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Hosted by the New York Studio School of Drawing, Painting, and Sculpture and based entirely in New York, Drawing Marathon helps students learn the importance of drawing as the basis of understanding one's experience of the world. Drawing is seen here as the most direct route to the examination of our perceptions. Unorthodox tools and exercises will be introduced to broaden the students' drawing vocabulary.nThis course will investigate many implications of drawing as a physical and cerebral activity as well as drawing as a philosophy. It will discuss key issues, including those of scale, tiny to huge; the use of different formats; the use of the rectangle; the vertical axis and its significance; the nature of distortions; the compression of space and depth; the search for "form" and its consequences; space and its meaning; functions and the different kinds of space; and the nature of relational drawing.nStudents can expect to be in the studio 9 a.m. to 9 p.m. most days. The average day is spent mostly drawing from perspection and includes several group critiques; most nights accumulate in a lengthy final critique at the end of the physical drawing session. This practice intensifies for the last critique at the end of the course. Students learn to engage in clear and succinct dialogue and discussions within the group. Instruction encourages students to participate in and understand the visual language of drawing.nThe Marathons are intensive all-day programs that run for two weeks at the beginning of each semester at the acclaimed NY Studio School. Students reside in New York City during the program period. Daily drawing sessions at the Studio School, field trips, and creative exploration of the city are all included in the program. Drawing marathon is led both by full-time NYSS faculty and distinguished visiting artists. nThe Drawing Marathon is open to beginning and advanced artists, regardless of their major.

The natural world has sublime, and beauty, as well as structure, unscenic nature, and surprise. This course will take students out into the landscape to draw both sides of this equation. What does it mean to once again remind us of the glory of nature and its both scenic, and unscenic qualities? We will begin to understand the history of sublime painting and drawing, as well as the concept of natural reality in light of Darwin, John Muir, Rachel Carson, and others. The contemporary world interrupts the notion of nature by adding man-made technology and domestication into the landscape; how does this impact representation? We will visit areas on the Stanford campus such as the Jasper Ridge, the Stanford Dish, the equestrian site: the Red Barn, Outdoor sports stadium, Hoover tower view, Vistas, Forests, Skies, and the edges of human encroachment will be areas worthy of exploring. Also, carcass, birds, and other animals in the landscape will be subjects as well. Staging the landscape with props and drawing these is another way to update the Plein Air experience. Studying the nuances of nature both its horror and its beauty is the contemporary subject of Plein Air drawing today. Summer.

This introductory course teaches the basic tools of drawing and painting with acrylics, along with an introduction to a range of artists for inspiration. From the beginning, we take advantage of Stanford¿s beautiful campus, drawing and painting outside, along with studio work and slide lectures. We begin with our unique gestures and mark-making, moving through linear perspective, light logic, photo-realism, and the figure, using a range of media from graphite and charcoal to bamboo brush and ink. The introduction to acrylic painting explores the many ways we may use acrylic paint, looking at different art historical approaches along the way. A flexible medium, acrylic can be used to mimic watercolor, oil paint, or even cement, and works on a variety of surfaces. We begin by learning color theory and different paint applications through abstract painting, taking as our inspiration Piet Mondrian, Hans Hofmann, and J.W. Turner. Using thick, impasto paint, we move outdoors for plein air painting, stealing strategies from the Impressionists, and adapting them in our personal projects with today¿s technologies. Moving back indoors, we switch it up again, exploring the expressive gesture, and figurative distortion, using acrylic now more thinly, a la watercolor or gouache, along with charcoal, creating dramatic effects, and working on different surfaces. Each student will finish the quarter with a wide range of techniques and materials at the ready. No previous painting or drawing experience is necessary.

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)

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. Summer. (lower level)