0
PROGRAM REVIEW
SONOMA STATE UNIVERSITY
ART STUDIO, 2020-2021
TABLE OF CONTENTS
PROGRAM CONTEXT AND CURRICULUM. 1
CONTEXT AND GOALS.1
OVERVIEW OF THE PROGRAM AND RELEVANT HISTORY. 1
THE ROLE OF THE PROGRAM IN THE MISSION OF THE UNIVERSITY.2
HOW THE PROGRAM’S GOALS, MISSION, VISION, AND IDENTITY ENGAGE WITH TO THE UNIVERSITY'S CORE VALUES.2
HOW THE PROGRAM SUPPORTS THE UNIVERSITY’S STRATEGIC PLAN.3
HOW THE PROGRAM’S MISSION, VISION, AND GOALS RELATE TO THE UNIVERSITY'S.5
DISCIPLINARY ACCREDITATION. 5
HOW THE PROGRAM SERVES STATE AND REGIONAL NEEDS.6
HOW THE PROGRAM MIGHT BE DISTINCTIVE. 6
COHERENCE AND QUALITY OF THE CURRICULUM.7
PROGRAM GOALS. 8
PROGRAM CURRICULUM.9
PROGRAM LEARNING OUTCOMES.9
COHERENCE AND CONSISTENCY.9
HOW PROGRAM LEARNING OUTCOMES ARE ALIGNED WITH WASC CORE COMPETENCIES. 10
ALIGNMENT BETWEEN INDIVIDUAL COURSES, THEIR SEQUENCING, AND PROGRAM LEARNING OUTCOMES.11
PROGRAM-SPECIFIC PEDAGOGICAL METHODS.14
HOW THE PROGRAM SERVES OTHER PROGRAMS AND CONTRIBUTES TO THE GE PROGRAM.14
HOW OTHER PROGRAMS CONTRIBUTE TO THE CURRICULUM.15
HOW OUTSIDE LEARNING EXPERIENCES CONTRIBUTE TO THE PROGRAM LEARNING OUTCOMES.15
CURRICULAR CHANGES IMPLEMENTED AS A RESULT OF THE PREVIOUS PROGRAM REVIEW.16
DISCIPLINARY CHANGES THAT MIGHT AFFECT THE CURRICULUM IN THE NEXT FIVE YEARS.16
RECOMMENDATIONS FROM THE PREVIOUS PROGRAM REVIEW ADDRESSED.16
PROGRESS ACHIEVED WITH PROGRAM REVIEW RECOMMENDATIONS.16
ASSESSMENT 18
ASSESSMENT METHODS.18
ASSESSMENT PROCESS.18
HOW STUDENT ACHIEVEMENT LEVELS OF PROGRAM LEARNING OUTCOMES MEET EXPECTATIONS.20
PROGRAM LEARNING OUTCOMES AND GOALS.20
ASSESSMENT FINDINGS OF STUDENT LEARNING FROM DIRECT AND INDIRECT ASSESSMENT.21
CHANGES TO THE CURRICULUM AS A RESULT OF PREVIOUS ASSESSMENT FINDINGS.22
EVALUATING PROGRAM GOALS INDIRECTLY RELATED TO STUDENT LEARNING.23
PLANS TO DEVELOP ASSESSMENT STRATEGIES.23
FACULTY.23
HOW FACULTY PROFILE MEETS PROGRAM’S GOALS.23
FACULTY NEEDED.24
HOW FACULTY RESEARCH, SCHOLARSHIP, AND CREATIVE ACTIVITY CONTRIBUTE TO THE PROGRAM’S GOALS.24
HOW FACULTY SPECIALIZATIONS ARE ALIGNED TO THE PROGRAM CURRICULUM, MISSION, AND QUALITY.24
FACULTY MAKE-UP IN THE PROGRAM AND MEANINGFUL TRENDS DURING THE REVIEW PERIOD.25
HOW FACULTY SCHOLARSHIP AND CREATIVE ACTIVITY IMPACT THE PROGRAM’S MISSION AND GOALS.25
FACULTY RATIOS, RECRUITMENT, AND DIVERSITY.27
FACULTY SUPPORT.27
PROFESSIONAL DEVELOPMENT.27
WORKLOAD.28
PROGRAM RESOURCES.28
ADVISING.29
SUPPORT.31
STUDENT SUPPORT.32
LIBRARY RESOURCES.32
TECHNOLOGY RESOURCES.32
FACILITIES.33
ADEQUACY OF INSTRUCTIONAL SPACES AND FACILITIES.33
CLASSROOM SPACE INCLUDING ALTERNATE CLASSROOMS.33
INSTRUCTIONAL LABORATORIES AND STUDIOS.33
GENERAL OFFICE SPACE FOR FACULTY AND STAFF.36
RESEARCH/SCHOLARSHIP LABORATORIES, STUDIOS, OFFICES.36
STUDENT STUDY SPACE.36
STAFF SUPPORT FOR PROGRAM OPERATIONS.36
DEPARTMENT AND PROGRAM NEEDS AND TRENDS THAT MAY IMPACT THE OPERATIONAL BUDGET OVER THE NEXT REVIEW PERIOD.37
RESOURCE CHANGES THAT COULD IMPACT THE QUALITY AND INTEGRITY OF THE PROGRAM.37
STUDENT SUCCESS.38
STUDENT POPULATION.38
STUDENT AND ALUMNI PERCEPTIONS.40
REFLECTION AND PLAN OF ACTION.41
THE PROGRAM’S ACTION PLAN FOR THE NEXT FIVE YEARS.42
HOW THE PROGRAM WILL BUILD ON EXISTING STRENGTHS.43
HOW THE PROGRAM WILL SPECIFICALLY ADDRESS WEAKNESSES IDENTIFIED IN THE SELF STUDY.44
POSSIBLE COLLABORATIONS THAT MAY IMPROVE PROGRAM QUALITY.44
IMPROVEMENTS WITH EXISTING RESOURCES.44
IMPROVEMENTS REQUIRING ADDITIONAL RESOURCES.45
APPENDIX I: ART STUDIO PROGRAM OVERVIEW.46
APPENDIX II: MISSION STATEMENT.47
APPENDIX III: EXTERNAL VISITOR’S REPORT, BY PROFESSOR WALTERS.48
APPENDIX IV: PROGRAM CURRICULUM MAP .58
APPENDIX V: SYLLABI.60
APPENDIX VI: SURVEY RESULTS.199.301
APPENDIX VII FACULTY CVS.260
1
Sonoma State University
Department of Art Studio
2020-2021
Sena Clara Creston, Clea Felien, Nathan Haenlein, Christine Renaudin
PROGRAM CONTEXT AND CURRICULUM
As per the program description:
“The art studio curriculum is designed to develop the ability to create, analyze,
interpret, and evaluate art. Students learn to express their thoughts, feelings, and
values in a variety of visual forms. The department strives to stimulate creativity
and competency as students develop their skills and knowledge of materials and
technologies. Fundamental to the study of art is a belief in its potential to
communicate ideas, emotions, and values necessary for understanding and
functioning effectively within the modern world. Faculty are committed to the
recognition of individuality and unique accomplishment. They work closely
with each student to encourage personal direction and ideas.” The complete
overview of the Art Studio program can be found in the university catalog 2019-
2020, and APPENDIX I.
To these ends, course work is provided through a variety of studio practices
including program emphases in 2D (painting, printmaking, and works on paper), 3D
(sculpture and ceramics), and media arts (photography and new media).
CONTEXT AND GOALS OF THE PROGRAM
The goal of the program is to educate students to create original art, and to elucidate
the meaning of art in relation to contemporary, historical, global, personal, and professional
practice. While grounded in traditional fine arts curricula, our approach encourages
openness and exploration in interdisciplinary, pluralistic, postmodern, sociopolitical, and
personal fields of inquiry. Upper-division studio majors are encouraged to explore
individual expression to resolve advanced technical, aesthetic, and conceptual issues.
OVERVIEW OF THE PROGRAM AND RELEVANT HISTORY
The Department of Art and Art History at Sonoma State University offers the
Bachelor in Art (BA) in both Studio Art and Art History, as well the more advanced
Bachelor of Fine Arts (BFA) in Studio Art. The Department grants minors in Studio Art
and Art History, and a career minor in Museum and Gallery Methods through the School
of Extended & International Education. Our accreditation commission, the National
Association of Schools of Art and Design (NASAD), oversees these programs.
The Department has been part of Sonoma State University since 1960 and moved
into its current facilities in 1978. Originally, the Art Department offered degrees in Studio
Art, supported by the art history curriculum. In 1992, the separate degree program of Art
History was established. Our department views the study and practice of art as
complementary disciplines, and is committed to teaching fine arts with degree programs
and concentrations in both art studio and art history. This program review will be focused
on the Studio Arts programs. Another program review is being simultaneously completed
in the Art History program. Reference will be made to the last NASAD self-study,
2
completed in 2009 and the last Program Review, completed in 2007. This program review
will demonstrate how our goals and concerns have evolved.
Notable features include: the department being dedicated to fine arts and creative
practice, part of a small, teaching-centric, liberal arts University; an excellent facility of
classrooms, studios, and equipment, in need of update or replacement; a dedicated faculty
of excellent faculty and active professionals in need of replenishment; well-qualified
support staff; well-balanced and rigorous curriculum, which would benefit from expansion;
excellent health and safety procedures; exceptional campus library with a maker space of
complimentary fabrication equipment; professional Art Gallery; and population of
dedicated talented students, with increased opportunity to recruit and serve.
THE ROLE OF THE PROGRAM IN THE MISSION OF THE UNIVERSITY
As part of a liberal arts university, the Department of Art and Art History recognizes
the fine arts as an important humanistic discipline, essential to a liberal education. The
Department of Art and Art history’s goal is to increase students' understanding of art
culture, practice, history, development, role in society, and relation to other disciplines.
Work in the classroom, studio, gallery, museum, on-line, and in the field, is designed to
develop communication, visual perception, critical observation, and technical skills in a
variety of traditional and new media. The Department stresses interdisciplinary and cross-
cultural approaches by both students and faculty. It is the departmental philosophy that the
study and practice of art is fundamental for the studio major, and supportive to all students
of liberal arts.
The Department of Art and Art History fully acknowledges its responsibility in this
new visual and digital age to provide a curriculum that prepares its majors for work at the
graduate level and professional careers in the arts and related fields, where their skills
apply. The department serves all students to apply their creative education to their
individual education, careers, and communities.
PROGRAM’S GOALS, MISSION, VISION, AND IDENTITY
The goal of the program is to educate students to create informed original art, and
to elucidate the meaning of art in relation to contemporary, historical, global, personal, and
professional practice. The mission states “[t]he art studio curriculum is designed to develop
the ability to create, analyze, interpret, and evaluate art.” The vision for the program is to
develop its diversity, curriculum, student body, faculty, facilities, equipment, and
community to support creative, conceptual, technical, and professional development. The
program’s identity depicts a community of individuals, producing original, informed,
conceptualized, articulated, constructed, and critiqued artwork.
HOW THE PROGRAM’S GOALS, MISSION, VISION, AND IDENTITY
ENGAGE WITH TO THE UNIVERSITY'S CORE VALUES
diversity and social justice, sustainability and environmental inquiry, connectivity
and community engagement, and adaptability and responsiveness
The department’s mission states “Students learn to express their thoughts, feelings,
and values in a variety of visual forms… Fundamental to the study of art is a belief in its
potential to communicate ideas, emotions, and values necessary for understanding and
functioning effectively within the modern world.” This mission requires students to openly
3
and honestly comprehend and communicate their ideal values through constructed
narrative, while considering technical process, historical context, and personal concept.
The mission also states “Faculty are committed to the recognition of individuality and
unique accomplishment. They work closely with each student to encourage personal
direction and ideas” reinforcing its goal to broaden its inclusive community, educating, all
as individuals. Creative pedagogy supporting this mission often reinforces the university’s
core values of diversity and social justice, sustainability and environmental inquiry,
connectivity and community engagement, and adaptability and responsiveness. These
values are extremely relevant to the department’s vision and identity, and can be considered
in curricular development, student and faculty recruitment, community outreach, and
professional preparedness.
HOW THE PROGRAM SUPPORTS THE UNIVERSITY’S STRATEGIC PLAN
The program supports the strategic priorities in Sonoma State University’s Strategic
plan by embracing student success, academic excellence and innovation, leadership
cultivation, and transformative impact .
1. Student Success
The Art department as a whole has a current FTFE four-year graduation rate of
34.8%.
The Department’s focus on academic, conceptual, and aesthetic aspects of
visual art does not ignore the practical applications of a fine art education. Our
studio program supports the Department’s stated mission “to provide a curriculum
that prepares its majors for work at the graduate level as well as to pursue
professional and related careers in the arts.”
Art Studio majors enjoy a lively and diverse curriculum that advises them
through graduation for their specific track, prepares them for graduate study,
professional artist practice, and professions in museums and galleries, arts
administration, education, production, design, research, and creative fields. Visiting
artists, internships, and field trips to metropolitan art institutions, expose students
to the professional art world.
The BFA degree requires students to enroll in a portfolio seminar and
participate in an exhibition at the University Art Gallery. ArtS 466 BFA Portfolio
Artists’ Practices required for BFA students to develop their professional skills.
4
Seminar and portfolio activities provide students with critical knowledge and skills
necessary for graduate study, careers as professional artists, and employment in
related fields. Topics covered include promotion, public relations, exhibition,
handling, storing, and documenting artwork.
The arts media courses, lab, equipment, and professors, support digital
pedagogy. Digital aptitude develops the student’s practical skills as they enter a
competitive profession that assumes familiarity with contemporary technology.
Students are provided digital training in ArtS 105 Media Art Fundamentals, ArtS
210 Introduction to Digital Imaging, ArtS 310 Intermediate Digital Imaging, and
ArtS 498 Advanced Media Arts.
2. Academic Excellence and Innovation
The practice of making art through conception, practice, realization, and
analysis, prepares students for a professional life of self-determination, creation,
innovation, and meaning, in completing original self-directed work. Studio majors
are required to demonstrate a knowledge and facility with traditional media, as well
as new technological developments in their respective fields, for their preparation
as professionals in fields requiring critical and creative thinking, and production
techniques.
Advanced research is encouraged. Students complete their degree with
advanced projects, which students may exhibit in professional exhibitions held at
the University Art Gallery, such as the annual juried student and BFA exhibitions.
Students are invited to work with faculty through internships, independent studies,
and grants such as the Koret Scholars and RSCAP awards. Participation in
symposia is a regular offering within the Department, allowing us to extend our
expertise into challenging and timely new areas.
3. Leadership Cultivation
The Department recognizes the growing demand for California’s cultural
leaders, educators, gallerists, community planners, and cultural pioneers; preparing
art studio majors opportunities in their professions and communities. The studio
program makes a concerted effort to identify and cultivate students’ leadership
skills through professional development and opportunities, internships, creative
projects, studio monitorships, Art Club, and Photo Club.
4. Transformative Impact
Studio art naturally extends into student’s personal lives, communities, and
professional careers. ArtS 437 Commence is a studio course where students design
and fabricate a public sculpture for the university. Courses such as ArtH 312
Principles of Arts Management, and ArtH 494 Gallery and Museum Methods
expose students to different aspects of the professional art world, introduce them to
careers in museums, galleries, and community art centers. The career minor in Arts
Management has supported our alumni in graduate school and positions in
institutions including The Oakland Museum, di Rosa Art Preserve, Richmond Art
Center, The Jewish Museum of San Francisco, and The John Berggruen Gallery in
San Francisco.
5
HOW THE PROGRAM’S MISSION, VISION, AND GOALS RELATE TO THE
UNIVERSITY
The Department supports Sonoma State University’ mission to “challenge students
not only to acquire knowledge but also to develop the skills of critical analysis, careful
reasoning, creativity, and self-expression." The complete SSU Mission Statement can be
found in APPENDIX II, and the university catalog 2019-2020.
https://catalog.sonoma.edu/mime/media/6/1268/2020-21_SSUcatalog.pdf
Since its founding by the California State Legislature in 1960, the role of Sonoma
State University has been to develop a strong liberal arts and sciences curriculum. The
University has affirmed that mission by its acceptance into COPLAC (Council of Public
Liberal Arts Colleges) as the only recognized public liberal arts and sciences member
institution in California. The Department of Art and Art History is in alignment with
Sonoma State's Mission Statement, NASAD, and COPLAC's standards.
DISCIPLINARY ACCREDITATION
The Art Studio curriculum is consistent with national standards in the discipline,
and in relation to other similar institutions. The BA and BFA programs comply with
national standards as described by the Department's accrediting agency, NASAD, in
purpose and curricular structure. Our programs are fully consistent with the description of
purpose in the NASAD handbook 2020-21, which states the “Bachelor of Arts [is] used to
designate the study of art or design studies in a liberal arts framework” (92). The handbook
specifies that the liberal arts study of art or design is “general; there is little or no
specialization.” (93) The “Bachelor of Fine Arts is the most usual designation for the
professional undergraduate degree in art and design… Students enrolled in professional
undergraduate degrees in art and design are expected to develop the knowledge, skills,
concepts, and awareness essential to the professional life of the artist/designer. In any of
many possible roles, the professional must exhibit not only technical competence, but also
broad knowledge of art/design, the ability to integrate art/design knowledge and skills, and
an insight into the role of art/design in intellectual and cultural life.” (97)
For the Full NASAD handbook, refer to:
https://nasad.arts-accredit.org/wp-content/uploads/sites/3/2020/11/AD-2020-21-
Handbook-11-16-2020.pdf
Our program complies with NASAD guidelines of 30 - 45% of total course credit
for the BA and 65% of total course credit for the BFA to be the standard proportions of art
and design classes. Our BA requires a minimum of 55 units, which is 45.8% of the 120-
unit degree. Our BFA requires a minimum of 90 units, which is 68% of a 132-unit degree.
As part of the 2006 program review, the Department was assessed by an external
evaluator, Professor Sylvia Walters, from San Francisco State University, on November
30, 2006. Walters found our degree programs compliant in many ways, including:
● Highly qualified, dedicated faculty and staff
● Good morale and relationships among faculty, staff and students
● Appropriate curricular objectives
● Traditional undergraduate program with contemporary outlook
● Varied professional courses and opportunities for students in both programs
● Nurturing environment for students
● Department support for the Chair
6
Prof Walters' full report is included as Appendix III. A review of our current methods
will update this evaluation.
HOW THE PROGRAM SERVES STATE AND REGIONAL NEEDS
The program serves state and regional needs by uniquely providing an arts program
within a liberal arts college in California and the CSU system. According to its Mission:
“Sonoma State is a regionally serving public university committed to educational access
and excellence. Guided by our core values and driven by a commitment to the liberal arts
and sciences, Sonoma State delivers high-quality education through innovative programs
that leverage the economic, cultural, and natural resources of the North Bay.” For the
complete mission statement, please refer to Appendix II. Sonoma State University is the
only university in California to be invited to join the Council of Public Liberal Arts
Colleges (COPLAC), a prestigious national group of institutions requiring a high-quality
instructional program in the fine arts. The Department of Art and Art History at Sonoma
State serves as the state and region’s only Studio Arts program to receive this distinction.
Sonoma State’s Department of Art and Art History has chosen fine art rather than
applied arts and design, supporting the mission of the campus. In a liberal arts and sciences
institution, the visual arts become a central rather than a peripheral component of the
educational process. Future development of the Department of Art and Art History will
embrace the centrality of fine arts by adding, rather than supplementing, applied arts as
resources and demand develop.
HOW THE PROGRAM MIGHT BE DISTINCTIVE
For this purpose, we compare five CSU programs. The first four are CSU cohort
universities of similar size and situation to SSU, which tend to be outside of larger urban
areas, with their art departments housed in a School of Arts and Humanities. These are
CSU San Marcos, CSU Bakersfield, CSU Stanislaus, and Humboldt State University. The
fifth school, San Francisco State University, is a larger, urban institution and its degree in
studio art is part of a distinct School of Art.
CSU San Marcos (CSUSM) has 369 majors in this larger and newer program, and
is perhaps the most different of our cohort schools. The Art, Media and Design department
is within the School of Arts with tracks in Art and Visual Culture (AVC), and Digital and
Media Art (DaMA). While the BFA is not offered at CSUSM, the bulk of the coursework
is similarly divided between lower division fundamentals and upper division studio work.
The content of coursework differs from that at SSU due to CSUSM’s dedication to design,
collaboration, and interdisciplinary work. Art History requirements reflect a broad offering
of non-western and critical theory/media coursework, requiring a non-western Art History
course. In the studio area, many offerings are in new media, such as digital video and
multimedia design.
CSU Bakersfield (CSUB) has 90 majors. CSUB's BA is structured similarly to
SSU's. It does not offer a BFA, but offers a capstone for BA students, consisting of a
professional portfolio, final project, and exhibition. At SSU final projects or bodies of work
are completed in most emphasis areas, and BFA students complete a portfolio and gallery
exhibition. If a BA capstone was deemed appropriate by the department and supported by
the University, it could be developed around our existing it could be developed around our
existing ArtS 466 BFA Professional Artists’ Practices class.
7
CSU Stanislaus (CSUS) has a similar, traditionally based art program with
variations of emphasis areas at SSU, including sculpture, painting, drawing, printmaking,
graphic arts, and new media. Students are required to complete a total of 65 units for the
BA. The increased requirements at CSUS consist of upper division classes in exhibition
management and professional practices. We offer a similar class as a requirement for the
BFA, and as an elective for the BA. Perhaps the most instructive difference is CSUS’s
inclusion of graphic arts. CSUS’s BFA is also accredited by NASAD, and consists of 81
units compared to SSU's 90. Advising and application to the CSUS BFA program are done
after the 27 foundations prerequisites have been completed, compared to SSU students who
are required to take at least one upper division studio course before applying to the BFA.
Humboldt State University (HSU) has 134 Students. The BA and BFA programs at
HSU are similar to that at SSU, offering classes in Professional Practices, Museum and
Gallery Practices, and a BFA. Major differences are the inclusion of graphic arts courses,
and the fact that the HSU BFA program only requires 70 units in the major for a total of
120 units to graduate.
San Francisco State University (SFSU) School of Art at SFSU currently has 329
students, a reduction from its normal average of 400 students. SFSU offers a 46-unit BA
and an MFA in Art, with no BFA. The BA allows students to graduate with alternatives to
fundamentals courses, and requires a non-western art history class. SFSU's art department
includes media areas available at SSU, as well as textiles, and Conceptual and Information
Arts (CIA) which focuses on experimental art inquiries in the intersection of culture and
technology.
Compared to these programs, the BA and BFA programs in Art offered at Sonoma
State are within the basic expectations of a visual arts program at a liberal arts university.
Most of the differences are within structure and choices within the major. Most require
approximately the same number of units and emphasize fundamentals as we do. Some
require a BA capstone and a non-western art history course, which SSU will consider
offering, given departmental consensus and additional resources to provide ArtH 470A
Survey of Islamic Art, ArtH 470B Survey of Asian Art, and ArtS 465 BFA Seminar and
ArtS 466 Professional Artists’ Practices, for all art Studio students. A diverse learning
experience is a reflection of global and local diversity; in this respect, the department has
room for improvement. Efforts in outreach and recruitment should support increasing the
diversity of our student body, faculty and curriculum.
A major distinction is SSU’s commitment to Fine Arts above commercial design
within a liberal arts education. The pedagogy of studio art practice, directed towards
development of individual vision and style, encourages diverse perspectives. Coursework
throughout the major requires students to examine personal values and interests to use as a
starting point for their practice. The critique process is designed to create time within the
class to explore and discuss what goes into art making, and what is being expressed by
individual students. The groundwork for this process is laid in art history classes and during
studio lectures, where a language and diverse examples artists and artwork is introduced.
While not traditionally part of the program, incorporating commercial design into the
curriculum may become an appropriate addition, should the program enlarge, supported by
additional resources.
COHERENCE AND QUALITY OF THE CURRICULUM
8
The University catalog states that “Students may declare a major at any time, but
are required to do so by the time they have earned 60 units”(36). All majors are assigned a
faculty advisor within the department and have online access to their degree progression.
Students work towards a Bachelor of Arts (BA) degree in Art Studio with a chosen area of
emphasis, and can apply for the more advanced Bachelor of Fine Arts (BFA). For complete
catalog, see
https://catalog.sonoma.edu/mime/media/3/1045/2019-20_SSUcatalog-FINAL-web.pdf
The BA in Art Studio requires a total of 120 units, including a minimum of 55 units
of major core courses, 24 of which must be upper-division, including 12 units in area of
emphasis (2D, 3D, or Media Arts). Additionally, as per university requirements, students
must complete 48 units of General Education coursework, leaving 17 units of electives.
The BFA requires a total of 132 units; 90 units are major core courses, 6 of which
(ArtH 210 and ArtH 211, or ArtH 160A/B) are part of the required 48 GE Units. 54 of the
required units for the major must be taken in the upper-division, 34 of which must be in an
area of emphasis (2D, 3D, or Media Arts). The Department also offers minors with
concentrations in studio art (24-26 units), art history (20 units), and a career minor in
Museum and Gallery Methods (21 units), to complement all degrees; particularly Art,
Communications, and Liberal Studies.
PROGRAM GOALS
The Art Studio program’s goal is to educate all students that take our classes in the
concept, technique, context, and individualized output of their unique voice. We aim to
prepare our majors for graduate school, professional careers in the arts and related fields
where art-making, design, and critical and creative thinking skills apply. The department
strives to support our students developing their creative practice, support our faculty as
educators and professional artists, and support communities with innovative, creative,
conceptual, and cultural applications.
Program goals include educating our students in a positive and productive learning
environment while maintaining adequate resources including faculty, facilities, and
equipment. Specific goals and objectives are directly related to the Department’s stated
mission of “teaching... fine arts...to increase its students’ understanding of the meaning and
purpose of the visual arts, their practice, history and development, their role in society and
their relation to other disciplines”.
Studio art BA and BFA majors are expected to attain understanding elements and
principles of 2D and 3D Art and design; development of hand eye coordination in 2D and
3D media; general technical ability in three media areas; advanced technical ability in at
least one media area, to communicate concepts, develop individual aesthetics, and develop
a cohesive body of work; the ability to critically analyze formal qualities in art, such as
composition, design, craftsmanship; the ability to analyze aesthetic qualities in art, such as
clear expression of ideas, originality, inventiveness; the ability to articulate ideas in visual,
written, and oral form; the ability to develop, realize, and express complex ideas in a variety
of media; a general understanding of the development and history of art in Western Europe
and North America from the Neolithic period to the present; and an in-depth knowledge of
the art history of at least two periods of in the modern and contemporary era (19th, 20th,
and 21st centuries). In addition, BFA students are expected to attain a higher level of skill
in all the above areas, as well as advanced ability in a second media area; knowledge of a
9
third period of modern, global, or contemporary art history; knowledge of professional
practices; and completion and exhibition of a major body of work.
PROGRAM CURRICULUM
The program’s curriculum aligns the Program Learning Outcomes (PLOs) with the
required courses and pedagogical methods, noted in the curriculum map in APPENDIX
IV. The Bachelor of Arts in Studio Art educates students in studio practice of the visual
arts. Art Studio students are expected to first build a solid foundation in, and basic
understanding of, art theory, design, and practice. Students are then instructed in advanced
technical, formal, and conceptual practice. To achieve the pedagogical goals of the
program, students are instructed in foundations, lower division breadth, and upper division
emphasis, where they learn technical skills, historical and contemporary critical awareness,
and build confidence in their chosen area of emphasis.
PROGRAM LEARNING OUTCOMES
The Program Learning Outcomes are as follows:
1. Apply critical analysis to formal, aesthetic and conceptual qualities in their and
others’ art.
2. Use visual observations to resolve decisions and display understanding about the
form and content of an artwork.
3. Ask critical questions about artistic processes, challenges, ideas and materials.
4. Develop a comprehensive body of work exhibiting experimentation and growth.
5. Demonstrate technical proficiency of media to display finished artwork.
6. Express complex original ideas through an independent approach to materials,
media and process.
7. Articulate original concepts, ideas and questions in visual, written and oral forms.
The BFA also includes
8. Acquire awareness of historical and contemporary considerations, from global
to local communities, in relationship to their own work
9. Professionally practice, produce, document, exhibit, promote, and develop original
artwork.
COHERENCE AND CONSISTENCY
To remain coherent and consistent, the Art Studio program progresses through
foundations, lower division, upper division, art history, and areas of emphasis, to promote
students developing technical, creative, and critical skills. At each stage, students build on
previous skills developed, applying it to the betterment of their creative understanding and
output.
The lower division core foundational courses ArtS 101 2D Foundations and ArtS
102 3D Foundations; two classes chosen from ArtS 202 Beginning Drawing, ArtS 204
Beginning Life Drawing, and ArtS 105 Media Arts Fundamentals; and three lower
division breadth courses; allow students to acquire general creative and technical ability
in 2D, 3D, and digital media.
Students then study three of the following areas:
10
● Works on Paper: Understanding elements and principles of two-dimensional art
and design for creative projects; use of different materials, such as graphite,
charcoal, ink wash; develop hand-eye coordination in drawing from still-life, the
figure, nature, and the imagination.
● Painting: Use of oil and acrylic paint for creative projects; understanding of color
theories and use of texture; use of thinning agents and glazes; stretching and
preparation of canvas support.
● Printmaking: Understanding printing techniques such as etching, lithography,
monotype, and woodcut for creative projects; use of chemical agents for etching
plates and lithography stones; use of different inks, paper, and materials for
printing.
● Ceramics: Use of clay and glazes for creative projects; different firing techniques,
such as low-fire, high-fire, and raku; hand-building and wheel-throwing.
● Sculpture: Understanding elements and principles of three-dimensional art and
design for creative projects; use of hand and machine tools including table saw,
router, grinder, welder; use of traditional contemporary techniques and materials
including woodworking, foundry casting, welding, plaster, wire, bronze, steel, and
iron.
● Media Arts: Understanding the process to produce 2D, 3D, and 4D media using
electronic and digital media, creative coding, interactivity, and installation, for
creative projects.
● Photography: Understanding techniques for digital, analog, still, and video
cameras of all formats; lighting, photographing, filming, processing, printing, and
installation; using digital, black and white, and color film for creative projects.
Through the six-unit upper-division studio breadth courses, students are
expected to refine proficiency in technique, material, conception, and transmission of ideas.
Through creative projects students develop concept, technique, and individual style.
Through the twelve-unit upper-division emphasis, students develop advanced technical
ability, concept articulation, and a cohesive body of creative work in their chosen area.
Students create art projects using technical, media-based skills while developing
conceptual, analytical, and critical skills.
Learning goals for courses are individually described in the SSU Catalog, listed in
individual syllabi, as provided in Appendix V. Course objectives are presented to students
at the beginning of each class via syllabi, and posted online on CANVAS, Copies of syllabi
are maintained in the Art Department. Individual assignments to serve learning goals are
explained in assignment descriptions, and used as starting points for in-class critiques. In-
class critiques are held after each project as a primary assessment tool in art studio classes.
Critiques reiterate the goals, understanding, and evaluation of an assignment, while
developing critical analysis, communication and conceptual thinking skills.
HOW PROGRAM LEARNING OUTCOMES ARE ALIGNED WITH WASC
CORE COMPETENCIES: WRITTEN AND ORAL COMMUNICATION,
QUANTITATIVE REASONING, CRITICAL THINKING, AND INFORMATION
LITERACY
11
Program Learning Objectives support WASC Core Competencies: critical thinking,
information literacy, written and oral communication, and quantitative reasoning. Students
use critical thinking to analyze formal, aesthetic and conceptual qualities; develop
composition, design, craftsmanship, expression, creativity, and inventiveness, in their
work; understand, analyze, and critique the their and others creative work; use visual
observations to make decisions about the form and content of an artwork; ask critical
questions about artistic processes, problems, challenges, ideas, and materials; express
complex original ideas through an independent, creative approach to materials, media,
concept, and process; and develop a comprehensive body of work exhibiting
experimentation and growth. Students develop written and oral communication to
articulate ideas and questions in both written and oral forms during critiques, proposals,
applications, artist statements, and artist talks. Students develop information literacy to
acquire an awareness of historical and contemporary issues in relationship to their own
work, and quantitative reasoning to express calculated complex ideas through a variety of
media such as ceramics, painting, photography, printmaking, sculpture, works on paper,
and media arts.
The Program Learning Objectives for the Art Studio, aligned with the WASC Core
Competencies are as follows:
BA Art Studio
1. Critical thinking: Apply critical analysis to formal, aesthetic and conceptual
qualities in their and others’ art.
2. Critical thinking: Use visual observations to resolve decisions and display
understanding about the form and content of an artwork.
3. Critical thinking: Ask critical questions about artistic processes, challenges, ideas
and materials.
4. Critical thinking: Develop a comprehensive body of work exhibiting
experimentation and growth.
5. Quantitative reasoning and information literacy: Demonstrate technical
proficiency of media to display finished artwork.
6. Critical thinking: Express complex original ideas through an independent
approach to materials, media and process.
7. Written and oral communication: Articulate original concepts, ideas and
questions in visual, written and oral forms.
BFA also includes
8. Information literacy: Acquire awareness of historical and contemporary
considerations from global to local communities in relationship to their work.
9. Critical thinking: Professionally practice, produce, document, exhibit, promote,
and develop original artwork.
ALIGNMENT BETWEEN INDIVIDUAL COURSES, THEIR SEQUENCING,
PROGRAM LEARNING OUTCOMES
The chart below aligns courses to program learning outcomes.
12
The BA in Studio Art initiates students with fundamental formal, aesthetic and
conceptual skills; then develops intermediate concepts and techniques; finally refining
formal, aesthetic, and conceptual skills using technical proficiency, facility, and originality.
This trajectory introduces formal and conceptual development in introductory courses to
be refined in the advanced level. The curriculum map in APPENDIX IV illustrates in
which courses, and their sequencing, students develop the program learning outcomes.
The course of study is structured thus:
● Lower division coursework required for all majors is introductory in nature,
designed to provide conceptual, formal, and technical studio foundations alongside
a broad understanding of art production and history.
● Fundamentals progresses through 2D and 3D Fundamentals, two courses in Media
Arts and/or drawing, three introductory studio courses in various media, and two
semesters of art history survey.
o ArtS 101 2D Fundamentals and ArtS 102 3D Fundamentals are both
required of majors and serve as prerequisites for media courses. These are
the introductions to concept, composition, and execution in a variety of 2D
and 3D media.
o Students choose two courses from ArtS 105 Media Arts Fundamentals, ArtS
202 Beginning Drawing, and ArtS 204 Life Drawing. Students begin to use
digital media and/or drawing to develop media skills while practicing visual
perception, technique, and hand-eye coordination.
o ArtH 210 and ArtH 211 or ArtH 160A/B are required lower division survey
courses of Western Art History to provide context to the studio practice, and
historical foundational form and content of art in the Western world.
● Lower Division Studio Breadth
o At the 200 level, students apply foundation skills to at least three various
media where they learn basic techniques, along with the formal, aesthetic
and conceptual considerations of working with various media, to be applied
to upper division work.
● Upper Division
Apply
critical
analysis to
formal,
aesthetic and
conceptual
qualities in
theirs and
others’ art.
Use visual
observations
to resolve
decisions and
display
understanding
about the
form and
content of an
artwork.
Ask critical
questions
about artistic
processes,
challenges,
ideas and
materials.
Develop a
comprehensive
body of work
exhibiting
experimentation
and growth.
Demonstrate
technical
proficiency
of media to
display
finished
artwork.
Express
complex
original
ideas
through an
independent
approach to
materials,
media and
process
Articulate
original
concepts,
ideas and
questions in
visual,
written and
oral forms.
Acquire
awareness of
historical and
contemporary
considerations,
from global
to local
communities,
in relationship
to their own
work.
Professionally
practice,
produce,
document,
exhibit,
promote, and
develop
original
artwork.
Fundamentals
Lower Division
Studio Breadth
Upper Division
Courses
BFA Courses
13
o Upon this foundation, upper division courses emphasize deep exploration
of media, practice, and art history. They provide increased technical,
aesthetic, and conceptual investigation for students to develop
individualized original work.
o At the upper division level, studio majors declare an area of emphasis in
2D, 3D, or media arts. Studio majors are required to take twelve units of
upper division studio coursework within, and six units outside, their area of
emphasis.
o At the 300 level, studio courses explore advanced technical training,
conceptualization, and creation of individual work.
o At the 400 level, studio students are expected to largely know media
techniques, allowing them to focus on self-conceived, self-directed projects.
o Upper division studio students are required to produce, interpret, critique
and communicate about their own and others' works of art.
o These academic courses inform art studio students of the general context
within which they work, and expose them to the language of art discourse
and writing within the discipline area.
o Studio majors also take two upper-division modern art history courses.
● BFA
o Students may apply to the BFA during or after the second semester of the
sophomore year, as many times as desired.
o To be admitted into the Bachelor of Fine Arts (BFA) program, applicants
must meet University requirements for admission, complete all lower-
division requirements in art by the end of the junior year, take at least one
advanced course in the area they are applying, maintain a 3.00 GPA in art,
complete all lower-division GE requirements, submit a portfolio of 10-20
digital images, two letters of recommendation or two department faculty
signatures, and a short statement including their reasons for applying.
o BFA students are required to complete twenty upper division units in their
area of emphasis, nine units of lower division courses outside of their area
of emphasis, and six units of upper division courses outside their area of
emphasis.
o BFA students are also required to complete seven units of professional
practice: ArtS 465 B.F.A. Seminar, ArtS 466 B.F.A. Professional Artists'
Practices, and ArtS 491 Visiting Artists Lecture Series. When faculty
allocation and teaching schedules permit, alternative electives are offered
to support professional practice.
o To complete the BFA degree, candidates are to fulfill all course
requirements, participate in the B.F.A. art exhibition in the University Art
Gallery, complete 24 upper-division units in Art Studio in residence,
maintain a 3.00 GPA in art and a high level of performance, and be subject
to review at all times.
Classes all work to provide movement towards the final goal of students well
practiced in the techniques of their field. Students use concept and technique to create
unique artworks, while being able to produce, understand, and evaluate their own and
others’ original, conceptional, and intentional artworks. The faculty find that this structure
14
provides an appropriate escalation of outcomes for the major, and are satisfied with the
amount of flexibility it allows for both short term response to student needs, and long-term
evolution of curricula in the various areas. Exceptions to the standard degree paths are
made for students requiring a multi-disciplinary approach, or those who would benefit from
a different path of upper division study. Students pursuing an individualized practice design
a specialized emphasis that may span multiple media.
The department is looking to expand diversity in their curricula, applicants, hires,
students, and community. Due to reduced faculty, the Department has minimal flexibility
in courses offered, resulting in students repeating advanced classes. Increased faculty
would allow for a variety of course offerings, social and creative diversity, and technical
and creative expansion to evolve alongside contemporary art and professional practice. The
department would benefit from the ability to offer in greater frequency:
● ArtS 470 Theory and Practice. Taught by a studio instructor and an art history
instructor, this popular and challenging course uses an experimental, intermedia
approach guided by study of contemporary conceptual art.
● ArtS 498 Selected Topics. This course covers a variety of contemporary art
practices including performance, installation, and new media.
PROGRAM-SPECIFIC PEDAGOGICAL METHODS
The Studio Art program uses the study and practice of art making, exposure to
historical through contemporary art, creativity, and communication to develop critical,
conceptual, formal, analytical, technical, research, and professional skills. These skills are
developed in studio courses though conceptual critical discourse, technical instruction,
studio practice, discussions exploring creative examples of art, critiques, exhibitions,
internships, and community outreach. Students are invited, instructed, assisted, and
expected to understand, create, improve, critique, and exhibit work that is conceptual,
original, and technically skilled. Studio programs culminate in a body of finished work;
conceptual, technical, communication, and critical skills; Juried Student and BFA
exhibitions; exit portfolios; and professional experience.
HOW THE PROGRAM SERVES OTHER PROGRAMS AND CONTRIBUTES TO
THE GE PROGRAM
The Art Studio program provides one GE course, ArtS 491 Visiting Artist Lecture
Series, which introduces students to diverse professional contemporary artists. The
Department is also looking to develop ArtS 105 into an A1 GE course that could serve
Communications (COMS) and other majors along with art students. The department could
serve the COMS major requirement of four extra-departmental elective units, with courses
such as ArtS 310 Digital Imaging, ArtS 457 Advanced Photography, and ArtS 458
Advanced Media Arts. Photography and media skills are essential for many professional
tracks in the communications field. The Art Studio program does not include a graduate
program, but some graduate students from Anthropology, Hutchins, Sustainable Future,
English, and ITDS incorporate Art Studio or Art History studies into their proposed thesis
work.
The Department of Art and Art History nurtures collaboration with other
departments that value critical thinking, innovation, concept, creativity, illustration, and
the act of making things. Our newest faculty member in media arts and author of this study,
15
Sena Clara Creston, regularly collaborates with computer science and engineering faculty
and students, cultivating mutually beneficial innovative projects and papers. This year the
professor of media arts collaborated with faculty from other departments, including senior
faculty Dr. Comminsky, chair of Physics and Astronomy, and grant writing expert on our
campus, to include the Studio Arts program in an NSF IUSE grant to be split among three
California State Universities. A portion of these funds would be used for the purchase of
digital maker space equipment to be housed in the department of Art and Art History,
opening up the fabrication shops to students across the campus.
HOW OTHER PROGRAMS CONTRIBUTE TO THE CURRICULUM
The Studio faculty support the essential role art has in General Education. Our
accreditation agency, NASAD, encourages member institutions to offer programs for non-
majors "to expose students to a broad range of styles and to develop critical skills that
enable the individual to be knowledgeable and discriminating." With the new hire of a
media arts professor, the department is looking to offer ArtS 105 Media Arts Fundamentals
as an A1 GE course in Communication and Critical Thinking; teaching students how to
conceptualize, communicate in, and critique digital media. While this course will tax the
required faculty course load and create competition for a class that is required for the
majors, the department strongly believes that offering this as a GE course will be a service
to all students, the program curriculum, and university. The addition of ArtS 105 to the GE
curricula would add a unique course focusing on critical and creative thinking, visual
literacy, and cultural production; integrate the Department of Art and Art History into
campus life by introducing more students to its curriculum and events; provide a natural
entry point for undeclared students to discover the major; and provide the Department with
a curriculum-appropriate, large enrollment course to help offset the necessarily small upper
division studio courses. To incorporate the course properly, the Department would plan
with the School of Arts and Humanities to have sufficient allocation to ensure that it
wouldn't impact traditional course offerings.
The library greatly contributes to the Art Studio curriculum by providing a student
gallery to exhibit student work, contributing to their experience of practicing artists. The
library also houses the Maker Space, which provides 3D printers, a laser cutter and VR
equipment for our students to use for their creative projects, and technological
development.
HOW OUTSIDE LEARNING EXPERIENCES CONTRIBUTE TO THE
PROGRAM LEARNING OUTCOMES
The department supports outside learning experiences to contribute to the program
learning outcomes. Students intern in local arts at institutions, such as the University Art
Gallery, as a requirement for the Arts Management minor and an elective for the Art Studio
major, furthering their professional skills and experience. The department offers studio
monitor opportunities for advanced students who wish to work in the studios beyond
regular hours. Student monitors enable registered students to work late in the studios when
they are on duty advancing their professional studio and technician skills.
In further service of its educational mission, the Department encourages scholarly
research and creative work by both faculty and students, supporting collaborations between
students and teachers. SSU students have participated in group, juried, and solo exhibitions
16
in Sonoma County, the San Francisco Bay Area, and beyond. Exhibition experiences
deepen their understanding of what it is to be a professional artist. Studio faculty exhibit
their work nationally and internationally and share this experience with their students, who
may intern or volunteer to assist their professors in preparation for these exhibitions,
gaining valuable expertise and professional experience. Studying finished professional
artwork in person is also a truly beneficial resource for art education. When schedules
permit, field trips are taken to major cities’ art centers, galleries, non-profits, museums,
studios, and art schools.
CURRICULAR CHANGES IMPLEMENTED AS A RESULT OF THE PREVIOUS
PROGRAM REVIEW
A major curricular change implemented as a result of the previous program review
was the inclusion of ArtS 105 Media Arts Fundamentals as an optional foundations course.
Additionally, to expand upper division requirements, an elective studio course outside the
students' emphasis replaces one drawing course. Another curricular change was the
removal of the Junior Portfolio Review, which we plan to replace with an exit portfolio
review to support student need. To streamline the degree, all studio art classes became 3
units, and the emphasis areas were consolidated to 2D, 3D, and Media Arts.
DISCIPLINARY CHANGES THAT MIGHT AFFECT THE CURRICULUM IN
THE NEXT FIVE YEARS
Digital media is changing the arts, and should be made widely available to be
incorporated in the program and the University. The department is working with COMS to
develop ArtS 105 Media Arts Fundamentals into a GE A1 Communication and Critical
Thinking course made available to all students. To run this course on campus, the media
lab should be fully equipped with 24 ergonomically correct iMac work-stations. To further
support media education, all classrooms should be updated with current digital technology
including computers, overhead projects, and sound systems. Equipping studios with
relevant digital equipment, such as 2D and 3D printers, laser cutters, and CNC routers and
plasma cutters for production and display would further support curricular development.
RECOMMENDATIONS FROM THE PREVIOUS PROGRAM REVIEW
ADDRESSED
As part of the 2006 program review, external reviewer Prof. Walters from San
Francisco State University found congruence between the program, its curriculum and its
Goals and Mission and national standards to be satisfactory, with recommendations to
amend (53):
1) Unfilled replacement position in Painting
2) Stacked classes resulting in over-enrollment of advanced classes
3) Over-enrollment of foundation courses
4) Lack of digital instruction and equipment
5) Access to consistent instruction in non-Western Art History
6) Minimal equipment and maintenance support
PROGRESS ACHIEVED WITH PROGRAM REVIEW RECOMMENDATIONS
17
Many areas of concern noted by Prof. Walters regarding instruction, equipment,
and maintenance support require strategic planning with administrative and financial
support. The NASAD evaluation of 2006, remarks: “There… is serious need to hold onto
faculty and staff positions, which may soon become vacant.” (p5 See full report in
Appendix III) While positions in painting and media arts have been filled, faculty losses
have left five unfulfilled permanent faculty positions in painting, printmaking, sculpture
and ceramics, and media arts.
The need for faculty has been partially addressed by the hiring of media arts
professor Sena Clara Creston in 2020, and painting professor Clea Felien in 2017 to replace
Carlos de Villasante, who left in 2016. The department is still seeking to replace painting
professor Mark Perlman, who retired in 2016; print-making professor Kurt Kemp, who
retired in 2020; photography professor Shannon Benine, who left in 2019; sculpture
professor Jann Nunn, who retired in 2018; and ceramics professor Gregory Roberts, who
retired in 2020. The 3D area would benefit from full-time permanent faculty to advise and
ensure program and curriculum consistency. Professor Nunn’s full-time faculty position in
sculpture has been temporarily filled by Visiting Assistant Professor Sahar Khoury for
2020-2021, but this appointment is by definition not renewable. We are currently subject
to a hiring freeze, which will leave both 3D positions in ceramics and sculpture unfilled for
2021-2022. In art history, the hiring of Dr, Roberson in 2007, and Dr, Ch’ien in 2017, have
made up for the retirement of Susan McKillop, in 2009, and Susan Moulton, in 2012.
Professor Michael Schwager of Museum in Gallery Methods, and the Director of the
University Gallery retired in May 2020. Art History Professor, Jennifer Shaw, has been
reduced to only teaching spring semesters as part of her Faculty Early Retirement Program
contract. The long lapse between retirements and new hires threatens the success and
accreditation of our programs.
Until 2016, maintenance support was addressed by main technician John Scott
Forester in 1983 on a 10-month basis, boosted to 12 in 2014. Forester was replaced by
Instructional Support Technician Aimee Graham in 2016. Support technicians have been
James Porter until 2009, Cathy Ellis 2009-2012, Matt Barnes 2013-2016, and Wesley Carr
2016-2018. Shannon Edwards was hired in 2018 at the same level (Technician Level III)
as Aimee Graham. Billie Schultz served as the photography technician and lighting
instructor until they left in 2018, and we hope to replace this position. Both technicians,
Graham and Edwards, presently run the Wood and Metal Shops, foundry, darkroom, and
printing and ceramics facilities. The 2020 pandemic led to the reduction of these positions
by fifty percent, reflecting our current lack of ability to use the studios. The department
strongly recommends that these positions be reinstated as full positions, with the rehiring
of a media arts technician upon our return to oversee the media arts lab, darkroom, and
printmaking studios. Also due to the campus pivoting to remote instruction in the spring of
2020, our long-term Administrative Analyst, Cindy Meghini, was transferred to the Center
for Educational and Technological in the summer of 2020, and retired in December 2020.
The department is temporarily well supported by two part-time Administrative Analysts,
already assigned to other departments: Douangta Sorensen, from Theatre Arts & Dance
(THAR), and Brooke Tester, from Music, and would benefit from the dedication of a full-
time Administrative Analyst.
Media arts require updated digital equipment for when we return to campus after
the pandemic. There are minimal digital tools currently available in our media lab,
18
including six iMac computers, five inkjet printers, and one scanner. When classes return
on campus, we will require a media lab consisting of 24 iMacs loaded with the Adobe
Creative Suite, cameras, 2D, 3D, lighting, digital production equipment, and a computer,
projector, and speaker wired for every classroom and studio. Our campus-wide library
maker space currently houses 3D printers and a laser cutter accessible to all students. As
previously mentioned, the Art Studio program contributed to a 2020 National Science
Foundation IUSE grant written to include the addition of, and maintenance for a CNC
router and plasma cutter to be housed in the Art Department and made available to all
students. Additional support was included for faculty development to incorporate digital
production into their courses, such as using 3D printers and CNC routers for sculpture, and
laser cutters for printmaking.
In regards to stacked and inconsistently enrolled classes, Professor Walters
suggested creative scheduling; not teaching all core courses every semester could level
demand to help unstack sections, and allow us to teach a greater variety of classes. The
over-enrollment of foundations and advanced courses is being addressed by the
department’s commitment to enforcing the suggested timeline and prerequisites. We rarely
have enough faculty to teach more than is required by the degree, and are working to create
three-year plans of scalable course offerings; dependent on departmental needs, funding,
and faculty hires.
To improve assessment, we move to modify critiques and surveys. Discipline Based
Critiques, Interdisciplinary BFA critiques, and Student, Alumni, and Faculty Surveys can
be amended to provide comparable quantifiable results. Professor Walters stated “The
department seems to be using customary assessment strategies for the visual arts; namely
tracking improvement through portfolios, reviews calculated to assess if program goals are
accomplished, surveys, and exhibitions. I would suggest quantifying review questions to
permit use of some kind of scoring system that can document improvements, exit surveys,
adding external panelists to the Junior and BFA Reviews and recording their evaluations,
and systematically documenting and tracking alumni success. The fact that there is a record
of alumni being accepted into renowned graduate programs would be a clear measure of
the program’s productivity.” The department of Art and Art History aims to improve its
assessment processes. For this review, we updated the Student, Faculty, and Alumni
surveys to numerical values, to have them quantifiable, repeatable, and comparable. These
surveys gave us great insight into the demographics and needs of our students. Survey
results can be found in Appendix VI.
ASSESSMENT
ASSESSMENT METHODS
Assessment methods used to assess student achievement of program learning
outcomes and effectiveness of pedagogical methods and curricular design are critiques,
exhibitions, and surveys. Critiques are done in classes for most projects throughout the
semester, as well as twice a semester for the BFA. The Juried Student and BFA Exhibitions
are each held annually. Surveys are being edited to send out to students, alumni, and faculty
every other year.
ASSESSMENT PROCESS
19
How program faculty collect and analyze data on student performance in
program learning outcomes
Discipline-Based Critiques: The critique is one of the most important aspects of art
education. Studio classes each conduct discipline-based critiques throughout the semester
for most creative projects, where classmates respond to the work, followed by a response
from the professor and artist. For these discipline-based critiques, the professor and fellow
students are familiar with the medium, project, and the development of the artist’s work.
These critiques focus on individual projects relating to a student’s development, and how
students articulate their interpretation and evaluation of their and others’ work. Discipline-
based critiques form the basis by which faculty assess progress of students working within
their discipline and the program at large. Students benefit from their faculty and other
students from their class’s response to their work in a constructive environment. Faculty
communicate the correlation between stated learning objectives, and project results.
Interdisciplinary BFA Critiques: BFA students participate in Interdisciplinary BFA
Critiques with all studio faculty twice each semester. It is an opportunity to receive valuable
criticism about their work from professors and peers in a constructive environment. The
purpose of a critique is to provide and receive feedback from as many perspectives as
possible. Critiques focus on aspects of the work that are successful in communicating the
artist’s intent, and what areas need further consideration. Critiques can give students a
better understanding of their own work, develop confidence in speaking about their and
others’ work, and enable them to gauge how to develop future work. In an Interdisciplinary
Critique, faculty and students have a unique opportunity to discuss work across disciplines.
During an Interdisciplinary Critique, each student presents their work to the group to
receive feedback from other students and faculty and a response from the artist. Work is
evaluated based on formal elements, such as the elements and principles of art and design;
technical qualities such as craftsmanship, technique, and use of materials; and conceptual
aspects, such as idea, subject, meaning, message, inventiveness, originality, aesthetic, and
its relationship to other works of art. In faculty meetings following each critique, faculty
members discuss among themselves the progress of participating students and the program
as a whole.
The information gathered during Interdisciplinary Critiques enable studio faculty
members to evaluate how BFA students across disciplines are progressing, and how
successfully the program learning objectives are being met. Because BFA students
participate in BA program studio courses, this critique also helps to demonstrate the
strengths and weaknesses of the overall program. This assessment would be quantifiably
comparable if faculty were surveyed after each critique.
Student Work and Exhibitions: The teaching strategies in Studio Art can best be
assessed by the quality of student work produced, exhibiting students’ artistic training and
development. The annual BFA and Juried Student exhibitions are well received by
students, faculty and the community. Professional visiting artists and curators who jury the
student exhibitions comment upon the high quality of work being produced.
Surveys: For this program review, anonymous surveys were sent out to students,
faculty, and alumni to assess the department’s success in meeting the program learning
objectives. Anonymous surveys provide feedback on the strengths and weaknesses of the
program. Information gathered from surveys is useful to assess how the knowledge and
skills learned by studio majors has affected their education and professional lives following
20
graduation. These would be temporally comparable if quantifiable surveys were sent out
every other year.
HOW STUDENT ACHIEVEMENT LEVELS IN THE PROGRAM LEARNING
OUTCOMES MEET EXPECTATIONS
Critiques provide ongoing feedback as to educational effectiveness. Professors use
critiques to gauge student achievement levels of lessons and program learning outcomes.
Critiques allow professors to monitor how effective the class is in development of student
work. Professors work closely, critically, and honestly, with individual students and the
class as a whole. Professors work to ensure students understand the objective of concept
and process being presented at the proposal of a project, though the production of the
project to finalization, while offering constant feedback. The critique reinforces the lesson
clearly directly by and for the class as a whole upon the project’s completion and
presentation. This commitment to process, product, communication, and improvement,
supports students to give their best efforts to create their best work, given realistic
circumstances.
Review of critiques and surveys reveal how diversified contemporary curricula
would benefit program development. Faculty offer core courses every semester to ensure
timely graduation. The department would benefit from offering diverse courses such as
Theory and Practice, Installation, Performance, Letterpress, Book Binding, Foundry,
Interactivity, Public Art, and Art in the Public Interest, to expand contemporary practice.
Course diversity is supported by the 2006 External Visitor's Report by Professor Walters,
which states, "With minimal faculty resources, the faculty's decision to offer all courses
required for their degrees year-round has additional ramifications. For instance, lack of
flexibility in course offering decreases curricular enrichment…" This curricular
enrichment might be a crucial link to inspiring students to engage in deeper research to
keep their own pursuits relevant and contemporary.” (Walters, 9)
A resolution to improve the consistency, quality and variety of course offerings,
was to hire professors in painting and media arts. Additional hires in 2D, 3D, and media
arts will support our need for consistent diverse course offerings. While the department
makes a choice to offer all of its core courses every semester, a diversity of courses would
engender a greater appreciation of necessary research, and improve the departmental
experience. The Department’s ability to offer diverse core and advanced studio courses
appropriate to its size and scope would be greatly improved by increased faculty allocation
for both tenure-track and part-time lecturer positions. Conceptual and media developments
are currency in the field, making these allocations significant for twenty-first century
relevance.
PROGRAM LEARNING OUTCOMES AND GOALS
The cultivation of creativity, concept, communication, and technique, is crucial to
our program learning outcomes and goals of educating exceptional artists. Our program is
designed to support students’ creative pursuits. Professor Walters’s report states, “Students
learn to express their thoughts, feelings, and values in a variety of visual forms.
Fundamental to the study of art is a belief in its potential to communicate ideas, emotions,
and values necessary for understanding and functioning effectively within the modern
world. Faculty members are committed to the recognition of individuality and unique
21
accomplishment. They work closely with each student to encourage personal direction and
ideas.”
The department’s Program Learning Outcomes educate students to apply critical
analysis to formal, aesthetic and conceptual qualities in their and others’ art; use visual
observations to resolve decisions and display understanding about the form and content of
an artwork; ask critical questions about artistic processes, challenges, ideas and materials;
develop a comprehensive body of work exhibiting experimentation and growth;
demonstrate technical proficiency of media to display finished artwork; express complex
original ideas through an independent approach to materials, media and process; articulate
original concepts, ideas and questions in visual, written and oral forms; acquire awareness
of historical and contemporary considerations, from global to local communities, in
relationship to their own work; and professionally practice, produce, document, exhibit,
promote, and develop original artwork. Program goals that are not directly student-
learning-related include development of facilities, community, faculty scholarship, and
creative practice.
ASSESSMENT FINDINGS OF STUDENT LEARNING FROM DIRECT AND
INDIRECT ASSESSMENT
Direct Assessment
Notable student strengths include technical ability, creativity, and critical
observation and communication skills. Particular challenges include minimal course and
faculty diversity. Direct assessment methodology consists of critiques within the discipline
and the Interdisciplinary BFA Critiques, to provide ongoing feedback as to educational
effectiveness. Professors use these devices to gauge how students respond to training and
assignments. They also allow professors to monitor how effective the design of a whole
class is in development of student work. The BFA Critique enables faculty to evaluate how
certain areas are faring, using the crucial indicator of students moving from intermediate
to advanced levels. The primary indication of the high quality of student learning is the
exceptional quality of artwork created by our students, and highly evaluated by critiques
and exhibitions.
Indirect Assessment: Surveys
As part of this Program Review, surveys were sent out to students, faculty, and
alumni. For full surveys, see Appendix VI When asked to rate their overall experience as
a studio art major, or minor, 14% of students rated it as excellent, 64% of students rated it
as good, 7% rated it as adequate, and 7% rated it as inadequate. When asked to rate the
level of rigor in their art classes; 7% felt they should be more rigorous, 0% felt they should
be less rigorous, and an overwhelming 86% were currently satisfied. 71% of students
reported that the Art Faculty worked effectively to meet their needs, and another 21%
reported very effectively.
When asked how they would rate the quality of instruction in all art classes in the
following areas: Critical and analytical skills, Technical and research skills, Development
of creativity, exposure to diversity, and Portfolio Preparation, students responded as
follows
22
Criteria
Excellent
Good
Fair
Poor
Critical and
analytical
skills
31%
69%
8%
0%
Technical and
research skills
31%
77%
8%
0%
Development
of creativity
31%
62%
15%
0%
Exposure to
diversity
8%
38%
46%
23%
Portfolio
preparation
31%
46%
23%
15%
Online
instruction
15%
46%
31%
15%
From these responses, we gather that students feel an overall satisfaction with the
level of teaching they are receiving. Particularly instructive is where nearly a third of the
students rated their quality of instruction as excellent, and about 46-77% rate good, for
critical and analytical skills, technical and research skills, development of creativity, and
portfolio preparation. Development of creativity is perhaps the most central issue of the
curriculum, and students feel that they are being given the training to excel in this area.
The criteria, 'portfolio preparation,' reflects professional preparation. awareness and
support on the part of both faculty and administration is servicing our students.
