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Courses Open to Non-Majors

The courses below are open for enrollment by Non-Majors. None have prerequisites.

Non-Majors may sometimes enroll in major-restricted courses with instructor consent and proper advisor assistance. See instructions at the bottom of the page.

Additional information can be found in the official Course Schedules.

Summer 2018 Studio Art Courses

First Session

ART f352F
Print for Non-Majors

Tim High
MTWTHF 1–4 (First Session)

Through a series of faculty-led assignments, students will develop a body of artwork utilizing various print processes including some combination of etching, lithography, woodcut, and monotype. In-class demonstrations, work sessions, and critiques will help students build proficiency in image-making and talking about art. Students of all backgrounds and skill levels welcome.

Second Session

ART s352D
Drawing for Non-Majors

Christine Garvey
MTWTHF 1–4 (Second Session)

In this course, students will explore the essential techniques of drawing in conjunction with a theoretical investigation of drawing as a dynamic artistic practice. Students will be introduced to various drawing strategies, including methods of observation and how to translate what we see into line, value, shape and texture on the two-dimensional plane. This practice will be cultivated through directed in-class exercises, sketchbook assignments, independent projects, as well as class presentations and film screenings. Within this framework, students will be encouraged to experiment and dig deeper into drawing as a tool for expression and discovery. This course will emphasize the value of this pursuit, working to foster visual problem-solving and critical thinking as it pertains to the development of each student’s studio practice.

Fall 2018 Studio Art Courses

ART 352C
Painting for Non-Majors

Instructor TBA
MW 8–11

Instructor TBA
TTH 2–5

This course introduces a beginning painting student to basic materials, techniques and ideas germane to historical and contemporary painting. Through the production of paintings, one-on-one conversations with the instructor, and class discussion/critique, each student will become more sensitive, insightful and critical about works they produce and encounter. Note: The content of this course is determined by the instructor.

ART 352D
Drawing for Non-Majors

Instructor TBA
MW 11–2

Instructor TBA
TTH 8–11

Instructor TBA
TTH 2–5

This course introduces a beginning drawing student to basic materials, techniques and ideas germane to historical and contemporary drawing. Through the production of drawings, one-on-one conversations with the instructor, and class discussion/critique, each student will become more sensitive, insightful and critical about works they produce and encounter. Note: The content of this course is determined by the instructor.

ART 352F
Print for Non-Majors

Instructor TBA
MW 5:30–8:30

Instructor TBA
TTH 11–2

Through a series of faculty-led assignments, students will develop a body of artwork utilizing various print processes including some combination of etching, lithography, woodcut, and monotype. In-class demonstrations, work sessions, and critiques will help students build proficiency in image-making and talking about art. Students of all backgrounds and skill levels welcome.

ART 352G
Sculpture for Non-Majors

Amy Hauft
MW 2–5

We live in a 3-dimensional environment chock-a-block with things. What does it mean to respond to this world by adding a non-utilitarian object of your own making?

This class will cultivate your visual thinking, help you to think creatively, give you the enhanced ability to realize your ideas and discover the communicative value of 3-dimensional forms, methods and materials. It will challenge both your craftsmanship and ideas. A range of materials, techniques and strategies will be harnessed—from the logical to the alchemical.

ART 352J
Photography for Non-Majors

riel Sturchio
TTH 6–9

This class will introduce you to the fun and exciting fundamentals of black-and-white film photography and the magical experience of making your own black-and-white prints in a wet darkroom environment. You will learn how to make photograms and how to use a manual 35mm-format film camera (bring your own or we can provide one for use). You will learn how to expose and develop black-and-white film and how to make gelatin silver prints. You will be introduced to aspects of photographic history and begin to define your individual expression in photography. Class time will be dedicated to slide lectures and discussions, supervised darkroom time, group critiques and in-class printing sessions.

Fall 2018 Art History Courses

ARH 301
Introduction to the Visual Arts

VAPA • Global Cultures flag



Ann Johns
MW 10–11 (Lectures Taught Online)

Art is a universal yet highly varied language: come learn it with us! Over the course of the semester, students will learn to decode art’s meaning, its intent, and its effect on viewers, past and present. Students will increase their visual literacy and critical thinking skills by looking at a global array of works from many eras and locations—the only prerequisites are open eyes and open minds! While we will concentrate on the familiar media of painting, sculpture, and architecture, we will also be looking at drawings, prints, photography, design, garden planning, ceramics, textiles, earthworks, installation art, and other forms of visual culture.

This course will be a blend of convenient, online lectures, quizzes, and tests with on-site, TA-led visits to UT’s Blanton Museum.



Instructor TBA
MWF 9–10

Instructor TBA
TTH 5–6:30

A broad survey of selected traditions of art with an emphasis on understanding their visual elements and cultural significance.

