2013-14 Undergraduate Index A-Z | The Evergreen State College

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Art History [clear]

Title	Offering	Standing	Credits	Credits	When	F	W	S	Su	Description	Preparatory	Faculty	Days	Multiple Standings	Start Quarters	Open Quarters
Alternative Photographic Processes Julia Zay art history visual arts	Program	FR–SRFreshmen–Senior	8	08	Day				Su 14 Session II Summer			Julia Zay	Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Art Since 1500 Olivier Soustelle art history	Course	FR–SRFreshmen–Senior	4, 6	04 06	Day				Su 14 Session I Summer	This class surveys world art history since 1500 from the Renaissance to the 20th century. We will focus on paintings, sculpture, architecture and the decorative arts in Europe, North America, and Asia. Credit possible in either art history or world cultures/civilizations. Students earn 4 credits during two weeks of intensive class meetings, June 23 to July 3, 2014. Students enrolled for 6 credits will then have the remainder of the summer session to research and write essays, with faculty guidance. This is a companion class to "Europe Since 1500."		Olivier Soustelle	Mon Tue Wed Thu Fri	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Dark Romantics Marianne Bailey, Olivier Soustelle, Shaw Osha (Flores), Bob Haft, Judith Gabriele and Stacey Davis aesthetics art history cultural studies history international studies language studies literature philosophy study abroad visual arts writing	Program	SO–SRSophomore–Senior	16	16	Day	F 13 Fall	W 14Winter	S 14Spring		... ...—Hölderlin, "Bread and Wine" We will study art history, literature, philosophy and music in their social and historical contexts in order to understand the Romantic avant-garde thinkers and artists, outsiders in 19th- and early 20th-century Europe, and their tenuous but fruitful dialogue with mainstream culture and the emerging popular culture of the laboring class. We will emphasize French Romanticism, but will also consider the pan-European nature of the phenomenon. This era offers a figurative battlefield where concepts of art, nature and self, order and chaos, locked swords, testing the limits of rational thought. French language study will be an important component of our weekly work; students will study French at one of four levels, from beginning to advanced.The 19th century was an era of immense political change spanning revolutions, empires and finally the establishment of democracy at home, just as European imperialism spread across Africa and Asia. We will study ways in which average women and men crafted their own identities and responded to the larger social forces of industrialization, the creation of a new working class, the solidification of gender and class roles, the rise of modern cities and the redefinition of the criminal, the socially-acceptable and the outsider.In fall, our work will begin with the paintings, poems and ideas of the early Romantics. The Romantics privileged feeling, intuition and empathy. Like adepts in an ancient mystery cult, they sought to commune with Nature. Romantic philosophers, from Schopenhauer to Nietzsche, spoke of Becoming rather than Being. Rejecting Classical order, clarity and restraint, they envisioned a pure art, beyond language and depiction, which speaks musically through color, passion, suggestion, enigmatically, as do dreams.In winter, focus will turn to the late Romantics. Decadents pushed the Romantic temperament and aesthetic to extremes through self parody and the aesthetic of fragmentation. Symbolists attempted to express the inexpressible through their art. Yet Mallarmé, Wilde and Yeats, Moreau and Gauguin, among others, helped prepare the “rites of spring” of the dawning 20th century, the arising vanguard of modernist and postmodern movements.In spring quarter, students may pursue individual research/creative projects on campus or may travel to France for 10 weeks. There they will study in a Rennes, Brittany, language school, do cultural and historical study in Paris and Lyon, as well as make side trips for research of their own.In this program, students will gain a significant grasp of key ideas in art, history and thought within their context, and will have the opportunity to specialize, creating advanced work in their choice of history, art history or writing and literature. We expect strong interest and background in humanities, and considerable self-discipline and motivation. The workload, including French language study, will be substantial and rigorous. Students will work in interdisciplinary all-program sessions and assignments, as well as choose one of three possible seminar groups. These emphasize: 1) literature and philosophy, 2) history, and 3) photography and visual arts, practice and theory.		Marianne Bailey Olivier Soustelle Shaw Osha (Flores) Bob Haft Judith Gabriele Stacey Davis		Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Drawing Marathon Shaw Osha (Flores) aesthetics art history visual arts	Course	FR–SRFreshmen–Senior	4	04	Day				Su 14 Session I Summer	This intensive drawing program runs for two weeks. Open to all levels, this immersive drawing class will address the importance of drawing as a language integral to all visual art and as a way to understand one's experience in the world. Primarily, we will study the figure as a dynamic structure in space and mark making as a process of investigation. There will be some reading and writing as well as critiques. The Drawing Marathon will push artists to a new level of working.		Shaw Osha (Flores)	Mon Tue Wed	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