Equally instructive is where only 8% of students rated their exposure to diversity
as excellent, while 23% rate this experience as poor. This question is worthy of
consideration by the department, especially in terms of sharing best practices. An
anticipated way to nurture diversity is to expand the program to include diversified course
offerings, curricula, and community.
CHANGES TO THE CURRICULUM AS A RESULT OF PREVIOUS
ASSESSMENT FINDINGS
Several changes were made during the program review as a result of assessment
findings to support our students and program. Fundamentals was amended to include an
option for ArtS 105 Media Arts Fundamentals to address the inclusion of media in studio
art. All studio classes were made three units, and we aligned the areas of emphasis into
categories of 2D, 3D, and Media Arts, giving students flexibility within a specified field.
2D includes works on paper, painting, and printmaking; 3D includes sculpture and
ceramics, and media arts includes photography and new media. A second revision was
made to give students more flexibility by replacing a mandatory five-unit upper division
drawing course with any two upper division classes outside their area of emphasis. To
support individualized student interest, all 300 and 400 level courses were made an option
for fulfilling upper division breadth.
In response to the previous assessment, a minor was added in Museum and Gallery
Methods to develop and diversify professional options. Student comments from the
previous review period regarding the Junior Portfolio review stated that they didn’t find
the process useful. We have since removed the Junior Portfolio review to concentrate on
23
the BFA critique and exhibition, and are considering the addition of an exit portfolio
review. A noted concern was inconsistent faculty in Media Arts and Painting. A full-time
painting professor was hired in 2017, and a full-time professor in media arts, who also
teaches photography, was hired in 2020. Other courses have been covered by various part
time faculty.
EVALUATING PROGRAM GOALS INDIRECTLY RELATED TO STUDENT
LEARNING
Program goals indirectly related to student learning include development of career
advising, facilities, community, faculty scholarship, and creative practice. In their surveys,
31% of alumni reported being moderately satisfied with career advising, and requested
greater career developments in their comments. Faculty were above moderately satisfied
with departmental facilities and below moderately satisfied with support for scholarship
and creative activities.
PLANS TO DEVELOP ASSESSMENT STRATEGIES
Our plan to develop assessment strategies over the next review period is to update
and send out quantifiable surveys to students, faculty, and alumni every other year.
Limitations that inhibit the effective assessment of learning outcomes include changes in
faculty and administration, which makes tracking inconsistent .
FACULTY
Our faculty currently consists of
● Nathan Haenlein, Professor, Printmaking, Hired 2003
● Clea Felein, Assistant Professor, Painting, Hired 2017
● Sena Clara Creston, Assistant Professor, Media Arts, Hired 2020
● Sahar Khoury, Visiting Professor, Sculpture/Ceramics, Hired 2020
● Jenny Braun, Lecturer, Works on Paper, Hired 2015
● Kate Oltman, Lecturer, Art Studio, Hired 2016
● Chris Grunder, Lecturer, Photography, Hired 2019
● Takming Chuang, Lecturer, Art Studio, Hired 2021
HOW FACULTY MEET THE PROGRAM’S GOALS
The art studio program has distinguished faculty and staff that meet university,
and NASAD standards as described in the NASAD Handbook. The Art Studio Program is
currently composed of three permanent, tenured or tenure-track faculty in printmaking,
painting, and media arts; one full time visiting professor in sculpture and ceramics; and four
part-time faculty in 2D, 3D, and media arts. All faculty hold terminal Master of Fine Arts
degrees from accredited institutions, ensuring all classes are taught according to need. For
complete information on all Department faculty, please see CVs included in Appendix VII.
The studio faculty’s academic qualifications are enhanced by their experiences as practicing
artists, all of whom regularly exhibit their work locally, nationally and internationally.
All faculty, permanent, visiting, and part time, hold a Masters of Fine Arts (MFA)
degree, the terminal degree in the field. Faculty received their degrees from New York
Academy of Art, Rensselaer Polytechnic institute, Rhode Island School of Design, San
24
Francisco Art Institute, UC Berkeley, University of Iowa, and Vermont College. Faculty
gained teaching experience as professors, instructors, and teaching assistants at institutions
including CUNY Queens College, College of Saint Benedict and Saint John's University,
Hofstra University, Mary Washington College, Minneapolis College of Art and Design,
Montclair State University, Vermont College, Rensselaer Polytechnic institute, Rhode
Island School of Design, St. Ambrose University, St Cloud University, Stanford, San
Francisco Art Institute, University of Iowa, and Washington State University. Faculty
members have also had related experience working for non-profit arts institutions, other
artists, art galleries, and residencies. All faculty are prepared to teach the necessary
curriculum in their areas of 2D, 3D, and media arts. Their active, on-going research
supports development in their area.
FACULTY NEEDED
The studio art program has minimally adequate faculty to provide instruction in the
required areas of fundamentals, works on paper, painting, printmaking, ceramics,
sculpture, photography, and media arts. Adding faculty in 2D, 3D, and media arts will help
guarantee program consistency, expand offerings in curricular development of
contemporary practice and a GE course, and support accreditation. Further expansion of
contemporary techniques is essential to future growth, recruitment, and retention. New,
permanent faculty positions will strengthen existing areas and develop the studio program,
increasing students’ course options at the upper-division without further impacting studio
faculty.
In relation to the size, scope, mission, goals and objectives, the current number of
faculty service the department’s minimal courses. There is a need for additional faculty to
fully support development and accreditation. The department seeks full-time faculty in
Ceramics, Sculpture, painting, printmaking, and media arts to replace recently vacated
permanent faculty positions and offer diverse courses, including special topics and GE.
The CSU supports recruitment and enrollment, revealing the need to serve students through
faculty allocations, inclusive technological applications, and critical awareness, to develop
the program.
Temporary faculty are highly valued, and included in diverse course offerings,
meetings, critiques, programs, and activities. Temporary faculty bring new perspectives
and professional expertise not already represented in our programs. The Department
benefits from the diversity and expansion brought by temporary faculty.
HOW FACULTY RESEARCH, SCHOLARSHIP, AND CREATIVE ACTIVITY
CONTRIBUTE TO THE PROGRAM’S GOALS
It is the philosophy of the department and NASAD guidelines that in order to teach
effective relevant curricula to prepare students for the contemporary art world, faculty must
be committed to creative scholarship. All professors in the Department are involved in
ongoing creative activity and regularly exhibit new works of art. Results of these efforts
are evidenced at SSU in the biennial faculty exhibition at the University Art Gallery, and
the CVs available for consultation in the APPENDIX VII.
HOW FACULTY SPECIALIZATIONS ARE ALIGNED TO THE PROGRAM
CURRICULUM, MISSION, AND QUALITY
25
The studio program includes three full time, tenure-track professors in painting,
print-making, and media arts; one visiting professor in sculpture, and four lecturers in 2D,
3D, and media arts. Faculty strive to develop and offer innovative curricula, create
necessary breadth, and support developing needs within limited course offerings. All
professors are professionally active, supporting the program’s curriculum, mission, and
quality. This professional involvement supports students’ creative practice for the evolving
professional art world. All faculty participate in service to the department, university, and
community, to support our students’ creative output, improvement, and opportunities.
FACULTY MAKE-UP IN THE PROGRAM AND MEANINGFUL TRENDS
DURING THE REVIEW PERIOD
The studio program includes three full time, tenure-track professors, one visiting
professor, and four lecturers to cover works on paper, painting, sculpture, ceramics,
photography and media arts. These include:
● Nathan Haenlein, Professor, Printmaking, Hired 2003
● Clea Felein, Assistant Professor, Painting, Hired 2017
● Sena Clara Creston, Assistant Professor, Media Arts, Hired 2020
● Sahar Khoury, Visiting Professor, Sculpture/Ceramics, Hired 2020
● Jenny Braun, Lecturer, Works on Paper, Hired 2015
● Kate Oltman, Lecturer, Art Studio, Hired 2016
● Chris Grunder, Lecturer, Photography, Hired 2019
● Takming Chuang, Lecturer, Art Studio, Hired 2021
Recent hires include tenure track professors in painting and media arts, and a
visiting artist in sculpture. The current three permanent (tenure-track and tenured) faculty
in Art Studio is a considerable reduction from seven full-time permanent positions listed
in the 2006 program review. We previously had two in painting, two in printmaking, one
in photography, one in ceramics, and one in sculpture. There is a need to fill recently
vacated faculty positions in ceramics, sculpture, printmaking, painting, and photography.
The recent decline in faculty constricts course offerings to the core curriculum.
The dramatic decline, change, and dispersal of faculty has illustrated the need for
community, communication, and teamwork to grow healthy despite social distancing,
budgetary restrictions on hiring, and other uncontrollable obstacles. The Art Studio
program has begun to hold monthly meetings, in addition to the bimonthly Department of
Art and Art History meetings, to discuss best practices, goals, concerns, and plans; to
support our university, program, students, faculty, and staff through local and global
challenges and limited resources.
HOW FACULTY SCHOLARSHIP AND CREATIVE ACTIVITY IMPACT THE
PROGRAM’S MISSION AND GOALS
The dedication of faculty to their individual scholarship and creative activity
directly impacts the creative development, recruitment, retention, curricula, and
opportunities for student research through their knowledge of creative pursuits and
invitation for student participation in research projects.
● Nathan Haenlein’s graphite drawings of old ladies at slot machines, the willingly-
hypnotized, car engines and snow storms use the geographic region of the Rust Belt as
a container for exploring universal ways of coping with life’s difficulties. His gel pen
26
drawings, on the other hand, employ an arbitrary analog system that leads to complex,
colorful patterns. The underlying connection for these disparate ways of drawing is an
investigation of patience and repetition. Nathan received his MFA from the University
of Iowa in 2002 and is currently a professor at Sonoma State University. His work has
been included in Shifter magazine (2006 and 2009) and the international drawing
annual Manifest (2014). He has had solo exhibitions at Visalia Art Center (2008),
Cleveland's now defunct Exit Gallery (2006) and The Ridderhof Martin Gallery (2003)
at Mary Washington College. His work is included in the group exhibition Deadpan
(the art of the expressionless), (2013) at Whitdel Arts (Detroit) and in a juried solo
exhibition at the online exhibition site Gallery Gray.
● Clea Felien is a visual artist whose work is predominantly paintings and drawings
that combine abstraction and realism to visually represent memory and loss.
Additionally, she does work in video sculpture and installation. Felien received her
BFA from the Minneapolis College of Art and Design (MCAD) and her MFA from
Vermont College of Fine Art in painting, with an emphasis in art theory. She also
studied five years at The Atelier Studio Program of Fine Art (a 19th-century French
academic realist portrait-painting school) and one year at the Art Students League
of New York in anatomical drawing. Felien has been exhibiting her work in
Midwest and East Coast galleries and Museums for over fifteen years. Her
exhibitions include shows at MoMA, Museum of Modern Art, New York City, NY;
MASS MoCA, the Massachusetts Museum of Contemporary Art, North Adams,
MA; NY Studio Gallery, New York City, NY; The Institute of Contemporary Art,
Los Angeles, CA; The Museum of Northern California Artists, Chico, CA; The
Frederick R. Weisman Art Museum, Minneapolis, MN; The Figge Museum,
Davenport, IA; Minnesota Biennial at The Minnesota Museum of American Art,
Saint Paul, MN; MAEP Gallery at Minneapolis Institute of Art, Minneapolis, MN.
Felien’s work has appeared in “One, Catalogue of One Minute Film Festival”
published in 2014 by Massachusetts Museum of Contemporary Art, (MASS
MoCA); “New American Paintings” published in 2004 by The Open Studios Press;
and “Art Papers” published in 2003. Felien has attended residencies at The Soap
Factory in Minneapolis, Minnesota in 2017, and Loft345 in Guangzhou, China in
2014. Clea Felien has been teaching Painting, Drawing and Art Theory at the
college level since 2007 and has been teaching at Sonoma State University since
2017.
● Sena Clara Creston is an interactive installation artist working with light,
movement, and material. Creston is developing the media arts curriculum to include
photography, video, digital design, creative coding, physical computing, 3D
animation, interactivity, and installation. Since her hire in 2020, Creston has been
working to service the department and promote interdisciplinary collaboration.
Creston was previously a Clinical Assistant Professor of Fine Arts at Washington
State University from 2013-2020, received her MFA in electronic Arts at
Rensselaer Polytechnic Institute, and her BFA in Photography and Imaging at New
York University, Tisch School of the Arts. Creston participates in exhibitions and
festivals, including The Wassaic Project in 2008/9/12, LoFi Art Festival in 2014,
Seattle’s Borealis Festival of Light 2018, Treefort 2019, Lumiminata 2020, the Tri-
Cities Airport 2020, and the University Art Gallery 2020. Creston’s Artist talks
include TEDx Richland 2017, Treefort 2019, and The College Art Association
27
2017. Her publications include IEEE 2015. Creston contributes to community art
groups, and creates interdisciplinary collaborations with engineers. In 2020,
Creston received the Koret Scholar’s Award with Electrical Engineering and
Computer Science students for her interactive installation, The Huminal, and is
working with an Art Studio student on an interdisciplinary collaboration with
computer science to develop AI response to human language using 3D animation
and VR.
FACULTY RATIOS, RECRUITMENT, AND DIVERSITY
Number of full-time faculty, the ratio of full-time to lecturer faculty, and the student-
faculty ratio for teaching and for advising
The Department makes every effort to maintain student/faculty ratios for class sizes
that keep with NASAD standards, while considering recruitment, diversity, format,
curricula, health, and safety. The Art Studio program has three tenure track faculty, one
visiting professor, four part-time lecturers, and 127 students. There is currently a 1:1 ratio
of full time to lecturer faculty, a 16:1 ratio of students to faculty, and a 42:1 ratio of art
studio majors to tenure track studio professors who serve as their advisors. Increased
permanent faculty positions will directly support advising.
Average student/faculty ratio in the studio classes is 1:14, ranging from
approximately 1: 25 in fundamentals classes to 1:5 in advanced ceramics, with an average
studio class size of 14. Sculpture, photography, and printmaking class limits are lower than
the fundamentals, painting and drawing due to safety and health reasons. The studio
program strives to provide small class sizes considering student access to facilities and
class dialogue. Studio fundamentals are comparatively large, balancing smaller
intermediate and advanced studio courses.
Ability to recruit and retain a diverse faculty
The department’s goal to recruit and retain diverse faculty is reflected in the request
to replace five recent permanent faculty vacancies in 2D, 3D, and media arts. Faculty
allocations and curricula are deeply dependent on each other; the Department seeks to
recruit diverse faculty to expand the breadth and depth of its curricula and program
development.
FACULTY SUPPORT
PROFESSIONAL DEVELOPMENT
In the surveys provided, 40% of Faculty reported that they were moderately
satisfied with support for scholarship and creative activities in the faculty survey.
Professional development could be supported with access to studios, project space, updated
facilities and equipment, and funded project support. 46% of students rated their portfolio
development as fair, expressing increased need for professional development for our
curricula. The full surveys can be found in Appendix VI.
Availability of and participation in professional development opportunities
Professional development is supported by the Department and University as an
important criterion for the appointment, retention, and promotion of permanent faculty.
Faculty development funds for travel, course development, research, and creative activity,
28
is minimal for the size and scope of the Department. Faculty apply for travel and research
grants, and seek funding to support their scholarship.
The University offers competitive grants that support professional travel and other
activities for faculty and staff. On campus RSCAP and Koret Scholar grants support faculty
research. On rare occasions, the School has provided “reassigned time”, as paid time not
spent teaching for faculty to prepare new courses. Depreciating assistance for release time
for curricular development, professional travel support, and sabbatical opportunities
diminishes professional development. The school and department have sporadic funding
available for faculty and staff to attend professional meetings such as NASAD and The
College Art Association (CAA). Sabbaticals are generally limited to the annual minimum
required by the Memorandum of Understanding (faculty contract). In addition to full
sabbaticals, senior faculty can take what is called a “difference in pay” leave (DIP), to
travel, work in the studio, conduct research, and write.
WORKLOAD
Faculty workload including course development, department, school, university, and
community service, and scholarship
Full time professors complete at least 15 WTUs per semester, requiring 21 hours of
student contact per week; 18 hours in the classroom, and 3 indirect hours. Because of the
type of pedagogy and facilities used, faculty members are charged with managing studios,
akin to individual laboratories. This duty, combined with BFA critique, and general
committee work, add up to a large department service requirement. All professors
participate in these responsibilities fully and equally in addition to university and
community service. Scholarship requires an additional time commitment of fifteen hours
per week on average for production and exhibition.
Availability of faculty mentoring programs
The newly hired professor of media arts was provided with an RTP committee and
a paid faculty development workshop in online course development for the pandemic. She
was connected to an external faculty mentor to work with on a five-million-dollar multi-
campus external NSF IUSE grant for studio equipment and faculty development. Faculty
members are also invited to attend workshops to receive additional training in development
and diversity.
Faculty workload for instruction
A full-time load is 15 WTUs (weighted teaching units): 12 WTUs of teaching per
semester and 3 WTU’s of assigned time for advising and service. Art Studio courses require
two hours of class contact time for 1.3 WTU, requiring 18 hours a week of in-class teaching
for 12 WTUs. Part-time faculty are hired by the class.
PROGRAM RESOURCES
Faculty workload for advising and student support
Full time faculty are required to spend three hours a week for office hours. Part
time faculty are required to hold one hour of office time for each course they teach. Three
29
full-time faculty are each responsible for an average of 42 advisees to service our 127
majors. Full-time faculty also serve minors, Art History majors, and prospective students.
Each semester, faculty participate in two BFA Interdisciplinary Critiques. These
are vital parts of both pedagogy and assessment that take an average of 10 hours per
semester. Full time faculty also manage a working art studio and student access to it.
ADVISING
Advising first-year students, majors, prospective majors, graduating students, and
graduate students
Departmental advising is an integral part of the program, and the responsibility of
tenure track faculty. With three full time equivalent faculty and 127 majors, each faculty is
assigned an average of 42 majors. Faculty use the student’s department file and the on-line
records to work with students to establish paths through the major, the general education
program, and degree completion. Students are assigned a faculty advisor that best suits
their interest. All majors are encouraged to meet with their advisors each semester prior to
registering for classes and before applying for graduation.
All faculty are trained in the degree and major structures, supported by both the
Department’s Administrative Analyst and Chair. The Chair is often consulted as an
advising resource by both faculty and students, and is required to review and sign
independent study plans and graduation applications. Faculty are updated in changes to the
programs they advise.
Career advising
Career advising is an integral part of advising. Students meet with faculty each
semester, in individual meetings, to plan graduation, and during class and office hours.
Departmental advising sessions are geared towards providing assistance in choosing
classes; working towards completion of degrees; and advice about preparing for,
selecting, and applying to graduate schools and professional jobs in the field.
ArtS 466 B.F.A. Portfolio Artists’ Practices is designed to expose students to
maintaining a professional practice after graduation. In this class, students visually,
literally, and orally; document, describe, and defend their work. In this class students
prepare portfolios, Artist Statements, and CVs for their professional practice.
Work with at-risk students
Faculty and advisors are mandatory reporters who look out for at-risk students to
provide them with information regarding their options, rights, and support services. The
university Counseling and Psychological Services (CAPS) provides many resources on and
off campus described on their webpage https://caps.sonoma.edu/resources. The Student
Affairs’s Care Team also help track and support students in need; faculty worried about a
student’s absence or behavior can fill out a confidential Student of Concern Report to
signal a need for help and further inquiry to the Care Team
https://studentaffairs.sonoma.edu/care-students-concern.
GE advising
Departmental advisors work with students regarding their GE requirements. The
on-line Academic Record Report aligns with the department’s major requirements to
30
continuously assess progress. The Advising Center http://advising.sonoma.edu, has a
dedicated advisor for each school to provide dedicated resource for students and faculty
alike. The position for Arts & Humanities has just been refilled, by the new advisor, Nicole
Stein, who scheduled to start her function in the Advising Center on April 1
st
.
How successful advising is documented and measured
Advising is measured in our graduation rates: a 34.8% four-year graduation rate,
and a two-year transfer graduation rate of 47.37%. In a survey sent out in 2020, 7% of
students rated their advising at excellent, 14% as good, 36% as fair, and 29% as poor.
These statistics illustrate the need to improve advising by strategic efforts of faculty,
increased support from the administration, and a dedicated full-time advisor for the
school of Arts and Humanities. Advising should be documented in the Academic Record
Report, giving us data on the correlation between advising and graduation rates.
Departmental, school, and university service and resources to meet the needs of
students and faculty.
Art Studio students utilize an array of necessary student support services. Several
of our students work Disability Services for Students for appropriate support and
accommodations in their academic career. In addition to providing support at the students
request, all faculty are mandated reporters.
Campus support services appropriate for student needs
Campus support services of particular significance to our students are the Health
Center, writing workshops, and the student center. Associated Students gives
Instructionally Related Activities grants to the University Art Gallery, Commence and the
Visiting Artists Lecture series, to support creative activity and professional development.
Additional services needed
Valuable additional services to the university students would be a media arts lab, a
media arts technician to run the printmaking and photography studios, darkroom, and
media lab; a gallery curator; a dedicated student gallery; and an Arts and Humanities
advisor to manage the students’ path to graduation.
Program resources to deliver curriculum and achieve goals
The department benefits from dedicated faculty and staff and significant
equipment. The department would be greatly improved with increased faculty and support
staff, improved facilities, and allocations for the purchase, training and integration of new
equipment to support the current program and future growth in response to the
department’s need.
Operating expense budget
The Operating Expense (OE) budget allocated to the Department minimally
maintains the studio arts program. The OE budget is determined annually at the School
level, transferred to the Department, then allotted according to the decisions made by the
Chair in consultation with the faculty. The OE is calculated based on full time employees
in the department as well as the FTES served, resulting in the OE Budget annually
31
decreasing from $7042 in 2016/7 to $4504 in 2020/1. This decreased budget remains
minimal providing little room for new or ongoing initiatives.
In addition to the OE budget, costs of providing materials used in coursework
covered by Course Fees, are collected by Admissions and Records, and managed by
department staff in communication with faculty. Course fees are clearly earmarked for
expendable materials used in the students' art practice. This generally excludes purchases
of tools, equipment, office, and studio maintenance supplies.
SUPPORT
Support for the department is recommended as follows:
● Five permanent positions in sculpture, ceramics, painting, printmaking,
and media arts to add stability to the program and maintain accreditation
● Equipment for the media arts lab
● Updated facilities and maintenance
● Three full-time technicians to safely run the sculpture, ceramics, foundry,
printmaking, photo, and media labs
● One full-time administrative analyst
● Increase work study students and instructional student assistants to
support administrative and technician duties
● Increased budget for inflation, operation, facilities, equipment, faculty,
and technicians
STUDENT SUPPORT
At the program and institutional level
Student support offered in the program at the institutional level includes
opportunities for research through internships, independent studies, and the library.
Students support through use of facilities, production studios, equipment, and technology
is due for an upgrade.
For research and community engagement
There is support in the department and institutional level for student research and
engagement in the community. Students are encouraged to participate in internships for
their ArtS 499 elective, enabling them to work with artists and arts organizations in a
professional setting. Hillary Homzie, the Arts & Humanities Internships Coordinator,
0
2000
4000
6000
8000
16/17 17/18 18/19 19/20 20/21
$ Operating Expense Budget
$ Operating Expense Budget
32
provides very useful guidance to draft internships in compliance with the CSU internship
policy. Fieldwork and community engagement is achieved through participating in and
organizing exhibitions.
LIBRARY RESOURCES
Library and information resources to meet curricular, research, and scholarship
needs of students and faculty
There are excellent library and information resources to meet curricular and
scholarship needs of the students and faculty. The Sonoma State University Library in the
Jean and Charles Schulz Information Center promotes excellence in inquiry, research,
scholarship, creativity, teaching, and learning in support of SSU’s academic mission. The
Library has ample holdings of books, catalogs and monographs related to visual art, and
subscribes to numerous print and digital journals related to visual art. These materials are
a valuable source of inspiration and research. The Library’s access to online databases such
as ArtStore provides an expanding database of relevant images for faculty use.
How program faculty work with library faculty for information and research
Of great importance is the involvement of the Art Department in the Library Gallery
and the Library Maker Space. The Library Gallery produces student exhibitions, benefiting
the ArtS Curriculum. The Library staff work with students and faculty developing and
curating exhibitions. The Library Gallery hosts student exhibitions as well as exhibitions
curated by faculty or students. These opportunities are particularly meaningful due to the
limited exhibition venues available to students on campus.
The Library Maker Space provides digital equipment for student use, including 3D
Printers, CNC Mill, vinyl cutter, laser cutter, VR, electronics and sewing machines. This
year, the Art Department helped write a grant to expand the maker space to include a CNC
router and CNC plasma cutter to be housed in the Art Department wood and metal shop.
These tools provide an asset to the equipment and support of the art department.
The University Library has computers available for students with multiple printing
stations throughout the building, supported by the Library Technology Services staff
available for technology assistance. The Library Teaching Center houses instructional
spaces, flex-spaces for group and individual study, and a digital lab, which provides
software for media-based projects such as movies and presentations. The Library
instruction team offers students and faculty an opportunity to take advantage of the variety
of digital instructional offerings and information.
TECHNOLOGY RESOURCES
Technology resource support of pedagogy, student learning, and research and
scholarship for faculty and students
Support for developing online courses during the pandemic was funded by CTET,
and utilized by the department. It would be beneficial for digital and online elements of
course development to continue for courses to provide digital options post-pandemic.
Digital media has become an integral component of contemporary art. Increased
technology resources will strengthen the educational component of the art studio program,
developing practical skills for students entering a competitive profession. The expansion
of Media Arts requires the need for a media arts lab and technician, as well as equipping
33
all classrooms and relevant studios with computers, projectors, and sound. The department
currently has six outdated computers purchased between 2007 and 2017, three printers, and
a scanner, which inadequately support pedagogy, student learning and scholarship for
faculty and students. With the media arts emphasis and new faculty hire, the department is
looking to upgrade our media lab to twenty-four new iMacs loaded with the Adobe Suite,
2D and 3D printers, cameras, lighting equipment, projectors, laser cutter, CNC router and
plasma cutter.
Updating technology would support the department by attracting art students
expecting essential digital training; utilizing strengths of recently hired media arts faculty;
support equity by not forcing Sonoma State students to rely on their own computers; and
embracing major developments in the last 40 years of media arts. The Library maker space
has 3D printers and laser cutters available for all university students to use. Our department
is seeking a supplemental CNC router and plasma cutter, included in the NSF IUSE grant
written in 2020, as well as Computers, lighting equipment, 3D printers, and laser cutters,
to be housed in the art department.
FACILITIES
The Department of Art and Art History is contained within a complex of
interconnected, single-level buildings located in a landscaped setting on the northwest
corner of the Sonoma State campus. The Department is designed to support the curriculum
in a safe, well-equipped environment as well as providing space for faculty and
administrative offices.
ADEQUACY OF INSTRUCTIONAL SPACES AND FACILITIES
In addition to adding a media lab, the department is seeking major renovations or a
new building due to structural instability, leaking roof, sagging floor in the gallery, and
insufficient studio space. The art building was completed in 1977, and updated in 1996 to
bring the facility up to OSHA-mandated standards and codes. It is now due for a major
update or replacement.
CLASSROOM SPACE INCLUDING ALTERNATE CLASSROOMS
Classrooms and studio learning space are minimally sufficient, and due to be
updated with improved facilities, equipment, maintenance, computers, projectors, sound,
media lab, and project space. A new building would be designed to support updated
scholarship and production needs.
INSTRUCTIONAL LABORATORIES AND STUDIOS
The Art Department contains studios for works on paper, painting, photography,
printmaking, sculpture, ceramics, and a professional art gallery. Requested updates needed
include a Media lab with 24 ergonomically correct iMac workstations, Inkjet and 3D
printers, laser cutter, CNC router and plasma cutter, and photography studio; building
replacement or renovations for structure, roof, floor, water, and electrical repair, equipment
maintenance and update, a student Gallery, and studio space.
Instructional Laboratories include
● Drawing Studio
34
The drawing studio includes roto-tilt drawing tables, drawing
horses, stacking platforms to create different working levels, a platform
for life-drawing models and props, a mixture of fluorescent and
incandescent lights, and a large, north clerestory for natural light.
The drawing studio needs a full renovation to equip smart
classrooms with computers, internet, projectors, and sound, and replace
the fluorescence and incandescent lighting with LEDS.
● Painting Studios
The Beginning and Advanced painting studios contain easels,
benches, and worktables. Painting studios are equipped with high
ceilings, north-facing windows, and storage racks for student work. The
Advanced Painting Studio contains movable walls for intimate work
areas and displaying work. Both painting studios open onto a small,
covered courtyard workspace with whitewashed plywood walls on
which students can paint, display, and critique large work in a ventilated
area. Moveable wheeled tables in the outdoor workspace would allow
for additional space for large projects requiring ventilation outside of
studios, classrooms, and shops.
Safety features include additional exits, hazardous-waste disposal
system, and a ventilation system for interior areas. Temperature control
throughout the year has been an ongoing problem for the painting
studios requiring constant maintenance from faculty and staff.
● Darkroom
The photography program consists of 35mm, medium, and large
format analog and digital photography, traditional black and white
processes, color printing, digital printing, studio lighting, mixed
media/installation, digital software, video, and media arts. The photo
complex includes a photo studio-classroom, a darkroom with fourteen
black and white enlarging stations, five color enlargers, a print washer;
a small room for processing black and white film; a clean room for print
finishing room, and a small darkroom for color printing and alternative
processes.
Ventilation is generally excellent, and there are facilities for safe
handling of chemistry. Plumbing in the darkroom is old, leaky and most
tempering valves are inaccurate or inoperable. Darkroom equipment
allows for only fourteen students to be working at a time, rather than the
24 students enrolled in classes. Photography requires a designated
studio with updated cameras and lighting equipment.
● Media Arts
The media lab contains six outdated iMac computers purchased
between 2007 and 2017 loaded with the Adobe Creative Suite, a Epson
Perfection, V700 photo scanner and an Epson 2400 and five printers:
Epson 9890, Epson p6000, Epson p800 and two Epson4900. The media
lab needs to be updated to include 24 ergonomically correct iMac
workstations, laser cutter, inkjet and 3D printers, standard for a
University program.
35
● Printmaking
The printmaking curriculum supports intaglio, monotype, woodcut,
lithography and book production. The Art Building includes two
complete and separate studios for intaglio, relief printing, lithography,
and book arts; and a separate, well-ventilated room for acid baths, an
aquatint box, and a solvent booth. Modernizing the printmaking
program requires a computer, projector, laser cutter, and 3D Printer.
● Ceramics
The ceramics area includes a large studio with stations for wheel
throwing and hand-building techniques, a glaze room, a dry room for
the safe storage of green and bisque ware, a separate room with
equipment for clay and slip cast mixing, a wet room equipped with a
humidifier for the slow drying of clay, and a kiln room with space in the
adjacent sculpture courtyard for a variety of kilns, raku and pit-firing.
The addition of a clay recycler would support sustainability.
● Sculpture
The Department’s extensive sculpture facilities include three
distinct, well-equipped work areas: a wood shop, a welding and metal
fabrication studio, and a foundry. Like the other studios, the sculpture
area was improved during the 1996 renovation with new ventilation, and
a covered work and storage area in the sculpture courtyard. The
sculpture facilities require update and maintenance of the facilities and
equipment. We are currently in need of welder replacement, bandsaw
repair, and modernizing our equipment with a CNC router and plasma
cutter.
● Shop Hours
Wood and metal shops and the darkroom are open weekdays 9am-
12pm, and 1pm-5pm. The Ceramics, painting, drawing, printmaking,
and digital studios are open weekdays, 8am-10pm.
The Department offers trained monitoring opportunities for
advanced students to work in the ceramics painting, drawing, printing,
and digital studios until 2:00 am. Hiring trained work study technicians
would allow us to keep the wood and metal shops open past five pm.
Key card access and storage lockers would allow for greater security in
the studios.
● University Art Gallery
The University Art Gallery expands the pedagogical reach of the Art
Studio Program by mounting professionally curated exhibitions of
nationally and internationally recognized art. It is central to the study of
art to have access to professional, finished work, a well-developed
context for exhibition, and interaction between the artist, artwork, and
the audience. The gallery has brought an inspiring schedule of
exhibitions ranging from traditional to new media. Exhibitions are
utilized as an extension of the classroom; faculty include exhibitions in
their curricula, requiring students to visit and review exhibitions. The
University Art Gallery sponsors lectures, colloquia, artist's talks, and
36
exhibition walk throughs; well attended by students as supplementary
coursework.
The University Art Gallery is an outreach for the department. In
addition to regular exhibitions of local and national artists, the gallery
hosts the annual Juried Student, BFA, and fundraising Art from the
Heart exhibitions, benefiting students by providing exhibition
experience, external feedback of student work, from the campus and
local community. Students would benefit from a designated student
gallery. Students currently display work on department walls, a small
enclosed student gallery, and glass-enclosed wall cases. The Art Gallery
would be supported by a full time Gallery Director Replacement and
work study positions in gallery management, curation, and art handling
GENERAL OFFICE SPACE FOR FACULTY AND STAFF
Each permanent faculty member is assigned a private office that is used primarily
for computer work and student advising. Temporary faculty usually share an office. More
offices could be put in use if restored to healthy conditions, such as Art 131 and 132.
RESEARCH/SCHOLARSHIP LABORATORIES, STUDIOS, OFFICES
Offices are insufficient for faculty studios required for creative scholarship. Faculty
studios would enable faculty to work on large projects with students, utilize department
studios and equipment, and ready work for exhibition.
STUDENT STUDY SPACE
Students have minimal space to work on projects in the studios. Increased interior
and exterior studio space for art Studio students would greatly improve their academic
experience and creative scholarship.
STAFF SUPPORT FOR PROGRAM OPERATIONS
Staff positions include:
● Administrative Analyst (AC), Douangta Sorensen
● Administrative Analyst (AC), Brooke Tester
● Art Gallery Exhibitions Coordinator/Collections Manager, Carla Stone
● Instructional Support Technician, level III, Aimee Graham
● Instructional Support Technician, level III, Shannon Edwards
Our staff consists of two half-time administrative analysts, two instructional
support technicians that were recently cut from full-time to half-time due to the pandemic,
and an exhibitions coor
dinator/collections manager. Staff members have considerable experience in their areas of
responsibility and are active in their field beyond their work in the Department. Staff
assigned to the Art Studio program are hardworking, dedicated and creative, working
together to deliver a valuable educational experience.
Administrative Analysts (AAs) are the central administration position within the
department. Our full time AA was recently replaced by two half-time AAs to share the
duties of this position. The AAs serve as the main resource for faculty, staff, students and
the department community in diverse and complex matters of policy, procedure, and
37
practice, as well as performing a wide variety of administrative tasks. These include
scheduling maintenance of academic and financial reports, coordinating part-time and TT
hiring, and managing all accounts. Sorensen and Tester are performing well sharing these
duties, and would greatly benefit from the hiring of a single full-time employee and part
time student worker to fill this position, which is the plan for when we return to campus.
Recently retired Michael Schwager left a vacancy we hope to fill as Gallery Curator
and faculty for Museum and Gallery Methods. Jennifer Bethke has been hired as Interim
Gallery Director to curate the University Art Gallery. This includes managing all aspects
of art exhibitions from planning, curating, procuring, installation, deinstallation, artwork
return, planning openings and other related events, and developing publications and
announcements. The Art Gallery Exhibitions Coordinator/Collections Manager, Carla
Stone, manages budgets using General Fund, Trust and Foundation accounts, and
supervises a large number of interns and volunteers. Carla Stone has been coordinating
the Gallery since 1998. During this time, she has completed a Master’s in Gallery
Management, which has made her more valuable and effective in her position. Because
Gallery Coordinator is a full-time position requiring extra hours dedicated to particular
events, the gallery and students studying Museum and Gallery Methods would mutually
benefit from student gallery positions.
The two Instructional Support Technicians (techs) provide an essential service to
the studio program. Aimee Graham and Shannon Edwards have been performing their
duties well since 2016 and 2018, respectively. Graham and Edwards are responsible for the
digital lab, darkroom, wood and metal shop, tool room, foundry, and ceramics and print
studios. Techs oversee and maintain studio and shop areas; are responsible for safety,
maintenance, and running equipment; and coordinate student volunteers. Techs work with
faculty and students to maintain a safe, functioning working environment. These positions
are vital to the program and to the safety of the students. Due to the Pandemic, both techs
have been reduced from full to half time. Reinstating these positions to full time, adding a
technician to maintain the print and photography studios, darkroom, and media lab, and
training techs to service all studios is crucial to maintaining the productivity and safety of
the department. Reinstating work study students in the Gallery, Tool Crib, and department
office would greatly enhance the functionality of the department.
DEPARTMENT AND PROGRAM NEEDS AND TRENDS THAT MAY IMPACT
THE OPERATIONAL BUDGET OVER THE NEXT REVIEW PERIOD
Studio space is limited for students and faculty. The development of media arts
highlights the need for a media lab consisting of a photography studio and digital lab with
24 updated iMacs, ink-jet and 3D printers, laser cutter, and CNC router and plasma cutter.
There are major structural needs with the art building, to fix the leaky roof, unstable floor,
structural, electrical, water, and security issues. The department believes that a new
building would best serve the health, growth, and longevity of the program, while
expanding studio capability.
RESOURCE CHANGES THAT COULD IMPACT THE QUALITY AND
INTEGRITY OF THE PROGRAM
The department has benefited from the recent hires of permanent painting and
media arts professors, and a visiting 3D professor. Positions central to 2D, 3D and media
38
arts have recently been left unfilled. Delaying the replacement of full-time faculty upon
retirement, and the decline in part-time allocation, has left the department needing five full
time faculty positions in sculpture, ceramics, printmaking, painting, and media arts.
Permanent hires are needed in addition to part-time faculty to expand course offerings,
ensure program consistency, and improve diversity of instruction.
STUDENT SUCCESS
The Department of Art and Art History can achieve its mission, “to increase its
students’ understanding of the meaning and purpose of the visual arts, their practice, history
and development... [and to] encourage insight and skills in a variety of traditional and non-
traditional technical processes” through dedication to student learning, projects, and
achievements, appropriate levels of recruitment and retention; relevant curricula, including
introductory, intermediary and advanced course offerings; and adequate faculty numbers,
staff support, and facilities.
Student Success considers how curricula develops students as artists, academics,
and professionals. Professors work with students through their educational and
professional trajectories, including skill building, projects, internships, portfolios,
graduation, community work, self-development, and application preparation for graduate
school and professional careers. Student files are available to students and advisors online
and in the Art Office. These files include online ARRs that are used and updated during
individual student meetings. Suggested pathways for the degrees are available in the Art
Office, Catalog, and Department website.
STUDENT POPULATION
The current student population in the program, student success metrics related to
graduation, retention, and post-graduate employment or ongoing education, and the
ways in which the program anticipates changes in demand for this academic
preparation.
A review of art studio majors over the past five years reveals that our student
population is distributed as follows:
Freshmen: 8%
Sophomore: 12%
Junior: 27%
Senior: 52%
A critical aspect of our student body is the lack of declared art studio majors at the
freshman and sophomore levels. Students often find their way to the Studio Art major late
in their careers, limiting their ability to take their courses in sequence over the
recommended four years. This late entry illustrates incentive for our department to reach
out to high schools and underclassmen to generate early interest, a task we are currently
undertaking. The Art department as a whole has a current four-year graduation rate of
34.8%.
Trends and changes in the numbers or composition of your student population in the
last review period
Our graduation rates remain consistent, fluctuating from a low of 27 students in
2016/17 to 34 students in 2019/20, while the Art Studio student enrollment has steadily
39
declined over the past five years, from 155 students in 2015 to 113 students in 2020. Our
department recommends updating our facilities to support new media, and replenishing our
faculty to support curricular diversity to support the programs relevance, increasing our
student population through early recruitment and maintaining retention.
How these trends have impacted the enrollment strategy
An objective is to recruit diverse students and faculty, and update equipment and
facilities. Our goal as arts educators is to develop students’ understanding of the
significance and application of the studio arts in their own lives, professions, and academic
trajectories. Much of the pedagogical art process is focused on personal exploration and
development. Combined with academic advising, this personally directed pedagogy
explores student's needs and skills to develop their chosen paths in the visual arts. This
process is by its very nature designed to support student's of all identities, backgrounds,
and communities.
Numbers and percentages of underrepresented students, first-generation students,
and low-income students
Of the 1290 majors we served from 2015 to 2020, 535 majors, or 41% identified as
non-white or Hispanic. In the fall of 2020, 27 of our 127 students reported their race; seven
of those students, or 26% reported being non-white or Hispanic. This data encourages the
program to increase commitment to support underrepresented, first generation, and low-
income students in outreach, recruitment, faculty, curricular, and professional
development.
Numbers and percentages of non-traditionally-aged students
Data not available
Gender balance
In the fall of 2015, male and female ArtS BAs both had nine students. By 2016,
female ArtS BAs more than doubled to 21 students, while male ArtS BAs rose by only one
to ten students. Since then, male and female students have increased at the same rate, with
consistently twice as many female students as male students. As of 2020, there were 69
female ArtS BAs and 33 male ArtS BAs. Our BFA students have maintained about twice
as many female students as male students. In 2015 we had seven female students and three
male students. By 2020 we had seventeen female students and eight male students. Our
department is committed to equal opportunity for our student body, and support for
students across gender in outreach, recruitment, and faculty representation.
Numbers of first-time freshmen and transfer students
From our 1290 majors from 2015-2020, 913 students, or 71%, entered Sonoma
State University as first-time freshmen; 312 students, or 24%, identified as transfer
students. This information provides incentive to recruit at high schools and community
colleges.
Retention trends, time to degree for first-time freshmen, transfer students, and
graduate students (as applicable), and number of degrees conferred
40
Art Studio Freshmen have a four-year graduation rate of 34.8%, transfers have a
two-year graduation rate of 47.37%. and students of Junior standing have a two-year
graduation rate of 64.63%. Despite our receding student population, our graduation rates
remain consistent, fluctuating from a low of 27 students in 2016/17 to 34 students in
2019/20. This data may reveal that our numbers of underclassmen or undeclared majors
are declining, while our numbers of degrees conferred remains strong. This provides
further incentive to recruit students early in their academic trajectories.
Plans for improving retention and graduation rates
Our plan for improving retention and graduation rates is to update advising ARR
templates to clarify graduation requirements, communicate early and often with students
about their planned course trajectory. Nicole Stein, the new Arts and Humanities advisor
will start working in the Advising Center on April 1
st
, greatly supporting our advising.
Retention of students is a high priority, highlighting the significance of ongoing advising
to support their educational trajectory and ensure a timely graduation. Students are not
required to declare a major until their junior year, but identifying and guiding prospective
art students allows for early alignment of their classes to fulfill major requirements. The
department’s plan for improving retention and graduation rates is to remain committed to
maintaining our intimate class size and dedicated facilities, faculty and staff, while
supporting community and curricular diversity, and program development.
Trends over the last review period in student applications, admits, enrollments, as
and data related to reasons students give for choosing the program, reveal about
program demand
Since 2015, 52% of our BA ArtS students have emphasized 2D Arts, 32% Media
Arts, and 16% 3D Arts. We aim to support the unique opportunities in painting and
printmaking offered to 2D Arts students, while being aware of the needs and opportunities
of 3D and Media Arts.
Market trends or changes in career prospects for graduates that might affect student
demand in the next five years
Market trends support our commitment to expanding the equipment and instruction
of media arts, supplementing our photography emphasis, and developing faculty, curricula,
and facilities.
STUDENT AND ALUMNI PERCEPTIONS
Student and alumni perceptions of the program, including satisfaction with the
program, instruction, advising, and course offerings?
Students and alumni are generally satisfied with the program. 64% of polled
students rate their experience as an Art Studio major as good, 14% excellent, 7% adequate
and 7% inadequate. 69% rated instruction of critical and analytical skills as good, 31%
excellent, and 0% poor. 36% rate the quality of their advising as fair, 29% poor, 14 good,
and 7% excellent. 86% were satisfied by the level of rigor in their Art Studio courses, while
7% wished for more rigorous coursework.
41% of Art Studio Alumni rated being very satisfied with the program overall,
while only 6% rated being unsatisfied. 48% rated being very satisfied with the instruction,
while only 3% were unsatisfied. 31% rated they were moderately satisfied with advising,
41
17% unsatisfied, and only 14% satisfied. 40% were very satisfied with course offerings,
while only 3% declared themselves unsatisfied. While these numbers are generally
positive, we aim to improve the program, increasing our satisfaction rates.
How we use this information to improve your program
An increased focus and support of recruitment, advising, and professional
development would enhance student satisfaction and retention. Offering ArtS 466 BFA
professional practices to all Art Studio students would support their professional
development.. Suggestions from the student survey indicate a diversity of courses offered
in painting, photography, and media arts would better prepare them for their planned
careers as artists, designers, curators, and educators.
What students are doing after graduation and/or program completion
Our alumni reported careers as artists, illustrators, educators, designers, curators,
production artists, photographers, and in marketing and communications.
How we support students in achieving their goals during and after their time at SSU
From the alumni survey, students expressed that they “loved the… preparedness
[they] gained for Graduate School.” The department has prepared students to attend
reputable MFA programs, including Columbia University, the Cranbrook Academy of Art,
Mills College, the University of Iowa, the University of California campuses in Berkley,
Davis, Los Angeles, and Santa Barbara, Richmond University, the University College in
London, and the John F. Kennedy University Center for Museum Studies. Programs have
informed the Department that they look forward to receiving applications from our
graduates, yet another incentive for incoming students to complete their degrees at SSU.
To prepare for their careers, students expressed their ArtS education “helped push [them]
creatively, both conceptually and technically” and “… has helped [them] in every position
[they] have had since graduation.”
How we use this information to improve the program
Alumni expressed that they “would have liked to learn more about digital arts,” and
received more professional support. This information helps us improve our program by
supporting creative instruction, contemporary media skill building, and individualized
educational and professional development.
REFLECTION AND PLAN OF ACTION
Reflection of the self-study process and significance of findings for future
development of the program
Our assessment demonstrates that faculty provide stimulating and challenging
curricula in an effective and meaningful manner. Developing faculty, facilities, equipment,
curricula, advising, and communication would support individual, creative, career, media,
technical, diversity, and program growth. Students would be supported by strategic
advising for curricular, technical, and professional training in contemporary media.
Creative scheduling would allow for greater variation in course offerings, increase
enrollment for low yield classes, and GE opportunities.
42
The program seeks University support for curricular development, faculty,
facilities, equipment, community outreach, and recruitment. Faculty should track students
and alumni, and discuss if assessment development would benefit from comparing
quantifiable results from surveys and critiques to show results over time. As it is currently
implemented, assessments give specific, but un-trackable feedback. For these
improvements, the Art Studio program can discuss standards and best practices,
communication, diversity, program development, and goals each semester.
Faculty reflection on the program’s strengths, weaknesses, notable successes, and
opportunities for growth.
Our program’s strengths include the pedagogy performed by informed, experienced
professors dedicated to working with every student to develop technical, conceptual,
critical skills necessary to their pursuits as artists, academics, and professionals. This
strength is documented in the quality of student work and professionalism. Our objective
is to use the strength generated from shared goals of student success and excellent
programing to acknowledge and improve our weaknesses of aged facilities, outdated
equipment, diminished faculty, limited resources, and waned communication.
Notable successes include student development, student involvement in exhibitions
and public sculptures, and the hiring of painting and media arts professors. Opportunities
for growth include diversity, outreach, advising, recruitment, retention, and fundraising
strategies; curricular development to include contemporary topics, media, techniques and
professional development; contribution to the University through General Education and
student exhibitions; increased collaboration, community, communication , and diversity
within the department; faculty teamwork towards development and recruitment; trackable,
quantifiable, and comparable assessment; and work with the school to support students,
curricula, faculty, creative practice, and facilities.
THE PROGRAM’S ACTION PLAN FOR THE NEXT FIVE YEARS
Our program’s action plan is to first support what is successful in the Studio Art
program, such as the pedagogy performed by informed, experienced teachers dedicated to
working with each student to develop technical, conceptual, academic, professional, and
personal skills necessary for their creative education. Next, our department is committed
to strategizing and working through departmental, curricular, and creative development.
The department will work to maintain creative, academic, and professional
relevance by developing diversity, curricula, media, facilities, equipment, advising, and
career support for our program, students, faculty, and university. Improving the media lab
will support all media, student interest, curricular, creative, and professional development.
Developing facilities, equipment, and innovative programming to create the media lab
could support media arts, foundations, photography, sculpture, printmaking, and works on
paper. Training in diverse media techniques would address curricular, creative, and
professional needs of today's students.
Creative scheduling, such as strategically teaching intermediate and advanced
sections together or alternating courses, would utilize limited faculty while providing a
greater variety of courses offered. To support and recruit students, the department is
looking to develop curricula by offering classes in media arts, lighting, foundry sculpture,
book making, letterpress, art theory and practice, special topics, and General Education.
43
Recruitment in local and statewide high schools and art programs require sustained
effort to develop relationships and reputation with those programs. The department
supported by the school and university could continuously recruit through fluctuating
faculty. We are currently putting forth recruitment efforts with ArtS Lecturer Jenny Braun
visiting local community colleges and high schools. Additionally, we hope to gain presence
on campus by offering ArtS 105 Media ArtS Fundamentals as an A1 Communication and
Critical Thinking GE course focusing on digital media, and promoting exhibitions on
campus.
Developing faculty, curricula, facilities, and equipment will require substantial
funding. Fundraising is an ongoing development of relationships with community partners.
This partnership would serve community needs; provide excellent, appropriate education;
and support an innovative, creative, contemporary program. Departmental fundraising will
require faculty effort, and the support of the University. The Department will work with
the Development Office for planning and guidance in order to insure success, and will
make large efforts at strategically important times with support from the faculty, program
and University. There is a great potential for success in this area with participation of all
partners. Fundraising within the Art Department will both require and create public
outreach. The message of who our students are and what they achieve in this program could
be promoted to the rest of the University and the larger local community through student
exhibitions, and an interdisciplinary maker space housed in the art department. Promoting
student work across the university will give students professional experience, attract
potential students to the program, inform supporters of the program, and contribute to the
culture of the greater community.
HOW THE FINDINGS FROM THE SELF STUDY SERVE AS A FOUNDATION
FOR PROGRAM IMPROVEMENT
This review reveals that the Art Studio program is teetering on consistency
providing exceptional Art Studio education while the operating budget has diminished, and
curricula, community, faculty, facilities, and equipment are in need of support. These needs
are interrelated. Diminished resources suppress development, limit course offerings, and
hurt retention and recruitment. The department recommends generating contemporary
curricula, facilities, and equipment; recruiting diverse students and faculty; developing
community and communication; and increasing internal and external support for the
department.
HOW THE PROGRAM WILL BUILD ON EXISTING STRENGTHS
Our assessment methods point to the strength of the faculty and their ability to
provide students meaningful, challenging, contemporary curricula in a respectful
atmosphere of growth. Regular Art Studio meetings through the pandemic, recession, and
beyond, support communication and community of our small team of three permanent
faculty members while being confronted with diverse goals, increased responsibility, and
limited resources. Developing the program to stay robust, relevant, and accredited;
supports offering a diverse contemporary curriculum, faculty replenishment, improved
facilities, updated equipment, recruitment, community outreach, fundraising, and
University partnership.
44
HOW THE PROGRAM WILL SPECIFICALLY ADDRESS WEAKNESSES
IDENTIFIED IN THE SELF STUDY
The program will address weaknesses of aged facilities, outdated equipment,
diminished faculty, limited resources, and waned community, by sharing standards and
best practices of curricula, advising, and program development; utilizing creative
scheduling to provide diverse contemporary course offerings; embracing community
outreach for recruitment and fundraising; updating and implementing assessment surveys;
and supporting community, communication, collegiality, and creative practice.
The field of visual arts continuously evolves; professionally, technically, and
culturally. Curricula, facilities, equipment, community, and professional development
supports students for the contemporary creative world they are growing into. We are
seeking to expand our curricula, professional development, and faculty, to provide greater
creative, professional, and pedagogical opportunities for students, graduates, faculty, the
program, and the university. These improvements require the support of the university,
program, faculty, and administration. Individual faculty should continue their professional
and pedagogical pursuits, developing relevant contemporary creative projects to be shared
with students. The program supports curricula, the student body, professional development,
program development, and creative scholarship to address developing academic,
pedagogical, and professional needs of the emerging creative.
POSSIBLE COLLABORATIONS THAT MAY IMPROVE PROGRAM QUALITY
Potential collaborations with COMS, Computer Science, Engineering, Music, and
Theater Arts, may improve the program quality. The department is working with COMS
to develop ArtS 105 Media Arts Fundamentals into a GE course in area A1 Communication
and Critical Thinking. ArtS can potentially collaborate with COMS on media arts projects
and courses. Faculty work with students and professors in computer science and
engineering to create interactive media projects, and write grants to fund advanced digital
equipment. This year the Media Arts professor is working with Koret Scholar students from
Electrical Engineering and Computer Science to create a robotic sculpture. She is also
collaborating with a computer science professor, three computer science students, and an
ArtS student, on a project using language processing to control an interactive 3D
environment. This project can be expanded to include virtual reality applications and fund
digital equipment.
The Department of Art Studio embraces opportunities to collaborate with other
departments and schools for mutually beneficial development of creative projects,
scholarship, and facilities. This year the Art Studio department worked with arts and
science faculty across three California State Universities on an NSF IUSE grant in part to
fund advanced digital fabrication equipment to be housed in the sculpture studio, and made
accessible to all SSU students. Further collaborations could be used to apply for grants to
fund facilities, equipment, and space to support interdisciplinary projects, process,
pedagogy, and scholarship.
IMPROVEMENTS WITH EXISTING RESOURCES
Improvements with existing resources include creative scheduling for increased
course diversity, professional student development, implemented updated quantifiable
assessment, and collaboration, communication, and community development. Strategically
45
scheduling classes at minimal frequencies would offer maximum course variety and
student enrollment. Supporting advising and curriculum to illustrate the benefits and
relevance of critical, creative, conceptual and technical skills, would support students’
professional development. Updating assessments to be quantifiable would provide a clear
way of understanding the trajectory of our program, and identifying where support is
needed. Improvements can be made by internally supporting our community of students,
faculty, staff, and reaching out to the inclusion and support of local and global
communities. Teamwork supports larger collaborative projects that enable members to
share resources and abilities to support mutually beneficial goals of creative and curricular
development, retention, recruitment, diversity, and community outreach.
IMPROVEMENTS REQUIRING ADDITIONAL RESOURCES
Improvements requiring additional resources include replenishing faculty and staff,
updated facilities, providing support for creative projects and professional development,
community outreach, and external fundraising. These needs are interrelated. Internal
support of community outreach, could serve recruitment and fundraising. Both internal and
external funding would support long term development of faculty, staff and facilities to
maintain contemporary relevance. Applying for internal and external grants, fellowships,
talks and exhibitions, will support professional creative development for our faculty and
program.
46
APPENDIX I
Art Studio Overview
The Studio Art curriculum is designed for students to develop the ability to create,
analyze, interpret, and evaluate art. Students learn to express their thoughts, feelings, and
values in a variety of visual forms. The department strives to stimulate creativity and
competency as students broaden their skills and knowledge of materials and technologies.
The faculty is committed to the recognition of individuality and unique accomplishment.
Professors work closely with each student to encourage personal direction and ideas.
Students in the BA art studio concentration take 45 units of major core courses.
Emphases include ceramics, painting, photography, printmaking, sculpture and works on
paper. The Bachelor of Fine Arts (BFA) degree is often considered the degree of choice
for students wishing to pursue graduate or professional studies. It enhances the artist’s
opportunity to perform at a higher level and fulfills the need for additional artistic growth
in an intensive studio environment. The BFA program regularly brings together students
and faculty from all areas for demanding critiques. The pursuit of the BFA degree affords
time for concentrated work within a specific art emphasis: painting, photography,
printmaking, or sculpture. In addition, students may emphasize ceramics or works on
paper. This more intensive degree program is open to students through competitive
application, usually during the junior year. Please see your advisor for details regarding
the application process. To complete the BFA program, students are required to take 70
units of major core courses, which must include 45 upper division units (300 or higher)
and 21 units in a single area of specialized emphasis. Courses for the majors cannot be
taken for Cr/NC. A maximum of three courses may be challenged for credit toward the
major: two lower-division and one upper-division. Most studio courses require payment
of lab fees at time of class registration. In addition, a $10 cleaning supply fee is charged
each semester students are enrolled in any studio courses. Page 58 Art and Art History
Sonoma State University 2019-2020 Catalog It is the departmental philosophy that a
grasp of the history and theory of art is indispensable for the studio major and that
creative activity is invaluable to the student of art history.
47
APPENDIX II
Sonoma State University Mission
The SSU mission is to prepare students to be learned people who:
● Have a foundation for lifelong learning,
● Have a broad cultural perspective,
● Have a keen appreciation of intellectual and aesthetic achievements, • Will be
leaders and active citizens,
● Are capable of pursuing fulfilling careers in a changing world, and
● Are concerned with contributing to the health and well-being of the world at
large.
To achieve its mission, Sonoma State University recognizes that its first obligation is to
develop and maintain excellent programs of undergraduate instruction grounded in the
liberal arts and sciences. Instructional programs are designed to challenge students not only
to acquire knowledge but also to develop the skills of critical analysis, careful reasoning,
creativity, and self-expression. Excellence in undergraduate education requires students to
participate in a well-planned program that provides both a liberal education and
opportunities for specific career preparation. The University offers a wide range of
traditional disciplines, as well as interdisciplinary programs, so that students are able to
explore diverse modes of inquiry, the understanding gained within the various disciplines,
and a global spectrum of ideas, institutions, values, and artistic expressions. The University
offers selected professional and graduate programs leading to master’s degrees, teaching
credentials, and certificates in various career fields. These programs respond to regional
and state needs within the academic, business, education, and professional communities.
The quality of the educational experience relies on close human and intellectual
relationships among students and faculty to foster the open exchange of ideas. The
University is committed to creating a learning community in which people from diverse
backgrounds and cultures are valued for the breadth of their perspectives and are
encouraged in their intellectual pursuits. The University’s special character within
California education emerges from its small size; its commitment to high standards of
scholarship and ongoing professional development; and its promotion of diversity in the
faculty, staff, and student populations. The University also recognizes its obligation to
serve as an educational and cultural resource for people in the surrounding communities.
It offers courses, lectures, workshops, and programs that are open to the public. Special
events in the arts, the sciences, and athletics contribute to the intellectual and cultural life
of students and the community.
48
APPENDIX III
External Visitor's Report, by Prof. Sylvia Walters
SONOMA STATE UNIVERSITY ART DEPARTMENT
External Visitor’s Report
Visit Date: November 30, 2006
Submitted by
Sylvia S. Walters
San Francisco State University
INTRODUCTION AND APPRECIATION
The Art Department at Sonoma State University offers the Bachelor of Arts (BA) degree
in both Studio Art and in Art History as well as a Bachelor of Fine Arts (BFA) in Studio
Art. Minors in Studio Art, Art History, Arts Management, and Film Studies are also
available. The department administers a Single Subject Waiver program in art providing
certification of art competency for the Single Subject Credential. There are
approximately 203 studio art majors of which 15 are in the BFA program. The Sonoma
State art programs are accredited by, and in good standing with, the National Association
of Schools of Art and Design (NASAD). The last NASAD program review took place in
1999-2000. A rough draft of the studio program Self Study was provided to prepare me
for the visit.
Appreciation I would like to acknowledge and thank Vice Provost Carol A.
Blackshire-Belay, Associate Vice Provost Elaine A. Sundberg, Dean William Babula
and the Art Department Chair, Stephen Galloway, for the opportunity to become
acquainted with the department in considerable depth and for all their courtesies.
During my visit, I was able to meet with the entire full-time and several part-time
faculty, the technical and clerical support staff and a large and enthusiastic group of
students, all of whom provided time and information which made it easier to
accomplish my task. My thanks to all for their help. Lastly, I am also sincerely
grateful to Gallery Director, Professor Michael Schwager for special assistance.
