Results for ARTSTUDI

This course is based on the central role of interdisciplinary connections and exchanges in artistic practice. Students will explore the two-dimensional areas of art: painting, drawing, printmaking and photography. They will work on their projects in various area labs, focusing on the translation of concepts across different modes of expression, geared to generate a creative vision beyond traditional media boundaries. Students will also learn how to develop and refine ideas around the design and lay-out of an exhibition and the various ways to document their work as professional artists.

This course is based on the central role of interdisciplinary connections and exchanges in artistic practice. Students study the work of several prominent artists using different three-dimensional media taught in the department's studio program, including sculpture, video and digital art. This is a practically oriented class with a seminar component, which focuses on the translation of concepts across different modes of expression in order for students to develop a creative vision beyond traditional media boundaries. There are no prerequisites for this class.

Moving Image 1 offers an introductory exploration of the dynamic field of video from an art practice perspective. This course comprehensively examines the history, medium, and contemporary techniques employed in image sequences, encompassing video art, animation, and generative video. Students will develop a foundational understanding of the compelling nature of storytelling through the integration of image and time and acquire a critical perspective of the power of moving images. Throughout the course, we will traverse significant milestones in the field, ranging from Eadweard Muybridge's groundbreaking work with The Horse in Motion to immersive Augmented Reality experiences and beyond. Students will actively engage with diverse artistic mediums, including flipbooks, stop motion, .gifs, video recording and editing, digital animation, and generative video. Moving Image 1 offers an inviting entry point for students to explore and appreciate the transformative potential of moving images while fostering their creative storytelling abilities, media literacy, thought-provoking experimentation, and creative problem-solving. No prerequisites are required to enroll in this introductory art course

The course is an immersive exploration of the creative possibilities offered by interactive media, focusing on integrating video, sound, and physical elements to construct captivating worlds and experiences. Students will learn the fundamental principles of storytelling, spatial design, sound design, and interactive technologies and apply them to create engaging and interactive installations. This course provides a unique opportunity to delve into installation art, projection mapping, Touch Designer, and Arduino circuits and sensors. Throughout the course, students will gain hands-on experience designing and developing immersive environments, learning how to construct interactive narratives, incorporate soundscapes, and employ cutting-edge technologies. They will explore the power of projection mapping to transform physical spaces, understand the capabilities of Touch Designer for building interactive video and sound systems, and harness the potential of Arduino circuits and sensors to integrate physical elements into their installations. Prerequisites: None. This course is open to students interested in creative media, art, storytelling, and technology. Basic familiarity with multimedia tools and concepts is beneficial but not required.

This course presents a unique opportunity for students to learn from and work closely with an important contemporary visiting artist, Jenifer Wofford. The collaborative framework of classes will have them discuss and reflect on relevant themes and issues of our time, selected by the visitor, around which they will conceptualize their projects and develop their practice over a period of ten weeks. Classes will be organized atelier-style, meaning they will be conducted live in the gallery space, which will serve as studio space and be open to public viewing, and they will offer students the experience of artistic growth through the process of working with the visitor.

This class will provide students with different techniques, inspiration, and exercises to experiment Drawing as a tool for invention and discovery. Exploring materials such as charcoal, pastel, and ink, students will be involved in drawing exercises for the development of an individual language or research. We will approach drawing as a language with many uses and "speakers" instead of an established academic tool. Each week we will take inspiration from the drawings of filmmakers, animators, sculptors, illustrators, and artists to copy their styles as a way of learning, and exploring their language and thought. The classes will start with simple drawing exercises to warm up, then proceed to look at the drawings of different kinds of artists to copy the linework, thinking, and techniques in class as a way of exploring the different possibilities and materialities of the medium. No previous experience is required, open to all students, majors, and non-majors, at all skill levels.

