Results for ARTSTUDI

This course is based on the central role of interdisciplinary connections and exchanges in artistic practice. Students will explore the two-dimensional areas of art: painting, drawing, printmaking and photography. They will work on their projects in various area labs, focusing on the translation of concepts across different modes of expression, geared to generate a creative vision beyond traditional media boundaries. Students will also learn how to develop and refine ideas around the design and lay-out of an exhibition and the various ways to document their work as professional artists.

This course is based on the central role of interdisciplinary connections and exchanges in artistic practice. Students study the work of several prominent artists using different three-dimensional media taught in the department's studio program, including sculpture, video and digital art. This is a practically oriented class with a seminar component, which focuses on the translation of concepts across different modes of expression in order for students to develop a creative vision beyond traditional media boundaries. There are no prerequisites for this class.

Functional anatomy and perspective as they apply to problems of drawing the form in space. Individual and group instruction as students work from still life set-ups, nature, and the model. Emphasis is on the development of critical skills and perceptual drawing techniques for those with little or no previous experience with pastels, inks, charcoal, conte, and pencil. Lectures alternate with studio work. (lower level)

Introduction to techniques, materials, and vocabulary in oil painting. Still life, landscape, and figure used as subject matter. Emphasis is on painting and drawing from life. (lower level)

This mixed introductory and upper level studio course explores contemporary aesthetic interpretations of the book as an art object. Students learn to use both traditional and digital tools and techniques for creating artists' books, and integrate those into final works of art. The course familiarizes students with basic bookbinding processes and forms, as well as various modes of printing and production that facilitate limited artist editions. In addition to making books, we view numerous artists' books in the Bowes Art & Architecture Library collection as well as the collection of the instructor, and meet with practicing artists and book makers. Students create a number of small books, each focused on a particular process but using content of their choice. Upper level students propose and create a more fully evolved final project involving at least one bookbinding process independently researched in consultation with the instructor.

The classic technique of printing from limestones and metal plates. Students will learn techniques to draw and etch their imagery onto the stone/plate. The prints will be created in numbered editions. Students will have the opportunity to work in color on a variety of sizes. There will be visits to the campus museum print collection.

This class explores experimental printmaking methods where digital and traditional practices collide. It focuses on the interchange between conventional and new methods of printmaking, and possibilities for the print beyond paper and the flat picture plane in contemporary art. Techniques will be demonstrated in class, and students will pursue projects using these techniques, developing their own conceptual interests. We will explore digital processes using large format printers, as well as digitally augmented traditional printmaking methods such as monoprints, collographs, woodblock and linocut, aided by dye sublimation, vinyl cutting, and 3-d printing. Students will have access to a wide array of both digital and traditional tools, and will develop projects using a combination of methods, resulting in a body of work. Discussions will address the expansive nature of contemporary fine art printmaking.

Textiles lend themselves to be formed and constructed to fit around three-dimensional objects and become a skin to the object within. They can hold materials inside of them, produce imagery, and divide space. This sculpture course investigates fibers and their ability to transform forms and space. Students learn sewing techniques, upholstery techniques, and how to make sewing patterns to create sculptures. Through projects and workshops, students consider the relationships of textiles to the human figure, interior and exterior settings, and traditions in craft.

This studio course will engage coding practices as drawing tools. What makes a good algorithmic composition? How do we craft rule-sets and parameters to shape an interesting work? What changes if we conceive of still outputs, ongoing processes, or interactive processes as the "finished" work? We will look at the history of algorithmic drawing, including analog precedents like Sol LeWitt and other conceptual artists, along with current pioneers like John Simon Jr., Casey Reas, and LIA. Outputs will involve prints as well as screen-based works. Some basic coding experience is helpful, but not required. Assignments are based on conceptual principals that students can engage with at different coding skill levels. This is a good way for non CS students to explore coding practices as well as for CS students to hone their skills. We will work primarily in the free Processing software for our explorations.

This introductory studio course provides a practical and conceptual foundation for students interested in digital, electronic, and interactive art. Students learn basic electronics, creative code, and digital art making techniques culminating in physical artworks and installations. Topics include history, ethics, and philosophy of contemporary art that both use and address emerging technology. The speed and momentum with which digital technology, culture, and policy are evolving creates a need for urgent and constant adaptation and critique. In this course we work to deconstruct the origins of the current technological moment and to rebuild our own visions of the future in the form of original works of art.

Through film and dark room instruction, students learn to use a SLR 35-mm camera and to operate manual settings (focus, aperture, shutter speed). They develop an awareness of light and its various properties and possibilities. Students become familiar with black and white darkroom techniques creating contact sheets and to evaluating prints, make corrections and re-print. They acquire essential knowledge of historical and contemporary black and white art photography, including standards of quality and image sequencing. They get a basic sense of aesthetics and of the critical discourse that exists around the cultural significance of images.

