Results for ARTSTUDI

This seminar is offered in conjunction with the annual "Arts Immersion" trip to New York that takes place over the spring break and is organized by the Stanford Arts Institute (SAI). Enrollment in this course is a requirement for taking part in the spring break trip. The program is designed to provide a group of students with the opportunity to immerse themselves in the cultural life of New York City guided by faculty and SAI staff. Students will experience a broad range and variety of art forms (visual arts, theater, opera, dance, etc.) and will meet with prominent arts administrators and practitioners, some of whom are Stanford alumni. In the seminar, we will prepare for the diverse experiences the trip affords and develop individual projects related to particular works of art, exhibitions, and performances that we'll encounter in person during the stay in New York. Class time will be divided between readings, presentations, and one studio based creative project. The urban setting in which the various forms of art are created, presented, and received will form a special point of focus. A principal aim of the seminar will be to develop aesthetic sensibilities through writing critically about the art that interests and engages us and making art. For further details please visit the Stanford Arts Institute website: https://arts.stanford.edu/for-students/academics/arts-immersion/new-york/

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.

Moving Image 1 offers an introductory exploration of the dynamic field of video from an art practice perspective. This course comprehensively examines the history, medium, and contemporary techniques employed in image sequences, encompassing video art, animation, and generative video. Students will develop a foundational understanding of the compelling nature of storytelling through the integration of image and time and acquire a critical perspective of the power of moving images. Throughout the course, we will traverse significant milestones in the field, ranging from Eadweard Muybridge's groundbreaking work with The Horse in Motion to immersive Augmented Reality experiences and beyond. Students will actively engage with diverse artistic mediums, including flipbooks, stop motion, .gifs, video recording and editing, digital animation, and generative video. Moving Image 1 offers an inviting entry point for students to explore and appreciate the transformative potential of moving images while fostering their creative storytelling abilities, media literacy, thought-provoking experimentation, and creative problem-solving. No prerequisites are required to enroll in this introductory art course

The course is an immersive exploration of the creative possibilities offered by interactive media, focusing on integrating video, sound, and physical elements to construct captivating worlds and experiences. Students will learn the fundamental principles of storytelling, spatial design, sound design, and interactive technologies and apply them to create engaging and interactive installations. This course provides a unique opportunity to delve into installation art, projection mapping, Touch Designer, and Arduino circuits and sensors. Throughout the course, students will gain hands-on experience designing and developing immersive environments, learning how to construct interactive narratives, incorporate soundscapes, and employ cutting-edge technologies. They will explore the power of projection mapping to transform physical spaces, understand the capabilities of Touch Designer for building interactive video and sound systems, and harness the potential of Arduino circuits and sensors to integrate physical elements into their installations. Prerequisites: None. This course is open to students interested in creative media, art, storytelling, and technology. Basic familiarity with multimedia tools and concepts is beneficial but not required.

Relief printing, being one of the oldest forms of printmaking techniques, involves inking a carved block or plate on its non-recessed surface and then transferring it onto paper. Throughout this introductory course, we will examine examples dating back to 9th century China up to the present, exploring a diverse range of possibilities ranging from traditional to contemporary styles. Students will acquire proficiency in various techniques, including linoleum and wood, while also having the opportunity to explore unconventional materials. Class time will encompass demonstrations, presentations, critique sessions, and dedicated independent work time. Students should anticipate creating two editions of their prints and participating in a class print exchange.

Students use electronics and software to create kinetic and interactive elements in artwork. No prior knowledge of electronics or software is required. Students learn to program the Arduino, a small easy-to-use microprocessor control unit ( see http://www.arduino.cc/ ). Learn to connect various sensors such as light, motion, sound and touch and use them to control software. Learn to interface actuators like motors, lights and solenoids to create movement. Learn to connect the Arduino to theMAX/MSP/Jitter programming environment to create media-intensive video and audio environments. Explore the social dimensions of electronic art. (lower level)

Focus is on the art of portraiture and underlying structures of the face, fundamental anatomical elements such as the skull and muscles of facial expressions, and the intersections between human anatomy and art. Studio sessions incorporate plastic models, dry bones, cadaveric specimens, and live models. Encourages use of proper anatomical terminology for describing structures and their relationships.

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 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.

In this class students will explore various techniques of etching (or intaglio) on zinc plates such as, hard ground, soft ground, aquatint, marbling aquatint and sugar lift, through an electrolytic process that uses no acid but sulfates and very low electrical power (1.5 V or the same as a AA battery). This process is much less toxic that the traditional etching with nitric (which produces toxic fumes) or ferric acid (difficult to clean). These techniques will be complemented by other ones that can be mixed with etching such as photocopy transfers, Chine collé (attaching a different color paper between plate and main paper), and mono-printing. Etching/Intaglio (making a mark under the surface of the plate) is one of the most tactile and elegant forms of printmaking. The plate leaves a 3-D line mark and embossed marks in the deep etched areas as well as at the edges of the plate. Many major artists have left memorable images by working in this medium (Rembrandt, Goya, Kathe Kollwitz, Eduard Munch, and many others) influencing many contemporary artists.