ART DEPARTMENT PROGRAM
General Description The Department of Art is housed in the School of Arts and
Humanities. The studio disciplines are supported by 5.46 full-time faculty (Stephen
Galloway – Department Chair, Photography; Gregory Roberts - Ceramics; Kurt Kemp –
Printmaking; Mark Perlman – Painting; Nathan Haenlein – Printmaking, Jann Nunn -
Sculpture) and a small component (1.3) of adjuncts. A replacement position in painting
was approved but recently discontinued for budget reasons. The department also has
49
three full-time art historians focused in Western Art. A search for a fourth art historian in
non-Western is currently in progress.
The department is served by a full-time Administrative Coordinator (Celeste Lerat)
and several part-time student assistants. Two full-time technicians (John-Scott Forester
and James Porter) maintain the equipment and supervise student safety programs. The
department employs a Visual Resources technician or Slide Curator (Karen Kessel).
Professor Michael Schwager is responsible for preparing and managing the exhibitions or
gallery program.
CURRICULUM
1. Mission, Goals and Objectives The department mission and objectives as described
in the Self-study Mission Statement are clear and appropriate for undergraduate
programming. Its focus on the creation, analysis, and evaluation of the visual arts; on the
development of technical and material skills and knowledge; and on means of expression,
communication of ideas and values in the visual arts are in alignment with the
University’s Mission Statement. In particular the university’s interest in fostering cultural
perspectives and appreciation for esthetic achievement, and in programming that
encourages skills in creativity and self-expression is well matched by the Art
Department’s core beliefs and goals.
The studio curriculum is designed to stimulate learning by encouraging close intellectual
relationships between students and faculty and by providing many opportunities for
exchange of ideas among them. This instructional model helps to encourage the student’s
personal direction and is consistent with the university’s mission and objectives.
Lastly, based on the mission statements of both the university as a whole and the Art
Department studio faculty, it is clear both are philosophically committed to effective to
instruction offered at the highest quality.
Whether they are enrolled in the department’s Liberal Arts BA degree or the more
professional BFA degree program, SSU students majoring in art benefit from a
department which appears to provide a challenging, intellectual and nurturing
environment. Students in both programs, as well as general education students enrolled
in the minor programs are appropriately offered a stimulus to life-long learning in the
arts. Required courses in art history and advanced studio courses lead to improvement of
skills in critical thinking especially in fields related to human expression and values.
Providing a professional curriculum in the visual arts is the accepted goal for all BFA
programs.
In general, the studio goals at Sonoma State University continue to conform to
national standards and guidelines. There appear to be no discrepancies between
Sonoma State’s academic objectives and current practice - with two, or perhaps
50
three, exceptions (see “Curriculum” below). My meetings with faculty, staff and
students as well as my informal review of student work suggest that SSU
students in the visual arts are provided an appropriate intellectual and
supportive environment and that the faculty works hard to provide professional
training to its BFA students.
2. Curricular Design
Degree Requirements
Sonoma’s two undergraduate programs in studio art both match national standards with
respect to their general design and number of units required for the degrees. On a
national level, total work in the visual arts for the BA normally comprise 30-45% of the
curricular units required for graduation allowing for breadth of experience rather than
professional specialization. SSU’s studio BA program entails 37.5% of the total units
required for graduation making it well within national guidelines.
The BFA professional degree, on the other hand, is understood to provide students with a
more thorough grounding in the visual arts field. Normally the BFA comprises a total of
65% of the student’s total units. According to my calculations, Sonoma’s BFA
requirements are slightly short of that figure (61%), but the difference is insignificant. In
any case, the design of the core program and its specialized professional classes are well
within current practice.
Lastly, Sonoma’s four minor programs also conform to standard educational practice in
their design, objectives and unit requirements. Each seems balanced between a broad
overview of the discipline and the focus necessary for some proficiency.
Congruence between goals and national standards
Nationally, the goals for undergraduate studies in art generally are: 1) to prepare students
to become visually literate with the capacity to identify varied social and cultural
contexts; 2) to become familiar with and develop competence in several art techniques; 3)
to become familiar with, and able to understand and evaluate, the work of past and
leading artists; and 4) to be aware of and understand contemporary thinking in the field.
Undergraduate programs focus on conceptual understanding and continued practice in
creating and evaluating visual work, on increasing the student’s understanding of a broad
range of cultures and history and on accumulating the ability to work independently in
the visual arts professions. (See NASAD handbook for further details)
The relationship between Sonoma’s objectives and national standards seems satisfactory
with several exceptions noted below. The curricula in both programs seem designed to
encourage progress towards acquisition of advanced technical skills in an area of
emphasis and towards an understanding of the field in all its multiple aspects. Though
grounded in traditional studies, the department attempts to foster explorations in a variety
of contemporary or post modern fields of inquiry through its studio studies program
including gender issues, interdisciplinary ideas, etc. The department’s attention to
individual students, the junior level portfolio review, the interdisciplinary BFA reviews,
the professional preparation seminars, access to a strong gallery program, and occasional
51
opportunities for professional collaboration on exhibitions between faculty and students
are notable strengths in the curriculum of this program. Evidence of excellence includes
the number of students accepted into competitive graduate programs and into
professional exhibitions. There seemed to be plenty of anecdotal evidence for these
accomplishments. Additionally, some good quality student work in various venues, and
some photographs of same, were available for my review. However, for purposes of
assessment and other reviews, it would be in the department’s interest to time future
reviews to allow maximum exposure of student work or perhaps to document it. (See
more on assessment under “Students” below.)
There are several areas of concern regarding the curriculum:
1) Lack of digital media instruction. Both the Art Department and University aim to
foster skills and values that permit students to function effectively in a changing world.
However, despite the now overwhelming influence of digital technology on
contemporary art, students in the studio program do not have access to appropriate
instruction in digital media. Several of the department’s recent program reviews early on
identified the need for computer workstations, and for the capacity to meet instructional
demands in this area. At present, the department still does not have a meaningful digital
curriculum. It does not have an appropriate dedicated lab, nor up-to-date equipment.
Neither does it have faculty dedicated to instruction in the field. This is a major
deficiency which deprives all majors, but BFA students in particular, of practical and
conceptual skills needed for careers in the visual arts and related fields.
Lack of instruction in digital media prevents art majors from being able to compete in
today’s art world, whether it is for postgraduate jobs in many related (or even unrelated)
fields or for places in quality graduate programs. In my experience, most of today’s art
students have opportunities to develop at least a minimal understanding of digital
applications in all areas of study. Unless they have improved access to this field in the
near future, Sonoma’s students will not be able to keep up with current ideas or practice
in the visual arts. Both students and faculty expressed their concern about this issue
during my visit. As I understand it, SSU’s students who want media courses must go to
the community college for them - and according to them, many do. An issue for the
institution to consider is whether or not trained community college art students in the area
choose to transfer elsewhere in search of continuing digital instruction.
For the reader’s information, NASAD’S membership adopted standards and guidelines
for programs in digital media in 2005-06. According to NASAD, such programs address
a broad range of goals and objectives, including use of technology as a tool, a medium,
and/or an environment in the visual arts. They are applicable to – and currently influence
- multiple disciplines, including photography, printmaking, drawing and design, painting,
three-dimensional fields, time-based fields such as film and video, web design,
animation, and others. Computer technology is used for image and interface/interactive
design. It is increasingly found in foundation classes that support studio art, art
education, graphic design and all related fields. Lastly, NASAD finds that digital media
instruction tends to contribute to a more rigorous learning environment in studio practices
52
and mixes well with most traditional methods of study. My experience confirms this
finding.
2) Familiarity with non-Western art. General curricular standards regarding the skills
and knowledge the BA student must have upon graduation include not only varied
techniques and visual sensitivities, but also some familiarity with major monuments,
movements and artists of the past and present “both in the Western and non-Western
worlds.” (NASAD) Although students at SSU have had opportunities to study non-
Western art, there appears to be no consistency in their offerings, nor any requirement or
recommendation to take coursework in this area.
It appears, however, that the department is about to undertake a search for an art historian
with non-Western expertise. A successful search will give the department faculty (both
studio and art history) a chance to discuss together how this standard might be met more
effectively. Because of NASAD’s expectation that students have some familiarity with
non-Western art, the department may wish to consider a course be required in this area of
art history.
3) Stacked classes. Like other smaller programs around the country, much of the
coursework in SSU’s studio curriculum is offered with multiple levels stacked together.
Although often resulting in over-enrollments and over crowding, for a variety of
administrative reasons, this practice is often necessary to assure that students have access
to courses they need to complete graduation requirements. Pedagogically, however, this
practice is not always easy to support. Faculty need two heads and four hands to satisfy
different course objectives simultaneously and to attend to widely varying student needs.
A vivid example of the problems created by this practice was evident in a painting class
seen during the visit which was crowded with different levels of students. Between large
wooden easels and the students in attendance, the room was packed even though many
students were absent that day. According to the instructor, the class in question had an
enrollment of 25 – the maximum accepted by NASAD. In general, “experience indicates
that a class size of 20 or fewer is educationally more effective."
Because of the department’s desire to offer most of its upper division courses each
semester of every year, the curricular and enrollment problems associated with stacked
classes may be aggravated more than necessary. In this situation, for example, advanced
students who take upper-division classes several times with the same instructor in the
same year - or even the same semester- may not have the diverse intellectual resources
they need to flourish. Additionally, high enrollments in stacked classes deprive all
students of the individual attention they require. Some of the faculty offer changes in the
syllabus each semester to make their curriculum more meaningful - even though this
requires additional preparations. Even this effort, however, may not really improve the
learning environment of such classes significantly.
Secondly, in considering the size and scope of the department as a whole, the
practice of offering all UD courses each semester significantly reduces the department’s
flexibility. With minimal faculty resources, the faculty’s decision to offer all courses
53
required for their degrees year-round has additional ramifications. For instance, lack of
flexibility in course offering decreases curricular enrichment and decreases the yield in
some of the facilities.
Although student work seen during the visit appeared competent, the department should
discuss options to reduce the practice of stacking– including the possibility of rotating
classes more frequently to add flexibility to the curriculum, build demand for low-
enrolled courses and reduce crowding. Advanced students and BFA students in
particular need the benefits of closer critical attention from faculty.
The Foundation Program also merits faculty discussion. During my visit with
them, both faculty and students detailed assorted problems attached to the current lower
division core program. These range in severity. For example, there is such serious
impaction in fundamentals classes that some students cannot take LD requirements until
they are at the edge of graduation. A second important issue is that beginning courses in
painting and drawing offered at two units instead of three may not provide enough
instructional time to cover basic material. Third, the absence of the department’s second
full-time painter, a position closely tied to the fundamentals courses, may cause
troublesome inconsistency in fundamentals instruction. If this is in fact the case, it would
be only one among other problems attached to the university’s inability to fill this
position. A fourth issue is whether to find a way to require a basic digital media course
in the core program since this kind of course is finding its way into foundations programs
more frequently. Lastly, some faculty believe there are too many required core courses in
drawing. There is no standard for number of required drawing courses in BA/BFA
foundation programs. However, with the exception of painting/drawing and possibly
printmaking emphases, requiring three units of basic drawing once for general studio
degrees is frequently the norm.
Because these issues are quite varied and complex, it would be useful for the faculty
to reconsider the curricular design of the lower division program as a whole in addition to
experimenting with rotation of upper division courses.
FACULTY AND STAFF
Qualifications and Effectiveness The six full-time faculty (five plus the department
chair) all hold appropriate terminal degrees. They are professionally active and several
have distinguished records of accomplishments. The same can be said of the part-time
faculty. It is not always easy to maintain an extensive pool of qualified faculty in less
urban areas. The department, however, is fortunate to be able to draw qualified faculty
from the wider Bay Area and is able to provide appropriate instruction to its students.
The department has an unfilled replacement tenure track position in painting
pending. It was approved in 2005, but budget considerations have prevented the
university from filling the position. In addition, part-time resources have been cut.
Nonetheless, both full and part-time faculty report they truly enjoy working in the
Sonoma studio program. Faculty relationships seem to be excellent. Part-time faculty feel
54
they are supported and all faculty report a positive teaching and learning environment
exists in the department. Since good morale does not always exist in fine arts programs,
the department faculty and staff are to be commended for their good will and collegiality.
Workload
The overall SFR within the studio programs may appear light at 13:1 compared to more
lecture-oriented programs. Given the discipline, however, and the program’s varied
enrollment problems and heavy advising responsibilities, the program and department
seems balanced and conforms in workload to similar departments at other institutions.
Despite the smaller SFR, formal contact hours and reported WTUs for the studio faculty
are within NASAD’s and CSU expectations.
On the other hand, the load may feel difficult for the studio faculty to maintain. They are
expected to teach over-enrolled LD courses, stacked or “piggy-backed” sections of
intermediate and advanced students and many courses are filled beyond capacity.
Although they have a skilled technical staff to maintain instructional equipment, faculty
have very limited teaching assistance. They have a high advisee count and participate in
required student reviews as a service to the department. Additionally, the reduction in
part-time staff has increased pressure on the faculty within their different disciplines in
different ways.
In Painting, for example, lack of the second position has resulted in an overload of
advisees and of excess enrollment in advanced classes. In the Ceramics and Sculpture
areas, both faculty and students complain that specialty courses are not available. Overall,
the department has lost much of its flexibility as noted above.
The professional support staff seems well qualified and certainly dedicated to the
department. The two technical staff provide critical safety workshops and oversight, in
addition to maintaining the equipment. Both are much admired by the students. The slide
curator is knowledgeable about the digital changes looming in the field of Visual
Resources, and is concerned about the department’s ability to stay current. (See
resources, facilities and equipment below). The Administrative Coordinator is a recent
addition to the staff and seems comfortable with her role and load.
The Department Chair, though still untenured, is committed to his job and supported by
the faculty and staff. A trained and very professional photographer, he seems highly
capable in his managerial role, is well organized, and sensitive to faculty and student
needs. Lastly, although I did not have an opportunity to meet with them, students in the
studio programs are fortunate to have close access to a highly qualified staff of three
(soon to be four) art historians and a gallery curator. These faculty resources provide
students a significant array of professional amenities not often available in smaller
programs. Good communication among the faculty of both programs, as well as with the
gallery program, should be encouraged, as the entire faculty are ultimately dependent on
each other to succeed.
55
STUDENTS
I had a lively hour-long meeting with a large group of studio students. The group
included BA and BFA students representing all the disciplines and some students in the
minor programs. I was impressed with their serious approach to the meeting and their
very favorable opinion of the program. When asked about its positives, students were
enthusiastic about their faculty and the technical staff, about their 24-hour studio access,
about the student volunteer system and the collaborative environment among them that
exists. Certain courses were also cited as especially valuable including a field trip course,
an assistantship course, the safety courses and internship opportunities.
However, there were also a long list of concerns – most related to the facilities (see
below) and the lack of digital classes and equipment. Several students complained that
over-enrollments prevented them from being able to take classes they needed. There was
some concern about the lack of a summer program which could provide high demand
classes. Lastly, the lone ceramics student at the meeting felt her area was insufficiently
supported – an understandable concern in a single-faculty discipline without part-time
relief.
I did not have many formal opportunities to view student work during the course of my
visit. However, some three dimensional work was in the cases near the office, an
installation was set up outside, prints were available in the printmaking studios, a
portfolio of photographs was also made available to me and I had a chance to review
photographs of student sculpture. I thank the students and faculty for making this work
available to me. Most of the work I saw was comparable in quality to that of similar
institutions. I was pleased to see the open air display “booths” for student work around
the department as it is vital for studio students to be able to exhibit their work as
frequently as possible.
Students seem to be nicely supported in various ways through the curriculum and in
extracurricular programming. The department supports a valuable Visiting Artist
program, and aside from the courses and workshops listed above, the junior portfolio
reviews, the BFA reviews, the portfolio class and BFA seminar also provide all students
with rich professional experiences.
Assessment strategies The department seems to be using customary assessment
strategies for the visual arts; namely tracking improvement through portfolios, reviews
calculated to assess if program goals are accomplished, surveys, and exhibitions. I would
suggest quantifying review questions to permit use of some kind of scoring system that
can document improvements, exit surveys, adding external panelists to the Junior and
BFA Reviews and recording their evaluations, and systematically documenting and
tracking alumni success. The fact that there is a record of alumni being accepted into
good graduate programs would be a clear measure of the program’s productivity.
FACILITIES, EQUIPMENT, FINANCES
56
Facilities Department facilities are esthetically pleasing and located in a park-like setting
surrounded by greenery, a quiet creek, ducks and geese - all of which should help
stimulate creative contemplation and work. Overall, the facilities are adequate to support
faculty needs and the existing program. Due to time constraints I was not able to see all
the facilities. However, I noted impressive ventilation systems in printmaking,
photography and other studios I visited. The painting area has imaginatively carved out
individual spaces for advanced students. The department houses a working sculpture
foundry (course not always available) and there are small student exhibition areas
situated around the outside perimeter of the studios.
The department has made it possible for students to use studios around the clock and a
student volunteer system has been implemented to assure a safe and secure working
environment during late hours.
After thirty years, however, the department has outgrown some of its facilities and some
spaces, such as those designated for drawing, may be dated and need refreshment.
Students highlighted other facilities concerns. For example, as much as they are grateful
for 24-hour access to the studios, the lack of lighting around the building is a safety
consideration. Staff and students noted problems with janitorial and maintenance
services (leaks, cleanliness, etc).
A major concern is the lack of a dedicated space in art for digital studies. Although the
students I met were strongly positive about the faculty and other aspects of the program,
they were most bothered by the absence of suitable space, equipment and lack of
instruction in emerging technologies. One student said, “Not to have it here is a major
issue for me.” Others complained that they are not being trained to work with CD’s to
enhance portfolio presentations, that they are disadvantaged when applying to graduate
school, and that their program was not “cutting edge.”
Lastly, because proper ventilation in the studios is critical for student and faculty safety, a
thorough evaluation of ventilation in all facilities – including sculpture and ceramics – is
strongly recommended.
Equipment In 2000 NASAD reported department concerns regarding its minimal
replacement and new equipment budget. In the interim between then and now, it appears
there have been few dollars allocated for equipment and no regular equipment budget has
been assigned. As art disciplines are by nature equipment intensive, some consistent
dollars are needed to cover new and replacement equipment, repairs and small supplies
not covered by fees. In the last few years, one–time dollars have made it possible for SSU
to purchase a new press and kilns. However, the more time goes by without replacement
of an inventory of aging sensitive equipment, enlargers, studio furnishings, etc., the more
difficult and frustrating it is for the technical staff to keep pace with patchwork. In
addition, the lack of an equipment allocation makes it wholly impossible for the
department to purchase the digital equipment it needs both for the academic program and
the visual resources area. While I recognize the CSU is experiencing tight budgets across
57
the board, I strongly recommend Sonoma make a functional digital lab a priority for the
art department.
Finances In addition to the equipment budget, the department is supported
by an annual Operating Expense allocation which is adequate to maintain the program at
its current levels. Although it was increased this year, after the cuts of the previous few
years, the OE allocation is still less than what it was at the time of the 2000 review. At
that time, the department was found to be in the 25th percentile when compared to similar
departments and the budget was described as “status quo” – providing “little room for
new or ongoing initiatives.” As both Concurrent Enrollment dollars and the part-time
Instructional Allocation have recently been cut, the department continues to experience
serious financial pressures. Under these circumstances, it is commendable that faculty
and staff are able to maintain their morale and that so much of the programming appears
sound.
Additional support for the department is, however, recommended as follows:
1) Fill the position in Painting to add stability to the painting and fundamentals program
2) Increase part-time staffing levels to reduce stress in the Ceramics/Sculpture areas
currently supported by a single faculty member in each discipline
3) Add a permanent position in digital media. Consider offering basic coursework in
design to support practical career objectives of fine arts BA/BFA students.
4) Although the OE budget is adequate, increases to match inflation would be desirable
5) Review fac
ulty salaries for equity
6) Increase equipment and maintenance allocation
OVERVIEW, SUMMARY ASSESSMENT
Strengths
1) Highly qualified, dedicated faculty and staff
2) Good morale and relationships among faculty, staff and students
3) Appropriate curricular objectives
4) Traditional undergraduate program with contemporary outlook
5) Varied professional courses and opportunities for students in both
programs
6) Nurturing environment for students
7) Department support for the Chair
Areas of Concern
1) Unfilled replacement position in Painting
2) Stacked classes resulting in over-enrollment of advanced classes
3) Over-enrollment of foundation courses
4) Lack of digital instruction and equipment
5) Access to consistent instruction in non-Western Art History
6) Minimal equipment and maintenance support
58
APPENDIX IV
Program Map
Program Learning Outcomes
1. Apply critical analysis to formal, aesthetic and conceptual qualities in their and
others’ art.
2. Use visual observations to resolve decisions and display understanding about the
form and content of an artwork.
3. Ask critical questions about artistic processes, challenges, ideas and materials.
4. Develop a comprehensive body of work exhibiting experimentation and growth.
5. Demonstrate technical proficiency of media to display finished artwork.
6. Express complex original ideas through an independent approach to materials,
media and process.
7. Articulate original concepts, ideas and questions in visual, written and oral forms.
The BFA also includes
8. Acquire awareness of historical and contemporary considerations, from global
to local communities, in relationship to their own work.
9. Professionally practice, produce, document, exhibit, promote, and develop original
artwork.
Program Curriculum map
Apply
critical
analysis to
formal,
aesthetic and
conceptual
qualities in
theirs and
others’ art.
Use visual
observations
to resolve
decisions and
display
understanding
about the
form and
content of an
artwork.
Ask critical
questions
about artistic
processes,
challenges,
ideas and
materials.
Develop a
comprehensive
body of work
exhibiting
experimentation
and growth.
Demonstrate
technical
proficiency
of media to
display
finished
artwork.
Express
complex
original
ideas
through an
independent
approach to
materials,
media and
process
Articulate
original
concepts,
ideas and
questions in
visual,
written and
oral forms.
Acquire
awareness of
historical and
contemporary
considerations,
from global
to local
communities,
in relationship
to their own
work.
Professionally
practice,
produce,
document,
exhibit,
promote, and
develop
original
artwork.
Fundamentals
Lower Division
Studio Breadth
Upper Division
Courses
BFA Courses
59
!""#$%
&'()(&*#%
*+*#$,(,%)-%
.-'/*#0%
*1,)21)(&%*+3%
&-+&1")4*#%
54*#()(1,%(+%
)21(',%*+3%
-)21',6%*')7%
8,1%9(,4*#%
-:,1'9*)(-+,%
)-%'1,-#91%
31&(,(-+,%*+3%
3(,"#*$%
4+31',)*+3(+;%
*:-4)%)21%
.-'/%*+3%
&-+)1+)%-.%*+%
*')<-'=7%
!,=%&'()(&*#%
541,)(-+,%
*:-4)%*')(,)(&%
"'-&1,,1,0%
&2*##1+;1,0%
(31*,%*+3%
/*)1'(*#,7%
>191#-"%*%
&-/"'121+,(91%
:-3$%-.%<-'=%
1?2(:()(+;%
1?"1'(/1+)*)(-+%
*+3%;'-<)27%
>1/-+,)'*)1%
)1&2+(&*#%
"'-.(&(1+&$%
-.%/13(*%)-%
3(,"#*$%
.(+(,213%
*')<-'=7%%
@?"'1,,%
&-/"#1?%
-'(;(+*#%
(31*,%
)2'-4;2%*+%
(+31"1+31+)%
*""'-*&2%)-%
/*)1'(*#,0%
/13(*%*+3%
"'-&1,,
!')(&4#*)1%
-'(;(+*#%
&-+&1"),0%
(31*,%*+3%
541,)(-+,%(+%
9(,4*#0%
<'())1+%*+3%
-'*#%.-'/,7%
!&54('1%
*<*'1+1,,%-.%
2(,)-'(&*#%*+3%
&-+)1/"-'*'$%
&-+,(31'*)(-+,0%
.'-/%;#-:*#%
)-%#-&*#%
&-//4+()(1,0%
(+%'1#*)(-+,2("%
)-%)21('%-<+%
<-'=7%
A'-.1,,(-+*##$%
"'*&)(&10%
"'-34&10%
3-&4/1+)0%
1?2(:()0%
"'-/-)10%*+3%
3191#-"%
-'(;(+*#%
*')<-'=7%
Studio Fundamentals 12 units/4 courses
!')B%CDC%E>%F4+3*/1+)*#,
!')B%CDE%G>%F4+3*/1+)*#,
!')B%CDH%I13(*%!')B%F4+3*/1+)*#,
!')B%EDE%J1;(++(+;%>'*<(+;
!')B%EDK%J1;(++(+;%L(.1%>'*<(+;
ArtH Fundamentals
!')M%ECD%N+)'-34&)(-+%)-%!')%M(,)-'$
!')M%ECC%N+)'-34&)(-+%)-%!')%M(,)-'$
!')%COD!%N+)'-34&)(-+%)-%!')%M(,)-'
!')M%CODJ%N+)'-34&)(-%)-%!')%M(,)-'$
Lower Division Studio Breadth 9 units
!PQB%ECD%N+)'-%)-%>(;()*#%A2-)-%%%%%
!PQB%ECE%N+)'-%)-%!+*#-;%>*'='--/
!PQB%EED%J1;(++(+;%A*(+)(+;%%%%%
!PQB%EER%J1;(++(+;%S1'*/(&%%%%%
!PQB%EGO%J1;(++(+;%B&4#")4'1
!PQB%EKH%J1;(++(+;%A'(+)/*=(+;%%%%
!PQB%ERT%B1#1&)13%Q-"(&,%
Upper Division studio breadth 6 credits
!PQB%GDE%N+)1'/13(*)1%>'*<(+;
!PQB%GDK%N+)1'/13(*)1%L(.1%>'*<(+;
!PQB%GDH%B"1&(*#%Q-"(&,%A2-)-%%%%
!PQB%GCD%N+)1'/13(*)1%>(;()*#%A2-)-;'*"2$
!PQB%GCE%B)43(-%L(;2)
!PQB%GED%N+)1'/13(*)1%A*(+)(+;
!PQB%GER%N+)1'/13(*)1%S1'*/(&,
!PQB%GGO%N+)1'/13(*)1%B&4#")4'1%%%%
!PQB%GGO%N+)1'/13(*)1%B&4#")4'1%%%%
Upper Division Area of Emphasis 12 units
!PQB%GKD%N+)1'/13(*)1%@)&2(+;%*+3%U--3&4)V%%%%
!PQB%GKE%N+)1'/13(*)1%L()2-;'*"2$V%%%%
!PQB%GTE%N+)1'/13(*)1%I-+-W"'(+)V%%%%%
!PQB%KDE%!39*+&13%>'*<(+;V
!PQB%KDK%!39*+&13%L(.1%>'*<(+;V%%%
!PQB%KED%!39*+&13%A*(+)(+;V%%
!PQB%KKD%!39*+&13%@)&2(+;%*+3%U--3&4)V%%%%%
!PQB%KKE%!39*+&13%L()2-;'*"2$V%%%%
!PQB%KTE%!39*+&13%I-+-W"'(+)V%%%%%
!PQB%KER%!39*+&13%S1'*/(&,V%%%%%%%%%%%%%%
!PQB%KGD%L*';1%B&*#1%S1'*/(&,%*+3%N+,)*##*)(-+%%%%
!PQB%KGO%!39*+&13%B&4#")4'1V
!PQB%KGH%J'-+X1%F-4+3'$V%%%
!PQB%KGY%SZII@[S@\%B&4#")4'1%A'-]1&),%%%%%%%%
!PQB%KHY%!39*+&13%A2-)-;'*"2$V^%%%%%%%%%%%%%%%%
!PQB%KHT%!39*+&13%I13(*%!'),V%%%%%%%%
!PQB%KDH%B1#1&)13%Q-"(&,%%%
Upper Division Art History 6 Units
!PQM%KED%A'1W&#*,,(&*#%!')
!PQM%KEE%_'11=%!')%%%%%
!PQB%GDK%N+)1'/13(*)1%L(.1%>'*<(+;%%%%
!PQM%KGD%I13(19*#%!')%(+%*+3%!'-4+3%)21%I13()1''*+1*+%%%%%%
!PQM%KGE%A-,)%I(##1++(*#%N,,41,%(+%I13(19*#%!')
!PQM%KKD%`(,(-+0%P1"'1,1+)*)(-+0%B"*&1\%CH)2%S%P1+*(,,*+&1%!')
!PQM%KKE%Q21%B1#.%S-+,&(-4,%P1+*(,,*+&1%!')%%%%%
!PQM%KKK%[-')21'+%P1+*(,,*+&1%%%
!PQM%KHD%J*'-541\%Z:]1&)%)-%!')<-'=%%
!PQM%KHE%!')%(+%)21%!;1%-.%@+#(;2)1+/1+)%%%
!PQM%KHK%!')%*+3%)21%@/1';1+&1%-.%I-31'+()$%a_@%SCb%%
!PQM%KHO%Q21%M(,)-'$%*+3%Q21-'$%-.%A2-)-;'*"2$%c
!PQM%KOD%M(,)-'$%-.%!/1'(&*+%!')%a_@%SCb
!PQM%KOC%B1#1&)13%Q-"(&,%(+%F(#/%
!PQM%KOK%!9*+)W_*'31,%-.%)21%@*'#$%ED)2%S1+)4'$%a_@%SCb%%%%
!PQM%KOH%I-31'+%!')%.'-/%CRKH%)-%CRYR%a_@%SCb
!PQM%KOY%I4,14/%S-##1&)(-+,%I*+*;1/1+)%
!PQM%KOT%S4'*)-'(*#%A'*&)(&1
!PQM%KYD%!%B4'91$%-.%N,#*/(&%
!PQM%KYD%J%B4'91$%-.%!,(*+%!')
!PQM%KYK%!%Q-"(&,%(+%N,#*/(&%!')%
!PQM%KYK%J%!')%-.%N,#*/(&%B"*(+%
!PQM%KYK%S%Q21%!;1%-.%@/"('1\%Z))-/*+,0%B*.*9(3,0%*+3%I4;2*#,
!PQM%KYO%!')%J1$-+3%@4'-"1*+%Q'*3()(-+,\%B1#1&)13%Q-"(&,%
!PQM%KTD%B1#1&)13%Q-"(&,%(+%!')%M(,)-'$%
!PQM%KRD%A'-%,1/(+*'
!PQM%KRG%I4,14/%*+3%_*##1'$%I*+*;1/1+)%
!PQM%KRK%I4,14/%Q21-'$%d%A'*&)(&1%%
BFA Courses
!')B%KOH J7F7!%B1/(+*'
!')B%KOO J7F7!7%A'-.1,,(-+*#%!')(,),e%A'*&)(&1,
!')B%KRC `(,()(+;%!')(,),%L1&)4'1%B1'(1,
60
Appendix V
Syllabi
61
2d Fundamentals Fall 2020
Zoom Meeting Time: Mondays 10am-
12pm Course Description
This is an introductory studio art course that focuses on concepts of organization in two-
dimensional art. We will work using various methods and materials in order to realize
your concepts in the context of both metaphorical and physical space, form, process,
intention, and meaning. Throughout the term we will investigate how to construct art
works and define the parts used in their creation from idea to finished product.
Instructor Contact
• Jenny Braun
• Office Hours by appointment (zoom)
Course Modality and General Expectations
This is an entirely online course. This course will be delivered entirely online through
the learning management system, Canvas. You will use your SSU username and
password to log in to the Canvas course.
In Canvas, you will access online lessons, course materials, and resources. At
designated times throughout the semester, we will participate in a blend of self-paced
and group- paced activities using Canvas, Zoom web-conferencing and other
internet-based technologies. Activities will consist of online assignments, discussion
forums, and announcements. All student work is submitted/posted online in Canvas.
This is a 3 unit course and will require approximately 8 hours per week in order to read
course materials, watch course lectures, and participate in course projects and
assessment activities.
Goals and Learning Objectives
• Understand and manipulate two-dimensional space
• Gain experience using a variety of different mediums
62
• Learn how to look at artwork critically and use language to define
experiences of works of art
Required Course Materials
Sketchbook
Strathmore Drawing Pad 18”x24” 24 sheets
Artists tape (low tack)
Compressed charcoal (NOT VINE OR WILLOW) White Mars eraser, smaller pen
eraser is also helpful Glue stick or white glue
Sharpies, black, one of each of the following: Ultra-Fine, Fine, Chisel
Tip Micron, black, one of each of the following: 05(.45mm),
03(.35mm)
Set of Fluid Acrylics (Primary Yellow, Primary Magenta, Primary Cyan, White, Black)
Palette for mixing colors - Paper Palette or piece of plexi, paper plates also work.
Small containers for water (yogurt cups etc)
Brushes - Soft, Acrylic. Zen or Real Value
Packages
At least 4 - 2 rounds, 2 brights. Small (size 2 or 3) and medium (size 6) of each
X-acto #1
Blade Small
cutting Mat
Pencils
Ruler- at least 18 inches, heavy duty clear plastic is recommended
Scissors
Phone Camera
63
Grading Policy
How to be successful in the course:
Work hard.
I can tell when you don't.
Be present.
Physically and mentally.
Care about what you are making.
Why spend time on something you don't care about? Invest yourself in these
projects. You will be more interested in some and less so in others, but I expect you to
give 100% on all projects.
Be prepared for class.
Seriously.
Each Project is worth 10 points, each critique session is worth 10 points. To get full
10 points on zoom critique sessions you need to be giving feedback to your peers, to
get full points on discussion board critiques you need to give written feedback to at
least 3 of your classmates.
Late projects will go down a grade for each day they are late.
Zoom attendance is optional but recommended. I will post recordings for those of
you who cannot attend.
University Policies
There are important University policies that you should be aware of, such as the
add/drop policy; cheating and plagiarism policy, grade appeal procedures;
accommodations for students with disabilities and the diversity vision statement. -
SSU University Policies]Links to an external site.
DSS
If you are a student with a disability and think you may need academic
accommodations, please contact Disability Services for Students (DSS) located in
Schulz 1014A. Please contact DSS as early as possible in order to avoid a delay in
receiving accommodation services. The use of DSS services, including testing
64
accommodations, requires prior authorization by DSS in compliance with university
policies and procedures. See SSU's policy on Disability Access for StudentsLinks to an
external site..
• Phone: (707) 664-2677
• Phone TTY/TDD: (707) 664-2958
• DSS WebsiteLinks to an external site.
Counseling and Psychological Services (CAPS)
• Phone: (707) 664-2153
• CAPS Website Links to an external site.
65
Syllabus
Course Meeting Time
Fridays from 10am-12pm on Zoom
Course Description
We experience the physical world in three dimensions by looking through space, passing
through space, and measuring space. One of the goals of this class to make you more
aware of 3-dimensional space and how we relate to our physical environment; by
examining, representing, mimicking, wrapping, distorting, compressing or expanding the
physical, we can begin to express our ideas sculpturally.
Another goal of this class is to promote the ability to think, plan and execute in 3
dimensions, by working on individual and collaborative projects. Each project is
designed to include three developmental stages:
1. Introduction: exploration and research
2. Execution: design and build
3. Evaluation: revision, individual and group critiques.
This course will require outside work, including Readings via PDFs, working in your
sketchbook, and working on projects outside of class time.
Instructor Contact
· Jenny Braun
· Office Hours by appointment (zoom)
Course Modality and General Expectations
This is an entirely online course. This course will be delivered entirely online through the
learning management system, Canvas. You will use your SSU username and password to
log in to the Canvas course.
In Canvas, you will access online lessons, course materials, and resources. At designated
times throughout the semester, we will participate in a blend of self-paced and group-
paced activities using Canvas, Zoom web-conferencing and other internet-based
66
technologies. Activities will consist of online assignments, discussion forums, and
announcements. All student work is submitted/posted online in Canvas.
This is a 3 unit course and will require approximately 8 hours per week in order to read
course materials, watch course lectures, and participate in course projects and assessment
activities.
Goals and Learning Objectives
· Understand and manipulate three-dimensional space
· Gain experience using a variety of different mediums
· Learn how to look at artwork critically and use language to define experiences of
works of art
Required Course Materials
Collected cardboard
Scissors
X-acto blade and/or box cutter
Self healing cutting mat or other surface to use for cutting
Hot Glue Gun
Craft paint in primary colors/colors of your choosing
5 peices of 1"x2"x8' pine board (https://www.homedepot.com/p/1-in-x-2-in-x-8-ft-
Spruce-Pine-Fir-Common-Board-Actual-Dimensions-0-70-in-x-1-45-in-x-96-in-
307487/306896195 (Links to an external site.))
Pull saw (https://www.homedepot.com/p/Zona-6-1-2-in-Razor-Saw-with-Wood-Handle-
35-350/307951247 (Links to an external site.))
Rafter Square (https://www.homedepot.com/p/Zona-6-1-2-in-Razor-Saw-with-Wood-
Handle-35-350/307951247 (Links to an external site.))
2 clamps (https://www.homedepot.com/p/DEWALT-4-5-in-35-lbs-Trigger-Clamp-with-
1-5-in-Throat-Depth-DWHT83191/204987956 (Links to an external site.))
(optional) Wheel marking guage (https://www.amazon.com/Wood-Marking-Gauge-
Woodworking-Knife/dp/B07JNFXMGH (Links to an external site.))
Wood Glue
Fabric (found/thrifted ok)
67
Pack of sewing needles and thread
Sketchbook
Pencils
Ruler
Tape measure
Grading Policy
How to be successful in the course:
Work hard.
I can tell when you don't.
Be present.
Physically (Virtually) and mentally.
Care about what you are making.
Why spend time on something you don't care about? Invest yourself in these projects.
You will be more interested in some and less so in others, but I expect you to give 100%
on all projects.
Be prepared for class.
Seriously.
Each Project is worth 10 points, each critique session is worth 10 points. To get full 10
points on zoom critique sessions you need to be giving feedback to your peers, to get full
points on discussion board critiques you need to give written feedback to at least 3 of
your classmates.
Late projects will go down a grade for each day they are late.
You may miss 2 zoom sessions before it begins to affect your grade. Your grade will go
down a half a letter grade with each additional missed zoom meeting.
68
Professor: Sena Clara Creston
Class Times: F20 TuTh 9:00am-11:50am
Class Location: Online (Schultz1014)
Email: [email protected]
Office Hours: TuTh 4pm-5pm and By appointment
ARTS 105
Media Art Fundamentals
Course Description
The catalog describes Media Art Fundamentals as a “a foundation course exposing
students to the various software applications used in media art production. Students will
gain experience with the creation of still and moving images, sound recording, online
presentations and digital printing. Lab fee payable at time of registration.” During the
semester you will learn important concepts including bitmap and vector images, working
with media on a timeline, storyboarding, audio, video, web-based coding, and managing
and exhibiting your media files. The course is organized so that media art fundamentals
are layered carefully in a way that introduces media techniques and encourages creative
and critical thinking, with a goal of the development of a final media project that
encapsulates what you have learned in the course.
Course Materials available at the Bookie
· Mac Compatible External Hard Drive for storage and backup
· Flash drive
· Christiane Paul, Digital Art ISBN 978-0500204238
· Sketchbook
Student Learning Objectives (SLO)
1. Demonstrate competency with computers and software for conceptualizing, designing,
producing, distributing, exhibiting and preserving digital works
2. Synthesize media
3. Understand the production and assessment of media objects
4. Recognize various forms of software and their implications for media authoring
5. Be practiced and capable communicators in design media software
SSU General Education Mission, Goals, and Objectives (MGOs)
https://senate.sonoma.edu/resolutions/statement-mission-goals-0bjectives-general-
education-sonoma-state-university
Requirements
Seven projects will be given during the course of the semester. The course will utilize
readings and critiques of students work to focus and generate discussion as well as to
inspire. Preparation for and participation in discussions and readings is mandatory.
Projects: Creative projects are the bulk of this class. In order for this class to be a
truly useful one, it is essential that you complete the assignments in a timely
69
fashion. Due to the pace at which we will move through a number of rather
challenging concepts and systems, it is critical that you make a consistent and
concerted effort in class. Projects require inspiration from the reading, sketches,
work in progress, final product, critique, timeliness and relevant responses.
Technical Preparedness: Technical failure is a reality. This may include, but is not
limited to storage media malfunction, operating system crash or physical damage
to hard drives. Please know that I do not consider this an acceptable excuse for
failure to complete a project on time, but rather a challenge that you must prepare
for. I therefore require you save your projects regularly and create a back-up copy
of your project every time you complete a substantial change. Additional software
questions will arise as you are working. For this reason, it is recommended that you
front-load technical work ensuring that you have time to seek assistance with
software questions prior to an assignment’s due date.
Reading and Writing: Reading assignments are listed in your syllabus and may be
amended if needed. For each assigned reading, a response is due on Canvas.
Reading responses should critically engage the required text(s), include direct
references to the reading(s) and relate the concepts to your creative practice
including inspiration, work in progress, and response. You are also required to
submit an essay 100 word essay and presentation on The Medium is the Message.
Extra Credit: Attendance at approved art shows, lectures, online presentations,
documentaries, tutorials and events count towards extra credit. A 1000-word review
of the work may be published on Canvas to receive 1 point of credit per event
towards your final grade. You are permitted to receive up to 5 points of extra credit.
Attendance and Participation
Class is offered synchronously via Zoom. If you are unable to attend, watch the recorded
zoom lecture and respond to your classmates via discussion board. It is very important you
are at critique days, if you have a serious reason to miss them, you will submit your critique
on the discussion board. Lectures will cover material outside the scope of the recommended
tutorials and readings for this class. Of equal importance will be the many in-class
discussions, workshops, and exercises. For these reasons, it is important that you prepare
for and participate in every class. Workdays are specifically designed to allow you ample
class time to complete the assigned projects. In addition, they are a great time to get help
with any technical or conceptual issues that you might encounter. If you are unable to attend
work days in person, you may receive support via zoom discussion boards.
Grades
Grades will be based on quality of your work, creativity, participation and effort.
Inspiration, sketches, concept, originality, design, craftsmanship, fulfils
requirements, response, critique, and timeliness all count towards your project
grade. Participation in critiques, discussions in class, writing, your sketchbook,
presentation writing and the attendance policy will all be factors in determining
your grade.
70
A 93-100
A- 90-92
B+ 87-89
B 83-86
B- 80-82
C+ 77-80
C 73-76
C- 70-72
D+ 67-69
D 63-70
2 Week Fire Project
If classes are cancelled and we cannot use electronics during Fire Shutoff, you are
permitted to pause your current project and pick up the alternative Project, The Medium
is the Message, to replace your final web design project. The class schedule will be delayed
2 weeks until we resume classes.
Class Schedule
Module 1: Design
Week 1, 8/18
In Class:
· Introduction
· Design
· Vector Graphics
· Project One: Visual Identity
· Adobe Illustrator
Assignments:
· Read Syllabus
· Purchase Materials
· A1.1 Watch and Respond: Abstract: Art of the Design, Paula Scher
https://vimeo.com/210061645
· A1.2 Project 1 Prep
o 10 ideas for your Logo Name or Mural Text
o 10 font options
o 10 palate options
o 10 Sketches for design
o 10 design inspirations
Week 2, 8/25
Due
· A1.1 Response 1: Abstract https://vimeo.com/210061645
· A1.2 Project 1 prep
o 10 ideas for your Logo Name or Mural Text
71
o 10 font options
o 10 palate options
o 10 Sketches for design
o 10 design inspirations
In Class
· Project 1 The Art of Design
· Adobe Illustrator
Assignment
· A1.3 Response 4 Christiane Paul, Digital Art (DA), Introduction
· A1.4 Project 1
o 10 complete designs
o One final design
o 250-word response
· A1.5 Critique Project 1
Week 3, 9/1
Due
· A1.3 Response 4 Christiane Paul, Digital Art (DA), Introduction
In Class
· Project 1
· Adobe Illustrator
Assignment
· A1.4 Project 1
o 10 complete designs
o One final design
o 250 word response
· A1.5 Critique Project 1
Module 2: Imagery
Week 4, 9/8
Due
· A1.4 Project 1: The Art of Design
In Class
· Critique Project 1
· Narrative
· Raster Graphics
· Introduce Project 2: The Narrative
o Digital Photography
o DSLR Camera
o Photography
o Narrative
o Composition
o Printing
Assignment
72
· A2.3: DA Chapter 1
· A2.1 Subjective Image Discussion
· A2.2 Project 2: Subjective Image
o Photograph 100 images using the manual settings to construct a narrative
o One final image that tells best tells a story
o 250 word response
Week 5, 9/15
Due
· A2.3: DA Chapter 1
· A2.1 Subjective Image Discussion
· A2.2 Project 2: Subjective Image
o Photograph 100 images using the manual settings to construct a narrative
o One final image that tells best tells a story
o 250 word response
In Class
· Critique Project 2: The Narrative
· Adobe Photoshop
· Begin Project 3: The Malleable Image
o Construct a surreal story with Photoshop composed of at least 5 original
images
Assignment
· A2.4 Project 3: Constructed Narrative
o 250 word Response
o Photomontage made from at least 5 original images using Photoshop.
§ Layers
§ Masks
§ Adjustment Layers
§ Retouching Layer
Week 6, 9/22
In Class
· Constructed narrative
· Photoshop
· Project 3: The Malleable Image
Assignment
· A2.4 Project 3: Constructed Narrative
o 250 Word Response
o Photomontage made from at least 5 original images using Photoshop.
§ Layers
§ Masks
§ Adjustment Layers
§ Retouching Layer
Module 3: Time Based Media
73
Week 7, 9/29
Due
· A2.4 Project 3: Constructed Narrative
o 250 word response
o Photomontage made from at least 5 original images using Photoshop.
§ Layers
§ Masks
§ Adjustment Layers
§ Retouching Layer
In Class
· Critique Project 3
· Time Based Media
· Film
· Filming techniques
· Introduce Project 4: My Life as a Movie
Assignment
· A3.1 Project 4: My Life as a movie
o Film 30 minutes of footage
§ Consider composition, color, light, pace, sound, sequence,
characters, narrative and visual references
· Choose best clip and upload to YouTube
· Submit link to clip and 250-word response
· Peer Reviews
Week 8, 10/6
Due
· A3.1 Project 4: My Life as a movie
In Class
· Critique Footage
· Cinéma Vérité
· Non-Linear Editing
· Adobe Premiere
· Audio
· Fair Use and Electronic Appropriation
· Creative Commons
Assignment
· A3.2 Response to Digital Art Ch 2
· A3.3 Project 5: Cinéma Vérité
o Create soundtrack to your film
o Choose footage
o Storyboard
o Edit to make a Cinéma Vérité film
Week 9, 10/13
Due
· A3.2 Response to Digital Art Ch 2
74
· Chosen Footage
· Storyboard
· Soundtrack
In Class
· Project 5
· Film Editing
Assignment
· A3.3 Project 5
Week 10, 10/20
In Class
· Project 5
Assignment
· A3.3 Finish Project 5: Cinéma Vérité
§ 2-5 minute film edited from original footage
§ Titles
§ Soundtrack
§ 250 Word Response
§ Peer Reviews
· Response 17: DA pp96-139
Module 4: Mass Media
Week 11, 10/27
Due
· A3.3 Project 5: Cinéma Vérité
In Class
· Critique Project 5: Cinéma Vérité
· Layout
· Web Design
· Net Art
· Introduce Project 6: HTML
· HTML
· Digital Identity
Assignment
· A4.1 Project 6: HTML
o Paper Design
o Inspiration
o 2-page HTML Website
o Style
o Tables
o Images
o Internal and External Links
o Response
· A 4.2 DA Ch 3
Week 12, 11/3
75
Due
· A 4.2 DA Ch 3
In Class
· HTML
Assignment
· A4.1 Project 6: HTML
Week 13, 11/10
Due
· A4.1 Project 6: HTML
In Class
· Critique Project 6: HTML
· Introduce Project 7: Portfolio Website
· Dreamweaver
· Web Design
Assignment
· A4.3 Project 7: Dreamweaver Catalog or Fire Project
Week 14 11/17
In Class
· Website Design
· Upload Website to server
Assignment
· Finish Website
· Upload Website
Week 15, 11/23 Thanksgiving
In Class
· Web Design
Week 16, 11/30
Due
· Project 7: Portfolio Website
In Class
· Critique Websites
Final
BFA Website
76
Sonoma State University
Course ARTS 202
Art Department
Beginning Drawing
Fall 2020
Kate Oltmann
Office: Art 138
Tel: (707) 664-3045
Office hours Thursday 12-1 or by appointment
Class: Tues-Thurs 9-12
Course Description
This course offers an introduction to drawing with an emphasis on the development of
observational practices and technical skills in a range of drawing media. We will focus
primarily on observation as a means for developing the fundamental elements of drawing.
Due to the online nature of the course we will be using different modes of interaction
ranging from traditional snail mail to creating gifs and sharing content virtually and even
collaborating. Students will work from many difference sources, including still-life set
ups, the outdoors, original photos or digital images and the human figure. As the course is
designed to address the fundamental elements of drawing in the context of the
contemporary world of art, class will include written lectures, films and on-line
discussions in addition to on-line group critiques, and video technical demonstrations.
The assignments are designed to encourage the development of techniques, creative
responses, and process-based approaches to drawing as a mode of creative expression.
Learning Outcomes
Students who successfully complete this course should be able to:
- Produce finished drawings in various drawing media that synthesize
fundamental observational drawing concepts and techniques.
- Visually express creative ideas using the tools and techniques of drawing
- Evaluate and critique drawings of their own and of others, and to receive
criticism in a thoughtful manner.
- Describe, analyze and interpret the drawings of other artists using a wide
range of appropriate vocabulary.
Classroom Protocol
Students are expected to complete the assignments on-time, participate in in-progress
threads, check-in weekly. Critiques cannot be missed.
77
Dropping and Adding
Students are responsible for understanding the policies and procedures about add/drops,
academic renewal, etc. Information on add/drops are available at
http://www.sonoma.edu/ar/registration/addclasses.shtml. Students should be aware of the
current deadlines and penalties for adding and dropping classes.
Attendance Policy
2 failed check-ins- no effect on grade
3 failed check-ins- drop one letter grade
4 failed check-ins - drop two letter grades
5 failed check-ins - drop three letter grades
6 failed check-ins - class or fail
Grading Policy
A student’s final grade is determined by canvas participation, performance on individual
assignments, weekly check-ins, participation in critiques, and evidence of technical and
conceptual growth.
Grades will be determined by the following criteria:
Online Portfolio of work (concept, craftsmanship, stated criteria): 60%
Attendance/On-Line check-in: 20%
Class participation (Critiques, overall attitude): 20%
- Deductions for failed check-ins
University Policies
Class Attendance
Class attendance is an important part of a student’s university experience. However, there
are legitimate reasons for missing class, such as illness, accidents, death of a close family
member, jury duty, religious observance or representing the University at officially
approved University activities. Students should be cautioned that even though absences
may be for legitimate reasons, such absences can impair performance and result in a
lower grade. Faculty have primary authority for setting class attendance policy according
to discipline standards. There are class activities, such as labs, assignments and
discussions that cannot reasonably be made up.
When students are absent from classes, it is their responsibility to provide the instructor
with due notice and documentation when possible, and to inform the instructor of the
reason for absence. Students are also responsible for requesting, in a timely manner, to
make up missed assignments and class work if these are reasonably able to be provided.
78
Instructors are responsible for providing a clear statement on the course outline about the
impact of attendance on students’ grades. For students who have missed classes for
legitimate reasons, instructors are also responsible for providing an opportunity to
complete make-up work or grade substitution, if the instructor determines that such is
reasonably able to be provided.
Academic integrity
Students should know that the University’s Cheating and Plagiarism Policy is available at
http://www.sonoma.edu/UAffairs/policies/cheating_plagiarism.htm. Your own
commitment to learning, as evidenced by your enrollment at Sonoma State University
and the University’s policy, require you to be honest in all your academic course work..
Instances of academic dishonesty will not be tolerated. Cheating on exams or plagiarism
(presenting the work of another as your own, or the use of another person’s ideas without
giving proper credit) will result in a failing grade and sanctions by the University. For
this class, all assignments are to be completed by the individual student unless otherwise
specified.
Campus Policy on Disability Access for Students (Optional/suggested statement)
"If you are a student with a disability and you think you may require accommodations,
please register with the campus office of Disability Services for Students (DSS), located
in Salazar Hall - Room 1049, Phone: (707) 664-2677, TTY/TDD: (707) 664-2958. DSS
will provide you with written confirmation of your verified disability and authorize
recommended accommodations. This authorization must be presented to the instructor
before any accommodations can be made.". The policy can be found at
http://www.sonoma.edu/uaffairs/policies/disabilitypolicy.htm
79
Instruction Begins 8/20
Week 1 8/18 Introduction, materials, hand and space (ASL Project)
Week 2 8/24 Line (object and space/ mark making intro/ still life)
Week 3 8/31 Line/Mark (negative space still life)
Week 4 9/7 LABOR DAY
Week 5 9/14 Value (Still life Crit/grid project)
Week 6 9/21Value Continued (grid/grid crit)
Week 7 9/28 Planes (Collab grid project)
Week 8 10/5 Perspective (Collab grid project Crit/folded paper)
Week 9 10/12 folded paper
Week 10 10/19 Folded paper crit/ Plein air)
Week 11 10/26 Plein air crit
Week 12 11/2 GIF/Flip book
Week 13 11/9 VETERAN’S DAY
Week 14 11/16 Zines
Week 15 11/23 THANKSGIVING
Week 16 11/30 ZINE (Exchange)
Week 17 12/1-12/4 FINALS WEEK
80
Required Materials: YOU MUST HAVE EVERYTHING ON THIS LIST BY 1/28
Paper
· 18”x24” pad Drawing Paper 70 lbs or higher, at least 60 sheets.
(Blick, Mixed media pad, Strathmore 400 series)
· 18x24 (2) sheets of black drawing paper
· 18x24 News print
· Standard size Sticky note pad
Other Supplies
· Drawing board large enough to fit a 18”x24” sheet of paper (or any smooth
hard board)
· 2 large bull-dog clips
· Graphite pencils ONE OF EACH: 4H, H, HB, B, 2B, 6B, 8B (Steadtler
Mars Lumograph)
· Charcoal pencils ONE OF EACH: Soft, Medium/Hard (Prang Wrap)
· Vine Charcoal ONE BOX: soft (Winsor and Newton)
· Jumbo compressed charcoal
· Sharpie permanent markers multiple sizes (black)
· 2 White charcoal pencils (Generals, soft)
· Blending paper stumps at least 3, medium size
· Erasers: 1 large kneaded rubber eraser, 2 mars plastic eraser, 1 pink pearl
eraser
· Small retractable snap-off blade
· Pencil sharpener
· 12”-18” ruler
· Tool box for supplies
· Workable fixative (Krylon)
Optional supplies:
Hard cover portfolio case big enough to fit 18”x24” paper (e.g. Itoya Art Portfolio 18x24
or Blick Basic Portfolio 20x26)
Small retractable detail eraser
81
ARTS 204 SP 21 BEGINNING LIFE
DRAWING
PROF. CLEA FELIEN
Email: [email protected]
OFFICE HOURS Tuesday 12:00 – 1:00
CLASS TIME - Friday 9:30- 12:00 independent. Friday in class 1:00 - 3:50
PM ZOOM ROOM - https://SonomaState.zoom.us/j/89581969827
Course Description:
ARTS 204 is an introductory studio course in anatomical life drawing and
composition. With the occasional aid of still life, the primary concepts of line,
value, shape, texture, color, and linear perspective will be explored in this course.
Furthermore, students will be introduced to a variety of drawing materials and
methods of use.
Course Objectives:
The primary goal of this course is to promote visual awareness and to develop the
student’s skills of problem-solving regarding life drawing. Second, it is the intent of
this course to expand the student’s understanding and definition of drawing and art in
general. Lastly, this course will provide students with the skills necessary for
advancement within the visual arts. Students are encouraged to explore art resources
(museums and galleries, libraries and the web) as much as possible. Part of your
studies should include viewing the art of others.
Due to the ongoing Stay at Home requirements related to COVID -19 emergency,
the usual course format of in-studio instruction will be delivered as a hybrid online
course, combining self-guided work with live interaction.
This class will be meeting as a group through live weekly on Zoom Friday’s from
1:30- 3:30, allowing for predominantly working from the model, and some real-time
demos, lectures, questions and critiques. You will be given assignments for the 9:30-
12:00 self- guided part of the hybrid course.
Even online, this course is a hands on, studio course. Students enrolled online
will be expected to utilize all the online resources provided, including recorded
video demonstrations, PowerPoint presentations, and other resources, and are
expected to dedicate at least six hours each week outside of class time to the
development of their drawing assignments as we would in a studio class work
week, with potential additional time invested in out of class project assignments.
Student Learning Outcomes:
82
Upon completion of this course, students will be able to:
1. Draw the human figure using a variety of graphic tools and media.
2. Draw the human figure employing basic drawing concepts such as
proportion, shape, volume, plane, contour, light, movement, composition,
and expression.
3. Synthesize complex relationships into a cohesive whole in drawings
of the human figure.
4. Create compositions, revise preliminary sketches, and experiment
with a variety of tools and approaches to drawing.
5. Make critical choices about their own work and assemble a
portfolio of drawings demonstrating ability.
6. Practice drawing dynamics to create value using of a variety of
drawing materials and synthesize art historical approaches with
self-expression.
Objectives:
Drawing the human figure employing the basic concepts and skills covered such as
shape, volume, plane, contour, space, light, movement, composition, and
expression, using a variety of graphic tools and media.
Upon completion of this course the student will be able to:
1. Develop an understanding of perspective and apply to drawing skills.
2. Synthesize pictorial elements such as shape, form, value, line and
texture in drawing.
3. Combine risk-taking and experimentation with disciplined work
habits as an aspect of the creative process.
4. Experiment with and distinguish between black and white drawing
media: ink, pencil, charcoal, conte crayon and various drawing surfaces.
5. Define basic drawing and design terminology.
6. Analyze and identify master techniques in drawing.
7. Develop drawings from general to specific.
8. Appraise relationships of positive and negative space in a composition.
9. Evaluate their work and the work of others in verbal critiques.
10. Analyze and understand anatomical proportions of the figure, the
proportions of a single object and analyze proportional relationships
between objects.
Online Course Requirements:
1. Completion and Proper Submission of All Assignments, Include
Classwork Assignments and Project Assignments.
83
There will be a series of assignments give each week. Classwork assignments are
to be done before and in preparation for Project Assignments.
· Classwork assignments will typically be due on the following Friday by
1pm.
· Weekly Project assignments will typically be due before our class
meeting time on the following Friday by 1 pm. (Canvas modules
assignments will have dates)
Finished work will be submitted through Canvas Assignment. (This will all be
covered in week 1). There will be a reduction of points for late assignments and they
will drop equivalent points to one letter grade for each week that they are late. Late
assignments can be submitted for late credit with the exception of the Final
Assignment, which cannot be accepted late. Note, if you submit work 2 weeks late, the
highest grade you can receive on it is a C.
Failure to share work in critiques and missing due dates will seriously affect your
grade. Assignments turned in after their due date will be marked as late and lower your
overall grade.
2. Participation in Weekly Zoom Meetings
We will be meeting as a group through Zoom on Friday from 1:00-3:30. Class time
will be primarily used for drawing the model, but we will also allow for real time
demos, questions and critiques. While it is optimal that students attend all Friday
Zoom meetings, if a student needs to miss a class, it is the student’s responsibility to
e-mail a peer in the class to get the missed information. The student may also
schedule an office hour meeting with additional questions.
One aspect of the group zoom meeting will be to hold interactive critiques and
discussions of student work. Students will be expected to present their work and
participate in the constructive critique and discussion of students’ work
development. Weekly meetings will also be used to introduce new topics, deliver live
lectures, present the Canvas modules with new information and answer questions.
A critique in a studio course is considered as serious as a major test. Failure to
participate in critiques will adversely affect your grade. All work must be completed
by the critique due date. Assignments turned in after their due date will be marked as
late and affect your overall grade. If a student is unable to attend a critique due to
illness, emergency, or technical difficulty getting online, it is their responsibility to
please contact the instructor via e-mail. Missing multiple meetings consecutively
while not submitting assignments and seemingly ceasing to participate in class may
result in being dropped from the class. Communication is key. If a student chooses to
stop attending class, it is the student’s responsibility to drop the class via the student
portal.
