*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.
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.
This class will investigate the potential of ceramics as sculpture. Both traditional and experimental approaches to ceramics will be explored as a way to develop our technical skills and expand our conceptual approaches. Field trips and 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.
Upper Division Courses
In this hands-on, project-based class, students will experience group creativity and team-based design by using techniques from across the disciplines of business, theatre, design, and art practice. They will leverage problem framing and solving techniques derived from critical thinking, systems thinking, and creative problem solving (popularly known today as design thinking). The course is grounded in a brief weekly lecture that sets out the theoretical, historical, and cultural contexts for particular innovation practices, but the majority of the class involves hands-on studio-based learning guided by an interdisciplinary team of teachers leading small group collaborative projects.
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.
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.
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.
Course may be repeated for credit. Six hours of instructional studio and three hours of open studio per week. In the course of making screenprints, you will be encouraged to find an esthetic direction of your own. Your instructor will also help you develop skill in using both stone and metal plates.
Prerequisites: 12, 13, 14 or equivalents.
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. Students who are experienced in clay may enroll in this course to continue developing their ideas and their technical command of ceramic materials and processes.
Prerequisites: 12, 13, 14, 132 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.
Course may be repeated for credit. Six hours of instructional studio and three hours of open studio per week. Topics of concern to the instructor, usually related to current research, which may fall outside of the normal curriculum or be of more restricted content than regular studio courses. An opportunity to investigate topics and mediums on an ad hoc basis when there is a compelling reason to do so, providing there is no other course that deals with these concerns. Primarily intended for advanced undergraduates and graduates in Art Practice but open to others. For special topics and enrollment see listings on the bulletin board outside of 345 Kroeber.
This class will survey new media from a lens of personal transformation and artistic activism as means to create positive social change. Students will learn about different new media genres, such as experimental video, documentary, performance, sound and video installations, and they will create work based on these categories.
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.
Nine hours of studio per week. This advanced studio course is designed for students who have mastered basic skills and concepts involved in digital video production and are interested in further investigating critical, theoretical, and creative research topics in digital video production. Also listed as Film and Media C187.
Prerequisites: Film 100, 185 with a grade of A- or better and consent of instructor.
Topics of concern to the instructor, usually related to current research, which may fall outside of the normal curriculum or be of more restricted content than regular studio courses. An opportunity to investigate topics and mediums on an ad hoc basis when there is a compelling reason to do so, providing there is no other course that deals with these concerns. Primarily intended for advanced undergraduates and graduates in Art Practice but open to others. For special topics and enrollment see listings outside of 345 Kroeber.
Consent of instructor.
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.