Traditional and non-traditional approaches to sculpture production through working with materials including wood, metal, and plaster. Conceptual and technical skills, and safe and appropriate use of tools and materials. Impact of material and technique upon form and content; the physical and expressive possibilities of diverse materials. Historical and contemporary forming methods provide a theoretical basis for studio work. Field trips; guest lecturers.

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.

How can we use virtual reality systems to create powerful, beautiful and socially engaged artworks? Is it possible to use technically sophisticated (and sometimes frustrating) tools to share our unique personal visions? What can working in virtual reality teach us about our embodied reality and sense of presence? How might we question the hype and techno-utopianism surrounding VR, by using the medium itself? What is left out of the current conversation around VR that you would like to explore?In this introductory studio art course, students will learn to create artworks using virtual reality systems. We will use the HTC Vive, Oculus Rift, and Daydream VR headsets, as well as more accessible phone-based augmented reality systems to explore this medium. Through lectures and research presentations, we will familiarize ourselves with the artistic history of VR - from foundational works from the 1990's through current examples - in order to inform our own work. Students will become familiar with the fundamental studio art practice of analyzing and critiquing their own and others' projects. Learning to analyze artwork in turn helps students create works with more emotional and conceptual impact. While there are no official prerequisites for this course, familiarity with any kind of scripting language or coding environment will be helpful as Unity will be used as the main authoring environment.

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.

The course combines the critical analysis of cell phone photography with the creation of photographic art works that explore this specific medium's experimental, social and documentary potential. The increasing ubiquity of cell phone photography has had a widespread impact on the practice of photography as an art form. We will consider and discuss the ways in which the platforms of cell phone photography (Instagram, Snapchat) are democratizing image-making and transforming notions of authorship and subjectivity to an unprecedented extent, but also how the use of new technological tools help expand notions of creativity and aesthetic standards.

In this WIM course, students develop writing skills specific to the Art Practice discipline, including Artists Statements, Research Statements, and Grant Proposals, which are required of all professional artists. These written materials are created in tandem with a paired body of exploratory artwork which the texts elucidate and inform. Through iterations of writing and artworks, students experience how each of these practices, writing about artwork and making artwork, refine and advance each other. Students leave this course with an articulated artistic vision, an understanding of the specific context in which they see their work developing, and a set of research questions on which to base future bodies of work. The critical thinking, writing, research techniques and artistic materials developed in this course will prepare students for the more self-directed work required in the 200 level studio courses and in the Major Capstone course leading to the majors senior exhibition. This course also prepares all Art Practice majors to produce the written and portfolio materials required for our honors application (an Artists Statement, Work Proposal and Portfolio), should they desire to do so.

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)

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 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.

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 sculpture course offers instruction in various methods of mold making including one and two part plaster molds, one time throw away molds, flexible molds, mother molds, simple body casts and casting in hydrocal plaster, wax, and clay. Students use mold making and casting to create elements in artwork. Students bring objects they desire to cast or make a form in clay. Understanding how to select an object to mold that is compatible with each process as well as size limitations for each process. (No hot metal casting in this course). Priority given to students who have taken Sculpture I.

Builds upon 151. Installation and non-studio pieces. Impact of material and technique upon form and content; the physical and expressive possibilities of diverse materials. Historical and contemporary forming methods provide a theoretical basis for the studio work. Field trips; guest lecturers. (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.

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.

This course explores contemporary practices of portrait photography, examining its history and discourse on representations of race, gender, class, and sexuality. We look at the complexities of portraiture in terms of skill sets and processes, aesthetics and styles, ideology and identity, while engaging with such dualities as private/public, professional/amateur, and traditional/innovative. At a time when pictures are being produced and disseminated in unprecedented proliferation, we look into the pursuit of constructing meaning beyond pose and persona. 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. Prerequisite: ARTSTUDI 170 or ARTSTUDI 171 or ARTSTUDI 173E or equivalent.

The documentary image has constituted a keystone of the photographic medium since the earliest days of its existence. In this class, we approach documentary photography from a contemporary perspective and in a context of active engagement with the world we inhabit. What do the ethics and aesthetics of documenting reality involve in an era when the instant representation of ourselves and our environment has become routine daily procedure? How can today's visual documentarian meet the challenge of creating work that meaningfully and critically relates to the complex global issues and struggles defining the current historical moment? 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. Prerequisite: ARTSTUDI 170 or ARTSTUDI 171 or ARTSTUDI 173E or equivalent.

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.

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.

Weekly seminars, studio practice, and individual tutorials. Student work is critiqued on issues of identity, presentation, and the development of coherent critical language. May be repeated for credit. Restricted to M.F.A. studio students only.

Weekly seminars, studio practice, and individual tutorials. Modes of conceptualization to broaden the base of cognitive and generative processes. May be repeated for credit. Restricted to M.F.A. studio students only.

CPT course required for international students completing degree.