51 - 60 of 176 results for: ARTSTUDI

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.

In this introductory class, we explore printmaking through different techniques and approaches without using a press. This approach allows students to learn techniques to make prints anywhere. Class projects focus on relief, monotypes, rubbings, and collage prints. This process allows students to experiment with different forms of accessible tools such as spoons, doorknobs, cardboard, styrofoam, etc.

In this class students will explore various techniques of etching (or intaglio) on zinc plates such as, hard ground, soft ground, aquatint, marbling aquatint and sugar lift, through an electrolytic process that uses no acid but sulfates and very low electrical power (1.5 V or the same as a AA battery). This process is much less toxic that the traditional etching with nitric (which produces toxic fumes) or ferric acid (difficult to clean). These techniques will be complemented by other ones that can be mixed with etching such as photocopy transfers, Chine collé (attaching a different color paper between plate and main paper), and mono-printing. Etching/Intaglio (making a mark under the surface of the plate) is one of the most tactile and elegant forms of printmaking. The plate leaves a 3-D line mark and embossed marks in the deep etched areas as well as at the edges of the plate. Many major artists have left memorable images by working in this medium (Rembrandt, Goya, Kathe Kollwitz, Eduard Munch, and many others) influencing many contemporary artists.

This hands-on, studio-based course explores queer as a radical strategy for art-making and world-building. Through sculpture, students will engage themes such as utopic futurity, anti-assimilation, failure, abstraction, drag, camp, and chosen kinship. Emphasizing refusal rather than inclusion, the course investigates how queer artists subvert dominant norms and reinvent conventional forms. Students will create original artworks, participate in critiques, discuss critical texts, and visit local LGBTQ archives. Guest artists will offer insight into contemporary queer practices across material and conceptual boundaries.

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.

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.

Studio-based sculpture course. Materials used in sculpture and environmental concerns surrounding them. Artists concerned with environmental impact and the interconnection of art with other fields. The impact of material and technique upon form and content; understanding the physical and expressive possibilities of diverse materials. Conceptual and technical considerations. Group discussions, critiques, readings, video presentations, a field trip to a local artist-in-residence program, and visiting lecturers. (lower level)

Performance Art is a nebulous term. Its "true" origins are debated between the radical conceptual works of the 1960s/70s and the early 20th century performances by the constructivists, Futurists, and Dadaists. It often defies definition because many different practices are included in its category. In this course, students from all backgrounds will be introduced to the varied history of Performance Art. It is through this history that in-class assignments will be given. Students should expect to leave their comfort zone and access complex tools for communication. Each week we will focus on a different theme to inspire the creation of live artworks. This is a class for folly, failure, self-realization, joy, the curious.... By engaging in Performance Art, students will gain a better understanding of how living art can change our perspectives on ourselves and the world.

This course investigates the body as sculptural material in order to investigate private and social spaces. Through the development of projects in the realm of social practice, performance, and/or audience interaction, students will explore what it means to accept all aspects of life as potential sculpture. Artistic actions will be used to understand or question the function and psychological aspects of a space. We will use the social as material form for experimentation to combine language, concept, action, place, and object with civic engagement, participatory embodiment to structure the social.