176 Sculpture Studio; (949) 824-6648
David Trend, Department Chair
Faculty
Ed Bereal, Chouinard Art Institute, Senior Lecturer Emeritus in Studio Art
Tony DeLap, Claremont Graduate School, Professor Emeritus of Studio Art
Ulysses Jenkins, Jr., M.F.A. Otis Parsons Art Institute, Associate Professor of Studio Art (video)
Craig Kauffman, M.F.A. University of California, Los Angeles, Professor Emeritus of Studio Art
Antoinette LaFarge, M.F.A. School of Visual Arts, Assistant Professor of Studio Art (digital media)
Betty Lee, M.F.A. California Institute of the Arts, Lecturer in Studio Art (photography)
Catherine Lord, M.F.A. State University of New York, Buffalo (Visual Studies Workshop), Professor of Studio Art (critical theory, feminism, photography)
Daniel Martinez, B.F.A. California Institute of the Arts, Associate Professor of Studio Art (public art, sculpture, installation, performance)
Yong Soon Min, M.F.A. University of California, Berkeley, Associate Professor of Studio Art (sculpture)
Gifford C. Myers, M.F.A. University of California, Irvine, Professor of Studio Art (ceramic sculpture)
Robert Nideffer, Ph.D. University of California, Santa Barbara, Assistant Professor of Studio Art and of Information and Computer Science (electronic intermedia, interface theory and design, technology and culture, contemporary social theory)
Connie Samaras, M.F.A. Eastern Michigan University, Associate Professor of Studio Art (photography, media theory, contemporary art issues)
David Trend, Ph.D. School of Education, Miami University, Department Chair and Associate Professor of Studio Art (video, photography, visual studies, curriculum)
Anne Walsh, M.F.A. California Institute of the Arts, Lecturer in Studio Art (visual fundamentals, studio methods)
Pat Ward-Williams, M.F.A. Maryland Institute College of Art, Associate Professor of Studio Art (photography, installation)
Visiting Lecturers
Andrea Bowers, M.F.A. Bowling Green State University, Lecturer in Studio Art (painting, drawing)
Steven Criqui, B.A. University of California, San Diego, Lecturer in Studio Art (painting, art history, criticism)
Allan deSouza, M.F.A. University of California, Los Angeles, Lecturer in Studio Art (visual fundamentals, photography)
Mara Lonner, M.F.A. California Institute of the Arts, Lecturer in Studio Art (drawing, sculpture)
Deborah Oliver, M.F.A. California Institute of the Arts, Lecturer in Studio Art (performance)
Catherine Opie, M.F.A. California Institute of the Arts, Lecturer in Studio Art (photography)
William "Shelby" Roberts, M.F.A. California Institute of the Arts, Lecturer in Studio Art (photography)
Larry Wasserman, M.A. University of California, Los Angeles, Lecturer in Studio Art (ceramics)
Paul Zelevanksy, M.A. Columbia University, Lecturer in Studio Art (visual fundamentals)
The Department of Studio Art takes a wide-ranging, interdisciplinary view of contemporary art practice. The Department emphasizes a demanding, conceptual approach to work in process in addition to traditional notions of product. Students are encouraged to develop an individual, disciplined direction through an experimental approach to media, materials, and techniques. To further this end, the curriculum provides studio experiences in drawing, painting, sculpture, ceramics, photography, digital imaging, and video, in addition to emphasizing cultural studies in relation to contemporary practice. Visiting artists and theorists who teach on a quarterly basis, or who make shorter guest appearances, are an integral part of the program.
The University's Education Abroad Program offers students the opportunity to study abroad. Special programs for Studio Art majors are offered in Venice (for graduate-level study also).
Departmental faculty and the range of artists whose work is represented in the University Art Gallery exhibitions provide diverse career models. Some graduates go on to careers as exhibiting artists or teachers; others work in arts-related activities in museums, galleries, and artists' organizations. A bachelor's degree in Studio Art is usually required as preparation for graduate-level study in studio art.
University Requirements: See pages 54-59.
School Requirements: None.
