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Bulletin Archive

This archived information is dated to the 2008-09 academic year only and may no longer be current.

For currently applicable policies and information, see the current Stanford Bulletin.

Undergraduate courses in Art Studio

ARTSTUDI 14. Drawing for Non-Majors

2 units, Aut (Anderson, D)

ARTSTUDI 16. Sculpture for Non-Majors

2 units, Win (Arcega, M), Spr (Shiho, K)

ARTSTUDI 17. Photography for Non-Majors

2 units, not given this year

ARTSTUDI 18. Video for Non-Majors

2 units, Win (van Tonder, J)

ARTSTUDI 19. Collage for Non-Majors

2 units, Aut (Valentine, J)

ARTSTUDI 30. Introductory Survey: Concepts and Strategies

The diversity of artistic concepts and strategies; artists who use the different media taught in the department's studio program such as painting, drawing, video and digital art, printmaking, photography, and sculpture. Field trips to local museums and collections, artists studios, and libraries. Student research. Priority to Art Studio majors and minors. (lower level)

3 units, Win (Staff)

ARTSTUDI 60. Design I : Fundamental Visual Language

Formal elements of visual expression (color, composition, space, and process) through hands-on projects. Two- and three-dimensional media. Emphasis is on originality and inventiveness. Content is realized abstractly. Centered in design; relevant to visual art study and any student seeking to develop visual perception. (lower level)

3-4 units, Aut (Kahn, M), Win (Edmark, J), Spr (Edmark, J)

ARTSTUDI 70. Introduction to Photography

Critical, theoretical, and practical aspects of creative photography through camera and lab techniques. Field work. Cantor Art Center and Art Gallery exhibitions. 35mm camera required. (lower level)

4 units, Aut (Felzmann, L), Win (Leivick, J), Spr (Felzmann, L), Sum (Staff)

ARTSTUDI 80. Color

Hands-on study of color to develop color sensitivity and the ability to manipulate color to exploit its expressive potential. Guided experimentation and observation. Topics include color relativity, color and light, color mixing, color harmony, and color and content. (lower level)

3-4 units, Aut (Edmark, J)

ARTSTUDI 130. Interactive Art I: Objects

The basics of sensors, processors, and actuators needed to create artworks that interact, record, and communicate. Emphasis is on the sculpture and interactive dimensions. (lower level)

4 units, not given this year

ARTSTUDI 131. Sound Art I

Acoustic, digital and analog approaches to sound art. Familiarization with techniques of listening, recording, digital processing and production. Required listening and readings in the history and contemporary practice of sound art. (lower level)

4 units, Aut (DeMarinis, P)

ARTSTUDI 136. Future Media, Media Archaeologies

Hand-on. Media technologies from origins to the recent past. Students create artworks based on Victorian era discoveries and inventions, early developments in electronic media, and orphaned technologies. Research, rediscover, invent, and create devices of wonder and impossible objects. Readings in history and theory. How and what media technologies mediate. (lower level)

3-4 units, Spr (DeMarinis, P)

ARTSTUDI 137. Wireless

Technologies to scan the radio frequency signals that permeate the modern environment and to create art works that extend invisibly through space. Topics incluce spark telegraphy, Bluetooth and wireless networks, antennas, chips, encryption, propaganda, and surveillance. (upper level)

4 units, not given this year

ARTSTUDI 138. Sound and Image

Practices that combine audio and visual media. Topics include synesthesias, visual music, film soundtracks, and immersive multimedia practices that combine sound, music, still and moving images, projections, and performance. (lower level)

4 units, Win (DeMarinis, P)

ARTSTUDI 140. Drawing I

Functional anatomy and perspective as they apply to problems of drawing the form in space. Individual and group instruction as students work from still life set-ups, nature, and the model. Emphasis is on the development of critical skills and perceptual drawing techniques for those with little or no previous experience with pastels, inks, charcoal, conte, and pencil. Lectures alternate with studio work. (lower level)