This is an introductory course in photography that explores lens-based practices and the imperative of visual literacy in today's world. The history of photography starts now, in a context of image-making that proceeds all around us with unprecedented immediacy and proliferation. We cover fundamental principles of camera operation, composition and image editing. Through digital instruction, students learn to use DSLR or Mirrorless cameras and to operate manual settings (focus, aperture, shutter speed, ISO, color temp/white balance). They learn basic file management as well as the use of Adobe Lightroom software. Students acquire an essential knowledge of contemporary art photography, including standards of quality and image sequencing. They get a basic sense of aesthetics and of the critical discourse that exists around the cultural significance of images. Students will need a DSLR or Mirrorless camera. A small number of cameras are available for students to use for the quarter if they are unable to provide their own.

This introductory experimental animation and media course will explore color, images, and the remains of our memories to reconstruct, reimagine, and expand ideas of the Westernized archetype of self-portraiture. Where do fiction and autobiography embrace? What does self-portraiture have to do with either? Students will animate their findings using collage, video, drawing, and repetition. We will first gather sounds, memories, found objects, and new experiences to workshop our personal self-portrait. An essay by Toni Morrison, "The Site of Memory", and a variety of experimental media practices will guide us. The final project will be a collaborative installation-performance, using source material created during the class. No prior experience of animation, performance, video, or sound editing is required.

Moving Image II (Artstudi 209) is an advanced course that explores the intersection of emerging media, moving image phenomenology, and art practice. The course is designed for students who have acquired foundational skills in moving image practices, audiovisual installation, and storytelling. Throughout the course, students will experiment with emerging media tools, explore expanded cinema, and practice advanced cinematography techniques to create a personal audiovisual project that challenges conventional storytelling. The class aims to inspire students to think creatively and broadly about the possibilities of video art and explore a range of novel practices, including deep fakes, generative video, game engines, and virtual production tools. Moving Image II focuses on developing a personal final project while experimenting with assignments on emerging technologies. The course encourages provocative experimentation in filmmaking, animation, and real-time video. To enroll in the course, students must have taken Moving Image I (ARTSTUDI 111) or (ARTSTUDI 114) (World Building: Video, Sound and Space). Alternatively, they can obtain permission from the instructor.

Students develop and produce intermedia works. Musical and visual approaches to the conceptualisation and shaping of time-based art. Exploration of sound and image relationship. Study of a wide spectrum of audiovisual practices including experimental animation, video art, dance, performance, non-narrative forms, interactive art and installation art. Focus on works that use music/sound and image as equal partners. Limited enrollment. Prerequisites: consent of instructors, and one of FILMPROD 114, ARTSTUDI 131, 138, 167, 177, 179, or MUSIC 123, or equivalent. May be repeated for credit

Intermediate/advanced. Observation, invention, and construction. Development of conceptual and material strategies, with attention to process and purpose. May be repeated for credit. Prerequisite: 140 or consent of instructor. (upper level)

A dynamic mix of guided writing and drawing assignments, and self-driven studio time. We will get dirty with the ABCs of drawing while playing with freeing constraints and looking closely into the visual dimension of words. Through a spirited, daily practice students will learn how to trust and blast open the art that they uniquely make. Students will create their own semiotic games, word-shapes and poem-pictures. Investigating cross-pollinations, intersections and possibilities as points of departure, we will experiment with inventive tensions between visual and written images. We will look at (and write about) art history as artists.

Lectures highlight the intersections and influences between human anatomy and art. Studio sessions provide an opportunity for students to immerse in anatomically inspired studio projects. Drawing, mixed media, and some painting mediums will be used during the studio sessions. Plastic models, dry bones, cadaveric specimens, and live models will be used for the studio sessions. Class time includes art instruction, creation and feedback. May be repeated for credit. Honing individual style is encouraged; both beginning and advanced students are welcome.

Symbolic, narrative, and representational self-portraits. Introduction to the pictorial strategies, painting methods, and psychological imperatives of Dürer, Rembrandt, Cézanne, Kahlo, Beckmann, Schiele, and Munch. Students paint from life, memory, reproductions, and objects of personal significance to create a world in which they describe themselves. May be repeated for credit. Prerequisites: 140, 145, or consent of instructor. (upper level)

Prerequisite: student must have taken a course with the instructor and/or completed relevant introductory studio course(s). Instructor consent and completion of the Independent Study Form are required prior to enrollment. All necessary forms are required by the end of Week 2 of each quarter. Please contact the Student Services Specialist in McMurtry 108 for more information. May be repeated for credit.

This mixed introductory and upper level studio course explores contemporary aesthetic interpretations of the book as an art object. Students learn to use both traditional and digital tools and techniques for creating artists' books, and integrate those into final works of art. The course familiarizes students with basic bookbinding processes and forms, as well as various modes of printing and production that facilitate limited artist editions. In addition to making books, we view numerous artists' books in the Bowes Art & Architecture Library collection as well as the collection of the instructor, and meet with practicing artists and book makers. Students create a number of small books, each focused on a particular process but using content of their choice. Upper level students propose and create a more fully evolved final project involving at least one bookbinding process independently researched in consultation with the instructor.