ARH 302
Survey of Ancient through Medieval Art

VAPA • Global Cultures flag



Instructor TBA
MWF 12–1

A study of selected visual works throughout the world from prehistoric time to 1400 CE.



Joan Holladay, Nassos Papalexandrou, and David Stuart
TTH 11–12

This course discusses art from the prehistoric period to the Early Renaissance (ca. 1300) in Europe, the Middle East and the ancient Americas, with emphasis on style and cultural context. The arts—architecture and city planning, sculpture, painting, metalwork, and ceramics—of ancient Egypt, Greece, Rome, Islam, Mesoamerica and the Middle Ages are included. The control of the viewer’s experience, the political and religious use of art, the meaning of style, the functions of art in public and private life, and the role of art in expressing the cultural values will be among the major themes considered. This is also an introduction to the discipline of art history, training students in basic vocabulary and techniques of close looking and analytical thinking about visual material.

ARH 303
Survey of Renaissance through Modern Art

VAPA • Global Cultures flag

Instructor TBA
MW 4–5:30

Instructor TBA
TTH 3:30–5

A study of selected visual works throughout the world from 1400 CE to the present.

ARH 322
Issues in Exhibitions and Collections of Visual Arts: Textile Arts of the Indigenous Americas

Astrid Runggaldier
F 12–3

This course explores the textile holdings of the Art and Art History Collection at UT Austin, examining 19th century hand-woven Navajo textiles from the US Southwest, ethnographic collections of huipiles and other clothing from the Maya region, and Pre-Columbian cloth from the Andean cultures of South America. Working with objects from UT’s collections, students will learn about manufacture from weaving and dyeing technologies, about social and ritual meaning from symbolism and iconography, and about gender, power, and the economic value of hand-crafted cloth in ancient societies. Course readings focus on archaeological, anthropological, and iconographic studies of ancient textile traditions in the Americas and in comparative global perspective.

ARH 326K
Myth in Images in the Greek and Roman Mediterranean

Nassos Papalexandrou
TTH 5–6:30

Admit it! You have often surrendered yourself to the irresistible power of Classical Myths! You have often sailed along with Odysseus in dangerous and uncharted waters, or you have been wounded by the bittersweet arrows of Eros. In the ancient Mediterranean, myths formed the most important means for articulating the fundamental concepts of the physical and moral universe of individuals and communities. Can we “think” with them by engaging in a dialogic relationship with their mythical images? Despite the fact that we live in an increasingly visual culture, the ancient usages of imagery may seem puzzling or even paradoxical to us today. In this course, we will have fun examining media and methodologies towards a deeper understanding of both myth and images.

ARH 328J
Arts of Islam: From Caliphs to Sultans

VAPA

Stephennie Mulder
MWF 2–3

Has Islam, as one of the world’s great religions, given a special character to its art? Or is the term “Islamic” perhaps a misnomer to describe an artistic tradition that spans 1,400 years and five continents? In this course, we’ll start in Byzantium and end with the Mongols, roving from Spain to China. We’ll investigate architectural patronage and the value of the portable arts, we’ll explore how it is that a religion that ostensibly forbade image-making produced one of the world’s greatest painting traditions, and we’ll learn why a medieval Caliph thought a wine glass was an appropriate diplomatic gift. By the end of this course, you’ll confidently navigate both the basic outlines of Islamic history and its rich and spectacular visual culture.

ARH 331P
Art and the City in Renaissance Italy

VAPA • Global Cultures flag

Ann Johns
MWF 12–1

Florence, Venice, Siena: the cultural landscape of Italy is dominated by cities so rich in artistic treasures that any one example is worthy of a whole course. We begin with the most famous of all the Renaissance city–states, Florence. We will explore the development of art and architecture in civic, ecclesiastic, monastic, palatial, and private settings, from Brunelleschi’s dome to private, secular decoration in the city’s palazzi. We will examine the cities of Venice and Siena; each of these cities is distinguished by its own unique style of art and architecture. We’ll study Italy’s “court” cities, including Ferrara, Padua, Mantua, and Urbino. We’ll observe the unique sense of “place” that distinguishes these communities, but we’ll also discover cultural, artistic, and urban commonalities throughout Renaissance Italy.

ARH 333L
The Age of Rembrandt and Rubens

VAPA • Global Cultures flag

Jeffrey Smith
MWF 9–10

This course surveys Northern European art from about 1580 to 1700. We shall delve deeply into the creativity of such masters as Peter Paul Rubens, Anthony van Dyck, Frans Hals, Rembrandt, Jan Vermeer, and others during the golden age of Dutch and Flemish baroque art as well as during the reign of King Louis XIV of France, the builder of Versailles. As Dutch traders explored Asia, Africa, and the Americas, exotic art and cultural knowledge transformed European conceptions of the world. These artists probed human nature, including our folly and deepest aspirations, as well as the beauties of the natural world.