4 units, Aut (Bean, K), Win (Chagoya, E), Spr (Bersamina, L)

ARTSTUDI 141. Drawing II

Intermediate/advanced. Observation, invention, and construction. Development of conceptual and material strategies, with attention to process and purpose. May be repeated for credit. Prerequisite: 140 or consent of instructor. (upper level)

4 units, Win (Bean, K)

ARTSTUDI 145. Painting I

Introduction to techniques, materials, and vocabulary in oil painting. Still life, landscape, and figure used as subject matter. Emphasis is on painting and drawing from life. (lower level)

4 units, Aut (Bean, K), Win (Kemp, A), Spr (Solomon, N)

ARTSTUDI 146. Painting II

Symbolic, narrative, and representational self-portraits. Introduction to the pictorial strategies, painting methods, and psychological imperatives of Dürer, Rembrandt, Cézanne, Kahlo, Beckmann, Schiele, and Munch. Students paint from life, memory, reproductions, and objects of personal significance to create a world in which they describe themselves. May be repeated for credit. Prerequisites: 140, 145, or consent of instructor. (upper level)

4 units, Aut (Hannah, D), Spr (Chagoya, E)

ARTSTUDI 148. Monotype

Introduction to printmaking using monotype, a graphic art medium used by such artists as Blake, Degas, Gauguin, and Pendergast. May be repeated for credit. Prerequisite: 140. (lower level)

4 units, Aut (Chagoya, E)

ARTSTUDI 148A. Lithography

The classic technique of printing from limestones. Techniques to draw an image on the stone, etch and fix the image on the stone, and print it in numbered editions. Students work on a variety of stone sizes. Field trips to local publishers of lithography or lithography exhibitions. (lower level)

4 units, Win (Kain, K)

ARTSTUDI 148B. Introduction to Printmaking Techniques

Techniques such as monotype, monoprint, photocopy transfers, linocut and woodcut, intaglio etching. Demonstrations of these techniques. Field trips to local print collections or print exhibitions. (lower level)

4 units, Spr (Kain, K)

ARTSTUDI 149. Collage

Generative principles. Assemblage (its three dimensional equivalent) and montage (its counterpart in photography, film, and video). How collage introduced aesthetic issues of the modern and postmodern eras, and creates an expressive visual language through juxtaposition and displacement, and through materiality, difference, and event. Issues of location (where it happens), object (what it is), process (how it is realized), and purpose (why it is). Prerequisites: 140, 145, or consent of instructor. (upper level)

4 units, Win (Ebtekar, A)

ARTSTUDI 151. Sculpture I

Traditional and non-traditional approaches to sculpture production through working with materials including wood, metal, and plaster. Conceptual and technical skills, and safe and appropriate use of tools and materials. Impact of material and technique upon form and content; the physical and expressive possibilities of diverse materials. Historical and contemporary forming methods provide a theoretical basis for studio work. Field trips; guest lecturers. (lower level)

4 units, Aut (Berlier, T), Win (Berlier, T)

ARTSTUDI 152. Sculpture II

Builds upon 151. Installation and non-studio pieces. Impact of material and technique upon form and content; the physical and expressive possibilities of diverse materials. Historical and contemporary forming methods provide a theoretical basis for the studio work. Field trips; guest lecturers. (upper level)

4 units, Spr (Berlier, T)

ARTSTUDI 160. Design II: The Bridge

The historical spectrum of design including practical and ritual. The values and conceptual orientation of visual fundamentals. Two- and three-dimensional projects sequentially grouped to relate design theory to application, balancing imaginative and responsible thinking. Prerequisite: 60. (upper level)

3-4 units, Win (Kahn, M), Spr (Edmark, J)

