Department of Art and Art History

Professors Emeriti: Brigid S. Barton, Samuel R. Hernandez

Professors: Kelly Detweiler, Kathleen Maxwell

Associate Professors: Kathy Aoki (Department Chair), Blake de Maria, Don Fritz, Kate Morris, Andrea Pappas, Ryan Reynolds

Assistant Professors: Takeshi Moro, Tobias Wofford

Senior Lecturer: Pancho Jiménez

Lecturers: Renee Billingslea, Julie Hughes

The Department of Art and Art History offers a degree program leading to the bachelor of arts in two undergraduate majors, art history and studio art, with courses in both disciplines fostering a thorough understanding of the history and practice of art. Department faculty encourage interdisciplinary connections with the Santa Clara community through course offerings that fulfill a wide range of College and Undergraduate Core Curriculum requirements, as well as courses through the University Honors Program.

Art History

The art history major at Santa Clara is distinguished by excellent teaching and mentoring, challenging coursework, and opportunities for study abroad, peer educating, and student internships at local and Bay Area institutions. Advanced art history majors are encouraged to participate in our annual Art History Symposium and the Art History Research Paper Competition. The art history major features numerous opportunities for personal and professional growth to better understand the meanings and purposes of the visual arts, including its historic development, roles in society, and relationships to other fields in the humanities. Students learn to think critically and communicate clearly about works of art. The art history major develops the following skills: knowledge acquisition, critical thinking, analysis of visual and textual sources, advanced research and writing skills, and sophisticated oral presentations. These intellectual skills enable art history majors to pursue a diversity of interests in a wide spectrum of fields and professions, including graduate work in art history.

Studio Art

Studio art majors develop comprehensive skills that help prepare them for graduate study or careers in either the fine or commercial arts. Faculty members emphasize the development of conceptual and technical competence, as well as critical analysis of the student’s own work and that of others. By graduation, every studio art major develops a body of original artwork to be exhibited in a senior show for display in the department gallery space. Students are required to articulate an artist’s statement reflecting their own engagement with the creative process, in conjunction with their senior show. Studio art majors enjoy opportunities to present their artwork in regional conferences as well as in student-organized exhibitions on and off campus. At the end of each academic year, students are encouraged to submit their work to the Annual Student Art Exhibit, which is judged by an outside professional in the field of art. The department also oversees merit-based scholarships, which are awarded to outstanding studio art majors with junior status.

Requirements for the Majors

In addition to fulfilling the Undergraduate Core Curriculum requirements for the bachelor of arts degree, students majoring in art history (ARTH) or studio art (ARTS) must complete the following departmental requirements:

Major in Art History

Students must complete 15 courses (13 ARTH and 2 ARTS):

Four courses from ARTH 11A, 12A, 21–27
Two lower- or upper-division ARTS courses
ARTH 100 (preferably at the end of sophomore year)
Five upper-division ARTH courses
Two additional lower- or upper-division ARTH courses
ARTH 196 (senior year)

Note: Only 4 units of ARTH 98/198 may count toward the major. Studio art or art history courses taken during a term of study abroad may be applied to no more than half of the requirements for a major in art history. No more than three courses may be taken abroad to fulfill the five upper-division ARTH course requirement.

Major in Studio Art

Students must complete 16 courses (13 ARTS and 3 ARTH):

Four foundation ARTS courses (recommended for first- or second-year students; transfer students should meet with the department chair for individualized advising) – ARTS 30 – ARTS 74 – One two-dimensional foundation course from ARTS 32 or 72 – One three-dimensional foundation course from ARTS 33, 63, or 64
One course from ARTH 21–27 (ARTH 23 recommended)
Seven additional ARTS courses (upper-division preferred, excluding ARTS 194)
One lower- or upper-division ARTH course with a global emphasis
One upper-division ARTH course with a modern or contemporary emphasis (ARTH 185 recommended)
ARTS 196A (recommended junior year)
ARTS 196B (senior year, spring quarter)

Note: Studio art or art history courses taken during a term of study abroad may be applied to no more than half of the requirements for a major in studio art. Only one ARTH course may be taken abroad to fulfill the requirements for a major in studio art. Students who wish to receive credit toward a major or minor for studio art courses taken at affiliated study abroad programs must be able to document their work for review by members of the department’s faculty. Either ARTH 11A or 12A (not both) may fulfill one of the lower-division ARTH requirements for a major in studio art. Studio art majors are required to formally present a body of work during their senior year, usually in the spring quarter in the department gallery. An Independent Study (ARTS 199) course of 2–5 units is often helpful in preparation for the exhibit.

Requirements for the Minor

Minor in Art History

Students must complete 7 courses (6 ARTH and 1 ARTS):

Two courses from ARTH 11A, 12A, 21–27
One studio ARTS course
Three upper-division ARTH courses
One additional lower- or upper-division ARTH course

Note: Only 4 units of ARTH 98/198 may count toward the minor. Studio art or art history courses taken during a term of study abroad may be applied to no more than half of the requirements for a minor in art history. Only one upper-division course may be taken abroad to fulfill the three upper-division ARTH course requirement.

