MW 8–11
Peter Abrami

MW 2–5
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
MW 2–5
TTH 8–11
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 2–5
TTH W 8–11  
TTH 2–5
Erin Cunningham

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 8–11
TTH 2–5
Hannah Spector  

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 8–11
Rowan Howe

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 2–5
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develop their drawing and critical thinking skills through discussion, critique, assignments based on readings, art historical references, and weekly exposure to global contemporary practices of drawing / works on paper.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 2–5
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.

MW 8–11
Farima Fooladi

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.

TTH 2–5
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 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.

TTH 2–5
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 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 8–11
Carlos Rosales–Silva

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.

MW 2–5
Carlos Rosales–Silva

TTH 2–5
Alexander Pepin

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.

MW 8–11
Alexander Pepin

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.

MW 11–2
Farima Fooladi

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
Tova Katzman

TTH 8–11
Nolan Zunk

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.

MW 2–5
Eli Durst

Practice in still photography, including materials and processes.

TTH 2–5
Alexander Birchler

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 2–5
Annie Klein

MW 5–8
Kerry Maguire

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.

MW 11–2
Annie Klein

In this course students will explore image production through traditional and contemporary relief techniques. Wood, linoleum, and other alternative blocks will be used as well as modern applications like laser cutting. Demonstrations on hand carving techniques will be supplemented by visual references of the historical development of the media and its impact on art history, cultural styles, and social movements.

TTH 5–8
Paloma Barhaugh–Bordas 

In this experimental course, prints will become objects in their collaboration with ceramics and plaster. They will be created without a press as transfers, rubbings or tracings. They will be transferred through photographic processes using solarfast, cyanotype and emulsion. Students will have the flexibility to generate both large pieces and small objects, painterly prints and bitmapped experiments. Emphasis will be placed on expanding the traditional boundaries of monotype printmaking.

TTH 11–2
Paloma Barhaugh–Bordas

Within the broad range of art-makers, printmakers hold the unique position of being the “graphic responder.” Much of printmaking’s historic strength lies in its capacity to adapt mark-making and mediums, building its own visual language by transforming and cannibalizing images, words, and ideas. Can these self-renewing characteristics act as leverage for the medium in our digital age? How do we advance upon the vital components of printmaking—collaboration, reproduction, image transformation and broad dissemination—while concurrently perpetuating an evocative and contemporary dialogue?

This course examines these questions from the broad foundation of art-making and invites a mixed-media approach to printmaking. There will be three primary sections in each of Photo-Lithography, Monoprinting, and Bookmaking. Between these, students will have the opportunity to learn to iterate through silkscreen t-shirts, cyanotype on fabric, quick and non-traditional transfer methods, and scanner-based digital interventions. The lectures, readings, site visits and accompanying studio work will expand on printmaking as a pervasive and shape-shifting force in contemporary art.
 

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 2–5
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.

TTH 11–2
Beili Liu

Throughout history, fiber materials and craft processes have played important roles in addressing social, cultural, and environmental concerns. This lecture-studio hybrid course leads students through case studies of fiber art and soft sculpture within historical and contemporary contexts. We will examine how unconventional materials and craft processes are employed as tools of artistic expression and give voice to diverse cultural and social groups. Students will also explore various fiber and soft materials and inventive processes through studio activities and assignments to formulate creative concepts and genuine personal expression.

W 8–11
Kristin Lucas

Students engage in creative inquiry and develop work with and in relation to living systems, drawing from conceptual, bio, eco, performance, socially engaged, and technology-based art practices.

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

TTH 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.

TTH 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.

TTH 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.

TTH 11–2
Beili Liu

Throughout history, fiber materials and craft processes have played important roles in addressing social, cultural, and environmental concerns. This lecture-studio hybrid course leads students through case studies of fiber art and soft sculpture within historical and contemporary contexts. We will examine how unconventional materials and craft processes are employed as tools of artistic expression and give voice to diverse cultural and social groups. Students will also explore various fiber and soft materials and inventive processes through studio activities and assignments to formulate creative concepts and genuine personal expression.

W 8–11
Kristin Lucas

Students engage in creative inquiry and develop work with and in relation to living systems, drawing from conceptual, bio, eco, performance, socially engaged, and technology-based art practices.

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

TTH 11–2
Teresa Hubbard

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 

MW 2–5
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.

TTH 11–2
Caroline Anderson

Strange Forms investigates artificial intelligence as a tool for generating unfamiliar objects, architectures, and material imaginaries. Using generative AI platforms, node-based workflows, and computational design tools, students will create forms that move from text and images into physical artifacts through laser cutting, CNC milling, 3D printing, and robotic fabrication. The course combines studio production with seminar discussions on emergence, speculative design, digital materiality, and the history of technologically mediated form-making. Students will develop interdisciplinary projects that exist between sculpture, design, architecture, and media art.

TTH 9:30–11
Caroline Anderson

Emergent Worlds examines the creation of alternative realities through artificial intelligence and emerging technologies. Through a combination of studio projects and seminar discussions, students will investigate the increasingly porous boundaries between organism and machine, natural and artificial, and intelligence and matter. Drawing on science fiction, cybernetics, and contemporary art, students will develop fictional ecologies, material systems, and narratives that exist across physical and digital space. Projects may include sculpture, installation, digital media, animation, fabrication, and interactive systems.

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

MW 2–5
Eric McMaster

TTH 2–5
Beili Liu

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

M 11–2
Peter Burr

A digital media course exploring game engines, AI tools, and other emerging production systems. We will study the history and theory of engines built to make art as we survey the current landscape of digital tools, learning how to evaluate them and judge their durability in a workflow.  From there, we build hybrid workflows that combine handmade and automated elements, producing work that couldn't have been made by our hands alone.

*This course is intended to be accessible and open to students from multiple disciplines. It is a graduate-level course, but is open to undergraduates with instructor approval.