3. Utilization of All Course Online Resources
84
Students will also be asked to utilize interactive functions in Canvas, where students
will regularly post and share their work with the class. Students will be responsible to
also leave constructive comments for the development of other classmates’ work.
Tuesday 11-12 Zoom Drop in hours. Students are highly encouraged to utilize this
time for feedback on work in progress. These drop-in times would allow for live, in
person interactive feedback and questions on work in progress.
Objectives:
1. Employ a variety of drawing techniques to represent the particulars of the
human figure: gesture, drawing, modeling, hatching, rubbed tone, contour line
drawing, pen and ink wash drawing.
2. Use and care for the graphic media and tools for Art 12 (pencils, vine and
compressed charcoal, conte crayon, chamois cloth, erasers, pens and nibs, brushes
and inks).
3. Analyze the figure using concepts and terms of basic drawing: shape, contour,
mass, planes, negative space, silhouette and texture.
4. Recognize relative proportions in the human figure so that the head, torso,
hips, arms and legs are scaled correctly.
5. Differentiate between ideal and real proportions of the figure using examples from
the Italian Renaissance, 19th Century French Academy drawings, as well as from
observation of the live model.
6. Critique one's own and other students' figure drawings.
Course Outline Subject to Change:
Gesture drawing 1 minute 5 minute
Longer poses 10 minute 20
minute Culminating in Extended
pose 2 weeks
In class you will learn:
CONTOUR
Contour Line Drawing is drawing which entails close, intense observation while looking at a three-
dimensional object. The artist attempts to use one continuous line to define the outer edges and inner
edges of people or objects. Details are essential in a contour drawing. Edge is the place where two
things meet such as where edge of the wrinkle meets the fingernail, where the negative space touches
the positive form. Sometimes a line is drawn and sometimes it is an edge just where a dark and light
area meet. A contour is the outside or inside edge of an object and its details.
Blind Contour Drawing is focusing entirely on the object being drawn and never on the paper in an
uninterrupted line. Distortions are expected and not a fault. Through the process of blind contour drawing,
the student learns how to see.
85
Modified Contour Drawing is 80% focus on the object and 20% on the paper - just enough to check
progress and modify pen placement. The line is continuous and is not the same as a sketch. Important
things to remember are negative space - the area around an object or areas that can be seen through
shapes, as in between the legs of a chair and positive space/shape - the actual thing you are drawing
such as a bottle or cup and it is surrounded by the negative space around, next to, or behind the
object. GESTURE
Gesture drawing is line that shows the movement inherent in the object or figure, usually very fluid
looking. Gesture drawing is the representation of the essence of an object’s or figure’s position. It is
the act of creating a drawing or a sketch with a loose grip and movement of the drawing tool used.
Gesture drawings are often very expressive drawn quickly, and allow one the freedom to loosen up and
not worry about small details. Gesture drawing explores the form and movement of an object in space,
as your eye follows its shape.
COMPARATIVE MEASUREMENT
Comparative measurement will give you accurate measurements and keep you from creating a poor
painting or a poor drawing. Comparative measurement is a way of measuring the size of what you
see and using those measurements to draw a larger or smaller image of the same. Comparing the
vertical length of and object to the horizontal length of that same object.
VALUE
The transition from light to dark across the surface of the artwork. White is the lightest value black is
the darkest. The value halfway between the two is called middle gray. Chiaroscuro: Italian word
meaning light/dark. The gradation of light and dark values in a two-dimensional imagery; especially
the illusion of rounded, 3-dimensional forms created through gradations of light and shade rather than
line.
COLLAGE
The term collage derives from the French “coller” meaning “glue”. This term was coined by
Georges Braque and Pablo Picasso. A collage may sometimes include magazine and newspaper
clippings, ribbons, bits of colored or handmade papers, portions of other artwork or texts,
photographs and other found objects, glued to a piece of paper or canvas.
Assignments:
A. Class performances lab assignments such as:
1. Gesture drawings
2. Mass drawings
3. Cross contour drawings
4. Contour, blind contour, continuous contour and quick contour drawings
5. Re-phrased line drawings
6. Negative space drawings
7. Mapping shapes of largest muscle groups
8. Angular line drawings
9. Proposition studies
10. Skeleton drawings
11. Tone as a spatial cue (darker for farther)
12. Rubbed tone subtractive drawings
13. Modeling with continuous tone
14. Light and shadow: revealing the figure with light and dark in high contrast
lighting
86
15. Three values analysis (using sanguine, black and white conte crayon on
paper)
16. Drawing the head
17. Drawing hands and feet
18. Thumbnail human figure compositions
19. Scaling the human figure from small to large
20. Cropping
21. Master copies
22. Drawing the human figure with a range of media with mixed media
23. Oral participation in group critiques
B. Homework assignments such as the following:
1. Gesture drawings
2. Contour, blind contour, continuous contour and quick contour drawings
3. Negative space drawings
4. Proposition studies
5. Skeleton drawings
6. Rubbed tone subtractive drawings
7. Three values analysis (using sanguine, black and white conte crayon on
paper)
8. Drawing the head
9. Drawing hands and feet
10. Master copies
11. Drawing the human figure with a range of media with mixed media
ATTENDANCE
It is imperative that one attends class. Lectures, class discussions, visual presentations, and still-life set-
ups cannot be reconstructed. Students must remain in class for the entire class period, unless dismissed
by the instructor. Arriving late and leaving early will also be penalized. Each student is permitted
three
(3) absences for the semester. Students are responsible for obtaining information regarding lectures
and any assignments missed. Absence #4 is considered unauthorized/unexcused absences. Each
absence after #3 results in a FULL LETTER GRADE reduction in your final grade for the course.
Coming to class late will also affect your grade. Three late arrivals or three early departures will be
considered the equivalent of missing one class. Students with 7 absences or more will be dropped from
the course.
GRADING POLICY 50% In Class work, 25% Homework 25% Professionalism,
Participation 50% IN CLASS WORK
In class work will be graded using criteria in the syllabus as stated above.
25% HOMEWORK Homework will be due in a completed state at the appointed time. Homework
that has been turned in on time may be revised as often as the student feels necessary. The open
revision option does not apply to late work. Weekly homework grades are advisory in nature. Students
87
are given the opportunity to rework any and/or all drawings for resubmission the week prior to
midterm* and final portfolio submission dates. This policy allows students the opportunity to rework
previously graded drawings in order to maximize their grade. Advisory grades on all work not
resubmitted the week prior to the midterm or final critique will become permanent at that time. Again,
this opportunity does not apply to drawings that were not submitted for their original deadline.
*Assignments from the first half of the course may not be reworked after midterm portfolio review.
25% PROFESSIONALISM AND PARTICIPATION
Additionally, 20% of your grade is reserved for classroom participation and the degree of professionalism
with which you address the course. I take into account your work ethic, ambition, constructive discussion
during class critiques, responsiveness to criticism, and preparation of assigned materials at the appointed
time. Additionally, I review the consistency of your work and the overall growth of skill.
OVERALL PROGRESS
This will be judged by growth of skill and consistency of effort.
In class work and homework Grading Criteria (as on Moodle):
A+, A, A- Work that demonstrates exceptional dedication, engagement and technique. Amount of
time spent commensurate with complexity and ambition of the assignment.
B+, B, B Above average art work as above. An original and ambitious application of the assignment
guidelines albeit less evolved, personal and focused.
C+, C, C- Average work. Meets all of the criteria of the assignment. Basic grasp of the assignment.
The work displays less personal investment than either an A or B. Embodies less ambition and
competency. D An artwork with obvious weaknesses. Time spent is insufficient to analyze and correct
mistakes or confused ideas. The artist strays from the assignment; is not engaged. As a result, the
artwork is perfunctory and lacks personality. Technique is cursory and insufficient to the concept.
Barely sufficient grasp of the assignment. Insufficient time spent; quality is lacking.
F Clearly a poor effort with little regard for the current assignment or the lessons and techniques
leading to it. Insufficient grasp of the assignment.
Highest
Lowest Letter
100.00%
93.00 % A
92.99 %
90.00 % A-
89.99 %
87.00 % B+
86.99 %
83.00 % B
82.99 %
80.00 % B-
79.99 %
77.00 % C+
76.99 %
73.00 % C
72.99 %
70.00 % C-
69.99 %
67.00 % D+
88
66.99 %
60.00 % D
59.99 %
0.00 % F
All projects must be completed to receive
a passing grade in this course.
Final note: You are asked to bring both care and dedication as your primary contribution
to the course. It is my hope that your commitment will be met with a new sensitivity to expression in art
and an increased capacity for imagination and creation. Drawing is a revealing form expression. I look
forward to knowing you better as you share yourself through your work.
Inclusive Practices The diversity of gender identities and expressions,
sexualities,
racial and ethnic backgrounds, socioeconomic positions, national origins, political
views, and religious backgrounds will be honored and respected in this class.
Accommodations If your life circumstances require accommodations to
make this
class accessible to you, e.g. because you are pregnant, breastfeeding, injured, supporting and
ill family member, please let me know.
89
If you are a student with a disability, and think you may need academic accommodations,
please contact Disability Services for Students (DSS), located in Salazar Hall, Room 1049,
Voice: (707) 664-2677, TTY/TDD: (707) 664-2958, as early as possible in order to avoid a
delay in receiving accommodation services. Use of DSS services, including testing
accommodations, requires prior authorization by DSS. See SSU’s policy on Disability Access
for Students http://www.sonoma.edu/uaffairs/policies/disabilitypolicy.htm.
Emergency Evacuation
If you are a student with a disability and you think you may require assistance evacuating a
building in the event of a disaster, you should inform your instructor about the type of
assistance you may require. You and your instructor should discuss your specific needs and
the type of precautions that should be made in advance of such an event (i.e. assigning a
buddy to guide you down the stairway). We encourage you to take advantage of these
preventative measures as soon as possible and contact the Disability Services for Students
office if other classroom accommodations are needed.
Academic Integrity
Students should be familiar with the University’s Cheating and Plagiarism policy
http://www.sonoma.edu/UAffairs/policies/cheating_plagiarism.htm. Your own commitment to
learning, as evidenced by your enrollment at Sonoma State University and the University’s
policy, require you to be honest in all your academic course work. Instances of academic
dishonesty will not be tolerated. Cheating on exams or plagiarism (presenting the work of
another as your own, or the use of another person’s ideas without giving proper credit) will
result in a failing grade and sanctions by the University. For this class, all assignments are to
be completed by the individual student unless otherwise specified.
Additional Resources:
SSU Writing Center
The SSU Writing Center, located at Schulz 1103, helps SSU students become better writers
and produce better written documents. The knowledgeable and friendly tutors can help you
with a wide array of concerns, from generating good ideas and organizing papers more clearly
to learning citation formats and using semi-colons correctly. Visit the Writing Center website
http://www.sonoma.edu/programs/writingcenter/default.html for more information on how to
schedule time with a tutor.
Counseling and Psychological Services
(CAPS)
90
CAPS is a unit of the division of Student Affairs of Sonoma State University. CAPS offers
confidential counseling to students experiencing personal problems that interfere with their
academic progress, career or well-being. The CAPS website
http://www.sonoma.edu/counselingctr provides information only. If you would like to talk with
91
Sonoma State
University Arts
and Humanities
ARTS 210, Introduction to Digital Photography, Fall 2020
Instructor Contact
Information Name:
Chris Grunder
Office Location:
https://SonomaState.zoom.us/j/99157506928 Email:
Office Hours: Mondays 4-5pm and by appointment
General Course Information
Class Days/Time: Monday and Wednesday 1:00pm to
3:50pm Classroom:
https://SonomaState.zoom.us/j/93851614216
Prerequisites: ARTS 105 or consent of Photography Director or Department Chair
Course Description
This course explores the technical, aesthetic, and conceptual possibilities of photography using digital
cameras. It is designed to introduce students to questions and considerations of the digital photograph
in/as art, as well as questions surrounding the use of digital manipulation. The course will be taught
using multiple instructional methods including lecture, group discussion, oral and visual presentations,
and associated critical discussion. Typically, course topics will be introduced via a lecture format
incorporating interpretive discussions. Directly following the lecture presentation, students will have an
opportunity to practice the techniques or explore the concepts that have just been presented.
Demonstrations and hands-on sessions will cover technical topics such as camera operation, proper image
exposure, additive and subtractive color, digital workflow (including RAW files and Photoshop) and
digital inkjet printing techniques. Lectures will provide historical context and an overview of
contemporary artists working digitally. Course content may also be delivered throughfield trips,
workshops, assigned readings, critiques, and individual consultations.
Course Goals and Student Learning Objectives
In this course, basic theory, techniques, and processes of still photography will be explored. Projects will
stress the potential of the medium as a vehicle for expression and creative problem solving. Conceptual
and practical investigations will be emphasized through specific projects designed to promote the
acquisition of technical skills (such as digital camera operation and file storage) and the development of
individual aesthetic interpretations and working methods.
Student Learning Objectives
Upon successful completion of this course, students will possess:
● Competence in introductory basic digital photographic input and output techniques
● Competence in basic Bridge, Photoshop CC, and Camera Raw techniques
● Understanding of experimental approaches to problem solving
● Capacity to initiate, develop, and express personal aesthetic solutions photographically
92
● Ability to critically evaluate photographic practice and procedures
● Ability to translate conceptual issues into photographic works
● Ability to understand and apply SSU Photo Equipment Policy and Procedures to studio
practice
Course Requirements
● Be prepared to work on editing and/or printing your work in class. You must have
all of your images available for review (as files on your hard drive)
● At the end of the term, you will need to upload a final portfolio of all the work you
completed for each project during the semester for your final grade.
Grading Policy
Students cannot do well in this class if they do not attend class sessions (this seems intuitive but you never
know) and engaged participation in class sessions is also necessary. Credit will be based on these factors
along with work produced for each class assignment/ project and overall progress. Evaluation of
assignments will be on both your technical advancement as well as on the conceptual strength of your
work.
● 56% Attendance
○ 1% per class period for showing up and 1% per class period for being on
time and engaged
● 14% for weekly standing assignment
● 10% for final project
● 20% for remaining assignments
Someone who meets ALL the course requirements will attain at least a “C” level, signifying competence
regarding the above objectives and will receive credit for the course. You are in control of your grade.
Factors that could negatively affect your progress include:
● Late work
○ Assignments are graded down one letter grade for each day that they are late
● No work
○ Any project or assignment not turned in will count for zero
● Absences
○ The difference between excused absences (with a doctor’s note or
equivalent) and unexcused absences is that I will help you catch up on material
after an excused absence but you’ll be at the mercy of your fellow students for
unexcused absences. Both will cost you 2% from your grade though, you cannot
participate if you aren’t present and there is no way to make that up.
Classroom Protocol
● Attendance: Your time is worth a lot and so is ours. Please don’t waste it by being
habitually late to class.
● Cell phones: Please turn your cell phone’s off when entering the class. If for some
reason you can’t have it off, then please have it on silent. If for some reason you can’t have your
phone on silent, please discuss it with me and we will work out a solution. Please do not text
during class. It is a small class and you’re not as sneaky as you think. It distracts me and your
fellow students.
93
● Food and drink: No consumables are allowed in the art classrooms! This semester we are starting
new and strict policies because of some mess ups in the chemistry department. In truth, it’s not a good idea
to have things you can eat or drink anywhere near photo chemicals or expensive photo equipment but this
has more to do with a department wide worry about things like glazes, painting solvents, and the like. We
will be taking ample drink breaks as a result because I get thirsty constantly.
● Disability accommodation: Please discuss with me in private or through email any
possible accommodations you may need with regards to a disability and I will see that we do
everything
we can to make sure you are able to get the most out of this course.
Photography Lab
Hours: TBD Lockers
Hallway lockers within the Department of Art & Art History are available for use each semester. You
must provide your own lock and remove your lock and contents of your locker by the end of the last day
of finals. Please sign up for lockers in the woodshop. It is important for facilities to know who has which
locker.
Computers
In this class you will need your laptop and Adobe CC (Adobe CS6 will work however we will be going
over the latest version in class). This specifically means Photoshop, Lightroom, and Bridge. Please make
sure you have downloaded and installed the latest fixes to your Adobe software! It is important that you
keep your software up to date. A very easy way to ensure you are up to date is in Photoshop go to Help
> Updates and download all available updates (warning this could take awhile). If you have any
questions we can go over this in class.
Our SSU Photography Digital Labs are Mac computer labs so it is easiest if you have a Mac laptop,
however if you own a PC just be sure to partition your portable hard drive when you format it so you
can print using our Mac computers. If you do not have a laptop there will be 3 iMacs in the classroom
available for editing your work.
Equipment
● Digital SLR or interchangeable lens mirrorless camera, with manual mode at least 6
Megapixel or higher (there are digital cameras for checkout but not enough to guarantee
availability throughout the term). Please speak to me if you have any questions on your camera.
● UV filter or skylight filter to protect your lens.
● 3-ring binder.
• Notebook
Materials
● Pack of 50 sheets 8.5x11 Epson Premium Luster Photo Paper.
https://bhpho.to/2bjgoFG
● Other types of papers may be used on the Epson printers but you must first check with
me to see if you need to install the paper profile. When testing papers you may want to share a
pack of paper with a classmate. We will have a nice long discussion about inkjet papers.
● 500 GB or larger portable external hard drive formatted for use on Mac’s
Helpful Periodicals:
• Afterimage, www.vsw.org/ai
94
• Aperture, www.aperture.org/magazine
• Artforum, www.artforum.com
• Art in America, www.artinamericamagazine.com • Blind Spot, www.blindspot.com
• Cabinet, www.cabinetmagazine.org
• Daylight, www.daylightmagazine.org
• Fraction, www.fractionmag.com
• Frieze, www.frieze.com
• Lens Culture, www.lensculture.com
• Magnum, www.magnumphotos.com
• Photo District News, www.pdnonline.com
Art Venues:
• Sonoma University Art Gallery,
www.sonoma.edu/artgallery, S Sequoia Way, Rohnert
Park,
707.664.2295
• SF Camerawork, www.sfcamerawork.org, 2nd Fl 1011 Market St, San Francisco, 415.487.1011
• Pier 24 Photography, pier24.org, 24 Pier The Embarcadero, San Francisco, 415.512.7424
• Fraenkel Gallery, fraenkelgallery.com, 49 Geary St 5th Fl, San Francisco, 415.981.2661
• Robert Koch Gallery, www.kochgallery.com, 49 Geary St #450, San Francisco, 415.421.0122
• San Francisco Museum of Modern Art, www.sfmoma.org, 415.357.4000
• De Young Museum,
www.famsf.org/deyoung, 50 Hagiwara Tea Garden Drive, San
Francisco,
415.750.3600
• Berkeley Art Center, www.berkeleyartcenter.org, 1275 Walnut St, Berkeley, 510.644.6893
• UC Berkeley Art Museum, www.bampfa.berkeley.edu, 510.642.0808
• Oakland Museum of California, museumca.org, 1000 Oak St, Oakland, 510.318.8400
• San Jose Museum of Art, sjmusart.org, 110 S Market St, San Jose, 408.271.6840
University Policies
There are important University policies that you should be aware of, such as the add/drop policy;
cheating and plagiarism policy, grade appeal procedures; accommodations for students with disabilities
and the diversity vision statement. See Important Policies and Procedures for Students.
Dropping and Adding
Students are responsible for understanding the policies and procedures about add/drops, academic
renewal, etc. How to Add a Class has step-by-step instructions has step-by-step instructions.
Registration Information lists important deadlines and penalties for adding and dropping classes.
Campus Policy on Disability Access for Students
If you are a student with a disability, and think you may need academic accommodations, please contact
Disability Services for Students (DSS), located in Salazar Hall, Room 1049,
Voice: (707) 664-2677, TTY/TDD: (707) 664-2958, as early as possible in order to avoid a
delay in receiving accommodation services. Use of DSS services, including testing
accommodations, requires prior authorization by DSS in compliance with university policies and
procedures. See SSU’s policy on Disability Access for Students.
Emergency Evacuation
If you are a student with a disability and you think you may require assistance evacuating a building in
the event of a disaster, you should inform your instructor about the type of assistance you may require.
You and your instructor should discuss your specific needs and the type of precautions that should be
made in advance of such an event (i.e. assigning a buddy to guide you down the stairway). We
encourage you to take advantage of these preventative measures as soon as possible and contact the
Disability Services for Students office if other classroom accommodations are needed.
95
Academic Integrity
Students should be familiar with the University’s Cheating and Plagiarism Policy. Your own
commitment to learning, as evidenced by your enrollment at Sonoma State University and the
University’s policy, require you to be honest in all your academic course work. Instances of academic
dishonesty will not be tolerated. Cheating on exams or plagiarism (presenting the work of another as
your own, or the use of another person’s ideas without giving proper credit) will result in a failing grade
and sanctions by the University. For this class, all assignments are to be completed by the individual
student unless otherwise specified.
Additional
Resources
Writing
Support
The SSU Learning and Academic Resource Center (LARK), located at Schulz 1103, helps SSU students
become better writers and produce better written documents. The knowledgeable and friendly tutors can
help you with a wide array of concerns, from generating good ideas and organizing papers more clearly to
learning citation formats and using semi-colons correctly. Visit the Learning and Academic
Resource Center (LARK) Homepage for more information on how to schedule time with a Writing Center
tutor.
Counseling and Psychological Services (CAPS)
CAPS is a unit of the division of Student Affairs of Sonoma State University. CAPS offers confidential
counseling to students experiencing personal problems that interfere with their academic progress,
career or well-being. The CAPS website provides information only. If you would like to talk with
someone or make an appointment, please call (707) 664-2153 between 8 a.m. – 5:00 p.m., Monday-
Friday during the academic year.
Library Research Guides and Subject Librarians
The University Library can help you find information and conduct research. You can make an
appointment with a subject librarian, get help online, or drop by the library during open Research Help
Hours. The very helpful subject librarian for art is Mary Wegman (mary.wegmann@sonoma.edu) and
you can find some of the resources available to you here (http://libguides.sonoma.edu/?b=s)
Canvas Course
Canvas is SSU's Learning Management System (LMS). Canvas is the place where you will find the
course syllabus, read posted announcements, participate in online class discussions with classmates,
submit your assignments online and view the materials for this course. To access the Canvas course use
your SSU Seawolf ID and password to log into SSU's Online Services portal. Click on the Canvas link.
When you get to the Canvas Dashboard, click on the course title you would like to access.
Visit the SSU Canvas Support Center to review frequently asked questions about using Canvas and also
to view a list of technical recommendations.
Canvas Help and Student Computing Resources
Canvas and General IT Help Desk
96
Contact Information Technology (IT) if you need assistance accessing Canvas or other information about
computing and information technology at SSU. Three ways to contact the IT Help Desk are:
● Call: 707-664-4357
● Email: [email protected]
● Visit Location: Schulz 1000
97
ARTS 220
Beginning Painting
COURSE DESCRIPTION
Studio course in painting in a variety of media, with primary concentration in oil.
Directed problems. Work from imagination, still life, and the figure. Group and
individual criticism.
PROF. CLEA
FELIEN
OFFICE 134
Phone: (707) 664-3049
Email: [email protected]
OFFICE HOURS Tuesday 11:00-12:00. And by appointment.
CLASS TIME - Tuesday 1:00PM - 3:50PM in zoom classroom. Thursday Independent
study CLASS ROOM - Art Building 135
ZOOM LINK – https://SonomaState.zoom.us/j/82603957909
COURSE OBJECTIVES
Beginning Painting is an intensive studio course that offers painting as an investigation of
color, application, space and mark-making through the exploration of oil paint.
Class periods will be split between demonstrations, in-class painting, group critiques and
individual critiques. We will have some days of short-term, in-class assignments (finishing a
painting in one sitting called a la prima) and many days of working on paintings for longer
duration. Out of class work will include the paintings begun in class and sketches for
preparatory work, as well as building a stretched canvas and a panel and gessoing both. In
addition to painting, you may want to keep a sketch book for developing ideas and taking
notes on things that excite you artistically, read articles on contemporary painters, and to look
at as much art as possible via museums, galleries, books, movies etc.
Painting I is designed to provide a strong foundation for the study of oil painting. A basic
coverage of the techniques, materials and concepts of the medium is presented and awareness
of its expressive possibilities is developed. Principles of value, color theory, color expression,
composition and paint handling are introduced through the vehicles of still-life, other artists,
landscape or interior and figure.
STUDENT LEARNING OUTCOMES
• Introduction to methods and materials - supports, brushes, mediums.
• To gain technical skills in a variety of media: Oil paint, gesso, painting on paper, canvas,
and panel. Including stretching a canvas, and building your own panel.
• To recognize the diversity of means of expression available to the artist – wet
blending impasto and glazing.
• Understanding of Value and Color in paint.
• Value, volume, composition, and hues.
98
• To recognize that art and its history reflect individuals and their societies.
• To acquire the visual and communicative skills with which to articulate ideas in a
clear and focused manner.
• Studio etiquette and safe handling of materials.
• Be excited about learning.
• Attendance and being on time are very important.
• Come to class prepared, alert, with all necessary materials, and dedication to working
in class.
• Commitment enthusiasm to making artwork inside and outside classroom.
• Completion of at least six hours of homework each week.
• Active participation in all critiques and class discussions.
• Keeping a combination sketchbook/journal.
• Please always ask questions. I don’t know what you don’t know
YOUR STUDIO PRACTICE
Students need to maintain a professional studio atmosphere. A clean studio is essential for
successful artistic execution. Students will set up and clean up their projects and areas where
they are working for each class.
LEARNED IN THIS COURSE
Value:
Black and White Still Life painting. You will learn the fundamental tools of realism by drawing
and seeing value in paint in your still life first. Throughout the class you will use the tools you
will use comparative measurement, value, proportion, value, composition, value, background,
value, mid ground, value, foreground, value. Value is the most important thing.
Primary and Secondary and Complimentary Color Still Life Series:
Red Still Life Painting. Yellow Still Life Painting. Blue Still Life Painting. We will begin a
series of still life paintings using predominately primary colors. By limiting your palette, you
will learn how mix color and see that in a red apple, a yellow lemon, or blue cloth, there are
thousands of subtle colors. Once you have finished the primary color still life series we will
begin the secondary color still life series, here we will mix purples, oranges and greens.
Impasto and Alla Prima:
After you have completed realist and technical part of our course, you will begin the impasto
and alla prima series. Here you will do quick studies of still lives completing them in one class
period, this is alla prima. You will use big bold brush strokes, this is impasto.
Self Portrait:
You will learn how to paint hair and flesh then transfer that to a self-portrait.
99
Final Project:
Here we will incorporate all the things you have learned throughout the course. This will be
a large painting that will incorporate everything you have learned throughout the course:
value, color mixing, proportion, comparative measurement, background mid ground,
foreground, composition, and working the whole of the picture plane.
FORM - CRAFTSMANSHIP
How well do you handle the paint? Is neatness an issue? Is the support well-constructed and/or
or gessoed properly? Are surfaces handled in such a way that they complement the message
for the painting? Is the framing or composition done properly? If other media is added to the
painted surface has this been done correctly?
1. render space, volume, and color with accuracy
2. understand and use painting mediums – walnut oil
3. use appropriate brushes
4. practice proper studio etiquette and safe handling of materials
5. understand and apply a variety of painting terms
CONTENT - CREATIVITY/CONCEPT
How original are your ideas? How committed were you to processing them? (I put much
emphasis on effort--it has a great deal to do with how you grow as a painter.) Did you
challenge yourself in content and craft? Did you confer with the instructor as you were
working on the painting? Did you do necessary research and preliminary sketches? Design
elements: How successful is the composition? the color? spatial concerns? How do the formal
elements work
together and do they support the content?
CLICHÉ
A cliché is an expression, idea, or subject matter in art, which has been overused to the point
of losing its original meaning or effect, especially when at some earlier time it was considered
meaningful. Focus on your original approach or your unexplored subject matter. A new way to
tell a story. Your way to tell a story. Avoid the ‘punchline’ subject matter, make the viewer
work for it, respect their intelligence. You can present a ‘novel’ in your painting. Your version
of a complicated interesting story. What is your personal contribution to that story.
Painting Supplies:
1-Winton Oil Color Indian Red 37ml
-$3.49 1-Winton Oil Color Ivory
Black 37ml -$3.49 1-Winton Oil
Color Light Red 37ml- $3.49
1-Winton Oil Color Naples Yellow Hue 37ml
-$3.49 1-Winton Oil Color Cadmium Red Hue
200ml- $9.99
100
1-Winton Oil Color Cadmium Yellow Pale Hue
200ml-$9.99 1-Winton Oil Color Cerulean Blue Hue
200ml- $9.99
1-Winton Oil Color French Ultramarine Blue 200ml- $9.99
1-Winton Oil Color Permanent Alizarin Crimson 200ml
-$9.99 1-Winton Oil Color Titanium White 200ml -
$9.99
1- Winton Oil Color Yellow Ochre 200ml -$9.99
2- Strathmore Oil Painting Paper Pads 10 sheets 9x12 -$6.35
1-Masterson StaWet Premier Palette(comes with 5 sheets of disposable palette paper) - $15.95
1-Raymar Smooth Cotton Featherlite Panels 9x12 -$6.44
1-Art Alternatives Canvas Panel 12x16 -
$3.25 1-14 x 18 stretched canvas twin
pack -$7.75
1-18 x 24 stretched canvas twin pack -
$11.50 TOTAL – $141.48 plus tax
Brushes You can use cheaper brushes, but good brushes are more important than good paint.
Sizes vary according to brand of brushes, its good to have 6 brushes, a variety of sizes and
styles. There are rounds, filberts and flats. For oil paint monarchs are a good inexpensive
synthetic mongoose, in Mongoose preferable sizes are 2-#10, 2-#8, 1-#6, 2-#5, 2-#4, 2-#3.
Rathbone are a good natural bristle. You will also need a cheap wide flat bristle brushes – 2”
or 3” wide, and one large brush to gesso canvas (cheap house painting brush 3-4” wide). For
acrylic buy synthetic brushes made especially for acrylic paint. Same quantity and size for
Misc.
Gesso
Plastic palette or Disposable palettes (or wax
paper) Container for materials – tool or tackle
box
Palette knife
Safflower oil for cleaning brushes (buy @ grocery
store) You will also need drawing materials for
sketches.
Unprimed cotton canvas, 10 oz. weight (a good medium weight for most stretcher
sizes) Pre-made stretcher bars, size to be determined by your project
When painting remember:
• Value. Make your darkest darks suffocatingly dark, and your lightest whites shockingly
white.
• Work the part of your painting that is weakest. What bothers you most on your painting?
Work on that.
101
• Close one eye. Dart the opened eye back and forth from the still life to your
painting. This will help you see size and shape problems as well as value.
• Check shape relations. The height of one object compared to another, the distance
of one object compared to another. Use your paintbrush and thumb to mark the
space.
• Try to never mix more than two primary (red, blue, yellow) or secondary colors
(green, purple, orange) this will create mud, or a gray color.
• Try not to over mix your color. Color stays alive if it vibrates, i.e. two colors laid next
to each other have more depth and more vibrancy than two colors mixed solidly into
one flat color.
• Keep your brushes clean, designate a blue brush, a red brush, a yellow brush, a
white brush and maybe a few more. It’s good to try to mix colors on the canvas. To
keep the brushes clean wipe, them clean when needed.
• Lost and found edges. The edge surrounding an object has hard and soft, or lost
and found edges. Giving an object edges that are in focus and out of focus creates
the illusion of 3-D.
• Stand back and look at your work. Things often come into focus from a distance. Turn
your painting upside down, use a black mirror (your phone), or look at your work
through a mirror.
• This is an exercise not a work of art. Let go of any stress about this having to be a
‘good’ painting. It’s a worksheet. You will free yourself from the fear of failure and be
able to paint better.
Grading:
70% In Class work
20% Homework
10% Professionalism, Participation
70% IN CLASS WORK
There is no late work accepted. You may submit projects for a lesser grade, then work on
them and resubmit them for a better grade. In class assignments will be due in a completed
state at the appointed time. In class assignments that have been turned in on time may be
revised as often as the student feels necessary. The open revision option does not apply to late
work. So let it be said that weekly in class assignment grades are advisory in nature. Students
are given the opportunity to rework any and/or all drawings for resubmission the week prior to
midterm* and final portfolio submission dates. This policy allows students the opportunity to
rework previously graded work in order to maximize their grade. Advisory grades on all work
not resubmitted the week prior to the midterm or final critique will become permanent at that
time. Again, this opportunity does not apply to work that was not submitted for their original
deadline. *Assignments from the first half of the course may not be reworked after midterm.
In class work will be graded using criteria in the syllabus as stated above, as well as rubrics
that will be on Canvas.
20% Homework
102
Homework will be due in a completed state at the appointed time. Homework that has been
turned in on time may be revised as often as the student feels necessary. The open revision
option does not apply to late work. Students are given the opportunity to rework any and/or all
drawings for resubmission the week prior to midterm* and final portfolio submission dates. This
policy allows students the opportunity to rework previously graded paintings in order to
maximize their grade. Advisory grades on all work not resubmitted the week prior to the
midterm or final critique will become permanent at that time. Again, this opportunity does not
apply to artworks that were not submitted for their original deadline. *Assignments from the
first half of the course may not be reworked after midterm portfolio review. All work needs to
photographed with your phone and uploaded to Canvas by the in class due date.
10% Professionalism and Participation:
10% of your grade is reserved for classroom participation and the degree of professionalism
with which you address the course. I take into account your work ethic, ambition,
constructive discussion during class critiques, responsiveness to criticism, and preparation
of assigned materials at the appointed time. Additionally, I review the consistency of your
work and the overall growth of skill.
GRADING ON CANVAS:
A+, A, A- Work that demonstrates exceptional dedication, engagement and technique.
Transcends the assignment in personality and expressiveness. The artist’s process integrates
creativity with self-analysis, trial-and-error, correction, harmonization and experimentation.
Amount of time spent commensurate with complexity and ambition of the idea.
Artist extrapolates skillfully from past lessons and skills to create an original
artwork.
B+, B, B- Above average art work as above. An original and ambitious interpretation of
the assignment guidelines albeit less evolved, personal and focused.
C+, C, C- Average work. Meets all of the criteria of the assignment. The work displays less
personal investment than either an A or B. Art work embodies a simpler, less ambitious
process, certain issues remain un-resolved leading to a less profound, entertaining or cohesive
message. The artist demonstrates a superficial rather than thorough understanding of concept,
technique and terminology. Work is predictable rather than original.
D An artwork with obvious weaknesses. Time spent is insufficient to analyze and correct
mistakes or unclear ideas. The artist strays from the assignment; is not engaged. As a result,
the artwork is perfunctory and lacks personality. Technique is cursory and insufficient to
the concept. Barely sufficient grasp of the assignment. Insufficient time spent; quality is
lacking.
F Clearly a poor effort with little regard for the current assignment or the lessons and
techniques leading to it.
Highest
Lowest
Letter
100.00%
93.00 % A
92.99 % 90.00 % A-
89.99 % 87.00 % B+
86.99 % 83.00 % B
103
82.99 % 80.00 % B-
79.99 % 77.00 % C+
76.99 % 73.00 % C
72.99 % 70.00 % C-
69.99 % 67.00 % D+
66.99 % 60.00 % D
59.99 % 0.00 % F
All projects must be completed to receive a passing grade in this course.
Final note: You are asked to bring both care and dedication as your primary contribution to the
course. It is my hope that your commitment will be met with a new sensitivity to expression in
art and an increased capacity for imagination and creation. Drawing is a revealing form
expression. I look forward to knowing you better as you share yourself through your work.
ATTENDANCE:
Since the class is not based upon textbook reading and exams, it is imperative that one attend
class. Lectures, class discussions, and visual presentations cannot be reconstructed. To progress
at an acceptable rate, one should attend class conscientiously, arriving on time and ready to
work Students must remain in class for the entire class period, unless dismissed by the
instructor. Arriving late and leaving early will also be penalized. Each student is permitted
three (3) absences for the semester. Students are responsible for obtaining information
regarding lectures and any assignments missed. Absence #4 and #5 are considered
unauthorized/unexcused absences. Each of these absences is equivalent to a HALF- GRADE
reduction in your final grade for the course. Absence #6 (or above): Taken for any reason,
medical or otherwise—will result in a failure of the course regardless of the student’s grade
point average nor when it occurs in the semester. Coming to class late will also affect your
grade.
Three late arrivals or three early departures will be considered the equivalent of missing one
class. Students with 7 absences or more will be dropped from the course. University Policies.
There are important University policies that you should be aware of, such as the add/drop
policy; cheating and plagiarism policy, grade appeal procedures; accommodations for
students with disabilities and the diversity vision statement. See Important Policies and
Procedures for Students http://www.sonoma.edu/uaffairs/policies/studentinfo.shtml.
Dropping and Adding. Students are responsible for understanding the policies and procedures
about add/drops, academic renewal, etc. How to Add a Class.
http://www.sonoma.edu/registration/addclasses.html has step-by-step instructions. Registration
Information http://www.sonoma.edu/registration/regannounce.html lists important deadlines
and penalties for adding and dropping classes. Campus Policy on Disability Access for
Students
If you are a student with a disability, and think you may need academic accommodations,
please contact Disability Services for Students (DSS), located in Schulz 1014A, Voice: (707)
664-2677, TTY/TDD: (707) 664-2958, as early as possible in order to avoid a delay in
receiving accommodation services. Use of DSS services, including testing accommodations,
requires prior authorization by DSS. See SSU’s policy on Disability Access for Students
http://www.sonoma.edu/uaffairs/policies/disabilitypolicy.htm.
104
Inclusive Practices The diversity of gender identities and expressions, sexualities,
racial and ethnic backgrounds, socioeconomic positions, national origins, political
views, and religious backgrounds of all will be honored and respected in this class.
Accommodations If your life circumstances require accommodations to make this
class accessible to you, e.g. because you are pregnant, breastfeeding, injured,
supporting and ill family member, please let me know.
Emergency Evacuation
If you are a student with a disability and you think you may require assistance evacuating a
building in the event of a disaster, you should inform your instructor about the type of
assistance you may require. You and your instructor should discuss your specific needs and the
type of precautions that should be made in advance of such an event (i.e. assigning a buddy to
guide you down the stairway). We encourage you to take advantage of these preventative
measures as soon as possible and contact the Disability Services for Students office if other
classroom accommodations are needed.
Academic Integrity
Students should be familiar with the University’s Cheating and Plagiarism policy
http://www.sonoma.edu/UAffairs/policies/cheating_plagiarism.htm. Your own commitment to
learning, as evidenced by your enrollment at Sonoma State University and the University’s
policy, require you to be honest in all your academic course work. Instances of academic
dishonesty will not be tolerated. Cheating on exams or plagiarism (presenting the work of
another as your own, or the use of another person’s ideas without giving proper credit) will
result in a failing grade and sanctions by the University. For this class, all assignments are to be
completed by the individual student unless otherwise specified.
If your life services have circumstance that make
Additional Resources:
SSU Writing Center
The SSU Writing Center, located at Schulz 1103, helps SSU students become better writers
and produce better written documents. The knowledgeable and friendly tutors can help you
with a wide array of concerns, from generating good ideas and organizing papers more clearly
to learning citation formats and using semi-colons correctly. Visit the Writing Center website
http://www.sonoma.edu/programs/writingcenter/default.html for more information on how to
schedule time with a tutor.
105
Sonoma State University
School of Arts & Humanities, Department of Art & Art History
Course Number 229 1629, Beginning Ceramics, Section 001, Spring, 2021
Instructor Contact Information
Takming Chuang (he, him, his)
tak@takmingchuang.com 415.503.7510
Feel free to reach out by email, text, or call, and I'll respond within 24 hours.
General Course Information
Due to Covid-19 restrictions, this is a Bisynchronous Online Class for the entire
semester. This means, we’ll have times when we meet together (Synchronous) and
times when we will work independently (Asynchronous).
Synchronous: Mondays 9 AM – 12 PM via Zoom
Asynchronous: Independent studio will be Wednesdays 9 AM – 12 PM
Course Description
A studio course surveying a wide range of ceramic processes, including a variety of
hand building techniques suitable for working with clay at home. Assignments cover
both traditional and sculptural aspects of ceramics. Course includes lectures,
demonstrations, discussion, critiques, and independent studio time.
Course Modality and General Expectations
This course will be delivered entirely online through Canvas. All course materials will
be accessible online through this learning management system and all of your
assignments will be submitted here as well.
Zoom sessions are Mondays 9 AM 0 12 PM.
https://SonomaState.zoom.us/j/86982086632 (Links to an external site.) Please note,
independent studio time will total approximately 14 hours in addition to our Zoom
sessions.
Goals and Learning Objectives
· LO1 Hands on experience with many traditional methods of making
· LO2 Ability to speak about a few artists working with clay
· LO3 Gain knowledge of ceramics vocabulary, processes, tools and materials
· LO4 Know about professional avenues working with clay
· LO5 Comfortable with photographing and post processing images of work
· LO6 Understand historical sources and identify a few points of inspiration
· L07 Articulate preferred method of working and how that impacts personal
style
Required Course Materials
1. Distance Learning Kit from Clay Planet (Links to an external site.)
106
2. Hard boards from Blick Art (one 16 x 20 hardboard, three 9 x 12 hardboard) (Links to an
external site.)
3. roll of paper towels
4. fork
5. knife
6. garbage bags (any color and size)
7. cup or small bowl of water
8. digital photos
9. Adobe Lightroom Software (free for students thru this link)
Other Materials (not required but nice to have)
1. starter tool kit (Links to an external site.)
2. spray bottle
3. apron
4. rags
Grading Policy
There are 6 assignments and 2 projects for this semester in addition to discussion boards
and "reflection" writing assignments and your in-class contribution. Assignments must
be submitted on time for full credit. Everything adds up to 100 points. Your final grade
will be determined on your points at the end of the semester, based on the key below.
Letters A, B, C, and D are passing grades; F means failure. Additional
+ (plus) and - (minus) supplements add or subtract 0.30 grade points per unit. These
apply to the A, B, C, and D grades; there is no A+.
Assignment 1 (coil) : 8 points
Assignment 2 (slab) : 8 points
Assignment 3 (multiples): 8 points
Assignment 4 (series): 8 points
Assignment 5
(components): 8
points Assignment 6
(decorative elements)
: 8 points Project 1: 15
points
Project 2: 15 points
Participation (discussion boards, reflection, and in class
contribution) 22 points A Outstanding 4.0, 91-100 points
A- 3.7, 81-90 points
B+ 3.3, 71 - 80 points
B Commendable 3.0, 61 - 70 points
B- 2.7, 51 - 60 points
C+ 2.3, 41 - 50 points
C Satisfactory 2.0, 31 - 40 points
C- 1.7, 21 - 30 points
D+ 1.3, 11 - 20 points
D Minimum Performance 1, 5 - 10 points
D- .7, 1 - 4 points
F Failure 0, 0 points
Attendance
We will begin promptly at 9 AM Mondays. You are allowed two unexcused absences.
Your grade will drop by 1⁄2 a letter for the third and subsequent unexcused absence. Ex
(A to A-) In addition, every two unexcused lateness will equal one absence. Lateness =
logging in at or after 9:06 AM. Always inform me in advance when you know that you
107
will be absent or late. Lastly, critique days are very important, even on the days that you
are not presenting. Please mark your calendars.
University Policies
There are important University policies that you should be aware of, such as the
add/drop policy; cheating and plagiarism policy, grade appeal procedures;
accommodations for students with disabilities and the diversity vision statement. - SSU
University Policies]Links to an external site.
DSS
If you are a student with a disability and think you may need academic
accommodations, please contact Disability Services for Students (DSS) located in
Schulz 1014A. Please contact DSS as early as possible in order to avoid a delay in
receiving accommodation services. The use of DSS services, including testing
accommodations, requires prior authorization by DSS in compliance with university
policies and procedures. See SSU's policy on Disability Access for StudentsLinks to an
external site..
· Phone: (707) 664-2677
· Phone TTY/TDD: (707) 664-2958
· DSS WebsiteLinks to an external site.
Counseling and Psychological Services (CAPS)
· Phone: (707) 664-2153
· CAPS Website
WEEK TOPIC
Week 1, M
Jan 25
Intros, Syllabus Review, Q&A
Week 1, W
Jan 27
Who makes what? Context and
inspiration
Week 2, M
Feb 1
studio set up, and coil demo
Week 2, W
Feb 3
wedge, clay lifecycle, studio
together
Week 3, M,
Feb 8
slip/score and slab demo
Week 3, W,
Feb 10
studio together
108
Week 4, M,
Feb 15
(Pres Day) no class
Week 4, W,
Feb 17
Critique photos of slab project
Week 5, M,
Feb 22
Pinch exercise, social media as a
tool
Week 5, W,
Feb 24
Critique multiples project
Week 6, M,
Mar 1
3 hrs studio, initiate series project
Week 6, W,
Mar 3
Independent studio
Week 7, M,
Mar 8
Critique series project, 2 hr
studio together
Week 7, W,
Mar 10
Independent studio
Week 8, M,
Mar 15
Critique components project
Week 8, W,
Mar 17
Independent studio
Week 9, M,
Mar 22
(Spring Break)
Week 9, W,
Mar 24
(Spring Break)
Week 10, M,
Mar 29
Lecture, artists & ceramics +
studio together
Week 10, W,
Mar 31
Cesar Chavez Day campus
closed
109
Week 11, M,
Apr 5
Critique decorative elements
project
Week 11, W,
Apr 7
Independent studio
Week 12, M,
Apr 12
Studio time together for Final
Project 1
Week 12, W,
Apr 14
Independent studio
Week 13, M,
Apr 19
Studio time together for Final
Project 1
Week 13, W,
Apr 21
Independent studio
Week 14, M,
Apr 26
Critique Final Project 1
Week 14, W,
Apr 28
Independent studio
Week 15, M,
May 3
Studio time together for Final
Project 2
Week 15, W,
May 5
Independent studio
Week 16, M,
May 10
Critique Final Project 2 (last
class)
Week 16, W,
May 12
Not meeting
F, May 14
Semester ends
110
Sonoma State University
School of Arts & Humanities / Department of Art and Art History
ArtS 236-001 Beginning Sculpture Section 01 Spring 2021
Instructor:
Sahar Khoury
Office Location:
Online
Email:
Office Hours:
Thursday 5:00-6:00 PM
And by Appointment
Class Days/Time:
Tuesday and Thursday / 9:00-11:50 AM
Classroom:
Online
Course Fees:
None
Supplies Cost
Minimum:
$75.00
Studio Technicians: Shannon Edwards & Aimee Graham
Course Prerequisite: Arts 102 Fundamentals of 3D Design or equivalent
Course Overview
This hands-on class is designed to enhance the understanding and practice of contemporary sculpture by
introducing the student to a range of traditional and non-traditional pro-cesses. This class is an introductory
Sculpture course for students who want to gain the basic skills and understanding of materiality, form,
concept, and contemporary art. You will discover new ways to work with sculptural techniques and
processes, engage in group critiques, attend artist talks via zoom, and discuss readings on contemporary art.
Presentations will regularly be given on contemporary art issues and artists, to challenge your expectations
of what defines “sculpture”. Sculpture today is a wide-ranging field and there is no one medium or material
that adequately encompasses it, sculpture is about material processes, ideas, and aesthetics. This field
includes not only the making of discrete objects but also installations, site-specific projects, performance,
and publicly engaged art.
111
Course Objectives
• Introduce methodologies in contemporary art and contemporary cultural production.
• Introduce traditional and experimental techniques in sculptural practice and your ability
to manipulate materials and fabricate artworks.
• Have fun, take risks, and accept learning and creativity as your primary asset.
• Develop your understanding of visual elements with formal and conceptual relationships.
• Develop your critical thinking skills through lectures, readings, discussions, personal
production, and group critique.
Class Structure
Tuesdays are mandatory class days in which the instructor is present with Thursdays reserved for
independent studio time with the exception of one on one consultation with the instructor or peers on
assignment progress. Please note that you will need to schedule studio time beyond the Thursday class time
to successfully complete assignments.
Department of Art & Art History Attendance policy, Studio Art
For full-semester, studio art classes, each student is permitted three (3) absences (excused or unexcused) for
the semester. Absences #4 and #5 are considered unauthorized/unexcused absences. Each of these absences
is equivalent to a FULL- GRADE reduction in your final grade for the course. Absence #6 (or above):
Taken for any reason, medical or otherwise—will result in a failure of the course regardless of the student’s
grade point average nor when it occurs in the semester. Students are responsible for obtaining information
regarding lectures and any assignments missed.
Coming to class late (10 minutes) will also affect your grade. Three late arrivals or three early departures
will be considered the equivalent of missing one class.
Technical topics covered in this course
• Composition and Construction
• Planes and Space
• Paper Mache as an additive, subtractive, and casting material
• Wire as armature and as central subject
• Methods of assemblage, appropriation, and environmental production
• The work of contemporary artists
Recommended Books
Living Materials: A Sculptor’s Handbook
112
Figure Sculpture in Wax and Plaster
Other Readings: PDFs will be provided
Supplies Needed
1. Personal Protective Equipment (N95 mask, Gloves, coveralls or old clothes, protective eye wear)
2. Sketchbook
3. PVA Glue
4. 2 Gal. Small plastic bucket (available at Lowes)
5. Large cleaning sponges (available at Lowes)
6. Brushes (1⁄4”, 1⁄2”, 2” soft bristle)
7. Paper Mache Paste (Dougless and Sturgess sells by the pound)
8. Glue Gun and Glue sticks
9. Blue tape
10. 5 lb spool of rebar tie wire (18 gage for structure and 23 gage for crochet)
11. Needle nose pliers, able to cut
12. Exacto knive, various sizes (industrial, box cutter, craft) and cutting pad/healing mat
13. Measuring tape
Recommended
1. Small heater or fan
2. Tarp or drop cloth
3. Hammer, Drill with bits, screws, saw
4. First Aid kit
Planning, Timing, and Safety
Sculpture requires patience, innovation, and a high tolerance for failure. Leave yourself a lot of room to
experiment and to learn from your materials. We will be working with a lot of paper mache and it takes
time for paper mache to dry (3 days to one week depending pn thickness, temperature, and scale). Develop
a studio practice that involves a daily check in on your projects. It is always suggested to work beyond the
project to allow for experimentation and to break the attachment to preciousness. Always obtain instruction
on a new tool you want to work with. Either I or the shop technicians can guide you through or direct you
to proper resources. SCULPTURE IS A 3D THING, so it needs storage or space when you aren’t working
on it. Think about your work space and how to properly put away your projects, and clean up.
113
General Class Agreements
• You are 100% responsible for your artwork; keep track of it throughout the process.
• Be courteous, clean your mess, help others, and ask for help when you need it.
.
Dropping and Adding
Students are responsible for understanding the policies and procedures about add/drops, academic renewal,
etc. Information on add/drops are available at http://web.sonoma.edu/registration/#additional-reg-info.
Students should be aware of the current deadlines and penalties for adding and dropping classes.
Grading Policy
Attendance and Participation in the studio counts for a total of 25% of your final grade
Participation includes: active participation in discussions, attentiveness during demonstrations and diligent
work habits.
Assignments count for a total of 75% of your final grade. For full credit, all pieces must be:
• Well crafted, creative and imaginative work
• Finished to the appropriate stage of development for presentation at the critiques
Critiques
The quality of your work will be evaluated at the class critiques. The instructor will conduct the critiques
with input from students. Also, you will be expected to participate in the discussion of fellow students’
work. Attendance is mandatory for all critique dates. Skipping a critique is like skipping an exam; your
grade will be lowered one full grade for each class day your work is late.
Critique Date:
Week 4 – Tuesday 2/16 Assignment 1 15% or points
114
Week 9 –Tuesday 3/30 Assignment 2 20%
Week 11 – Tuesday 4/20 Assignment 3 15%
Week 16 – Tuesday 5/11 Self-Designed Final Project 25%
Attendance and Participation, (use of class time) 25% of Final Grade
100 (%) or points
Please note that, like any skill, the only way to get better is to practice! You will be expected to work
outside of class time, and you may need to make more than the given number of objects to advance your
skill level.
Course Requirements
You will complete three assignments and one final project in this course for critique and grading. Plan on
doing many other pieces as you learn the different techniques to prepare the graded work. All art work to
be turned in for a final grade must be finished to the highest level of craftsmanship possible (i.e.,
intentional, took risks, problem solving was involved, met with instructor, etc.)
A few words about creativity: while these assignments may seem limiting, they are given to demonstrate a
technique. If for instance there is a specific subject matter that you would like to explore during this course
(i.e. geometric forms, patterns, figurative forms, organic shapes, political messages, etc.), I would highly
encourage you to do so. This will give your work a consistent framework and structure on which to base
your projects throughout the semester.
Graded Assignments
1. Composition and Construction/ Planes and Space 15%
• Mini Project on composition and construction
• Mini Project on Planes and Space
2. Embodiedl Object 20%
• Historic Periods/ New Foundations: Working with researched images, each student will
build a sculpture that engages with the body using a specific time and place in history as
inspiration. PAPER mache as central material along with other materials will be used (METAL
wire introduction)
3. Fake Borrow or Steal 15%
• Choose an object, fake it, borrow it to incorporate in a sculpture, steal/co-opt the way it’s
manufactured, appropriate. METAL will be main material
115
4. Final Project of your Design 25%
You will be responsible for designing a final project. Any technique or combination of methods can be
used. A project plan must be submitted and approved by the instructor before commencing. The main
objective in this final project is to consider installation.
***Remember that your final grade will be subject to the attendance policy stated above***
Course Schedule
Week
Tuesday
Thursday
1
8/18-8/20
Add/Drop
Period
8/18-8/31
2
8/25-8/27
3
9/1-9/3
4
9/8-9/10
Assignment 1
Due.
CRITIQUE
5
9/15-9/17
Last Day to
Change Grading
Basis
9/15/20
6
9/22-9/24
7
9/29-10/1
8
10/6-10/8
9
10/13-10/15
Assignment 2
Due
CRITIQUE
116
10
10/20-10/22
11
10/27-10/29
Assignment 3
Due
CRITIQUE
12
11/3-11/5
13
11/10-11/12
14
11/17-11/19
15
11/24-11/26
NO CLASS
16
12/1-12/3
Assignment 4
Due
CRITIQUE
Instruction Ends
12/4/20
Final Critique
12/8/20 if
needed
Finals
12/7-12/11/20
This schedule is subject to change with fair notice; please watch for emails
University Policies
Academic integrity
Students should know that the University’s Cheating and Plagiarism Policy is available at
http://www.sonoma.edu/UAffairs/policies/cheating_plagiarism.htm. Your own commitment to learning, as
evidenced by your enrollment at Sonoma State University and the University’s policy, require you to be
honest in all your academic course work.Instances of academic dishonesty will not be tolerated. Cheating
on exams or plagiarism (presenting the work of another as your own, or the use of another person’s ideas
without giving proper credit) will result in a failing grade and sanctions by the University. For this class, all
assignments are to be completed by the individual student unless otherwise specified.
Campus Policy on Disability Access for Students
"If you are a student with a disability and you think you may require accommodations, please register with
the campus office of Disability Services for Students (DSS), located in Salazar Hall - Room 1049, Phone:
(707) 664-2677, TTY/TDD: (707) 664-2958. DSS will provide you with written confirmation of your
verified disability and authorize recommended accommodations. This authorization must be presented to
117
the instructor before any accommodations can be made.". The policy can be found at
http://www.sonoma.edu/uaffairs/policies/disabilitypolicy.htm
Emergency Evacuation
If you are a student with a disability and you think you may require assistance evacuating a building in the
event of a disaster, you should inform your instructor about the type of assistance you may require. You
and your instructor should discuss your specific needs and the type of precautions that should be made in
advance of such an event (i.e. assigning a buddy to guide you down the stairway). We encourage you to
take advantage of these preventative measures as soon as possible and contact the Disability Services for
Students office if other classroom accommodations are needed.
118
ARTS 245
BEGINNING
PRINTMAKING
Nathan
Haenlein Fall
2020
Office: Art 138 Ext.
43205
The black text is my normal syllabus for beginning printmaking. I am adding the changes due
to distance learning in red. This should give you an idea of how the course is now different and
where we can still over lap concepts and projects.
Course Description
This course is an introduction to the materials and techniques of relief/woodcut, intaglio, and
lithography. It assumes the students have already begun a dialog and exploration of personal
voice through drawing. Students who have not taking drawing will have some catch-up to do.
The start of printmaking begins with drawing, and this course demands it.
We will not be doing any lithography or etching, but we will have the opportunity to put
relief printmaking into use and several other DIY types of printmaking
Course Objectives
Learn the basic techniques of relief, intaglio, and lithography. This seems like an
insurmountable task for one semester, but if we will remain focused, hardworking and
flexible we will have success.
Create and cultivate visual ideas through drawing and translate these images into various print
media.
119
Establish a firm foundation in printmaking that will lead to further development within the art,
learn how to be effective in a printmaking studio, and clearly understand workshop safety.
Sadly we will not be working in the printshop, so it is very important to establish some work
space at your home.
Begin a personal vocabulary that pertains to the medium and will allow you to better
understand your work as well as discuss it. We can do this.
Gain an understanding of historical and contemporary issues in printmaking. We can do this.
Maintain a visual history throughout the semester to pull ideas from, i.e. sketchbook,
visual lexicon, etc. We can do this.
Grading Criteria
1. Quality of Work: How well the student demonstrates an understanding of the
medium and his/her ability to respond to the materials and techniques?
2. Effort: A student’s effort is paramount. The quality of one’s work is always
equaled by the amount of time and understanding put into to it. Students will
be expected to finish all assignments given.
3. Class Participation: Students are expected to participate in class discussion
and critiques. In addition, students should be attentive during demonstrations,
mindful of others, and initiating focused and diligent work habits
4. Attendance: I expect students to be on time and ready to work when the class
begins. Students will only be allowed three unexcused absences before
the grade will be lowered. After three you will drop a letter grade for each absence, after ten
unexcused absences you will fail. Also if you late three times that equals unexcused
absence. THIS IS ART DEPARTMENT POLICY.
5. Final Portfolios: Students are required to turn in a final portfolio. The portfolio should
contain two images from each surface worked on over the course of the semester. The
prints should be signed, titled and indicating whether or not an edition was produced.
Grading will weighted towards participation.
Supplies
Set of linocut
tools Brayer/hand
roller Puffy paint
Stamp pad
Set of stamps that are no objective, patterns, letters, etc. Acrylic
gel medium or Polyacrylic finisher
Pens, lots of pens and drawing tools
Rigid foam insulation chunk from Home Depot or equivialent. (It’s PINK) Speedball
rubber plate
120
Package of stencils similar to the stamps
And more things to come over the semester depending on where this work takes us.
Drawing, I can’t stress this enough, you need to become obsessed/possessed in this area.
Also finding/figuring out how YOU draw is at the top of the heap. Every artist draws
different and students sometimes think there’s only one way, that is simply not true and
you only start drawing when you learn how you draw.
This course is challenging at the best of times, so with our distance learning we will need to be
flexible and kind. The most important goal is to continue our educations’ and weather this
storm.
121
Sonoma State
University Arts
and Humanities
ARTS 305, Special Topics in Photography (documentary photography), Fall 2020
Instructor Contact
Information Name:
Chris Grunder
Office Location:
https://SonomaState.zoom.us/j/99157506928 Email:
Office Hours: Mondays 4-5pm and by appointment
General Course Information
Class Days/Time: Monday and Wednesday 9:00pm to 11:50pm
Classroom: https://SonomaState.zoom.us/j/95222420110
Prerequisites: ARTS 212 or consent of Photography Director or Department Chair
Course Description
The career of “documentary photographer” has followed the same trajectory as the radio host: from
non-existence, to the pinnacle of importance in shaping modern societal narratives, to dissolving into the
background of consciousness. There are fewer staff photojournalists in America than there are major
league baseball players. Luckily, the value of an activity isn’t measured entirely by the ability to make a
full time living off of it. More people are taking photographs with a documentary intent now than ever
before and publications (magazines, news papers, TV channels, websites) are pulling images from a
wider variety of people. These changes get at the core questions of what “Documentary Photography” is,
who it is for, and how it is used. In a “post truth” and “alternative fact” society we are forced to contend
with these questions before, during, and after our attempts to create a photographic practice.