Departmental Requirements for the Major
Studio Art 1A-B-C (taken the first year in residence); Studio Art 10A, B, C; Art History 40A, B, C or 42A, B, C; five lower-division courses selected from Studio Art 20-99; upper-division courses totaling 48 units as follows: three intermediate-level courses with no more than two in one area (Studio Art 102-115); six advanced or project courses (Studio Art 100, 101, 130-195, 199); three issues courses (Studio Art 116-129); Senior Thesis Exhibition (Studio Art 198).
| Sample Program for Freshmen | |||||
| Fall | Winter | Spring | |||
| Studio Art 1A | Studio Art 1B | Studio Art 1C | |||
| Art History 40A/42A | Art History 40B/42B | Art History 40C/42C | |||
| English and Comp. | Elective | Elective | |||
| Lit. WR39A | English and Comp. | English and Comp. | |||
| Lit. WR39B | Lit. WR39C | ||||
Departmental Requirements for the Minor
Studio Art 1A-B-C; Studio Art 10A, B, C; three lower-division studio classes in three media (Studio Art 20-99); five upper-division courses divided as follows: one from intermediate-level courses (Studio Art 102-115) with no repetition of any course; one from issues courses (Studio Art 116-129); one from advanced or project courses (Studio Art 100, 101, 130-195, 199); plus two additional upper-division courses selected from any of these groups.
Degree Offered
M.F.A. in Studio Art.
A graduate emphasis in Feminist Studies also is available. Refer to the Women's Studies section of the Catalogue for information.
General Information
The M.F.A. program is a small program directed to the independently motivated student. The focus is on defining, and refining, individual direction in relation to contemporary practice. The emphasis is on experimental, intermedia approaches rather than on the acquisition of traditional techniques. Independent work with faculty is encouraged, and maximum latitude is given in developing individual research and exhibition projects. Graduate courses combine rigorous critique situations, with faculty as well as visiting artists, and seminars focusing on various aspects of contemporary art theory. Graduate students have regular opportunities to exhibit in the University Art Gallery.
The program of visiting artists and lecturers is an integral part of the graduate experience. Recent visitors have included Shani Mootoo, Doug Sadownick, Terry Wolverton, PWA/UV, Lutz Bacher, Laura Owens, Steve Fagin, Dinh Le, Ela Troyano, Laura Cottingham, Bruce Yonemoto, Carlos Estrada-Vega, Todd Gray, Eric Nakamura, Martin Wong, Glenn Kaino, Sam Durant, Jess Dobkin, Rea Tajiri, and Carolee Schneemann.
Individual studio space is assigned by lottery. Facilities support sculpture in wood and metal, photography, video, digital media, ceramics, painting, drawing, and performance.
Admission
Applicants for admission to the degree program must meet the general requirements for admission to graduate study, hold a B.A. or B.F.A. in Art, have completed one year of twentieth-century art history (students who have not completed this will be required to do so as part of their graduate studies), and submit by January 15 a portfolio of their creative work of a maximum of 20 slides, on a #80 Kodak Carousel tray, of their most recent work, or video tape (VHS; no more than five minutes, cued up). A short incisive statement about the work is required. Normally, anyone who has earned an M.F.A. degree in Studio Art will not be considered for admission into the program.
General Degree Requirements
Normally two years of residence are required. Each candidate must enroll for three courses each quarter for six quarters, exclusive of summer sessions.
The student's progress and body of work will be reviewed by a faculty committee yearly. A satisfactory opinion by this committee will allow the student to progress to candidacy for the degree.
Satisfactory attainment must be demonstrated by a specific creative project, which usually takes the form of a graduate exhibition in the University Art Gallery. This project is to be supported by a thesis incorporating visual and written material relevant to the project and the candidate's creative research while at UCI. Oral defense of the project is required.
Specific Degree Requirements
Seventy-two quarter units in graduate or approved upper-division undergraduate courses must be completed with a grade of at least B or a Satisfactory in each course. Not more than 20 units in upper-division courses may count toward the degree. Students are encouraged to take courses in other relevant disciplines, e.g., women's studies, film studies, comparative culture, and critical theory. Electives may be taken in any discipline. The 72 units will normally be made up in the following manner:
First Year: three courses in Issues in Contemporary Art (Studio Art 215, 220); three courses in Graduate Critique (Studio Art 230); 12 units in graduate projects (Studio Art 240).