From the Fire: The Art and Science of Ceramics Dharshi Bopegedera and Susan Aurand art history chemistry visual arts	Program	FR–SOFreshmen–Sophomore	16	16	Day			S 14Spring		In this program, we will explore how artistic and scientific inquiries can lead to a better understanding of ceramics, a material that has been in human use since antiquity. We will study the principles of chemistry that will enable us to understand the properties of ceramics, which is an exceptional medium for creative expression. In the studio, students will learn basic hand-building techniques and gain an introduction to slips, stains, glazes and the firing process. We will also explore the basics of the chemistry of clay bodies, glaze formation and reduction versus oxidation firing. Program activities will include lectures, workshops, seminars, studios and labs. We expect everyone to create original artworks in ceramics and participate in lab experiences that will enrich their understanding of this material that has evolved with human history. No prior ceramics or chemistry experience is necessary.	arts and sciences.	Dharshi Bopegedera Susan Aurand		Freshmen FR Sophomore SO	Spring	Spring
Madness and Creativity: The Psychological Link Patricia Krafcik, Evan Blackwell and Carrie Margolin art history cultural studies literature psychology visual arts	Program	FR ONLYFreshmen Only	16	16	Day	F 13 Fall	W 14Winter			What is creativity? Is there a relationship between states of mind and a fertile imagination? What are the psychological mechanisms involved in the larger action of the human imagination, urging us to explore new avenues, to see what others have not seen, to create what no one has yet created? Many of the world's greatest writers, artists and thinkers have been known to struggle with conditions classified as abnormal by psychologists. We will explore these conditions and their impact on creativity, searching further for any special links between certain kinds of abnormal psychological conditions and the drive to create.Our interdisciplinary program is not intended to serve as therapy, but rather is a serious study of psychology, literature, the arts, imagination and the creative impulse. We will approach our questions through various modes of inquiry. Through an in-depth study of abnormal psychology, we will learn to identify and understand a number of conditions. We will investigate modern art history and its fascination with the art produced by individuals reputed to be cultural "outsiders," such as folk art, art of the insane, art brut and self-taught artists. Through this study we will explore how societies form a group identity which is established in relation to some designated "other." Our readings combine art theory with psychological case studies by writers such as Sacks and Ramachandran and with imaginative literature by Gogol, Dostoevsky, Poe, Kafka, Plath, Gilman and many others that all describe abnormal psychological conditions. We will respond to our readings by channeling the imagination with a variety of creative projects. Finally, we will also study the normal mind and how it functions in both mundane and creative ways.In both quarters of our program students will discuss assigned readings in seminars, will engage in active writing exercises and in rigorous two-dimensional and thre-dimensional visual art work in ceramics, mixed-media sculpture, collage, and drawing. Assignments may include research papers, poster projects, creative writing, performances and visual arts projects. Weekly films and discussions of these films will enhance our examination of the uses or influence of psychological conditions in the creation of literature, art and music. Guest speakers will provide additional workshops and lectures in various artistic modalities. In fall term we will take field trips to the Tacoma Art Museum and the Museum of Glass, and our work that term will prepare students to undertake a culminating project in winter term. In all our activities, students will have ample opportunities to explore their own creativity and imagination.		Patricia Krafcik Evan Blackwell Carrie Margolin		Freshmen FR	Fall	Fall Winter