Course Goals and Student Learning Objectives
Documentary photography frames and reproduces events and scenes of life from the most public to the
most intimate. In this course, students use photography as a means to explore and give shape to the world
around them while expanding the scope of that world. They are taught to investigate photography as a
social text and consider its aesthetic, ideological, and ethical dimensions. While working on specific
subjects, students will develop awareness of the language of photography and its social, moral, and
political power.
Student Learning Objectives
Upon successful completion of this course, students will:
● Demonstrate awareness of the artistic dimensions of documentary photography
● Discuss ethical issues involved in documentary photography
● Identify the relationship of documentary photography to various facets of their
own social experience
● Demonstrate critical understanding of the political power of documentary photography
● Show ability to construct a story through the deployment of photographic narration
● Analyze and create effective photographs
● Understand research strategies involved in photography
122
● Learn approaches to shooting
● Understand and write text to accompany photography
Course Requirements
● Be prepared to work on editing and/or printing your work in class. You must have
all of your images available for review (as files on your hard drive)
● At the end of the term, you will need to upload a final portfolio of all the work you
completed for each project during the semester for your final grade.
Grading Policy
Students cannot do well in this class if they do not attend class sessions (this seems intuitive but you never
know) and engaged participation in class sessions is also necessary. Credit will be based on these factors
along with work produced for each class assignment/ project and overall progress. Evaluation of
assignments will be on both your technical advancement as well as on the conceptual strength of your
work.
● 20% Participation in discussions and attendance
● 30% for general assignments
● 50% for final project
Someone who meets ALL the course requirements will attain at least a “C” level, signifying competence
regarding the above objectives and will receive credit for the course. You are in control of your grade.
Factors that could negatively affect your progress include:
● Late work
○ Assignments are graded down one letter grade for each day that they are late
● No work
○ Any project or assignment not turned in will count for zero
● Absences
○ The difference between excused absences (with a doctor’s note or
equivalent) and unexcused absences is that I will help you catch up on material
after an excused absence but you’ll be at the mercy of your fellow students for
unexcused absences.
Classroom Protocol
● Attendance: Your time is worth a lot and so is ours. Please don’t waste it by being
habitually late to class.
● Cell phones or computer based distractions: Please turn your cell phone’s off when
entering the class. If for some reason you can’t have it off, then please have it on silent. If for
some reason you can’t have your phone on silent, please discuss it with me and we will work
out a solution. Please do not text during class. It is a small class and you’re not as sneaky as
you think. It distracts me and your fellow students.
● Breaks: We’ll take breaks for water, bathroom, boredom. If you’re in dire need,
just quietly excuse yourself.
● Disability accommodation: Please discuss with me in private or through email any
possible accommodations you may need with regards to a disability and I will see that we do
everything we can to make sure you are able to get the most out of this course.
Computers
123
In this class you will need a computer with ample storage and Adobe CC (Adobe CS6 will work
however we will be going over the latest version in class). This specifically means Photoshop,
Lightroom, and Bridge. Please make sure you have downloaded and installed the latest fixes to your
Adobe software! It is important that you keep your software up to date.
Equipment
● Camera
● Computer (plus way to get images onto your computer)
● Notebook
Helpful Periodicals:
ï Afterimage, www.vsw.org/ai
ï Aperture, www.aperture.org/magazine
ï Artforum, www.artforum.com
ï Art in America, www.artinamericamagazine.com • Blind Spot, www.blindspot.com
ï Cabinet, www.cabinetmagazine.org
ï Daylight, www.daylightmagazine.org
ï Fraction, www.fractionmag.com
ï Frieze, www.frieze.com
ï Lens Culture, www.lensculture.com
ï Magnum, www.magnumphotos.com
ï Photo District News, www.pdnonline.com
University Policies
There are important University policies that you should be aware of, such as the add/drop policy;
cheating and plagiarism policy, grade appeal procedures; accommodations for students with disabilities
and the diversity vision statement. See Important Policies and Procedures for Students.
Dropping and Adding
Students are responsible for understanding the policies and procedures about add/drops, academic
renewal, etc.
Campus Policy on Disability Access for Students
If you are a student with a disability, and think you may need academic accommodations, please contact
Disability Services for Students (DSS) (707) 664-2677, TTY/TDD: (707) 664-2958, as early as possible
in order to avoid a delay in receiving accommodation services. Use of DSS services, including testing
accommodations, requires prior authorization by DSS in compliance with university policies and
procedures. See SSU’s policy on Disability Access for Students.
Academic Integrity
Students should be familiar with the University’s Cheating and Plagiarism Policy. Your own
commitment to learning, as evidenced by your enrollment at Sonoma State University and the
University’s policy, require you to be honest in all your academic course work. Instances of academic
dishonesty will not be tolerated. Cheating on exams or plagiarism (presenting the work of another as
your own, or the use of another person’s ideas without giving proper credit) will result in a failing grade
and sanctions by the University. For this class, all assignments are to be completed by the individual
student unless otherwise specified.
Additional
Resources
124
Writing
Support
The SSU Learning and Academic Resource Center (LARK), helps SSU students become better writers
and produce better written documents. The knowledgeable and friendly tutors can help you with a wide
array of concerns, from generating good ideas and organizing papers more clearly to learning citation
formats and using semi-colons correctly. Visit the Learning and Academic Resource Center (LARK)
Homepage for more information on how to schedule time with a Writing Center tutor.
Counseling and Psychological Services (CAPS)
CAPS is a unit of the division of Student Affairs of Sonoma State University. CAPS offers confidential
counseling to students experiencing personal problems that interfere with their academic progress, career
or well-being. The CAPS website provides information only. If you would like to talk with someone or
make an appointment, please call (707) 664-2153 between 8 a.m. – 5:00 p.m., Monday-Friday during the
academic year.
Library Research Guides and Subject Librarians
The University Library can help you find information and conduct research. You can make an
appointment with a subject librarian, get help online, or drop by the library during open Research Help
Hours. The very helpful subject librarian for art is Mary Wegman ([email protected]) and
you can find some of the resources available to you here (http://libguides.sonoma.edu/?b=s)
Canvas and General IT Help Desk
Contact Information Technology (IT) if you need assistance accessing Canvas or other information about
computing and information technology at SSU. Three ways to contact the IT Help Desk are:
● Call: 707-664-4357
● Email: [email protected]
125
ARTS 310 Intermediate Digital
Imaging Spring 2021
Mon. Wed. 9:00am–11:50am
Office hours by appointment 12-2 Mondays
Instructor: Chris Grunder
Contact:
Sonoma State University Course Description
Covers intermediate digital imaging techniques: lecture/discussion, reading, lab work,
individual projects, and critiques. Topics may include: digital theory, hardware/software
techniques of 2-D artwork, image manipulation, vector-based design, multimedia design,
integration of digital media into traditional practices, and overview of strategies/practices of
contemporary digital artists. Lab fee required. Prerequisite: ARTS 210 or 208.
Goals
Photography is one of the most philosophy/theory heavy arenas of contemporary art. The
discourse around photography and cinema has impacted psychology, sociology, philosophy,
culture studies, media theory, etc. The discourse cannot be ignored. We will dip our toes into
this heady space with readings and discussions of the canonical texts as well as newer voices.
All this while having fun! We'll have shooting assignments/prompts and start to familiarize
ourselves with methods of critiquing work constructively for our own gain and for the gain of
others.
Grading Policy
Students cannot do well in this class if they do not attend class sessions (this seems intuitive
but you never know) Engaged participation in class sessions is also necessary. Credit will be
based on these factors along with work produced for each class assignment/ project and
overall progress. Evaluation of assignments will be based primarily on effort shown as well as
on the conceptual strength of your work.
Grading breakdown
56% Attendance (1% per class period for showing up and 1% per class period for being on time
and engaged)
25% Projects (Assignments will vary in weight, each being explained at the time they are
assigned.)
20% Final Project Critique
126
Materials
● Camera
○ Something to take photographs. Really anything but the ability to
digitize is also a must
● Computer
● Adobe Creative Suite
● Paper and something to take notes with
Official SSU Art Department Attendance Policy
For full-semester, studio art classes, each student is permitted three (3) absences (excused or
unexcused) for the semester. Absences #4 and #5 are considered unauthorized/unexcused
absences. Each of these absences is equivalent to a FULL- GRADE reduction in your final
grade for the course. Absence #6 (or above) Taken for any reason, medical or otherwise—will
result in a failure of the course regardless of the student’s grade point average nor when it
occurs in the semester. Students are responsible for obtaining information regarding lectures
and any assignments missed. Coming to class late (10 minutes) will also affect your grade.
Three late arrivals or three early departures will be considered the equivalent of missing one
class. Note For classes that meet just once a week, the morning session and the afternoon session
will each be treated as a class session. Therefore, a student missing the entire class will be
counted as absent 2 times.
Safety
Most of this doesn’t apply to our class since it’s taught online but it never hurts to refresh
studio protocols. No food/drink is allowed in labs or classrooms where chemicals are used or
art is made. The material safety data sheet (MSDS) binders are located behind the instructor
computer. They show you all of the potentially hazardous materials in any given room. This is
so that if new chemicals are going to be introduced to the room, proper care can be taken to
avoid dangerous mixtures. Do not bring new chemicals into the labs or art building until first
discussing with the studio techs. No chemicals down the drain, only water. Don’t put anything
in front of or on top of the eye wash stations. Do not put anything in front of or on top of
electrical panels. Do not use old food containers to store chemicals. In an emergency, assess
the situation. In case of an evacuation, exit the building in an orderly fashion and meet in the
parking lot.
University Policies
There are important University policies that you should be aware of, such as the add/drop
policy; cheating and plagiarism policy, grade appeal procedures; accommodations for students
127
with disabilities and the diversity vision statement. See Important Policies and Procedures for
Students.
Dropping and Adding
Students are responsible for understanding the policies and procedures about add/drops,
academic renewal, etc. How to Add a Class has step-by-step instructions has step-by-step
instructions. Registration Information lists important deadlines and penalties for adding and
dropping classes.
Campus Policy on Disability Access for Students
If you are a student with a disability, and think you may need academic accommodations,
please contact Disability Services for Students (DSS), located in Salazar Hall, Room 1049,
Voice (707) 664-2677, TTY/TDD (707) 664-2958, as early as possible in order to avoid a
delay in receiving accommodation services. Use of DSS services, including testing
accommodations, requires prior authorization by DSS in compliance with university policies
and procedures. See SSU’s policy on Disability Access for Students.
Emergency Evacuation
If you are a student with a disability and you think you may require assistance evacuating a
building in the event of a disaster, you should inform your instructor about the type of
assistance you may require. You and your instructor should discuss your specific needs and
the type of precautions that should be made in advance of such an event (i.e. assigning a
buddy to guide you down the stairway). We encourage you to take advantage of these
preventative measures as soon as possible and contact the Disability Services for Students
office if other classroom accommodations are needed.
Academic Integrity
Students should be familiar with the University’s Cheating and Plagiarism Policy . Your own
commitment to learning, as evidenced by your enrollment at Sonoma State University and the
University’s policy, require you to be honest in all your academic coursework. Instances of
academic dishonesty will not be tolerated. Cheating on exams or plagiarism (presenting the
work of another as your own, or the use of another person’s ideas without giving proper credit)
will result in a failing grade and sanctions by the University. For this class, all assignments are
to be completed by the individual student unless otherwise specified.
Additional
Resources
Writing
Support
The SSU Learning and Academic Resource Center (LARK), located at Schulz 1103, helps SSU
students become better writers and produce better written documents. The knowledgeable and
friendly tutors can help you with a wide array of concerns, from generating good ideas and
organizing papers more clearly to learning citation formats and using semicolons correctly.
128
Visit the Learning and Academic Resource Center (LARK) Homepage for more information
on how to schedule time with a Writing Center tutor.
Counseling and Psychological Services (CAPS)
CAPS is a unit of the division of Student Affairs of Sonoma State University. CAPS offers
confidential counseling to students experiencing personal problems that interfere with their
academic progress, career or well-being. The CAPS website provides information only. If you
would like to talk with someone or make an appointment, please call (707) 664-2153 between 8
a.m. – 500 p.m., Monday-Friday during the academic year.
Library Research Guides and Subject Librarians
The University Library can help you find information and conduct research. You can make an
appointment with a subject librarian, get help online, or drop by the library during open
Research Help Hours . The very helpful subject librarian for art is Mary Wegman
([email protected]) and you can find some of the resources available to you here
(http//libguides.sonoma.edu/?b=s )
Canvas Course
Canvas is SSU's Learning Management System (LMS). Canvas is the place where you will
find the course syllabus, read posted announcements, participate in online class discussions
with classmates, submit your assignments online and view the materials for this course. To
access the Canvas course use your SSU Seawolf ID and password to log into SSU's Online
Services portal. Click on the Canvas link. When you get to the Canvas Dashboard, click on the
course title you would like to access.
Visit the SSU Canvas Support Center to review frequently asked questions about using
Canvas and also to view a list of technical recommendations.
Canvas Help and Student Computing Resources
Contact Information Technology (IT) if you need assistance accessing Canvas or other
information about computing and information technology at SSU. Three ways to contact the IT
Help Desk are
Call 707-664-4357
Email
u Visit Location
Schulz 1000
Canvas Community
Visit the Canvas Community to view written Instructor Guides, written Student Guides, and/or
Video Guides..
General Student Computing
129
Review the information posted at IT Get Started, Students . There you will find computer use
guidelines and a list of available computer labs
130
ARTS 320 INTERMEDIATE PAINTING
Sonoma State University
Course ARTS 202
Art Department
Intermediate Painting
Spring 2021
PROF. KATE OLTMANN
Phone: (707) 664-2364
Email: [email protected]
OFFICE HOURS Tuesday & Thursday 11:00-12:00. And by appointment.
CLASS TIME - Tuesday Thursday 4:00PM - 6:50PM
CLASS ROOM - Art Building 135
Zoom link - Join Zoom Meeting
Join Zoom Meeting
https://SonomaState.zoom.us/j/81026624427
CLASS OBJECTIVES
The basic intent of the Painting II course is for students to develop an individual practice
of search and discovery in painting. Discovery of new techniques, methods and concepts
will be encouraged to expand one's painting vocabulary. My aim is for each student to
develop their creative ambition in a personal and independent manner.
Principles of color expression, composition, and paint handling and the rendering of
space are introduced in the first part of the class. The course is structured around still-life,
landscape and figure with emphasis placed on discovering more personal subject matter
by the end of the semester.
The following information briefly outlines class policies. Please save this as a reference
to clarify specific issues during the course.
131
· Students understand the tools of expression used in an artistic medium, and the
use of those tools in design/structural form
· Students demonstrate creative use of the tools of expression in writing, visual, or
performing art
· Students achieve personal expression through an artistic medium
· Students develop a personal set of values and tastes in order to perceive and
respond to the arts and the artistic
· Students appreciate artistic events
· Students recognize the roles that such events have in a historical context and in
current society
· Students assimilate artistic awareness into various aspects of personal,
professional, and public life
· Students achieve personal expression through an artistic medium
· Challenges for you this semester:
· To tackle subjects important to you and explore them in a meaningful way with
the painting process
· To strengthen personal language of forms
· To spend more time looking at art using library & local museum/gallery resources
· To start to investigate graduate schools
· To be inventive, daring, and ambitious and in doing so, go beyond what you
already know
· To explore new techniques and subjects
· To aim for a sense of satisfaction in paintings
· To become more aware of how issues of form and content address personal
narrative
· To explore the expressive role of color
· To communicate effectively and honestly while evaluating and troubleshooting
the work of classmates
· To develop a high level of discrimination in evaluating and troubleshooting your
own work
· To arrive at a sense of freedom with painting
· To log the necessary studio hours needed to accomplish these goals
· To continue work on your verbal and written articulation of your ideas
CLASS GOALS
In Intermediate Painting students will work towards a more individualized style and
investigate the role of content in painting through still-life, landscape and figure.
Emphasis will be placed on the development of the skills necessary to convey ideas in a
meaningful way. You are working toward becoming an advanced painting student and
will be encouraged to create art later on from your own sensibilities, processes, and
values, while continuing to explore the fundamentals of artistic expression through the
medium of paint. I hope to help guide you to establish personal criteria and direction as
artist and create a body of work that has consistency and sophistication.
· Students gain technical skills in a variety of media.
· Students recognize that art and its history reflect individuals and their societies.
· Students recognize the diversity of means of expression available to the artist
132
· Students develop an ability to synthesize classroom learning with personal life
· Students acquire the visual and communicative skills with which to articulate
ideas in a
· clear and focused manner.
· Students forge an authentic and individual style in an area of artistic
concentration.
· Students synthesize experience gained in the art department with the broader
liberal arts
· Students identify personal connections with artists in the past and present.
· Students prepare to be a competent, creative, ethical, discerning, and productive
· member of the global art community.
· Students recognize and explore interdisciplinary connections within art historical
periods
· and movements.
· Students synthesize experience gained in the art department with the broader
liberal arts
· Students explore and consider careers appropriate to personal interests, abilities
and competencies.
RECOMMENDED MONTHLY READING/SUBSCRIPTION: ART IN AMERICA,
ARTFORUM & MASTER PAINTERS
GRADING
50% Body of Work
Grades are assigned at midterm and final. Grades are based on overall
development and the degree of ambition with which the problems presented are
addressed. Consideration is given to both the quality and quantity of work.
Students will be required to work outside of class a minimum of 6 hours a
week. There is no specific number of paintings required since the efforts differ
for various artistic expressions.
At midterm and final, individual critiques are scheduled where students present
a portfolio of all of their work. Along with the portfolio, students will be asked
to write a brief summary addressing what they feel they have accomplished and
what they feel they need to focus on to improve.
When I review your work, please keep in mind that I also consider:
· Professionalism
· Course participation
· Work Ethic
· Constructive discussion during class critiques
· Responsiveness to class criticism
133
· Preparation of assigned materials at the appointed time
· Overall Progress
· Growth of painting skills
· Consistency of Effort
30% Quick Studies
One Quick Study a week, this can be from any actual 2 or more objects you have. Always
remember background mid-ground foreground, all value steps, and proportion. Spend at
least 1-2 hours on each Quick Study.
10% Research & Writing
You will be expected to show & discuss which artists you are looking at on a weekly
basis. At major critiques you will be submitting a more formal statement about what your
work is about. I will ask that you to formalize a list of 10 painters who inspire you by the
end of the semester. Throughout the semester you will be asked about these artists, why
they inspire you, and how their work relates to your work, i.e. concept, content, subject,
and paint application. A notebook, sketchbook, or journal should be used for this
exercise. You will be asked to explain why the artist’s work inspires you, speaks to you,
and informs your work. Select artists that are critically reviewed. All of the 10 artists
must be from 1990 to present.
Artist Statement:
A completed artist statement is required at the end of the semester. This will be the first
attempt of many, your statement will evolve as your work does. Keep your artist
statement to no more than 3 paragraphs. I will give you examples. An artist statement is
one of the most complicated and difficult things to write.
10% Professionalism and Participation
10% of your grade is reserved for classroom participation and the degree of
professionalism with which you address the course. I take into account your work ethic,
ambition, constructive
discussion during class critiques, responsiveness to criticism, and preparation of assigned
materials at the appointed time. Additionally, I review the consistency of your work and
the overall growth of skill.
WHEN YOU ARE STUCK
134
Abstraction/Figuration Abstraction/Representation
Flat pattern/Painterly abstraction Organic Form/ Architectural form Near/Far
Thick Painterly/Thin Washy Monochromatic/ Full palette
GRADING ON CANVAS:
A+, A, A- Work that demonstrates exceptional dedication, engagement and technique.
Transcends the assignment in personality and expressiveness. The artist’s process
integrates
creativity with self-analysis, trial-and-error, correction, harmonization and
experimentation.
Amount of time spent commensurate with complexity and ambition of the idea. Artist
extrapolates skillfully from past lessons and skills to create an original artwork.
B+, B, B- Above average art work as above. An original and ambitious interpretation of
the
assignment guidelines albeit less evolved, personal and focused.
C+, C, C- Average work. Meets all of the criteria of the assignment. The work displays
less
personal investment than either an A or B. Art work embodies a simpler, less ambitious
process,
certain issues remain un-resolved leading to a less profound, entertaining or cohesive
message.
The artist demonstrates a superficial rather than thorough understanding of concept,
technique
and terminology. Work is predictable rather than original.
D An artwork with obvious weaknesses. Time spent is insufficient to analyze and correct
mistakes or unclear ideas. The artist strays from the assignment; is not engaged. As a
result, the artwork is perfunctory and lacks personality. Technique is cursory and
insufficient to the concept. Barely sufficient grasp of the assignment. Insufficient time
spent; quality is lacking.
F Clearly a poor effort with little regard for the current assignment or the lessons and
techniques
leading to it.
Highest Lowest Letter
100.00% 93.00 % A
135
92.99 % 90.00 % A-
89.99 % 87.00 % B+
86.99 % 83.00 % B
82.99 % 80.00 % B-
79.99 % 77.00 % C+
76.99 % 73.00 % C
72.99 % 70.00 % C-
69.99 % 67.00 % D+
66.99 % 60.00 % D
59.99 % 0.00 % F
All projects must be completed to receive a passing grade in this course.
Final note: You are asked to bring both care and dedication as your primary contribution
to the course. It is my hope that your commitment will be met with a new sensitivity to
expression in art and an increased capacity for imagination and creation. Drawing is a
revealing form of expression. I look forward to knowing you better as you share yourself
through your work.
ATTENDANCE:
Since the class is not based upon textbook reading and exams, it is imperative that one
attend class. Lectures, class discussions, and visual presentations cannot be reconstructed.
To progress at an acceptable rate, one should attend class conscientiously, arriving on
time and ready to work Students must remain in class for the entire class period, unless
dismissed by the instructor. Arriving late and leaving early will also be penalized. Each
student is permitted three (3) absences for the semester. Students are responsible for
obtaining information regarding lectures and any assignments missed. Absence #4 and
#5 are considered unauthorized/unexcused absences. Each of these absences is equivalent
to a HALF- GRADE reduction in your final grade for the course. Absence #6 (or above):
Taken for any reason, medical or otherwise—will result in a failure of the course
regardless of the student’s grade point average nor when it occurs in the semester.
Coming to class late will also affect your grade.
Three late arrivals or three early departures will be considered the equivalent of missing
one class. Students with 7 absences or more will be dropped from the course. University
Policies. There are important University policies that you should be aware of, such as the
add/drop policy; cheating and plagiarism policy, grade appeal procedures;
accommodations for students with disabilities and the diversity vision statement. See
136
Important Policies and Procedures for Students
http://www.sonoma.edu/uaffairs/policies/studentinfo.shtml.
Dropping and Adding. Students are responsible for understanding the policies and
procedures about add/drops, academic renewal, etc. How to Add a Class.
http://www.sonoma.edu/registration/addclasses.htmlLinks to an external site. has step-by-
step instructions. Registration Information
http://www.sonoma.edu/registration/regannounce.html lists important deadlines and
penalties for adding and dropping classes. Campus Policy on Disability Access for
Students
If you are a student with a disability, and think you may need academic accommodations,
please contact Disability Services for Students (DSS), located in Schulz 1014A, Voice:
(707) 664-2677, TTY/TDD: (707) 664-2958, as early as possible in order to avoid a delay
in receiving accommodation services. Use of DSS services, including testing
accommodations, requires prior authorization by DSS. See SSU’s policy on Disability
Access for Students http://www.sonoma.edu/uaffairs/policies/disabilitypolicy.htmLinks
to an external site..
Inclusive Practices
The diversity of gender identities and expressions, sexualities, racial and ethnic
backgrounds, socioeconomic positions, national origins, political views, and religious
backgrounds of all will be honored and respected in this class.
Accommodations
If your life circumstances require accommodations to make this class accessible to you,
e.g. because you are pregnant, breastfeeding, injured, supporting and ill family member,
please let me know.
Emergency Evacuation
If you are a student with a disability and you think you may require assistance evacuating
a
building in the event of a disaster, you should inform your instructor about the type of
assistance
you may require. You and your instructor should discuss your specific needs and the type
of
precautions that should be made in advance of such an event (i.e. assigning a buddy to
guide
137
you down the stairway). We encourage you to take advantage of these preventative
measures as soon as possible and contact the Disability Services for Students office if
other classroom
accommodations are needed.
Academic Integrity
Students should be familiar with the University’s Cheating and Plagiarism policy
http://www.sonoma.edu/UAffairs/policies/cheating_plagiarism.htm. Your own
commitment to
learning, as evidenced by your enrollment at Sonoma State University and the
University’s policy, require you to be honest in all your academic course work. Instances
of academic dishonesty will not be tolerated. Cheating on exams or plagiarism
(presenting the work of another as your own, or the use of another person’s ideas without
giving proper credit) will result in a failing grade and sanctions by the University. For
this class, all assignments are to be completed by the individual student unless otherwise
specified.
If your life services have circumstance that make
Additional Resources:
SSU Writing Center
The SSU Writing Center, located at Schulz 1103, helps SSU students become better
writers and produce better written documents. The knowledgeable and friendly tutors can
help you with a wide array of concerns, from generating good ideas and organizing
papers more clearly to
learning citation formats and using semi-colons correctly. Visit the Writing Center
website
http://www.sonoma.edu/programs/writingcenter/default.html for more information on
how to schedule time with a tutor.
138
Sonoma State University
School of Arts & Humanities / Department of Art and Art History
ArtS 329 429-001 Int Adv Ceramics Section 01 Spring 2021
Instructor:
Sahar Khoury
Office Location:
Online
Email:
Office Hours:
Wednesday 8:00-9:00AM
And by Appointment
Class Days/Time:
Monday & Wednesday / 1:00-3:50 PM
Classroom:
Online
Course Fees:
None
Supplies Cost
Minimum:
$70.00
INTRODUCTION
This is a ceramics studio course without directed projects. In this class we will explore
sculptural ideas in clay, while continuing to learn new techniques. The class will embark
on small and large-scale projects based on your individual interests and skill level. All
students are required to develop a body of original work that will be assessed at four
points in the semester. Students are responsible for demonstrated learning of the art of
developing glazes and firing kilns. A sketchbook (provided) will be required for this
class.
139
This is an intensive 3-unit class and you will be required to work outside of the allotted
class time. Please plan on a minimum of 4-6 hours per week outside of class time. This is
an activity based class that is intended for you to explore, experiment, and push yourself,
so bring to class a good attitude, curiosity and willingness to get dirty. I encourage each
student to develop a body of work that is uniquely their own throughout the semester.
CLASS STRUCTURE: Lectures and demonstrations are generally presented during the
first hour of class. The remaining period will usually be open for individual work and
consultation. Cleanup will begin at 3:45. The class must clean their wheels, tables and the
sinks before being dismissed. You are required to bring to each class; tools, sketchbook,
clay and appropriate dress, which allows you to work freely with clay, glaze and other
raw materials.
This is a stacked class, meaning that two distinct groups are working within the same
class period. Please note that attendance is required for ALL STUDENTS for the entire
period on all class days.
CLASSROOM PROTOCOL
SUPPLIES: Course fees will not be charged for online ceramics since you will be required to get your own
clay and basic supplies. You will be required to purchase a kit from clayplanet. This kit will have the
basics of what you will need to complete your assignments, with the exception of setting up a work space
and sourcing found/free materials for specific projects. The kit includes:
· 1 Bag Bravo Buff 25 lb bag of clay
· 1 Kemper PTK Tool Kit
· 2 2oz. underglazes in Black, and Mahogany
Additional tools you’ll need:
· Notebook for sketching, painting, drawing ideas out
· Small buckets/containers with lids for water and slip (takeout containers are perfect for
this, I like the quart sizes)
· Wooden boards to work on (2-3 various sizes, but you may start with one roughly 12 x12
in). check craigslist or nextdoor for scraps people are giving away.
· Newspaper that you don’t mind getting messy
· Plastic bags (dry cleaner bags work great because they are clear so you can see your
work, but small shopping bags are fine too)
· A fork or small comb for slipping and scoring. Or you can choose to buy the clay tool
called a serrated rib
· PVA Glue, acrylic paint either from craft store or from Duncan Ceramics if you plan on
keeping your finished objects. Old nail polish, whatever you have handy. We can discuss further
as a class.
· An N95 mask for clean up or carving into unfired clay.
· An old wine bottle or a rolling pin you will only use for this class and set of 6 sticks for
uniform slab rolling or you can always make your own pocket slab roller if you are crafty with
wood
· Spray bottle
Other tools you may want:
· Big sponge and bucket for cleaning up
· Foam from cushions, pillows, dog/cat beds, for resting rounded sculptures on. Again
craigslist a great resource since they will get messy and can not be used again.
· Cornstarch, talcum powder, pantyhose, saranwrap) for mold release
· Ruler
· Brayer for applying slip onto slabs
· Brushes, homemade tools (reference Agnes Varda From Here to There episode 2
140
CLASS STRUCTURE: Setting up your workspace is the first and most important step to this class.
Mondays will be our in class zoom time and will be mandatory for demos, discussion, and critiques.
Wednesdays will mostly be independent studio time with the option of setting up one on one time with me
to discuss progress with your assignments.
Department of Art & Art History
Attendance policy, Studio Art
For full-semester, studio art classes, each student is permitted three (3) absences (excused or unexcused) for
the semester. Absences #4 and #5 are considered unauthorized/unexcused absences. Each of these absences
is equivalent to a FULL- GRADE reduction in your final grade for the course. Absence #6 (or above):
Taken for any reason, medical or otherwise—will result in a failure of the course regardless of the student’s
grade point average nor when it occurs in the semester. Students are responsible for obtaining information
regarding lectures and any assignments missed.
Coming to class late (10 minutes) will also affect your grade. Three late arrivals or three early departures
will be considered the equivalent of missing one class.
Technical topics covered in this course
• Researching techniques
• Proposal of semester goals with timeline
• Creating objects as a means of communicating or commenting on an idea
• Methods of finding inspiration, including historical research, specific activities and direct
observation.
• The artistic work of contemporary ceramic artists
Student Learning Objectives this learning Outcomes (LO)
Upon successful completion of this course, students will be able to:
LO1 Prepare materials and create completed works from modeled, press molding, and hand built clay.
LO2 Creating objects as a means of communicating or commenting on an idea
LO3 Effectively utilize texture, colored slips and underglazes.
141
LO4 Find methods of inspiration, including historical research, specific activities and direct observation
LO5 LO6 Discuss the work of other artists in the class in a critique setting as well as their own.
Texts/Readings
Recommended Books:
· Hands in Clay, by John Toki
· Vitamin C: Clay and Ceramic in Contemporary Art
Planning and Timing
Ceramics is a process that cannot be done in one sitting. You will have to plan your time and manage your
projects to get everything completed by the critique dates. Especially if you are interested in working in
larger scales, you will need a few days for your sculpture to firm up to begin adding more or to slip
decorate. Patience is everything with ceramics.
General Class Rules
• Please refrain from taking cell phone calls or ‘texting’ during class.
• Try to eat before class so we can all focus and be attentive
• Consistently arriving late for class and leaving early exhibits a lack of respect for your classmates,
your artwork, and this course. Ultimately, your grade to be lowered for the course.
• Off-topic chatting is distracting to others in zoom
• You are 100% responsible for your artwork; keep track of it throughout the process.
• Be courteous, clean your mess, help others, and ask for help when you need it.
• Lectures and demonstrations are not repeated, and announcements are made throughout the class.
Dropping and Adding
142
Students are responsible for understanding the policies and procedures about add/drops, academic renewal,
etc. Information on add/drops are available at http://web.sonoma.edu/registration/#additional-reg-info.
Students should be aware of the current deadlines and penalties for adding and dropping classes.
Grading Policy
Attendance and Participation in the studio counts for a total of 25% of your final grade
Participation includes: Active participation in discussions, attentiveness during demonstrations and diligent
work habits.
Assignments count for a total of 75% of your final grade. For full credit, all pieces must be:
• Well crafted, creative and imaginative work
• Finished to the appropriate stage of development for presentation at the critiques
Critiques
The quality of your work will be evaluated at the class critiques. The instructor will conduct the critiques
with input from students. Also, you will be expected to participate in the discussion of fellow students’
work. Attendance is mandatory for all critique dates. Skipping a critique is like skipping an exam; your
grade will be lowered one full grade for each class day your work is late.
Critique Date:
Week 4 –Assignment 1 15 fist size objects 15% or points
Week 9 –Assignment 2 1- 3 sculptures 20%
Week 11 –Assignment 3 1 glazed sculpture 15%
Week 17 –Assignment 4 1-3 glazed or unfired works 25%
Attendance and Participation, (use of class time) 25% of Final Grade
100 (%) or points
143
Please note that, like any skill, the only way to get better is to practice! You will be expected to work
outside of class time, and you may need to make more than the given number of objects to advance your
skill level.
Course Requirements
You will complete four assignments: three will have guidelines and the fourth final assignment will be self
directed and inspired. Plan on doing many other pieces as you learn the different techniques to prepare the
graded work.
A few words about creativity: while these assignments may seem limiting, they are given to demonstrate a
technique. If for instance there is a specific subject matter that you would like to explore during this course
(i.e. geometric forms, patterns, figurative forms, organic shapes, political messages, etc.), I would highly
encourage you to do so. This will give your work a consistent framework and structure on which to base
your projects throughout the semester.
Clay projects will not be fired due to Campus lockdown this Fall Semester.
***Remember that your final grade will be subject to the attendance policy stated above***
University Policies
Academic integrity
Students should know that the University’s Cheating and Plagiarism Policy is available at
http://www.sonoma.edu/UAffairs/policies/cheating_plagiarism.htm. Your own commitment to learning, as
evidenced by your enrollment at Sonoma State University and the University’s policy, require you to be
honest in all your academic course work.
Instances of academic dishonesty will not be tolerated. Cheating on exams or plagiarism (presenting the
work of another as your own, or the use of another person’s ideas without giving proper credit) will result
in a failing grade and sanctions by the University. For this class, all assignments are to be completed by the
individual student unless otherwise specified.
Campus Policy on Disability Access for Students
"If you are a student with a disability and you think you may require accommodations, please register with
the campus office of Disability Services for Students (DSS), located in Salazar Hall - Room 1049, Phone:
(707) 664-2677, TTY/TDD: (707) 664-2958. DSS will provide you with written confirmation of your
verified disability and authorize recommended accommodations. This authorization must be presented to
the instructor before any accommodations can be made.". The policy can be found at
http://www.sonoma.edu/uaffairs/policies/disabilitypolicy.htm
144
Sonoma State University
School of Arts & Humanities / Department of Art and Art History
ArtS 336-001/446-001 Int/Adv Sculpture Section 01 Spring 2021
Instructor:
Sahar Khoury
Office Location:
Online
Email:
Office Hours:
Thursday 4:00-5:00 PM
And by Appointment
Class Days/Time:
Tuesday and Thursday / 1:00-3:50 PM
Classroom:
Online
Course Fees:
None
Supplies Cost
Minimum:
$125.00
Studio Technicians: Shannon Edwards & Aimee Graham
INTRODUCTION
Intermediate and Advanced Sculpture
A studio course with directed projects. Emphasis is on content and developing a personal sculptural
vocabulary through experimentation with traditional and non-traditional materials and processes. Class
discussions, group critiques, field trips, short writing assignments. Textbook required. Intermediate Sculpture
is repeatable for up to 6 units. Advanced Sculpture may be repeated for credit up to a maximum of 15 units,
more for BFA.
Course Prerequisites: ArtS 104 Fundamentals of 3D Design OR EQUIVALENT
ArtS 236 Beginning Sculpture
ArtS 103 Shop Safety (John-Scott Forester)
Recommended: ArtS 491 Visiting Artists Lecture Series (GMC Schroeder)
145
Course Overview and Objectives:
The objective of this class is to provide the student with an opportunity to develop and explore ideas through the
experimentation of concepts presented each semester. Within that framework, students are encouraged to create
works using a range of materials and processes in order to realize and broaden their visual arts praxis.
Assessment:
The main assessment criteria are the student’s demonstration to develop independent ideas and to produce
authentic works of art. Students are graded on effort, development of ideas, quality of artwork, effective use of
studio time, and participation in class discussions and critiques.
Group critiques and presentations are scheduled throughout the semester where artwork is shown and evaluated.
Conceptual realization, quality of craft, originality, and student engagement are the benchmarks by which the
student’s artwork is assessed.
It is the student’s responsibility to meet their educational goals by effectively communicating and responding
appropriately when recommendations are made. Students who perform the minimum requirements will receive
grades reflecting their minimal effort.
Department of Art & Art History
Attendance policy, Studio Art
For full-semester, studio art classes, each student is permitted three (3) absences (excused or unexcused) for
the semester. Absences #4 and #5 are considered unauthorized/unexcused absences. Each of these absences
is equivalent to a FULL- GRADE reduction in your final grade for the course. Absence #6 (or above):
Taken for any reason, medical or otherwise—will result in a failure of the course regardless of the student’s
grade point average nor when it occurs in the semester. Students are responsible for obtaining information
regarding lectures and any assignments missed.
Coming to class late (10 minutes) will also affect your grade. Three late arrivals or three early departures
will be considered the equivalent of missing one class.
Course Requirements
● Attendance/Participation/Effective Use of Studio Time
● Project Critiques
● Presentations/proposal development
University Grading System
A Outstanding 4.0
B Commendable 3.0
C Satisfactory 2.0
D Minimum Performance 1.0
F Failure 0
There are important University policies that you should be aware of, such as the add/drop policy; cheating and
plagiarism policy, grade appeal procedures; accommodations for students with disabilities and the diversity vision
statement. Go to this URL to find them: http://www.sonoma.edu/uaffairs/policies/studentinfo.shtml
Required Texts/Readings
PDFs will be provided
Dropping and Adding
Students are responsible for understanding the policies and procedures about add/drops, academic renewal,
etc. Information on add/drops are available at http://web.sonoma.edu/registration/#additional-reg-info.
Students should be aware of the current deadlines and penalties for adding and dropping classes.
146
Grading Policy
Attendance and Participation in the studio counts for a total of 25% of your final grade
Participation includes: Cleaning up, active participation in discussions, attentiveness during demonstrations
and diligent work habits.
Assignments count for a total of 75% of your final grade. For full credit, all pieces must be:
• Well crafted, creative and imaginative work
• Finished to the appropriate stage of development for presentation at the critiques
Critiques
The quality of your work will be evaluated at the class critiques. The instructor will facilitate the critiques
with input from students. Also, you will be expected to participate in the discussion of fellow students’
work. Attendance is mandatory for all critique dates. Skipping a critique is like skipping an exam; your
grade will be lowered one full grade for each class day your work is late.
Critique Dates:
Week 4 – Tuesday 7 sculptures 7 days 7 materials 15% or points
Week 9 – Tuesday Midterm Critique 20%
Week 11 – Tuesday Mini Critique-rework 15%
Week 16 – Tuesday Researched Final Project 25%
Attendance and Participation, (use of class time) 25% of Final Grade
100 (%) or points
***Remember that your final grade will be subject to the attendance policy stated above***
Academic integrity
Students should know that the University’s Cheating and Plagiarism Policy is available at
http://www.sonoma.edu/UAffairs/policies/cheating_plagiarism.htm. Your own commitment to learning, as
147
evidenced by your enrollment at Sonoma State University and the University’s policy, require you to be
honest in all your academic course work.
Instances of academic dishonesty will not be tolerated. Cheating on exams or plagiarism (presenting the
work of another as your own, or the use of another person’s ideas without giving proper credit) will result
in a failing grade and sanctions by the University. For this class, all assignments are to be completed by the
individual student unless otherwise specified.
Campus Policy on Disability Access for Students
"If you are a student with a disability and you think you may require accommodations, please register with
the campus office of Disability Services for Students (DSS), located in Salazar Hall - Room 1049, Phone:
(707) 664-2677, TTY/TDD: (707) 664-2958. DSS will provide you with written confirmation of your
verified disability and authorize recommended accommodations. This authorization must be presented to
the instructor before any
148
ARTS 342/442
I N T E R M E D I A T E / A D V A N C E
D L I T H O G R A P H Y
NATHAN HAENLEIN
Fall 2020
Office: ART 138 Ext. 43205
The black text is my normal syllabus for beginning printmaking. I am adding the changes due
to distance learning in red. This should give you an idea of how the course is now different and
where we can still over lap concepts and projects.
Course Description
This course is a continuation of exploring various lithographic print media and techniques, as well as a
forum for the discussion of, and concentration around, finding new personal territory for students in
printmaking. We will explore historical as well as new technologies in the production of images, and
build discourse around the use of these materials and ideas.
Will of course not be in the studios, so the above statement is still true in concept but not in practice. This
class is a continuation of building ideas, objects, and process around your body of work.
Course Objectives
Further development of personal technical skills needed in the production of lithographs and the
introduction of new technical problems and materials. Sorry no lithographs.
Continued growth when discussing works and cultivating a personal visual language pertaining to
lithography (print). Where do I fit? What kind of prints do I want to make or should make? Again, sorry
no lithographs, but we will devise a plan for making alternative prints and objects.
As a class we will look further into practice and discourse around contemporary issues, concepts, and
artists. How do we fit into this situation? Should we fit?
Building a personal narrative that starts to explain the images produced and how these images fit into the
production of a body of work. And make some personal goals that need to be reached in order to maintain
growth.
Understanding the language of printmaking and what the printed mark represents. The sooner we get a
good grasp on this the sooner you will be able to visually speak.
Introduce Adobe Photoshop/Illustrator. Probably not.
Incorporate, quote, emulate some form of digital media. Additionally, find how this new technology
informs print/picture making.
Course Requirements
149
Students must have a strong background in drawing and will be expected to demonstrate this in the
execution of prints. Also students must maintain some form a visual history, i.e. sketchbook, visual
lexicon, etc.
PARTICIPATION. You must be present for all demonstrations and critiques. If you miss a demonstration
it will not be repeated.
TIME. For every hour of class expect to spend at least three outside of class working. I know this is
said all the time in almost every class you take or will take in college, but I mean it, this course is
mentally and physically challenging and hopefully upon the completion of the course you will have
something to show for this dedication of time. We will be working completely independantly.
Grading Criteria
Grades will be determined by the student’s ability in the areas listed below.
1. Quality of Work: How well the student demonstrates an understanding of the medium and
his/her ability to respond to the material or technique?
2. Effort: A student’s effort is paramount. The quality of one’s work is always
equaled by the amount of time and understanding put into to it. Students will
be expected to finish all assignments given.
3. Class Participation: Students are expected to participate in class discussion
and critiques. In addition, students should be attentive during
demonstrations, mindful of others, and initiating focused and diligent work
habits
4. Final Portfolios: Students are required to turn in a final portfolio. The portfolio
should contain images from each surface worked on over the course of the semester. The prints
should be signed, titled and indicating whether or not an edition was produced. No portfolios will be
turned in.
Grades will be weighted towards participation. We are in extrodinary times and need to support
eachother as we continue our education. This is temporary, so let’s weather this storm together with
kindness and flexibility.
We can do this!
150
ARTS 302/402
INTERMEDIATE/ADVANCED DRAWING
Nathan Haenlein Fall 2020
Office: ART 138 Ext. 43025 [email protected]
The red indicates changes due to distance learning.
Course Description
This course is designed as an independent seminar for the advanced drawing student.
Additional, this class will serve as a forum for advanced research surrounding contemporary
media, themes, and concepts associated with the graphic arts.
Course Objective
Solidify a working method through drawing and begin a consistent body of work that
clearly demonstrates a personal visual vocabulary.
Devise a strategy for independent research that will allow you to accomplish your personal
goals set at the beginning of the semester.
Continued interpretation of the relationships in drawing and your decision-making
processes. Maintaining a visual journal for investigating ideas and documenting progress.
Discuss contemporary issues, concepts, and artists. Where do you look for inspiration? Who is
making work that influences your current activities? How does your work fit into a contemporary
realm of thought?
Grading Criteria
Grades will be determined by the student’s ability in the areas listed below.
Quality
How well has a student demonstrated an understanding of the course material in their work?
Effort
The effort put forth has a direct correlation to the quality of a student’s work. Has the
student completed the given assignments? Does the student push himself or herself to finish
the image?
Participation
Are the student’s work habits focused and responsive to the material presented? Does the
student participate in class discussions?
Attendance will be mostly based on our agreed upon times and schedules.
Grades will be weighted towards participation.
151
ARTS 420 ADVANCED
PAINTING
PROF. CLEA FELIEN
Email: [email protected]
OFFICE HOURS - TUES 11-12 –and by appointment
CLASS ROOM Art Building 130
ZOOM LINK - https://SonomaState.zoom.us/j/86186267767
COURSE DESCRIPTION:
Continued studio work in painting in oils and/or acrylics. May be repeated by art majors only
for credit up to a maximum of 9 units, more for B.F.A. students. Prerequisite: ARTS 320.
Laboratory fee payable at time of registration.
This course is designed as an independent seminar for the advanced painting
student. Additionally, this class will serve as a forum for advanced research surrounding
contemporary media, themes, and concepts associated with the contemporary practice in
the arts.
COURSE OBJECTIVES:
· Solidify a working method through painting and begin a consistent body of work that
clearly demonstrates a personal visual vocabulary.
· Devise a strategy for independent research that will allow you to accomplish your
personal goals set at the beginning of the semester.
· Continued interpretation of the relationships in painting and your decision-
making processes.
· Maintaining a visual journal for investigating ideas and documenting progress.
· Discuss contemporary issues, concepts, and artists. Where do you look for
inspiration? Who is making work that influences your current activities? How does your work
fit into a contemporary realm of thought?
STUDENT LEARNING OUTCOMES:
Visual understanding
1. Uses Acute visual observations to make decisions about the overall
design and concept of the artwork; and displays understanding of visual
perception.
152
2. Asks critical questions about artistic processes and problems and
demonstrates thoughtful investigation of concepts and media.
Technical and Professional Skills
1. Develops and produces a cohesive body of work that displays
significant experimentation and evolution.
2. Demonstrates technical proficiency with the chosen medium; artwork
consistently displays a high level of finish.
Critical Engagement:
1. Expresses complex ideas through an independent approach to the selection
and manipulation of materials; and integrates concepts and contexts beyond the
studio classroom using visual, oral and written skills.
the beginning of the semester. Throughout the semester you will be asked about these artists, why
they inspire you, and how their work relates to your work, i.e. concept, content, subject, and paint
application.
10% Participation and Professionalism
10% of your grade is reserved for classroom participation and the degree of professionalism
with which you address the course. I consider your work ethic, ambition, constructive
discussion during class critiques, responsiveness to criticism, and preparation of assigned
materials at the appointed time. Additionally, I review the consistency of your work and the
overall growth of skill
ATTENDANCE
It is important that students attend class. Lectures, class discussions, visual presentations, etc.
cannot be reconstructed. Students must remain in class for the entire class period, unless
dismissed by the instructor. Arriving late and leaving early will also be penalized. Each
student is permitted three (3) absences for the semester. Students are responsible for
obtaining information regarding lectures and any assignments missed. Absence #4 is
considered unauthorized/unexcused absences. Each absence after #3 results in a FULL
LETTER GRADE reduction in your final grade for the course. Coming to class late will also
affect your grade.
Three late arrivals or three early departures will be considered the equivalent of missing
one class. Students with 7 absences or more will be dropped from the course.
In class work and homework Grading Criteria (as on Canvas):
A+, A, A- Work that demonstrates exceptional dedication, engagement and technique.
Amount of time spent commensurate with complexity and ambition of the assignment.
B+, B, B Above average art work as above. An original and ambitious application of the
assignment guidelines albeit less evolved, personal and focused.
153
C+, C, C- Average work. Meets all of the criteria of the assignment. Basic grasp of the
assignment. The work displays less personal investment than either an A or B. Embodies less
ambition and competency.
D An artwork with obvious weaknesses. Time spent is insufficient to analyze and correct
mistakes or confused ideas. The artist strays from the assignment; is not engaged. As a
result, the artwork is perfunctory and lacks personality. Technique is cursory and insufficient
to the concept. Barely sufficient grasp of the assignment. Insufficient time spent; quality is
lacking.
F Clearly a poor effort with little regard for the current assignment or the lessons and
techniques leading to it. Insufficient grasp of the assignment.
Highest
Lowest
Lette
r
100.00
%
93.00 %
A
92.99
%
90.00 %
A-
89.99
%
87.00 %
B+
Highest
Lowest
Lette
r
86.99
%
83.00 %
B
82.99
%
80.00 %
B-
79.99
%
77.00 %
C+
76.99
%
73.00 %
C
72.99
%
70.00 %
C-
69.99
%
67.00 %
D+
154
66.99
%
60.00 %
D
59.99
%
0.00 %
F
Inclusive Practices The diversity of gender identities and expressions, sexualities,
racial and ethnic backgrounds, socioeconomic positions, national origins, political
views, and religious backgrounds will be honored and respected in this class.
Accommodations If your life circumstances require accommodations to make this
class accessible to you, e.g. because you are pregnant, breastfeeding, injured, supporting and
ill family member, please let me know.
Voice: (707) 664-2677, TTY/TDD: (707) 664-2958, as early as possible in order to avoid a
delay in receiving accommodation services. Use of DSS services, including testing
accommodations, requires prior authorization by DSS. See SSU’s policy on Disability Access
for Students http://www.sonoma.edu/uaffairs/policies/disabilitypolicy.htm.
Emergency Evacuation
155
If you are a student with a disability and you think you may require assistance evacuating a
building in the event of a disaster, you should inform your instructor about the type of
assistance you may require. You and your instructor should discuss your specific needs and
the type of precautions that should be made in advance of such an event (i.e. assigning a
buddy to guide you down the stairway). We encourage you to take advantage of these
preventative measures as soon as possible and contact the Disability Services for Students
office if other classroom accommodations are needed.
Academic Integrity
Students should be familiar with the University’s Cheating and Plagiarism policy
http://www.sonoma.edu/UAffairs/policies/cheating_plagiarism.htm. Your own commitment to
learning, as evidenced by your enrollment at Sonoma State University and the University’s
policy, require you to be honest in all your academic course work. Instances of academic
dishonesty will not be tolerated. Cheating on exams or plagiarism (presenting the work of
another as your own, or the use of another person’s ideas without giving proper credit) will
result in a failing grade and sanctions by the University. For this class, all assignments are to
be completed by the individual student unless otherwise specified.
Additional Resources:
SSU Writing Center
The SSU Writing Center, located at Schulz 1103, helps SSU students become better writers
and produce better written documents. The knowledgeable and friendly tutors can help you
with a wide array of concerns, from generating good ideas and organizing papers more clearly
to learning citation formats and using semi-colons correctly. Visit the Writing Center website
http://www.sonoma.edu/programs/writingcenter/default.html for more information on how to
schedule time with a tutor.
Counseling and Psychological Services (CAPS)
CAPS is a unit of the division of Student Affairs of Sonoma State University. CAPS
offers confidential counseling to students experiencing personal problems that interfere
with their academic progress, career or well-being. The CAPS website
http://www.sonoma.edu/counselingctr provides information only. If you would like to talk
with someone or make an appointment, please call (707) 664-2153 between 8 a.m. - 4:30
p.m., Monday-Friday.
156
Professor: Sena Clara Creston
Class Times: T/Th 1:00am-3:50pm
Class Location: Zoom Meeting ID 824 3440 2981
Email: crestons@sonoma.edu
Office Hours: T 4pm-5:pm, Th 8-9
FA 457
Advanced Photography
Course Description
ArtS 457 Advanced Photography is an advanced studio course, with an emphasis on contemporary
photography and student critiques, in conjunction with studio work and printing. Students create a body of
work for the semester, culminating with an individual presentation of a final, professional portfolio. This
course is designed to teach you how to make images. You will gain a facility in the use of the camera,
editing, lighting, and printing, as a viable photographic media. In addition, you will develop a body of
work that effectively explores the act of creation and the use of the photographic processes. We will be
considering photographic techniques in the context of aesthetic and conceptual possibilities. Technical
proficiency is used as a tool for successful conceptual articulation.
Prerequisites: ARTS 208 and two semesters of ARTS 308 or consent of instructor, based on portfolio
review. May be repeated for credit.
Course Materials Camera Computer
Storage Media (Flash Drive and Portable Hard Drive)
The Photograph as Contemporary Art (Charlotte Cotton) 0-500-20380-6 (PACA)
Student Learning Objectives (SLO)
A. Demonstrate competency Using Cameras
B. Demonstrate competency Using Photographic Techniques
C. Demonstrate competency using editing techniques
D. Develop the ability to give and receive criticism for the pursuit of creative works
E. Become familiar with and critical of historical and contemporary photographic practices.
SSU General Education Mission, Goals, and Objectives (MGOs)
https://senate.sonoma.edu/resolutions/statement-mission-goals-0bjectives-general-education-
sonoma- state-university
Requirements:
Projects will be given during the course of the semester. The course will utilize discussion, lectures,
readings and critiques to focus and generate discussion as well as to inspire. Preparation for and
participation in discussions and readings is mandatory.
Projects: Creative projects are the bulk of this class. I this course we will have two extensive projects,
Narrative and Documentary, broken down into 10 smaller projects; Capture, Narrative, Light, Portraiture,
Constructed Narrative, Manipulated Narrative, Environment, Street Photography, Documentary, and Final
Project. In order for this class to be a truly useful one, it is essential that you complete the assignments in
a timely fashion. Due to the pace at which we will move through these projects, it is critical that you make
a consistent and concerted effort in class. For this reason, showing incomplete work and being present
during the lectures, discussions, and critiques, is better than being absent.
Technical Preparedness: Technical failure is a reality. This may include, but is not limited to storage media
malfunction, operating system crash or physical damage to hard-drives. Please know that I do not consider
this an acceptable excuse for failure to complete a project on time, but rather a challenge that you must
prepare for. I therefore require you save your projects regularly and create a back-up copy of your project
every time you complete a substantial change. Additionally, software questions will arise as you are
157
working. For this reason, it is recommended that you front-load technical work ensuring that you have
time to seek assistance with software questions prior to an assignment’s due date.
Presentation
You are required to do a presentation on your work and your influences. Please be prepared to give a
ten- minute presentation about the trajectory of your work and how other artists have influenced you.
Extra Credit: Review of approved art shows, lectures, documentaries, and events count towards up to 5
points of extra credit. A 1000-word paper reviewing the work and addressing how it relates to your own
must be submitted in the extra credit section of canvas to receive up to 1 point of extra credit each towards
your final grade.
Evaluation
Your grade will ultimately be determined by project assignments, presentation, online posts, and
participation.
Grading Standards
A 93-100 Excellent work. Above and beyond expectations
A- 90 – 92
B+ 87 – 89
B 83 – 86 Above average work, extra effort is apparent in the work
B- 80 – 82
C+ 77 – 79
C 73 – 76 Average work, you have satisfied the requirements
C- 70 – 72
D+ 67 – 69
D 63 – 66 Poor, problems with craft, concepts and/or following the assignment
D- 60 – 62
F 59 and below. Failure
Your final grade will be determined by my overall judgment in my role as professor of the course.
Attendance
Class is offered bisynchronously via Zoom. If you are unable to attend, review the online and recorded
zoom lecture. It is very important you are at critique days, if you have a serious reason to miss them, you
will submit your critiques via peer reviews. Lectures will cover material outside the scope of the
recommended tutorials and readings for this class. Of equal importance will be the many in-class
discussions, workshops, and exercises. For these reasons, it is important that you prepare for and participate
in every class. Workdays are specifically designed to allow you ample class time to complete the assigned
projects. In
addition, they are a great time to get help with any technical or conceptual issues that you might encounter.
If you are unable to attend work days in person, you may receive support via zoom discussion boards.
2 Week Fire Project
If classes are cancelled and we cannot use electronics during Fire Shutoff, you are permitted to pause your
current project and pick up the alternative Project, The Medium is the Message, to replace your final project.
The class schedule will be delayed 2 weeks until we resume classes.
Disability: I want you to succeed in this class. Disability Accommodations may be available if you need
them in order to fully participate in this class because of a disability.
Schedule
158
Module 1: Capture
Week 1, 1/25
In Class
· Introduction
· Camera
· Composition
· Time
· Place
· Decisive Image
· Lightroom
· Adobe Photoshop
· Introduce Project 1: Capture Assignment
· Project 1
· PACA Introduction
Module 2: Narrative
Week 2, 2/2
Due
· Project 1
· PACA
Introduction
In Class
· Critique Project 1
· Narrative
· Project 2: Narrative
· Adobe Photoshop
· Color
Management
Assignment
· Project 2: Narrative
· PACA Ch 1
Week 3, 2/9
Due
· PACA Ch1
· Project 2: Narrative In Class
· Critique Project 2
· Light
o Studio Light
o Low Light
o Mixed Might
o Nighttime Photography
o Painting with Light
· Project 3: Light Assignment
· Project 3: Light
· Project 4: Portrait
· PACA Ch 2
Week 4, 2/16
Due
· PACA Ch 2 In Class
· Project 3: Light Assignment
· Finish Project 3: Light
159
Week 5, 2/23
Due
· Project 4 Portrait
· Project 3: Light
In Class
· Project 5:
Constructed Narrative
Assignment
· Project 5: Constructed Narrative
· PACA Ch3
Week 6, 3/2
Due
· PACA Ch 3
In Class
· Project 5:
Constructed Narrative
Assignment
· Finish Project 5: Constructed Narrative
Week 7, 3/9
Due
· Project 5: Constructed Narrative
In Class
· Critique Project 5: Constructed Narrative
· Project 6: Manipulated Narrative
· Adobe Photoshop Assignments
· Project 6: Manipulated Narrative
· PACA Ch 4
Week 8, 3/16
Due
· PACA Ch 4
In Class
· Adobe Photoshop
· Project 6:
Manipulated Narrative
Assignment
· Finish Project 6: Manipulated Narrative
Week 9, 3/23 Spring Break
Module 3 Documentary
Week 10, 3/30
Due
· Project 6:
Manipulated Narrative
In Class
· Critique Project 6: Manipulated Narrative
· Critique Narrative Project as a Whole
· Street Photography
· Landscape Photography
160
· Architectural Photography
· Interior Photography
· Project 7: The Environment
Assignment
· Project 7: The Environment
· Project 8: Street Photography
· PACA Ch5
Week 11, 4/6
Due
· Project 7: The Environment
· Project 8: Street Photography
· PACA Ch5
In Class
· Critique Project 7: The Environment
· Critique Project 8: Street Photography
· Documentary
· Photojournalism
· Project 9: Documentary/Photojournalism Assignment
· Project 9: Documentary/Photojournalism
· PACA Ch 6
Week 12, 4/13
Due
· PACA Ch6 In Class
· Project 9:
Documentary/Photojournalism
Assignment
· Finish Project 9: Documentary/Photojournalism
Week 13, 4/20
Due
· Project 9:
Documentary/Photojournalism
In Class
· Project 10: Final Project
· Extended projects
· Sequence Assignment
· Project 10: Final Project
· Artist Presentations
Week 14, 4/27
Due
· Artist
Presentations
In Class
· Project 10:
Final Project
Assignment
· Project 10: Final Project
· Artist Presentations
· PACA Ch7
Week 15, 5/4
161
Due
· PACA Ch7
In Class
· Project 10:
Final Project
Assignment
· Finish Project 10: Final Project
Week 16, 5/11
In Class
· Project 10:
Final Project
Assignment
· Finish Project 10: Final Project
Week 17, 5/18 Finals
Due
· Project 10:
Final Project
In Class
· Critique Project 10: Final Project
162
Professor: Sena Clara Creston
Class Times: T/Th 1-3:50pm
Class Location: ZOOM
Email: [email protected]
Office Hours: Tu/Th 4pm-5:00pm and by appointment
ARTS 458 Advanced
Media Arts
Course Description
Advanced Media Arts is a studio course that introduces concepts and techniques of
contemporary extended photographic practice, including basic video, installation and
experimental art techniques as well as cross-disciplinary possibilities and contextual
issues in the presentation of art works. Lab fee payable at time of registration. May be
repeated for credit. Prerequisite: ARTS 310 or consent of Photography Director or
Department Chair
In this course, you will gain a facility for product, character, lighting, scenes, animation
and sculpture design. In addition, you will develop a body of work that effectively
explores media arts in 2D, 3D, and 4D in the context of aesthetic and conceptual
possibilities, learning tool-mastery as a necessary part of making meaning. Beyond the
“how,” is the far more important “why:” utilizing this tool in the service of concept. The
goal of this course is to integrate concept and technique. Technical proficiency is used
as a tool for successful conceptual articulation.
