing farmers market, 2010. Photo Michael Eddy. See: Workshop - Arts and Ecology.|
Workshop: Art and Artificial Life (ARTS-2029): Artist, computer programmer and musician Stephen Kelly teaches this course to introduce students to the field of Art and Artificial Life. Through workshops in basic electronics, coding, and robotics, students will gain familiarity with tools and techniques for creating art that exhibits behavioural characteristics of natural living systems. (May 1 to June 19)
Portable and Alternative Galleries (ARTS-3147): This studio class co-taught by Michael Eddy and Michael McCormack focuses on a variety of alternative exhibition spaces and portable galleries in order to challenge students to design and manage their own portable or alternative gallery spaces. (June 26 to August 15)
NSCAD Professor Kim Morgan will be teaching four independent study studio classes (ARTS-4000, ARTS-4500, ARTS-4600, ARTS-4700) throughout the summer.
Situational Lighting (PHOTO-2650): Taught by Steve Farmer, this course concentrates on skills associated with the use of natural and artificial light for photography and film. Through lectures, demonstrations and projects, students explore the implications and effects of combining ambient and studio lighting. (May 1 to June 19).
|Situational lighting is based on a narrative style of photography using both film and photography lighting techniques. Photo by Gregory Crewdson. |