MW 8–11
Jeff Williams

MW 2–5
Peter Abrami

TTH 8–11
Megan Hildebrandt

First-Year Core studio class with an emphasis on techniques of drawing. Focus on line, line weight, continuous line, contour line, sighting, figure, gesture, perspective (two-point, three-point, and isometric/orthogonal drawing), value, color, and texture. Course projects will allow students to envision and understand drawing in a contemporary context.

MW 8–11
Peter Abrami 

TTH 8–11
TTH 2–5
Zach Meisner

First-Year Core studio class with an emphasis on creating planar works and exploring formal principles and conceptual concerns. Course projects will allow students to envision and understand planar works in a contemporary context.

MW 8–11  
MW 2–5
Erin Cunningham

TTH 2–5
Tiffany Smith

First-Year Core studio class with an emphasis on creating spatial works and exploring formal principles and conceptual concerns. Working with space, time, structure, process, and material. Course projects will allow students to envision and understand spatial work in a contemporary context.

MW 2–5
TTH 2–5
Hannah Spector  

TTH 8–11
Jo Kim

First-Year Core studio class with an emphasis on time-based media and digital technology. Course projects will allow students to gain awareness of media art and ability to utilize digital technology and time-based media in a contemporary context.

TTH 2–5
Farima Fooladi

This class will provide a platform for the development of a student’s basic understanding of line, mark, value, surface and composition. Students will experiment with various conceptual and technical methods, traditions, subjects, and expressive possibilities of drawing / works on paper.

TTH 8–11
Scherezade García-Vazquez

Students in this course will experiment with various concepts and technical methods and traditions associated with drawing / works on paper. This class will provide a platform to explore expanded aspects of drawing to understand and represent one’s personal voice in relation to histories and contemporary practices of drawing. Students will develop their drawing and critical thinking skills through discussion, critique, assignments based on readings, art historical references, and weekly exposure to global contemporary practices of drawing / works on paper.

TTH 8–11
Scherezade García-Vazquez

Students in this course will experiment with various concepts and technical methods and traditions associated with drawing / works on paper. This class will provide a platform to explore expanded aspects of drawing to understand and represent one’s personal voice in relation to histories and contemporary practices of drawing. Students will develop their drawing and critical thinking skills through discussion, critique, assignments based on readings, art historical references, and weekly exposure to global contemporary practices of drawing / works on paper.

TTH 8–11
Troy Brauntuch

Students in this course explore various concepts and technical methods / traditions of drawing to understand and represent the human body in relation to physical space, pictorial space, pictorial design, and themes of concern for each student. Students will develop their drawing and critical thinking skills through discussion, critique, assignments based on readings, art historical references, and weekly exposure to global contemporary practices of figurative drawing / works on paper.

MW 2–5
Alexandre Pépin

Students in this course explore various concepts and technical methods / traditions of drawing to understand and represent the human body in relation to physical space, pictorial space and pictorial design. Students will start to develop their drawing “voice” and critical thinking skills through discussion, critique, assignments based on readings, art historical references, and weekly exposure to global contemporary practices of figurative drawing / works on paper.

MW 2–5
Alexandre Pépin

Students in this course explore various concepts and technical methods / traditions of drawing to understand and represent the human body in relation to physical space, pictorial space and pictorial design. Students will start to develop their drawing “voice” and critical thinking skills through discussion, critique, assignments based on readings, art historical references, and weekly exposure to global contemporary practices of figurative drawing / works on paper.

MW 2–5
Carlos Rosales–Silva

TTH 8–11
Alexandre Pépin

Students in this course will be introduced to various painting techniques / methods and histories. Additionally, they will begin an exploration of personal expression. Students will develop their work and critical thinking skills through discussion, critique, assignments based on readings, art historical references, and weekly exposure to global contemporary practices of painting and expanded field painting.

TTH 8–11
Farima Fooladi

Students in this course will continue to explore various concepts and technical methods / traditions of painting in order to develop their own painting “voice” and to begin to understand the context of contemporary painting. Students will develop their work and critical thinking skills through discussion, critique, assignments based on readings, art historical references, and weekly exposure to global contemporary practices of painting and expanded field painting.

TTH 2–5
Scherezade García-Vazquez

Students in this course will continue to explore various concepts and technical methods / traditions of painting while further refining their specific concerns or painting “voice” and developing a deeper understanding of the context of contemporary painting. Students will develop their work and critical thinking skills through discussion, critique, readings, art historical references, and weekly exposure to global contemporary practices of painting and expanded field painting.