Second Year: two courses in Issues in Contemporary Art (Studio Art 215, 220); two courses in Graduate Critique (Studio Art 230), one additional course in Studio Art 220 or 230; twelve units in graduate projects (Studio Art 240); one course in thesis (Studio Art 260).
1A-B-C Topics in Visual Culture: Foundation Projects (4-4-4). Approaches to postwar art and culture. Solving visual problems and developing understanding of how gender, sexuality, race, nationality influence contemporary cultures. Examines individual's relation to being an artist, encouraging experimentation rather than repeating received ideas. (IV)
10A, B, C Issues in Contemporary Art and Visual Culture (4, 4, 4). Contemporary art and cultural practice of the past 40 years; slide presentations and film/video screenings. Recent history of visual art. Topics relating to those various critiques of the canon presented by multicultural studies, feminism, and gay and lesbian studies. (IV)
20 Basic Drawing (4). Encourages an investigation of the premises and limits of drawing, primarily, but not inevitably, as a two-dimensional medium. Includes slide presentations and discussions of the historical uses of a wide range of drawing.
30 Basic Painting (4). Encourages an experimental use of painting techniques, including issues of color, surface, and space. Slide presentations and critiques of student work.
31A-B Mural Painting I-II (4-4). Introduction to skills and history of mural painting. Includes training in rendering, coloration and scale, as well as presentations on contemporary muralists. Prerequisites for 31A: at least one basic painting course and consent of instructor. Prerequisite for 31B: 31A.
40 Basic Sculpture (4). The practice of sculpture in the contemporary arts; inclusion of spatial interventions, site-specific and environmental design, appropriation of found materials; techniques in cutting, joining, and assembly of wood, metals, and plastics. May include casting, welding, and ceramics. Materials fee.
51 Basic Ceramic Sculpture (4). Exploration of use of clay as sculptural basis with an emphasis on development of an idea and its relation to contemporary and experimental art practice. Hand-building, glazing, finishing processes, and use of other structural materials. Materials fee.
61 Basic Non-Silver Imaging (4). Focuses on means of image reproduction other than silver imaging. Explores historical and contemporary uses of such technologies. May include cyanotype, silkscreen, etching, xerox, and various dot-matrix and laser print outputs. Materials fee. May be taken for credit twice.
65 Basic Digital Imaging: Photography (4). An introduction to basic techniques for producing digital images. The development of skills to create and manipulate still images using paint and photographic-based programs is emphasized. Materials fee.
71 Basic Photography (4). Photography as an aspect of contemporary art practice, including its relation to the documentary tradition. Slide lectures and field trips. Basic technical skills of black and white photography, including cameras, film developing, and printing. Students must have a 35 mm. non-automatic camera. Materials fee.
81 Basic Video (4). Introduction to the strategies and range of contemporary video production, including screening/discussions on experimental and independent productions. Focuses on acquisition of basic skills in cameras, lighting, sounds, and editing. Readings and screenings are assigned. Materials fee.
91 Basic Performance Art (4). Exploration of objects, gesture, action, text, image, and media to create narrative or non-narrative works. Elements of theory and history of performance art are discussed to illustrate techniques and styles. The goal is to understand, identify, and articulate your artistic vision and voice. May be taken for credit twice.
100 Special Topics in Studio Art (4). Prerequisites: Studio Art 10A, B, C; upper-division standing or consent of instructor. May be taken for credit six times as topics vary.
101 Artists as Writers (4). Contemporary art practice involves text, as final form or an integral element. Many contemporary artists consider writing as essential to their practice. Covers historical and contemporary uses of text and image as well as artists' writings. Prerequisite: Studio Art 10A, B, C or consent of instructor.
102 Intermediate Drawing (4). Continuation of the investigation initiated in Studio Art 20, with an emphasis on experimentation, personal investigation, and the development of conceptual working premises, as well as the acquisition of necessary skills. Group discussion and critique are emphasized. Prerequisites: Studio Art 1A-B-C and 20 or consent of instructor. May be taken for credit twice.
103 Intermediate Painting (4). Continuation of the investigation initiated in basic painting, with an emphasis on experimentation, personal investigation, development of conceptual working premises, as well as the acquisition of necessary skills. Group discussion and critique are emphasized. Prerequisites: Studio Art 1A-B-C and 30 or consent of instructor. May be taken for credit twice.
