Contemporary Crafts

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Contemporary Crafts CONTEMPORARY CRAFTS Create objects with CAREERS EMPLOYERS a purpose. Arts administrator California State University Long Beach Art critic Ceramics Monthly In our new Contemporary Crafts program, Ceramicist Corning Museum of Glass you’ll work in clay, glass, fiber, metal, and Entrepreneur Diamond Cellar nontraditional materials to create highly Exhibition designer Dichotomie crafted pieces that will inspire ideas for Festival artist Lexington Glassworks exhibition and/or mass production. You’ll Gallery director Martha Sullivan Jewelry dive into digital practices and learn about Gallery owner Megs LeVesseur Pottery a variety of production techniques to make Glassblower North Coast Post objects that impact society, economy, and Jewelry designer Stockton University culture. People will purchase, wear, use, Museum curator Stony Brook University exhibit, and write about what you do. You will graduate with studio, conceptual, and business experience, ready to enter the field of contemporary crafts as a thoughtful, skilled, and engaged maker. Our graduates go on to work as jewelry designers, ceramicists, glassblowers, entrepreneurs, festival artists, arts FACILITIES You'll have access to: administrators, art critics, museum » Fully equipped ceramics studio, including mixers, extruders, slip tanks, slab rollers, and curators, exhibition designers, gallery kilns that include gas, electric, salt, and raku directors, and owners. » Glass studio that’s equipped for hot and cold work and includes color and clear tanks, casting equipment, large annealers, lapidary wheels, and a diamond bandsaw » Jewelry studio with individual benches for student use, each with a flex shaft, and a lab that includes forming and raising tools, casting equipment, rolling mills, sandblasters, and soldering stations » Tool room with common hand tools for fabrication, stone setting, and mold making 60 Cleveland Ave. Columbus, OH 43215 614.222.3261 | 877.997.CCAD (2223) ccad.edu @ccadedu [email protected] @ccadedu ccadedu Course Requirements FIRST YEAR COURSES: 1Y STANDOUT ALUMNI [This chart reflects Fall 2017 – Spring 2018 requirements and is subject to change.] PROGRAM COURSES Required: FINE2203 Ceramics Introduction Survey 1Y FINE2205 Glass Introduction Survey FINE2206 Jewelry Introduction Survey INDUS2201 CADD CRFT2100 Craft Identities CRFT3100 New Craft Paradigms CRFT3200 Craft Production Techniques CRFT3300 Virtual Craft MEGAN MATHIE CRFT4100 Craft Senior Seminar Class of 2006 CRFT4200 Craft Senior Portfolio CRFT4300 Craft Thesis Megan Mathie is a well-respected glassblower, known Choose 1 course from: FINE3203 Ceramics Intermediate Workshop for her Happy Thought Bubbles. She came to CCAD FINE3205 Glassblowing Intermediate Workshop on the recommendation on her high school art teacher FINE3206 Jewelry Intermediate Workshop and quickly found an interest in glass. Meg said she Choose 1 course from: FINE4203 Ceramics Advanced Studio I gained a great academic foundation at CCAD and also FINE4205 Glassblowing Advanced Studio I FINE4206 Jewelry Advanced Studio I found meaningful skills and experiences outside Choose 1 course from: FINE4303 Ceramics Advanced Studio II the classroom. FINE4305 Glassblowing Advanced Studio II “I truly gained great skills by being involved in student FINE4306 Jewelry Advanced Studio II Choose 12 additional credits: Art/design electives-studio courses from CORE or any major life,” she said. “I learned a lot about communication and organization by working with student groups and CORE COURSES extracurricular programming.” Required: CORE1019 Introduction to Contemporary Craft 1Y CORE1030 SOSA Studio Art and Entrepreneurship 1Y Beyond running her shop, Meg also works at the Corning CORE1110 Drawing Methods I 1Y Museum of Glass, where she is a Hot Glass Show CORE1120 Visual Literacy I 1Y Demonstrator and Narrator. CORE1221 Visual Literacy II 1Y Choose 2 courses from: CORE2/3XXX CORE Electives Choose 1 course from: COREXXXX CORE Practicum CORE LIBERAL ARTS COURSES Required: ARTH1132 Modern to Contemporary Art and Design 1Y ARTH 1133 Historical Art and Design LIBA1290 Writing and the Arts 1Y LIBA1510 Introduction to Philosophy LIBA2802 Business Math 1Y Choose 3 credits from: Advanced Art History Advanced Writing Literature Physical or Life Science Social Science Choose 9 additional credits: LIBAXXXX CORE Liberal Arts Electives CREDIT HOURS PROFESSIONAL RESOURCES Program Requirements: 42 CORE Studio Requirements: 36 » American Craft Council CORE Liberal Arts Requirements: 42 craftcouncil.org Total: 120 » Arrowmont School of Arts and Crafts arrowmont.org » Houston Center for Contemporary Craft » Penland School of Crafts » Surface Design Association » Craft Alliance Center of Art + Design crafthouston.org penland.org surfacedesign.org craftalliance.org » Museum of Arts and Design » Pilchuck Glass School » Textile Center » Center for Craft, Creativity & Design madmuseum.org pilchuck.com textilecentermn.org craftcreativitydesign.org » National Council on Education for the » Society of North American Silversmiths » Textile Society of America » Haystack Mountain School of Crafts Ceramic Arts (NCECA) silversmithing.com textilesocietyofamerica.org haystack-mtn.org nceca.net » Society of North American Goldsmiths » World Craft Council » Glass Art Society » Ohio Craft Museum + Ohio Designer Craftsmen snagmetalsmith.org wccna.org glassart.org ohiocraft.org.
Recommended publications
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  • The Corning Museum of Glass Annual Report, 2006
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  • People Summer 2011
    FYI: People Summer 2011 and services. They are the mainstay of our businesses. If our customers are in trouble, we are in trouble. Do we have a responsibility to assist them for our sake? De we have a responsibility to help them for the continuity of religion as the world has known it? Many of the older studios would not have been established if it were not for the huge church building boom at the turn of the 1900s, after World War II, and the large growth of synagogue building during 1950-1970. I have read the words written by Charles R. Lamb, the second generation owner of the J. & R. Lamb studios, who spoke of “art for the Lord’s sake.” He and his family attended religious services and obvious- ly had a deep understanding of the pur- pose of his work. This image, which appeared in the last issue of The Stained Glass Quarterly, was People reading this letter may have sim- misattributed. This piece is a suspended glass sculpture installation at Strong ilar recollections of their own or previ- Memorial Hospital, University of Rochester Eye Institute, Rochester, New York, and ous owners’ thoughts of religious is by Pike Studios of Rochester, New York. beliefs, which were the underpinnings of their studios. Letter to the Editor recession’s effect in losses of jobs to con- Do we believe we should assist organ- Should or does the future of stained gregants, and congregations’ lower ized religion as it is known today for glass depend upon the future of reli- returns on their investments, and it is just religious reasons or for just simple busi- gion? unpopular to spend money, even if it is ness reasons? Should we assist religions For more than a thousand years, stained there.
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