71 - 80 of 159 results for: ARTSTUDI

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.

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 studio course looks at the relationships between biology and art, particularly as they relate to the topic of "monsters". Rather than addressing the ways in which art has assisted the biological sciences (as in medical illustration), we'll focus on the ways in which biology has influenced the art-making practice. Course material will address our changing conceptions of biology and the monstrous, and the ways in which artists engage these cultural shifts. Students are responsible for creating art works that address these themes and others that emerge from class discussions and presentations, in any medium of their choosing.

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 course explores the potential of your cell phone in working in various photography art practices, ranging from experimental to documentary-style photography. We will leverage the potential of the cell phone by delving into different genres through hands-on assignments, demo lessons, and discussions about artists working with this photography. We will merge a critical analysis of contemporary photography with a study of early forms of popular photography, examining the democratization of this medium. By completing our weekly assignments and lessons, you will learn to better articulate and convey ideas through photography, expand your technical and conceptual approach, and understand how we communicate through images.

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 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.