Course Materials
· Computer or Laptop
· Blender 2.8
· 3-Button Mouse with scrolling wheel (Recommended)
· Drawing Tablet (Recommended for Final Project)
· New Media in Art by Michael Rush 978-0500203781 (NMA)
· Sketchbook
· Drawing Pencils
· Colored Pencils or Markers
Student Learning Objectives (SLO)
1. Demonstrate competency Using Blender
2. Demonstrate Competency Using 2D, 3D and 4D Design
3. Demonstrate Competency Using Lighting
4. Demonstrate Competency Using Animation
5. Develop the ability to give and receive criticism for the pursuit of
creative works
6. Become familiar with and critical of historical, contemporary, global,
traditional and digital 3D practices.
163
SSU General Education Mission, Goals, and Objectives (MGOs)
https://senate.sonoma.edu/resolutions/statement-mission-goals-0bjectives-
general- education-sonoma-state-university
Requirements:
Five projects with written responses will be given during the course of the semester. The
course will utilize tutorials, readings and critiques of students work to focus and generate
discussion as well as to inspire. Preparation for and participation in discussions and
readings is mandatory.
Projects: Projects are graded on inspiration, sketches, concept, originality, design,
craftsmanship, fulfills requirements, response, critique, and timeliness. Creative projects
are the bulk of this class. In order for this class to be a truly useful one, it is essential that
you complete and present the assignments to the fullest of your ability in a timely fashion.
Due to the pace at which we will move through a number of rather challenging concepts
and systems, it is critical that you make a consistent and concerted effort in class.
Technical Preparedness: Technical failure is a reality. This may include, but is not limited
to storage media malfunction, operating system crash or physical damage to hard drives.
Please know that I do not consider this an acceptable excuse for failure to complete a
project on time, but rather a challenge that you must prepare for. I therefore require you
save your projects regularly and create a back-up copy of your project every time you
complete a substantial change. Additionally, software questions will arise as you are
working. For this reason, it is recommended that you front-load technical work ensuring
that you have time to seek assistance with software questions prior to an assignment’s
due date.
Writing, Presentations and Exhibitions: You are required to post with files, images and
written response about your inspiration, process, work, and response for each project.
You are required to submit a piece for the student art exhibition this semester.
Additionally, there are assigned readings with responses.
Extra Credit: Review of approved art shows, lectures, documentaries, and events count
towards up to 5 points of extra credit. A 1000-word paper reviewing the work and
addressing how it relates to your own must be submitted in the extra credit section of
canvas to receive up to 1 point of extra credit each towards your final grade.
Evaluation
Your grade will ultimately be determined by project assignments, presentation,
exhibition, online posts, and your level of class participation. Each element is weighted
as follows:
164
Assignments
115pts Writing
and Presentation 25 pts
Participation
20pts
Grading Standards
A 93-100 Excellent Innovative work. Above and beyond expectations
A- 90 – 92
B+ 87 – 89
B 83 – 86 Above average finished original work. Extra effort is apparent.
B- 80 – 82
C+ 77 – 79
C 73 – 76 Average work, you have satisfied the requirements
C- 70 – 72
D+ 67 – 69
D 63 – 66 Poor, problems with craft, concepts, originality, following the assignment
D- 60 – 62
F 59 and below. Failure. Does not meet the original requirements.
You will earn a 0 if you fail to turn in your project, or turn in a plagiarized project.
Your final grade will be determined by my overall judgment in my role as professor of
the course.
Attendance
Class is offered synchronously via Zoom. If you are unable to attend, watch the recorded
zoom lecture and respond to your classmates via discussion board. It is very important
you are at critique days, if you have a serious reason to miss them, you will submit your
critique on the discussion board. Lectures will cover material outside the scope of the
recommended tutorials and readings for this class. Of equal importance will be the many
in-class discussions, workshops, and exercises. For these reasons, it is important that you
prepare for and participate in every class. Workdays are specifically designed to allow
you ample class time to complete the assigned projects. In addition, they are a great time
to
get help with any technical or conceptual issues that you might encounter. If you are
unable to attend work days in person, you may receive support via zoom discussion
boards.
2 Week Fire Project
If classes are cancelled and we cannot use electronics during Fire Shutoff, you are
permitted to pause your current project and pick up the alternative Project, The Medium
is the Message, to replace your final project. The class schedule will be delayed 2 weeks
until we resume classes.
165
Schedule
Module 1: Geometric Design
Week 1, 8/18 In Class:
· Introduction
· The Medium is the Message
· Fire Project
· Geometric Design
· Abstract Design
· Product Design
· Blender
o UI
o Add and Delete Meshes
o Transform
o Collections
o Meshes
· Introduce Project One: Geometric
Design Assignments:
· Read Syllabus
· Introduction
· Purchase Materials
· Set up Blender
· Review tutorials 1-7
· Create files with meshes
· A1: Transforming Meshes
o Add 3 Objects
o Move, Rotate and Scale them
· A2: Mesh Around
Week 2, 8/25 Due
· Introductions
· A1: Transforming Meshes
· A2:
Mesh Around
In Class
· Modeling
· Meshes
· Object and Edit Mode
· Extrude
· Loop
· Bevel
· Knife
Assignment
· Review tutorials 8-15
166
· A3 New Media in Art (NMA) Introduction
· A4 Project 1 Prep
o 10 design inspirations
o 10 Sketches for design
o Final Sketch
o 250-word response to prep
o Begin project in Blender
Week 3, 9/1 Due
· A3 NMA Introduction
· A4
Project 1 Prep
In Class
· A5 Project 1
Assignment
· A5 Finish Project 1: Geometric Design and upload to Canvas
o .blend
o .jpg
o 250-word response
Module 2: Set and Setting Week 4, 9/8
Due
· A5 Project 1: Geometric Design
In Class
· Critique Project 1
· Environment
o Materials
o Lighting
o Set Design
· Introduce Project 2: Set and Setting
· Materials
Assignment
o Shading
o Texturing
o UV Unwrapping
· Review Tutorials 16-20
· A6 Material
· A7 Multiple Materials
167
Week 5, 9/15 Due
· A6 Material
· A7 Multiple
Materials In Class
· Lighting
o Render
o Cycles
o Samples
o Eevee Assignment
· Review Tutorials 21-27
· A8 3 Points Lighting
· A9 Project 2 Prep: Set and Setting
o 10 design inspirations
o 10 Sketches for design
o Final Sketch with Color and Value
o Begin Project 2
o 250-word response to prep
· A10 RR 2:
NMA Ch 1 Week
6, 9/22
Due
· A8 3 Points Lighting
· A9 Project 2 Prep
· A10
NMA Ch 1
In Class
· A 11 Project 2: Set and Setting Assignment
· A 11 Project 2: Set and Setting
o .blen
o .jpg
o 250-word response
Module 3: Movement
Week 7, 9/29
Due
· A 11 Project 2: Set and Setting In Class
· Critique Project 2
· Creating the Character
· Introduce Project 3: Character
· Caracter Animation
o Rigging
o Parenting
168
o
Armatures
Assignment
· Review Tutorials 28-30
· A12 Project 3 Prep: Character
o 10 design inspirations
o 10 Sketches for design
o Final sketch with implied movement
o 250-word response to prep
Week 8, 10/6 Due
· A12
Project 3 Prep
In Class
· Character Animation
o Constraints
o Rigging Assignment
· Review Tutorials 31-37
· A13 RR 3 NMA Ch 2
· Work on Project 3
Week 9, 10/13 Due
· A13 RR 3
NMA Ch 2 In
Class
· Project 3 Assignment
· A14 Finish Project 3
o .blend
o .jpg
o .mp4
o 250-word response
Module 4: Animation
Week 10, 10/20
Due
· A14 Project 3
In Class
· Critique Project 3
· Introduce Project 4: Animation
· Animation
o Key Frames
o Timeline
Assignment
· Review Tutorials 38-39
169
· A15 Project 4 Prep
o 10 Inspiration
o Storyboard with 10 frames
o 250-word response
Week 11, 10/27
Due
· A15
Project 4 Prep
In Class
· Project 5
· Animation
o Dope Sheet
o Graph editor
Assignment
· A 16 RR 4 NMA Ch 3
· A 17 Project 4
· Review Tutorials 40-41
Week 12, 11/3 Due
· A16 RR 4
NMA Ch 3 In
Class
· A17 Project 4 Assignment
· A 17 Project 4
o .blend
o .jpg
o .mp4
o 250-word response
Module 5: Digital
Sculpture Week
13, 11/10
Due
· A17 Project 4
In Class
· Critique Project 4
· Project 5:
Sculpture
Assignment
· Review Tutorial 42
· A18 Project 5 Prep
o 10 Inspiration
o 10 sketches
170
o Final Sketch
o 250 word response
Week 14 11/17
Due
· A18
Project 5 Prep
In Class
· A19 Project 5
· 3D Printing
Assignment
· A20 Project 5
o .blend
o .jpg
o .stl
o 250-word response
· A20 RR 5 NMA Ch 4
Week 15, 11/23 Thanksgiving
· Project 5
Week 16, 12/1 Due
· A19 Project 5
· A20 ARR 5
NMA Ch 4 In
Class
· Critique Project 5
Week 17, 12/8 FINAL
Prepared files for
exhibition
Presentation
Artist Statement
171
BFA Seminar ARTS 465 - FALL 2020
‘Indoor Covid Chair’ ‘Outdoor Covid Chair’
Self-Isolation Covid-19 BFA Seminar
PROF. CLEA FELIEN
Email: [email protected]
OFFICE HOURS - TUES & THURS 11-12 – Wednesday 1-2 and by appointment
ZOOM LINK - https://SonomaState.zoom.us/j/95973037795.
Meeting ID: 959 7303 7795
Class meeting time: Thursday 4-6:50PM
COURSE DESCRIPTION:
A studio seminar class designed specifically for B.F.A. students. Advanced topics in art
and aesthetics will be examined through selected readings, writing, and discussion. In-
depth critiques of each student’s work will be held. B.F.A. students only.
You are required to check canvas weekly for updated assignments, readings, etc. Please
make sure your canvas account has announcements forwarded to an email you check
regularly.
COURSE CONTENT:
The course consists of large and small group discussion, field trips,
demonstrations and critique to help students find and develop their own unique
voice and skills as artists. Students will learn about different methods artists use to
start, complete and finish artworks, as well as techniques to build and maintain a
consistent studio practice. Students will spend time doing research and make
artworks outside of classroom time. In class students will discuss their artworks and
process with the group, receive feedback, and participate in formal critique. Class
critique will be used to help students prepare for the final exhibition. There will be
deadlines for written work over the semester, as well as group deadlines to fulfill in
172
preparation for the BA exhibition including exhibition title, statement, and publicity
materials. We will take field trips and have visits from guest critics over the course
of the semester.
Frank discussions of content will occur during the semester, requiring students to
treat each other respectfully. Respect includes: allowing people to share, asking
open questions and giving people the benefit of the doubt; as well as taking care of
yourself during class time. Discussions are not to be taken as a license for disruptive
or disrespectful behavior. Please note that “disruptive” includes any behavior that
repeatedly interrupts the class, including cell phones and conversations that diverge
or interrupt the primary class discussion and “disrespectful behavior” includes any
behavior that intentionally harms or hurts another student physically or
emotionally.
COURSE GOALS:
· To develop a working knowledge of being an artist.
· Develop studio practice methods.
· Learn to articulate verbal, written and artistic concepts.
· Communicate concepts through critical discussion and group critique
using
· To explore significant contemporary issues and critical viewpoints in
contemporary art.
· To explore topics like the role art plays in politics and activism,
advertising and consumerism, identity, and the documentation of life.
· To read and discuss art theory essays.
· To discuss the development of individual art projects.
· To engage in synthetic and critical thinking about their art and others.
· To explore the theoretical and practical issues that influence the art world
and careers of artists.
· To provide a link between art theory and art practice, and the
contemporary art world.
173
· To learn and use appropriate vocabulary, relevant art historical and
cultural context.
· Participate in local art community by seeing exhibitions and artist studios.
· Create new artworks for exhibition.
STUDENT LEARNING OUTCOMES:
· Students will familiarize themselves with how they best create artwork
from
· the idea stage to final exhibition.
· Students will be able to verbally discuss their work and classmates work in
· critique.
· Students will produce and display original artworks.
· Students will be able to write about themselves and their artwork.
· Students will work as a team to plan, promote and install a group art
· exhibition.
· Students will be able to digitally photo document artworks using a digital
· camera and tripod.
REQUIRED TEXTBOOK:
· ART SCHOOL (PROPOSITIONS FOR THE 21
ST
CENTURY)
You can buy this on line used for under $10.00
COURSE OUTLINE: *Subject to change-- please check canvas for updates*
1
st
Week INTRO to course Self Isolation Pandemic Artists Residency Program –
2
nd
Week Apply to SIPARP - Discussion – read Art School essay for next week
3
rd
Week Art School - essay discussion
4
th
Week MANIFESTO film, read 3 or more manifestos on canvas
5
th
Week Discussion – write your own manifesto
6
th
Week CRITIQUE GROUP – start your own critique group
174
7
th
Week Presentations/Crit discussion
8
th
Week No class: BFA Crits on WEDNESDAY October 14, 9 AM-Noon
9
th
Week Follow up to Crits – Discussion – Read the essay for next week
10
th
Week Art School discussion
11
th
Week Social Practice essay & Discussion
12
th
Week Social Practice project
13
th
Week Art Theory essay & Discussion
14
th
Week Presentations/Crit discussion
15
th
Week No class/Thanksgiving
16
th
Week BFA CRITS 9AM-Noon Thursday December 3, 9 AM-Noon
University Policies
There are important University policies that you should be aware of, such as the add/drop
policy; cheating and plagiarism policy, grade appeal procedures; accommodations for
students with disabilities and the diversity vision statement. See Important Policies and
Procedures for Students http://www.sonoma.edu/uaffairs/policies/studentinfo.shtml.
Dropping and Adding
Students are responsible for understanding the policies and procedures about add/drops,
academic renewal, etc. How to Add a Class
http://www.sonoma.edu/registration/addclasses.html has step-by-step instructions.
Registration Information http://www.sonoma.edu/registration/regannounce.html lists
important deadlines and penalties for adding and dropping classes.
Campus Policy on Disability Access for Students
If you are a student with a disability, and think you may need academic accommodations,
please contact Disability Services for Students (DSS), located in Salazar Hall, Room
1049, Voice: (707) 664-2677, TTY/TDD: (707) 664-2958, as early as possible in order to
avoid a delay in receiving accommodation services. Use of DSS services, including
testing accommodations, requires prior authorization by DSS. See SSU’s policy on
175
Disability Access for Students
http://www.sonoma.edu/uaffairs/policies/disabilitypolicy.htm.
Emergency Evacuation
If you are a student with a disability and you think you may require assistance evacuating
a building in the event of a disaster, you should inform your instructor about the type of
assistance you may require. You and your instructor should discuss your specific needs
and the type of precautions that should be made in advance of such an event (i.e.
assigning a buddy to guide you down the stairway). We encourage you to take advantage
of these preventative measures as soon as possible and contact the Disability Services for
Students office if other classroom accommodations are needed.
Academic Integrity
Students should be familiar with the University’s Cheating and Plagiarism policy
http://www.sonoma.edu/UAffairs/policies/cheating_plagiarism.htm. Your own
commitment to learning, as evidenced by your enrollment at Sonoma State University
and the University’s policy, require you to be honest in all your academic course work.
Instances of academic dishonesty will not be tolerated. Cheating on exams or plagiarism
(presenting the work of another as your own, or the use of another person’s ideas without
giving proper credit) will result in a failing grade and sanctions by the University. For
this class, all assignments are to be completed by the individual student unless otherwise
specified.
Additional Resources:
SSU Writing Center
The SSU Writing Center, located at Schulz 1103, helps SSU students become better
writers and produce better written documents. The knowledgeable and friendly tutors can
help you with a wide array of concerns, from generating good ideas and organizing
papers more clearly to learning citation formats and using semi-colons correctly. Visit the
Writing Center website http://www.sonoma.edu/programs/writingcenter/default.html for
more information on how to schedule time with a tutor.
176
Counseling and Psychological Services (CAPS)
CAPS is a unit of the division of Student Affairs of Sonoma State University. CAPS
offers confidential counseling to students experiencing personal problems that interfere
with their academic progress, career or well-being. The CAPS website
http://www.sonoma.edu/counselingctr provides information only. If you would like to
talk with someone or make an appointment, please call (707) 664-2153 between 8 a.m. -
4:30 p.m., Monday-Friday.
177
BFA Seminar ARTS 465 - FALL 2020
‘Indoor Covid Chair’ ‘Outdoor Covid Chair’
Self-Isolation Covid-19 BFA Seminar
PROF. CLEA FELIEN
Email: [email protected]
OFFICE HOURS - TUES & THURS 11-12 – Wednesday 1-2 and by appointment
ZOOM LINK - https://SonomaState.zoom.us/j/95973037795. Meeting ID: 959 7303
7795
Class meeting time: Thursday 4-6:50PM
COURSE DESCRIPTION:
A studio seminar class designed specifically for B.F.A. students. Advanced topics in art
and aesthetics will be examined through selected readings, writing, and discussion. In-
depth critiques of each student’s work will be held. B.F.A. students only.
You are required to check canvas weekly for updated assignments, readings, etc. Please
make sure your canvas account has announcements forwarded to an email you check
regularly.
COURSE CONTENT:
The course consists of large and small group discussion, field trips,
demonstrations and critique to help students find and develop their own unique
voice and skills as artists. Students will learn about different methods artists use to
start, complete and finish artworks, as well as techniques to build and maintain a
consistent studio practice. Students will spend time doing research and make
artworks outside of classroom time. In class students will discuss their artworks and
process with the group, receive feedback, and participate in formal critique. Class
critique will be used to help students prepare for the final exhibition. There will be
deadlines for written work over the semester, as well as group deadlines to fulfill in
178
preparation for the BA exhibition including exhibition title, statement, and publicity
materials. We will take field trips and have visits from guest critics over the course
of the semester.
Frank discussions of content will occur during the semester, requiring students to
treat each other respectfully. Respect includes: allowing people to share, asking
open questions and giving people the benefit of the doubt; as well as taking care of
yourself during class time. Discussions are not to be taken as a license for disruptive
or disrespectful behavior. Please note that “disruptive” includes any behavior that
repeatedly interrupts the class, including cell phones and conversations that diverge
or interrupt the primary class discussion and “disrespectful behavior” includes any
behavior that intentionally harms or hurts another student physically or
emotionally.
COURSE GOALS:
· To develop a working knowledge of being an artist.
· Develop studio practice methods.
· Learn to articulate verbal, written and artistic concepts.
· Communicate concepts through critical discussion and group critique
using
· To explore significant contemporary issues and critical viewpoints in
contemporary art.
· To explore topics like the role art plays in politics and activism,
advertising and consumerism, identity, and the documentation of life.
· To read and discuss art theory essays.
· To discuss the development of individual art projects.
· To engage in synthetic and critical thinking about their art and others.
· To explore the theoretical and practical issues that influence the art world
and careers of artists.
· To provide a link between art theory and art practice, and the
contemporary art world.
179
· To learn and use appropriate vocabulary, relevant art historical and
cultural context.
· Participate in local art community by seeing exhibitions and artist studios.
· Create new artworks for exhibition.
STUDENT LEARNING OUTCOMES:
· Students will familiarize themselves with how they best create artwork
from
· the idea stage to final exhibition.
· Students will be able to verbally discuss their work and classmates work in
· critique.
· Students will produce and display original artworks.
· Students will be able to write about themselves and their artwork.
· Students will work as a team to plan, promote and install a group art
· exhibition.
· Students will be able to digitally photo document artworks using a digital
· camera and tripod.
REQUIRED TEXTBOOK:
· ART SCHOOL (PROPOSITIONS FOR THE 21
ST
CENTURY)
You can buy this on line used for under $10.00
COURSE OUTLINE: *Subject to change-- please check canvas for updates*
1
st
Week INTRO to course Self Isolation Pandemic Artists Residency Program –
2
nd
Week Apply to SIPARP - Discussion – read Art School essay for next week
3
rd
Week Art School - essay discussion
4
th
Week MANIFESTO film, read 3 or more manifestos on canvas
5
th
Week Discussion – write your own manifesto
6
th
Week CRITIQUE GROUP – start your own critique group
180
7
th
Week Presentations/Crit discussion
8
th
Week No class: BFA Crits on WEDNESDAY October 14, 9 AM-Noon
9
th
Week Follow up to Crits – Discussion – Read the essay for next week
10
th
Week Art School discussion
11
th
Week Social Practice essay & Discussion
12
th
Week Social Practice project
13
th
Week Art Theory essay & Discussion
14
th
Week Presentations/Crit discussion
15
th
Week No class/Thanksgiving
16
th
Week BFA CRITS 9AM-Noon Thursday December 3, 9 AM-Noon
University Policies
There are important University policies that you should be aware of, such as the add/drop
policy; cheating and plagiarism policy, grade appeal procedures; accommodations for
students with disabilities and the diversity vision statement. See Important Policies and
Procedures for Students http://www.sonoma.edu/uaffairs/policies/studentinfo.shtml.
Dropping and Adding
Students are responsible for understanding the policies and procedures about add/drops,
academic renewal, etc. How to Add a Class
http://www.sonoma.edu/registration/addclasses.html has step-by-step instructions.
Registration Information http://www.sonoma.edu/registration/regannounce.html lists
important deadlines and penalties for adding and dropping classes.
Campus Policy on Disability Access for Students
If you are a student with a disability, and think you may need academic accommodations,
please contact Disability Services for Students (DSS), located in Salazar Hall, Room
1049, Voice: (707) 664-2677, TTY/TDD: (707) 664-2958, as early as possible in order to
avoid a delay in receiving accommodation services. Use of DSS services, including
testing accommodations, requires prior authorization by DSS. See SSU’s policy on
181
Disability Access for Students
http://www.sonoma.edu/uaffairs/policies/disabilitypolicy.htm.
Emergency Evacuation
If you are a student with a disability and you think you may require assistance evacuating
a building in the event of a disaster, you should inform your instructor about the type of
assistance you may require. You and your instructor should discuss your specific needs
and the type of precautions that should be made in advance of such an event (i.e.
assigning a buddy to guide you down the stairway). We encourage you to take advantage
of these preventative measures as soon as possible and contact the Disability Services for
Students office if other classroom accommodations are needed.
Academic Integrity
Students should be familiar with the University’s Cheating and Plagiarism policy
http://www.sonoma.edu/UAffairs/policies/cheating_plagiarism.htm. Your own
commitment to learning, as evidenced by your enrollment at Sonoma State University
and the University’s policy, require you to be honest in all your academic course work.
Instances of academic dishonesty will not be tolerated. Cheating on exams or plagiarism
(presenting the work of another as your own, or the use of another person’s ideas without
giving proper credit) will result in a failing grade and sanctions by the University. For
this class, all assignments are to be completed by the individual student unless otherwise
specified.
Additional Resources:
SSU Writing Center
The SSU Writing Center, located at Schulz 1103, helps SSU students become better
writers and produce better written documents. The knowledgeable and friendly tutors can
help you with a wide array of concerns, from generating good ideas and organizing
papers more clearly to learning citation formats and using semi-colons correctly. Visit the
Writing Center website http://www.sonoma.edu/programs/writingcenter/default.html for
more information on how to schedule time with a tutor.
182
Counseling and Psychological Services (CAPS)
CAPS is a unit of the division of Student Affairs of Sonoma State University. CAPS
offers confidential counseling to students experiencing personal problems that interfere
with their academic progress, career or well-being. The CAPS website
http://www.sonoma.edu/counselingctr provides information only. If you would like to
talk with someone or make an appointment, please call (707) 664-2153 between 8 a.m. -
4:30 p.m., Monday-Friday.
183
PROF. CLEA
FELIEN
OFFICE 133
Email: [email protected]
OFFICE HOURS - TUES 11-12 and by appointment
ZOOM LINK
https://SonomaState.zoom.us/j/88146074207
CLASS MEETS 12-12:50PM
COURSE DESCRIPTION:
A studio seminar class designed specifically for B.F.A. students. Advanced topics in art
and aesthetics will be examined through selected readings, writing, and discussion. In-
depth critiques of each student’s work will be held. B.F.A. students only.
You are required to check canvas weekly for updated assignments, readings, etc. Please
make sure your canvas account has announcements forwarded to an email you check
regularly.
COURSE CONTENT:
The course consists of large and small group discussion, field trips,
demonstrations and critique to help students find and develop their own unique
184
voice and skills as artists. Students will learn about different methods artists use to
start, complete and finish artworks, as well as techniques to build and maintain a
consistent studio practice. Students will spend time doing research and make
artworks outside of classroom time. In class students will discuss their artworks
and process with the group, receive feedback, and participate in formal critique.
Class critique will be used to help students prepare for the final exhibition. There
will be deadlines for written work over the semester, as well as group deadlines to
fulfill in preparation for the BFA exhibition including exhibition title, statement,
and publicity materials. We will take field trips and have visits from guest critics
over the course of the semester.
Frank discussions of content will occur during the semester, requiring students to
treat each other respectfully. Respect includes: allowing people to share, asking
open questions and giving people the benefit of the doubt; as well as taking care of
yourself during class time. Discussions are not to be taken as a license for disruptive
or disrespectful behavior. Please note that “disruptive” includes any behavior that
repeatedly interrupts the class, including cell phones and conversations that diverge
or interrupt the primary class discussion and “disrespectful behavior” includes any
behavior that intentionally harms or hurts another student physically or
emotionally.
185
COURSE GOALS:
· To develop a working knowledge of being an artist.
· Develop studio practice methods.
· Learn to articulate verbal, written and artistic concepts.
· Communicate concepts through critical discussion and group critique
using
· To explore significant contemporary issues and critical
viewpoints in contemporary art.
· To explore topics like the role art plays in politics and activism,
advertising and consumerism, identity, and the documentation of life.
· To read and discuss art theory essays.
· To discuss the development of individual art projects.
· To engage in synthetic and critical thinking about their art and others.
· To explore the theoretical and practical issues that influence the art
world and careers of artists.
· To provide a link between art theory and art practice, and the
contemporary art world.
· To learn and use appropriate vocabulary, relevant art historical and
cultural context.
· Participate in local art community by seeing exhibitions and artist studios.
· Create new artworks for exhibition.
STUDENT LEARNING OUTCOMES:
· Students will familiarize themselves with how they best create artwork
from
· the idea stage to final exhibition.
· Students will be able to verbally discuss their work and classmates work in
· Students will produce and display original artworks.
· Students will be able to write about themselves and their artwork.
· Students will work as a team to plan, promote and install a group art
· Students will be able to digitally photo document artworks using a digital
· camera and tripod.
186
REQUIRED TEXTBOOK:
· ART SCHOOL (PROPOSITIONS FOR THE 21
ST
CENTURY)
You can buy this on line used for under $10.00, and a free copy in pdf form is
available for download on our site.
Course Outline (subject to change)
Week 1. Intro to class. Read Smear Campaign for next week
Week 2. Discuss Smear Campaign. Look at PPT of artists Chris Ofili and William
Pope L.
Read Art Practical for next week.
Week 3. Discuss Art Practical essay in preparation for Social Practice Project
Week 4. Discuss Social Practice Project ideas
Week 5. Social Practice Project. Upload assignment Critique of project
Week 6. Individual crit to get ready for BFA Crits
Week 7. Individual crit to get ready for BFA Crits
187
Week 8. BFA Critiques
Week 9. Critique of the Critique – read essay In Latin America Art Education
Between Colonialism and Revolution.
Week 10. Discuss essay In Latin America Art Education Between Colonialism
and Revolution.
Week 11. 2
nd
Social Practice Project discuss ideas read Tate Gallery info.
Week 12. Discuss Social Practice Project ideas
Week 13. Critique Social Practice Project art work
Week 14. Individual Critiques
Week 15. Individual Critique
Week 16. BFA Critique
University Policies
There are important University policies that you should be aware of, such as
the add/drop policy; cheating and plagiarism policy, grade appeal procedures;
accommodations for students with disabilities and the diversity vision
188
statement. See Important Policies and Procedures for Students
http://www.sonoma.edu/uaffairs/policies/studentinfo.shtml.
Dropping and Adding
Students are responsible for understanding the policies and procedures about
add/drops, academic renewal, etc. How to Add a Class
http://www.sonoma.edu/registration/addclasses.html has step-by-step
instructions. Registration Information
http://www.sonoma.edu/registration/regannounce.html lists important deadlines
and penalties for adding and dropping classes.
Campus Policy on Disability Access for Students
If you are a student with a disability, and think you may need academic
accommodations, please contact Disability Services for Students (DSS), located in
Salazar Hall, Room 1049, Voice: (707) 664-2677, TTY/TDD: (707) 664-2958, as early
as possible in order to avoid a delay in receiving accommodation services. Use of DSS
services, including testing accommodations, requires prior authorization by DSS. See
SSU’s policy on Disability Access for Students
http://www.sonoma.edu/uaffairs/policies/disabilitypolicy.
htm.
Emergency Evacuation
If you are a student with a disability and you think you may require assistance
evacuating a building in the event of a disaster, you should inform your instructor
about the type of assistance you may require. You and your instructor should discuss
your specific needs and the type of precautions that should be made in advance of such
an event (i.e. assigning a buddy to guide you down the stairway). We encourage you to
take advantage of these preventative measures as soon as possible and contact the
Disability Services for Students office if other classroom accommodations are needed.
Academic Integrity
Students should be familiar with the University’s Cheating and Plagiarism policy
http://www.sonoma.edu/UAffairs/policies/cheating_plagiarism.htm. Your own
commitment to learning, as evidenced by your enrollment at Sonoma State University
and the University’s policy, require you to be honest in all your academic course work.
Instances of academic dishonesty will not be tolerated. Cheating on exams or
plagiarism (presenting the work of another as your own, or the use of another person’s
ideas without giving proper credit) will result in a failing grade and sanctions by the
189
University. For this class, all assignments are to be completed by the individual student
unless otherwise specified.
Additional Resources:
SSU Writing Center
The SSU Writing Center, located at Schulz 1103, helps SSU students become better
writers and produce better written documents. The knowledgeable and friendly tutors
can help you with a wide array of concerns, from generating good ideas and organizing
papers more clearly to learning citation formats and using semi-colons correctly. Visit
the Writing Center website
http://www.sonoma.edu/programs/writingcenter/default.html for more information
on how to schedule time with a tutor.
Counseling and Psychological Services (CAPS)
CAPS is a unit of the division of Student Affairs of Sonoma State University. CAPS
offers confidential counseling to students experiencing personal problems that interfere
with their academic progress, career or well-being. The CAPS website
http://www.sonoma.edu/counselingctr provides information only. If you would like to
talk with someone or make an appointment, please call (707) 664-2153 between 8 a.m.
- 4:30 p.m., Monday-Friday.
190
BFA PROFESSIONAL PRACTICS COURSE OUTLINE
*Subject to change-- please check canvas for updates*
1
st
Week ARTIST PLAN – WHERE DO YOU WANT TO BE IN 5 YEARS
2
nd
Week PROFESSIONALLY PHOTOGRAPH YOUR WORK
3
rd
Week ARTIST BIO
TWO PAGE RESUME
4
th
Week CURRICULUM VITAE
5
th
Week ARTIST STATEMENT –
500 word
6
th
Week ARTIST STATEMENT –
1 page
7
th
Week BUILD A WEBSITE
8
th
Week WEBSITE BFA Crits on WEDNESDAY October 14, 9 AM-Noon
9
th
Week WEBSITE Presentation
10
th
Week MENTORSHIP
11
th
Week ARTIST TALK
12
th
Week FINDING A STUDIO
13
th
Week DIY SHOW
14
th
Week GRANTS
15
th
Week RESIDENCIES
16
TH
Week MFA PROGRAMS - BFA CRITS 9AM-Noon Thursday December 3, 9
AM-Noon
191
BFA Portfolio Practices Syllabus - ARTS-466-001-20-FA
PROF. CLEA FELIEN
OFFICE 133
Email: [email protected]
OFFICE HOURS - TUES & THURS 11-12 – Wednesday 1-2 and by appointment
ZOOM LINK - https://SonomaState.zoom.us/j/95973037795. Meeting ID: 959 7303 7795
CLASS ROOM Art Building 130
Tuesday 4:00 PM – 6:40 PM
COURSE DESCRIPTION:
This course examines the practical applications of career planning,
business skills, documentation, promotion, and having a sustainable life in the creative
arts. It provides a foundation of practical information to assist artists pursuing creative
careers after graduation. Each course assignment builds upon the next and at the
completion of the semester each student will have the resources needed to pursue
opportunities and jobs in their area of the creative arts and beyond.
This course is designed for art students looking to transition into life as a working artist.
As the worlds of art, technology and commerce increasingly co-mingle, we will explore
how a B.F.A. degree and professional artist competences can open many doors for you
beyond the academia and gallery world. This course will include: an artist plan,
professional documentation of your work, writing a bio resume C.V. artist statement,
creating a website, mentorships, artist talks, art studios, art shows, grants residencies and
MFA programs. Through practical in-class exercises, guest lecturers, readings and
assignments, we will address how to maintain an art practice and ways to support yourself
as a professional artist.
You will have classroom instruction on writing for the arts, be given opportunities to
submit drafts, receive feedback and revise your writing. You will be directed to online and
campus resources to help your writing process as well. Students will be responsible for a
variety of assignments each week in addition to participating in discussions and attending
lectures. It is vital to complete these assignments and to turn them in on time.
COURSE GOALS AND OBJECTIVES:
To develop:
· Information for success in your artistic career.
· A broadened sense of opportunities available to you in the creative world.
192
· A practical skill set that will help you support and manage your professional
artistic careers.
· Research and apply for grants, residencies and graduate study programs.
· Develop survival skills and practices for interacting with the art world.
LEARNING OUTCOMES:
This class is designed to be a professional artist course. It will consist of lectures, guest
speakers, student presentations, critiques and in-class exercises. Because it is a seminar,
there will be weekly assignments that involve reading, writing, researching, discussion,
and presentations.
· Knowledge of career development opportunities available after graduation.
· Knowledge of networking techniques.
· Professional standard in written description and promotion of artist.
· Professional standard in visual documentation and presentation of artworks.
· Professional standard in verbal presentation in the form of an artist talk.
· Familiarity with common business practices, taxes and legal issues in the
arts.
· Familiarity with arts funding opportunities.
· Experience with various forms of online art representation.
· Introduction to sustaining a lifelong artistic practice.
COURSE SCHEDULE:
1
st
Week INTRO to course Self Isolation Pandemic Artists Residency Program
2
nd
Week Discussion: Self Isolation Pandemic Artists Residency Program
3
rd
Week Photo Artwork
4
th
Week Bio, Resume & Curriculum Vitae
5
th
Week Artist Statement & Artist Talk
6
th
Week Presentations/Crit discussion
7
th
Week Website
8
th
Week Website
9
th
Week Follow up to BFA Crits - Website
10
th
Week Website
11
th
Week Research Grants – 20 you are eligible for
12
th
Week Apply for Grants
13
th
Week Research Residencies – 20 you are eligible for
14
th
Week Apply for Residencies
193
15
th
Week MFA programs
16
th
Week BFA CRITS 9AM-Noon (exact times TBA)
GRADING
80%
Grades are ongoing and at midterm and final. Grades are based on overall development and the
degree of ambition with which the problems presented are addressed. Consideration is given to
both the quality and quantity of work, with the understanding that efforts differ for various artistic
expressions.
When I review your work, please keep in mind that I also consider:
· Preparedness for class
· Responsiveness to critique
· Constructive discussion during class
· Overall Progress & Growth
· Consistency of Effort
20% PARTICIPATION AND PROFESSIONALISM
20% of your grade is reserved for classroom participation and the degree of professionalism with
which you address the course. I consider your work ethic, ambition, constructive discussion during
class critiques, responsiveness to criticism, and preparation of assigned materials at the appointed
time. Additionally, I review the consistency of your work and the overall growth of skill
CLASSROOM PROTOCOL
Students are expected to arrive on time, with required materials. Tardiness and un-
preparedness will not be tolerated, three tardies equal one absence. Critiques cannot be
missed.
Dropping and Adding
Students are responsible for understanding the policies and procedures about add/drops,
academic renewal, etc. Information on add/drops are available at
http://www.sonoma.edu/ar/registration/addclasses.shtml. Students should be aware of the
current deadlines and penalties for adding and dropping classes.
ATTENDANCE POLICY
2 absences- no effect on grade
3 absences- drop one letter grade
4 absences- drop two letter grades
5 absences- drop three letter grades
6 absences- drop class or fail
194
UNIVERSITY POLICIES
Class Attendance
Class attendance is an important part of a student’s university experience. However, there
are legitimate reasons for missing class, such as illness, accidents, death of a close family
member, jury duty, religious observance or representing the University at officially
approved University activities. Students should be cautioned that even though absences
may be for legitimate reasons, such absences can impair performance and result in a lower
grade. Faculty have primary authority for setting class attendance policy according to
discipline standards. There are class activities, such as labs, assignments and discussions
that cannot reasonably be made up.
When students are absent from classes, it is their responsibility to provide the instructor
with due notice and documentation when possible, and to inform the instructor of the
reason for absence. Students are also responsible for requesting, in a timely manner, to
make up missed assignments and class work if these are reasonably able to be provided.
Instructors are responsible for providing a clear statement on the course outline about the
impact of attendance on students’ grades. For students who have missed classes for
legitimate reasons, instructors are also responsible for providing an opportunity to
complete make-up work or grade substitution, if the instructor determines that such is
reasonably able to be provided.
Academic integrity
Students should know that the University’s Cheating and Plagiarism Policy is available at
http://www.sonoma.edu/UAffairs/policies/cheating_plagiarism.htm. Your own
commitment to learning, as evidenced by your enrollment at Sonoma State University and
the University’s policy, require you to be honest in all your academic course work..
Instances of academic dishonesty will not be tolerated. Cheating on exams or plagiarism
(presenting the work of another as your own, or the use of another person’s ideas without
giving proper credit) will result in a failing grade and sanctions by the University. For this
class, all assignments are to be completed by the individual student unless otherwise
specified.
Campus Policy on Disability Access for Students (Optional/suggested statement)
"If you are a student with a disability and you think you may require accommodations,
please register with the campus office of Disability Services for Students (DSS), located in
Salazar Hall - Room 1049, Phone: (707) 664-2677, TTY/TDD: (707) 664-2958. DSS will
provide you with written confirmation of your verified disability and authorize
recommended accommodations. This authorization must be presented to the instructor
195
before any accommodations can be made.". The policy can be found at
http://www.sonoma.edu/uaffairs/policies/disabilitypolicy.htm
Suggested Reading and podcasts
Art/Work by Heather Darcy Bhandari and Jonathan Melber
Taking the leap: Building a Career as a Visual Artist by Cay Lang
The Small Business Bible, 3
rd
Edition (2012) by Steven D. Strauss
Artists Helping Artists podcast on Blogtalk radio with Leslie Saeta
196
FA 491 Visiting Artist’s
Lecture Series
The Visiting Artists’ Lecture Series is a Credit / No Credit course, which brings prominent contemporary
artists to Sonoma State University to present their creative and scholarly work on a weekly basis. Class
discussions will occur on weeks a speaker is not scheduled. Attendance to all lectures is mandatory and a
paper is required at the end of the semester to receive course credit. Satisfies GE, category C1 (Fine Arts).
This course may be repeated for credit but only 1 unit of C1 credit will be awarded.
Zoom Meeting ID: 896 1170 9693
Course Materials
Taxi: Journey Through My Windows (Joseph Rodriguez) 1576879313, 9781576879313
Student Learning Objectives (SLO)
A. Directly communicate with creative professionals.
B. Develop the ability to see your work in the context of creative professionals.
C. Become familiar with and critical contemporary art practices.
SSU General Education Mission, Goals, and Objectives (MGOs)
https://senate.sonoma.edu/resolutions/statement-mission-goals-0bjectives-general-education-
sonoma- state-university
Requirements:
Lectures
The course will utilize discussion and lectures to generate understanding of contemporary art as well as to
inspire. Attending lectures and participation in discussions is mandatory. You are required to ask at least
one question during lectures.
Writing
You are required to write a paper on contemporary art.
Extra Credit: You will receive one point of extra credit for each question you ask during lectures.
Evaluation
Your grade will ultimately be determined by your presence at lectures, questions, and paper.
Grading Standards
A 93-100 Excellent work. Above and beyond expectations
A- 90 – 92
B+ 87 – 89
B 83 – 86 Above average work, extra effort is apparent in the work
B- 80 – 82
C+ 77 – 79
C 73 – 76 Average work, you have satisfied the requirements
C- 70 – 72
D+ 67 – 69
D 63 – 66 Poor, problems with craft, concepts and/or following the assignment
D- 60 – 62
F 59 and below. Failure
197
Your final grade will be determined by my overall judgment in my role as professor of the course.
Attendance
Class is offered synchronously via Zoom. If you are unable to attend, watch the recorded zoom lecture. It
is very important you are her during lectures, if you have a serious reason to miss them, you may watch
the recordings.
2 Week Fire Project
If lectures are cancelled, you are permitted to watch re-recorded lectures.
Disability: I want you to succeed in this class. Disability Accommodations may be available if you need
them in order to fully participate in this class because of a disability.
Schedule
Module 1: Introduction
Week 1, 1/27
In Class
· Introduction Assignment
Review Lecturers and sign up for a day to ask questions
Module 2: Lectures
Week 2, 2/3
Due
Review Lecturers and sign up for a day to ask questions
In Class
· Yashua Klos
Week 3, 2/10
In Class
· Snow Yunxue Fu
Week 4, 2/17
In Class
· Io Palmer
Week 5, 2/24
In Class
· Sahar Khoury
Week 6, 3/3
In Class
· Joseph Rodriguez
Week 7, 3/10
In Class
· Casey Curran
Week 8, 3/17
In Class
· Jamea Richmond Edwards
Week 9, 3/24 Spring Break
198
Week 10, 3/30
· Cesar Chavez Day – NO CLASS
Week 11, 4/7
In Class
· Avantika Bawa
Week 12, 4/14
In Class
· Allison Berkoy
Week 13, 4/21
In Class
· Paula Gaetano-Adi
Module 2: Reflections
Week 14, 4/28
Due
· Contemporary Art Essay In Class
· Keith Boadwee
Week 15, 5/5
In Class
· Mondo Jud Hart
Week 16, 5/12
In Class
· Trevor Goosen
199
Appendix VI
Survey Results
200
Sr No: 1
Response No : 1
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
2. What career path(s) did you pursue after graduating?
Song writing and children's book writing and illustration.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
My perspective on making art changed dramatically while studying art there. It also pushed me to become a better
artist. I wish there had been more of an emphasis in life drawing. I graduated in 1977. Something tells me there's
been a few changes since then!
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
Again, I was there decades ago. At the time, anything remotely commercial in art was frowned upon. I make a
living as an author/illustrator. I don't know how much support there would have been back then. I'm sure it's totally
different now.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I have published over 50 books for children that I have written and illustrated. My book, Beautiful Oops shows how
you can take your art mistakes and turn them into something beautiful. Melinda Gates said (last year) it's one of
three books that all children should read. My old teachers Richard Ross and Susan Moulton were very instrumental
in my wanting to spend my life as an artist.
Sr No: 2
Response No : 2
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Subject matter interests me
201
2. What career path(s) did you pursue after graduating?
Human Resources
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
I minored in Art Studio, and I didn't really have any related goals. It was something I enjoyed and wanted to take
the opportunity to develop for myself at the time.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
4
6. How satisfied were you with the career advising you received from Art History Program faculty?
2
7. How satisfied were you with course offerings in the Art Studio program?
4
8. 9. Please let us know anything you'd like to improve about the program.
It would have been helpful to have instruction on how to apply and get ready for gallery shows. I only took drawing
classes rather than painting, and I didn't get any instruction in that area. This was also 10+ years ago, so that might
be different now.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 3
Response No : 3
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Communications
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It has helped me in every position I have had since graduation. I use my fine art skills to translate marketing
concepts.
4. How satisfied were you with the Art Studio Program overall?
202
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
4
6. How satisfied were you with the career advising you received from Art History Program faculty?
2
7. How satisfied were you with course offerings in the Art Studio program?
4
8. 9. Please let us know anything you'd like to improve about the program.
Grading is so subjective. Some intro classes expected students to come in with knowledge and skills, and then
penalized you if you didn't have them.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I work as a Associate Director of Annual Giving and Communications and I feel that my art degree has helped me
elevate the look and feel of the marketing materials my institution puts out. I am married to a SSU art history grad
Zachary Pfahler '09 and we have a one year old son, Rowan.
Sr No: 4
Response No : 4
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Marketing (I double majored in business)
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
I would have liked to learn more about digital arts.
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
4
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
203
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
Again having more digital arts accessible.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Currently am an SEO analyst so not very creative, but I do get to use css to make some creative elements on
websites. This could also be an interesting artist route like website design, graphic design etc
Sr No: 5
Response No : 5
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Career goals
Location of school
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Cook/painter.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
4
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
What could improve the program would be to offer more life drawing classes.
204
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 6
Response No : 6
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Subject matter interests me
2. What career path(s) did you pursue after graduating?
I focused more on my major in my career path as my minor was in art studio. I now want to purse a more creative
career where I can use more of my creativity.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It helped me become more in tune with my creative self. It also taught me how to conjure inspiration.
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
I wish I knew that I could minor in Art Studio sooner so I could have indulged in more class offerings. There were
so many amazing classes that I wish I could have taken!
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 7
Response No : 7
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
205
Range of courses offered
2. What career path(s) did you pursue after graduating?
Staffing and sales, I do my art on the side
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It didn’t really help me reach my goal which would be to be a full time artist or at least have a job related to art in
someway. Most jobs are for graphic design which I definitely do not have the skill set for.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
4
8. 9. Please let us know anything you'd like to improve about the program.
Just more preparation for the real world, what to expect as an emerging artist and career paths you can take. Maybe
how to start your own art business, how does that work with taxes, business license, permits.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Since graduating I did get into grad school but couldn’t afford it, I joined a co-op studio to be able to create and
have had a few gallery shows as well.
Sr No: 8
Response No : 8
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Reputation
Faculty
Location of school
Cost of attending SSU
2. What career path(s) did you pursue after graduating?
206
I earned by teaching credential at SSU and have taught for 28 years. I am also a business owner (gymnastics)
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
Obvious with the art teaching gig. I got a great survey of all the arts (I am photography focus), but I also gained the
experience of intensive study in one area and have used what I learned from that in all my project planning.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
4
8. 9. Please let us know anything you'd like to improve about the program.
I am old enough (class of 90), I do not recall career planning being offered, but I loved the program and still use all
of my studies at work everyday. Would love a FB community or the like of fellow past art majors to share info/keep
up with happening within our ranks. At the time of my graduation, the concern was opening a BFA and MFA
program, and I assume that the MFA is still of interest for many.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I have two wonderful kids (17, 20 one a film maker the other a musician). I've been teaching art and photography
(still have a darkroom!) at KJHS in Petaluma since 1993, where I am also an active union officer. My husband and I
also own two gymnastics schools (Redwood Empire in Petaluma and SFG in San Francisco) which are currently
struggling through covid shutdowns.
Sr No: 9
Response No : 9
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
2. What career path(s) did you pursue after graduating?
Graphic designer, events coordinator, writer, publicist, owned a PR company in the 80's, freelance
PR/writing/designer, fundraiser for SF State Arts and Humanities and the MS Society. Founded Hagen/Sinclair
Research in 2001 which I still own.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
207
I was a graphic designer for about 20-years. My artistic talents lay in that area rather than painting, sculpture etc.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
1
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
We were still in the basement of the science building when I attended. Obviously, the new building was a huge
improvement. There was NO, zero, none, 0, nada career advising at the time. After graduating, finding a career in
art was difficult. I started graphic design but learned it on my own (before computer graphics). I sure hope there is a
GD department now!
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I'm a million years old now. During the 70's early 80's I was a member of the performance art group No Truth to the
Rumor. We performed at the Lincoln Art Center. I started jazz/ballet at 25 and spent 20 years performing in several
companies. I've published one book and am editing two more, a detective novel and a horror novel now for
publication this fall. My company, Hagen/Sinclair Research Recruiting, founded in 2001 is a nationally renowned
with 20 employees. We have clients in several countries and find people to participate in paid research studies. We
find consumers and professionals to participate in studies for some of the largest Global Companies in the world
such as Microsoft, Disney, IBM and Intuit. In addition, I play tennis several times a week, have two cats, two
parakeets, a KCBS newscaster boyfriend and a host of lifelong friends, three of which I met at SSU.
Sr No: 10
Response No : 10
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Reputation
Range of courses offered
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Culinary and pastry degree
208
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
Improved my overall skills in painting and sculpting which I use all the time with my custom cakes.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Happy still living in Sonoma County with my Fiance and daughter. Have my own custom pastry and cake business
that definitely utilizes many skills I learned from the art department. I do miss painting in the regular though and
spending time in the studio.
Sr No: 11
Response No : 11
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
Cost of attending SSU
2. What career path(s) did you pursue after graduating?
I continued teaching ballet and character dance.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
I instructors were mostly schooled by twentieth century modernist so the instruction I received did not include
technical skills that I had hoped for.
4. How satisfied were you with the Art Studio Program overall?
2
209
5. How satisfied were you with the instruction offered by the Art Studio Program?
2
6. How satisfied were you with the career advising you received from Art History Program faculty?
2
7. How satisfied were you with course offerings in the Art Studio program?
2
8. 9. Please let us know anything you'd like to improve about the program.
It has been more that twenty years since my graduation. I was so put off by the negative attitude of most of my
teachers that I lost all enthusiasm for painting and drawing. I’m guessing that they would be retired by now. I
thought the Art History department was great. I have museum memberships throughout the US and Europe. I spend
several weeks a year traveling to continue my studies.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
The liberal arts education has been a valuable addition to my appreciation of life.
Sr No: 12
Response No : 12
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Becoming a painter
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
Some good instructors were instrumental. The SSU Gallery was a great resource. One instructor was horrible and I
won’t forget his treatment of me.
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
4
6. How satisfied were you with the career advising you received from Art History Program faculty?
210
2
7. How satisfied were you with course offerings in the Art Studio program?
4
8. 9. Please let us know anything you'd like to improve about the program.
When I attended, the painting professors didn’t seem to support the actual teaching of a wider range of materials
instruction. The one exception was Chester Arnold (part time faculty member) who taught a class on fresco painting
which I, unfortunately, could not take.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I’ve continued to paint since graduating in 1994. Have shown in juried shows, solo shows and am a member of a
cooperative arts organization that supports a very successful open studio weekend each year.
Sr No: 13
Response No : 13
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Faculty
Range of courses offered
Career goals
Location of school
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Curatorial and visual arts management
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It prepared me for working independently, but not so much in group environments. Felt very ‘fend for yourself’ at
SSU
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
3
6. How satisfied were you with the career advising you received from Art History Program faculty?
4
211
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
I would have appreciated more projects across mediums at SSU, it felt rather isolated and separate between each
chosen medium.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Since graduating I have helped open and run an art gallery in Los Angeles and have received a US and UK Masters
degree in Visual Arts Management and Curating while living in London. I still continue to make prints and
reminisce on my days in the SSU art department often
Sr No: 14
Response No : 14
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Cooking. Now own the family restaurant.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
They gave me a foundation of benign curious and constantly trying new things. I’m still pursuing my dreams.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
212
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 15
Response No : 15
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Worked as a production artist printing linoleum blocks on textile, graphic artist and more recently digital designer
for a creative agency
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
Most importantly, it taught me how to take and apply a critique
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 16
Response No : 16
213
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Career goals
Location of school
2. What career path(s) did you pursue after graduating?
Ended up just being doing my own art thing then became a stay at home mom.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It didn't help me reach my goals. I was a transfer student from Humboldt state university, I thought being closer to
Napa/San francisco, that I would have teachers that would help with more community connections for career path.
Also thought as a student there would be more student events/field trip to art galleries. When I was there the art
department was pretty depressing and lacked in support, which was the completely opposite from my experience at
HSU. There wasn't really any clubs, the art department vibe was very modern in their view and shut down certain
styles. I ended finishing with a photography emphasizes because I just wanted to finish, get out there and stop
giving SSU money. And sadly the photography department wasn't even funded or capable to teach digital skills at
the time. So they were behind too when I was there.
4. How satisfied were you with the Art Studio Program overall?
2
5. How satisfied were you with the instruction offered by the Art Studio Program?
3
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
2
8. 9. Please let us know anything you'd like to improve about the program.
I think there needs to be more of a variety of styles and variety of teachers with different styles. Teacher who are all
on the mission to encourage and push students to get better at their skill (not push them into a certain style) .
Encourage more student to create art clubs, more art shows, go to more local art events for experiences and for them
to create more of a presence on campus.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 17
Response No : 17
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
214
Faculty
Career goals
Location of school
Cost of attending SSU
Other (Please specify):Facilities
2. What career path(s) did you pursue after graduating?
Commercial and Fine art Neon. Later art teacher and art education professor
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It provided a wide range of art making skills and art history knot
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
It was a long time ago. So, I am not really sure I’d be much help
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 18
Response No : 18
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Subject matter interests me
2. What career path(s) did you pursue after graduating?
215
education
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It met the requirement for acceptance into the teacher certification program.
4. How satisfied were you with the Art Studio Program overall?
3
5. How satisfied were you with the instruction offered by the Art Studio Program?
3
6. How satisfied were you with the career advising you received from Art History Program faculty?
2
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
The program was in its infancy when I attended. I have no idea of its development or present status.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 19
Response No : 19
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Artist Teacher
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
4. How satisfied were you with the Art Studio Program overall?
216
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
4
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 20
Response No : 20
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Faculty
2. What career path(s) did you pursue after graduating?
Artist and teacher
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
The Art D, Kurt and Nate really, helped me find my way to grad school
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
217
5
8. 9. Please let us know anything you'd like to improve about the program.
Students should be taught how to build a website, how to apply to grad school, and should be taught business
practices. Also the Art Department needs more female teachers.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 21
Response No : 21
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Range of courses offered
Career goals
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Marketing, Education, and Graphic Design
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
A solid core of art theory and understanding.
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
218
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 22
Response No : 22
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Reputation
Career goals
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Totally unrelated to art, I am now in the corporate world doing management within the beauty industry. There were
no career placement opportunities or discussions while at SSU. Only option was pursuing additional education
through grad programs. This was cost prohibitive and disheartening.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It did not. Please work more with students who can not afford to stay for fine art/ pursue grad school. Find practical
internships and assistant positions for them to continue in field of study post graduation. Put a larger focus on
everyone instead of the few students who could afford to stay for fine art studies/pursue grad schools. SSU was a
weird microcosm of the art world where the privileged ultimately were able to advance further and treated better.
4. How satisfied were you with the Art Studio Program overall?
1
5. How satisfied were you with the instruction offered by the Art Studio Program?
2
6. How satisfied were you with the career advising you received from Art History Program faculty?
4
7. How satisfied were you with course offerings in the Art Studio program?
2
8. 9. Please let us know anything you'd like to improve about the program.
219
I wish the staffing was more diverse with women artist/professors , the staffing reflected the male dominated art
world, felt like there was no space for the different perspectives of women artist within many of the courses.
Additionally, the lack of quality digital art courses handicapped career opportunities.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I’m extremely happy to have switched life paths after leaving SSU to have chosen to work within an industry the is
truly inclusive and supportive, something the art world hasn’t been able to achieve due to entrenched male privilege
and elitism.
Sr No: 23
Response No : 23
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Faculty
Range of courses offered
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
I was a comics retailer with my own store, the Comic Book Box, for 30+ years.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
My Art History/Art Studio combined with my English degree allowed me to talk with people in the comics industry
as well as aspiring kids interested in art. It also allowed me to think outside the box in advertising, and marketing.
Displaying product also needs an eye towards what will visually help the product to be seen.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
5
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
220
It's been many decades since I have been in the program that I can't answer in regards to what has evolved since the
1980's.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I was an Eisner judge in 2014. The Eisner's are the Oscars for the comics industry.
Sr No: 24
Response No : 24
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Other (Please specify):I was an Art History major and the class seemed fun.
2. What career path(s) did you pursue after graduating?
Libraries
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
2
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
SSU was a great experience to my life and career.
Sr No: 25
Response No : 25
221
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Range of courses offered
Subject matter interests me
2. What career path(s) did you pursue after graduating?
I pursued a career in culinary arts (which art helped me there as well) and I have transitioned into personal financial
coaching and bookkeeping.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
My time in the culinary arts program helped me to become a more confident person. I was a person who wanted to
know what the right answer was and it helped me to be creative and accept my ideas and to be confident in growing
my own opinions and values. It pushed me out of my comfort zone. I gained the confidence and my voice because
of the art community made be feel comfortable . I know my time in the art studio was what set me on the path I am
on now with the confidence a classroom setting never gave me.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
4
6. How satisfied were you with the career advising you received from Art History Program faculty?
4
7. How satisfied were you with course offerings in the Art Studio program?
4
8. 9. Please let us know anything you'd like to improve about the program.
My emphasis was photography and I really enjoyed the photography program. I did however wish there were a few
more classes offered in that area. I loved the fine art aspect of it but I would have pursued the commercial
photography side of it if I had a little bit of exposure to it at school. I know that photography has evolved since I
graduated but I would have been more Likely to have pursued it as a real career if I had a class or two in preparing
for a career in it. Art history and actual photography classes were amazing but when faced with the real world I was
left lost and not knowing how or where to start. I also was the most confident and vocal person 17 years ago, so I
ended up going in a different direction that felt a little more clear as far as how to navigate a career from it.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I have since been helping people understand their personal finances and help them to pay off their debt and
accomplish their life goals that maybe they felt like they couldn’t achieve before working together. I work with
individuals to understand their finances and the banks. This has been so rewarding and I am so lucky to watch them
pay off things like their student loans. I am so lucky to have found a company 101 financial, that is passionate about
helping people to break the cycle of financial illiteracy. Even though it is a financial company, it feels more like a
company that changes people’s lives and sets them on a path to achieve their dreams.
222
Sr No: 26
Response No : 26
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
2. What career path(s) did you pursue after graduating?
Building construction Foundation, frame, finish The art of building Attention to details Physical and natural
connection
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
Seeing life as art
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
4
6. How satisfied were you with the career advising you received from Art History Program faculty?
4
7. How satisfied were you with course offerings in the Art Studio program?
4
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Life is good
Sr No: 27
Response No : 27
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
2. What career path(s) did you pursue after graduating?
223
I took time to try out wedding and portrait studio work right after graduation. I enjoyed the work but the lack of
benefits was always a problem as I had children. It was low pay, hard work but fun. The Luther Burbank Center was
a great job for me after trying the photo work. They had an art museum where I first started as an assistant to the
museum director, but I found I enjoyed the performing arts much better than the museum. I stayed in that job for
about 5 years until I left the area for the Santa Barbara where I am today. I work as an administrative assistant and
work for a property management company for almost 14 years. The company manages a large portfolio of
commercial and residential properties. I absolutely love it. I have had the pleasure of working directly for a
billionaire until his passing a few years ago. I am still with the company enjoying the changes after the founder has
passed on.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
My education was such a great topic to discuss in my job interviews. I could speak with enthusiasm the education I
received from SSU. Many questions were asked from the interviewing company about my education, artistic
influences and background. At SSU I worked in the art office under the guidance of the wonderful Connie Eagle.
