131 - 140 of 176 results for: ARTSTUDI

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)

Textiles lend themselves to be formed and constructed to fit around three-dimensional objects and become a skin to the object within. They can hold materials inside of them, produce imagery, and divide space. This sculpture course investigates fibers and their ability to transform forms and space. Students learn sewing techniques, upholstery techniques, and how to make sewing patterns to create sculptures. Through projects and workshops, students consider the relationships of textiles to the human figure, interior and exterior settings, and traditions in craft.

This hands on studio based sculpture course focuses on developing concepts, and creating a site-specific installation art project. This class will addresses the impact of material and technique upon form and content; therefore understanding the physical and expressive possibilities of diverse materials. Conceptual and technical considerations will be addressed. Students will learn traditional building techniques as needed (wood shop, metal shop, mold making, found object) as well as anti-object techniques. Students will make 3-4 projects that will culminate in a final site-specific installation. We will look at contemporary artists working in the field of installation art. Group discussions, critiques, readings, video presentations, field trips and visiting artists will augment the class. Installation Art is based on the merger of Space and Time and on a relationship between the artist and the visitor. Utilizing your interests and abilities in a variety of subjects and media, you will create environments that immerse the viewer in a sensory/ intellectual/ emotional experience. The material and methods you use can range from everyday objects, to highly personalized forms, from appropriated sounds to surveillance video, from large wall drawings to interactive switches for the participant to manipulate. The class will consist of demonstrations of art skills particularly useful in installation (sculptural, video, audio, interactive media, etc), presentations by the professor, research and reports and journal entries, and weekly critique. Installation Art is a pervasive, varied, global practice for art-making that acts as a gathering place for expression in all media addressing all subjects in a wide range of styles by broad grouping of artists."

Students engage in professional sculpture (studio) practices that prepare them to apply and extend the skills, methods and techniques they have learned in previous courses, including technical and conceptual skills in woodworking, metal working, mold making, and other sculptural production. These practices involve working collaboratively, taking on short-term projects, handling an increased sculpture work flow, actively participating in regular critiques, and contributing to and showing work in a small final exhibition. Students refine their aesthetic, tap the interdisciplinary network of influences they have built, and work independently to become adept at presenting their ideas and building a portfolio to show the art they have produced to potential clients in a 'real world' professional context. Anyone interested in taking this class should apply with a project in mind that they aim to develop over the length of the course. Since these projects will require a considerable amount of independent work outside class time, students should submit a 1-to-2-page description outlining what they want to focus on and a portfolio featuring some images of work they have already created in that realm. Upon careful evaluation, students with the strongest proposals will be selected. This course may be repeated for credit.

This hands-on contemporary art and sculpture class explores falling monuments and rising memorials around the world. Departing from individualistic hero narratives of traditional monuments we address collective agency and new forms of shared power. Students make models and sculptures of reimagined anti-monuments through weekly assignments. Classes require reading, discussing, making artwork for critiques, and include lectures, artist examples, and guest artists.

Textiles lend themselves to be formed and constructed to fit around three-dimensional objects and become a skin to the object within. They can hold materials inside of them, produce imagery, and divide space. This sculpture course investigates fibers and their ability to transform forms and space. Students learn sewing techniques, upholstery techniques, and how to make sewing patterns to create sculptures. Through projects and workshops, students consider the relationships of textiles to the human figure, interior and exterior settings, and traditions in craft.

This studio art course explores the interplay between digital processes and traditional weaving and printmaking techniques. Hands-on projects are conducted on a dobby loom, a computer-controlled TC2 loom, and a traditional etching press using digital design and/or coding processes in an iterative workflow. After a series of introductory demos and exercises, students will pursue individual or small team projects based on their own conceptual interests. We will cycle our designs between the looms, the press, and various digital software to hone our understanding of the affordances and difficulties of each modality, and to discover new possibilities for creativity at these intersections. Why weaving and print making? Both looms and printing presses are technologies of reproduction; each allows a pre-designed visual pattern or image to be generated repeatedly. Jacquard looms and movable type are key moments in the lineages of encoding that lead to our contemporary digital tools. We will explore concepts of encoding information: what is included, excluded, and how that information is expressed, as themes throughout this course. Another theme we will explore is the physical labor and skill required by these practices: for weaving - threading a loom, lifting heddles up and down, and throwing a shuttle back and forth across a loom; or for printmaking - grinding, etching, inking and wiping a metal plate and cranking it through a printing press. What does engaging with these tactile embodied practices of weaving and printmaking add to our experience as artists and craftspeople, and to our finished products? How can a deep understanding of physical processes and materials be used in dialog with contemporary digital workflows? What happens when we tangle the digital with these embodied processes? This course does not have specific pre-requisites, but is an upper level course appropriate for students with prior experience in either weaving, printmaking or digital design processes. Students will be accepted via application. https://forms.gle/aiUxZv48dDKkyPHa6 Students taking the course for 4 units will be required to participate in an additional 1-hour TA-led work session each week, and create projects representing an additional 2 hours per week.

This class focuses on performance art practice, informed by the history and theory of this live art form. The main goal for students is to produce and perform their own performance art pieces. In the process of ideation, devising and performance of their pieces, students will explore the origins and history of performance art, and work closely with the instructors and with each other. Midway through the quarter, they will also receive help from Cassils, one of the leading contemporary performance artists. During their visit, Cassils will present their work in progress and make a "studio visit" to the class visit and offer their feedback on students' projects. The enrollment is limited to 10

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.