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undergraduate | courses

Academic Year 2012-2013

LOWER-DIVISION

1 Art in Context: History, Theory, and Practice.  A three-quarter foundation sequence introducing students to a broad range of contemporary art, media, and practices in relation to their twentieth-century cultural and historical antecedents.

1A Art in Context: History, Theory, and Practice (4) F. Deals specifically with contemporary painting and photography. Studio Art majors have first consideration for enrollment. (IV)

1B Art in Context: History, Theory, and Practice (4) W. Deals with film/video/performance. Concerned with the development of modern/contemporary film, video, and performance, with a focus on experimental and avant-garde production from the early twentieth-century to today. Studio Art majors have first consideration for enrollment. (IV)

1C Art in Context: History,


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undergraduate | areas of emphasis

Painting & Drawing
There are two large studio spaces, over 1000 square feet each, utilized for a variety of painting and drawing courses from introductory level to advanced techniques and concepts. Emphasis is not only on production of works but the critical analysis of the subject. Also offered are courses involved in the investigation of contemporary issues in the mediums of painting and drawing by studying works of various modern and contemporary artists and writers.

Performance Art
Basic through advanced level courses build upon the exploration of objects, gesture, action, text, image and media to create narrative or non-narrative works. Elements related to the history and theory of performance art are discussed to illustrate techniques and styles.

Photography
The facility services both black & white and color photography courses with a group laboratory, individual dark rooms, mural


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Sculpture

The sculpture studio encompasses a 2400 square foot wood working and lecture facility, a 900 square foot state of the art welding studio and open yard space for the production of large scale works. A large array of professional tools are available for the creation of complex sculptural elements. Courses range from basic sculpture to advanced level instruction using a variety of mediums including wood, metal and ceramic based sculpture.


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faculty

CORE FACULTY

The Departmental of Art's roster of core faculty reflects the interdisciplinary character of its program. The Department of Art is comprised of a group of artists and arts professionals with an exceptionally broad range of emphases.  While artists with strengths in traditional media are well-represented, many of the department's faculty work across media, in emerging genres and media, in ancillary fields such as exhibition curating and critical theory, as well as in arenas not normally associated with art production, such as education and publishing.  The Department of Art is thus able to privilege both the impulse to bring new creative work into the world as well as the capacity for reflection necessary for understanding its meaning and impact. 


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administration & contact

Email
StuArt@uci.edu

 

Telephone

949-824-4917

 

 

Mailing Address

Department of Art

Claire Trevor School of the Arts

University of California, Irvine

3229 Art Culture and Technology

Irvine, CA  92697-2775

 

 

 

 

 

 

 

 

 

 

 

Contact for incoming and prospective Undergraduate Students

Arts Student Affairs Office

Claire Trevor School of the Arts

University of California, Irvine     

101 Mesa Arts Building

Irvine, CA  92697-2775

Phone: 949-824-4917

Fax: 949-824-4106

Email:


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lecturers

TEMPORARY LECTURERS

2014-2015

Julie Shafer photography | Deanna Erdmann photography

2013-2014

Julie Shafer photography | Karin Mueller photography

2012-2013

Pentti Monkkonnen sculpture | Nicole Belle photography | Claire Philips writing

2011-2012

Jennifer Cool new media | Brett Doar sculpture | Sophie Lee painting | Kristen Thompson photography

2010-2011

Nicole Belle photography | Ginny Bishton drawing | Jennifer Cool new media | Brett


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Yong Soon Min

ysmin@uci.edu

Yong Soon Min’s art practice, inclusive of curatorial projects, engages interdisciplinary sources and processes in the examination of issues of representation and cultural identities, and the intersection of history and memory.  Recent exhibitions highlights include: 10th and 3rd Havana Bienal, Smith College Museum, 7th Gwangju Biennale, Third Guangzhou Triennale, 2007 International Incheon Women Artists Biennale, Pacific Film Archive, The Asia Society and Museum, Kunsthalle Darmstadt, Museum of Modern Art, NY, and Oboro Gallery, Montreal. 

Min's awards include the Fulbright Senior Scholar, Los Angeles Cultural Affairs Dept’s COLA grant, Rockefeller Foundation, Korea Foundation, National Endowment for the Arts and the Anonymous Was A Woman Fund.  Recent curatorial projects include transPOP: Korea Vietnam Remix (Arco, Seoul, San Art & Galerie Quynh, Vietnam, Yerba Buena Art


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Catherine Lord

Catherine Lord, Professor of Studio Art and affiliated faculty, Department of Women’s Studies and Department of Visual Culture, is a writer, artist, and curator whose work addresses issues of feminism, cultural politics, and colonialism.  She is the author of the text/image experimental narrative,  The Summer of Her Baldness:  A Cancer Improvisation (University of Texas Press), the conceptual translation Sa Calvitie, Son Colibri:  Miss Translation (L’une Bevue) and (in collaboration with Richard Meyer), Art and Queer Culture, 1885-2005 (Phaidon Press, 2011). She is at work on a text/image project titled, The Effect of Tropical Light on White Men. Her critical essays and her fiction have been published in Afterimage, Art & Text, Artcoast, New Art Examiner, Whitewalls, Framework, Documents, Art Journal, GLQ, X-tra and Art Paper,


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Simon Leung

leungss@uci.edu

Simon Leung’s foremost concern as an artist is how “the ethical,” broadly defined, can be thought and traced. His projects, in various media, include a rethinking of AIDS and otherness using the figures of the pinprick and the glory hole; meditations on “the residual space of the American/Vietnam War” (comprising works on the squatting body as counter-architecture, military desertion as askesis, and surfing); a video essay on the site/non-site dialectic instigated by Robert Smithson’s reception of Edgar Allan Poe (with a little help from Yvonne Rainer); a reconsideration of Marcel Duchamp’s oeuvre as an discourse in ethics (as seen through Étant donnés); and “squatting projects” in various cities (Berlin, New York, Chicago, Vienna, Guangzhou, Hong Kong), where the squatting body, as a heuristic


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Antoinette LaFarge

alafarge@uci.edu

Antoinette LaFarge makes work that engages with the politics of virtuality, ephemerality, and role play through performance and installation, participatory media, net culture, and fictive art.<--break->She works and teaches using both analog and digital media, and she believes that computational literacy is a necessary part of the contemporary artist's skill set. Recent new media performance and installation projects include Far-Flung follows function (2013) Galileo in America (2012), Hangmen Also Die (2010), WISP (World-Integrated Social Proxy) (2009-10), World of World (2009), Chronovacuum


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