*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.*
*Please note that there are TWO sections for this course*
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.
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.
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 is a basic foundation class for digital photography with hands-on instruction in the use of digital cameras and online image dissemination. Topics include image capture, composition, image syntax, image analysis, image manipulation, meta-text production, and image sequencing for visual narratives. We also study image dissemination through online networks-social networks, blogs, news, storage, search, and print services.
This new course will enable students to think critically about, and engage in practical experiments in, the complex interactions between new media and perceptions and performances of embodiment, agency, citizenship, collective action, individual identity, time and spatiality. We will pay particular attention to the categories of personhood that make up the UC Berkeley American Cultures rubric (race and ethnicity), as well as to gender, nation, and disability. The argument threading through the course will be the ways in which new media both reinforce pre-existing social hierarchies, and yet offer possibilities for the transcendence of those very categories. The new media — and we will leave the precise definition of the new media as something to be argued about over the course of the semester — can be yet another means for dividing and disenfranchising, and can be the conduit of violence and transnational dominance.
This course provides students with the technological and conceptual groundwork for advanced courses in video art and filmmaking including the use of digital cameras, sound recording, basic lighting techniques, digital editing, compression, and online dissemination. We will focus on what makes compelling moving images that elicit powerful intellectual and emotional responses. The course also explores the range of techniques and languages of creative video making from traditional story genres to more contemporary experimental forms.
The course consists of weekly lectures, screenings, discussions and a lab section. The lab is a production workshop in which students will produce a series of short exercises and a final project.
Upper Division Courses
In this hands-on, project-based class in collaborative innovation, 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. Students will experience observation, problem-framing, divergent and convergent thinking, iterative solution testing, improvisation, storytelling, devised theatre, and public speaking and presentation activities. By engaging in these activities, the course provides students with the opportunity to develop new mindsets, skill-sets and tool sets for use in collaborative innovation efforts.
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.
This is an advanced studio and lecture class for art majors, to advance their practice through practical research into the varied processes and methods of contemporary painting. Students will expand their skills and develop a dedicated practice through self generated projects and critical engagement. In-class critiques and open discussion will reinforce and challenge the students as a vital part of their technical, conceptual, and professional development.
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. 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.
Non-traditional projects in printmaking. Lectures and demonstrations introduce students to techniques and varied applications.
What is a crowd? Is it a swarm of bodies on the street, a dancing flash mob, or a set of data points culled from social media? This class investigates how digital cloud technologies cluster us together into formations that could be understood as both pleasurable and dangerous. We will look at how visual artists and social theorists have addressed issues such as self-tracking, fears around immigration, and crowdsourcing. We will also investigate how surveillance, big data, and social media are used by current governments and reframed by insurgent political movements. From the ubiquity of cloud computing to the crowds that have redefined contemporary mass politics, innovations in media platforms, data collection, and digital labor are redefining the ways that collectives are imagined, produced and defined. Crowds and Clouds examines the shared trajectories of technology and sociality, approaching the cloud and crowd through historically grounded, interdisciplinary scholarship in the visual arts, art history, ethnography, literature, and geography.
The course has no prerequisites and is open to all undergraduates, but anyone enrolling should be prepared to think hard, read deeply, question preconceived notions, and work.
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.
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.
This multidisciplinary studio course will investigate the intertwined
histories of art and politics, the powerful relationship that contemporary
art and politics continue to share, and how artists strive to create
social change by responding directly to current affairs and global
Class projects and lectures will explore the growing number of artists,
activists, and movements that are working together to change the
political landscape, and how art has historically helped produce
dissent and bring attention to issues and concerns that shape the
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.
Two hours of lecture and four hours of studio per week. This course offers an introduction to game design and game studies. Game studies has five core elements: the study of games as transmitters of culture, the study of play and interactivity, the study of games as symbolic systems; the study of games as artifacts; and methods for creating games. We will study these core elements through play, play tests, play analysis, and comparative studies. Our reading list includes classic game studies theory and texts which support game design methods. After weekly writing and design exercises, our coursework will culminate in the design and evaluation of an original code-based game with a tangible interface.
Course Format: Two hours of lecture and seven hours of studio per week.
Description: This class provides a basic foundation for digital photography with hands-on instruction in the use of digital cameras and online image dissemination. Topics include image capture, composition, image syntax, image analysis, image manipulation, metatext production, and image sequencing for visual narratives. We also study image dissemination through online networks including social networks, blogs, news, storage, search, and print services. Rather than limiting the discussion of photography to the production of the photographic image itself, we explore in written assignments how the reception of images can change based on context, usage, and network dynamics. While we rely on required DSLR digital cameras to produce images for weekly photographic assignments, we also experiment with alternate digital image generation techniques from telescopes to microscopes. All coursework will be posted and discussed online as well as in weekly lectures, workshops, and critiques. Course readings cover the history of photography, the theory of photographic reproduction and the theory of networked and memetic dissemination
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.
Please see UC Berkeley course catalog for details on this course.
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.
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.