104 Intermediate Sculpture (4). Investigation of three-dimensional space, including the construction of objects and the manipulation of the environment. Students define personal projects and translate personal, social, and political experience into visual meaning. Range of artists' works introduced. Group discussion and critiques. Materials fee. Prerequisites: Studio Art 1A-B-C and 40 or consent of instructor. May be taken for credit twice.
105 Intermediate Ceramic Sculpture (4). Further investigation of the use of clay as a medium, with emphasis on experimental practice and the relationship to contemporary visual art. Emphasizes discussion of ideas, and provides information on clay body, fabrication, glazing, and firing. Materials fee. Prerequisites: Studio Art 1A-B-C and 51 or consent of instructor. May be taken for credit twice.
106 Interactive Digital Media: Sound and Video (4). Students learn how to prepare and present multimedia materials within interactive formats. Programs for digitizing and altering sound and video are introduced. Various strategies for editing and arranging materials within temporal parameters are discussed. Prerequisites: Studio Art 1A-B-C and 65 or consent of instructor. May be taken for credit twice.
107 Intermediate Photography (4). An in-depth continuation of the critical and technical skills explored in Studio Art 71. Experimentation, photographic interests and vocabulary, critical abilities and development of independent projects. Slide lectures, readings, technical demonstrations, criticism, and social histories of photography. Prerequisites: Studio Art 1A-B-C and 71 or consent of instructor. May be taken for credit twice.
108 Intermediate Video Production (4). Designed to further enable the producer to conceive, develop, and produce an original videotape (single channel, multiple channel, or installation). Use of TV studio and editing facilities. Issues of film and computer compatibility. Readings, screenings, field trips, group critiques. Materials fee. Prerequisites: Studio Art 1A-B-C and 81 or consent of instructor. May be taken for credit twice.
109 Intermediate Performance Art (4). Continued investigation of the concepts and history of experimental performance art, including its relation to contemporary artistic practice. Continues to refine technical skills, as well as space, audiences, and cultural connections. Prerequisites: Studio Art 1A-B-C or consent of instructor. Recommended: two basic courses in related medium. May be taken for credit twice.
110 Interdisciplinary Digital Arts (4) F, W, S. Covers a range of interdisciplinary approaches for utilizing computer systems. Investigates such topics as World Wide Web design and authoring, digital mail art, computer installations, and performance within video conferencing contexts. Prerequisites: Studio Art 1A-B-C and 65 or consent of instructor. May be taken for credit twice.
116 Feminist Issues in Studio Arts (4). Feminist perspectives and topics in relation to cultural production. Feminist debates on sexuality, perspectives on women of color, on race and gender, feminist film criticism, histories of the first and second waves of feminism, histories of feminist art. Prerequisite: Studio Art 10A, B, C or consent of instructor. May be taken for credit twice.
117 Issues in Critical Theory (4). Examines a range of critical theories in relation to visual language, contemporary and modern art, and/or issues of representation. Content varies and may include semiotics, structuralism, post structuralism, psychoanalysis, literary criticism, Marxism, critiques of modernism. Prerequisite: Studio Art 10A, B, C or consent of instructor. May be taken for credit twice.
118 Issues in Urban Space, Housing, Community Development, and Architecture (4). Social histories and cultural critiques of urban, suburban, and architectural spaces and the social construction of community and public spaces. Content varies and may deal with a variety of geographic locations, cultures, social perspectives, and artists' strategies of public address. Prerequisites: Studio Art 10A, B, C or consent of instructor. May be taken for credit twice.
120 Issues in Narrative (4). Emphasizes the construction of narratives in different media--painting, photography, sculpture, video. Particular attention paid to the development of personal and community histories as a working base. Prerequisites: Studio Art 10A, B, C or consent of instructor. May be taken for credit twice.
121 Issues in Race and Representation (4). Emphasizes the construction of racial difference and stereotyping in the visual and performing arts, and on the histories of cultures and artists who functioned outside the contemporary mainstream. Readings assigned. Prerequisite: Studio Art 10A, B, C or consent of instructor. May be taken for credit twice.