ARTSTUDI 161. Catalysts for Design

Nature and science as sources of design inspiration. Projects in natural pattern formation, biological growth and form, Fibonacci numbers and the golden section, planar and spatial symmetry, mechanics, chaos, and fractals. Emphasis is on importance of creative synthesis to the design process. Projects take the form of physical constructions as opposed to renderings or computer models. Field trips. (lower level)

3-4 units, not given this year

ARTSTUDI 163. Paper

Beyond conventional use of paper as a foundation for mark making to its potential as a medium in its own right. Students experiment with papers to develop facility with techniques of folding, scoring, curling, cutting, tearing, piercing, embossing, layering, and binding to create three-dimensional forms, patterned/textured surfaces, reliefs, interactive dynamic structures such as pop-ups, containers, and book forms. Field trips. (lower level)

3-4 units, Win (Edmark, J)

ARTSTUDI 166. Design in Motion

Design areas for which movement and transformation are essential. Experimentation with mechanical means such as linking, hinging, inflating, and rotating. Projects in lighting, automata, tools and utensils, chain reactions, toys and games, festival props, and quasi-architecture emphasize the creation of works in which motion is a significant agent for aesthetic gratification. No experience in mechanical engineering required. (lower level)

3-4 units, not given this year

ARTSTUDI 167. Introduction to Animation

Projects in animation techniques including flipbook, cutout/collage, stop-motion such as claymation, pixilation, and puppet animation, rotoscoping, and time-lapse. Films. Computers used as post-production tools, but course does not cover computer-generated animation. (lower level)

3-4 units, Aut (Edmark, J)

ARTSTUDI 169. Professional Design Exploration

Six to eight mature projects are stimulated by weekly field trips into significant areas of design activity or need. (upper level)

4 units, Spr (Kahn, M)

ARTSTUDI 170. Projects in Photography

Students pursue a topic of their own definition. Further exploration of darkroom and other printing techniques; contemporary theory and criticism. (lower level)

4 units, Aut (Felzmann, L), Win (Felzmann, L)

ARTSTUDI 171. Color Photography

Intermediate. Topics include techniques, history, color theory, and perception of color. Contemporary color photography issues and concepts. Students work with color slides and negatives, digital color, and non-traditional techniques. Field trip to a color lab. Prerequisite: 70. (upper level)

4 units, not given this year

ARTSTUDI 172. Alternative Processes

Priority to advanced students. Technical procedures and the uses of primitive and hand-made photographic emulsions. Enrollment limited to 10. Prerequisites: 70, 170, 270, or consent of instructor. (upper level)

4 units, Spr (Leivick, J)

ARTSTUDI 173. Introduction to Digital Photography and Visual Images

Students use Adobe Lightroom to organize and edit images, manipulate and correct digital files, print photographs, create slide shows, and post to the Internet. How to use digital technology to concentrate on visual thinking rather than darkroom techniques. (lower level)

4 units, Aut (Dawson, R), Spr (Dawson, R)

ARTSTUDI 175A. Light as a Sculptural Element

The application of light as a transformative medium in visual art practices. Artists such as Thomas Wilfred, Nam June-Paik, James Turrell, Ann Hamilton, Won Ju Lim, Diana Thater, Wolfgang Laib, Cai Guo-Qiang, Robert Irwin, Shirin Neshat, Bill Viola, and Olafur Eliasson. (upper level)

4 units, Aut (Buckholtz, E)

ARTSTUDI 177. Video Art I

Students create experimental video works. Conceptual, formal, and performance-based approaches to the medium. The history of video art since the 70s and its influences including experimental film, television, minimalism, conceptual art, and performance and electronic art. Topics: camera technique, lighting, sound design, found footage, cinematic conventions, and nonlinear digital editing. (lower level)

4 units, Aut (Hicks, A)

ARTSTUDI 177A. Video Art II

Advanced. Video, criticism, and contemporary media theory investigating the time image. Students create experimental video works, addressing the integration of video with traditional art media such as sculpture and painting. Nonlinearity made possible by Internet and DVD-based video. Prerequisite: 177 or consent of instructor. (upper level)

