Department of Art and Design
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In the Department of Art & Design, we understand the creative life. Our challenging and innovative learning environments support creative activity and encourage students to be independent and critical thinkers, life-long learners, and to make connections with communities in the Twin Ports region. Students explore various media and methods under the mentorship of distinguished faculty.
We can show you how to reinvent and renew yourself over a creative lifetime beginning with coursework that will challenge you and prepare you for careers limited only by your own imagination.
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Browsing Department of Art and Design by Subject "Plan Bs (project-based master's degrees)"
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Item Cone Six Oxidation Clay Bodies and Glazes(1973-06) Udenberg, Floyd LItem Considerations of Impermanence in Sculpture(1975-06) Avergon, Eugene BThis paper is concerned with several aspects of impermanent sculpture. The points in question are generalized here. Questions are followed by discussions of specific areas of concern. Material is presented which seems to support my premises. Artists have been included for their personal viewpoints of sculptural impermanence. They do not represent a unified body of work in sculpture, nor a particular school.Item The Development of Form in Jewlery, Prints, and Painting(1968-06) Amundson, Arthur GItem Establishing a Production Pottery(1975-08) Gogerty, GaryMy decision to examine and discuss the problems which the potter faces when trying to start a production studio is based upon my belief that this important area is often omitted from the ceramic programs of many colleges and universities. Neglecting this subject often limits the student's professional choice to a career in teaching because he lacks the experience and training necessary to operate a production studio. The craft community is also at fault because very little specific information is available from craft organizations in regards to the life of a practicing potter. As a result of this lack of information, most students believe the decision to establish a production studio to be simple. Few take the time to carefully examine the situation, its demands and the commitment necessary for a successful operation. This is not to imply that the situation is so demanding that it becomes an impossible task. It is, however, one that requires more than superficial consideration. The aim of this paper is to present some of the problems new professionals encounter, and to discuss, based upon observation and research, the guidelines potters should consider before attempting to establish a production studio. The information presented in this paper was obtained by several methods. Published material provided insufficient and limited information. Therefore a questionnaire was devised and sent, with a letter of introduction, to a number of experienced potters in the United States and Canada. As well as providing a means of obtaining information, the questionnaire served as the basic outline for the body of this paper, and as the format for taped interviews with local production potters. (See appendix) Unfortunately, the written response to these questions was weak. Most of the potters simply refused to take the time to answer the questions adequately. On the other hand, the interviews were informative and provided contrasting views as to their interpretation of the production potter's position in the art community and his problems.Item Grading Art Products and Its Effect on Student Interest in Art(1976-07) Brouse, RossItem The Historical Development of Islamic Lustre Overglazes and Experimentation and Exploration of Modern Methods of Lustre Production(1975-07) Richmond, JohnThe technique of firing a metallic surface onto a glazed ceramic vessel developed and was mastered by the Islamic potter. The technique, referred to as a lustre overglaze decoration, has been admired by potters for centuries. Recently, the overglaze technique has once again become popular. Contemporary potters have found that lustres yield exciting possibilities, yet the wares produced today lack the sophistication of the former Islamic vessels. Unlike the mid-Eastern wares, the overglazes employed on contemporary vessels lack the magnificent overtones of the previous Islamic lustres. As a result, a course of study was undertaken to trace the historical development of the overglazes in Islam as well as to explore and to experiment with modern methods of production in hopes of obtaining results similar to the Islamic lustres.Item Nothing is Incongruous(1972-10) Von Rabenau, CeciliaItem Ovenware Clay Bodies(1970-05) Bayard, Joan MMan has made clay objects and containers since approximately 5000 B.C. One can say that the early pottery was generally functional; clay was the medium for objects of fertility rites to funerary rituals, and toys and games to cooking utensils. Since this paper deals with the functional pot, and ovenware clay bodies in particular, the focus will be on cooking utensils and the various types of clays used. A brief history of pottery cookware, from early to contemporary times, precedes the technical findings of my experiments with ovenware clay bodies. The motivation behind such experimentation is simple; I enjoy making everyday functional pots. I like using pottery, and others seem to enjoy using it also. This then led to the experiments to find the most durable and satisfactory clay body for functional ware.Item Overglaze Colorants for Cone Six Glazes(1968-06) Levine, BenDuring the spring and summer of 1967, as an undergraduate student about to enter graduate school, the problem of writing a paper and having a graduate exhibit was uppermost in my mind. Looking back to my undergraduate studies in ceramics I found it had been quite rewarding and I was not as satisfied with the challenge of decoration. In pottery a truly authentic statement is a challenge. To meet this challenge and develop the creative insights needed, I embarked upon a series of experiments using ceramic coloring oxides. The ceramic colorants were to be used as decorative elements to enhance a particular form. Too often, testing, experimentation, and the various processes of surface involvement have become ends in themselves. Pottery, instead of being expressive, or fitted for its purpose, has been merely the vehicle for a display of dexterity and technique. The artist potter is constantly searching and exploring for new ideas and ways to perpetuate his existence. In this paper I have tried to present a useful exposition of the materials and methods which are available to the studio potter in the development of ceramic colorants to be used as overglaze decorations on pottery. This study has revealed many exciting discoveries that perhaps are known to many. Those of us who have found this direction know that the resolvement of a problem is one of the most important factors in man's existence.Item Referential Art(1976) Belisle, Mark HIn this modest paper I have attempted to allude to the attitudes and references which form a basis for my work. I have refrained not only from discussing specific examples of my work, as seems to be traditional procedure for papers such as tl'1is, but have left myself out of the paper almost entirely, even writing it in the third person. What follows is not a dissertation or a thesis but a series of more or less:. related allusions, hyperboles, and innuendoes, all centered on the problem of the so-called "identity crisis" in modern art. Beginning with a brief discussion of modern art and modern philosophy, the paper in turn touches upon modern art and subjectivity, art and edification, and art and philosophy. It has not been my intention (much less my hope) to write a thorough and definitive paper on these issues; rather, my goal has been to elaborate a bit on my own prejudices.Item Salt Glazing(1973-07) Carlstrom, Laura LThe intent of my paper is first to give a brief historical background on salt glazing from its origin to the present form. Secondly, I would like to explain the process for those who have not experienced the fun of having a salt glaze firing, as well as the advantages and disadvantages. Next, I would like to talk briefly about some modern developments and uses. Finally, I would like to explain my experiments and their results.Item Scraps: An Art Studies Scrapbook(1988-06-10) Brady, Kathy