The Industrial Art Outreach Program is a unique program that is sponsored by the College of Arts and Letters and the School of Music at Kennesaw State University. The program was created by the college in 1997, and it is committed to promoting and supporting industrial art activities, art education, and the preservation and development of industrial arts as an academic discipline.
The Industrial Art Outreach Program provides workshops, outreach programs, lectures, and performances for students, faculty, staff, local schools and community groups. The faculty members who teach classes in industrial art also provide expertise as consultants to design firms and industry. The program has also worked with Cobb County Public Schools to create an industrial arts certification program for students who wish to pursue careers in this field.
Workshops offered by the program include contemporary sculpture; jewelry making; woodworking; welding; leather working; photography; printmaking; kiln casting; painting on glass; ceramics; model making; creative writing/storytelling; fine art/industrial design portfolio reviews (photography); professional development seminars (personal branding); career exploration (careers in industrial arts); graphic design portfolio reviews (including Adobe Photoshop); digital video production (including Sony Vegas Pro); interviews on current issues (video plus discussion).**
To learn more about
The Industrial Art Outreach Program (IAOP) was a program administered by the National Endowment for the Arts (NEA) from 1974 through 1982. Its purpose was to help artists and arts organizations in the United States better understand and take advantage of emerging opportunities in industrial settings.
The IAOP began through a series of workshops held at the Center for Advanced Visual Studies at MIT. Artists who attended these workshops became interested in how they might be able to use their talents and skills within a working industrial setting, and they began to apply their ideas to various firms throughout the country.
The NEA then realized that it could play an important role by providing funding for additional workshops, conferences, and publications on such issues as how artists and arts organizations might find ways to bridge the gap between themselves and industry. The NEA also provided funds so that IAOP participants could fly out to industry sites to give presentations on what they had learned.
The Industrial Art Outreach Program, also known as IAOP is an art program for high school students in the suburbs of Kansas City. I am a high school art teacher who has been at Blue Springs South High School for the last three years. We received a grant in 2016 to develop this program and it has been a great success. Students find unique ways to express themselves through art in a variety of media while learning skills they can use throughout their lives.
Industrial Art Outreach Program (IAOP) is an outreach program that provides art supplies and support to high school students with disabilities. The program offers high school students with disabilities the opportunity to explore their creative abilities by designing and creating artwork using a variety of media.
Scripts for the IAOP are available for download below. These scripts are designed for adults with visual, hearing or physical disabilities. The scripts were created using a combination of accessible software such as Microsoft Word, JAWS, ZoomText, and Window-Eyes. Some of the scripts were also reviewed by a number of individuals with disabilities to ensure they met the needs of their community.
The hope is that these accessible scripts will help you create accessible art presentations to perform at your local schools, community centers and other events. The IAOP is meant to educate people about what it means to be an artist with a disability. It is also meant to encourage children and adults alike to explore their creative abilities._ ______________________________________________
Name:How should I teach my children about disability?
How can you help?
First and foremost, by becoming a patron of the arts. Your donation will make it possible for me to continue creating industrial art, and in doing so, help raise awareness among people of all ages, professions and walks of life of how engineering and technology affects their lives.
T-shirts, posters and prints are available for purchase on the website; please check out the rewards section for more information.
I welcome commissions from any group or individual who would like to have an industrial art piece created. Please email me at contact@industrial-art.com for details.
A small sample of my work:
Industrial art is a way of making art that is inspired by the industrial past but also uses the tools and materials of the present.
Artists incorporate industrial materials into their work, such as metal, wood, and rubber in combination with newer technologies like video and digital photography.
The concept of “industrial art” was first introduced in the early 20th century by artists associated with the Bauhaus—including Lyonel Feininger, Walter Gropius, and Georg Muche—to describe art made from industrial materials and processes. In fact, many of the Bauhaus artists were also designers for industry, so their work straddled both fine and decorative arts. The term was also used to describe some Pop Art pieces reminiscent of advertising or commercial illustration of the 1930s to 1950s.
Artists experimenting with this approach at the time included Ed Ruscha, Robert Morris (artist), Kenneth Noland, Claes Oldenburg, Man Ray, Sam Francis, Robert Rauschenberg (artist), Andy Warhol (artist), Roy Lichtenstein (artist) , James Rosenquist and Jasper Johns. A fictionalized account of Johns’ artistic development suggests that he coined the term “industrial painting” while drinking with Rauschenberg at Helen Frank
In the late 1990s I worked for a company that was doing a large installation at the former Motorola plant in Austin, Texas. The project involved a carefully choreographed evening filled with ambient music and very loud machines.
The installation was part of an elaborate public relations effort to promote an art exhibition in the lobby of what had been a union hall. The intent was to evoke the plant’s history of mass production and assembly line efficiency, but with a kind of glorified nostalgia that transcended mere crass commercialism.
The sound installation was sealed off from the lobby by a curtain. It consisted of eight loudspeakers mounted on stands, each with its own amplifier and pitch controller. The pitch controllers had been designed by the composer, who was not there for the install, so I was responsible for making sure they worked.
The amplifiers were all connected to one control computer, which also controlled when each speaker would play (based on where you were in the space), and how loud it would be (based on how close you were). The sound designer wanted as much variation as possible, so we had programmed little variations into every channel; chirps and blips and other random sounds would play between notes on each channel. And I had programmed one additional thing: if
