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41 - 50 of 137 results for: ARTSTUDI

ARTSTUDI 148B: Introduction to Printmaking

Techniques such as monotype, monoprint, photocopy transfers, linocut and woodcut, intaglio etching. Demonstrations of these techniques. Field trips to local print collections or print exhibitions. (lower level)
Terms: Aut | Units: 4 | UG Reqs: WAY-CE | Repeatable 2 times (up to 8 units total)
Instructors: Wilson, M. (PI)

ARTSTUDI 148P: The Hybrid Print

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.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 149: Fiber and Wearable Art

In this project-based studio course, students will investigate how wearable art is situated in the conversations around contemporary art. Particular attention will be directed to how artists confront ideas around the body, gender identity, performance, and experimental costumes. Final projects will be contextualized through final photo or video documentation. Students will examine the way materiality and craft can inform concept and will have the opportunity to use a variety of machinery to think about their projects. No sewing experience necessary.
Terms: Aut | Units: 2
Instructors: Towfiq, S. (PI)

ARTSTUDI 149C: Etching

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. nnEtching/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.
Last offered: Winter 2015

ARTSTUDI 150: Sculpture: Votives, Totems and Sanctuaries

The focus of this course is to discover how meaning is inscribed into the objects and places we make. Using three forms both ancient and contemporary¿ the votive, the totem and the sanctuary¿we will consider a variety of cultural precedents made with spiritual and/or religious intensions. Students will research the origins and philosophies of chosen examples, glean formal terms, such as size, scale, composition, color and materiality and create new works with both personal and cultural meanings.
Last offered: Winter 2019

ARTSTUDI 150Q: Queer Sculpture

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. GetsynnThis 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.
Terms: Spr | Units: 4 | UG Reqs: WAY-CE, WAY-EDP

ARTSTUDI 151: Sculpture I

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.
Terms: Aut, Win, Spr | Units: 4 | UG Reqs: WAY-CE

ARTSTUDI 153: Ecology of Materials

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)
Terms: Win | Units: 4 | UG Reqs: WAY-CE
Instructors: Berlier, T. (PI)

ARTSTUDI 153N: Ecology of Materials

This hands on studio based sculpture course takes a critical look at the materials used in sculpture and addresses the environmental concerns surrounding them. We will look at artists concerned with environmental impact and the interconnection of art to other fields. This class also 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. Existing at the intersection of art, science, technology and ecology, environmental art often functions to inform and/or interpret natural conditions and the processes associated with both "non-human" and "human-made" constructions. It will also educate us about environmental issues and concerns. This course introduces and provides a context for this area of interdisciplinary exchange and artist production by examining areas commonly known as cradle to cradle design, land art, eco art, environmental art, and art and technology. What role does sculpture play in a fragile world with depleting natural resources, global economies and media dominance? What is the life cycle of object making and creating? What is our relationship to objects in a growing technological age? Students will make 3-4 projects based on these questions. Group discussions, critiques, readings, video presentations, a field trip to a local artist-in-residence program Recology at the San Francisco Dump, visiting artists and visiting faculty from Stanford doing environmental research will augment this class.
Last offered: Winter 2015 | UG Reqs: WAY-A-II, WAY-CE

ARTSTUDI 155: Social Sculpture (TAPS 155)

This course investigates the immediacy of the body as material and sculpture in order to investigate private and social spaces. Actions are often used to understand or question the function and psychological aspects of a space and are documented for the perpetuation of these ideas. Throughout the quarter we will investigate the body as material and develop site specific performances enacted for: Private/Domestic and Public Space; Constructed Space & Physical Space; ecological systems; and generate both Individual & Collaborative based Actions, Interventions, & Events."
Last offered: Spring 2019 | UG Reqs: WAY-CE
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