Results for ARTSTUDI

This course is designed to empower arts students to explore their personal and artistic identity, asking: How do I define success and fulfillment? What role will my art play in my professional and personal life? How can I shape the educational experience and career that will serve my long-term goals?nnStudents will also be exposed to various methods and skills from other fields that will be helpful tools in an arts-related career, or any other profession, ranging from branding and promotion, design thinking, and mission-vision strategy. Students will also prepare resumes and an artist biography or cover letter, and create other materials that will assist in the process of job or graduate school applications.

This class will introduce students to both historical and contemporary public art practices and the expression of race and identity through murals, graffiti, site-specific works and performative interventions in public spaces. Involving lectures, guest speakers, field trips, and hands-on art practice, students will be expected to produce both an individual and group piece as a final project.

This hands-on introduction course will introduce students to formal and conceptual visual strategies in expression through a diversity of artistic mediums which may include drawing, digital media, printmaking, photography, performance and sculpture. This course is meant to give students an overview of many of the mediums and facilities that are available in the Art Practice program. Field trips, guest artists.

This class will introduce the student to fundamental techniques in acrylic painting. Beginning with discussions of how to prepare multiple types of supports and surfaces, the class will then delve into a multitude of formulations and mediums that make acrylic media so versatile. Following this students will begin to explore some of the less discussed techniques for image making, such as stenciling, tracing, projecting, line work, and glazing. Along the way students will be instructed on brush selection, and use, and the various brands and uses of particular acrylic media. The course will culminate with two projects utilizing the media and techniques discussed in class. The goal of this course is to produce confident students with the means to apply sophisticated acrylic techniques to diverse situations in multiple disciplines.

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)

Introduction to printmaking using monotype, a graphic art medium used by such artists as Blake, Degas, Gauguin, and Pendergast. May be repeated for credit. Prerequisite: 140. (lower level). May be repeated 2 times for total of 8 units.

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.

Formal elements of visual expression (color, composition, space, and process) through hands-on projects. Two- and three-dimensional media. Emphasis is on originality and inventiveness. Content is realized abstractly. Centered in design; relevant to visual art study and any student seeking to develop visual perception. (lower level)

Critical, theoretical, and practical aspects of creative photography through camera and lab techniques. Field work. Cantor Art Center and Art Gallery exhibitions. Course requires the use of a 35mm camera. The Department will supply if necessary. (lower level)

The ubiquity of cell phone photography has had a widespread impact on the tradition, practice, and purposes of photography, as well as concepts of art and what art should be for. In this class, we discuss the documentarian bent of much cell phone photography, its potential as a component of citizen journalism, the ways in which the environments of these photographs (Instagram, Tumblr) are changing ideas of the image and of authorship, and effects that cell phone photography may be having on us as subjects. Alongside these discussions, students will create works of art utilizing the experimental, documentary, and social potentials of cell phone photography.

The history, practice and technique of creating art online. New ways of thinking about interactivity and technology through individual projects, lectures, group discussion, and direct experience of contemporary Internet Art and its historical roots. Goal is for students to think personally about contemporary technological culture via artistic experiments using the Internet. Topics include technical labs on HTML, CSS, image editing, and animation, and collaborative interventions using social media as a galvanizing force for community projects. Final exhibition organized by the class, challenging students to translate art created online into a gallery space. Field trip to see art exhibitions in the area, as well as the Computer History Museum in San Jose. Virtual travel to online exhibitions; contemporary Internet Artists give experimental lectures and performances via Skype.

Analog electronics and their use in art. Basic circuits for creating mobile, illuminated, and responsive works of art. Topics: soldering; construction of basic circuits; elementary electronics theory; and contemporary electronic art. (lower level)

Contemporary electronic art focusing on digital media. Students create works exploring two- and three-dimensional, and time-based uses of the computer in fine art. History and theoretical underpinnings. Common discourse and informative resources for material and inspiration. Topics: imaging and sound software, web art, and rethinking the comptuer as interface and object. (lower level)

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

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)

Prerequisites: two quarters of painting or drawing and consent of instructor.

May be repeated for credit.

May be repeated for credit.

A collaboration with the Exploratorium in San Francisco. Students investigate and experiment with all aspects of the creation of interactive museum exhibits. On-site exhibit floor sessions and prototyping workshops. Lectures from museum staff on exhibit design. Students design and construct exhibits for temporary placement on the floor of the Exploratorium. To be considered for admission to the course, student must fill out an application form at http://stanford.edu/~edmark/application.htm no later than Nov 30th, 2013.

Student continues with own work, showing it in weekly seminar critiques. May be repeated for credit. (upper level)

For students of photography who wish to gain greater control and refine skills in image making. 4x5 view cameras provided. Enrollment limited to 8. (upper level)

Student continues with own work, showing it in weekly seminar critiques. May be repeated for credit.

May be repeated for credit.

Students use Adobe Lightroom to organize and edit images, manipulate and correct digital files, print photographs, create slide shows, and post to the Internet. How to use digital technology to concentrate on visual thinking rather than darkroom techniques. (upper level). May be repeated 2 times for a total of 8 units.

Students pursue a topic of their own definition. Further exploration of darkroom and other printing techniques; contemporary theory and criticism. (lower level). May be repeated for credit 2 times for a maximum of 8 units.

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.

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

This two part graduate level course is required for all first year JPD students (both MFA and ME students), and open to all MFA Art Practice students. The second quarter of the course is a studio class, which examines our personal relationships to various creative processes (technical, procedural, and conceptual). Our goal is to gain new insights into our creative processes and find new possibilities within our available working methods. We will investigate issues such as constraint, iteration, collaboration, delegation, daily practice, and tools. Assignments such as "handmade-readymade-fablab" will challenge students to work with various processes and conceptual frameworks within single projects. The course will include four major projects, many minor studio exercises, readings, and discussion.

This two part graduate level seminar and studio course is required for second year JPD MFA students, and open to second year JPD ME students and all MFA art practice students. The first quarter of this course examines artists as contextually engaged problem solvers and provocateurs. What strategies have artists used to draw attention to, and drive change regarding issues they care about? How is art used to change habits, shift the directions of cultural discussions, and make the invisible visible? We will study artists and designers who use innovative techniques to these ends such as Merle Ukeles, Krzysztof Wodiczko, Eduardo Kac, Jon Rubin, Amy Franceschini, Alfredo Jaar, Stamen Design (cab spotting), and Rebar. In addition to readings and discussions, students will create and critique a series of four studio projects that engage participants to rethink a specific site or situation.

This course is designed to develop diversity of concepts and strategies within the student's artistic practice. The course includes a survey of artists using different media taught in the department's studio program such as painting, drawing, video and digital art, printmaking, photography, and sculpture. This seminar-style class seeks to expand the artistic practice outside of traditional media boundaries and focuses on the translation of concepts across various media. Priority to Art Practice majors and minors. (upper level)