Minor in Studio Art

Students must complete 7 courses (6 ARTS and 1 ARTH):

One two-dimensional course from ARTS 30–72 (or approved upper-division equivalent)
One three-dimensional course from ARTS 33, 63, or 64 (or approved upper-division equivalent)
Four additional ARTS courses (upper-division preferred, excluding ARTS 194)
One lower- or upper-division ARTH course (excluding ARTH 11A or 12A)

Note: Study abroad courses in art history are not accepted for the minor in studio art. Approved studio art study abroad courses may be applied to no more than half of the requirements for a minor in studio art.

Lower-Division Courses: Art History

11A. and 12A. Cultures & Ideas I and II

A two-course sequence focusing on a major theme in human experience and culture over a significant period of time. Courses emphasize either broad global interconnections or the construction of Western culture in its global context. Courses may address art, politics, propaganda, and other topics. Successful completion of ARTH 11A: C&I I is a prerequisite for ARTH 12A: C&I II. (4 units each quarter)

21. Introduction to the Arts of Ancient and Medieval Europe

A foundation course of the art history program focusing on visual analysis and the ancient and medieval world. Topics may include the relationship between Greek art and politics, Imperial Roman art, propaganda, Pompeian wall painting, early Christian art, the origins of Islam, and the function and culture of pilgrimage in the Middle Ages. Not open to students who have taken Art, Power, and Propaganda (ARTH 11A or HNRS 11A). (4 units)

22. Art in the Age of Exploration: Introduction to Early Modern Europe

Few periods in the history of art inspire greater reverence than the Renaissance. But why? What renders objects such as Michelangelo’s David or Leonardo’s Mona Lisa to become pop culture icons in the 21st century? This survey course of European visual culture from approximately 1348 to 1648 seeks to answer this question through the study of canonical works; artists such as Raphael, Titian, and Dürer; and artistic centers including Venice, Florence, Rome, and Paris. Other topics for discussion may include the patronage and production of art; the visual construction of gender identity; the relationship between art, science, and religion brought about by humanist study; and the impact of global trade and exploration on the development of European visual culture. Not open to students who have taken Art, Power, and Propaganda (ARTH 12A or HNRS 12A). (4 units)

23. Art and Revolution: Europe and the United States, 18th–20th Centuries

Introduction to the visual culture of modern Europe and the United States from Louis XIV to the present. This course traces the origins of modern art through political, technological, and artistic revolutions, from royal patronage to Pop, Neoclassicism to Neo-dada, as well as Impressionism, Surrealism, and Abstract Expressionism. Fulfills the Studio Art program modern or contemporary emphasis course requirement. (4 units)

24. From Damascus to Dubai: A Survey of the Visual Culture of the Middle East

From the majesty of the Dome of the Rock in Jerusalem to the awe inspiring heights of the Abu Dubai skyline, few regions boast as long and impressive a history of ambitious art and architecture as the Middle East. Yet, this region is likewise one of the most misunderstood. This survey course focuses on the rich and diverse visual culture of the region from the 7th century CE to the present day. Topics for discussion include early mosque architecture, scientific developments in medieval Baghdad, the rise of the Ottoman Empire, the garden city of Isfahan, European colonialism in North Africa, and contemporary art and architecture. Fulfills the Studio Art program global emphasis course requirement. (4 units)

25. Indigenous Visions: Introduction to the Arts of the Americas

Introduction to the indigenous arts and architecture of North, South, and Central America from prehistory to the present including the Olmec, Aztec, Inca, Native American Great Plains, and Southwest. Themes include indigenous concepts of time and space; the vision quest; warfare and blood sacrifice; art and the sacred. Lecture and discussion, plus a visit to a local museum. Fulfills the Studio Art program global emphasis course requirement. (4 units)

26. Buddhas, Buildings, and Beauties: Theme and Style in Asian Art

How did forms of Buddhist imagery change as the religion spread across the Silk Road? How was architecture used to convey the power and authority of the Mughal rulers in India or high-ranking samurai in Japan? How were standards of feminine beauty revealed in Japanese woodblock prints or Chinese court paintings? This survey of the artistic cultures of India, China, and Japan from the 3rd century BCE through the 19th century will contemplate such issues, examining various media within the broader context of traditional Asian literature, politics, philosophies, and religions. Other topics may include Chinese tombs, literati aesthetics, Zen arts, garden design, and Rajput and Rinpa painting styles. Fulfills the Studio Art program global emphasis course requirement. (4 units)

27. Introduction to the Arts of Africa

This is an introductory survey of African art designed to provide foundational knowledge in some of the major aesthetic/cultural complexes on the continent and their interaction with the rest of the globe. Each culture will be approached as a case study with an emphasis on cultures in sub-Saharan Africa. Tensions between traditional and contemporary arts will be explored as well as theoretical approaches to the study, collection, and display of non-Western art. Fulfills the Studio Art program global emphasis course requirement. Formerly ARTH 46. (4 units)

97. Special Topics

Occasional courses in selected art historical topics. May be repeated for credit. (4 units)