TTH 2–5
Troy Brauntuch

Students in this course will continue to explore various concepts and technical methods / traditions of painting with an emphasis on developing an ambitious, mature, distinct body of work that takes into account an understanding of the context of contemporary painting. Students will continue to develop critical thinking skills through discussion, critique, readings, and weekly exposure to global contemporary practices of painting and expanded field painting.

MW 8–11
Eli Durst

This class will introduce you to the fundamentals of black & white photography. You will learn how to use a manual medium-format camera, expose and develop black & white film, and make gelatin silver prints. You will also study aspects of photographic history and begin to define your individual voice as an artist using photography. For the first part of the semester, assignments will be given in order to challenge how you think about and make pictures, both technically and conceptually. The second half of the semester’s assignments are designed to allow for more of your own interpretation. Your final assignment will be to develop a personal project that consists of 20 cohesive images. Class time will be dedicated to slide lectures and discussions, group critiques, class printing, supervised darkroom time, and field trips. You are expected to work hard, complete the following requirements and be dedicated and attentive to your photography and the class.

TTH 2–5
Teresa Hubbard

Practice in still photography, including materials and processes.

TTH 11–2
Will Wilson

Practice in photography with an emphasis on long-term photography-based projects, more advanced technical knowledge, and a deeper familiarity with uses of the medium.

MW 8–11
Instructor TBA

MW 2–5
Instructor TBA

This course will introduce students to a wide range of printmaking processes. Students will be presented with demonstrations and hands-on instruction, with projects using the modern mediums of silkscreen and risography to the more traditional processes of relief, intaglio and lithography. Completion of this intensive course will allow students to choose which intermediate printmaking courses they wish to pursue further.

TTH 8–11
Annie May Johnston

This course will allow students to work with a wide range of silkscreen approaches, starting with stencils, hand-drawn techniques and photoemulsion, to photo-realistic CMYK processes, digital manipulation and repeat pattern. Using demonstrations and hands-on instruction, projects will be framed around the history of print and the multiple, production, publication and popular culture, print as protest, and its role in pattern and decoration. Students are encouraged to experiment and incorporate other mediums as they create and develop their work.

TTH 11–2
Instructor TBA

This course expands on traditional intaglio techniques with an in-depth focus on aquatint, Chine-collé, drypoint, hard ground and soft ground. Students will investigate the possibilities of digital printing methods by creating computerized drawings that will be developed onto photopolymer plates, and study the modern advances of the media. Projects will demand time and dedication and rely heavily on drawing. Demonstrations of the processes will be supplemented by lectures on the historical development of intaglio and its impact on art history. In addition to the hands-on instruction, conceptual ideas will be broadened by readings, group critiques, a visiting artist talk, and a trip to the Blanton Museum.

TTH 2–5
Annie May Johnston

This course is designed to allow for an in-depth study of the varied methods and techniques of lithography, covering the fundamental concepts and techniques from stone to photo-sensitive plates. The structure will include a mix of demonstrations, hands-on instruction, and lectures on historical and contemporary artists using lithography and its history in advertising. Students are encouraged to experiment and incorporate other mediums as they create and develop their work. 

TTH 2–5
Paloma Barhaugh–Bordas

This course explores the dynamic and evolving field of contemporary printmaking through the lens of specialized topics that reflect the unique expertise of each instructor. As an adaptable framework for examining current developments in print media, the course content shifts with each iteration to address emergent practices, theoretical frameworks, and technical innovations relevant to today's printmaking discourse. Students will engage with printmaking as both a traditional discipline with rich historical foundations and as a responsive medium that intersects with contemporary art practices, technological developments, and sociocultural contexts. The course examines how print functions within current artistic production, including its relationship to digital technologies, interdisciplinary approaches, and expanded definitions of what constitutes a "print" in contemporary practice. Through studio work, critical readings, discussions, and research, students will develop technical proficiency while cultivating analytical frameworks for understanding printmaking's position within broader artistic and cultural conversations. Course projects encourage both technical experimentation and conceptual development, positioning print processes as vehicles for addressing contemporary issues.
 

MW 8–11
Eric McMaster

TTH 8–11
John Stoney

In this course students will receive an in-depth introduction into the field of sculpture and will explore many different methods of making and relating to objects. Students will learn to think of their immediate environment and familiar objects as potential sculptural materials and exhibition spaces. We will cover basic technical processes including mold-making and armature construction as well as general principles on how to develop concepts, finish surfaces, and display completed work. We will read about and discuss various issues and practices in contemporary sculpture and students will work to develop their own focused studio practice as well as the specific language to discuss their work and the work of their peers.