122 Issues in Lesbian and Gay Visual Representation (4). History of lesbian and gay culture in relation to the visual and performing arts; the construction of sexual difference, debates around positive and negative representations, queer activism, and the intersections of sexuality with gender and race. Readings assigned. Prerequisite: Studio Art 10A, B, C or consent of instructor. May be taken for credit twice. Same as Women's Studies 161B.
123 Issues in Cultural Display (4). Lecture/seminar on issues of the production and representation of culture, including patronage, museum history, exhibition design and history, arts funding, cultural identity, and cultural diversity. Field trips, screening and slide lectures are generally assigned. Prerequisites: Studio Art 10A, B, C or consent of instructor. May be taken for credit twice.
124 Issues in the History of Intermedia (4) . Examines, in a nonlinear and eclectic fashion of contemporary oppositional art practices, work not considered art-making within conventional definitions, and intermedia approaches from the postwar period. Reading and lectures will be drawn from a wide range of sources. Prerequisite: Studio Art 10A, B, C or consent of instructor. May be taken for credit twice.
126A, B Issues in Computer Media and Technology: Women's Place in Cyberspace (4, 4). Focuses on polarization of gender roles and feminist issues through computers and programming. Issues include male/female stereotypes built into software, internet and bulletin boards, pornography programs, multimedia literature, and economy in production of technology. Previous computer experience helpful. Prerequisite: Studio Art 10A, B, C or consent of instructor.
127A, B Issues in Video History (4, 4). History of the video medium outside its use as television, ranging from the 1950s-90s. Topics include: electronics, conceptual and non-edited work, surveillance, documentary and documentation, performance art, and its use in installations and sculpture. Prerequisite: Studio Art 10A, B, C or consent of instructor.
130 Projects in New Technologies (4). Working with media such as electronic still cameras, desktop publishing, faxes, satellites, virtual reality, digitized imaging. Cultural issues pertinent to the emergence of new technology (e.g., ethical concerns, social impact, copyright laws, nontraditional approaches to distribution, cyberpunk, global markets). Prerequisites: two intermediate courses and consent of instructor. May be repeated for credit as topics vary.
131 Projects in Installation (4). Investigates interior installation in particular spaces. Working in teams, students install, discuss, and remove projects. Technical information and hands-on experience with various media is provided. Prerequisites: two intermediate courses or consent of instructor. May be repeated for credit as topics vary.
132 Projects in Collaboration (4). Focuses on various approaches, historical precedents, and contemporary strategies to artists' collaborations. Students work in collaboration with other students and/or with people outside the class. Course content and structure varies according to instructor(s). Prerequisites: two intermediate courses or consent of instructor. May be repeated for credit as topics vary.
133 Projects in Documentary Practices (4). An investigation and discussion of a variety of critical stances and approaches to making documentary, as well as a project-based exploration of documentary strategies in all media. Prerequisites: two intermediate courses and consent of instructor. May be repeated for credit as topics vary.
134 Projects in Sound (4). Explores ways to create sound ranging from electronic/computerized equipment to nontraditional instruments to found noises. Related cultural and social critiques (rap, rock and roll, jazz, MTV, blues, "world" music, new technologies, sampling, copyright laws). Prerequisites: two intermediate courses and consent of instructor. May be repeated for credit as topics vary.
135 Projects in Mural Painting and Site-Specific Art (4). Methods and histories of mural painting and development of audiences outside museums and galleries. Examines ways public art producers facilitate community involvement, methods of researching cultural contexts in relation to specific sites, and diverse approaches to collaboration. Students produce a mural. Prerequisites: two intermediate courses and consent of instructor. May be repeated for credit as topics vary.
136 Projects in Ecologies and Environmental Art (4). Focus on developing studio projects concerned with ecological issues and land use. A wide range of contemporary art, social strategies and diverse political critiques addressing environmental and land use concerns considered. Prerequisites: two intermediate courses. May be repeated for credit as topics vary.
137 Projects in Autobiography, Personal Narratives, and Community Histories (4). An investigation of personal narratives, storytelling, and oral histories as a basis for art. Issues of interpretation and subjectivity. Considers autobiography as a means to make visible voices, histories, experiences and perceptions marginalized, misrepresented, and/or absented from dominant representations. Prerequisites: two intermediate courses and consent of instructor. May be repeated for credit as topics vary.