Narrative Objects Steven Hendricks and Jean Mandeberg aesthetics art history literature visual arts writing	Program	FR–SOFreshmen–Sophomore	16	16	Day	F 13 Fall	W 14Winter			What makes a work of art capable of narrative expressiveness? What constitutes a narrative? How do artists invest tangible records, stories, artifacts and objects with meaning, and how do readers work to recuperate or transform those meanings for themselves?Many artists and writers have used objects, visual forms, books and text in combination to create a hybrid language that can carry narrative possibilities. How do such works exploit the possibilities of conventional and nonconventional narrative to stimulate the intellect and the imagination? Does imposing a narrative on a work of visual or sculptural art limit it, reduce it to a single interpretation? How can we navigate the space between object and idea as artists, as readers, as makers of things and makers of meaning?This program will explore such questions through intensive studio work in fine metals and book arts. Equally important will be our study of literature that tests the boundary between narrative and non-narrative and the practice of critical and creative writing. The general program structure will include alternating periods of focused writing, imaginative reading, seminar discussion and extended, deliberate work in the studio.Student projects will be direct responses to the themes and questions of the program: explorations of the nature of narrative, the various ways in which objects can participate in, contain, and create narratives. This unique opportunity to combine book arts and fine metals will persistently require competence in technical skills, unusual patience, attention to detail and materials, and articulate translations between ideas and visual forms.The second quarter of the program will in part evolve from the discoveries of the first and will involve deepening our work in both studios, with the necessary emphasis on thoughtful self-critique and aesthetic rigor. This program will be important and challenging for students in the arts and humanities who think of artists as aesthetic and conceptual problem solvers, seeking new puzzles, forms and possibilities for constructing meaning using words, the book and small-scale sculptural forms. As a first-year program, this program provides specific support for students at the beginning of their Evergreen careers.		Steven Hendricks Jean Mandeberg		Freshmen FR Sophomore SO	Fall	Fall
The Practice of the Everyday Julia Zay and Miranda Mellis art history cultural studies literature media studies visual arts writing	Program	FR–SOFreshmen–Sophomore	16	16	Day and Evening			S 14Spring		In this interdisciplinary foundational program in visual studies, literature, cultural theory, and creative and critical writing, we will practice observing, rendering, and reflecting on the ordinary and the everyday. We’ll study texts, objects, ideas, art and films, aspiring to Henry David Thoreau’s lifelong goal: to be surprised by what we see, in “the bloom of the present moment.” Slowing down to observe, render, and reflect on what tends to go unnoticed will galvanize curiosity and insights about our basic experiences of embodiment and raise new questions to pursue critically, ethically, and artfully. We’ll write, read, make images, and perform thought experiments to heighten our awareness of practices often obscured by the habitual and overly-familiar aspects of daily life (for example, calendar time, e-mail correspondence, house-cleaning, eating, and even walking to get from point A to point B – what other kinds of walks might we take?). By activating our perceptual abilities to make visible and thinkable these quotidian structures, we will in turn consider the ways the everyday constitutes not only our private lives, but also our public and social worlds. We will study a range of philosophical, poetic, filmic, visual, and fictional texts that theorize and enact the constitution of dailiness. In all our work we will focus on cultivating practices of attention—skills essential to creative and critical engagement – while furthering our abilities to read and view closely, attend to historical and cultural context, and write – academically and creatively – with precision and patience. Class sessions will include lectures, screenings, workshops and seminar. Students can expect to both work individually and collaborate with peers on assignments. Finally, we'll expand our critical and creative lexicons by intersecting with two campus arts and humanities forums: the Critical and Cultural Theory lecture series on Monday evenings and the Art Lecture series on Wednesday mornings.		Julia Zay Miranda Mellis	Mon Mon Wed Thu	Freshmen FR Sophomore SO	Spring	Spring
