Course Descriptions

The University of Virginia is closely monitoring the emergence of COVID-19, and consulting with experts at UVA Health, the Virginia Department of Health, the CDC and other partners. The top priority is the safety of the members of the University community, and UVA will make decisions based on public health guidance and current conditions here and elsewhere. This page will be updated regularly and highlight the latest statements or guidance from the University.  For more information, see here.

Please check SIS online to confirm the following information. Updates can occur at any time and the information here is to be used as a guideline.

Undergraduate students can also register for ARAH 5000 level courses.

J-Term 2021

ARTH 2470 Art Now

Taught by: Robbins

3 credits

This is an introductory art history survey, designed to familiarize you with the major themes, issues and questions being pursued in today’s art world. Focusing on the last twenty years, the class is organized around five themes that define the majority of art being made today: portraying, experiencing, situating and agitating. Covers studio major's requirement in art history.

ARTS 2000 Introduction to Studio Art

Taught by: Chan

3 credits

An introductory course that gives students an overview of the concepts, materials and practice of studio art.  ARTS 2000 is the prerequisite to all upper level Studio Art courses.

Drawing will cover the basics of observational drawing and how visual thinking connects with the hand.  Emphasis will be on learning new materials, hand to eye awareness and construction of the 2-dimensional image.

Conceptual Practices will introduce the student to concepts intrinsic to contemporary studio practices. It will approach these issues in two ways; 1) creating assignments that challenge the student’s ideas of art, esthetics and visual cultural preconceptions and 2) creating assignments that are concept driven with the student choosing whichever material or method best expresses his/her idea. The goal of this segment is to exercise the student’s critical thinking skills and expand the student’s ability to engage in discourse around visual and creative concerns.  

Digital Skills is an overview of the digital processes and tools referenced across all media of contemporary visual art.   This workshop aims to give students the basic technical skills, including still and moving image and sound, to facilitate the use of digital tools in whatever concentration or practice they pursue.


ARH 3103  On Haj with Ibn Jubay: Reconstructing the 12th Century Mediterranean

Taught by: Reilly

3 credits

Our seminar will embark on a journey around the Mediterranean with Ibn Jubayr, a twelfth century Spanish Muslim who recorded his experiences during his pilgrimage to Mecca and Medina in a remarkably lively and detailed  account.  From his shipwreck on the coast of Sicily to his performance of the rituals associated with his visit to Mecca, Ibn Jubayr provides an unusual perspective on the built environment, culture and people he encounters throughout his travels.  We will read the translation of his travels as a class with background lectures provided on the visual culture of the sites he visits, such as Palermo, Damascus, Alexandria and Mecca. We will develop virtual exhibits related to Ibn Jubayr's travels.

Spring 2021

Course Descriptions

Undergraduate students can also register for ARAH 5000 level courses.

Art History


ARH 1020 History of Architecture II

Taught by: Crane

This course provides an introduction to the history of architecture and urbanism from around 1400 to the present. We will consider how significant buildings, cultural landscapes, and cities have been imagined, constructed, inhabited and transformed over time, both in terms of their physical forms and the shifting values and meanings attached to them. The course will expose you to critical debates about the constructed environment, while introducing you to key tools of architectural description, spatial analysis, critical thinking, and historical interpretation.

ARTH 1500 Art and Experience

Taught by: Turner

“Art and Experience” asks and seeks answers to questions such as:  What is Art? Where is Art? When is Art?  When and where do you most experience it?   How is Art connected to Life or Museums? How might you observe and measure the impact of Art upon you and your life?  In this class we will examine the history of modern collecting—stories of modern collectors of 19th and 20th century modern art and non-western art, as well as key readings in aesthetics while we learn to document and collect (virtual) experiences of our own.  We will virtually travel to meet curators and conservators who will take us behind the scenes to get up close and personal with objects and exhibitions. 