4 units, Win (Staff)

ARTSTUDI 178. Electronic Art I

Analog electronics and their use in art. Basic circuits for creating mobile, illuminated, and responsive works of art. Topics: soldering; construction of basic circuits; elementary electronics theory; and contemporary electronic art. (lower level)

4 units, Win (Wight, G)

ARTSTUDI 179. Digital Art I

Contemporary electronic art focusing on digital media. Students create works exploring two- and three-dimensional, and time-based uses of the computer in fine art. History and theoretical underpinnings. Common discourse and informative resources for material and inspiration. Topics: imaging and sound software, web art, and rethinking the comptuer as interface and object. (lower level)

4 units, Aut (Wight, G)

ARTSTUDI 179A. Digital Art II

Advanced. Interactive art works using multimedia scripting software. Experimental interfaces, computer installation work, and mobile technologies. Contemporary media art theory and practice. (upper level)

4 units, Spr (McKay, J)

ARTSTUDI 184. Art and Biology

The relationship between biology and art. Rather than how art has assisted the biological sciences as in medical illustration, focus is on how biology has influenced art making practice. New technologies and experimental directions, historical shifts in artists' relationship to the living world, the effects of research methods on the development of theory, and changing conceptions of biology and life. Projects address these themes and others that emerge from class discussions and presentations. (upper level)

4 units, Spr (Wight, G)

ARTSTUDI 246. Individual Work: Drawing and Painting

Prerequisites: two quarters of painting or drawing and consent of instructor.

1-15 units, Aut (Staff), Win (Staff), Spr (Staff)

ARTSTUDI 249. Advanced Undergraduate Seminar

Capstone experience for majors in Studio Art. Interdisciplinary. Methods of research, crossmedia critiques, and strategies for staging and presenting work. Guest artists from the Bay Area. (upper level)

4 units, Win (Bell, C)

ARTSTUDI 250. Individual Work: Sculpture

May be repeated for credit.

1-15 units, Aut (Staff), Win (Staff), Spr (Staff)

ARTSTUDI 260. Individual Work: Design

May be repeated for credit.

1-15 units, Aut (Staff), Win (Staff), Spr (Staff)

ARTSTUDI 268. Design Synthesis

Mature semi-elective problems in composite and multimedia design areas. May be repeaed for credit. Prerequisites: two design courses above 160. (upper level)

4-6 units, not given this year

ARTSTUDI 269. Advanced Creative Studies

Seminar based on elective design projects in areas of individual specialization. May be repeated for credit. Prerequisite: consent of instructor. (upper level)

1-15 units, Aut (Kahn, M)

ARTSTUDI 270. Advanced Photography Seminar

Student continues with own work, showing it in weekly seminar critiques. May be repeated for credit. (upper level)

1-5 units, Win (Felzmann, L), Spr (Leivick, J)

ARTSTUDI 271. The View Camera: Its Uses and Techniques

For students of photography who wish to gain greater control and refine skills in image making. 4x5 view cameras provided. Enrollment limited to 8. (upper level)

4 units, Win (Leivick, J)

ARTSTUDI 272. Individual Work: Photography

Student continues with own work, showing it in weekly seminar critiques. May be repeated for credit.

1-5 units, Aut (Staff), Win (Staff), Spr (Staff)

ARTSTUDI 273. Individual Work: Digital Media

May be repeated for credit.

1-15 units, Aut (Staff), Win (Staff), Spr (Staff)

ARTSTUDI 274. Individual Work: Digital Art

May be repeated for credit.

1-15 units, Aut (Staff), Win (Staff), Spr (Staff)

ARTSTUDI 276. The Photographic Book

Grouping and sequencing photographic images to produce a coherent body of work with a thematic structure. (lower level)

4 units, Spr (Felzmann, L)

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