81 - 90 of 176 results for: ARTSTUDI

The course combines the critical analysis and creation of photography and photo zines that explore this specific medium's experimental, social and documentary potential. A zine is a DIY small-circulation, self-published print work of original or appropriated texts and images, usually produced in small, limited quantities. Discussions, projects, and readings focus on the photography zine for the preservation of minority and marginalized interests. This course familiarizeS students with analog DIY techniques for using original and appropriated photography. Students are asked to consider how their voices can be expressed through introspection, engagement with personal history, cultural subjectivities, and activism. Students are introduced to artists who make zines and why this structure is vital to their practice and community-building efforts. Emphasis is placed on actions of presence, joy, experimentation, and intention rather than perfection. All experience levels are welcome. We visit the SFMOMA and the zine collections from the San Francisco Library and view collections from the Marjorie Barrick Museum of Art in Las Vegas, NV. Additionally, we collaborate with and attend a workshop with the Italic program at Stanford.

This interdisciplinary hands-on course covers the lifecycle of an Artwork in which we work together as a class to imagine, create, and document a temporary public installation at the Anderson Collection alongside a guest artist. We subsequently publish an Artist's zine to share our process and documentation of our completed public artwork. We place a significant emphasis on recording our process throughout the quarter. Documentation is vital in preserving and researching Art, and a document is typically considered evidence supporting a fact. In art documentation, that "fact" is generally a given artwork or an aspect of an artist's life and how the work is remembered long after it has been removed from public view. In this course, we focus primarily on sculptural installation, photography, writing, and design.

This introductory photography course invites students to explore, reflect on, and be inspired by the color blue. Through the historical process of cyanotype, a low-cost photographic printing method from over a century ago now echoed in contemporary aesthetics such as Instagram filters, students will create their own blue-toned images and artworks. Co-taught with the department's Holt Visiting Artist, the course uses these "blueprints" as a foundation to examine blue as a physical, natural, artistic, and spiritual phenomenon. Students will engage with themes of site specificity, ecological memory, migration, and transformation, while also learning research-based practices that consider the histories of California and of students themselves, and explore how these histories intersect with broader global narratives. Field trips will offer opportunities for on-site research, and the course will culminate in the creation of a large-scale installation in the Coulter Art Gallery. Students will use their own cell phone cameras, and all necessary software and materials will be provided.

The course combines the critical analysis of cell phone photography with the creation of photographic art works that explore this specific medium's experimental, social and documentary potential. The increasing ubiquity of cell phone photography has had a widespread impact on the practice of photography as an art form. We will consider and discuss the ways in which the platforms of cell phone photography (Instagram, Snapchat) are democratizing image-making and transforming notions of authorship and subjectivity to an unprecedented extent, but also how the use of new technological tools help expand notions of creativity and aesthetic standards.

This workshop course expands the perception of images and their interpretation. Is it possible to photograph a dream or an emotion? In a series of lectures, readings, and assignments, we approach photography more as a reference and allusion than a simple depiction of things. Using any accessible photo camera, students will create a range of images of various genres and transform them into a personal narrative through strict selection and basic photo editing.

The course combines the critical analysis of cell phone photography with the creation of photographic art works that explore this specific medium's experimental, social and documentary potential. The increasing ubiquity of cell phone photography has had a widespread impact on the practice of photography as an art form. We will consider and discuss the ways in which the platforms of cell phone photography (Instagram, Snapchat) are democratizing image-making and transforming notions of authorship and subjectivity to an unprecedented extent, but also how the use of new technological tools help expand notions of creativity and aesthetic standards.

This class explores the history, practice and technique of creating art on and for the internet. Discussions, projects and readings focus on the ways in which internet art embodies changing ideas about artistic creation, technology, and interactivity as a way of blurring the line between artist and audience. Setting recent work against the backdrop of earlier moments in contemporary art (found object art, photomontage), this course also situates internet art in the pre-internet tradition of finding new perspectives on, and meanings in, overfamiliar or banal media surroundings. In collaborative and individual projects, students will create visual compositions on online platforms such as NewHive and explore social media interventions, Twitter experiments, crowdsourced work, collections of online found imagery, supercuts, GIFs, and "choose your own adventure"- style online storytelling.

This class will cover creative, historical and theoretical aspects of sited artworks based in sound. We will create, install and critique new works that use sound with special attention the ways that sound intersects with time, space and architecture. Attention will be given both to sound as immaterial signal and to sound in its relation to visual environments and objects. The class is intended for artists, composers and others who want to explore the spatial, social and aesthetic dimensions of sound. Assigned readings will cover sound practices in the contexts of art, music, sound studies and anthropology. Experience in sound recording or production, signal processing and spatialization, or installation are valuable but not required. Curiosity and attention to sounds are.

Video Installation is a hybrid studio critique and seminar class that explores the potential of cinematic arts within the context of spatial dynamics and formal configuration. The emphasis will be on the conceptual and experimental, rather than a conventional application of film narrative as a way to convey meaning, and considers video as a sculptural material. Screenings, lectures, and class projects will focus on installations that transform film and video into sculpture, architecture, and site-specific forms.