Printmaking: Tradition and Innovation Lisa Sweet art history visual arts Signature Required: Winter	Program	SO–SRSophomore–Senior	16	16	Day	F 13 Fall	W 14Winter			It is a commonplace: ' '. In visual art, 'the rules' are the historical traditions and conventions of an artistic medium. Breaking 'the rules' means intelligently and strategically bending and breaking with those traditions and conventions in innovative ways. The history, craft and technique of intaglio printmaking provide rich arenas in which to explore tradition and innovations in 21st century image-making. The fall quarter of the program will focus intensively on seminar readings exploring the history and traditions of print and printmaking: it's early alliances with religious devotion, the Protestant Reformation, the scientific revolution. While focusing on printmaking history, students will practice traditional intaglio techniques including engraving, line etching and aquatint, through responses to weekly studio assignments. In winter quarter, students will have the opportunity to develop a series of thematically-linked images that implement and/or disrupt (break) the 'rules' of printmaking conventions. The winter quarter will emphasize research and artistic practice, image-making as a form of intellectual inquiry, and the development of professional presentation skills for articulating one's artistic work. Printmaking is a remarkably rich and flexible medium with strong political roots. It is also technically rigorous. Students who are comfortable making detailed technical notes, following sequential processes, observing safety protocols, and withstanding the physical demands of artistic work, are encouraged to enroll. ; Students who are new to studio art, or have considerable experience with other artistic practices are welcome. Drawing skills are optional.		Lisa Sweet		Sophomore SO Junior JR Senior SR	Fall	Fall Winter
The Renaissance Art of Bronze Casting Ann Storey and Bob Woods art history history visual arts Signature Required: Spring	Program	FR–SRFreshmen–Senior	12	12	Evening and Weekend			S 14Spring		In this interdisciplinary program we will study Italian Renaissance art while we create our own bronze sculptures inspired by that tradition. Sculpture led the way to the realization of the artistic aims of the Renaissance, as artists concentrated on two major challenges: the freestanding figure and the representation of three-dimensional space. We will explore the social, economic, and historical forces that led artists to revive the ideals of classical antiquity and look with fresh eyes at the natural world. In creating our sculpture we will work systematically from ideation to realization—drawing, design, and 3D sculpture—while exploring principles, materials, and techniques. Metal casting will be the main studio vehicle and will incorporate many sequential steps to the finished artwork. The art history portion of the class will present an overview of the Italian Renaissance through lectures, reading, writing, and seminaring.		Ann Storey Bob Woods	Tue Thu Sat	Freshmen FR Sophomore SO Junior JR Senior SR	Spring	Spring
Sacred Intersections: The Arts of Medieval Christianity and Middle Islam Suzanne Simons and Ann Storey aesthetics art history consciousness studies cultural studies history religious studies visual arts	Program	SO–SRSophomore–Senior	8	08	Evening	F 13 Fall	W 14Winter			Sacred Intersections focuses on a thousand-year period of Christian and Islamic art, art history, poetry, and mysticism. As the program continues in Winter quarter, we will turn our attention to a time of, roughly, the 12 through the 14 centuries. This was a period that built on the creativity, spirituality, and change of the previous era and took the arts to new heights through creative and cultural fusion. We will study the motivating ideas and issues of the age: the mystical poetic traditions of the Persian empire (present-day Iran and central Asia) and their influence on contemporary poetry; the awe-inspiring forms of Gothic architecture, and the poetry of the Beguine mystics (of present-day Germany). The idea that both mystic and artist were “seers”—seeing beyond the physical into the transcendent and metaphysical—impelled them into visionary realms. We will examine poets such as Rumi and Hafez and other charismatic figures. We will study illuminated manuscripts, mosaics, stained glass, sculpture, and sacred architecture of European and Byzantine Christendom and Islamic empires stretching from Spain to Central Asia. Art workshops will enable students to move from theory to practice. Class time will be divided among the following activities: faculty lectures, art workshops, seminars, writing, films and a possible field trip to a local mosque. This program is preparatory for further study and/or careers in the visual arts, education, museum studies, religion, communication, international relations, history, and writing.		Suzanne Simons Ann Storey	Tue Thu	Sophomore SO Junior JR Senior SR	Fall	Fall Winter
