*PLEASE NOTE that there are FOUR STUDIO SECTIONS.*
This course will explore how we observe and interpret our visual world. We will examine material from a wide range of sources, focusing on the social, political, and cultural connections, as well as the conceptual base and formal properties that comprise a particular visual/sensory experience. Two ongoing concerns will be the exploration of how art and life intersect, and how our perceptions of what constitute the “high” and “low” in collective culture establish our beliefs about art. The course requires the completion of three projects that stress the visual, intellectual and intuitive aspects of art making.
Lower Division Courses
*PLEASE NOTE that there are FOUR STUDIO SECTIONS.*
Six hours of instructional studio and three hours of open studio per week. A study of drawing as a tool for articulating what the eyes, hand, and mind discover and investigate when coordinated. Some sessions will be devoted to drawing the human figure.
***Please note that there are TWO sections of this course***
Art 13 is an entry-level painting course designed to familiarize students with the materials, technical approaches, and processes of painting. Through a series of exercises, assignments, and visual presentations, we will investigate color interaction, contextual relationships, conceptual and compositional strategies, and the relationship between (subject, content, meaning) and process. Twentieth century painting history and theory will be referenced throughout our time together.
Consistent attendance is an important factor for this class to be a success. There will be a roster sheet for you to sign each day when you arrive. More than two absences will affect your final grade by one half. Two more absences will drop you another half.
*PLEASE NOTE there are TWO SECTIONS given: 14/1 AND 14/2 and that Art 14/2 is Ceramics*
This course will use ceramics as a way to explore and understand three-dimensional space. The student will develop a practical understanding of how clay and glaze behave, while building a conceptual framework through which to apply this knowledge. Studio practice includes hand building, modeling, carving and glazing as possibilities for turning ideas into three-dimensional propositions. Illustrated talks will help acquaint the student with the ideas artists have explored through history and in contemporary sculptural practices.
Course may be repeated for credit.
Six hours of instructional studio and three hours of open studio per week. This course examines and explores various print disciplines in a 15-week survey format. Students study and create traditional forms of fine art printmaking including woodcut, lithography, intaglio, and screenprinting as well as newer approaches which includes transfer and digital printmaking. Lectures and demonstrations introduce students to techniques and varied applications. This course is a prerequisite for upper division print courses.
This course provides students with the technological and conceptual groundwork for advanced courses in video art and film making including the use of digital cameras, sound recording, basic lighting techniques, digital editing, compression, and online dissemination. As we work to understand what makes compelling moving images that elicit powerful intellectual and emotional responses, the teaching goals include mastering the basic elements of video making: duration, composition, light, color, relationships between sound and image, as well as creative approaches to editing such as dramatic continuity and montage. The course also explores the range of techniques and languages of creative video making from traditional story genres to more contemporary experimental forms, and is based on online tools for production, dissemination, and commentary. The course consists of a weekly lecture including screenings, discussion, and meetings with visual artists, and a lab section. The lab is a production workshop in which students receive hands-on instruction and produce a series of short exercises and a final project.
Upper Division Courses
Often artists respond to limitations, whether self-imposed or life-imposed by lack of time, space or budget. But limitations are not always restrictions. Finding creative responses to limitations or boundaries can lead to unsuspected solutions. Many painters use specific limitations that propel their work into unexpected territories through their process, their materials or by finding ways of working that manifest as a result of an environmental or other constraint.
During this course, students will achieve the maximum impact within limited means. Through in-class and more in-depth projects, limitation exercises, and technical painting workshops, students will explore strategies that involve process, collaboration and project-based painting using limitation as a source of propulsion in their work. Emphasis will be placed on focusing one’s practice, as well as honing the skills needed to realize projects.
Students will study artists who utilize specialized processes, boundaries and strategies to guide and develop their work. The class will be supplemented by field trips and readings.
Course may be repeated for credit. Six hours of instructional studio and three hours open studio per week. Inquiry into concepts of order, process, and content as related to human experience. While faculty contact with students is highly individualized, the course involves group critiques and lectures as well as assigned field trips. Prerequisites 10, 12, and 14 or equivalents.
The primary focus of this course is to advance fundamental technical skills in the process of figure drawing, to gain understanding of human anatomy, and to acquire a personal visual language of drawing from life. Through close observation of the human form the student will develop ways of seeing that go beyond regular visual perception. The student will also expand the skills necessary for figure drawing executed in variety of dry and wet media, together with diverse methodologies of traditional and contemporary figure drawing.
Course may be repeated for credit. Six hours of instructional studio and three hours of open studio per week. Advanced drawing and composition, color and black-and-white, primarily on paper. Art 117 or 118 is required of all art majors.
Prerequisites: 12, 13, and 14 or equivalents.
This course is designed to explore a range of contemporary art movements around the globe, through a closer look at their central ideas, artists, and artworks, as well as the preconditions and broader social context in which the work is being produced. Topics covered will range from the emergence of localized avant-garde movements in Europe, Asia, Africa, and Latin America to the implicit globalism of the international biennial circuit.
In this class the student will consider sculptural issues of (and beyond) the object itself, notions of “site specific,” and of whether an object is distinct from its environment or is part of it. We will also question issues of space, placement, installation, context, and public interaction. Students will engage with a variety of sites, both on and off campus, with drawings and written proposals being an integral part of all projects. Lectures and demonstrations will introduce students to techniques and varied applications.
Prerequisites: 8, 12, and 14, or equivalents.
