121 - 130 of 176 results for: ARTSTUDI

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.

Collage has profoundly shaped the evolution of painting, drawing, photography, and film through its embrace of juxtaposition, scale shifts, and the reappropriation of found imagery. Alongside assemblage and montage, collage emerged as one of the most generative principles of 20th-century art, introducing crucial aesthetic issues that continue to resonate in the modern and postmodern eras. While many iconic works in this medium date to the 20th century, this course positions collage as a dynamic, contemporary practice, interrogating both its historical roots and its ongoing relevance in the current cultural moment. Through lectures, we will explore the work of contemporary artists who have revitalized the medium, using collage to address complex themes of identity, politics, and the fragmented experience of modern life. We will examine the fundamental generative principles of collage - juxtaposition, displacement, materiality, difference, and event, and how these principles intersect with issues of location (where it happens), object (what it is), process (how it is realized), and purpose (why it is). The studio component will focus on hands-on experimentation, where students will develop a personal visual language through the manipulation of paper, found materials, and traditional and non-traditional techniques. Emphasis will be placed on the physicality of collage - its material properties and its capacity to create meaningful experiences through the act of making. This course encourages students to critically explore collage's potential for commentary on the political, aesthetic, and personal dimensions of contemporary existence. Through the development of individual projects, students will create work that speaks to the multiplicity of voices and experiences shaping our world today.

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.

In this class, students will explore the connection between artmaking and the neurological processes that occur in our minds while engaging in mixed-media works on paper, such as charcoal, graphite, ink, and watercolors. While we may have more questions than answers, the class promises to be an exciting experience through playful exercises. These exercises will encourage visual exploration using the mind and hand, drawing inspiration from touch, symbolic meanings of color (both cultural, mythological and/or personal, sound and color), dreams, live models, landscapes, the interaction of image and text, dreams, story-telling, and other potential sources. In addition to these exercises, we will incorporate readings on relevant topics in art and neuroscience. Students may also have the opportunity to participate in cognitive and physiological assessments of brain activity during artmaking (for those curious minds in the class). Topics in neuroscience will include color perception, visual processing, neuroplasticity in learning and memory, the brain-body connection, and methods for tracking brain activity during aesthetic experiences and art practice. The class is open to all students, both majors and non-majors. Previous experience in artmaking is desirable but not required.

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.