98. Internship/Practicum

Individual projects in conjunction with professional visual arts agencies. May be repeated for credit. Prerequisite: Written proposal must be approved by on-site supervisor, art history faculty member, and department chair. (2–4 units)

Upper-Division Courses: Art History

100. Art History Proseminar

“What is the history of art history? What does it mean to think like an art historian?” To answer these questions we will examine the origins of the discipline and its current methodologies. Close textual analysis with writing and discussion. Required of all art history majors, preferably at the end of sophomore year. Prerequisites: Two ARTH courses, one of which must be upper-division, or permission of instructor. Formerly ARTH 190. (5 units)

104. Greek Art and Architecture

Examination of Greek art from the Archaic through the Hellenistic periods. Developments in architecture, sculpture, vase painting, and wall painting will be addressed in their cultural context. Also listed as CLAS 116. (5 units)

106. Art and Architecture of the Roman

Republic and the Early Empire Chronological survey of artistic development in Republican and Imperial Rome. Related issues include the influence of Greek and Etruscan art, the relationship between political ideology and public art programs, and the impact of improved materials on building design. (5 units)

110. Early Christian and Byzantine Art

Christian art and architecture from the catacombs in Rome through the early 14th century in Byzantium. Highlights include the Constantinian monuments of Rome, Justinianic Ravenna and Constantinople, iconoclasm, and the Macedonian “Renaissance.” (5 units)

112. The Art of the Book

Covers select developments in the illustrated book between the 5th and 15th centuries CE. Topics for discussion may include the earliest preserved classical and religious codices, Anglo-Saxon manuscripts, Carolingian and Ottonian manuscript illumination, Romanesque and Gothic manuscript illumination, and Byzantine manuscript illumination. (5 units)

114. Early Medieval Art

Art and architecture in Western Europe from the early Middle Ages to circa AD 1000. Hiberno-Saxon, Carolingian, and Ottonian art discussed in their respective political, intellectual, and cultural contexts. (5 units)

120. Keeping up with the Medici: Fame and Family in Renaissance Florence

What makes someone a “household name”? Is it talent, beauty, connections, or simply shrewd marketing? While fame, fortune, and celebrity may seem like modern phenomena, the cult of personality was equally prominent in Renaissance Florence. As is the case today, money played a key role in the arts. This course focuses on the ways in which the Medici family, through their social, financial, and spiritual support, transformed the city of Florence from an Italian commune with limited natural resources into the center of the European culture. And in doing so, transformed the notion of the artist from that of mere craftsman to superstar. Additional topics of discussion include the influence of the capitalist economics on artistic production, domestic art perceptions of the nude figure in religious paintings, the relationship between art and science, and the writings of Machiavelli. (5 units)

121. Venice and the Other in Renaissance

Concentrates on the art and architecture of the Venetian Republic from approximately 1400–1650 CE, specifically the visual culture produced by and/or associated with ethnic and social groups excluded from the highest echelons of Venetian society. Areas of inquiry include Muslim merchants living in the city, construction of the Jewish ghetto, Ethiopian servant community, courtesan culture, convent life, the material culture of exorcism, witchcraft, and dwarfism. Prerequisite: Upper-division status or permission of instructor. (5 units)

122. Papal Rome: Power, Intrigue, and the Arts

As the leader of the Catholic Church, an early modern pope was Europe’s most powerful spiritual leader. He was also one of Europe’s most powerful political leaders. This course examines the ways in the concerns of faith and politics, at times dependent, at times adversarial, but always in direct exchange with one another, influenced the visual culture of early modern Rome. Special attention will be focused on the construction of St. Peter’s Basilica, the decoration of the Sistine Chapel and Vatican apartments, cardinalate palaces, suburban villa decoration, and the artistic reaction to the Protestant Reformation. (5 units)

123. The Global Renaissance

The Renaissance has traditionally been viewed as a period of artistic and cultural development associated almost exclusively with the Italian peninsula in the 15th and 16th century. This same tradition privileges “high art”—that is, painting, sculpture, and architecture—over other forms of visual culture. This course seeks to reassess these notions by considering Italian Renaissance art within the context of early modern globalism. This reexamination likewise mandates a consideration of a broader spectrum of objects, including gemstones, glassware, and textiles. Topics such as the relationship between Michelangelo, Leonardo, and the Ottoman architect Sinan; the collection of Aztec feather paintings by the Medici family; and the influence of Egyptian mosque architecture on Venetian palace design will be examined from an interdisciplinary perspective. Fulfills the Studio Art program global emphasis course requirement. Prerequisite: One lower-division ARTH course (ARTH 22 or 24 suggested). (5 units)

128. The Glories of Baroque Rome: Caravaggio, Artemisia, and Bernini

This course focuses on the art and culture of Rome in the early 17th century and specifically the three artists whose activity left a lasting impact on the city we love today: the “rebel” Caravaggio, the “other” Artemisia Gentileschi, and the “genius” Gian Lorenzo Bernini. An in-depth examination of the lives and works of the three most dominant personalities of the Roman Baroque period provides the lens through which students will examine the significant social, cultural, spiritual, and artistic changes that took place in the Counter-Reformation city. Topics for discussion include the visual agenda of the papacy, Caravaggio’s mythologies, Artemisia Gentileschi and women artists, theatricality in the work and writings of Bernini, and the influence of Galileo upon the visual arts. (5 units)