The the tasks I did were so great to help my job search. The art office experience under Connie's direction, was
amazing and helped me with confidence. The professors treated me so well and gave me some great experience and
projects.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
5
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
My education was so long ago. What would I have to say about improving? I saw abusive behavior of one professor
towards a few students in print making during my studies. I am still horrified by what I witnessed. We were afraid
to report what was said towards a student(s) in front of the entire class. This was only one professor, an outstanding
artist, but failing in teaching skills. We were all afraid to report the abuse. I learned so much from him but the
abusive language he directed towards some students, was inexcusable. That would be my one criticism, otherwise, it
was a remarkable time in my life and I am ever so grateful for the opportunity.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I have only great things to share about my experience at SSU in the Art Dept. What an incredible education I
received. My emphasis was in photography in the day of the wonderful darkroom! After graduation, I dabbled in
jobs in photography at some of the Santa Rosa photography studios in weddings and portrait work. I had an
opportunity to work at the LBC when there was an art museum. I loved performing arts better then the work in the
art museum! Although a challenge, I loved drawing. I took the skills and couching from Bob Nugent and Marc
Pearlman, through the years. I never gave up and have advanced my drawing skills. I enjoy portrait drawing. I can
still hear their voices coaching me as I draw! I have an amazing job which I have worked for almost 14 years as an
office coordinator. I am encouraged to use creativity. Drawing became my passion in life, not for a career but a pure
joy in my life. The recognition my drawings have received has been a plus. Thank you SSU Art Department.
224
Sr No: 28
Response No : 28
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Faculty
2. What career path(s) did you pursue after graduating?
fine art
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
critiques or a group setup for after school
4. How satisfied were you with the Art Studio Program overall?
3
5. How satisfied were you with the instruction offered by the Art Studio Program?
3
6. How satisfied were you with the career advising you received from Art History Program faculty?
1
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
more direction from main advisors on what to do after school. I needed real life references that would benefit my
specific style. After school I’m lost. I still make art but it’s been 5 years and nothing real has happened for me. I’ve
tried, but I need an in. For the money I paid for the program, you need to give me more. Put my work in front of
people, but I get those are adjunct professors... they don’t have the time for that. All the advisors should be tenure,
then they would have the time to help build an art career. All I really heard was, it’s hard oht there from professors.
I didn’t get into art because it was easy, I know I’ll be very poor for a while... but help me get started. I apologize
for the rant... I built great relationships with the other students at CCA, so it was worth it in that aspect
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I sell bs on etsy and work minimum wage
Sr No: 29
Response No : 29
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
225
Subject matter interests me
2. What career path(s) did you pursue after graduating?
I am currently a teacher- art was my minor.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
4
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 30
Response No : 30
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
I completed my MFA, got married and started a family. I had applied to teach at SRJC, and interviewed, but was
also recently pregnant. I decided to raise my family instead.
226
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
I LOVED my years at SSU and in the art department! I loved the faculty and the preparedness I gained for Graduate
School.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
5
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
I graduated SSU with my BFA in 2002...I have no idea what the program is like now or how I would suggest
changes.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I received my MFA from California College of Art and Crafts, got married and raised two amazing children! My
daughter is a promising young artist and aspires to attend an Art college. I love helping both of my kids with
creative projects for school and using my artistic talents in other ways.
Sr No: 31
Response No : 31
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Faculty
Range of courses offered
Location of school
Subject matter interests me
2. What career path(s) did you pursue after graduating?
MFA Artist Teacher
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It was indispensable, from advising to techniques, from friendships to constructive criticism, from academics to
inspiration
227
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
5
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I walked into my MFA program VERY well prepared!!!
Sr No: 32
Response No : 32
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Career goals
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Immediately employed by Federal Government leading to ultimate retirement.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
My Art Degree allowed me to apply said degree within the federal government.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
228
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
1
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
Question 6, there was no career advisors when I graduate in 1983.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
The degree lead to a 32 year career with the Federal government allowing me to comfortable retire at age 55. Since
I have attended art classes and currently volunteer at Chabot community college sharing and applying my art
talents.
Sr No: 33
Response No : 33
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Faculty
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Fine artist and teacher
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It encouraged me to find my own voice while challenging me to look at my work critically. 2 things stand out to me
that made my experience so special. The building, somewhat isolated from the rest of the campus, helped create a
community amongst the faculty and the students. Secondly, the faculty were themselves practicing artists, had a
diverse voice, and were honest and supportive with the students.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
229
6. How satisfied were you with the career advising you received from Art History Program faculty?
5
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
I graduated in 1980, so I am very out of date on how it is now.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Most of my work has been in the visual arts field: teaching art at college and middle school levels, co-founding and
running an arts non-profit, landscape design, participating in group and one person shows, and most recently, photo
restoration and book design. SSU was a valuable foundation for all of these pursuits.
Sr No: 34
Response No : 34
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Range of courses offered
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Real estate marketing, graphic design, web design, social media management
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
My time in the Art program helped me in several arenas such as: developing critiquing skills and vocabulary,
collaboration, time management, general respect of people from all backgrounds, digital organization skills,
valuable art history knowledge, drawing principles, array of photography techniques. One thing I wish I could have
learned at SSU is interior design/ 3-D architecture computer programs. More internship opportunities geared
towards digital arts would have been great.
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
230
3
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Being part of the Art department at SSU directly lead me to my current careers. My freshman year of experience
lead me to my on campus graphic design job, which provided me with the skills and resume line I needed to get my
current job. I have great satisfaction knowing I chose to be part of the art community of Sonoma.
Sr No: 35
Response No : 35
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
Cost of attending SSU
2. What career path(s) did you pursue after graduating?
I've worked in Photography ever since
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
Uhmm it help create a very solid foundation in the traditional crafts of photography and print making. I had to teach
myself how to adapt those more traditional methods to real world job opportunities.
4. How satisfied were you with the Art Studio Program overall?
3
5. How satisfied were you with the instruction offered by the Art Studio Program?
3
6. How satisfied were you with the career advising you received from Art History Program faculty?
1
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
231
I attended from 2005 to 2008 and studied photography. At the time, everything was darkroom based despite the
industry having transitioned into a digital world. The photography department lacked any kind of structured course
work around studio set up, what it's like to freelance in the photo industry, or even any sort of lay out of the variety
of work available in the field (do you want to be a photo editor? art director? creative director? photo retoucher?
producer? post production focused? or an actual photographer? how does photography fit into the modern world of
media creation? etc). Dunno what's changed since then in the department, but without finding a community of peers
in nearby San Francisco shortly after graduating, I do not know how I would have learned any of the things I know
now.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I can say that my professors at the time at least made me confident that I understand photography: how a camera
works and how to make the image I want to make. SInce I've graduated from SSU, I've continually worked in the
industry in a wide array of jobs and it's never hurt that I knew how to use a darkroom.
Sr No: 36
Response No : 36
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Marketing Art Director on local films
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
At the time the older male teachers openly favored the young women. The mature Wimen who chose a no direct
route to school often talked about the uneven mentor ship.
4. How satisfied were you with the Art Studio Program overall?
3
5. How satisfied were you with the instruction offered by the Art Studio Program?
3
6. How satisfied were you with the career advising you received from Art History Program faculty?
2
7. How satisfied were you with course offerings in the Art Studio program?
2
8. 9. Please let us know anything you'd like to improve about the program.
232
The classes were somewhat limited. The teacher who came from other universities brought enthusiasm and mentor
ship that was lacking with the regular staff.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
The teachers offered a new perspective but the classes were lackluster.
Sr No: 37
Response No : 37
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
Cost of attending SSU
2. What career path(s) did you pursue after graduating?
I became an art instructor. Over the years I taught paper making , painting and film editing. Art direction in plays
and film Marketing Graphic Disegn Film editing
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
I did not receive career goals. I believe it was thought that as an older student I had direction and a career path.
There could have been more business of art classes.
4. How satisfied were you with the Art Studio Program overall?
2
5. How satisfied were you with the instruction offered by the Art Studio Program?
2
6. How satisfied were you with the career advising you received from Art History Program faculty?
7. How satisfied were you with course offerings in the Art Studio program?
2
8. 9. Please let us know anything you'd like to improve about the program.
The staff was friendly and I did learn however after graduation I attended a lot of workshops at other unobtrusive
and I experienced the difference.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
233
Sr No: 38
Response No : 38
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Career goals
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Office Manager
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It did not but was a nice balance to other more academic classes
4. How satisfied were you with the Art Studio Program overall?
3
5. How satisfied were you with the instruction offered by the Art Studio Program?
3
6. How satisfied were you with the career advising you received from Art History Program faculty?
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 39
Response No : 39
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Faculty
Range of courses offered
Location of school
234
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Glass Artist Art teacher
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
I took a wide variety of art classes with excellent instructors
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
4
6. How satisfied were you with the career advising you received from Art History Program faculty?
2
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I’ve gone on to receive my masters in teaching fine arts. I run my personal studio for glass art. I learned a wide
range of arts and skills that help greatly in teaching
Sr No: 40
Response No : 40
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
2. What career path(s) did you pursue after graduating?
. I tried graphic design for a while but the economy was so bad, I eventually went back to my old job
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It would have been nice to get some classical art training instead of comments like:”be more painterly” also modern
illustration seemed to be frowned upon.
235
4. How satisfied were you with the Art Studio Program overall?
5. How satisfied were you with the instruction offered by the Art Studio Program?
2
6. How satisfied were you with the career advising you received from Art History Program faculty?
1
7. How satisfied were you with course offerings in the Art Studio program?
1
8. 9. Please let us know anything you'd like to improve about the program.
I think digital art training is important and classic drawing techniques . There is a big market in commercial art,
gaming, and movies that could be taught. Also I did not receive any career advising from any faculty
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I felt proud to get my degree but at this point seems it was a waste of money and time I could have spent elseware.
Sr No: 41
Response No : 41
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Reputation
Range of courses offered
Location of school
2. What career path(s) did you pursue after graduating?
Graphic arts
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
Helped push me creatively, both conceptually and technically.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
236
6. How satisfied were you with the career advising you received from Art History Program faculty?
5
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
Some more digital art classes. Specifically in Adobe illustrator +graphic design.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I’ve since started my own design company, Schravin graphic arts llc where I do a ton of illustrations for companies.
I also do murals and sell paintings occasionally. Sonoma state really helped me form myself as an artist all around.
Sr No: 42
Response No : 42
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Medical Illustration (MA Biomedical Communications), plus computer graphics and medical photography, design
for publication, and package design.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
I got foundational experience and the time and space to try a lot of media and experiment. I was at Sonoma in 1973-
75, so everything was quite new. I didn't have well formed career goals.
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
4
6. How satisfied were you with the career advising you received from Art History Program faculty?
7. How satisfied were you with course offerings in the Art Studio program?
237
4
8. 9. Please let us know anything you'd like to improve about the program.
I don't think there was a well formed Art Studio program when I was there. I liked being there quite a lot.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I am a retired but still very actively involved in making art.
Sr No: 43
Response No : 43
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Faculty
Range of courses offered
Career goals
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Video Artist, Filmmaker and Professor of Film and Television
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
I enterer Sonoma State in 1969 as a Political Sci major then moving to the Hutchins School. I took a course in
Filmmaking in the Art Department and became an Art Major the following semester. This changed the course of my
life. I learned terrific skills in a broad range of art forms while focusing on filmmaking (there was a filmmaking
option in 1969). as an art form among other art forms. I went on to get an MFA at California College of the Arts
(then it was California College of Arts and Crafts). I served as the Graduate Assistant to Visiting Artist Nam June
Paik, an amazing experience. I started out as an experimental filmmaker and Video Artist. I have directed PBS and
BBC Documentaries, Music Videos as well as being a "portrait artist" working with the moving image. I have
taught at the University Level since 1975, including Temple University and The American Films Institute.
Currently I am Professor Emeritus of Film and Television at California State University, Los Angeles.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
4
238
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
I noticed that there is no longer a Filmmaking option in the department. While there are Media Arts classes it looks
like the program could grow it bit and also strengthen Inter Arts.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
As I said above, becoming an art major at Sonoma State changed the course of my life, it has also informed the
courses that I have taught for the last 45 years.
Sr No: 44
Response No : 44
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
2. What career path(s) did you pursue after graduating?
Administrative assistant at a law office
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
Built my skills as an artist, gave me experience working with other artists and interacting during critiques
4. How satisfied were you with the Art Studio Program overall?
3
5. How satisfied were you with the instruction offered by the Art Studio Program?
3
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
239
Sr No: 45
Response No : 45
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
2. What career path(s) did you pursue after graduating?
Home Building and Design
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It helped with color and design
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
5
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Love the school
Sr No: 46
Response No : 46
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Subject matter interests me
240
2. What career path(s) did you pursue after graduating?
Psychology
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
Find better teachers! The two I had just sucked, big time.
4. How satisfied were you with the Art Studio Program overall?
1
5. How satisfied were you with the instruction offered by the Art Studio Program?
1
6. How satisfied were you with the career advising you received from Art History Program faculty?
1
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
Dump Jan Nunn and Hreg Robert's, find teachers that care and those who can instruct without relying on unkind
criticism as their only tool.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 47
Response No : 47
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Bookkeeper and office manager
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
I studied art. I could have changed my degree, but I wanted an art degree.
4. How satisfied were you with the Art Studio Program overall?
5
241
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
I wanted to get a degree in jewelry making, but they did not want to revive the program that had been gone years
previous to me attending in 1992! I think....crazy time.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Got married at 43, adopted an amazing daughter 6 years ago, adopted a dog 6 months ago and in April 2020 we
bought our family home in Marina, California. I am a bookkeeper for a visual effects company in Burbank,
California and do art as much as possible, but never enough! Hugs
Sr No: 48
Response No : 48
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Reputation
2. What career path(s) did you pursue after graduating?
Make-up Artist for film
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
The Art Studio Program was great! I didn’t know what I wanted to do until most of the way through school, and I
didn’t end up sticking with what I chose. I just knew art was my strength. Perhaps the Program could have helped
me decide how I could make a living doing art in the real world. Creating fine art rarely pays the bills. Perhaps the
Program does that now. I graduated 22 years ago!
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
242
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
See above.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 49
Response No : 49
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
2. What career path(s) did you pursue after graduating?
Artist and arts related consulting- I work with small arts organizations as a grant writer and with artists to write
statements, newsletters, exhibition proposals and grants.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It helped develop my art enough to get accepted to an MFA program. In retrospect, the time at SSU seemed to be
limiting rather than encouraging development. I was very fortunate in the MFA program. It was like emerging into a
sunny day full of possibilities.
4. How satisfied were you with the Art Studio Program overall?
3
5. How satisfied were you with the instruction offered by the Art Studio Program?
3
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
It’s been 12 years since I graduated so my observations are out of date.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
243
I maintain a studio and exhibit my work on a regular basis. I feel there are plenty of opportunities and new
experiences in my future.
Sr No: 50
Response No : 50
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Cost of attending SSU
2. What career path(s) did you pursue after graduating?
digital art that i taught myself, the SSU art program did absolutely NOTHING to prepare me for a career in any kind
of art.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
the program was extremely close-minded across the disciplines, for example a professor once told a student 'this art
is fine for a park, but it's not fine art' - with no context on the intention or meaning of the students work, as it was
never asked of the artist or discussed in any critiques. One time i took a digital art course and the professor knew so
little i spent most of my time helping the students in the course.
4. How satisfied were you with the Art Studio Program overall?
1
5. How satisfied were you with the instruction offered by the Art Studio Program?
1
6. How satisfied were you with the career advising you received from Art History Program faculty?
1
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
start over, hire more open-minded and considerate professors. it's legitimately terrible. Mark Perlman is cool
though.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I ate a lot of hummus yesterday
Sr No: 51
Response No : 51
244
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Subject matter interests me
Other (Please specify):Darkroom Photography program
2. What career path(s) did you pursue after graduating?
Law enforcement
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
I minored in darkroom photography but wished I had double majored because of how great my professors were.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 52
Response No : 52
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
245
Teaching credential to teach Art
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
Some of the staff members were helpful. There needs to be major improvements with the facilities. The classroom
environments need to be updated to let students know that Sonoma actually cares about the Art department. The Art
department is run down compared to the rest of campus. By having a better learning environment, students will be
much more motivated and comfortable.
4. How satisfied were you with the Art Studio Program overall?
2
5. How satisfied were you with the instruction offered by the Art Studio Program?
4
6. How satisfied were you with the career advising you received from Art History Program faculty?
2
7. How satisfied were you with course offerings in the Art Studio program?
4
8. 9. Please let us know anything you'd like to improve about the program.
The number one thing that needs to be done to improve the program is giving the Art department a renovation. It
was hard to work in the conditions of the classrooms, the floors would be messed up, the ceilings would leak, the air
conditioning/heaters never worked, and everything was just old. Students struggled working in these conditions.
This should be the Art departments top priority! As for staff, most of the staff members were very knowledgeable
and helpful. Most.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I’m almost done with the credential program at Sonoma, and hope one day I will be able to teach at the college
level.
Sr No: 53
Response No : 53
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Career goals
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
246
I went on to get an MFA at the University of Kansas, and have since been teaching sculpture and design for 33
years at SRJC. I am a practicing sculpture, interactive exhibit designer and creator of internationally respected 3-
dimensional games.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
Because I received the units and grades necessary to get into graduate school, and because of my experience
working for John deMarchi (sculpture tech and designer of much of the art department facility) and Mary Bates (the
sculpture instructor at the time), I was able to receive a scholarship at KU, where I was employed to run the
sculpture shop as I attended the graduate program. Mary wrote me a fine letter of recommendation which also was
beneficial.
4. How satisfied were you with the Art Studio Program overall?
3
5. How satisfied were you with the instruction offered by the Art Studio Program?
3
6. How satisfied were you with the career advising you received from Art History Program faculty?
7. How satisfied were you with course offerings in the Art Studio program?
4
8. 9. Please let us know anything you'd like to improve about the program.
At the time - so I cannot speak for current times - there was a lot of infighting and divisiveness at SSU in the Art
Department. Sometimes instructors made it difficult for one-another, and especially for John deMarchi, who was
thwarted from teaching. Further, I recall instructors, who are on committees for hiring, telling students the
department would never hire anyone who attended their program. This was disconcerting because it was an unfair
bias. Could it have meant that their instruction was so poor that their students could never become good enough to
teach? At the time, my father-in-law was chair of the foreign language department, and talked about how
dysfunctional the art department was, and how an outside individual had to chair the art deparrment.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I met my wife in SSU's sculpture studio 35 years ago! Over my career as an artist and creator, I have written articles
for woodworking and other magazines about my work. I have won over 30 international awards for my 3-D
labyrinth games, including the TOTY in 2013. This is the top award in the toy industry. I've been commissioned in
many countries at various museums, corporate locations and private residences for my interactive sculpture. I gave
the keynote address at Asilomar for Phi Beta Kappa, and traveled through the state of California to lecture about my
work at math conferences for UC, CSU, and community college groups. Over the course of nearly seven years I
have designed and built a large portion of the interior interactive exhibits for CMOSC (the Children's Museum of
Sonoma County. I build custom exhibits for CMSM as well. Currently I'm creating a large outdoor sculpture to be
installed on the face of the Sebastopol Library. I'm in my 34th year at SRJC, teaching what I love.
Sr No: 54
Response No : 54
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
247
Range of courses offered
Subject matter interests me
2. What career path(s) did you pursue after graduating?
None yet.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It helped me continue to drive my passion for art. Lots of creative flow came through that inspired bright new ideas.
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
4
6. How satisfied were you with the career advising you received from Art History Program faculty?
2
7. How satisfied were you with course offerings in the Art Studio program?
4
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 55
Response No : 55
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
2. What career path(s) did you pursue after graduating?
Environmental scientist (I had a double major with Biology and went that route for my profession)
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
248
It gave me a foundation of skills for rendering graphic information and for considering people's perceptions of
graphic material.
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
4
6. How satisfied were you with the career advising you received from Art History Program faculty?
1
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
I attended SSU in the 1990s, so I am certain everything has changed considerably since then, and any comments
relevant to my time as a student would no longer be relevant today.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
No comments about my achievements, but I do want to say that I received several good pieces of advice from my
instructors during my time at SSU that have stood the test of time and helped shape my development.
Sr No: 56
Response No : 56
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Faculty
Range of courses offered
2. What career path(s) did you pursue after graduating?
I completed my Masters at the Royal College of Art and am a professional fine artist alongside a p/t job with an
international art studio represented by Pace/Superblue.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It allowed me to build a portfolio for my MA and work with materials and techniques I still use today.
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
249
4
6. How satisfied were you with the career advising you received from Art History Program faculty?
2
7. How satisfied were you with course offerings in the Art Studio program?
4
8. 9. Please let us know anything you'd like to improve about the program.
Like most art programmes, the department could use more money. I do think a CAD or Cinema 4D course would
have been incredibly beneficial at the undergrad level. I am unsure if you offer those now. I think combining digital
design for sculpture is as important as plaster casting. I do think art history could be taught in a more 21st century
way and make the straight white male the diversity highlight and women, queer, and poc the default. This has as
much to do with textbooks erasing histories as it does with antiquated curriculum left over from the modernists. Oh
I would also like to mention that the unnecessary weight placed on the BFA vs the Studio Art majors comes across
as petty from the profs. I was told I would not be taken seriously without a BFA, which was woefully inaccurate. I
did just fine getting offers from the best MFA programmes in the world without it. Otherwise I have incredibly fond
memories of the art building and gallery.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
As stated above, I work professionally in the arts with my own art practice and with artists of international renown.
The SSU art facilities w the foundry, metal and wood shops were priceless for sculptors like myself and rival other
schools I've seen.
Sr No: 57
Response No : 57
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
Cost of attending SSU
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Honestly, I graduated college to make my father happy. I wanted to be a full-time mom and part-time worker.
Specifically, I wanted to pursue a career in museum exhibit display, but would have needed to relocate. I also
wanted to train in graphic design, but in 1994-95 this wasn’t offered at SSU. My art background has helped in my
past jobs in prepress, and I subsequently trained in Illustrator, in 2005 at the SRJC.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
I did minor in Museum Studies which was very helpful in learning about this subject.
4. How satisfied were you with the Art Studio Program overall?
2
250
5. How satisfied were you with the instruction offered by the Art Studio Program?
2
6. How satisfied were you with the career advising you received from Art History Program faculty?
2
7. How satisfied were you with course offerings in the Art Studio program?
2
8. 9. Please let us know anything you'd like to improve about the program.
I started off my education at the SRJC, and got a fine art certificate there. I had amazing time learning all kinds of
art processes and design. There was even a rudimentary graphic art class. I was hoping to continue learning more
about fine art execution, but the upper level classes were more about producing a lot of the same art (not about new
techniques). The teachers started to teach at the beginning of the class, then just sat back and let the class figure
things out for the rest of semester. There was a jealously between the staff members, and many were disgruntled
because they needed to teach to make a living and not just be able to make a living off producing art. My counselor
Shane Weare, was one of these “burnt out” teachers. He was a nice caring man, but I could tell he did not want to be
teaching. My experience is from many years ago, and I certainly hope the art program and teachers have changed.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
College was a great foundation, and I received a good solid education. This training helped with learning graphic
design. Most recently, I designed Rohnert Park’s 50th Anniversary and Founder’s Day logos and was the event
Graphic Designer for the years it ran, 2012 - 2018.
Sr No: 58
Response No : 58
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
2. What career path(s) did you pursue after graduating?
Graduate school in Museum Studies
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
The classes were great and helped with painting skills. I still do some art and have a studio.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
251
6. How satisfied were you with the career advising you received from Art History Program faculty?
5
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 59
Response No : 59
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Range of courses offered
Location of school
2. What career path(s) did you pursue after graduating?
I taught in Adult Special Education for a few years and then returned to financial services for work. In the late
1990s I completed a Certificate program in Computer Aided Drafting and worked as an Engineering Aide for a few
years. My first BA was in Biology so the Art BA and certificate qualified my for doing technical drawing.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
I entered Art Competitions to show my pastel drawings and collages. From the mid 1990s to 2004 my drawings
were excepted in 6 National Competitions. one International exhibit and twice in the California State Fair. The Art
Studio Program classes taught me how to enter competitions and that I needed to continue drawing hours each week
to develop my individual expression.
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
4
7. How satisfied were you with course offerings in the Art Studio program?
252
5
8. 9. Please let us know anything you'd like to improve about the program.
I was glad to see that the BFA program at SSU was approved.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 60
Response No : 60
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Reputation
Range of courses offered
Location of school
2. What career path(s) did you pursue after graduating?
None, I became disabled due to brain tumors.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
Everything was great! The only thing that I did not like was how THE ADVANCED Painting teaches would pick
favorites and everybody else was left alone...I was left out and still to this day I have a hard time w/ how I was
treated.
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
3
6. How satisfied were you with the career advising you received from Art History Program faculty?
4
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
Most of the teachers are wonderful! But there are a few that have been there a long time that arent so great anymore.
253
9. Please let us know anything you'd like to share about your life or achievements since graduating.
Sr No: 61
Response No : 61
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Subject matter interests me
2. What career path(s) did you pursue after graduating?
Laboratory technician for micro biology
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
It helped me stay centered in this crazy time of being in college. I hope you do reconstruction prosthetics soo
4. How satisfied were you with the Art Studio Program overall?
5
5. How satisfied were you with the instruction offered by the Art Studio Program?
5
6. How satisfied were you with the career advising you received from Art History Program faculty?
4
7. How satisfied were you with course offerings in the Art Studio program?
5
8. 9. Please let us know anything you'd like to improve about the program.
Sometimes the impacted classes van get hard to get into making it a joke got students which is a negative thing
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I work in science. Dream about art, I miss it.
Sr No: 62
Response No : 62
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
254
Subject matter interests me
2. What career path(s) did you pursue after graduating?
After receiving my teaching credential from SSU, a position was created for me and over time I became the
executive director of the Sonoma State University Center for Performing Arts for the next 39 years, with the final
twelve years also as the executive director of the Green Music Center at SSU. I was involved from the beginning in
the design and construction of the GMC, having written the program for the project, work hand in hand with the
architects and consultants on the design, funding development, through the construction phase until my retirement
in 2009. I represented the end users in crafting a facility to meet the needs of the Music program and well as public
uses by the Santa Rosa Symphony and a major presenting program. Until 1996, I also worked as a scenic and
costume designer for various productions at SSU and costume designer for twenty-six productions for the SRJC
Summer Repertory Theatre.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
I started in the Art Department in Spring 1966, long before the Art Building was constructed. At that time the
department occupied half of the first floor of Darwin Hall and a few rooms in the Darwin basement. Top say it was
less than ideal art space would be an understatement. Obviously being an art student contributed to some extent to
my work as a scenic and costume designer, but in many ways I was self-taught for my theatre design work. My art
history courses certainly contributed to my research work when designing for the stage. After graduating, my
artistic outlet was not painting or drawing "fine art" but was focused on design for the stage that incorporated
putting paint on canvas for a stage set. What the Art Studio did instill in me to this day is a deep love of the visual
arts in all forms, all cultures, all historical periods, and including architecture, painting, sculpture, photography,
drawing, etc.
4. How satisfied were you with the Art Studio Program overall?
3
5. How satisfied were you with the instruction offered by the Art Studio Program?
3
6. How satisfied were you with the career advising you received from Art History Program faculty?
3
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
To be fair, my time in the program was a LONG time ago (55 years ago) when we did not have access to a fully
equipped facility for art study and practice. Though I have been to the Art Building many times over the years, I
never enjoyed what the students had after my time in the department. I would not presume to comment on
improvements needed in the program. I have been retired for thirteen years now, so I have no current knowledge
about the department or the Art Studio program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
255
My legacy to SSU after a total of forty-four years as a student and performing arts administrator are expressed in the
Green Music Center. I am proud of what we achieved and very proud of my contributions to the project. For me it
was always about providing the best facility in which the students, faculty, staff, guest artists, and patrons could
create and enjoy their best work and have a rewarding learning opportunity. In some fashion I suppose my efforts
with the GMC were a response to the lack of adequate facilities I had as an art student back in the day. I spent my
entire adult life -- age 18 to 62 -- at Sonoma State University and I carry that fact proudly to this day. It's safe to say
that the grounding I received in the Art Studio program is the foundation on which all my other achievements were
built.
Sr No: 63
Response No : 63
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
2. What career path(s) did you pursue after graduating?
Music. I was employed in music even before I graduated.
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
The studio program was a very disappointing experience. Overall arts in the university are severely behind the times
and very poor at helping students develop work habits that could help them in the long run. Different faculty focus
would be good. And interdisciplinary, multimedia exposure would have helped as well. I didn't want to "do art"
after I left that program. And being in the education field myself, I look back at the student I was and I know that
the teachers there had no clue how to help guide me in any way. The studio faculty were far too comfortable doing
the same things in their art and in their teaching; sitting back and enjoying their good ol' boys' club. This "comfort"
in their status was evident in the student work that followed. I saw the alumni show. No one has really evolved.
They're doing the same work I saw them doing 20+ years ago. And that is truly uninspiring.
4. How satisfied were you with the Art Studio Program overall?
1
5. How satisfied were you with the instruction offered by the Art Studio Program?
2
6. How satisfied were you with the career advising you received from Art History Program faculty?
1
7. How satisfied were you with course offerings in the Art Studio program?
2
8. 9. Please let us know anything you'd like to improve about the program.
256
Make the program more functional. If people want to be studio artists, don't waste their time by making them take a
bunch of art history classes. Get them to understand digital media, video, put them in touch with artists working in
the field. They are more accessible than ever. Instead of art history - which is skewed in what it covers anyway -
make the class about going to see art live, in person. So much of the arts is wasted on dated pedagogy whose only
function is to offer employment to people who majored in it. If someone wants to major in art history, make it more
comprehensive - instead of slides, understand history and culture. Why separate art from life? To satisfy curriculum
requirements?
9. Please let us know anything you'd like to share about your life or achievements since graduating.
I draw stuff. I write music. I make videos. I make things that are deeply meaningful to me. I don't stick to one
medium. If I can't tell a story one way, I keep searching until I find a way that works. I don't consider myself a great
or even a good artist, but I know amongst my peers I am unique in my thoughts.
Sr No: 64
Response No : 64
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Career goals
2. What career path(s) did you pursue after graduating?
work using my painting skills
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
if you are a painter, painting is what u do
4. How satisfied were you with the Art Studio Program overall?
2
5. How satisfied were you with the instruction offered by the Art Studio Program?
3
6. How satisfied were you with the career advising you received from Art History Program faculty?
1
7. How satisfied were you with course offerings in the Art Studio program?
1
8. 9. Please let us know anything you'd like to improve about the program.
open up the kinds of painting tht that did not include canvas or paper, since it's been 35 years hopefully changes
have been made
9. Please let us know anything you'd like to share about your life or achievements since graduating.
u could do way more towards getting working artists work or assistance
257
Sr No: 65
Response No : 65
1. Why did you choose the Art Studio Program at SSU? Please choose all that apply.
Location of school
2. What career path(s) did you pursue after graduating?
Professional artist, preparing for graduate school
3. How did the Art Studio Program help you reach your goals? If it did not help you reach your goals, what
might it have done differently?
4. How satisfied were you with the Art Studio Program overall?
4
5. How satisfied were you with the instruction offered by the Art Studio Program?
4
6. How satisfied were you with the career advising you received from Art History Program faculty?
4
7. How satisfied were you with course offerings in the Art Studio program?
3
8. 9. Please let us know anything you'd like to improve about the program.
9. Please let us know anything you'd like to share about your life or achievements since graduating.
258
259
Survey Results
to be continued on page 306
260
Appendix VII
Faculty CVs
261
Nathan Haenlein
660 Church Street
Santa Rosa, Ca 95405
707-321-6961
EDUCATION
2002 MFA, School of Art and Art History, The University of Iowa.
Major: Printmaking. Minor: Painting
2001 MA, School of Art and Art History, The University of Iowa.
Major: Printmaking. Minor: Drawing
1998 BFA, Center for the Visual Arts, The University of Toledo.
Equal concentrations in Printmaking and Painting.
TEACHING EXPERIENCE
Currently
Professor, Sonoma State University, Rohnert Park, CA
Duties include or have included: Teaching 2-D Fundamentals, Beginning
Drawing, Beginning Life Drawing, Intermediate/Advanced Drawing,
Beginning Printmaking, Intermediate/Advanced Lithography,
Intermediate/Advanced Etching & Woodcut, Intermediate/Advanced
Painting, Beginning/Intermediate Digital Printmaking, Beginning, Digital
Imaging, Artist Lecture Series, Silkscreen, BFA/BA Portfolio, and BFA Seminar.
2003-2002
Senior Lecturer, Mary Washington College, Fredericksburg, VA.
Duties included: Teaching Drawing I, II, and Life; Two- Dimensional
Design; and all areas of Printmaking including, Intaglio, Relief,
Lithography, and Monoprint/ Monotype.
2001
Instructor, Art Share, The University of Iowa, Iowa City, IA.
Execution and development of bookmaking seminar.
1999-1997
Studio Assistant, Printmaking, Center for the Visual Arts,
The University of Toledo, Toledo, OH.
Duties included teaching and care of studio.
1998-1995
Art Director, Lucas County Metropolitan Housing Authority. Toledo. OH.
Duties included teaching, program design and exhibition responsibilities.
262
UNIVERSITY COMMITTEES
2018-present Safety Committee
2015 University Scholarship Committee
2012-2013 University Grievance Committee
2009-2007 Space Allocation Committee
2008-2006 Information Technology Committee
DEPARTMENTAL COMMITTEES
(My service includes but is not limited to the following)
Currently RTP Committee- Letha Chen, Clea Felien, and Sena Creston
2019 Hiring Committee – Digital Media, Tenure track
RTP Committee – Letha Chen, Clea Felien
2018 RTP Committee – Shannon Benine, Clea Felien
Hiring Committee – Painting, Tenure Track
2017 RTP Committee – Shannon Benine
Hiring Committee - Painting, One Year Visiting (Chair)
2016 RTP Committee – Shannon Benine
2015 Hiring Committee – Digital Photo Media, Tenure Track
2012 RTP Committee – Carlos de Villasante
Hiring Committee – Part-time 2D pool (Chair)
2003-2011 Several RTP committees and hiring pools
OTHER PROFESSIONAL EXPERIENCE
2000-1999
Museum Technician, University of Iowa Museum of Art, Iowa City, IA.
Duties included care of and installation of artwork as well as general
museum maintenance.
1999-1997
Studio Assistant, Painting Department, The University of Toledo,
Toledo,OH. Duties included care of studio and maintaining visual
equipment and aides used in teaching the course.
1997
Photography Assistant
Lee Crumb/Spotty Dog Production Co. NewYork, NY.
Duties included handling and setting up photography equipment on location while working with
production and artistic direction.
263
1994-1993
Artist, Main Street Ventures, Ann Arbor, MI.
Two commissioned murals and monthly installations.
SOLO EXHIBITIONS
2013 New work, Gallery Gray, Flint, MI.
2008 Quaded, Visalia Art Center, Visalia, CA.
New works, Snowflake/City Stock Gallery, St. Louis, MO.
2006 Busy – New Works, Exit Gallery, Cleveland, OH.
Finished, Space 511, Santa Rosa, CA.
Woodwork – Mixed Media Drawings, Inde/Jacobs Gallery, Marfa, TX.
Twelve by Twelve, Studio One Eight Gallery, Washington D.C.
2004 Altered Copy, Main Art Gallery, Richmond, VA.
2003 Nathan Haenlein: SUPPLANTED, The Ridderhoff Martin Gallery,
Mary Washington College, Fredericksburg, VA.
2002 MADEMAID: A New Work by Nathan Haenlein, Byron Burford Gallery,
Iowa City, IA
2001 Structure: A New Installation by Nathan Haenlein, The Hardly
Peppercorn Gallery. Iowa City, IA.
2000 A Year and One Week, New Work by Nathan Haenlein, Eve
Drewelowe Gallery, School of Art and Art History, The University of
Iowa, Iowa City, IA.
1999 Recent works: Nathan Haenlein, Main Gallery, Center for the Visual
Arts, Toledo, OH.
1998 Monument Series: Nathan Haenlein, Main Gallery, Center for the
Visual Arts, Toledo, OH.
TWO AND THREE PERSON EXHIBITIONS
2018 Abstraction in Blue, Herald Mohoney Library Gallery, Petaluma, CA
2013 Close Wilderness – Amze Emmons, Parklife, San Francisco, CA
2010 Off the Meds, Nathan Haenlein and Lori Gilbert, BS Gallery, Iowa City, IA
2007 Nothing But Space, Nathan Haenlein, Eric Hongisto, and Jeanne
Lorenz, Bucheon Gallery, San Francisco, CA.
2006 Nathan Haenlein and Donald Judd, Inde/Jacobs Gallery, Marfa, TX.
2005 Nathan Haenlein and Joel Sternfeld, Inde/Jacobs Gallery, Marfa, TX.
2001 J.A.V. Works by Nathan Haenlein and Jason Urban, Lithuanian
Graphic Center, Vilnius, Lithuania.
Two Americans, Recent Works by Nathan Haenlein and Jason
Urban, Atlijie Butkovic, Riekja, Croatia.
1999 Three Painters: New Work by Nathan Haenlein, Brian Miller, and Sai
Sinbondit, Main Gallery, Center for the Visual Arts, Toledo, OH.
1998 Three Painters, Student Gallery, Center for the Visual Arts, Toledo. OH.
264
GROUP EXHIBITIONS
2014 The Intuitionist, The Drawing Center, New York, NY
2013
Deadpan, University of Michigan School of Art and Design
Detroit Gallery, Detroit, MI.
Manifest International Drawing Annual 8, Manifest Gallery, Cinncinati, OH.
High Realism, Manifest Gallery, Cinncinati, OH.
Studeo, University of North Carolina – Pembroke, NC.
2012 Annual Auction, Root Division, San Francisco, CA.
Art for the Heart, University Art Gallery, Sonoma StateUniversity,
Rohnert Park, CA.
2011 Transducere, Root Division, San Francisco, CA.
Studeo, University of North Carolina – Pembroke, NC.
Annual Auction, Root Division, San Francisco, CA.
Energy, Orange County Center of Contemporary Art, Santa Ana, CA.
Art for the Heart, University Art Gallery, Sonoma State, University,
Rohnert Park CA.
Introductions 2011, Root Division, San Francisco, CA.
2010 New Prints Spring 2010, IPCNY, New York, NY.
Art for the Heart, University Art Gallery, Sonoma State University,
Rohnert Park CA.
Boom, Print Club Exhibition, Santa Rosa City Council, Santa Rosa, CA
Shifter 15 Will, Ludlow 38, New York, NY
Copyjam, SGC Conference, Philadelphia, PA.
2009 Art for the Heart, University Art Gallery, Sonoma State University,
Rohnert Park CA.
Repressed V, Gallery 5, Richmond, VA.
2008 Art for the Heart, University Art Gallery, Sonoma State, University,
Rohnert Park CA.
Static/Flux, Portland State University, Portland, OR.
Calculating Art: Mathematics in the Visual Field, Mahoney Gallery, St.
Elizabeth College, Morristown, NJ.
Instructions 12, Arts Iowa City, Iowa City, IA.
2007 California Prints, Arts Visalia, Visalia, CA.
Prainting & Printstallation, Green Door Gallery, Kansas City, MO.
Art for the Heart, University Art Gallery, Sonoma State, University,
Rohnert Park CA.
2006 Emerge SF, Genart, San Francisco, CA.
California State Printmakers, Janet Tuner Museum, Chico, CA.
Faculty Exhibition, University Art Gallery, Sonoma State University, Rohnert
Park, CA.
Inliquid Benefit v.0.6., Crane Arts Building, Philadelphia, PA.
Epicenter, Sonoma County Museum of Art, Santa Rosa, CA.
Art for the Heart, University Art Gallery, Sonoma State, University,
Rohnert Park CA.
Immersion, Ice Box Gallery, Philadelphia, PA.
Exhibition 3, Painted Bride Art Center, Philadelphia, PA.
265
2005 Sonoma Valley Museum of Art Biennial, Sonoma Valley Museum, Sonoma, CA.
PaperAwesome, Pigman Gallery, San Francisco, CA.
Cross –Pollination, MOCA, Luther Burbank Center for the Arts, Santa Rosa, CA.
Art for the Heart, University Art Gallery, Sonoma State University, Rohnert
Park, CA.
State of the Art- Mid-Atlantic Biennial, Arlington Arts Center, Arlington,
VA.
2004 SSU Faculty Exhibition, University Gallery, Sonoma State University,
Rohnert Park, CA.
Draw-Drawing, International Drawing Biennale, Brazilian Embassy,
London, England.
Draw-Drawing, International Drawing Biennale, Gallery 32, London,
England.
Maybe Razzle, Maybe Dazzle, Amalie Rothschild Gallery, Baltimore, MD.
Art for the Heart, University Art Gallery, Sonoma State, University,
Rohnert Park CA.
On The Verge of The New Sincerity, Year Gallery, New York, NY.
2003 Third International Masters Exhibition, National Palace of Art, Minsk,
Belarus.
Thumbnails, Main Art Gallery, Richmond, VA.
The Big Square, Tjaden Gallery, Cornell University
Ithaca, NY.
The Big Square, Cora Stafford Gallery, University of North Texas,
Denton, TX
2002 Contemporary American Printmakers J.A.V., Lithuanian Graphic
Center, Vilnius, Lithuania.
Second International Masters Exhibition, National Palace of Art,
Minsk, Belarus
TEN:Digital, The Hudson River Gallery, Iowa City, IA
Midwest Ticket: Emerging Artist From Iowa, 119 Gallery, Chicago, IL
Iowa Mini Print Triennial 2002, University of Iowa Museum of Art, Iowa
City, IA.
The Digital, Central College, Pella, IA.
2001 First International Masters Exhibition, National Palace of Art, Minsk,
Belarus.
Bandwagon Show, 109 Gallery, Iowa City, IA
Who Is The Real Garfield?, Albrecht Durer Memorial Gallery, University
of Iowa School of Art and Art History, Iowa City, IA
The Boston Printmakers North American Print Exhibition, 808
Gallery, Boston University, Boston, MA.
2000 University of Iowa Faculty and Graduate Printmakers, The University
of Osnabruck, Osnabruck, Germany.
Altering Traditions, 16 Iowa Printmakers, Summit Street Gallery, Iowa
City, IA.
The 20th National Print Exhibition, Artlink, Inc, 437 E. Barry Gallery,
Fort Wayne, IN.
76th National Print Exhibition, Seventeenth Gallery, Wentachee, WA.
1999 National Fluxus Exhibition, School of Art, Central Michigan University,
Mount Pleasant, MI.
Volksgraphics, Byron Burford Gallery, Iowa City, IA.
Attack-20 Local Artist, Gorilla Gallery, Toledo, OH.
266
1998 The Best of Ohio Universities, Wolfe Gallery, Maumee, OH.
1997 Winter Art Exhibition, Flatlander Gallery, Blissfield, MI.
Drawing the Line, Moffet Gallery in cooperation with Artist Works on
Loan, Toledo, OH.
The Big Head ball, Water Street Studios Annual Halloween Show,
Toledo, OH.
The Yellow Gorilla Exhibition, 609 Gallery in cooperation with Artist
Works on Loan, Toledo, OH.
BIBLIOGRAPHY
Studeo, University of Tennessee Printmaking Blog, January 2012
Elizabeth Cayne, Introduction 11, Root Division, October 2011
Alan Bamberger, Art Business.com, September 10, 2011.
Shifter 15, Will, Mended Arrow Design Blog, April 2010
Shifter 15, Will, Wild Horses of Fire, November 2009
Christopher Robins, Contemporary Myth Making, December 2009
Maria Porges, Nothing But Space: Nathan Haenlein, Eric Hongisto, and
Jeanne Lorenz at Bucheon Gallery, Shotgun Review, July 23, 2007.
Alan Bamberger, Art Business.com, June 29, 2007.
Steven Litt, Cleveland Plain Dealer, Art Section, November 10, 2006.
Alan Bamberger, Art Business.com, November 4, 2006.
Zachary Lewis, Busy, Scene Magazine, Volume 37, Issue 36, November
2006.
Corinna Kirsch, Excess Contained: Chinati Foundation Open House,
Fluent~Collaborative, #78, October 27, 2006.
Gay Dawson, Diversifying the Teaching Pool, The Bohemian, October
2006.
Anne Marchand, 12x12, New works by Nathan Haenlein, Painterly
Visions, January 2006.
Alla Narovskaya, Curatorial Statement, Master International Exhibition
Catalog, September 2003, pg. 2.
Rob Cline, Fresh Photography, Little Village, July 2002, pgs. 8-9, 19.
Publications
Other Peoples Pixels Blog, 2014.
Nathan Haenlein, Printeresting.org, April 2011
Printshop Tour, Sonoma State University, Printeresting.org, April 2011
Will, Shifter 15, December 2009, Shifter Magazine, New York, NY.
Ruin / Monument, Shifter 9, October, 2006, Shifter Magazine, Woodside, NY.
CURATED ARTIST REGISTRIES
www.drawingcenter.org
AWARDS / GRANTS
267
2006 Michael J. Brody Award, University of Iowa, Iowa City, IA.
2003 Thomas Jefferson Award for Teaching Excellence, Mary Washington
College, Fredericksburg, VA.
2002 - 2001 University of Iowa Purchase Award, Iowa City, IA.
University of Iowa Student Government Research Travel Grant.
Amity Art Foundation, Inc. Travel Abroad Research Grant.
Research consisted of investigation of contemporary issues in
printmaking in Poland and the Baltic Nations.
Leola Bergmann/ Iowa Print Group Graduate Fellowship, School of
Art and Art History, The University of Iowa.
2001 - 2000 Leola Bergmann/ Iowa Print Group Graduate Fellowship, School of
Art and Art History, The University of Iowa.
1998 - 1997 The Outstanding Graduating Senior Award, The Center for the
Visual Arts, The University of Toledo
Susana L. Clement Scholarship, Center for the Visual Arts,
The University of Toledo
CURATED EXHIBITIONS
Paper Progress: Contemporary Drawing, Library Art Gallery, Sonoma State
University
Works on Paper: A Survey of Student Artists from Sonoma State University,
Library Art Gallery, Sonoma State University
Intelligent Distribution: Artists Respond to Technology. The University
Art Gallery, Sonoma State University, Rohnert Park, CA.
Trans American Print Consortium Exchange Portfolio Exhibition.
Santa Rosa Gallery, Finely Street Studios, Santa Rosa, CA.
PRINT PORTFOLIOS
Southern Graphics Council Print Portfolio Exchange, Ink Different,
The University of Miami, Miami, FL. 2000.
First Annual Coralville Small Print Exchange, Curated by
Matt Hopson-Walker, Iowa City, IA. 2000.
Second Annual Coralville Small Print Exchange, Curated by
Matt Hopson-Walker, Iowa City, IA. 2001.
DNAPrint Portfolio, Amity Art Foundation Inc. Woodbridge, CT. 2002
The Big Square Print Portfolio, Curated by Joel Peck, Ithaca, NY.
2003.
Trans American Print Consortium Exchange Portfolio, Co-curated
with Jason Urban and Tyler School of Art
268
CONFERENCES ATTENDED
Bridges, Southern Graphics Council, San Francisco, CA. 2014
Power in Print, The 33
rd
Annual Southern Graphics Council Conference,
Washington D.C. 2005
Revolution, The 31st Annual Southern Graphics Council Conference,
Boston, MA. 2003
College Art Association’s Annual Conference, New York, NY. 2003.
Print Gumbo, The 30th Annual Southern Graphics Council
Conference, New Orleans, LA. 2002.
College Art Association’s Annual Conference, Philadelphia, PA.
2002.
Crossing Borders, The 29th Annual Southern Graphics
Council Conference, The University of Texas at Austin, Austin, TX. 2001.
Ink Different, The 28th Annual Southern Graphics
Council Conference, The University of Miami, Miami, FL. 2000.
MEMBERSHIPS
Sonoma Museum of Contemporary Art
San Francisco Museum of Modern Art
College Art Association.
Southern Graphics Council.
LECTURES
Visiting Artist, Artist Lecture Series, Sonoma State University, Rohnert Park,
CA.
Visiting Artist, Gallery Days, Imagery Estates, Kenwood,CA.
Visiting Artist, Santa Rosa Junior College, Petaluma, CA.
Visiting Artist, University of Southern Illinois at Carbondale, Carbondale,
IL.
Visiting Artist and Juror for student show, College of the Sequoias,
Visalia, CA.
Visiting Artist, College for Creative Study, Detroit, MI.
Artist Lecture and Evaluations of BFA Students.
Visiting Artist, Mary Washington College, Fredericksburg, VA. Artist
Lecture and Student Critiques.
Visiting Artist, Bucknell University, Lewisburg, PA.
Visiting Artist, The University of Iowa School of Art and Art History, Iowa
City, IA. Artist’s lecture and educational mentoring to perspective
B.F.A. candidates. 2002.
Two Printmakers in Eastern Europe, The University of Iowa Museum of
Art, Iowa City, IA. This lecture discussed my recent travels and
resulting artwork made from the experience. 2002.
Two Printmakers in Eastern Europe, The University of Iowa,
Colloquium Seminar. 2002.
269
COLLECTIONS
Amity Art Foundation Inc. Woodbridge, CT.
Center for the Visual Arts, The University of Toledo, Toledo, OH.
Center for the Book Arts, New York, NY.
Christi Catholic Church, The University of Toledo Corpus, Toledo, OH.
Council Archive, Southern Graphics.
Daily Palette, The University of Iowa, Iowa City, IA.
Department of English, The University of Toledo, Toledo, OH.
Imagery Estate Winery, Kenwood, CA.
Inliquid, Philadelphia, PA.
Kalkograsski Ateijie Butkovic, Rijeka, Croatia.
Lithuanian Graphic Center, Vilnius, Lithuania.
Miami University, Miami, FL.
Main Street Ventures, Ann Arbor, MI.
Museum of Art, University of Iowa, Iowa City, IA.
National Palace of Art, Minsk, Belarus.
Print Archive, The University of Iowa School of Art and Art History.
Iowa City, IA.
Santa Rosa Junior College, Herald Mohoney Library, Petaluma, CA.
School of Fine Art, Central Michigan University, Mount Pleasant, MI.
Tama Museum of Art, Tokyo, Japan
University of Michigan Museum of Art, Ann Arbor, MI.
University of Iowa Hospital and Clinics, Iowa City, IA.
270
CURRICULUM VITAE
Clea Felien
1801 E. Cotati Ave.
Art Building 135 [email protected] Rohnert Park, CA 94928 cleafelien.com
EDUCATION
2007: MFA, Painting and Art Theory, Vermont College, Montpelier, VT
1987: BFA, Printmaking and Drawing, Minneapolis College of Art and Design,
Minneapolis, MN 1992-1997: Study in painting and drawing, The Atelier Studio
Program of Fine Art, Minneapolis, MN 1992: One year of study in anatomical
drawing, Art Students League, New York, NY 1980 - 1983: University of
Minnesota, Minneapolis, MN (courses in printmaking and art history)
PROFESSIONAL EXPERIENCE
TEACHING
2017 - present: Assistant Professor, Sonoma State University
ARTS 220 Beginning Painting: Spring 2018, Fall 2019, Spring 2020,
Summer 2020, Fall 2020, Spring 2021
ARTS 320 Intermediate Painting: Fall 2017, Fall 2020
ARTS 420 Advanced Painting: Spring 2018, Fall 2018, Spring 2019,
Fall 2019, Spring 2020 Fall 2020, Spring 2021
ARTS 202 Beginning Drawing: Fall 2017, Fall 2018, Winter 2021
ARTS 302 Intermediate Drawing: Fall 2017
ARTS 204 Beginning Life Drawing: Spring 2021
ARTS 395 Community Involvement: Spring 2019
ARTS 465 BFA Seminar: Fall 2020, Spring 2021
ARTS 466 BFA Portfolio: Fall 2020
ARTS 470 Art Theory and Practice: Spring 2018, Spring 2019
ARTS 491 Visiting Artists’ Lecture Series: Spring 2018
ARTS 495 Independent Studies: Spring 2018, Fall 2018, Spring 2019,
Fall 2020, Spring 2021 ARTS 495 Special Topics in Art Studio: Spring
2020
ARTS 499 Internship: Fall 2019
2011 - 2014: Assistant Professor, St. Ambrose University
ART 100 Drawing Introduction: Fall 2012, Spring 2013, Fall
271
2013, Spring 2014, Fall 2014, Spring 2015
ART 203 Studio Fundamentals - 2-D Design: Fall 2012,Spring 2013, Fall 2014
ART 201 Studio Fundamentals - Painting: Spring 2013, Spring 2014
ART 330 Painting I: Fall 2012, Fall 2013, Spring 2014, Fall 2014, Spring 2015 is
ART 331 Painting II: Fall 2013, Spring 2014, Fall 2014, Spring 2015
ART 335 Special Topics In Studio Art: Spring 2013
ART 336 Special Topics in Studio Art: Fall 2013, Spring 2015
ART 201 Studio Fundamentals - Painting: Spring 2013
ART 400 Senior Honors - Fine Arts: Fall 2012, Spring 2013,
Fall 2014, Spring 2015 ART 431 Painting IV: Fall 2013, Spring
2014, Fall 2014, Spring 2015
2006 - 2007: Adjunct Professor, One Year Fixed-Term Sabbatical
Replacement, College of Saint Benedict and Saint John’s University
ART 118 Design 2D: Fall 2006
ART 214 Introduction to Drawing: Fall 2006
ART 215 Introduction to Painting: Fall 2006, Spring 2007
ART 315 Intermediate/Advanced Painting: Spring 2007
ART 344 Critical Theory: Spring 2007
2005 - 2017: Adjunct Professor, St. Cloud State University
ART 101 Foundation Drawing I: Spring 2005, Fall 2007
ART 201 2-D Design: Spring 2017
ART 103 Foundation Drawing II: Fall 2007
ART 201 Critical Frameworks: Spring 2005, Spring 2006, Spring 2008,
Fall 2014, Fall 2016 ART 311 Drawing: Spring 2005, Spring 2008, Fall
2015
ART 315 Life Drawing: Spring 2006, Fall 2014, Fall 2015
ART 340 Painting: Spring 2006, Fall 2007, Spring 2008, Fall 2014, Fall 2015,
Fall 2016, Spring 2017 ART 312 Advanced Drawing: Spring 2006,
ART 341 Advanced Painting: Fall 2016, Spring 2017
2003 - 2006: Adjunct Professor, Minneapolis College of Art and Design
DRPT 2000 Introduction to Painting: Spring 2003
DRPT 2000 Introduction to Painting: Spring 2004
FAS 3090 Critical Studies: Spring 2006
MASTERS OF FINE ARTS MENTOR
2010 - 2016: Vermont College MFA Program
2003 - 2006: Minneapolis College of Art and Design MFA Program
272
SCHOLARSHIP AND CREATIVE ACTIVITIES
GROUP EXHIBITIONS
2020: The Billionaires Club. CANO - Community Arts Network of
Oneonta, Two-person Juried Exhibition. Oneonta, NY
Exhibition curated by Kohl King, Positive Pandemic Experiment - Instagram
Exhibition curated by Michael Hall, Northern California Art Faculty Pop-up
exhibition, Invitational Exhibition, Sebastopol, CA
2019: Walls We Build, Monca - The Museum of Northern California Art, Juried
Exhibition, Chico, CA 2018: University of Minnesota Strategic Planning,
Morrison Gallery, Two-person Curated Exhibition, Morris,
MN
2017: Art Studio Faculty Exhibition, Sonoma State University Art
Gallery, Rohnert Park, CA Get Lucky, Soo Visual Arts Center,
Curated Exhibition, Minneapolis, MN
Water Protector, Paramount Theater, Curated Exhibition, Seattle, WA
2016: The Soap Factory, Residency and Curated Exhibition, Minneapolis, MN
New Works, Genesis, Curated Exhibition, Chicago, IL
2015: Retro Vertigo, The Waiting Room, Curated Exhibition, Minneapolis, MN
KEEP HONKING I’M RELOADING, Soo Visual Arts Center, Curated
Exhibition, Minneapolis, MN 2014: The Figge Museum, Curated Exhibition,
Davenport, IA
Show and Tell, St. Ambrose University, Invitational Exhibition, Davenport, IA
Art 4 Shelter, Burnet Gallery, Curated Exhibition, Minneapolis, MN
2013: One Minute Film Festival, MoMA - Museum of Modern Art, Curated
Exhibition, New York City, NY
McKnight Foundation Gallery, Juried Exhibition, Minneapolis, MN
Weird Neighbor, Soo Visual Arts Center, Curated Exhibition, Minneapolis, MN
One Minute Film Festival, MASS MoCA - Massachusetts Museum of
Contemporary Art, Curated Exhibition, North Adams, MA
Seven, Film Fest One, Juried Exhibition, Atlantic Highlands, NJ
REACH, One Minute Video Festival, Juried Exhibition, Easthampton, MA
2012: Home Sweet Home Again, Intermedia Arts, Curated
Exhibition, Minneapolis, MN December, NY Studio Gallery,
Curated Exhibition, New York City, NY
2009: Shinders Show, Shinders, Curated Exhibition, Minneapolis, MN
2007: Five, Gallery Co., Curated Exhibition, Minneapolis, MN
273
2006: 1,000 Drawings, Artist Space, Curated Exhibition, New York City, NY
Works on Paper, Flux Factory, Juried Exhibition, Long Island City, NY
The Home House Project, The Frederick R. Weisman Art Museum, Curated
Exhibition, Minneapolis, MN
2005: Home Sweet Home Again, BAM, Curated Exhibition, St. Paul, MN
Minnesota Biennial, Minnesota Museum of American Art, Juried
Exhibition, St. Paul, MN Home Sweet Home, City Hall Gallery,
Curated Exhibition, St. Paul, MN
2004: Draw: 9 Curators’ Response to Drawing, Katherine E. Nash
Gallery - Regis Center, University of Minnesota, Curated
Exhibition, Minneapolis, MN
The Age of Consent, Soap Factory, Curated Exhibition, Minneapolis, MN
New Paintings and Drawings, Speedboat Gallery, Two-person Curated Exhibition,
Minneapolis, MN The Art of Democracy, MAEP Gallery - Minneapolis Institute
of Art, Juried Exhibition, Minneapolis, MN
Untitled 3, Soo Visual Arts Center, Curated Exhibition, Minneapolis, MN
Portraits, Franklin Art Works, Two-person Curated
Exhibition, Minneapolis, MN 2003: Untitled, Soo Visual Arts
Center, Juried Exhibition, Minneapolis, MN
2002: 3-Way Vision, MAEP Gallery - Minneapolis Institute of Art, Curated
Exhibition, Minneapolis, MN A.I.R. Gallery, Invitational Exhibition, New
York City, NY
Art with a Twist, Frederick R. Weisman Art Museum, Curated
Exhibition, Minneapolis, MN 2001: Another Twist, Winona State
University, Curated Exhibition, Winona, MN 2000: Playing Cards, Soap
Factory, Invitational Exhibition, Minneapolis, MN
Foot in the Door, MAEP Gallery - Minneapolis Institute of Art, Invitational
Exhibition, Minneapolis, MN
1998: I Hate Christmas Show, Acme Visual Arts, Curated
Exhibition, Minneapolis, MN 55405, Intermedia Arts,
Invitational Exhibition, Minneapolis, MN
1999: Self Portraits, Normandale College, Curated
Exhibition, Minneapolis, MN No Name, No Name
Gallery, Curated Exhibition, Minneapolis, MN
1999: Self Portraits, Normandale College, Curated Exhibition, Minneapolis, MN
SOLO EXHIBITIONS
TBD: Morris Graves Museum. The Humboldt Arts Council, Curated
274
Exhibition, Eureka, CA 2014: Rozz Tox, Curated Exhibition,
Rock Island, IL
Tuck Under Gallery, Curated Exhibition, Minneapolis, MN.
2012: Again, Slim Whitman Gallery, Curated Exhibition, Minneapolis, MN
2011: Paintings and Drawings, Carleton College, Curated
Exhibition, Northfield, MN 2010: Foxtax, The Waiting
Room, Curated Exhibition, Minneapolis, MN
Salad, Ridgewater College, Curated Exhibition, Minneapolis, MN
2008: Run for the Roses, Slim Whitman Gallery, Curated
Exhibition, Minneapolis, MN 2007: Paintings, NY Studio
Gallery, Curated Exhibition, New York City, NY
2004: Left and Right, Concordia State College, Curated Exhibition, Moorhead, MN
2002: Baby Dolls & Femme Fatales, St. Cloud State University, Curated Exhibition, St.