ARTH 1505  Art and the Modern World: Art & Technology

Taught by: Robbins

In this introductory course to art history we will explore the intersection of art and technology (such as the history of painting’s overlap with the history of optics, the fact that advances in cybernetics—which led to the internet you know and love today—coincided with a redefinition of what art is in the form of "systems aesthetics" and conceptual art, and recent developments in eco-art). There are many connections between art and technology and, in some instances, it is very difficult to tell the two apart. Surveying the history of where and how such distinctions have been either made or erased, you will gain some insight into the history of both art and technology, as well as into your own interactions with and reliance on today’s technology.

ARTH 1507  Art and Global Cultures: Art and the Silk Road

Taught by: Wong

Stretching some 8,000 kilometers, the Silk Road is a network of trade routes that provided a bridge between the east and the west between the first and fourteenth centuries CE. Despite periods of disruptions, the Silk Road flourished as a commercial and at times military highway. But more than that, it was a channel for the transmission of ideas, technologies, and artistic forms and styles, with far-reaching impact beyond China and the Mediterranean world. This course introduces the art forms, trade objects, and religions that flourished along the historical Silk Road.  

ARTH 2052 Ancient Egypt Survey of Egyptian art and architecture (Predynastic-New Kingdom, 4000-1100 BC) 

Taught by: Dakouri-Hild

The course introduces students to the great monuments and works of art, and to the beliefs that engendered them. While the focus is on pharaonic 'visual' culture, neglected 'others' (women, cross-gendered persons, foreigners, commoners) and their material/visual cultures are brought to attention to provide a nuanced understanding of Egyptian society and culture.

ARTH 2056  Roman Art and Archaeology

Taught by: Rogers

This course is intended to serve as an introduction to the artistic, architectural, and archaeological monuments of ancient Italy and its expansive Roman Empire from the founding of Rome to the end of the Roman Empire. Roman art and architecture will be traced from its early origins under Etruscan influence through the periods of the Roman Republic, Principate, and Early Christianity, using a variety of media, including monumental and domestic architecture, wall paintings, mosaics, sculpture, and coins, as well as ancient written sources. The goal of this course work is to produce a broad but varied look at Roman art and archaeology within its extended historical and cultural context, from sites throughout the ancient Mediterranean, illustrating the multicultural world the Romans inhabited. 

ARTH 2961  Arts of the Islamic World

Taught by: Phillips

What’s so Islamic about Islamic art? What makes a mosque in Indonesia different from one in Iberia? Where are all the pictures and what’s with all that ornament? Do materials matter, and can fine art be mass-produced? To answer some of these questions and others, we’ll be exploring big themes, such as the requirements of worship and imperial building campaigns, daily life and its objects, conventions of picture-making, the triumph of calligraphy as an art form, the way Mediterranean and Oceanic trade connected different cultures, and how looting, plunder, and finally colonialism and nationalism also impact on the way we see and understand art and architecture in 2021.

ARTH 2282  The Age of Rubens and Rembrandt: Baroque Art in the Netherlands

Taught by: Goedde

A survey of the art of the Dutch and Flemish Golden Age, including such artists as Rubens, Rembrandt, van Dyck, Hals and Vermeer. The course examines innovations in style and new subjects like landscape, still life, and daily-life genre in relation to major historical developments, including the revolt of the Netherlands, the rise of the Dutch Republic as a world economic and political power, and the Counter-Reformation.

ARTH 2753  Arts & Cultures of the Slave South

Taught by: Nelson

Credits: 4

This interdisciplinary course covers the American South to the Civil War. While the course centers on the visual arts, architecture, material culture, decorative arts, painting, and sculpture; it is not designed as a regional history of art, but an exploration of the interrelations between history, material and visual cultures, foodways, music and literature in the formation of Southern identities.

ARTH 2559  The British World in the 18th Century

Taught by: Spivey

Beginning with the Hanoverian Succession and arrival of George I, this course explores the dynamic world of Georgian Britain through both art and architecture, examining the work of its most influential painters, sculptors, architects, and landscape architects. Organized around three broad (and loosely chronological) themes, we will explore the trajectory of Georgian architecture alongside the parallel impulses for collection, representation, and display in crafting a new—and increasingly public— individual, national, and imperial identity.