135. European Art: 1780–1880

Analysis of the culture and art of Europe from the era of the French Revolution to the end of the 19th century. This course will address the relationship between politics and art, shifting class structures, and the increasing importance of the industrial revolution. Painting, sculpture, architecture, and other media will be covered. (5 units)

137. Modern Art in Europe: 1880–1940

The emergence of Modernism in Europe from the 1880s to World War II. The major movements of Expressionism, Cubism, and Surrealism will be studied in the larger context of political, social, and economic change. Painting, sculpture, architecture, and other media will be covered. Fulfills the Studio Art program modern or contemporary emphasis course requirement. (5 units)

140. Photography in the United States

We live in a world densely populated by photographs; how did that come about and what purposes has photography served in the U.S.? We will examine the social, political, and aesthetic aspects of American photography from its inception in the 1830s to the present. Close readings of objects yield insights into the creation and growth of popular and elite audiences for photography; journalistic, ethnographic, and documentary photography; fashion and commercial photography; photography as an artistic medium; the role of photography in discourses of race, gender, class and nationalism; and photography in relation to modernism, postmodernism, and consumer culture. Fulfills the Studio Art program modern or contemporary emphasis course requirement. Prerequisite: One ARTH course or permission of instructor. Formerly ARTH 186. (5 units)

141. Tradition and Change in Native

American Art: California and the Pacific Northwest Visual culture of the native peoples of California and the Pacific Northwest, from prehistory to the present. Emphasis on the role of the artist in society and on artistic responses to political and cultural change. Topics include arts of status, shamanism, World Renewal, Missions, tourism, and the rise of the art market. (5 units)

142. Native American Art: Special Topics

Sustained analysis of a specific time period or genre of Native American art. Emphasis on 20th-century/contemporary art. Topics may include tourism/market forces, land and cultural preservation, postcolonialism, and gender identity. Research paper will be required. Fulfills the Studio Art program modern or contemporary emphasis course requirement. (5 units)

143. Women’s Work: American Women in the Visual Arts

From colonial times to the ongoing feminist revolution of the present, American women made, sold, collected, and supported visual art, and in so doing profoundly influenced the development of the nation’s culture, art, and art institutions. This course will examine American women’s roles in the visual arts and the active interplay between issues embedded in art and “craft,” women’s self-fashioning and the art market, images of women, and the impact of women’s studies and feminism on the study of the visual arts. Close readings of images and objects spanning traditional and nontraditional media such as painting, sculpture, photography, embroidery, and quilting produce insights into the dynamic relationships between gender and art, culture, and commerce in American history. Fulfills the Studio Art program modern or contemporary emphasis course requirement. Formerly ARTH 188. Also listed as WGST 156. (5 units)

144. Race, Gender, and Nation in 18th- and 19th-Century American Art

What did visual and material arts from the Colonial period to the Gilded Age (1880s) look like and how did they function in colonial society and in a new, fast-growing nation? Close readings of objects illuminate the relationships between art, gender, and race; self-fashioning and social identity in portraiture; the “West as America”; American national identity at home and abroad; landscape painting; photography; representations of democracy, politics, and citizenship; representations of the Revolutionary and Civil Wars; collectors and the creation of art institutions; and an audience and market for art in the United States. Fulfills the Studio Art program modern or contemporary emphasis course requirement. (5 units)

145. Perpetual Revolution: American Art in the 20th Century

The 20th century was a period of turmoil and growing international stature for the United States. How did artists deal with these events, which saw several wars, including two World Wars; the Great Depression, the growth of labor unions, the Civil Rights Movement, feminist reforms, etc.; and the encounter with European modernist art? How were these events shaped in turn shaped by art and visual culture? Close readings of objects illuminate the relationship of American modern art to European modernism; race and gender in American society, politics, and American national identity; patrons and dealers, including those of the Harlem Renaissance; the government as a patron for the visual arts; and the founding of major visual arts institutions and the solidifying of an art audience in the United States. Fulfills the Studio Art program modern or contemporary emphasis course requirement. (5 units)

146. African-American Art

A survey of African-American art from the 18th to the 21st century. With an emphasis on case studies and movements throughout this history, this course explores how black artists in the United States have engaged with key issues such as race, gender, sexuality, class, and ethnicity. This course is designed to expose students to complex debates about representation and the role of race and identity in American art. Fulfills the Studio Art program modern or contemporary emphasis course requirement. (5 units)

152. Arts of Ancient Mexico: From Olmec to Aztec

Survey of the arts of the Mesoamerican region, from 1500 BCE to the conquest of 1521 CE. Focus on Mesoamerican concepts of time and space, the ritual calendar, warfare, blood sacrifice, shamanism, and the ballgame. Fulfills the Studio Art program global emphasis course requirement. Formerly ARTH 151. (5 units)