Still/Moving Julia Zay and Amjad Faur art history communications cultural studies media arts media studies visual arts writing	Program	FR–SOFreshmen–Sophomore	16	16	Day	F 13 Fall	W 14Winter			This is an art foundations program invested in opening up the dense histories and meanings of photographic images in their many forms, from still to moving and back again--and the unsettled places between. We explore what it means both to know and to make an image– photographic, moving, and time-based. We will pay equal attention to the history, theory and practice of the photographic image, both still and moving, in the context of visual studies--a field that yokes a broad study of the visual arts with social and cultural history and theory--art history, film/cinema history, and philosophy. Through a critical engagement with still and moving photographic images as well as related forms of visual art, we will map a broad contextual territory and challenge received notions of the boundaries between forms, genres, and mediums.Photography can never be thought of as simply a medium, technology or practice but a convergence of material, history, culture and power. In the Fall, we will start with the unfolding of the Western enlightenment, from the 16th to the 19th century, when optical technologies radically reorganized the senses and methods of knowledge production, posing new questions about temporal, spatial and visual relationships to artists and scientists alike. We will then move more deeply into the 19th and first half of the 20th century, when photography emerged into an art world dominated by painting, a visual culture organized around print technologies, and societies in the throes of rapid industrialization. Photography initially emerged not out of art contexts but out of the institutions of science and industry, so we will consider, in particular, the ways it was used to produce social categories, shaping dominant discourses of gender, class and criminality. For example, we’ll look at the language of portraiture so central to the emergence of both a middle class and the language of criminal and medical photography. Our materials and techniques will first be limited to those from the 19th century (proto-photography, early processes, hand-built cameras). In winter, we move from the 19th to the long 20th century and the emergence of cinema. We will look at the way early cinema was organized around a fascination with duration, spectacle, and experimentation and on the relationship between photography and cinema, stillness and movement. We will continue to work in still photography, broadening our range of techniques, and add a small amount of 16mm filmmaking to the mix as we explore the larger social and historical contexts and philosophical questions surrounding the relationship between still and moving photographic images. In our creative and intellectual work, we’ll ask many questions about the phenomenon, concept and experience of time--for example, how is a four minute exposure in a still photograph both similar to and different from a four minute continuous shot of film or video of the same subject?In all our work we will focus on building essential skills in practices of attention--learning how to slow down our modes of seeing, experiencing and working. In our photographic practice, this will mean moving away from the pursuit of “finished” images and towards experimental processes and conceptual problem solving. In our work with texts and images, this will mean developing our ability to read and view closely and write with precision and patience. Class sessions will include lectures/screenings, workshops, seminar, critical reading and writing, and critique. In addition to working individually, students can expect to collaborate regularly with their peers on a variety of assignments and larger projects. All along the way we will intentionally examine how our investments in collaboration animate our intellectual and creative work. We will spend significant time in critique to help each other see, describe, evaluate and improve our creative and critical work.		Julia Zay Amjad Faur		Freshmen FR Sophomore SO	Fall	Fall Winter
Student-Originated Studies: Documenting an Olympian Patron of the Arts Sarah Williams art history business and management communications media arts moving image music Signature Required: Fall Winter Spring	SOS	SO–SRSophomore–Senior	12	12	Day	F 13 Fall	W 14Winter	S 14Spring		This year-long program provides an opportunity for students to work on a large, highly collaborative project that requires a multiplicity of skills and knowledge: documenting an Olympian patron of the arts. Students will form a learning community in order to work collectively and collaboratively on a feature-length documentary film about philanthropy and patronage of the arts. Each student will take on specific roles related to editing, marketing/PR, soundtrack composition, and interviewing/researching. However, in order to build new skills, all students will collaborate on every aspect of the project. Students will work together, share research results, and participate in regular critiques with faculty and staff. Collaborative work will include field trips, audio recording, cinematography, marketing, interviewing, and editing. Faculty and staff will support student work through regular meetings, critiques and problem-solving discussions. The peer learning community will collaboratively determine the direction and success of this project. Academic work for each quarter will include weekly meetings with the continuing student director/producer and bi-monthly meetings with faculty and staff in Media as well as Development and Alumni Programs. In addition, students will maintain an academic blog to document the progress of the on-going project . For Fall and Winter Quarters the students will produce a work-in-progress screening. In the spring, the students will organize a campus-wide screening and prepare the film for festival submission. This program is ideal for responsible, enthusiastic and self-motivated students with an interest in developing and reflecting on a substantial project over a substantial period of time.		