ARTH 2881  Sex, Spirits & Sorcery: The Art of Arnhem Land

Taught by: Skerritt

Located in Australia's tropical north, Arnhem Land has long been one of the epicenters of the modern Aboriginal art movement. The art of the region opens a window onto another world: a world in which ancestral spirits remain a constant presence in the land. These narratives contain all the drama of a Hollywood epic: struggles over life and death, love and lust, all set within the simmering magic of the tropics. Using the world-class holdings of the Kluge-Ruhe Aboriginal Art Collection, this course explores the development of the art of Arnhem Land from 1878 to the present. Students will have the opportunity to engage directly with guest artists from across the region, including Gabriel Maralngurra, Judy Lirririnyin and Wukun Wanambi.  

ARTH 2862  Arts of the Buddhist World- India to Japan

Taught by: Zhao

This class is a survey of Buddhist art and architecture from the Third Century BCE through the medieval periods. It provides an overview of art forms and concepts created primarily in the context of Buddhism across the broad geographical scope of South Asia, Central Asia, East Asia, and Southeast Asia. Organized chronologically, the course will examine the major monuments and artworks from the various Buddhist traditions, forming a panoramic view of the development and transmission of Buddhist art for the student. It also considers the aesthetic concepts, social groups, and cultural contexts associated with the artworks. 

This course fulfills the Non-Western Perspectives requirement.

ARTH 3281  His Work in Historical and Artistic Context and in Modern Criticism

Taught by: Goedde

This course examines the paintings, drawings, and prints of Rembrandt van Rijn in the context of Dutch Golden Age culture and the broader development of Dutch art in the seventeenth century.  The course will also discuss a number of late twentieth and early twenty-first-century critical re-considerations of Rembrandt’s work and life, including the Rembrandt Research Project and studies by Schwartz, Alpers, and Schama, among others.

ARTH 3254  Leonardo da Vinci

Taught by: Fiorani

An analysis of Leonardo da Vinci’s paintings, drawings and notes, with special attention to his thoughts on human anatomy, optics, and color theory in the context of the investigation of the natural world. His works are considered in relation to the works of fellow artists such as Bramante, Raphael and Michelangelo, as well as in relation to advanced methodologies of conservation, restoration, and interpretation.

ARTH 3525/ITTR 3280  Michelangelo: The Artist, The Man and His Times

Taught by: Parker

Michelangelo’s name conjures genius and a nearly superhuman achievement in the arts. Contemporaries elevated him as the supreme sculptor, painter and architect of the age. His work offers a window on a deeply personal vision and rich artistic culture. Michelangelo’s creativity extends to many media—sculpture, painting, architecture, and writing in poetry and prose. This course focuses on all these pursuits. The course is not only about the extraordinary achievements of this Renaissance luminary but the ways in which we can analyze and compare visual and written works. To this end we will examine closely the artist’s poems and letters, contemporary assessments of his artistic achievements, critical articles, and recent digital projects involving his work. Through an analysis of a wide range of contemporary digital projects we will explore how audiences today adapt earlier masterpieces for audiences today. This course is intended to enhance students’ skills in analyzing visual and literary artefacts. This skill is crucial in our media age which relies increasingly on visual messages and the interplay of text and image. 

ARTH 3559  The Garden in the Ancient Mediterranean

Taught by: Dunkelbarger

What is a garden? This is the driving question for the course, which will introduce students to the gardens of ancient Mediterranean cultures. The course is structured thematically and draws on the literature, art, and archaeology of ancient gardens to answer that central question. We will explore the garden as a site of productivity and functionality; as a socially and politically constructed space; as a setting both for leisure and luxury and for philosophical reflection or religious encounter; and, as a place of death and desire. 

This course fulfills the second-writing requirement


ARTH 3591  Mediterranean Art and Myth

Taught by: Smith

This course focuses on the mythological stories, figures, and settings of ancient Mediterranean cultures, including the Greeks, Romans, and Etruscans, and the peoples of the Near East and Egypt. Works of ancient literature and art are introduced and analyzed, as well as the theories of anthropology, religious studies, and art history. Important themes are landscape, memory, narrative, and the role of Classical myth in popular culture. Course objectives include: introducing the textual and visual sources for ancient mythology, defining the mythological systems of ancient Mediterranean cultures, understanding mythology in relation to other phenomena (i.e., religion, ritual, rites of passage), and learn the basic principles of art historical analysis. 