160. East-West Encounters in the Visual Arts

This course examines cross-cultural artistic encounters between the Western world (Europe and the United States) and Asia (India, China, and Japan) from the 16th through the 20th centuries, focusing in particular on Asian responses to the West. Topics may include the impact of Western realism on traditional Asian art forms, the role of commodities and empire in artistic production, Japonisme and Chinoiserie in 19th-century Europe and America, issues of cultural identity in Asian modernism, and post-World War II abstract art. Fulfills the Studio Art program global emphasis course requirement. Not open to students who have taken Contact Zones: Arts East and West (ARTH 11A & 12A). (5 units)

161. Photography in Japan

Exploration of Japanese photography from its origins in the 1850s to today, examining photography as an artistic medium and as a central part of modern and contemporary Japanese culture. Topics may include tourist photography, ethnographic photography, photography as propaganda, the development of the Japanese photobook, and gender issues in contemporary photography. Fulfills the Studio Art program modern or contemporary emphasis course requirement. (5 units)

162. Visual Culture of Modern Japan

This course examines the visual culture of modern Japan circa 1850–1960, exploring issues of national and cultural identity and emphasizing in particular Japan’s reaction to and engagement with the West. Topics may include Japanese adaptation of foreign artistic techniques and styles, the development of a national painting school, Japanese participation in World’s Fairs, and the role of art in Japanese imperialism. Fulfills the Studio Art program modern or contemporary emphasis course requirement. (5 units)

163. The Japanese Print

Ukiyo-e, or woodblock prints of the floating world, were an inherent part of the thriving urban culture of Edo-period Japan (1615– 1868). Characterized by their vivid colors and lively designs, woodblock prints are perhaps the best known examples of Japanese visual art in the West. This course examines the genre within its cultural context, surveying not only traditional print subjects but also considering the development of woodblock prints into the 20th century and their relationship to other print media such as photography and lithography. Topics may include courtesan prints, Kabuki prints, the landscapes of Hiroshige and Hokusai, erotic prints, supernatural imagery, the creative print movement, and collectors of prints in the West. Fulfills the Studio Art program global emphasis course requirement. (5 units)

164. Islamic Art, 600–1350 CE

Study of the art and architecture of the Islamic world with an emphasis on Jerusalem, Baghdad, Cairo, and Spain. Topics of discussion include the origin of Islam, mosque design and ornament, desert palaces, the Muslim reaction to classical antiquity, 1001 Arabian Nights, the transmission of Arab science and medicine to the West, manuscript illumination, and the decorative arts. Fulfills the Studio Art program global emphasis course requirement. Prerequisites: Upper-division status and at least one previous ARTH course or permission of instructor. (5 units)

170. Art of the African Diaspora

An introduction to the art of the African Diaspora. This course uses visual culture as a means to explore the history and impact of the global spread of African peoples from slavery until the present day. This course examines a range of artistic practices from the visual culture of street festivals and Afro- Caribbean religions to the work of studiotrained artists of international repute. Fulfills the Studio Art program global emphasis course requirement. (5 units)

185. Post-Modern and Contemporary Art

An overview of significant issues and movements in art since the 1960s. Primary focus on art in the United States. Themes to be addressed: artist in nature, body in performance, new media, feminism, gender and sexuality, art in public places, censorship, art and public activism, emergence of global arts community. Fulfills the Studio Art program modern or contemporary emphasis course requirement. Formerly ARTH 183. (5 units)

194. Peer Educator in Art History

Peer educators in art history work closely with a faculty member to help individual students prepare for exams, conduct research, and master course content. Prerequisite: Permission of instructor. (1–2 units)

195. Art History Thesis

Students with a GPA of 3.5 or better in their major may petition to write a thesis, typically in their senior year. The thesis will be based on a research paper written for a previous upper-division course with the same instructor. Prerequisites: Senior status, demonstrated excellence in the major field, and permission of instructor. (5 units)

196. Senior Art History Capstone Seminar

Advanced research in art history. Research theme of the seminar will vary with instructor. Requirements include a lengthy research paper and public presentation of that research. Restricted to art history majors and minors. Course should be taken in the senior year. Prerequisite: ARTH 100. (5 units)

197. Special Topics

Occasional courses in selected art historical topics. May be repeated for credit. (5 units)

198. Internship/Practicum

199. Directed Reading/Directed Research

Individual guided reading, research, and/or writing on selected art historical topics. May be repeated for credit. Prerequisites: Course outline, reading list, and schedule of instructor/ student meetings must be approved by art history faculty member and department chair 10 days prior to registration. (1–5 units)

Lower-Division Courses: Studio Art

30. Basic Drawing

Introduction to various drawing media and techniques. Covers the use of line and contour, light and shadow, three-dimensional perspective, and composition. Includes the concept of self-expression in traditional and contemporary drawing practices. Recommended as a foundation course to be taken prior to other studio art courses. (4 units)