138 Projects in Public Art (4). Addresses the formation of culturally diverse arts audiences, institutions, boundaries, and barriers, including presentations on artists and strategies of exhibition/distribution outside the mainstream. Class projects, collaborative work, and group investigation. Prerequisites: two intermediate courses and consent of instructor. May be repeated for credit as topics vary.
139 Projects in Intermedia (4). Investigation of artistic practices not necessarily object-oriented or bound to the distribution strategies of traditional media. Emphasizes interdisciplinary conceptualization and research, using digital information storage, as well as "low-tech" means such as the body. Individual or group projects required. Prerequisites: two intermediate courses and consent of instructor. May be repeated for credit as topics vary.
140 Projects in Interdisciplinary Studies (4). An individually directed study critique and/or topics course for students interested in researching and integrating ideas in their studio work from fields outside of visual art. Prerequisites: two intermediate courses and consent of instructor. May be repeated for credit as topics vary.
141 Projects in Video Sketchbook (4). Devoted to using the camera as a sketchbook or diary. Goal is to develop sources of inspiration in order to produce several short video pieces. Students employ various techniques and experiment with various strategies. Development and shaping of each student's individual voice. Prerequisite: Studio Art 81. May be taken for credit twice.
142 Projects in Pre-Production Methods and Strategies (4). Deals with concerns relative to developing concepts and strategies prior to shooting. Focuses on developing practical and creative concerns, including script development, storyboarding, development of camera movements, and sequences relating to theoretical concerns. Prerequisite: Studio Art 141 or consent of instructor. May be taken for credit twice.
149 Multimedia and the Arts in the Multicultural Classroom (4) F, W, S. Multiculturalism and underrepresented U.S. minorities and the visual and performing arts: perspectives in artistic perception, creative expression, historical and cultural context, and aesthetic valuing, and media literacy in the interpretation and production of multimedia arts products and applications for K-12 classrooms. Same as Education 104E. (VII-A)
150 Advanced Studio Topics/Painting (4). Provides an intensive and specialized working environment. Thematic issues and material strategies explored. Prerequisites: Studio Art 30 and 103 or consent of instructor. May be repeated for credit as topics vary.
150C Advanced Drawing (4). Advanced studio problems for visual exploration. Students pursue individual solutions to self-defined and presubscribed projects. Techniques/materials are individual choice. Continual analysis of the personal process. Prerequisites: Studio Art 20, 102. May be repeated for credit with consent of instructor.
151 Advanced Studio Topics/Sculpture (4). Provides an intensive and specialized working environment. Thematic issues and material strategies will be explored. Prerequisites: two intermediate courses and consent of instructor. Materials fee. May be repeated for credit as topics vary.
152 Advanced Studio Topics/Photography (4). Focused investigation of a range of issues in photographic practice, with an emphasis on defining individual projects and refining critical and conceptual approaches. Readings, slide lectures, and field trips. Materials fee. Prerequisites: Studio Art 107 or consent of instructor. May be repeated for credit as topics vary.
153 Advanced Studio Topics/Video (4). The class will be directed to the production of individual or collaborative videotapes, using studio, portable camera, and editing facilities and sound and computer elements. Emphasis will be on individually initiated projects. Readings and screenings are assigned. Materials fee. Prerequisites: Studio Art 108 or consent of instructor. May be repeated for credit as topics vary.
154 Advanced Studio Topics/Performance (4). An intensive investigation of the practice of performance art, with an emphasis on th development of individual projects, and the refinement of various technical skills, as well as audiences, spaces, and cultural connections. Prerequisites: Studio Art 10A, B, C, 109, and consent of instructor. May be repeated for credit as topics vary.
155 Advanced Studio Topics/Large-Scale Photography (4). Large-scale black and white photographic production and discussion of contemporary art and photographic practices. Methods and approaches; related topics, e.g., documentary practices, advertising imagery and the construction of public space, artists' billboard images. Materials fee. Prerequisites: two intermediate photography courses.
156 Advanced Studio Topics/Ceramic Sculpture (4). Discussion of ideas, techniques, and personal control of form. Clay body, fabrication, glazing, and firing. Emphasis on development of personal direction. Prerequisites: Studio Art 105. Materials fee. May be repeated for credit with consent of instructor.