TTH 2–5
John Stoney

Exploration of the concepts and processes involved in the production of object-oriented sculpture, with emphasis on indirect methods of mold-making and casting. Encourages individual direction.

TTH 2–5
John Stoney

Exploration of the concepts and processes involved in the production of object-oriented sculpture, with emphasis on indirect methods of mold-making and casting. Encourages individual direction.

MW 11–2
Eric McMaster

This course introduces students to computer modeling, 3D data acquisition, and various forms of digital fabrication. Specifically, students will use Rhinoceros 3D to digitally model and render virtual forms. Photogrammetry, structured light and laser scanning will be used to digitally capture 3D data and the department’s laser cutters, 3-axis CNC router, 4-axis CNC milling machine, 3D printers, UV printer, and vinyl cutter will be used to physically realize student designs. Personal research, lectures, media, readings and discussions will supplement software and hardware demonstrations during the course.

MW 11–2
Eric McMaster

This course introduces students to computer modeling, 3D data acquisition, and various forms of digital fabrication. Specifically, students will use Rhinoceros 3D to digitally model and render virtual forms. Photogrammetry, structured light and laser scanning will be used to digitally capture 3D data and the department’s laser cutters, 3-axis CNC router, 4-axis CNC milling machine, 3D printers, UV printer, and vinyl cutter will be used to physically realize student designs. Personal research, lectures, media, readings and discussions will supplement software and hardware demonstrations during the course.

MW 11–2
Hannah Spector

Performance art is a time-based medium involving people, live action, media, and a vast range of materials and objects. Most historians and practitioners would agree on two points: there are no rules, and one may use or do anything when making performance art. Students will learn how to create live art works for different contexts and venues, while constantly being encouraged to look for inspiration from a variety of sources, including popular culture, current events, art, and the routines of everyday life.

In this introductory class students will learn about the history and theory of performance art in a variety of contexts and spaces, including the theatrical, the white cube and the workaday world. The experimental nature of performance art welcomes skills and ideas learned in other classes in the development of new themes and directions.

Enrollment in this course does not require any prerequisite classes or skills.

MW 11–2
Hannah Spector

Performance art is a time-based medium involving people, live action, media, and a vast range of materials and objects. Most historians and practitioners would agree on two points: there are no rules, and one may use or do anything when making performance art. Students will learn how to create live art works for different contexts and venues, while constantly being encouraged to look for inspiration from a variety of sources, including popular culture, current events, art, and the routines of everyday life.

In this advanced course students will learn about the history and theory of performance art in a variety of contexts and spaces, including the theatrical, the white cube and the workaday world. The experimental nature of performance art welcomes skills and ideas learned in other classes in the development of new themes and directions.

Enrollment in this course does not require any prerequisite classes or skills.

MW 11–2
Hannah Spector

Performance art is a time-based medium involving people, live action, media, and a vast range of materials and objects. Most historians and practitioners would agree on two points: there are no rules, and one may use or do anything when making performance art. Students will learn how to create live art works for different contexts and venues, while constantly being encouraged to look for inspiration from a variety of sources, including popular culture, current events, art, and the routines of everyday life.

In this advanced course students will learn about the history and theory of performance art in a variety of contexts and spaces, including the theatrical, the white cube and the workaday world. The experimental nature of performance art welcomes skills and ideas learned in other classes in the development of new themes and directions.

Enrollment in this course does not require any prerequisite classes or skills.

MW 8–11
Bogdan Perzyński

This class offers a study in digital video, sound, and animation, with emphasis on the exploration of cinematic time and its time-based installation. We offer guided inquiry into the relationship between video and video projections, and technics and technology. This class gives the opportunity to learn the conceptual and technical aspects of time-based digital art and offers an independent investigation related to time-based art.

MW 2–5
Bogdan Perzyński

This class offers a study in digital video, sound, and animation, with emphasis on the exploration of cinematic time and its time-based installation. We offer guided inquiry into the relationship between video and video projections, and technics and technology. This class gives the opportunity to learn the conceptual and technical aspects of time-based digital art and offers an independent investigation related to time-based art.

MW 2–5
Bogdan Perzyński

This class offers a study in digital video, sound, and animation, with emphasis on the exploration of cinematic time and its time-based installation. We offer guided inquiry into the relationship between video and video projections, and technics and technology. This class gives the opportunity to learn the conceptual and technical aspects of time-based digital art and offers an independent investigation related to time-based art.