This class explores experimental printmaking methods where digital and traditional practices collide. It focuses on the interchange between conventional and new methods of printmaking, and possibilities for the print beyond paper and the flat picture plane in contemporary art. Techniques will be demonstrated in class, and students will pursue projects using these techniques, developing their own conceptual interests. We will explore digital processes using large format printers, as well as digitally augmented traditional printmaking methods such as monoprints, collographs, woodblock and linocut, aided by dye sublimation, vinyl cutting, and 3-d printing. Students will have access to a wide array of both digital and traditional tools, and will develop projects using a combination of methods, resulting in a body of work. Discussions will address the expansive nature of contemporary fine art printmaking.

This course aims to prepare senior Art Practice majors for future artistic careers by developing rigorous practice and critical research and presentation skills. Class engagement includes informal discussions, written reflections, and critiques with professionals in the field. Students will create meaningful work for the Senior Art Exhibition and generate further opportunities for themselves in project funding, residencies, exhibitions, commissions, and graduate education. Course for Art Practice majors only. Art Practice minors may interview for possible inclusion. (upper level)

Prerequisite: student must have taken a course with the instructor and/or completed relevant introductory studio course(s). Instructor consent and completion of the Independent Study Form are required prior to enrollment. All necessary forms are required by the end of Week 2 of each quarter. Please contact the Student Services Specialist in McMurtry 108 for more information. May be repeated for credit.

In this studio course, we explore potentiality and experimentation in contemporary photography to challenge conventions, question definitions, and expand meanings. We approach photography as a strategic tool to subvert, intervene, resist, and bridge dichotomies, while moving beyond general categorizations of body, gender, and identity through an intersectional lens. Students examine queerness within the historical and current expanded field of representation to amplify notions of self, community, and action. This is an intermediate course in photography, with an ongoing emphasis on operating manual camera settings (focus, aperture, shutter speed, ISO, color temp/ white balance). Students continue to work with Lightroom as a file management system, are introduced to Photoshop, and focus on the importance of photo editing/selection and sequencing. Students provide their own (SLR or Mirrorless) camera; software will be provided. Prerequisite: ARTSTUDI 170 or ARTSTUDI 171 or ARTSTUDI 173E or equivalent.

Students will learn how to use large-format 4x5 view cameras and explore the ways in which large-format photography enables the creation of exceptionally clear images on a par with digital imaging. They will develop sheet film and print black-and-white analog images in the darkroom. Specific attention will be given to mastering perspective control and in-camera manipulation of the image. From a historical point of view, the course will analyze and discuss images created with view cameras by a wide range of artists from the early days of photography to the present. Students will put their skills into practice and pursue their own aesthetic by producing a portfolio of images. Prerequisites: ARTSTUDI 170 and ARTSTUDI 171.

The book has been a form to share photographs since the medium's earliest days, offering photographers a way to present their work outside of exhibitions. Developments in digital technology have democratized access to print production, leading to a proliferation of small and independent presses, and generating self-publishing opportunities for artists. In this course, students will explore a variety of book formats, focusing on the relationship between image and text, and learning about do-it-yourself methods for publishing. They will engage with and draw inspiration from historical and contemporary renditions of the photo book. The skills they acquire will be applied toward the conceptualization, design, production and distribution of their own book projects, as well as the collaborative creation of a class publication.This is an intermediate course in photography, with an ongoing emphasis on operating manual camera settings (focus, aperture, shutter speed, ISO, color temp/ white balance). Students continue to work with Adobe Lightroom as a file management system, are introduced to Adobe InDesign, and focus on the importance of photo editing/selection and sequencing. Students provide their own camera (SLR or mirrorless).

Prerequisite: student must have taken a course with the instructor and/or completed relevant introductory studio course(s). Instructor consent and completion of the Independent Study Form are required prior to enrollment. All necessary forms are required by the end of Week 2 of each quarter. Please contact the Student Services Specialist in McMurtry 108 for more information. May be repeated for credit.

Prerequisite: student must have taken a course with the instructor and/or completed relevant introductory studio course(s). Instructor consent and completion of the Independent Study Form are required prior to enrollment. All necessary forms are required by the end of Week 2 of each quarter. Please contact the Student Services Specialist in McMurtry 108 for more information. May be repeated for credit.

CPT course required for international students completing degree.

Professional experience in a field related to the Visual Arts for six to ten weeks. Internships may include work for galleries, museums, art centers, and art publications. Students arrange the internship, provide a confirmation letter from the hosting institution, and must receive consent from the faculty coordinator to enroll in units. To supplement the internship students maintain a journal. Evaluations from the student and the supervisor, together with the journal, are submitted at the end of the internship. Restricted to declared majors and minors. May be repeated for credit.

Led by the Director of Undergraduate Studies in Art Practice, the Honors Seminar provides students the opportunity to create projects for the honors exhibition and complete the written thesis under the guidance of faculty advisors, and assisted with MFA mentors as well as guest critiques from art world professionals. It is geared towards developing a professional practice in the field of fine art.

Students construct an individual tutorial with an instructor selected from the studio art faculty, including visiting artists. The student must take tutorials with at least three different faculty members during the six-quarter program. Prior approval of advisor is required.

Professional practices; preparation of documentation; exhibition and presentation. Restricted to M.F.A. studio students only. May be repeat for credit total units allowed 45 and total completion 6

CPT course required for international students completing degree.