Sarah Williams		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Student-Originated Studies: Theory and Practice in the Visual Arts Evan Blackwell aesthetics art history education visual arts Signature Required: Spring	SOS	JR–SRJunior–Senior	16	16	Day			S 14Spring		This program is for intermediate to advanced students who are ready for intensive full-time work in theory and practice in the visual arts. Students will design their own projects, complete visual research and write papers appropriate to their topics, share their research through presentations, work intensively in the studio together, produce a significant thematic body of work, and participate in demanding weekly critiques. The program will provide opportunities for independent work while providing a learning community of students with similar interests. Beyond art making and visual research, this program will also provide opportunities for professional development for students who are thinking of graduate school, professional work in the visual arts, visual arts internships, or arts education at any level.	visual arts, museum studies, arts administration, public art, arts organizations, art education and design.	Evan Blackwell		Junior JR Senior SR	Spring	Spring
Therapy Through the Arts (daytime) Gilda Sheppard and Carl Waluconis art history communications education literature media arts media studies psychology sociology visual arts writing	Program	FR–SRFreshmen–Senior	8, 16	08 16	Day				Su 14 Full Summer	This program will explore the role that movement, visual art, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks. Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer. Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training.		Gilda Sheppard Carl Waluconis	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Therapy Through the Arts (evening) Gilda Sheppard and Carl Waluconis art history communications education literature media arts media studies psychology sociology visual arts writing	Program	FR–SRFreshmen–Senior	8, 16	08 16	Evening				Su 14 Full Summer	This program will explore the role that movement, visual art, music, and media can play in problem solving and in the resolution of internalized fear, conflicts, or blocks. Through a variety of hands-on activities, field trips, readings, films/video, and guest speakers, students will discover sources of imagery, sound, and movement as tools to awaken their creative problem solving from two perspectives—as creator and viewer. Students interested in human services, social sciences, media, humanities and education will find this course engaging. This course does not require any prerequisite art classes or training.		Gilda Sheppard Carl Waluconis	Mon Tue Wed Thu	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer
Undergraduate Projects in Critical and Creative Practices Naima Lowe, Shaw Osha (Flores), Kathleen Eamon and Joli Sandoz African American studies art history communications cultural studies gender and women's studies literature media arts media studies moving image visual arts writing Signature Required: Fall Winter Spring	Program	SO–SRSophomore–Senior	V	V	Day, Evening and Weekend	F 13 Fall	W 14Winter	S 14Spring		This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. (social and political philosophy, aesthetics, philosophy of art) has interests in German idealism (Kant and Hegel), historical materialism (Marx, 20 C Marxists, and critical theory), and psychoanalysis (Freud and Lacan). She is currently working on an unorthodox project about Kant and Freud, under the working title “States of Partial Undress: the Fantasy of Sociability.” Students working with Kathleen would have opportunities to join her in her inquiry, learn about and pursue research in the humanities, and critically respond to the project as it comes together. In addition to work in Kantian aesthetics and Freudian dream theory, the project will involve questions about futurity, individual wishes and fantasies, and the possibility of collective and progressive models of sociability and fantasy. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes. (visual art) works in painting, photography, drawing, writing and video. She explores issues of visual representation, affect as a desire, social relationships and the conditions that surround us. She is currently working on a project based on questions of soul in artwork. Students working with Shaw would have opportunities to learn about artistic research, critique, grant and statement writing, website design, studio work and concerns in contemporary art making. (creative nonfiction) draws from experience and field, archival and library research to write creative essays about experiences and constructions of place, and about cultural practices of embodiment. She also experiments with juxtapositions of diagrams, images and words, including hand-drawn mapping. Students working with Joli will be able to learn their choice of: critical reading approaches to published works (reading as a writer), online and print research and associated information assessment skills, identifying publishing markets for specific pieces of writing, or discussing and responding to creative nonfiction in draft form (workshopping). Joli’s projects underway include a series of essays on place and aging; an essay on physical achievement and ambition; and a visual/word piece exploring the relationship of the local to the global. Please go to the catalog view for specific information about each option.		Naima Lowe Shaw Osha (Flores) Kathleen Eamon Joli Sandoz		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Undergraduate Projects in Critical and Creative Practices with N. Lowe Naima Lowe African American studies art history communications cultural studies gender and women's studies media studies moving image visual arts Signature Required: Fall Winter Spring	Research	SO–SRSophomore–Senior	V	V	Day, Evening and Weekend	F 13 Fall	W 14Winter	S 14Spring		This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. (experimental media and performance art) creates films, videos, performances and written works that explore issues of race, gender, and embodiment. The majority of her work includes an archival research element that explores historical social relationships and mythic identities. She is currently working on a series of short films and performances that explore racial identity in rural settings. Students working with Naima would have opportunities to learn media production and post-production skills (including storyboarding, scripting, 16mm and HD video shooting, location scouting, audio recording, audio/video editing, etc) through working with a small crew comprised of students and professional artists. Students would also have opportunities to do archival and historical research on African-Americans living in rural settings, and on literature, film and visual art that deals with similar themes.		Naima Lowe		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Undergraduate Projects in Critical and Creative Practices with Shaw Osha Shaw Osha (Flores) aesthetics art history visual arts Signature Required: Fall Winter Spring	Research	SO–SRSophomore–Senior	V	V	Day	F 13 Fall	W 14Winter	S 14Spring		This is an opportunity for students to work with faculty from a diverse set of disciplines on creative and scholarly projects. Students will come away with invaluable skills in library and archival research practices, visual arts studio practices, laboratory practices, film/media production practices, critical research and writing, and much more. Critical and Creative Practices is comprised of a diverse group of artists, theorists, scientists, mathematicians, writers, filmmakers and other cultural workers whose interdisciplinary fields of study sit at the crossroads between critical theoretical studies and creative engagement. (visual art) works in painting, photography, drawing, writing and video. She explores issues of visual representation, affect as a desire, social relationships and the conditions that surround us. She is currently working on a project based on questions of soul in artwork. Students working with Shaw would have opportunities to learn about artistic research, critique, grant and statement writing, website design, studio work and concerns in contemporary art making.		Shaw Osha (Flores)		Sophomore SO Junior JR Senior SR	Fall	Fall Winter Spring
Woodcarving and Mask Making, Beginning Joseph Tougas and Alexander McCarty Native American studies art history cultural studies visual arts	Course	FR–SRFreshmen–Senior	4	04	Weekend				Su 14 Session I Summer	Evergreen Faculty Joe Tougas and Makah master carver Alex McCarty will lead this first in a two course series on wooden mask carving, focusing on the local cultural perspectives of mask making. Students will explore regional Northwest Native styles and form-line design, and masks from other world traditions as inspiration to their own mask concepts and designs. Students will carve their own masks, each one unique to the individual's identity, culture and/or personal creative expression, using both contemporary and traditional Northwest coast carving tools. This first course in the series will include developing original designs and basic mask carving skills.		Joseph Tougas Alexander McCarty	Fri Sat Sun	Freshmen FR Sophomore SO Junior JR Senior SR	Summer	Summer

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