In this 4-unit course, students will explore the transformative potential of Augmented Reality (AR) as a medium for artistic expression and intervention in public spaces. The course delves into the world of interactive AR art, equipping students with the skills to create site-specific AR interventions that not only transform public spaces but also unlock historically important, unseen, or politically relevant layers of these spaces. The course covers storytelling techniques, audio recording and editing, and the use of Unity and other spatial tools for AR creation, equipping students with the skills to weave complex narratives into their AR projects. These narratives can bring to light the hidden histories, untold stories, and socio-political nuances of the chosen spaces, adding a depth of meaning and engagement to their work. Students will engage in a series of projects, culminating in a final project where they will create an interactive, immersive AR piece for a specific location on campus

Acoustic, digital and analog approaches to sound art. Familiarization with techniques of listening, recording, digital processing and production. Required listening and readings in the history and contemporary practice of sound art. (lower level)

Storytelling Through Light is an intermediate digital photography course designed to teach students the fundamentals of using light to construct narratives, communicate emotions and create evocative images. Through lectures, screenings and hands-on practice, students will gain a better understanding of how light works in photography and how it can be used to affect the mood, atmosphere and overall look of their work. Most weeks involve an Outdoor Shoot to a location on the Stanford campus for demonstration and real-time practice. Students should be expected to have prior understanding of fundamental principles of camera operation, shooting in manual mode, and editing. Students can use either their smartphone or a DSLR.

Functional anatomy and perspective as they apply to problems of drawing the form in space. Individual and group instruction as students work from still life set-ups, nature, and the model. Emphasis is on the development of critical skills and perceptual drawing techniques for those with little or no previous experience with pastels, inks, charcoal, conte, and pencil. Lectures alternate with studio work. (lower level)

Hands-on studio course that introduces students to a variety of printmaking techniques, while exploring printed matter's role in activism in both history and in current events. This course introduces students to printmaking and graphic art techniques as tools for political activism, and explores how students can print as a tool in dialogue towards social change. Prior printmaking experience is helpful not necessary for this course.

Introduction to techniques, materials, and vocabulary in oil painting. Still life, landscape, and figure used as subject matter. Emphasis is on painting and drawing from life. (lower level)

In this introductory class painting and collage techniques are explored and combined in order to expand visual language. Paint as a traditional medium is unified with the prefabricated nature of collage in order to create aesthetic harmony and produce sensations of volume, space, movement, and light on a flat surface. Various collage materials are pulled from magazines, newspapers, old books, cloth and found materials that interplay with acrylic paint applications.

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.

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.

Outlaw sensibilities, self-made kinships, chosen lineages, utopic futurity, exilic commitment, and rage at institutions that police the borders of the normal these are among the attitudes that make up queer in its contemporary usage. -David J. Getsy. This hands-on studio based course explores queer as a form of art production. Artists and thinkers use queer to signal defiance to the mainstream and an embrace of difference, uniqueness and self-determination. To be intolerable is to demand that the normal, the natural and the common be challenged. To do this is not to demand inclusion, but rather to refuse to accept any operations of exclusion and erasure that make up the normal and posit compulsory sameness. Queer Sculpture is also about the strategic effort to appropriate and subvert conventional art practices and tactics that may involve everything from shifts in the content of a work and its targeted audience to the methods by which it is produced and its formal properties. The political imperatives of a queer or queered position will shape thematic investigations of practices related to utopic futurity, anti-assimilationist practices, failure, abstraction, the archive, camp, drag and alternative families. Classes will require reading, discussing, and making. Students will produce artwork for critiques and participate in discussions of the readings. The course includes guest artists and fieldtrips to local LGBTQ archives.

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.

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)

This introductory studio course provides a practical and conceptual foundation for students interested in digital, electronic, and interactive art. Students learn basic electronics, creative code, and digital art making techniques culminating in physical artworks and installations. Topics include history, ethics, and philosophy of contemporary art that both use and address emerging technology. The speed and momentum with which digital technology, culture, and policy are evolving creates a need for urgent and constant adaptation and critique. In this course we work to deconstruct the origins of the current technological moment and to rebuild our own visions of the future in the form of original works of art.