This course fulfills the second writing requirement

ARTH 3595  Art History Practicum: Indigenous North American Arts

Taught by: Greci Green

This course provides an introduction to the art histories of Indigenous North American nations and cultures, exploring the range of creativity and diversity of media, forms, and aesthetic systems of Native American and First Nations artists of the past and those working today.  We discuss significant themes in the study of Native arts including the relationship between art and cultural identity, the role of artists in society, and the significance of artistic exchange within the arena of social relations.  We also discuss the history of collecting Indigenous arts, how Native American arts are presented in museums, and the repatriation of works of art to their communities of origin.  Students have the opportunity of hands-on experience in the collections of the Fralin Museum of Art, and receive basic training on material culture analysis, investigation of construction methods, object history, and comparative collection histories.

ARTH 3863/EAST 5863  East Asian Art, Landscape, and Ecology 

Taught by: Wong

This course introduces the principal concepts of nature and ecology in East Asian philosophical traditions—Daoism, Shinto, Buddhism, Confucianism. These concepts have profound impacts on the relationship between human and their natural environment, and have inspired and informed art forms such as landscape paintings, religious temples and shrines, garden architecture, and tea houses. The course also explores how these ideas can contribute to the modern discourse on environmental ethics and sustainability.  

ARTH 4051  Art History: Theory and Practice

Taught by: Smith

This course introduces art history majors to the basic tools and methods of art historical research, and to the theoretical and historical questions of art historical interpretation. The course will survey a number of current approaches to the explanation and interpretation of works of art, and briefly address the history of art history.

This course fulfills the second-writing requirement

ARTH/ARH 4591  Vikings into Kings

Taught by: Reilly

The marauding Vikings are familiar from popular culture including the well-known tv series. Somehow they become kings who commission such extraordinary works as the Bayeux Tapestry, Durham Cathedral and the Cappella Palatina. This course will trace their transformation from raiders and traders across Europe and beyond into rulers of the wealthiest kingdoms in Europe through an exploration of their material culture.

This course will fulfill the second writing requirement.

ARTH 4591  Antiquity and Film

Taught by: Dakouri-Hild

The course explores film, in particular the historical epic genre, as a form of popular culture through the lens of which we can understand how antiquity was/is received in the 20th and 21st c. In particular, the course examines the interrelationship of film with the past as known through historical records and archaeological work and debates the rewriting of history on screen (in the form of omissions, alterations, emphases). How does the cinematography of antiquity reveal preoccupations, biases, judgments, debates, values, beliefs, moralities of modern and contemporary society? How are political, religious and other ideologies of today parsed and projected onto the past through the medium of film? Moreover, the course explores antiquity as a fruitful ground for popular imagination: why does it matter?

This course fulfills the second-writing requirement

ARTH 4591  The Global Renaissance

Taught by: Fiorani

This seminar examines the cultural relations between Europe and Asia, Africa, and the Americas in the early modern period with a specific focus on the production and exchange of artifacts.

This course fulfills the second-writing requirement


ARTH 4591 American Modernisms

Taught by: Turner

Have you ever wondered whether Art can change you or the world?  How do you find out where Art comes from and how it invades consciousness?  In a time of great industrial, scientific, technological and social upheaval within the context of post-Civil War U.S. society, artistic movements reflected and created modern change; made visible invisible forces; conveyed new realities; created culture and community; empowered reform and protest—new visions of race, class and gender. How did American artists become Liberators? Historians? Propagandists? Psychologists? Why?

In our American Modernisms class, you will encounter revolutionary artistic movements such as photo secession, futurism, synchromism, precisionism, New York Dada, social realism, the prairie style, regionalism and the New Negro.  By identifying and exploring artists, institutions and publications and how they intersect with economies of exhibitions and audiences, you will be able to recognize and explain how and when artistic images change and create new channels of perception and communication over time.  

