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Continuing Education

Academics . Foundation . Faculty

Foundation Faculty

Josť Carlos Teixeira

Josť Carlos Teixeira

Title Champney Family Professor of Art
Department Foundation
Phone 216.421.7000

Courses  Charette: Self + Other Voices | Issues in 20th & 21st Century Art | The Artist & Social Practice

Degree MFA, Interdisciplinary Studio, University of California Los Angeles; BFA, School of Fine Arts, University of Porto (Portugal)

José Carlos Teixeira is currently the Champney Family Visiting Professor at Case Western Reserve University Art History department, and at the Cleveland Institute of Art. His interdisciplinary work involves primarily video-essay, photography, installation, text, and performance. Notions of identity, otherness, language, boundary, exile and displacement, are recurrent themes in his creative and theoretical investigation. Through performative strategies, his pieces explore issues related to locational identity, global diaspora, the limits (or overlapping) of personal and social territories, and the definition of physical and psychological spaces. They attempt to generate not a set of conclusions, but a continuous process of inquiry. Usually coming from a subjective and contextual approach, the artist focuses on collaboration, participation, and dialogue, therefore incorporating multiple voices into his moving image projects.

His work has been shown in exhibitions, festivals, and screenings both in Europe (Portugal, Spain, France, Belgium, Germany, UK, Norway, Sweden, Russia, and Lithuania) and in the USA (New York, Boston, Los Angeles, Cleveland, Atlanta, Tucson, Madison, to name a few), as well as in Brazil, Singapore, China, Mozambique, Angola, and South Africa. Teixeira has been the recipient of the Fulbright Grant, Gulbenkian Foundation Grant, UCLA Fellowship, Samuel Booth Award, D’Arcy Hayman Award, Fuso Video Festival Jury Prize 2011, and the 2005 EDP New Artists Prize nomination. In 2008-09, he was a fellow at the Akademie Schloss Solitude in Stuttgart, and he recently developed residency projects at the MacDowell Colony (NH), and the Headlands Center for the Arts (CA).

Mary Jo Toles

Title Professor
Department Foundation
Phone 216.421.7329

Courses  Digital Color | Digital Imaging II: Large Format | Digital Photo Imaging I | Image, Narrative, and Sequence | Photo: Alternative Processes | Visual Organization + Media

Degree MFA, School of the Art Institute of Chicago; BFA in Photography and Design, Cranbrook Academy of Art

Professor of Photography and Digital Imaging at the Cleveland Institute of Art, Toles has contributed in her field as an arts educator for over two decades. Recognized for her development of experimental processes related to high-voltage photographic imagery, she is an inventive contributor in her field. Her work can be located in collections nationally, including the John D. and Catherine T. MacArthur Foundation, Museum of Contemporary Photography, Chicago, First National Collection in Chicago, State of Illinois, State of Florida. Her work has been published in the US, Japan and Germany. Exhibitions include the Corcoran Gallery, Washington D.C, Boston Photographic Resource Center, SPACES Gallery, MOCA-Cleveland, and the Kohler, Akron, Cleveland, Columbus, and Grand Rapids Art Museums. Current work engages digital print technologies with early nineteenth century photography and optics, often combining photographic images with sculptural components. She creates digital negatives from an assortment of optical equipment and inventions, coupling these with unique alternative processes for both chemical and digital output. Inspired by her experiences in Provence, heart of photography’s early inventions, with a love of art, science, and critical thinking, she is an alchemist among photographers, with a desire to engage the multidisciplinary scope and interconnections inherent in this media.

Prof. Toles is a recipient of Ohio, Florida and Illinois Arts Council Individual Artist Fellowships and National Endowment for the Humanities project grant. She represented the state of Ohio as an Artist in Residence at Cimelice, in the Czech Republic.

Christian Wulffen christianwulffenart01.jpgwulffenchristiannsvcfall20123.jpg

Christian Wulffen

Title Professor
Department Foundation
Phone 216.421.7931

Courses  Aesthetics, Style, and Content | BFA Production + Independent Research: Research + Production. | Charette: Self + Other Voices | Drawing I | Drawing II | Systems Drawing | The Rhetorical Object: Conceptual Constructions

Degree Freie Kunstschule (Independent Art School) Nurtingen (Germany)
Academy of Fine Arts at the Staatlicen Akademie der Bildenden Kunste (State Academy of the Fine Arts), Stuttgart (Germany) MFA

Christian Wulffen has been an Associate Professor since 2003.

He has a solo exhibition on display at Galerie Reinhold Maas in Germany from February 15-April 5.

Artist Statement:

I am concerned with how artists achieve knowledge and how they structure knowledge. This intersects with my concern as a teacher and artist, to encourage participants to reflect on the processes that an artist goes through--for example, an intuitive creative thinking process, intentional purposeful engagement, and adherence to a model or system.

These thought processes can be contextualized further by situating them within larger theories of knowledge production, as outlined by W. J. T. Mitchell: “semiotics, structuralism, deconstruction, system theory, speech at theory, ordinary language philosophy and now image science or critical iconology”.

To convey this notion of action as a mode of knowledge production, I use specific symbols for my work, one of these: boards that are pre-manufactured with three vertical slots and one horizontal slot (plywood).

From the viewer’s perspective, the board has the option to hold various information. From my perspective, I see this as a concept to display information to exercise the different links in its display from one board to another. My environment is a grid—one of the hallmarks of modernist abstraction and capable, as a visual symbol, of signifying a whole system of art production and thought. This idea is depends on the perspective of the viewer and how that viewer is situated in a distributed network of production and reception of the information about this subject.

Crucially for me, the painting, the paper, and the board (as in my recent production), simulate the portability of information. I am interested in its mobility as a sign in which sender and recipient receive the same information but decode it differently depending on their respective environments.

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