32. Two-Dimensional Design

This hands-on course introduces the fundamental theories and applications of twodimensional design, essential to a wide range of art forms. The focus is on experimentation with compositional dynamics and elements of design including line, shape, value, color, texture, direction; and principles of design such as balance, proportion, unity, rhythm, and emphasis. Conceptual strategies, techniques, and a variety of materials are explored through lectures, demonstrations, studio assignments, and critiques. (4 units)

33. Three-Dimensional Design

This is a foundation course in three-dimensional design. Through the study of threedimensional design principles and elements, students will develop an understanding of and an appreciation for the use of design fundamentals. Through various hands-on projects, students will explore principles of three-dimensional design: harmony, contrast/ variety, rhythm/repetition, emphasis, continuity, balance, and proportion. They will also explore elements of three-dimensional design: space, line, plane, mass/volume, value, texture, and color. Conceptual strategies, techniques, and a variety of materials are explored through lectures, demonstrations, studio assignments, and critiques. (4 units)

35. Basic Printmaking

Fundamentals of printmaking as an art form. Printmaking is the method of making original images by printing from a handmade design onto fine art paper. Using a hand-cranked etching press, students will create art through basic printmaking techniques, such as relief, drypoint intaglio, and the painterly medium of monotype. Previous experience in drawing recommended. (4 units)

36. Ditto! The Technology of Print

From pre-Gutenberg to 3D printing, this course traces the impact of printing technologies in art and industry. Taught using a combination of lecture, discussion, field trips, and hands-on art practices, students will create portfolio projects using printing methods studied in class. (4 units)

43. Basic Painting

Introduction to painting, primarily with water-based acrylic paints. Through guided projects, students will develop a language of lines, shapes, colors, and composition to express their ideas visually. (4 units)

46. Basic Watercolor

Introduction to visual expression in the classic medium of transparent watercolor. Assignments will emphasize basic elements of shape, color, light, shadow, and composition. Previous experience in drawing recommended. (4 units)

48. Basic Mixed Media Painting

Exploration of alternative materials and techniques to create painted works. Techniques include collage, appropriation, stencils, transfers, and assemblage. Previous experience in painting drawing and painting recommended. (4 units)

50. Introduction to Black-and-White

Film and Darkroom Photography This course is for the lower-division student interested in learning the fundamentals of black-and-white photography as an art form. Students will learn basic film camera operation, film development, and darkroom printing techniques. Assignments will stimulate visual awareness and individual creativity. A 35 mm film camera with manual shutter speeds and aperture capabilities is suggested. (4 units)

57. Digital Photography

For lower-division students who want to develop creativity, composition, lighting, and other techniques with their digital cameras. Camera function and features will be discussed. Photographic projects will be edited and enhanced in Adobe Lightroom. Basic use of Adobe Photoshop will be introduced. Students must provide a digital camera with manual shutter speeds and aperture capabilities. (4 units)

63. Basic Ceramic Sculpture

Fundamentals of visual expression in clay, primarily through making ceramic sculpture. Especially suitable for the lower-division student. Guided exploration of various hand-building techniques and materials, including firing and glazing. (4 units)

64. Basic Sculpture

Fundamentals of making art in threedimensional form, especially suitable for the lower-division student. Creative exploration of selected materials and techniques. Reductive, manipulative, mold making, and additive methods will be used as needed. Media varies each quarter at instructor’s discretion. (4 units)

72. Introduction to Computer

Arts and Design Theory Taught using a combination of lecture, discussion, and hands-on computer art practices, this course explores basic design theory through various art-making methods on the computer. Projects focus on experimentation with elements of design (including line, shape, value, color, texture) and principles of design (such as balance, proportion, unity, rhythm, and emphasis). Class presentations provide an overview of the computer technologies that contribute to current studio art practices. (4 units)

74. Basic Computer Imaging

Hands-on introduction to computer imaging for the lower-division student. Fundamental instruction in raster- and vector-based imaging software to manipulate photographs and create original imagery. Exploration of both fine art and commercial uses of digital media. Recommended as a foundation course to be taken prior to other computer art courses. (4 units)

75. Basic Graphic Design

This course examines the fundamental theories and techniques of using computers as a tool to accomplish graphic design objectives. Topics include layout of type and graphics, and page design for print medium. We will also explore the impact of the computer medium upon the aesthetics of graphic design and society. Class projects include exploration of both fine art and commercial uses of digital media. Prerequisite: ARTS 74 or 174, or permission instructor. (4 units)

97. Special Projects

Occasional courses in selected studio arts topics. May be repeated for credit. Open to majors or permission of instructor. (4 units)

Upper-Division Courses: Studio Art

131. Life Drawing

Theory and practice of figure drawing. Emphasis on understanding the anatomy of the human form as a resource for visual expression. May be repeated twice for credit. Prerequisite: ARTS 30 or permission of instructor. (5 units)

133. Intermediate Drawing

Continuation of ARTS 30. Emphasis is placed on refining drawing technique, incorporating more complex processes and materials, and developing a personal style. May be repeated twice for credit. Prerequisite: ARTS 30 or permission of instructor. (5 units)