This course fulfills the second-writing requirement

ARTH 4952/GDS 4952  University Museums Internship

Taught by: Love & Handler

This is the second semester of a two-semester course. Students do internships (lasting for an academic year) at the Fralin Museum of Art.  As interns, students work approximately 100 hours each semester (7-8 hours per week) in the museum, under the close supervision of museum professionals.  Topics include both academic seminar discussions on collection theory and display and workshops on museum management, including:  Art Handling, Conservation, Registration and Collections Management, Education and Outreach.  Students are responsible for curating a group exhibition using the Fralin’s permanent collection.

ARTH 4998  Undergraduate Thesis Research

Taught by: Various

Research for a thesis of approximately 50 written pages undertaken in the fall semester of the fourth year by art history majors who have been accepted into the department's Distinguished Majors Program.

Art History


ARAH 9535 Prints & Indigenous Peoples

Taught by: Fordham

Since the Enlightenment, the dynamic movement of European/Western people, goods, and representations found a counterpoint in ostensibly static and local indigenous communities. Implicit in this juxtaposition was the expectation that Western modernity would supplant indigenous culture. Print culture, including printed images, played an important role in these assumptions and juxtapositions. This seminar examines how printed images represented indigeneity from the 17thcentury to the present, and it considers printmaking as a medium of empire and exchange. At the same time, we will examine the extraordinary diversity and vitality of indigenous printmaking in the 20th and 21st centuries. Prints by Native American, Aboriginal, and other indigenous printmakers compels us to reexamine print as a historical and expressive medium. Working with print collections at the Kluge-Ruhe Collection, the Fralin Museum, the Rare Book School, and Special Collections, we will explore how prints shaped perceptions of indigenous communities, and how indigenous printmakers have challenged many of those images and narratives

ARAH 9535 Water, Architecture, and the Senses

Taught by: Rogers

Moving water in architectural spaces has the ability to create unique experiences that can excite the senses. This course explores how water has been manipulated in different ways over time through various architectural case studies from across the globe, stretching from the ancient Near East to today. Special emphasis will be placed on the sensory qualities of water--and how they can alter landscapes, built environments, and an individual's own personal experience. By examining the relationship between water and architecture, we will also begin to problematize how societies approach various water-related issues (such as access to, commodification of, and destruction by water), which are particularly relevant today. 

ARAH 9535  Real Abstractions (in critical theory and beyond)

Taught by: Robbins

This course examines the treatment of illusion and abstraction in critical theory. Starting with foundational texts, such as Kant’s Critique of Judgment and Marx’s Capital, we will work through key texts in critical theory in the twentieth and twenty-first centuries. This course is partly a response to an influential “anti-aesthetic” tendency, in late-twentieth-century art theory, to cast both abstraction and illusion as deleterious concepts. In order to interrogate this assessment, we will approach ‘abstraction’ and ‘illusion’ as keywords that have both enabled and inhibited critical discourse and practice. Additional keywords and counter-terms to be explored include perspective, realism, ideology, reification, apparatus, spectacle, embodiment and personhood. Students will be asked to bring in a variety of cultural examples to stand beside or against, to confirm, counter, and otherwise rejoin the various aesthetic and political theories we discuss. While the course is housed in the Art and Architectural History Program, our discussion will not be limited to the visual arts. All are welcome.  

Studio Art

ARTS 2000 Introduction to Studio Art

An introductory course, divided into three segments, which serves as a prerequisite to all studio courses. In Drawing students will learn observational drawing and how visual thinking connects with the hand. The Conceptual segment will exercise creative problem-solving skills and teach students to engage in critical discourse. The Digital segment teaches basic technical skills and digital tools including still and moving image and sound.

ARTS 2110 Introduction to Photography I

Focuses on gaining a working understanding of black and white photo processes and, most importantly, opening up a dialogue about photography. Class assignments help students understand the visual language of photography using 35mm film and printing in the darkroom. In addition, lectures explore examples from the historical and contemporary worlds of fine art photography and readings range from art and philosophy to science. Prereq: ARTS 2000

ARTS 2112 - Introduction to Photography II

Building off of 2110, this course offers an introduction to color photography, digital printing methods, and medium format cameras. Advanced skills are demonstrated and practiced with the goal of increasing the quality of the work. Further explorations into historical and contemporary art issues via presentations, visiting artists, and readings increase awareness. Students create a final portfolio. Prerequisite: ARTS 2110

ARTS 2220 - Introduction to New Media I

This class introduces digital techniques in the context of fine art. Topics covered include digital imaging and basic interactive art. Prerequisite: ARTS 2000.