Course may be repeated for credit. Six hours of instructional studio and three hours of open studio per week. Projects are aimed at understanding and inventing ways in which time and change can become key elements in an artwork. Regular screenings of professional tapes will illustrate uses of the mediums and provide a historical context.
Prerequisites: 10, 12, 13, 14 or equivalents.
This is an advanced studio drawing course that compares and contrasts traditional Asian and European pigments, surfaces, and images with contemporary strategies, sources, and methods. Students will use various traditional hand-made pigments, binders, papers, and drawing materials to explore cultural developments and representations of space, time, and objects. A major course outcome is to create hybrid, diverse content that combines contemporary images and narratives with traditional historic sources. The course provides lectures, demonstrations and studio research methodologies.
Six hours of lecture and two hours of discussion per week. Social Practice broadly refers to work produced through various forms of direct engagement with a site, social system or collaborator. Interdisciplinary in nature, such work often takes the form of guerilla interventions, performance, institutional critique, community based public art and political activity, all sharing the premise that art created in the public sphere can help alter public perception and work toward social transformation.
Four hours of lecture per week. Prerequisites: Completion of all lower division requirements for the major. Meditation is arguably the most ancient, powerful, and yet simple spiritual practice in the world. It is known in various forms in nearly all times and cultures, and plays a part in every religious tradition. We will examine how meditation can affect your art both in terms of practice and content. The class will be structured with slide presentations, museum visits, discussion of reading, and reviews of art work. Art from various contemplative traditions will be examined.
What does it mean to “begin” video?
There are reportedly 100 hours of video uploaded to YouTube every minute, added to a flood of footage already in torrent. Add to that all the other video sites online, the duration of every new TV show and the thousands of movies released every year, plus more than a century’s worth of the older stuff, and we are lost in an ocean of moving images. It’s a wonder we haven’t drowned.
Maybe the question should: what does it mean to continue video?
Six hours of instructional studio and three hours of open studio per week. This hands-on studio course is designed to introduce students to the foundation-level skills and concepts used in digital video production. In the course of mastering the basics of optics, sound recording, and editing, students will find creative video responses to formal assignments that explore such questions of scale, duration, narrative, and the use of video as a component in a larger work. In an effort to find alternatives to conventional models and expand our experience of the medium, the student will experiment with unorthodox image capturing devices like GoPros and digital scanners, and with unusual approaches to screening, such as installations and non-standard monitors.
Prerequisite: Art 23AC
Six hours of lecture and three hours of studio per week. Course may be repeated for credit.
This is a studio class designed to introduce artists to the medium of sound. Students will learn the basic skills necessary to work with audio, including microphones, digital recording, editing and processing, speaker and installation design, and circuit-bending. In addition, students will learn about the history of sound art and the ways in which visual art and experimental sound practice inform and expand upon each other.
This course will cover a range of digital media and practices, with a view towards exploring current and future possibilities for photography. Inclusive of multiple approaches to scale, execution, and technique, the course enables students to examine and push the limits of photographic practices. This course will help students advance their digital shooting and Photoshop skills from a beginning to a more advanced level, and will cover the workflow of digital photography: camera usage, scanning, image editing, management, and printing.
***Please note that there are TWO sections of this class, K185/001 AND K185/002**
Three hours of lecture and three hours of studio critique per week. This course provides students with a foundation for understanding their work within a cross-disciplinary critical context. Through class and individual critique, readings, guest artists, and field trips, students will explore the practical and conceptual components of their own media and practice within a broader discussion of artistic production. In addition to this focused attention on the critique process, the class with address the ongoing needs of supporting one’s work within a community of artists, arts professionals, and arts organizations. Each student will work towards developing the most effective tools for communicating their work to these broader audiences using strategies that are appropriate/effective for their ideas, media, and audience.
Prerequisites: Senior level students only.
Course may be repeated for credit. Hours to be arranged. ALL GRADUATE COURSES MUST BE TAKEN FOR A LETTER GRADE.
Admission to the M.F.A. program. M.F.A. candidates, special study – M.F.A. Committee members as well as other faculty.
See catalog for course description.
Course may be repeated for credit. Three hours of seminar per week. Studio work emphasizing various aspects of form. Group criticism. Intended especially for M.F.A. candidates. ALL GRADUATE COURSES MUST BE TAKEN FOR A LETTER GRADE.
Admission to the M.F.A. program.
Course may be repeated for credit. Six hours of instructional studio and three hours open studio per week. Weekly meetings will provide a forum for the discussion of issues related to assigned readings in the fields of esthetics, theory and art criticism. ALL GRADUATE COURSES MUST BE TAKEN FOR A LETTER GRADE.
Prerequisite: Graduate standing and consent of instructor.
The 301 Pedagogy Seminar is a preparation for GSI’s and is aligned directly with the teaching of Art 8: Introduction to Visual Thinking. Within our pre-semester pedagogy meetings, each graduate student develops a syllabus with emphasis on teaching philosophy, course content, approach to grading, attendance policy, and critique approach and style. Graduate students develop lesson plans and relational formal exercises for each of the course’s three main projects. Instructors receive the Art 8 Pedagogy manual, which contains twenty years of GSI’s syllabi and other helpful information. During our weekly semester pedagogy meetings, the graduate students and I discuss the pertinent issues of their current classroom dynamics.
ALL GRADUATE COURSES MUST BE TAKEN FOR A LETTER GRADE.
Consent of instructor.