F 11–5
Kevin Auer

The Vandercook cylinder press allows artists and designers to work with incredible precision. But the press also accommodates a wide range of experimentation on the part of the user. This class will explore the range of marks that can be generated on the cylinder press from working with polymer plate, laser cut and hand-carved blocks, pressure printing, found objects, and metal and wood type. Students will be encouraged to employ the press as a tool for engaging larger conceptual issues in their work.

Cross-listings →  DES 347

TTH 5–8
Kristin Lucas

This lecture–studio hybrid course explores contemporary art practices related to living systems and environmental contexts. Students investigate relationships between humans and nonhumans, and their surroundings through field work, research, and studio experimentation. Students are introduced to field recording and microscopy, and may work in any medium on projects, including traditional, digital, time-based, installation, performative and hybrid forms.

This course is intended to be accessible and open to students at any level.

W 2–5
Zach Meisner

This lecture class will seek to provoke critical thinking and discussion on how artists use philosophy, theory, and criticism in the production of making visual art. As a class, we will visit local exhibitions and write responses about our experiences. We will also read and respond to a selection of texts exploring how aspects of the Anthropocene, critical race theory, gender identities and non-binary feminism can inspire contemporary art making.

Fulfills →  COM

TTH 2–5
Will Wilson

Embark on a process-based journey through the history of photography and photographic printmaking. This course will investigate the intersection of historical photographic processes and modern digital techniques, offering students an immersive foray into the world of visual expression. With a special emphasis on connecting hands-on historic photographic methods with contemporary digital capture and negative output, this course invites participants to explore, innovate, and create, while engaging with the history of photography. We will leverage access to the Gernsheim Collection at the Harry Ransom Center, a globally renowned photography archive, to derive inspiration, understanding, and hands-on experience in photographic processes.

This course is designed for advanced undergraduate students, graduate students, with an interest in historical and contemporary photographic and printmaking techniques. COFA students only. Non-COFA students by instructor approval only.
 

TTH 11–2
Kristin Lucas

Students engage in experimental research and art practice inspired by science, philosophy, mythology, and ecology, with access to facilities for sculpture, biomaterials creation, microscopy, and digital media production.

MW 11–12:30
St. Elmo Arts Residency fellow

Working with the St. Elmo fellow, students will learn about continuing one's art making post-graduation as well as the path to an MFA. This course will address theoretical and practical issues that are central to making art in today's world.

This course is intended for students with the classification of Junior/Senior.

TTH 9:30–11
Carma Gorman

Explore contemporary color notation systems and color management techniques. Survey economic, health and safety, environmental, cultural, legal, political, and other ethical considerations pertinent to using color.

Cross-listings →  DES 323 / ARH 366P

MW 12:30–2
Virginia Grise

This class will explore artistic citizenship, artivism, and socially engaged artists across disciplines including music, theatre, dance, and the visual arts whose work centers the building of community as art practice. Through a series of readings, guest lectures and community site visits, this class will explore artistic citizenship, artivism, and the work of socially engaged artists across disciplines including music, theatre, dance, and the visual arts.

Cross-listings →  T D 353T

W 11–2
Erin Cunningham

T 11–2
Troy Brauntuch

This course explores how to build and sustain a thriving studio practice after graduation. Figuring out how to maintain an art practice outside of the structure of school is complex and different for everyone. In this course we will discuss a variety of different paths available to emerging artists as they make their way through the art world. Throughout the semester we will work on developing an artist statement and collecting the materials necessary to apply for residencies, MFA programs, exhibitions, grants and other professional opportunities. The course will also explore the practical aspects of exhibiting artwork in a professional context including writing a press release, finishing and hanging artwork and seeking and building non-traditional exhibition opportunities. Periodically we will have visitors come to the class to share their expertise and experience in the art world and students will be tasked with exploring the Austin art community and creating a shared catalog of resources.

Restricted to BFA Studio Art majors

Fulfills →  COM

TTH 11–2
Carolina Rubio
Megan Hildebrant

This dynamic course explores a wide variety of art education spaces beyond the traditional K-12 setting, by partnering with Austin-based arts organizations, to model and practice the myriad ways in which visual pedagogy, community building, and artists coexist to create socially transformative initiatives. This is a wonderful class for teaching artists to broaden their understanding and engagement with community-based art education experiences that strengthen relationships and improve the quality of life for the people of Central Texas. 

This course is intended for Art Education and Studio Art Majors.