ARTS 2370 - Introduction to Cinematography I

The course introduces experimental 16mm film production as a practice of visual art. These courses include technical, historical, and theoretical issues that apply to cinematography and its relationship to the traditional visual arts. Prerequisite: ARTS 2000.

ARTS 2560 - Special Topics in Printmaking

An introduction to the specialized materials, methods, processes, and cultural issues as they relate to the history and practice of Printmaking

ARTS 2570 - Special Topics in Painting

Students are introduced to specialized materials, methods and cultural issues as they relate to painting.

ARTS 2610 - Drawing I

A continued introductory study of the materials and techniques of drawing. Provides training in the coordination of hand and eye and encourages development of visual analysis. Emphasizes understanding form, space, light and composition. May be taken concurrently with ARTS 2000.

ARTS 2620 - Drawing II

Applies technical drawing skills to projects that delve into analytical thinking and idea-based work. Projects are designed to help students experiment and learn how to communicate meaning visually. Prerequisite: ARTS 2000 and ARTS 2610.

ARTS 2670 - Introduction to to Intaglio & Monotype Printmaking

Introduction to basic black and white etching techniques, basic black and white plate lithography, and techniques of stone lithography. Printmaking professors and course content vary from semester to semester. Prerequisite: ARTS 2000 and 2610.

ARTS 2672 - Introduction to Lithography & Relief Printmaking

Introduction to Lithography (planographic), and woodcut and other relief printmaking processes. Prerequisite: ARTS 2000 and 2610.

ARTS 2710 - Introduction to Water-Based Painting

Introduction to basic water painting techniques and materials (including acrylic, gouache, and water color), emphasizing perception and color. Assignments are designed to assist the student in understanding the creative process and interpreting the environment through a variety of subject matter expressed in painted images. Encourages individual stylistic development. Prerequisite: ARTS 2000 and 2610.

ARTS 2712 - Introduction to Oil Painting

Introduction to Oil-based painting. Prerequisite: ARTS 2000 and 2610.

ARTS 2810 - Introduction to Sculpture I

Investigates the sculptural process through modeling, carving, fabricating and casting. Examines traditional and contemporary concerns of sculpture by analyzing historical examples and work done in class. Prerequisite: ARTS 2000.

ARTS 2812 - Introduction to Sculpture II

Introduction to sculpture techniques. Prerequisite: ARTS 2000.

ARTS 3110 - Intermediate Photography I

Expands technical possibilities available to students by introducing large format cameras. Class time involves evaluating work in progress, slide presentations (sometimes by students as research projects) or discussion of reading material. Students create a final portfolio from assignments. Cameras provided. Prerequisite: ARTS 2110 and ARTS 2112

ARTS 3220 - Intermediate New Media I

This class continues the investigation of digital art begun in ARTS 2220 and 2222 through the introduction of experimental video history and techniques. Prerequisite: ARTS 2220 and ARTS 2222.

ARTS 3370 - Intermediate Cinematography I

This course continues the practice of 16mm experimental film production with an increased emphasis on audio and digital video motion picture making. Student will complete assignments based on genres of experimental film making such as expressionism, naturalism, and realism. Prerequisite: ARTS 2370 and ARTS 2372.

ARTS 3620 - Intermediate Drawing III

Exploration of contemporary drawing techniques and concepts with emphasis on the role of drawing in an interdisciplinary practice. Students are encouraged to broaden their definition of drawing into color, print, digital and other media. Projects are given as prompts that assist students in the development of their own visual language.  Prerequisite: ARTS 2620 Drawing II

ARTS 3670 - Intermediate Printmaking I

Includes relief printing, advanced lithography techniques, including color lithography, color etching, monotypes, and further development of black and white imagery. Printmaking professors and course content vary from semester to semester. Prerequisite: ARTS 2670 and ARTS 2672.

