*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.*
This course is the study of the interaction between physical form and space. We will focus on building a strong conceptual foundation while developing the practical studio skills needed to translate your ideas into three dimensions. Shop practices will include hand, machine, and computer-aided fabrications. Field trips and illustrated talks will help acquaint students with the ideas sculptors have explored through history and in contemporary sculptural practices.
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.
Course may be repeated for credit. Six hours of instructional studio and three hours of open studio per week. An opportunity to discover what an artist can do with an etching press and a familiarity with such processes as etching, drypoint, aquatint, color, and monotype printing. The difference in the ways that these mediums enhance and condition your ideas will be made clear through individual and group critiques.
Prerequisites 12, 13, 14, or equivalents.
Six hours of lecture and three hours of studio per week. The process of Intaglio will be explored in a variety of image producing techniques. Hand drawn, photographic, and digitally manipulated images are combined to produce multiple works of limited edition fine art prints. Image content and development is examined through drawings, studies, slide lectures, group critiques, and direct assistance. Each student is required to attend all class periods and participate in group discussions and critique. It is the responsibility of the student to maintain a portfolio of all works executed during the semester and to turn in all assignments on time. The grade is determined by attendance, completion of projects and participation in critiques. Personal improvement will also be taken into account.
Prerequisites: Open to upper division art majors or by consent of instructor.
Credit option: Course may be repeated for credit.
An opportunity to learn the many ways of shaping and giving form to wet clay, then making it permanent by firing it. Illustrated talks will examine the ideas that have engaged ceramic sculptors in many traditions and the processes that they have used to expand them. Lectures and demonstrations introduce students to techniques and varied applications.
This class will investigate the possibilities and potentials of sculptural material, both physically and conceptually. We will focus on a deeper exploration of the current state of art practice while questioning what methods and materials are considered non-traditional. We will discuss multiple applications as a means of mediating ideas in space, including sculpture, installation, video, photography and public exchanges. This class will have more advanced instruction in fabrications, including the wood and metal shops. Lectures and demonstrations introduce students to techniques and varied applications.
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.
Nine hours of studio per week. Course may be repeated with consent of instructor. 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.
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 immersive studio/seminar class focuses on contemporary models of art making, exposing students to current issues in the art world, and fostering interdisciplinary models of thinking and making. Through field trips to museums, galleries, and alternative art spaces, as well as studio visits with local contemporary artists, students will be able to situate their own projects within the larger sphere of contemporary art. Language and writing skills around artist statements, critical readings, and the critique process will be emphasized to understand how research methods give meaning in a studio practice. Presentation of a final studio project asks students to examine their place within a contemporary art dialogue.
*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. 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.
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.