135. Printmaking

Continuation and extension of ARTS 35. Elaboration and refinement of fundamental printmaking techniques combined with more complex processes such as reduction relief cuts and chine collé. May be repeated twice for credit. (5 units)

143. Painting

This class builds upon the painting skills developed in Basic Painting (ARTS 43). Emphasis is placed on developing a personal style through long term projects. ARTS 43 is recommended as a prerequisite or permission of instructor to enroll. May be repeated twice for credit. (5 units)

144. Advanced Painting

Designed for the intermediate to advancedlevel painting student. Assignments help students develop conceptual and formal strategies to create a series of related works that revolve around each student’s individual artistic interests. Painting form and technique, as well as conceptual content and meaning, will be explored in depth, through practice and discussion. Prerequisite: ARTS 43 or 143, or permission of instructor. (5 units)

146. Watercolor

A continuation of the skills acquired in Basic Watercolor (ARTS 46) with the emphasis on development of a personal approach to the medium. Prerequisite: One course from ARTS 30, 43, or 46, or permission of instructor. (5 units)

148. Mixed Media Painting

An intermediate-level course exploring the theory and practice of combining painting with other artistic elements to create primarily two-dimensional works. With the instructor’s supervision, projects may incorporate unusual surfaces, small objects, fragments of other artwork, or text. May be repeated twice for credit. Prerequisite: One painting or drawing course. (5 units)

150. Introduction to Black-and-White

Film and Darkroom Photography This course is for the upper-division student interested in learning the fundamentals of black-and-white photography as an art form. Students will learn basic film camera operation, film development, and darkroom printing techniques. Assignments will stimulate visual awareness and individual creativity. A 35 mm film camera with manual shutter speeds and aperture capabilities is suggested. May be repeated twice for credit. (5 units)

151. Exploring Society

through Photography For the intermediate-level photography student interested in exploring social issues through the use of photography. This course has an emphasis on portrait photography and ethics in photography. Students will also engage with individuals in our community creating a photo-based project. May be repeated twice for credit. Note: This course requires participation in community-based learning (CBL) experiences off campus and meets the ELSJ requirement. Prerequisite: One course from ARTS 50, 57, 150, or 157, or permission of instructor. (5 units)

154. Intermediate Film Photography

The art and craft of black-and-white photography beyond the basic level. Covers the use of fiber-based papers and archival print processing in the darkroom. Students will also learn basic studio lighting techniques. Includes discussion of photography as it relates to contemporary fine art theory and practice. May be repeated twice for credit. Prerequisite: ARTS 50 or 150, or permission of instructor. (5 units)

155. Photography on Location

This course is designed for an intermediate photography student interested in exploring the physical world we live in through photographic field trips and projects. Includes discussion of contemporary photographic concepts and practice, and visits to local art museums and galleries. May be repeated twice for credit. Prerequisite: One course from ARTS 50, 57, 150, 151, or 157, or permission of instructor. (5 units)

156. Photography and Alternative Processes

This course provides intermediate- to advanced- level photography students an opportunity to learn alternative ways of making photographs and photo-based art. Students will learn and experiment with non-silver photography processes such as Cyanotypes, Vandyke, and Gum Bichromate. Alternative cameras and nontraditional printing methods will also be introduced. Prerequisite: One course from ARTS 50, 57, 150, or 157, or permission of instructor. (5 units)

157. Digital Photography

For upper-division students who want to develop creativity, composition, lighting, and other techniques with their digital cameras. Camera function and features will be discussed. Photographic projects will be edited and enhanced in Adobe Lightroom. Basic use of Adobe Photoshop will be introduced. Students must provide a digital camera with manual shutter speeds and aperture capabilities. (5 units)

158. Intermediate Digital Photography

This course will provide all the skills necessary to make fine art inkjet prints from digital files. Students will learn intermediate techniques in digital capture, processing of digital images using Adobe Photoshop, and output using pigmented inkjet printers. Students should have a digital SLR camera capable of shooting in RAW format. May be repeated twice for credit. Prerequisite: ARTS 57 or 157, or permission of instructor. (5 units)

163. Ceramic Sculpture

Continuation and extension of ARTS 63. Fundamentals of visual expression in clay, primarily through making ceramic sculpture. Also appropriate for the upper-division student who wishes to explore various handbuilding techniques and materials, including firing and glazing. Students will construct projects of a slightly larger scale than ARTS 63 students. May be repeated twice for credit. (5 units)

164. Sculpture

Continuation and extension of ARTS 64. Also appropriate for the upper-division student who wants to learn the fundamentals of sculpture as an art form. Creative exploration of selected materials and techniques. Reductive, manipulative, mold making, and additive methods will be used as needed. Media varies each quarter at instructor’s discretion. May be repeated twice for credit. (5 units)

165. Advanced Ceramics

Suitable for the intermediate and advanced student. In-depth exploration of various hand-building techniques for creating ceramic sculpture and related work. Includes discussion of aesthetic issues in contemporary ceramic art. Emphasis will be on the development of each student’s artistic and technical interests and abilities, toward the goal of creating an individual collection of works. May be repeated twice for credit. Prerequisite: ARTS 63 or 163, or permission of instructor. (5 units)

