Vick Quezada

As part of this course, students will learn traditional- expanded sculpture techniques, from, assemblage, found object, wood and ceramics. This course is an inquiry into spatial realities through tools, objects, and beyond. The students will begin to critically analyze objects. Scholar Lisa Lowe points out, "artifacts appear to abbreviate the whole course of history into a finite object", while simultaneously refusing to yield this infinite multiplicity." In Material Worlds, students will engage in embodied learning and making that situates them within their worlds and raises questions of existence and social responsibility.

This course integrates performance, sculpture, and histories of queer and feminist art. In this course, students will work in multimodal form to create sculptural objects, or props crafted out of wood, metal, found objects, molds, fabric and incorporate them into self-choreographed movement(s), performances, happenings or political actions throughout the semester. As a method of presentation, students may integrate components of video, sound, site-specific work and installation. We will examine how contemporary artists and activists use their bodies/objects and performances as a tool of subversion, activism, and storytelling. We will look at the important work ranging from ADAPT and the "Capitol Crawl, NYC Ballroom Culture, Marisela Escobedo, ACT UP, Bread and Puppet Theater, artists such as Lorraine O'Grady to trans performance artist Keijaun Thomas. As Diana Taylor coined the term "Acts of Transfer," we can examine the ways in which these artists, groups and students can utilize their bodies to perform an action or series of actions in order to create urgency and attention while transmitting social knowledge, memory, and identity. Keywords:Sculpture, performance, queer, found object The content of this course deals with issues of race and power.

As part of this course, students will learn traditional sculpture techniques as well as expanded sculpture that incorporates Rasquache art, Folk art, readymades, and ceramics. This course is an inquiry into spatial realities where settler colonial history, tools, objects, and human bodies interact. The students will critically analyze objects that have condensed and abridged meanings and histories. Scholar Lisa Lowe points out, "artifacts appear to abbreviate the whole course of history into a finite object", while simultaneously refusing to yield this infinite multiplicity." In Material Worlds, students will engage in embodied learning and making that situates them within their worlds and raises questions of existence and social responsibility. Keywords:Sculpture, Rasquache art, settler colonialism and ceramics

This course integrates performance, sculpture, theory and histories of activism. In this course, students will work in multimodal form to create sculptural objects, or props crafted out of wood, metal, found objects, molds, fabric and incorporate them into self-choreographed movement(s), performances, happenings or political actions throughout the semester. As a method of presentation, students may integrate components of video, sound, site-specific work and installation. We will examine how contemporary artists and activists use their bodies/objects and performances as a tool of subversion, activism, and storytelling. We will look at the important work ranging from ADAPT and the "Capitol Crawl, NYC Ballroom Culture, Marisela Escobedo, ACT UP, Bread and Puppet Theater, artists such as Lorraine O'Grady to trans performance artist Keijaun Thomas. As Diana Taylor coined the term "Acts of Transfer," we can examine the ways in which these artists, groups and students can utilize their bodies to perform an action or series of actions in order to create urgency and attention while transmitting social knowledge, memory, and identity. Keywords:Sculpture, performance, activism, queer