ARTS 3710 - Intermediate Painting I

Exploration of contemporary painting materials, techniques, and concepts, as well as a continuation of basic oil painting processes. Assignments are designed to assist the student in developing their perceptions and imagination and translating them into painted images. Direction is given to the formation of personal original painting styles. Prerequisite: ARTS 2710, 2712.

ARTS 3810 - Intermediate Sculpture I

Continuation of ARTS 2810 and ARTS 2812 with greater emphasis on the special problems of the sculptural discipline. Prerequisite: ARTS 2810, 2812.

ARTS 4110 - Advanced Photography I

Group study designed to assist students in preparing their required thesis exhibitions. Meets twice a week as a group to evaluate and discuss work in progress. (Fall only.) Prerequisite: ARTS 3110 or ARTS 3112.

ARTS 4220 - Advanced New Media I

This class encourages independent development of a semester long project that engages with the discourses and techniques around contemporary new media art. Prerequisite: ARTS 3220 or ARTS 3222.

ARTS 4370 - Advanced Cinematography I

Course continues the practice of 16mm film or digital video experimental production with an emphasis on a completed piece for public screenings or exhibitions. Prerequisite: ARTS 3370 or ARTS 3372.

ARTS 4450 - Distinguished Major Project

Intensive independent work using either sculpture, photography, printmaking, cinematography, or painting as the primary medium, culminating in a coherent body of work under direction of a faculty member. Prerequisite: Admission to the Distinguished Major Program.

ARTS 4670 - Advanced Problems in Printmaking

Designed for students who have completed two or more semesters of study of a specific printmaking technique (woodcut, etching, or lithography) and wish to continue their exploration of that technique. Prerequisite: ARTS 3670 or 3672.

ARTS 4710 - Advanced Painting I

The capstone of a three year study in painting. Continues the investigation of oil painting as an expressive medium and stresses the development of students' ability to conceive and execute a series of thematically related paintings over the course of the semester. Painting professors and course content vary from semester to semester. Prerequisite: ARTS 3710 or 3712.

ARTS 4810 - Advanced Sculpture I

Continuation of the sculpture sequence with greater emphasis on developing a student's individual voice. Advanced projects in moldmaking, metal casting, and non-traditional sculpture materials are assigned. The creation of a sculptural installation is also assigned. Sculpture professors and course content vary from semester to semester. Prerequisite: ARTS 3810 or 3812.

ARTS 4900 - Advanced Project in Art

Investigation and development of a consistent idea or theme in painting, sculpture, or the graphic arts. May be taken more than once under the same course number by students who are sufficiently advanced in studio work. This course is not intended to be used for major credit. Prerequisite: Instructor permission.

Arts Administration

ARAD 3550  The Arts & STEM

Taught by: George Sampson

This is the 15th iteration in a series of topics courses titled The Arts in Context.  All Context courses are collage-like.  They challenge students from across the University to synthesize inputs of information from various disciplines and make sense of them in their own way. 

How the Arts interface with the STEM fields include forays into visual abstraction and free jazz; how these art-forms connect with Physics-based Complexity Science; and how these two areas might help conceptualize the "wicked problem" of Climate Change.  This includes environmental science, politics, power structures; the global nature of the problem and the extended time frame with which humans are now confronted.


ARAD 4200  Development & Board Management for the Arts

Taught by: George Sampson

This course is split between practical and philosophical considerations.  The practical focuses on key support elements of non-Profit Organizations:  the contributed revenue of fundraising (ie., Development) and the nurturing of a Board of Director and other volunteers who make this possible.  Beyond the arts, the material applies to all non-profit organizations (NFP) in fields like health, education, religion, environmental advocacy and others.  Philosophic content derives from the rapidly changing landscape of philanthropy in our society.  David Callahan's book, The Givers, notes: "...we face a future in which private donors, who are accountable to no one, may often wield more influence than elected officials, who (in theory) are accountable to all of us... Giving can advance partisan goals and class interests.  In effect, it can be a way of taking."