171. Printmaking with a Digital Toolbox

Advanced projects in digital printmaking. Students generate their designs using imaging software then create hand-pulled prints using traditional printmaking methods such as stencil, intaglio, lithography, and relief. Prerequisite: One course from ARTS 35 or 74 or 135 or 174, or permission of instructor. (5 units)

173. Introduction to 3D Animation & Modeling/Modeling & Control Rigid Body Dynamics

Mathematical and physical principles of motion of rigid bodies, including movement, acceleration, inertia, and collision. Modeling of rigid body dynamics for three-dimensional graphic simulation; controlling the motion of rigid bodies in robotic applications. May be repeated twice for credit. Open to majors or permission of instructor. Also listed as COEN 165. (5 units)

174. Computer Imaging

Continuation and extension of ARTS 74. Students create original digital artwork through comprehensive assignments using raster and vector-based software. May be repeated twice for credit. (5 units)

175. Graphic Design

Continuation and extension of ARTS 75. Students accomplish graphic design objectives through comprehensive projects. May be repeated twice for credit. Prerequisite: One course from ARTS 74 or 75 or 174, or permission of instructor. (5 units)

176. Advanced Computer Imaging

Designed for the intermediate- to advancedlevel digital imaging student. Assignments help students develop conceptual and formal strategies to create a series of related works that center around each student’s individual artistic interests. Raster- and vectorbased imaging techniques, as well as conceptual content and meaning, will be explored in depth through practice and discussion. Prerequisite: ARTS 74 or 174, or permission of instructor. (5 units)

177. Website Graphic Design

An intermediate course in the design process of aesthetically developing websites. Theoretical discussions of user interface design and the creation of graphical navigation systems. Students will focus on research, typography, layout, hierarchy, and branding to visually communicate a concept developed for Web media. Prerequisite: One course from ARTS 74, 75, 174, or 175, or permission of instructor. (5 units)

178. Advanced Graphic Design

In-depth exploration of graphic design through advanced projects. Students will concentrate on the use of professional templates and guidelines to explore both the fine art and commercial uses of digital media within graphic design. Experimentation and creative play through advanced applications and practices. May be repeated twice for credit. Prerequisite: ARTS 75 or 175, or permission of instructor. (5 units)

179. Introduction to Two-Dimensional Animation

In-depth exploration of two-dimensional animation and digital storytelling. Students create storyboards, flipbooks, and vector/raster based animation. May be repeated twice for credit. Prerequisite: One course from ARTS 74, 75, 174, or 175, or permission of instructor. (5 units)

180. Advanced Graphic Design Production

In-depth exploration of graphic design through advanced projects. This class will explore both the fine art and commercial uses of digital media within graphic design. Students will concentrate on engineering professional templates to create complex projects that focus on package design, interactive publications, and advanced design materials. The class fosters experimentation through advanced applications and practices. May be repeated twice for credit. Prerequisite: One course from ARTS 74, 75, 174, or 175, or permission of instructor. (5 units)

181. Advanced Digital Illustration

In-depth exploration of two-dimensional design and practice through the use of vectorbased software. Students will focus on complex illustration practices and techniques specific to vector-based software. Prerequisite: ARTS 74 or 174, or permission of instructor. (5 units)

194. Peer Educator in Studio Art

Peer educators in studio artwork closely with a faculty member to help individual students in studio arts courses with the proper use of tools and materials, as well as mastering course content. Peer educators will encourage students in their creative work in both individual and collaborative activities. Prerequisite: Permission of instructor. (1–2 units)

196A. Studio Art Seminar

Exploration of and preparation for primarily academic postgraduate options in studio art. Includes portfolio and presentation development; artist statements and résumé writing; photographing artwork; and field trips to studios of artists, designers, and graduate schools. Required for studio art majors, recommended in junior year. (5 units) 196B. Capstone Senior Exhibit Senior studio art majors will sign up for this course with an assigned faculty member. The faculty member will advise and direct the student through the process of installation and presentation of their senior exhibit. Students will work directly with the instructor to design and edit their exhibits. Grading considerations include quality of the exhibition, the quality of the presentation (display, hanging, etc.), professional conduct, and the associated artist statement. Required for studio art majors. Must be taken during the quarter of the senior exhibit, normally spring quarter. Prerequisite: ARTS 196A. (2 units)

197. Special Projects

Occasional upper division courses in selected studio arts topics. Open to majors or by permission of instructor. May be repeated for credit. (1–5 units)

198. Internship/Practicum

Individual projects in conjunction with a professional visual arts organization. May be repeated twice for credit. Prerequisite: Written proposal must be approved by supervisory studio art faculty member and department chair. (1–5 units)

199. Directed Research/Creative Project

Individual, guided tutorial work in studio art. May be repeated for credit, but no more than 5 units will count toward the major. Prerequisite: Course outline and schedule of instructor/student meetings must be approved by studio art faculty member and department chair 10 days prior to registration. (1–5 units)