MW 8–11
TTH 8–11
Megan Hildebrandt

MW 2–5
Peter Abrami

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 2–5
Erin Cunningham

TTH 8–11
Nathan Anthony

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
Eric McMaster

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
Troy Brauntuch

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develop their drawing and critical thinking skills through discussion, critique, assignments based on readings, art historical references, and weekly exposure to global contemporary practices of drawing / works on paper.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

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 8–11
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.

TTH 8–11
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 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.

MW 2–5
Alexandre Pépin

TTH 2–5
Troy Brauntuch

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
Farima Fooladi

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 2–5
Carlos Rosales–Silva

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
Phoebe Shuman–Goodier

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 11–2
Will Wilson

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
Alex Boeschenstein

TTH 8–11
Erin Miller

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 11–2
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 8–11
Francesca Lally

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 2–5
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.

MW 11–2
Alex Boeschenstein

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
Erin Cunningham

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 2–5
Eric McMaster

Exploration of the theories and methods involved in the production of installation sculpture through the investigation of form and space and of their function in transforming environmental, architectural, or invented sites.

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.

TTH 2–5
Kristin Lucas

Intermediate and advanced projects in time-based, interactive, immersive, live and hybrid art forms—2d/3d, temporal/spatial, and virtual/in-person. Pick up or brush up your digital 3d skills in workshops. Build virtual experiences and exhibitions. Focuses on the history and evolution of experimental media, interactive media, networked performance, web projects, AI/XR, and more. Critical thinking around art, technology and society.

TTH 2–5
Kristin Lucas

Intermediate and advanced projects in time-based, interactive, immersive, live and hybrid art forms—2d/3d, temporal/spatial, and virtual/in-person. Pick up or brush up your digital 3d skills in workshops. Build virtual experiences and exhibitions. Focuses on the history and evolution of experimental media, interactive media, networked performance, web projects, AI/XR, and more. Critical thinking around art, technology and society.

TTH 5–8
Michael Smith

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.

TTH 5–8
Michael Smith

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.

TTH 5–8
Michael Smith

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 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

TTH 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.

MW 11–2
Megan Hildebrandt

In this course, students will explore the fascinating possibilities of contemporary portraiture through a wide range of media and conceptual prompts. We will utilize drawing, painting, video and animation, installation sculpture and more to create meaningful portraits that honor the people in our lives. This is a wonderful class for students interested in honing traditional portrait drawing while also combining a variety of creative media to amplify and expand their definition of what may be considered a “portrait”.

MW 9:30–11
Will Wilson

This interdisciplinary course introduces students to Native American and Indigenous Studies (NAIS) through the lenses of land, memory, and cultural expression. Drawing on research by University of Texas at Austin faculty affiliated with the NAIS program, the course highlights Indigenous perspectives on topics such as governance, education, language revitalization, environmental health, and cultural production. Through storytelling, visual culture, and the politics of place, students will explore how Indigenous communities assert survivance, advocate for justice, and creatively respond to historical and ongoing challenges. The course will place particular focus on photography, film, and contemporary media arts as modes of research, resistance, and community
engagement

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.

M 11–2
Hannah Spector

TH 11–2
Paloma Barhaugh–Bordas

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