Through film and dark room instruction, students learn to use a SLR 35-mm camera and to operate manual settings (focus, aperture, shutter speed). They develop an awareness of light and its various properties and possibilities. Students become familiar with black and white darkroom techniques creating contact sheets and to evaluating prints, make corrections and re-print. They acquire essential knowledge of historical and contemporary black and white art photography, including standards of quality and image sequencing. They get a basic sense of aesthetics and of the critical discourse that exists around the cultural significance of images.

This is an introductory course in photography that explores lens-based practices and the imperative of visual literacy in today's world. The history of photography starts now, in a context of image-making that proceeds all around us with unprecedented immediacy and proliferation. We cover fundamental principles of camera operation, composition and image editing. Through digital instruction, students learn to use DSLR or Mirrorless cameras and to operate manual settings (focus, aperture, shutter speed, ISO, color temp/white balance). They learn basic file management as well as the use of Adobe Lightroom software. Students acquire an essential knowledge of contemporary art photography, including standards of quality and image sequencing. They get a basic sense of aesthetics and of the critical discourse that exists around the cultural significance of images. Students will need a DSLR or Mirrorless camera. A small number of cameras are available for students to use for the quarter if they are unable to provide their own.

This introductory course into photography invites students to experience, reflect on and be inspired by images of blue. They will create work using the process of cyanotyping, the low-cost photographic printing technique of a century ago that now functions as an Instagram filter. Using these blue-prints as a touchstone, we will explore blue as a physical, natural, artistic and spiritual manifestation. Students provide their own cell phone camera of choice, and software 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 course focuses on the central role of digital printing in photography practice. Students are introduced to intermediate-level digital printing using large-format inkjet printers. The course combines critical analysis and printing technology to explore the creation of photography for experimental and conceptual approaches. Students gain a deeper insight and stronger grasp of practices in contemporary digital photography with a continuing focus on the importance of photo editing and sequencing as well as questions around the practical implications and limits of photographic images. This is an intermediate course in photography, with an ongoing emphasis on operating manual camera settings (focus, aperture, shutter speed, ISO, color temp/ white balance). This course covers the fundamentals of digital color and black & white printing, how to process image files for print, and how to develop a cohesive personal workflow for consistent output. Critiques will address conceptual, aesthetic, and technical approaches within each student's work. Prerequisite: ARTSTUDI 170 or ARTSTUDI 171 or ARTSTUDI 173E or equivalent. Students must provide their own cameras (DSLR or Mirrorless).

In this upper-level drawing class, students learn to use brush and ink as unique expressive means though the study of traditional and contemporary ink paintings, drawing from life as well as free experimentation. Observation, expression and abstraction will be integrated through persistent practice.

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 influenced painting and drawing practices, as well as film and photography through juxtaposition, scale shifts, and reappropriation of the found image. Although many iconic works in this medium date to the 20th century, this course focuses on collage as a vibrant, contemporary form. Lectures on artists using collage with new vigor. Studio component focused on experimentation and exploration. Student work is encouraged to speak to personal, aesthetic, or political concerns, using findings from magazines, advertisements, internet, and other sources. Working with Photoshop, scans and with print, we will use collage elements to create new and stunning compositions of contemporary life.Prerequisites: 140, 145, or consent of instructor. (upper level). May be repeated for credit

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.

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.

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.

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)

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.

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.

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.

CPT course required for international students completing degree.

May be repeated for credit.

Led by the Director of Undergraduate Studies in Art Practice, the Honors Seminar provides students the opportunity to create projects for the honors exhibition and complete the written thesis under the guidance of faculty advisors, and assisted with MFA mentors as well as guest critiques from art world professionals. It is geared towards developing a professional practice in the field of fine art.

Students construct an individual tutorial with an instructor selected from the studio art faculty, including visiting artists. The student must take tutorials with at least three different faculty members during the six-quarter program. Prior approval of advisor is required.

Weekly seminars, studio practice, and individual tutorials. Student work is critiqued on issues of identity, presentation, and the development of coherent critical language. May be repeated for credit. Restricted to M.F.A. studio students only.

Weekly seminars, studio practice, and individual tutorials. Modes of conceptualization to broaden the base of cognitive and generative processes. May be repeated for credit. Restricted to M.F.A. studio students only.

CPT course required for international students completing degree.