101 - 110 of 176 results for: ARTSTUDI

How do Black video artists and filmmakers use materials, space, and language to construct the subjective space of storytelling? Black Experimental Narrative surveys the aesthetics, history, and theories that characterize experimental Black cinema and video art through a comprehensive range of filmmakers and artists that have contributed work to the canon. As a class project, we will work collectively to design and publish an original publication featuring a selection of work created during the course.

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.

TBD

In this intro-level painting course, students will work with tempera paint and Bristol board as material constraints to create a body of work based on observational still-life scenes. Starting with flat color in the tradition of Cezanne, these static, momentary reflections will increase in complexity in both their visual as well as psychological depth. Individuals will build skills to add to not only their visual language tool box, but their observational and reflective understanding as a whole.

In Queer and Trans communities, diy zine publication is an artform which acts as both a form of resistance and method of nurturing community. In this class students will learn to design, produce, and distribute their own zines within the context of this culture and history. The class will examine how the zine as a multiple non-precious (perhaps semi-precious) object can give communities access to art, in ways that traditional art spaces cannot. Students will build hand-skills in non-adhesive binding structures drawing from Non-Adhesive Binding1, Art of the Fold2, and Book Forms3. Students will attain a working understanding of paper grain, folding, piercing, tearing, and cutting to produce structures from simple pamphlets to multi-signature thread-sewn softcovers. Bookbinding without glues or pastes will verse students in the mechanics of binding structures and give them the skills to accessibly make zines without expensive or heavy tools. We will spend some class period's outside of the classroom distributing our publications to the student body by passing them out, staging them throughout campus, and tabling. Through the act of distribution and sharing, Students will learn to see the essence of this practice not only in making, but also in giving. We will look at Queer publishers including: Other Publishing, Diagonal Press, Hotam Press, Unity Press, Linda Zeb Hang, GenderFail, etc. for reference.

Co-taught by an artist and a media theorist, this course has two objectives: 1) to introduce students to key theories and debates around AI in contemporary art, and 2) to challenge students to make thoughtful, critical, and rigorous artworks of their own. Class meetings will be divided between seminar-style discussions, hands-on art practice sessions, workshops with artists, and critique sessions. Students will learn about artists who use machine learning and related algorithmic processes to create their work. The latter will be situated within a broader history of technical and aesthetic developments, including cybernetics, generative art, and aleatoric processes. The course positions AI art as a complex subject that demands equal consideration of technological, artistic, social, and philosophical concerns. It situates these elements within contemporary cultural realities and addresses critical aspects of working with AI, with a particular focus on ethical and political dimensions. Please note: Enrollment capacity is limited, and instructor permission is required. Students interested in taking the course must apply here: https://forms.gle/jshEkscg32xJ62oe6

In this practicum, which accompanies and complements the 2-unit lecture course on AI Art & Aesthetics, students will engage critically and creatively with AI tools and algorithmic methods to develop works of art that respond thoughtfully to the aesthetic, ethical, and cultural questions raised by these new technologies. Class meetings will be divided between assignments, hands-on lab tutorials, workshops with practicing artists, and critique sessions. Please note: Instructor permission required. This practice-based class accompanies the 2-unit lecture class on AI Art & Aesthetics ( ARTSTUDI 192/392/ FILMEDIA 192/392). Enrollment in the lecture is required for enrollment in the practicum. To apply for the practicum, please fill out a brief survey at https://forms.gle/HCjb9MEYPmmNUPby6

Beyond Punch and Judy, hand puppets are born in artist's studios from Paul Klee to Bread and Puppet Theater. This course will study how puppets are not just objects of performance but a tools for art and politics. Students will learn basic hand puppet construction with a melange of materials to create their own shows.

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.