157 Color Photography (4). Introduction to color photographic theory, process, and practice. Also serves as an introduction to critical and historical issues specific to color photography as contemporary art practice. Slide lectures, readings, technical demonstrations, and critiques. Prerequisites: Studio Art 71 and 107 or consent of instructor. May be taken for credit twice.
160 Advanced Color Photography (4). For advanced photography students who wish to perfect their skills in traditional color photography methods. An accelerated course geared toward refining critical abilities and developing individual photographic vision through directed projects. Emphasis on color photography as a contemporary art practice. Prerequisites: Studio Art 1A-B-C and 157, or consent of instructor.
166 Advanced Collaborative Projects (4). Organized around the design and completion of a group project such as authoring a CD-ROM or engineering a complex collaborative performance or curating a Web-based exhibition site. Prerequisites: Studio Art 1A-B-C and 65 or consent of instructor. May be taken for credit twice.
175 Digital Art Aesthetics (4). Focuses on current theoretical and political research related to digital imaging, including ethical implications of artificial life, significance of identity politics, gender/race in cyberspace, access to computing systems, issues of post-structuralist aesthetics. Showing of contemporary artists in this field. Prerequisites: Studio Art 1A-B-C and 65 or consent of instructor. May be taken for credit twice.
190 Senior Project (4). Directed-study critique class in preparation for final project and life after graduation; documentation and portfolio preparation for graduate school. Investigation of exhibition spaces and funding opportunities, participation in artists' communities outside the university, artists' rights issues. Prerequisite: senior standing.
191 Studio Problems: Methods and Materials (4). An open media discussion and critique course emphasizing the development of working ideas and the execution of projects in all media. Readings assigned as required; field trips, slide and film/video presentations are integral. Prerequisites: two intermediate courses. May be repeated for credit as topics vary.
192 Studio in Painting (4)
193 Studio in Sculpture (4)
197 Studio Art Internship (1 to 3). Under faculty supervision, students participate directly in a variety of art institutions/settings, including museums, galleries, and nonprofit organizations. Prerequisites: junior standing, consent of instructor, and consent of department chair. May be repeated for credit for a total of nine units.
198 Senior Exhibition (0). Preparation, installation, and participation in the annual senior exhibition. Pass/Not Pass only. Four units of workload credit only. Prerequisite: senior standing; Studio Art majors only.
199 Independent Study (1 to 4). Individual study or directed creative projects as arranged with faculty member. Prerequisite: consent of instructor. May be repeated for credit.
215 Seminar: Issues in Contemporary Art (4) F, W, S. Issues of contemporary art and media practice: feminism, multicultural studies, gay and lesbian studies, communications theory, border cultures, structuralism and poststructuralism, psychoanalysis. Performance art, sound, painting, sculpture, photography, film, video, and fiction. Readings, screenings, field trips. Satisfactory/Unsatisfactory only. Prerequisite: graduate standing or consent of instructor. May be taken for credit six times.
220 Seminar: Issues in Contemporary Art (4) F, W, S. An in-depth extension of Studio Art 215 leading to focused analysis and research on contemporary issues. May be team taught in conjunction with faculty from art history, film studies, ethnic studies, or women's studies. Visiting artists/critics. Satisfactory/Unsatisfactory only. Prerequisite: Studio Art 215. May be taken for credit twice.
230 Graduate Critique: Issues in Studio Practice (4) F, W, S. A critique-based course focusing on the studio production of the individuals enrolled and aiming to develop a serious and sophisticated environment for peer critique. Readings, screenings, and field trips are generally assigned. Satisfactory/Unsatisfactory only. Open to upper-division undergraduates at the discretion of the instructor. May be taken for credit six times.
235 Graduate Seminar: Digital Imaging (4) F, W, S. Introduction to digital imaging methods and concepts. Emphasis is placed on extensions and translations of the students' previous work in other media into appropriate computer applications. May be taken for credit twice.
240 Graduate Projects (1 to 4) F, W, S. Independent projects under faculty supervision. May be repeated for credit up to a total of 24 units.
250 Directed Reading (4). May be repeated for credit.
260 Thesis (4) S. Limited to second-year graduate students preparing for candidacy during their final quarter.
399 University Teaching (4) F, W, S. Limited to Teaching Assistants. May be repeated for credit.