Cloud, MN
2000: Paris Je T’aime, Tinkle Gallery, Curated Exhibition, St. Paul, MN
1999: Self Portraits, Normandale College, Curated Exhibition,
Minneapolis, MN 1998: The Baby Doll Show, Acme
Visual Arts, Curated Exhibition, Minneapolis, MN
COLLABORATIVE EXHIBITIONS
2021: Atlantic Highlands Arts Council, Curated Exhibition, Atlantic Highlands, NJ
2020: The Color of Whiteness - Field Workshop: Action Projects, Institute of
Contemporary Art in Los Angeles (ICA) PeoplesLab, Curated Exhibition,
Los Angeles, CA.
2017: Friendship Is Magic, RAGE Gallery, Sonoma State
University, Rohnert Park, CA Friendship Is Magic, Spackle
Cat Gallery, Curated Exhibition, Minneapolis, MN
ARTIST RESIDENCIES
2016: Soap Factory, Minneapolis, MN, USA (July)
2014: Loft345, Guangzhou, China (July)
FEATURED ARTIST IN PUBLICATION
2014: ONE, Catalogue of One Minute Film Festival. Page 50, 118, 126.
Published by Massachusetts Museum of Contemporary Art, MASS
MoCA.
2013: Quercus: St. Ambrose University Arts Journal. Two paintings selected for
publication.
275
2004: New American Paintings, Number 53. Page 58, 59, 60, 61. Published by The
Open Studios Press. Juried Exhibition in print. Franklin Art Works.
REVIEWS AND CRITICAL WRITING ON MY ARTWORK
Ann Klefstad, mnartists.org, Minneapolis, MN, 2009
Michael Fallon, “‘Portraits,’ at the Franklin Art Works,” Art Papers, Atlanta, GA,
2003 Collier White, “Ways Counted - Drawing at the Katherine E. Nash Gallery and
the Franklin Art Works,” mnartists.org, Minneapolis, MN, 2003
Valerie Valentine, “‘Portraits,’ at the Franklin Art Works,” Pulse of the Twin Cities,
Minneapolis, MN, 2003 Mary Abbe, “Untitled 3, Soo Visual Arts Center,” Star Tribune,
Minneapolis, MN, 2003 John Tribbett, “Three Way Vision, Minneapolis Institute of
Art,” Pulse of the Twin Cities, Minneapolis, MN, 2003
Mary Abbe, “Three Way Vision, Minneapolis Institute of Art,” KFAI Radio,
Minneapolis, MN, 2002 Tabitha Whissemore, “Femme Fatales Exhibition at St.
Cloud University,” St. Cloud State University Chronicle, Minneapolis, MN, 2001
Mary Abbe, “Art with a Twist at the Frederick R. Weisman Art Museum,” Star
Tribune, Minneapolis, MN, 2001
Mason Riddle, “Art with a Twist at the Frederick R. Weisman Art Museum,” St.
Paul Pioneer Press, St. Paul, MN, 2001
J.P. Johnson, “Art with a Twist at the Frederick R. Weisman Art Museum,”
Pulse of the Twin Cities, Minneapolis, MN, 2001
Juliet Crane, “Tinkle Gallery Exhibition at the Clown Lounge,” Pulse of the Twin
Cities, Minneapolis, MN, 2000
Eric Hanson, “Tinkle Gallery Exhibition at the Clown Lounge,” Star Tribune,
Minneapolis, MN, 2000
PUBLICATIONS AS AUTHOR
Felien, Clea, and Hollis Robbins. “‘The Republican Club’: A Teachable
Moment.” Blog: Los Angeles Review of Books, November 12, 2018.
http://blog.lareviewofbooks.org/interviews/republican-club-teachable-moment/.
Felien, Clea, “Bruce Tapola and Melba Price’s Exhibition ‘I’m with Stupid.’” Line, Soo
Visual Arts Center, October, 2004.
Felien, Clea, Review of Whitney Biennial Catalog. Rain Taxi Review of Books, October,
2004.
VISITING ARTIST
2020: Milwaukee Institute of Art and Design, Milwaukee, WI, October 2. Visiting
artist and guest critic for BFA students.
2020: California State University, Chico, Chico, CA, March 3. Visiting Artist and
276
guest critic.
2019: San Francisco Art Institute, San Francisco, CA, November 16. Vermont
College of Fine Art Representative at the MFA portfolio review at San FAI
for graduate school applicants.
2011: Carleton College, Northfield, MN, February. Delivered artist talk, led a
workshop titled “Fredrick Jameson and Post-Consumer Capitalism,” and held
painting students’ critique.
2011: Winthrop University, Rock Hill, SC. Lectured on “Derrida and the Creative
Process” for undergraduate students, held critique for undergraduate painting
students, held critique for graduate level painting students, graduate school
lecture on Derrida and deconstructive theory and its relation to contemporary
art.
2006: University of Minnesota, Minneapolis, MN. Visiting MFA program and did
studio visit, artist talk, and presentation of portfolio.
2002: Minnesota Center for Photography (formerly pARTS Gallery),
Minneapolis, MN. Conducted portfolio reviews and critiques of
applicant’s work.
LECTURES
2020: “Clea Felien Visiting Artist,” Visiting Artist Lecture Series, Sonoma State
University, Rohnert Park, CA, September 30.
2020: “Pointillism of Paul Signac: ‘Blessing of the Tuna Fleet at Groix’ and similarities
of painting by Mauri artist Djunmal,, Minneapolis Institute of Arts, Minneapolis,
MN, August 5. 2019: “The Future that was Robert Hughes ‘Shock of the New,’
Sebastopol Center for the Arts, Sebastopol, CA, September 19.
2016: “Artist Talk,” Anoka Community College, Anoka, MN, December.
2011: “Derrida and the Creative Process,” Winthrop University, Rock Hill, SC.
INTERVIEWS
Bruce Carter, Interview, Art Talks with Bruce Carter, Iowa Public Radio,
Davenport, IA, 2012 Eric Hanson, Interview on The Slim Whitman
Gallery, Star Tribune, June 2010
Jaime Kleiman, Interview, “What Is a Minnesota Artist?,” mnartists.org, Minneapolis,
MN, 2003 Heather McElhatton, Interview on Art With a Twist at the Frederick R.
Weisman Art Museum on Arts Roundup, Minnesota Public Radio, St. Paul, MN,
2001Eric Hanson, Interview on Tinkle Gallery Exhibition at the Clown Lounge, Star
Tribune, 2000
Heather McElhatton, Interview on Tinkle Gallery Exhibition at the Clown
277
Lounge on Arts Roundup, Minnesota Public Radio, St. Paul, MN, 2000
EXHIBITIONS JURIED BY ME
2020: Doors and Windows, Sebastopol Art Center, Sebastopol, CA
2018: Sausalito Art Festival, Sausalito, CA
2013: Quad Cities High School Art Competition, Davenport, IA
2011: Student Show, Minneapolis Central Library - Minneapolis Public
Schools, Minneapolis, MN 2010: Student Show, Ridgewater College,
Willmar, MN
2001: Student Show, Hennepin Technical College, Minneapolis, MN
2000: Student Show, Breck School, Golden Valley, MN
ARTIST ASSISTANTSHIPS
1996 - 1998: Scenic Painter to Prince, Paisley Park, Chanhassen, MN
(duties included: scenic painter and dancer for Prince music videos, painting
backdrops, sets, and props)
1990 - 1995: Assistant to publisher of “The Act,” performance art magazine Jeffrey
Greenberg, New York City, NY
(duties included: managing office, magazine layout and design,
bookkeeping, correspondence, assisting with curatorial and editorial
decisions)
1990 - 1993: Assistant to the illustrator and designer of Pee-wee’s Playhouse
Gary Panter, New York City, NY
(duties included: creating a library and cataloguing work, correspondence
for Panter, scheduling, travel planning, assisting on construction of
Paramount Hotel)
1990 - 1993: Assistant to former Professor of Animation at the School of
Visual Arts Carl Edwards, New York City, NY
(duties included: assisting with 3-D animation, wire frame drawing,
rendering, correspondence, scheduling and organizing travel plans)
1990 - 1993: Assistant to Dean of Hartford Art School, University of
Hartford Power Booth, Hartford, CT
(duties included: preparing packages for galleries [images, resume, bio,
etc.], grant writing, correspondence for Booth, travel planning,
bookkeeping, managing office and studio) 1990 - 1993: Assistant to
internationally known painter Jane Froelich, New York City, NY (duties
included: preparing packages for galleries [images, resume, bio, etc.],
278
grant writing)
SELECTED GRANT AWARDS
2020: Awarded $400 to build outdoor classroom with students, February
2019: McNair Grant of $750 for Ryan Patton to go to New York City, NY to see visit
the Whitney Biennial and other galleries, March
2018: Community Gardens RSCAP Mini Grant of $3,000 from the California State
University Chancellor’s office for the ARTS 395: Community Involvement
“Courtyard Project,” October
2018: Art Club Grant of $500 for trips to San Francisco to visit museums,
September
2018: Sonoma State University 2019 Innovation and Strategic Priorities
Funding of $2,000, June
2013: Baecke Grant of $2,000 for travel to Venice Biennale with Walker Art
Center
PROFESSIONAL ACTIVITIES
2017: Curriculum Designer, Anime Art College, Minneapolis, MN
Researched and designed curriculum for Anime Art College which had a
proposed opening of 2020 2016 - 2017: Curriculum Designer, Kyoto Computer
Gakuin Education, Kyoto, Japan Designed curriculum for sister school of KCG
to be based in Minneapolis, MN
2015 - 2017: Co-founder of Art Theory Book Club, Walker Art Center,
Minneapolis, MN Book club composed of Walker Art Center curators and
fine art professors. Meetings involved reading and discussion of
theoretical texts
2015 - 2016: Curriculum Designer, Nadine Le Prince Haveli and
Cultural Centre, Fatehpur, Rajasthan, India
Working with artists and artisans in Paris and Fatehpur to design curriculum for
new artist programs at Moody University for restoration of murals in the
palaces in Fatehpur
2013 - 2014: Operations Coordinator, Loft345, Guangzhou, China
Worked with gallery director and artist’s residency contact to bring
students to Guangzhou, and organized with Director of Education at Times
Museum in Guangzhou to create internships for students
2007 - 2011: Founding member, And More, New York City, NY
Art collective with an objective to work collaboratively and curate exhibitions
2007 - 2009: Board member, Soo Visual Arts Center, Minneapolis, MN
Worked on fundraising, bringing contacts to the gallery, community outreach,
279
and gallery support and governance
2007 - 2009: Co-curator at The Slim Whitman Gallery, Minneapolis, MN
2005 - 2007: Curatorial position at the Minnesota Artist Exhibition Program,
Minneapolis Institute of Art, Minneapolis, MN
2002 - 2008: Critics group member, Visual Art Critics Union of
Minnesota, Minneapolis, MN 2002 - 2007: Founding member, Fresh,
Artists critique group, Minneapolis, MN
2002 - 2004: Panel member, Minnesota Artists Exhibition Program -
Minneapolis Institute of Art, Minneapolis, MN
2000 - 2002: Member, Necessary Differences, Painters critique group,
Minneapolis, MN 1998 - 2007: Art critic columnist, Pulse of the Twin Cities -
Weekly Newspaper, Minneapolis, MN 1992 - 2004: Art critic columnist,
Southside Pride - Weekly Newspaper, Minneapolis, MN
SERVICE
UNIVERSITY SERVICE
Sonoma State University, Rohnert Park, CA (2017 - present)
2021: Committee member on Scholarly Activities Faculty Subcommittee.
2020: Course Coordinator for CSU Summer Arts Master Class with Oakland-based
artist, Cate White, CSU Fresno (due to COVID-19, all CSU Summer Arts courses
have been canceled and replaced by online master classes). October 15.
2020: CSU Summer Arts Program recruiter, CSU Long Beach. March 9.
2020: CSU Summer Arts Program recruiter, CSU Chico. March 2 - 3.
2019 - present: Arts and Humanities representative for the SSU Dispute and
Resolution Board, three-year appointment.
DEPARTMENT SERVICE
2017 - present: Organized brush sales with Riley Street Art Supplies in Santa Rosa, CA,
and hand-picked $1 brushes to be included in materials kits for students enrolled
in ARTS 320: Intermediate Painting and ARTS 420: Advanced Painting.
$125/kit.
2017 - present: Donation Art from the Heart, Sonoma State University, Sonoma, CA
2020: Due to the COVID-19 restrictions, for FA 2020 I visited Riley Street Art Supplies
in Santa Rosa, CA, and hand-picked $1 brushes to be included in the 24 materials
kits for students enrolled in ARTS 220: Beginning Painting, FA20. August.
2020: Worked on recruiting three students from San Francisco Art
280
Institute. May - July. 2020: Represented the Art Department
for “SSU Preview Day.” February.
2019 - 2020: Committee Member of Visiting Artist Assistant Professor
of Sculpture Search. 2019: Chair of the Studio Art Temporary
Lecturer Pool Search Committee. February - May.
COMMUNITY SERVICE
2020 - present: Bi-weekly volunteer with Tenants Together researching eviction
laws. Began July.
2020 - present: Volunteer with Poor People’s Campaign to promote events and
workshops. Began June. 2020: Anti-COVID mask making and mailing.
July - August.
2020: Participant in Facebook mask making project based out of London. May.
2019: Volunteered with the Bay Area Rescue Mission. Purchased and packaged
toiletries and food for the unhoused with Bay Area Mom’s group. September.
2019: Volunteered with Sunrise Movement. August 21 - 25, September 8.
2019: Volunteered for the Democratic National Committee. August 22 - 24.
2019: Volunteered for watch parties for all Democratic Primary Debates. August 19.
2019: Volunteered for KPFA during their fund drive. July 23.
2019: Attended the fundraiser and subsequently volunteered for Abortion Action
League. July 14. 2018: Teaching Spring 2018 Visiting Artist Lily Simonson 19th-
century painting techniques. 2018: Volunteered at Café Society which is an
organization that arranges for artists and writers to speak at a café in Richmond,
CA. All events are open to the public.
PROFESSIONAL DEVELOPMENT
2020 - present: Member of CSU Studio Art Faculty online group ‘Inclusive
Pedagogy.’ Began August.
2020 - present: Member of Studio Art Professors Online Teaching group. This group
addresses inclusivity issues in our classrooms and syllabi. Began July.
2020 - present: Co-host of ‘Teaching Online Painting and Drawing Faculty’ group. This
group consists of Faculty from the CSU’s, California JC’s and as well as colleges
across the country. Began May. 2020 - present: Co-host of “Studio Art
Professors Online Teaching” group. Bi-weekly meetings of painting and drawing
faculty members from CSU and California Junior College campuses, with
smaller cohorts from Canada and across the United States. Began April 3.
281
2020: Canvas deep dive: weighted gradebook, CTET, Sonoma State
University. September 15. 2020: Camtasia for Canvas, CTET,
Sonoma State University. September 9.
2020: Attended People’s Lab workshops “Identity, Race + Whiteness: how racism
lives in us.” During this historical moment I participated in these workshops to
become a better educator. July 15 - August 19. 2020: Attended “How to Build a
Universally Designed Course.” CTET, Sonoma State University. July 7. 2020:
Online teaching troubleshooting. Yuja for Canvas. CTET, Sonoma State
University. July 5.
2020: Canvas deep dive: how do I set up my gradebook for fall. CTET, Sonoma State
University. July 5. 2020: Attended virtual “How to be an Anti-racist” workshop
with author Ibram X. Kendi. Public Library, Raleigh, NC. July.
2020: Attended Active Shooter Response workshop. Sonoma State University,
Organized by Missey Brunetta, Risk Management & Safety Services, Sonoma
State University. February. 2020: Participant in “Design Assessment Rubrics!”
GE workshops Friday. Sonoma State University CTET. January 10 - February 7.
2020: CSU Summer arts Master class with Oakland-based artist, Cate White, CSU
Fresno (due to COVID-19, all CSU Summer Arts courses have transitioned
to online mini-workshops)
2020: People’s Lab workshop with art faculty, curators, and artists from the Bay
Area and Los Angeles, Changing the Pandemic into Creative Process.
2020: CSU Summer Arts Program recruitment, CSU Long Beach. March 9.
2020: CSU Summer Arts Program recruitment, CSU Chico. March 2.
2019: Representative of Vermont College of Fine Art at MFA Portfolio Review
at San Francisco Art Institute. October.
2019: Worked with Stephen Arneson to raise money for an outdoor classroom in
the Art Department. September - October.
2019: Attended SSU “Sophomore Year Experiences” workshop, for sophomore
success. Sonoma State University. September.
2019: Met with Jennifer Shaw, Nate Heinlein, and Donna Garbesi individually to
learn about advising students. August - December.
2019: New Faculty Orientation volunteer panel member speaking about my work.
Panel was for incoming faculty at SSU. August.
2019: Presented at the Arts and Humanities Faculty Achievement Celebration on my
new scholarship work. May.
2019: Attended the Mixer for Santa Rosa Jr. College and SSU faculty. Also met with
Claudia McCain of SRJC regularly to discuss teaching painting and both
282
colleges. April 11.
2019: Panel member for discussion in Schultz Library on art and differently-abled
artists. February 27. 2019: Attended Worker Space seminar on curriculum
building. February.
2019: National Portfolio Day representative, San Francisco Art Institute.
2017 - 2018: Lectured in co-faculty member Nathan Heinlein’s class for BFA
students with the essay “Art School Propositions for the 21st Century.”
STIPEND PROJECTS
2020: SSU GELO Assessment Summer 2020 Pilot. July 27, August 5 - 12, 24.
2020: Attended 2-week Intensive Canvas Workshop cohort 9. CTET, Sonoma State
University. July 19 - August 2.
283
Sena Clara Creston
www.senaclaracreston.com
Education
2012 Rensselaer Polytechnic Institute, Troy, NY MFA
Electronic Arts
200 New York University, Tisch School of the Arts, New York, NY
BFA with Honors, Photography and Imaging
2000/1 Vassar College
Academic Appointments
2020-Present SSU Assistant Professor of Art
2013/2020 Clinical Assistant Professor of Fine Arts
Washington State University, Tri-Cities, WA
2011/13 Head of Photography, Video and Digital Imaging Program
Summer High School Arts Program, Snow Farm, MA
2010/12 Teaching Assistant
Rensselaer Polytechnic Institute, Troy, NY
2010 Visiting Artist
The Wassaic Project Workshops, Wassaic, NY
2005 Teaching Assistant
New York University, Tisch School of the Arts, NY
2004 Photography Instructor, Community Collaborations
New York University, Tisch School of the Arts, NY
SSU Service
2021 Program Review
Program Video
2020 NSF IUSE Grant
Digital Equipment
WSU Service
* Ongoing until 2020
2019 WSUTC Art Center *
FA Art History Professor hiring Committee*
Summer Scholars Mentor: The Willow of the Waste, WSUTC, WA
2018 iSchool Committee
Summer Scholars Mentor: The Plastic Garden, WSUTC, WA
Engineering Senior Project: The Willow of the Waste, WSUTC, WA
Arts and Engineering Collaboration: The Cloud Factory, WSUTC, WA
2017 Summer Scholars Mentor: The Plastic Garden, WSUTC, WA
Summer Scholars Mentor: The Willow of the Waste, WSUTC, WA
2016 Oversee Fine Arts Studio, WSUTC, WA*
Robotics Club Advisor, WSUTC, WA*
DrewBoy Creative, Board Advisor, Richland, WA*
Metalwolf, Richland, WA
2015 Student Mural, City of Kennewick, WA
Maker Space Committee, WSU Tri-Cities, WA
284
Million Women Mentors, WSU Tri-Cities, WA
College in the High School, WSU Tri-Cities, WA
Arts and Engineering Collaboration: The Huminal, WSU Pullman, WA
Arts and Engineering Collaboration: The Umbrellaship, WSU, WA
2014 Academic Master Planning Committee, WSU Tri-Cities, WA
Night of the Arts Committee, WSU Tri-Cities
Create Lab Committee, WSU Tri-Cities, WA
Student Success Center Committee, WSU Tri-Cities, WA
Scholarship Readers Committee, WSU Tri-Cities
Student Art Gallery, WSU Tri-Cities, WA*
2013 Student Art Symposium, WSU Tri-Cities, WA*
Interdisciplinary Committee, WSU Tri-Cities, WA
Undergraduate Research Committee, WSU Tri-Cities, WA
Technology Committee, WSU Tri-Cities
Solo and Duo Exhibitions
2017
Semilla Besada, Candy Gallery, Kennewick, WA
2015
The Shooting Gallery, Horse Heaven Hills, WA
2013
October People, WSUTC Art Center, Richland, WA
2012
Machinescape, RPI Art Gallery, Troy, NY
2006
Insideouthouse, The General Store, Elkhorn, IA
Night Lights, PLP Gallery, NY, NY
Group Exhibitions
2020 Prologue, SSU Gallery Online, Rohnert Part, CA
Sensitive Materials, WSUTC Art Center, Richland, WA
WSU Fine Arts Faculty Exhibition, WSUTC Art Center, Richland, WA
2019 Luminata, Seattle, WA
Northwest Mystics, CoCA, Seattle, WA
Plastic Garden, Treefort, Boise, ID
Woman Work, Drewboy Creative, Richland, WA
Plastic Garden, Recycled Art Show, EBCH Museum, Kennewick,
WA
Imaginary Imagery, Motherland, CoCA, Seattle, WA
2018 Borealis, A Festival of Light, Seattle, WA
6x6, Las Laguna Gallery, Laguna Beach, CA
A Generous Kingdom, Verum Ultimum Gallery, Portland, OR
All Media, Chase Gallery, Spokane, WA
Chasing Ghosts, Verum Ultimum Gallery, Portland, OR
285
From Here On Out, Spokane, WA
Creativity Persists, CoCA, Seattle, WA
Inland Northwest Juried Landscapes, Jundt Art Museum, Spokane, WA
The Wassaic Project Summer Benefit, Wassaic, NY Wassaic
Winter Benefit, The Invisible Dog, Brooklyn, NY
Pedestal Film Festival, Drewboy Creative, Richland, WA
2017 The Huminal, TedX Richland, WA
The Huminal, PNNL, Richland, WA
UFO Show, Candy Gallery, Kennewick, WA
Humanescapes, The Gallery Loft, Portland, OR
Small Works, Gage Academy of Art, Seattle, WA
Shadow and Light, Black Box Gallery Online, Portland, OR
2016 Semilla Besada, TedX Richland, Richland, WA
Woven Trajectories, Studio Baustelle, Berlin, Germany
Framed, Black Box Gallery Online, Portland, OR
2015 The Umbrellaship, WSU Fine Arts, Pullman, WA
Luminos: Light and Space, Black Box Gallery, Portland, OR
Americave, WSU Fine Arts Faculty Exhibition, Museum of Art, Pullman, WA
Shadow and Light, Black Box Gallery Online, Portland, OR
2014 Women Artists of the Columbia Valley, WSUTC Art Center, Richland, WA
In the Land of Snow and Indigo, Confluence Gallery, Twisp,WA
The Semilla Besada, LoFi Arts Festival, Arlington, WA
Art, Science and Technology, You and I Gallery, Kennewick, WA
2013 Life Interpreted, WSUTC Art Center, Richland, WA
WSU Fine Arts Faculty Exhibition, Museum of Fine Art, Pullman, WA
2012 Auto Play, Machinescape, RPI, Troy,
NY Imaginary Landscapes, RPI, Troy, NY
2011 Oscillations, The Wave Machine, RPI, Troy, NY
The Knowhere Machine, The Wassaic Project, Wassaic, NY
Moonlight, Mai Tais and Magic, Brooklyn, NY
Others’ Concept, Spinner Dress, RPI, Troy, NY
2010 Reverse Vertigo, The Knowhere Machine, RPI, Troy, NY
Brown- Paper- Bag- Birds, Potion Collective, BOS, Brooklyn, NY
I Heart Art, The Wassaic Project Benefit, Brooklyn, NY
Bushwick Open Studio Benefit Show, Brooklyn, NY 2009
The Garden, The Wassaic Project, Wassaic, NY
The Garden, The Media Lounge, Brooklyn, NY
Z- Print, Yes Gallery, Brooklyn, NY
The Garden, Bushwick Open Studios, Brooklyn, NY
2008 The Garden, The Wassaic Project, Wassaic, NY
B:EAST, Broadway East Gallery, New York, NY
The Garden, Bushwick Open Studios, Brooklyn, NY 2007
Night Lights, The Leo Kuelbs Collection, Brooklyn, NY
Transformations: Photography and Imaging @ 25, NYU, TSOA, NY
2006 Night Bikes, Altered Aesthetics, Minneapolis, MN
Yart Sale, Secret Project Robot, Brooklyn, NY
286
2005 Night Lights, Mammalfish, Brooklyn, NY
Imaginary Imagery, Art Monster, Brooklyn, NY
If Simply Observed, NYU, TSOA, New York, NY
Night Lights, NYU, TSOA, New York, NY
2004 Finding Rembrandt, Anthem Gallery, New York, NY
Generations, Westbeth Gallery, New York, NY
The Art Show, The School of Visual Arts, New York, NY
Blanket Fort, NYU, TSOA, New York, NY
Summer Light, Westbeth Gallery, New York, NY
One For Grandma, Capsule Gallery, New York, NY
Girlography, Axel Raben Gallery, NY, NY
2003 Generations, Westbeth Gallery, New York, NY
2000 La Luz, Java N Jazz Gallery, New York, NY
La Luz, Push Gallery, New York, NY
1998 L'Automovile, Santiago de Caçem, Portugal
Performances
2018 March Fox, Space Camp, Ford, WA
March Fox, Georgetown Music, Seattle, WA
March Fox, Uptown Theater, Richland, WA
March Fox, Emerald of Siam, Richland, WA
2017 March Fox, The Glow Garden, Richland, WA
March Fox, Emerald of Siam, Richland, WA
March Fox, Confluent, Richland, WA
March Fox, Emerald of Siam, Richland, WA
March Fox, Tryst, Portland, OR
March Fox, Drewboy Creative, Richland, WA
March Fox, Caterpillar Cafe, Richland, WA
March Fox, Georgetown Music, Seattle, WA
2016 March Fox, Emerald of Siam, Richland, WA
March Fox, Above the Underground, Richland, WA
March Fox, Liberation Bikes, Richland, WA
March Fox, Metalwolf, Richland, WA
March Fox, Confluent, Richland, WA
2015 March Fox, DrewBoy Creative, Richland, WA
March Fox, The Doodle Pad, Olympia, WA
March Fox, Paper Street, Richland, WA
2014 Ask & Embla, Richland, WA
2012 Ask & Embla, Troy Bike Rescue, Troy, NY
2011 Ask & Embla, Troy Bike Rescue, Troy, NY
2010 Ask & Embla, Bruer Falls, Brooklyn, NY
2010 Ask & Embla, Northeast Kingdom, Brooklyn, NY
Grants, Honors, and Awards
2021 Koret Scholars Award, SSU, Rohnert Park, CA
2018 Arts Innovator Award Finalist, Artist Trust, Seattle, WA
2017 Provost Featured Faculty Member, WSU, Pullman, WA
2016 Chancellor's Interdisciplinary Seed Grant, WSUTC, Richland, WA
2014 Grant for Artist Projects, Artist Trust, Seattle, WA
287
2010/12 MFA Fellowship, Electronic Arts, RPI, Troy, NY
2006 Emerging Photographer, Magenta Foundation, NY
Residencies, Collectives and Collections
2014 Lo Fi Arts Festival, Smoke Farm, Arlington, WA
2013 Museum of Art, WSU, Pullman, WA
2009/13 Potion Collective, Brooklyn, NY 2008
The Wassaic Project, Wassaic, NY
2006 The General Store, Elk Horn, IA
2005 The General Store, Elk Horn, IA
Artist Talks
2020 SSU, Rohnert Park, CA
2019 Treefort, Boise, ID
2017 TEDx Richland, Richland, WA CAA, New York City, NY
2016 Semilla Besada, TEDx Richland, Richland, WA
2014 WSU Vancouver Fine Arts Department, Vancouver, WA
2013 WSU Tri- Cities CIC Art Center, WA
University of Utah Department of Art, Salt Lake City, UT
Snow Farm, Williamsburg, MA
2012 Snow Farm, Williamsburg, MA
2011 The Wassaic Project, Wassaic, NY Snow Farm, Williamsburg, MA
Rensselaer Polytechnic Institute, Troy, NY 2010
Rensselaer Polytechnic Institute, Troy, NY
Bibliography and Publications
2019 Rurality, Slag Mag, Null Set Magazine, 2019
2018 Photography by Sen a Clara Creston, Tumbleweird, Volume 3, Issue 12
South Lake Union Will Become A Test Site For The European Art Craze With Borealis,
A Festival Of Light, Seattle Times, Zoe Sayler, October 3rd
MOHAI's New Festival of Light Elevates the Laser Show,
Seattle Magazine, Gavin Borchert, October
Borealis, A Festival To Light Up South Lake Union,
The Seattle PI, Zoscha Millman, October 4th
Borealis: a ‘magical, light, beautiful’ art event in South Lake Union,
The Seattle Times, Erika Schultz, October 12th
High- tech, video- mapping light show turns Seattle’s MOHAI
into a pulsating projection surface,
Geek Wire, Kurt Schlosser, October 11th
Beautiful Light Installations Light Up MOHAI at Borealis,
A Festival of Lights, KMO News
Borealis Festival of Light KCTS9
Borealis bring s the power of light art to Seattle,
K5News, October 10th
New Festival Will Put the Spotlight on Tri- Cities Filmmakers,
Sara Schilling, Tri-City Herald, Jan 12th, 2018
2017 Interactive Art Machines, Sena Clara Crestron,
Charles Pezeshki, CAA
WSUTC Engineering and Art Partner to Create Robot that Interacts with the
Environment, Adrian Auman, WSU News, Sep 15th, 2017
288
At the New Candy Gallery, You’ll Find Art – and Maybe Inspiration
Sara Schilling, Tri-City Herald, June 18th, 2017
2015 Merging Engineering and Art – What are the Real
Lessons? Charles Pezeshki, Jacob Leachman, Sena Clara Creston,
18th International Conference on Interactive Collaborative Learning
Kosmosis, Sarah Rayne Volume 2, New York, May 30, 2015
Grant to Fund Interactive Art Machine, Madison Rosenbaum,
WSU News, Jan 2014
Kosmosis, Sarah Rayne Volume 1, New York, Sep 28,
2014 Artist of the Month: Katie Buckett, Artcetera Online Magazine,
Ana Reis, 6/14
Lo- Fi Festival 2014, Seattle PI, Jordan Stead, September 11, 2014
2012 Landscapes and Machinescapes, by Donna Kozloskie,
Gravity was Everywhere Back Then, New York, May 12, 2012
2011 The Wassaic Project: Our Favorite Art from Summer Festival 2011 by Steven Thrasher,
The Village Voice, New York, August 8
It’s Time for Another Prescription! by Carin Beam Mustache Magazine, New York,
October 22, 2011
2006 Night Lights by Milton Fletcher New York Arts Magazine,
NY, 2006, V11
A Huge Desolate Space Becomes a Work of Art by Tom McMahon The Daily
Nonpareil, Iowa, August 12, 2006 Rural Landscapes Inspire Unusual Art Forms
Audubon County Advocate Journal, August, Iowa, 2006
A Unique Visitor to Elk Horn, The Danish Village Voice Iowa, Issue
No. 28, Vol. LXXV!!!, Thursday, Jul 13, 2006, pg1 Nocturnal
Landscapes by Milton Fletcher, Cybergallery66, NY,
http://www.cybergallery66.org/oldshows/cg6608/p/scc/scc00.ht ml
Professional Experience
2010
Window Dresser, Henri Bendel, NY, NY
2008/13
11th St Workshop, Brooklyn, NY
2007/10
Artist Assistant to Mark Esper, Brooklyn, NY
2006/7
Residency Coordinator, The General Store, Elk Horn, IA
2005
Production Assistant, Orpheus Descending, A Film by Clayton Burkhart,
NY
2004/5 Intern and Grip for Gregory Crewdson, NYC/MASS MoCA
289
KATE OLTMANN
Email: [email protected]
Address : 10200 North Fork Rd, Polebridge MT
Cell: (916) 832-2532
EDUCATION
2015 MFA Rhode Island School of Design, Providence, RI
2014 Overpass Project’s Printmaking Workshop, Providence RI
2013 BFA Sonoma State University, Rohnert Park, CA
HONORS AND AWARDS
2020 Artist in Residence, InCahoots Residency, Petaluma CA
2018 Best in Show Award Winner, Black Out Exhibition
2016 Artist in Residence, Chalk Hill Residency, Healdsburg, CA
Scholarship Award, Chalk Hill Residency
Award Winner, Hayward Arts Council
Creative Sonoma Emerging Artist Finalist, Sonoma CA
High Art Award winner, Natural Cannabis Co., Santa Rosa CA
2015 Vermont Studio Residency, VT
Degree with Distinction Rhode Island School of Design
Cum Laude Honors Rhode Island School of Design
2014 Teacher of Record Rhode Island School of Design
Teaching Assistantships Rhode Island School of Design
COURSES AND WORKSHOPS TAUGHT
2D fundamentals
Foundations Drawing
Beginning Drawing
Intermediate Drawing
Advanced Drawing
Beginning Figure Drawing
Intermediate Figure Drawing
Advanced Figure Drawing
Beginning Painting
Intermediate Painting
Advanced Painting
Beginning Printmaking
Intermediate Intaglio
Intermediate Woodcut
Lithography 1
Lithography 2
Lithography 3
Screen Printing
Professional Practices
BFA Art Theory
290
Visiting Artist Lecture Series
Color theory Workshop
Letterpress Workshop
Cyanotype Workshop
Experimental Drawing Workshop
EMPLOYMENT
2016-2020 Adjunct Professor Sonoma State University, CA
2015-2020 Guest Critic Portfolio Review, Rhode Island School of Design
2015 Guest Lecturer Printed intentions San Francisco, CA
2014 Adjunct Professor Rhode Island School of Design, RI
Guest Lecturer Los Medanos Community College, Antioch, CA
2013 Guest Lecturer Sonoma State University, Rohnert Park, CA
Graduate Teaching Assistantships, Screen Printing, editions, intaglio, painting,
figure drawing, foundation drawing
2012 Guest Critic Bella Vista Art Foundation, Fair Oaks, CA
Teaching Assistant Sonoma State University, Beginning Painting, Intermediate
Printmaking, Screen printing, Advanced Drawing
ADDITIONAL PROFESSIONAL EXPERIENCE
Social Media Coordinator Sonoma State University Art Department
Exhibition Archivist Chalk Hill Residency, Healdsburg, CA
Sponsored Artist Overpass Projects, Providence, RI
Artist Ambassador Rhode Island School of Design
MEMBERSHIPS
Artist Membership Yerba Buena Center for the Arts, CA
Individual Membership College Art Association, New York, NY
PROFESSIONAL CREATIVE WORK
SOLO EXHIBITIONS
2020 InCahoots, Petaluma CA
2019 Gallery 105, Santa Rosa, CA
2018 High-Lights, Sol Koffler Gallery, Providence, RI
2015 Master of Fine Arts Thesis Show, Providence RI
SELECTED EXHIBITIONS
2019 Then and Now, Rohnert Park, CA
Art From the Heart, Rohnert Park, CA
2018 Black Out National Exhibition, Ashton Gallery, San Diego, CA
PROTO_POP, DAB Art Gallery, Ventura, CA
Falkirk Cultural Center, San Rafael, CA
Art From the Heart, Rohnert Park, CA
2017 Art Basel, Spectrum Miami, Miami, FL
Face the Wall, Providence, RI
291
Chalk Hill Artist Residency Exhibition, Warnecke Ranch, Healdsburg, CA
2016 Art Basel, Spectrum Miami, Miami, FL
2
nd
Annual Hand Pulled Prints, Site:Brooklyn, Brooklyn, NY
Hayward Arts Council, Hayward City Hall, CA
Sanchez Art Center 50/50, Pacifica, CA
Top Ten, Coagula Curatorial, Los Angeles, CA
2015 Where I Stand, uBe Gallery, Berkeley, CA
RISD Graduate Thesis Exhibition, Convention Center, Providence, RI
Spring, Sol Koffler, Providence, RI
2014 Pale Firework, Gellman Gallery, Providence, RI
Draw, Drawing, Drawn, Vita Art Center, Ventura, CA
Meet the Family, Fletcher, Rhode Island School of Design, RI
2013 Narrative Prints, ICPNY, Manhattan, NY
Sonoma Sate BFA Thesis Show, Rohnert Park, CA
2012 Seated, CW Gallery, Petaluma, CA
2011 Printed Intentions, CW Gallery, Petaluma, CA
COLLECTIONS
Organicann, San Francisco, CA
Dona Frank Foundation, Santa Rosa, CA
Kennesaw State University, Kennesaw, GA
Warnecke Institute, Healdsburg, CA
Merck and Co., San Francisco, CA
Bennett Valley Mountain, Macdonald Ranch, Santa Rosa, CA
Lynnae Arts, Healdsburg, CA
RISD Museum, Providence, RI
Sonoma State University, Rohnert Park, CA
PRESS AND PUBLICATIONS
High-lights, the Book, September, 2018
Chalkhillresidency.com, “welcome Artist Kate Oltmann”, February 2017,
https://www.chalkhillresidency.com/single-post/2017/02/10/Welcome-Artist-Kate-
Oltmann
Northbaybusinessjournal.com, August 2016, “Creative Sonoma Announces Finalists”,
http://www.northbaybusinessjournal.com/northbay/sonomacounty/6015769-
181/creative-sonoma-grant-finalists?artslide=0
Diversionsla.com, “A Saturday Night in Chinatown”, January 2016,
http://diversionsla.com/?p=2033
Ube-art.com, “High Art- Kate’s Take on Cannabis”, November 2015, http://www.ube-
art.com/single-post/2015/11/15/High-Art-Kates-Take-on-Cannabis
https://www.chalkhillresidency.com/single-post/2017/02/10/Welcome-Artist-Kate-Oltmann
https://naturalcannabis.com/high-artist-spotlight-kate-oltmann/
Classification Title Instructor Working Title Instructor of Art Non-Tenure Track Faculty (Applicant Pool) Brief Position OverviewThe School of Art seeks qualified individuals to provide non-tenurable instruction in the following areas: VISUAL LANGUAGE 2D VISUAL LA NGUAGE 3D LANGUAGE DRA WING CERAMICS, SCULPTURE PAINTING, METALSMITHING GRA PHIC DESIGN ART HISTORY. Faculty Ten ure Track No Faculty Rank Non-Tenure Track Position Number 4A6162 Department Art Division College of Arts & Architecture Appointment Type Non-Tenure Track (Pooled) Contract Term Other Semester Fall or Spring We hope to attract applicants who can teach in a diverse University community and have demonstrated ability in helping students from diverse backgrounds succeed. Teach undergraduate courses. Varies according to the needs of the School and the specific areas of instruction. Required Qualifications – Experience, Education, Knowledge & Skills Terminal academic degree or comparable professional experience.
Demonstrable skills appropriate to the specific course(s). Demonstrated experience working with and engaging diverse students and colleagues within and outside the department Preferred Qualifications – Experience, Education, Knowledge & Skills Experience teaching at the university level. A significant record of accomplishment related to the desired teaching area. Demonstrated commitment to student, faculty, and staff diversity The Successful Candidate Will Have the ability to relate to freshmen and to develop classroom rapport with students The ability to mentor and inspire a diverse student body. Have effective interpersonal skills including the ability to collaborate successfully with faculty and staff Possess excellent written and oral communication skills Be skilled in utilizing engaging pedagogy that involves students in the learning process Take initiative and work well independently Have an appreciation of diverse constituencies and add intellectual diversity to the department. Dedication to supporting and enhancing Montana State University’s initiative
for diversity, equity and inclusiveness Be able to work closely with other faculty in a collegial environment and con tribute to the academic mission of the School.W
292
EMILY ADAMS
Education
2011 MFA, New York Academy of Art, Cum Laude
2007 BS University of California, Berkeley
2002-2004 UCLA School of the Arts and Architecture
Solo Exhibitions
2017 Somewhere Between, CB1 Gallery, Los Angeles, CA
2015 Painting of Levitated Mass, CB1 Gallery, Los Angeles, CA
2014 Ground, CB1 Gallery, Los Angeles, CA
Group Exhibitions
2020 Hotheads, Catharine Clark Gallery, San Francisco, CA
Seeing Double, Richard and Rhoda Fund Gallery, ODC Theater, San Francisco, CA
2019 To Freeze the Shifting Phantasmagoria: Five California Painters, Jackie Headley University Art Gallery,
California State University, Chico, CA
2018 Art Miami, presented by the New York Academy of Art, Miami, FL
2017 Faculty Exhibition, Sonoma State University Art Gallery, Rohnert Park, CA
2016 Group Exhibition/ Katherine Sherwood Retrospective, Worth Ryder Gallery, UC Berkeley, CA
Is/Isn’t George Adams Gallery, New York, NY
Painting and the Eye that Touches, Walker School of Fine Arts Gallery, Brock University, Ontario
Summer Reverie, CB1 Gallery, Los Angeles, CA
2015 Paper; Ground, CB1 Gallery, Los Angeles, CA
Small is Beautiful, Flowers Gallery, New York, NY
2014 Encore! Gallery Artists Group Exhibition, CB1 Gallery, Los Angeles, CA
NYAA Summer Exhibition, Flowers Gallery, New York NY
2013 A Few of My Favorite Things, CB1 Gallery, Los Angeles, CA
NYAA Summer Exhibition, Allegra La Viola Gallery, New York, NY
On the Road, The Cell, New York, NY
2012 Post Natural, New York Academy of Art, NY
Wildlife in the Post Natural Age, Williamsburg Art Historical Center, Brooklyn, NY
Fr**k Off, RH Gallery, NY
Summer Exhibition, Flowers Gallery, NY
293
Other Projects/Talks/Critiques
2020 Artist talk, Visiting Artist Lecture Series, Sonoma State University, December 2.
Image projection, ZOFO piano duet live concert alongside composition by Samuel Carl Adams, Recital
Hall, Ann E. Pitzer Center, UC Davis, February 14.
Co-curator (with Karla Wozniak): Seeing Double, Richard and Rhoda Fund Gallery, ODC Theater, San
Francisco, CA.
2019 “Seeing art IRL: an artist’s guide to viewing the collections at the De Young and Legion of Honor
museums.” Talk given at Hutchins School of Liberal Studies, Sonoma State University, September 6. Artist
talk and panel discussion, To Freeze the Shifting Phantasmagoria: Five California Painters, Rowland Taylor
Recital Hall, Chico State University, October 24.
BFA and MFA critiques, Department of Art and Art History, Chico State University, October 25.
2016 Video and still image projections for Chicago Symphony Orchestra’s MusicNow premiere of Samuel Adams’
Light Readings. Harris Theater for Music and Dance, Chicago, IL.
Teaching
Fall 2020 Stanford University, CA
2017-2020 Sonoma State University, CA; College of Marin, CA
2013-2017 City University of New York, Queens College, NY
2014-2015 Hofstra University, NY
2013-2014 Montclair State University, NJ
Selected Bibliography
Knight, Christopher. “A vast landscape unfolds in bands of color: Emily Davis Adams at CB1
Gallery,” The Los Angeles Times, January 27, 2017.
Davis, Genie, “Recommendations: Emily Davis Adams, Merion Estes,” Visual Art Source, 2017.
Wagley, Catherine, “Emily Davis Adams: Painting of Levitated Mass”, LA Weekly, 2015.
Okawa, Moto. “Emily Davis Adams Takes on Levitated Mass,” Art I Like LA, 2015.
Awards/Grants/Residencies
2015 Dumfries House Fellowship and Residency, United Kingdom
2013 100 Painters of Tomorrow, Short List
2012 Santa Fe Art Institute Residency Vasari Oil Paint Grant
2011 Post-Graduate Fellowship, New York Academy of Art
294
2010 Terra Foundation for American Art Residency, Giverny, France
Southwest Indian Foundation Artist Grant, Gallup, NM
Arizona Commission on the Arts, Arts Learning Grant
295
Marshall M. Elliott
507 Forest St. Apt. 305 / Oakland, CA 94618 / (970) 393-3027/marshallmelliott@gmail.com Website: marshallelliott.com
Education:
MFA, Sculpture and Interdisciplinary Practice / San Francisco Art
Institute / San Francisco, CA / 2014
BA, Film Studies & English Literature / Boettcher Scholar / University
of Colorado / Boulder, CO / 1999
Teaching Experience:
2020
Advanced Sculpture (ARTS 436) / Lecturer / Sonoma State University /
Rohnert Park, CA
2020
Intermediate Sculpture (ARTS 336) / Lecturer / Sonoma State University
2020
Beginning Sculpture (ARTS 236) / Lecturer / Sonoma State University
2019
Advanced Sculpture (ARTS 436) / Lecturer / Sonoma State University
2019
Intermediate Sculpture (ARTS 336) / Lecturer / Sonoma State University
2019
Beginning Sculpture (ARTS 236) / Lecturer / Sonoma State University
2019
Beginning Sculpture (ARTS 236)/ Lecturer / Sonoma State University
2019
MFA Guided Study Mentorship-Tutorial / San Francisco Art Institute
2018
3D Fundamentals (ARTS 102)/ Lecturer / Sonoma State University
296
2018
From Tree to Object: Simplified Woodworking for Sculpture / San
Francisco Art
Institute (SFAI) Public Education Program
2017
Your Eccentricities Become Things / SFAI Public Education
2016
Making Multiples: Mold-Making and Slip-Casting in Ceramics / SFAI /
Public Ed
2016
Experimental Sculpture / San Francisco Art Institute / SFAI Public
Education
2016
From Tree to Object: Simplified Woodworking for Sculpture / SFAI Public
Education
2014
MFA Fabrication Lab / Graduate Assistant / John Roloff, Professor / SFAI
2013
Sculpture 101 / TA / Chris Bell, lecturer /SFAI / San Francisco, CA
Selected Exhibitions:
2020
Other Places Art Fair (OPaf) / w/ Brittany Art Space / Online Exhibition
2020
Idora Park Project Space / Oakland, CA / This Year Spring Came Early
2019
Brittany / Vallejo, CA / Rates of Disappearance
2019
Headlands Center for the Arts / Marin Headlands, CA / Open House
2019
Jules Maeght Gallery / San Francisco, CA / à la Prochaine
2018
Bass and Reiner / San Francisco, CA / Division of Labor
297
2018
Mills College / Museum Records & Research / Oakland / The Ripped
Image
2018
Tartine / San Francisco, CA / Solo Exhibition
2017
deYoung Museum / San Francisco, CA / Artist Studio Program Artist-In-
Residence
2017
Headlands Center For the Arts / Sausalito, CA / The Commons
2017
University of San Francisco / Thatcher Gallery Terrace / SF, CA /
The Goal Is to Extend the Nonmediocre Part of Life
2017
Bass & Reiner Gallery / San Francisco, CA / Art Book Show
2017
Aggregate Space / Oakland, CA / Orium
2017
ProArts / Oakland, CA / Everyone is Hypnotized
2017
Jules Maeght Gallery / San Francisco, CA / Bitter Creek Sweet Water
2017
R/SF Projects/ San Francisco, CA / Bring Your Own Beamer
2016
Headlands Center for the Arts / Sausalito, CA / Open House
2016
Bass & Reiner / Minnesota Street Project / SF / Thinking of You
2016
Art Market / Fort Mason / San Francisco, CA / Onsite Installations
2016
Root Division / San Francisco, CA / The Known Universe
2015
The Gray Square / San Juan, Puerto Rico / Salón Boricua
298
2015
Ironton Gallery / Denver, CO / Without Borders
2015
Southern Exposure / Verdi Club / SF, CA / Monster Drawing Rally
2015
City Limits Gallery / Oakland, CA / Conversation Pieces
2015
Headlands Center for the Arts / Sausalito, CA / (Im)material
2014
Heaven Gallery / Chicago, IL / Mend Thine Every Flaw
2014
Jules Maeght Gallery / San Francisco, CA /Art in Motion
2014
Root Division / San Francisco, CA / Introductions
2014
Google / San Francisco, CA/ If…
2014
The Old Mint / San Francisco, CA / Principal
2014
Diego Rivera Gallery / San Francisco, CA / Suspension of Belief
2014
Incline Gallery / San Francisco, CA / Hybrid (SFiCA2)
2014
Root Division / San Francisco, CA / The Tools
2013
Compound Gallery / Oakland, CA / The Art of Letterpress II
2013
Swell Gallery / San Francisco, CA / m e s a
2012- Present SFMOMA Artist’s Gallery / San Francisco, CA
2012
Compound Gallery / Oakland, CA / Selected Works
299
2010
Breckenridge Theater Gallery / Breckenridge, CO / Solo Show
2009
Space Gallery, Denver, CO / Large Works
2009
Packing House Center / Denver, CO / Serene Deformation
2007
Breckenridge Theater Gallery/ Breckenridge, CO /
Transmutations
2005
Four-Fifths Gallery / Breckenridge, CO / New Sculpture Works
Residencies:
2017
deYoung Museum / SF, CA / Artist Studio Artist-In-
Residence
2016
Minnesota Street Project / SF, CA / LPP+ Residency
2014
Art Farm / Marquette, NE
2014
Kimmel Harding Nelson Center / Nebraska City, NE
2013
ACRE / Steuben, WI
2008, 2010 Tin Shop / Breckenridge Visiting Artist
Program / Breckenridge, CO
2004-2009, 2015 Human Nature Dance Theater
Residency / Arcosanti / Cordes Junction, AZ
Awards / Honors /Grants:
2018 SFMOMA SECA Award Nominee / San Francisco, CA
2018 Tosa Award Nominee / San Francisco, CA
300
2016-2019 Affiliate Artist / Headlands Center For the Arts / Sausalito, CA
2015 Creative Capacity Fund Grant / Center For Cultural Innovation
2014 Anne Bremer Memorial Prize / San Francisco Art Institute / SF, CA 2012,
2013 Graduate Fellowship Grant / San Francisco Art Institute
1999 Boettcher Foundation Scholarship / Boulder, CO
301
APPENDIX VI
Survey Results Continued
3/12/2021 SoGoSurvey - Omni Report
https://www.sogosurvey.com/zRMx/OmniReport.aspx?sid=1&reportid=74573&cmd=show#page-3 1/5
ArtS Alumni Survey 2021
Modify Report Survey Metrics Settings
Weighted Score
Reset Report
Cross Tab
Because multiple answers per participant are possible, the total percentage may exceed 100%.
1.
Why did you choose the Art Studio Program at SSU? Please choose all that apply.
(N=65)
9%
17%
23%
17%
62%
32%
55%
0%
5%
Reputation
Faculty
Range of courses offered
Career goals
Location of school
Cost of attending SSU
Subject matter interests me
I don’t know
Other (Please specify)
2. What career path(s) did you pursue after graduating?
Saved Reports Emailed Reports Filter Manager
Omni Report Frequency Cross Tabulation Raw Data Legacy Reports
Report
Create
All Projects
ArtS Alumni Survey 2021
SCFriends
2
Design
Distribute
Data
Contact Lists
My, what beautiful data you have!
Data's even better when it's shared. Save and share your reports to build understanding and show off your skills!
Learn More
Help
Filter
Configure and add Weighted Score of the rating questions in
your project.
Add a cumulative score, or weighted scores of different rating
questions in the same graph or create question groups.
Learn More
3/12/2021 SoGoSurvey - Omni Report
https://www.sogosurvey.com/zRMx/OmniReport.aspx?sid=1&reportid=74573&cmd=show#page-3 2/5
See all responses (66)
See all responses (61)
3.
How did the Art Studio Program help you reach your goals? If it did not help you reach your goals,
what might it have done differently?
4. How satisfied were you with the Art Studio Program overall?
Participant ID 26
Building construction Foundation, frame,
finish The art of building Attention to
details Physical and natural connection
Participant ID 57
Honestly, I graduated college to make my
father happy. I wanted to be a full-time
mom and part-time worker. Specifically, I...
Participant ID 13
Curatorial and visual arts management
Participant ID 56
I completed my Masters at the Royal
College of Art and am a professional fine
artist alongside a p/t job with an...
Participant ID 33
Fine artist and teacher
Participant ID 37
I became an art instructor. Over the years I
taught paper making , painting and film
editing. Art direction in plays and...
Participant ID 59
I entered Art Competitions to show my
pastel drawings and collages. From the
mid 1990s to 2004 my drawings were...
Participant ID 13
It prepared me for working independently,
but not so much in group environments.
Felt very ‘fend for yourself’ at SSU
Participant ID 31
It was indispensable, from advising to
techniques, from friendships to
constructive criticism, from academics to...
Participant ID 37
I did not receive career goals. I believe it
was thought that as an older student I had
direction and a career path. There could...
Participant ID 22
It did not. Please work more with students
who can not afford to stay for fine art/
pursue grad school. Find practical...
Participant ID 30
I LOVED my years at SSU and in the art
department! I loved the faculty and the
preparedness I gained for Graduate...
Saved Reports Emailed Reports Filter Manager
Omni Report Frequency Cross Tabulation Raw Data Legacy Reports
Report
Create
All Projects
ArtS Alumni Survey 2021
SCFriends
2
Design
Distribute
Data
Contact Lists
My, what beautiful data you have!
Data's even better when it's shared. Save and share your reports to build understanding and show off your skills!
Learn More
Help
3/12/2021 SoGoSurvey - Omni Report
https://www.sogosurvey.com/zRMx/OmniReport.aspx?sid=1&reportid=74573&cmd=show#page-3 3/5
(N=65)
6%
9%
14%
29%
42%
1 - Unsatisfied
2
3 - Moderately Satisfied
4
5 - Very Satisfied
5. How satisfied were you with the instruction offered by the Art Studio Program?
(N=66)
3%
9%
20%
20%
48%
1 - Unsatisfied
2
3 - Moderately Satisfied
4
5 - Very Satisfied
6. How satisfied were you with the career advising you received from Art History Program faculty?
(N=59)
17%
20%
31%
17%
15%
1 - Unsatisfied
2
3 - Moderately Satisfied
4
5 - Very Satisfied
Saved Reports Emailed Reports Filter Manager
Omni Report Frequency Cross Tabulation Raw Data Legacy Reports
Report
Create
All Projects
ArtS Alumni Survey 2021
SCFriends
2
Design
Distribute
Data
Contact Lists
My, what beautiful data you have!
Data's even better when it's shared. Save and share your reports to build understanding and show off your skills!
Learn More
Help
3/12/2021 SoGoSurvey - Omni Report
https://www.sogosurvey.com/zRMx/OmniReport.aspx?sid=1&reportid=74573&cmd=show#page-3 4/5
7. How satisfied were you with course offerings in the Art Studio program?
(N=66)
3%
11%
24%
21%
41%
1 - Unsatisfied
2
3 - Moderately Satisfied
4
5 - Very Satisfied
See all responses (48)
8.
9. Please let us know anything you'd like to improve about the program.
9.
Please let us know anything you'd like to share about your life or achievements since graduating.
Participant ID 32
Question 6, there was no career advisors
when I graduate in 1983.
Participant ID 41
Some more digital art classes. Specifically
in Adobe illustrator +graphic design.
Participant ID 25
My emphasis was photography and I really
enjoyed the photography program. I did
however wish there were a few more...
Participant ID 36
The classes were somewhat limited. The
teacher who came from other universities
brought enthusiasm and mentor ship that...
Participant ID 50
start over, hire more open-minded and
considerate professors. it's legitimately
terrible. Mark Perlman is cool though.
Participant ID 55
I attended SSU in the 1990s, so I am
certain everything has changed
considerably since then, and any...
Saved Reports Emailed Reports Filter Manager
Omni Report Frequency Cross Tabulation Raw Data Legacy Reports
Report
Create
All Projects
ArtS Alumni Survey 2021
SCFriends
2
Design
Distribute
Data
Contact Lists
My, what beautiful data you have!
Data's even better when it's shared. Save and share your reports to build understanding and show off your skills!
Learn More
Help
3/12/2021 SoGoSurvey - Omni Report
https://www.sogosurvey.com/zRMx/OmniReport.aspx?sid=1&reportid=74573&cmd=show#page-3 5/5
See all responses (43)
Participant ID 11
The liberal arts education has been a
valuable addition to my appreciation of
life.
Participant ID 36
The teachers offered a new perspective
but the classes were lackluster.
Participant ID 9
I'm a million years old now. During the 70's
early 80's I was a member of the
performance art group No Truth to the...
Participant ID 56
As stated above, I work professionally in
the arts with my own art practice and with
artists of international renown. The SSU...
Participant ID 13
Since graduating I have helped open and
run an art gallery in Los Angeles and have
received a US and UK Masters degree in...
Participant ID 30
I received my MFA from California College
of Art and Crafts, got married and raised
two amazing children! My daughter is a...
Version 24.0 © SoGoSurvey All rights reserved Terms of Service | Privacy Policy SoGo LIVE
Saved Reports Emailed Reports Filter Manager
Omni Report Frequency Cross Tabulation Raw Data Legacy Reports
Help
3/12/2021 SoGoSurvey - Omni Report
https://www.sogosurvey.com/zRMX/OmniReport.aspx?&sid=2&DNA=False&QuickAccess=true 1/4
Faculty Survey ArtS 2020 …
Modify Report Survey Metrics Settings
Weighted Score
Reset Report
Cross Tab
1.
How satisfied are you with the Art Studio Program overall?
(N=5)
0%
0%
40%
20%
40%
1 - Unsatisfied
2
3 - Moderately Satisfied
4
5 - Very Satisfied
2.
How satisfied are you with the Art Studio curriculum?
(N=5)
0%
0%
40%
40%
20%
1 - Unsatisfied
2
3 - Moderately Satisfied
4
5 - Very Satisfied
Saved Reports Emailed Reports Filter Manager
Omni Report Frequency Cross Tabulation Raw Data Legacy Reports
Report
Create
All Projects
Faculty Survey ArtS 2020 Program Review
SCFriends
2
Design
Distribute
Data
Contact Lists
Help
Filter
3/12/2021 SoGoSurvey - Omni Report
https://www.sogosurvey.com/zRMX/OmniReport.aspx?&sid=2&DNA=False&QuickAccess=true 2/4
3.
How satisfied are you with support for scholarship and creative activities offered by the university?
(N=5)
0%
40%
40%
20%
0%
1 - Unsatisfied
2
3 - Moderately Satisfied
4
5 - Very Satisfied
4.
How satisfied are you with facilities offered by the Art Studio Program?
(N=5)
0%
20%
0%
60%
20%
1 - Unsatisfied
2
3 - Moderately Satisfied
4
5 - Very Satisfied
5. How satisfied are you are the administrative support offered by Sonoma State University?
Saved Reports Emailed Reports Filter Manager
Omni Report Frequency Cross Tabulation Raw Data Legacy Reports
Report
Create
All Projects
Faculty Survey ArtS 2020 Program Review
SCFriends
2
Design
Distribute
Data
Contact Lists
Help
3/12/2021 SoGoSurvey - Omni Report
https://www.sogosurvey.com/zRMX/OmniReport.aspx?&sid=2&DNA=False&QuickAccess=true 3/4
(N=5)
20%
20%
20%
40%
0%
1 - Unsatisfied
2
3 - Moderately Satisfied
4
5 - Very Satisfied
Because multiple answers per participant are possible, the total percentage may exceed 100%.
6. How many hours a week do you spend on creative scholarship
(N=5)
0%
0%
40%
20%
20%
20%
0
Less Than 5
5-10
10-15
15-20
More than 20
7. Please let us know anything you would like to improve about the program.
Participant ID 5
Update digital equipment Update building
add faculty studios Hire faculty
Saved Reports Emailed Reports Filter Manager
Omni Report Frequency Cross Tabulation Raw Data Legacy Reports
Report
Create
All Projects
Faculty Survey ArtS 2020 Program Review
SCFriends
2
Design
Distribute
Data
Contact Lists
Help
3/12/2021 SoGoSurvey - Omni Report
https://www.sogosurvey.com/zRMX/OmniReport.aspx?&sid=2&DNA=False&QuickAccess=true 4/4
Version 24.0 © SoGoSurvey All rights reserved Terms of Service | Privacy Policy SoGo LIVE
Saved Reports Emailed Reports Filter Manager
Omni Report Frequency Cross Tabulation Raw Data Legacy Reports
Help