ARH 337K
20th Century European Art to the 1940s

VAPA • Global Cultures flag

Linda Henderson
TTH 12:30–2

With a particular emphasis on cultural context, this course surveys the development of modern art in Europe, starting with a review of the Post-Impressionists Seurat, Cézanne, Van Gogh, and Gauguin and concluding with Surrealism. The primary emphasis, however, is on the major artists and movements of the early 20th century, including Fauvism, German Expressionism, Cubism, Futurism, Vorticism, Russian Suprematism and Constructivism, De Stijl, the Bauhaus, Dada, and Surrealism. Although painting is the major focus of the class, we will also consider sculpture and architecture.

ARH 339M
American Art, 1958–1985

VAPA

John Clarke
TTH 9:30–11

This course surveys the major movements in American art from about 1958 to about 1985. We will look at the major trends, including pop art, minimalism, conceptual art, site-specific art, performance and body art, photorealism, patterning and decoration, and the varieties of figural art that emerged in the 1980s, including neo-expressionism, graffiti, narrative, and appropriation. We will look at these trends from three principal points of view: their relationship to prior historical developments, their self-stated aims, and their treatment by contemporary critics. This course will deepen your knowledge of the history of this period and help you to hone your own critical thinking about visual art. It will cultivate your own ideas about both the works of art and the criticism written about them.

ARH 341K
Modern Art of Mexico

VAPA • Global Cultures flag

George Flaherty
TTH 11–12:30

Mexican art and visual culture from the late nineteenth century through the 1950s, a period characterized by rapid modernization but also violence and glaring social and political injustices. With the Mexican Revolution, the first major social upheaval of the twentieth-century (1910–20), the country became a beacon for politically committed art throughout the Americas and beyond. Emphasis will be on emergence of cosmopolitan avant-garde artists and their relationship to government and society. Mixing native and international influences, these artists, writers and intellectuals contributed to notions of national identity (lo mexicano) that still resonate today.

ARH 346L
Africana Women’s Art

VAPA • Cultural Diversity in the United States flag • Global Cultures flag

Moyo Okediji
TTH 9:30–11

Can we adopt the criteria used for the analysis and presentation of western art and artists for the presentation and discussion of works by Africana women artists? How do we define Africana women’s art and artists? Who are the most influential Africana women artists, and in which mediums do they work? What tasks do they tackle and what challenges face them? What are the stylistic diversities that define and distinguish their contributions? What are the technological tools available to them, and how have they manipulated and fashioned these tools? How have they shaped the past and present trends in art history, and what are their aspirations and hopes for the future? These are some of the questions that this course will investigate with the use of art historical and critical theories that draw on oral and written literatures, music, films, and other formal and informal documents.

ARH 362
Love, Beauty, and Protection in the Visual Culture of Ancient Greece and Rome

VAPA • Global Cultures flag

John Clarke
TTH 2–3:30

This course examines visual culture to gain a better understanding of how ancient Greeks and Romans thought about themselves with regard to love, sexuality, divine and human beauty, and protection from demonic forces. We will analyze specific works of art between the sixth century B.C. and the fourth century A.D. to deepen our understanding of what these concepts meant in social and cultural contexts that were very different from our own. In addition to increasing your understanding of the major developments within the visual arts over this long period, you will gain a greater understanding of how each culture constructs the rules that regulate social behavior, leading to the cultural diversity that we see both in the ancient world and our own.

ARH 362
Art and Politics in Republican Rome

Global Cultures flag

Penelope Davies
TTH 3:30–5

This course covers the art and architecture of Republican Rome, ca. 500–44 BC, when Rome began to establish dominance in the Mediterranean and to develop an artistic tradition that would flourish into the Empire. Copious wealth from victories abroad led to massive public works such as temples, civic buildings and triumphal monuments, which articulated the competing ambitions of elite families, jostling for political prominence. Students should gain a good grounding in Republican Roman visual culture and politics, and be able to assess works of art within their political and social context.

ARH 366J
Goya in Context

Writing flag

Michael Charlesworth
M 3–6

This Writing Flag course will be taught as an undergraduate seminar (16 students). We shall visit the Blanton Museum Prints Collection to study Goya’s print series, in addition to studying his painting in the conventional way. Developing an understannding of the dramatic history of Spain in Goya’s lifetime (1746–1828) will be important. For the first part of the course, students will work together in small groups.

ARH 366J
Landscape in Europe

Global Cultures flag

Michael Charlesworth
TTH 5–6:30

This upper division Topics course studies Landscape in 19th century Europe. Landscape is the place where everything happens.This course looks at all the arts of landscape: paintings, gardens, poetry, prose, photography, etc., considering love and death, nationalism, nature, cityscape and alienation, psychological landscape, history, geology, mental process; and colonialism.

ARH 374
Making African Art

Moyo Okediji
TTH 2–3:30

At the Blanton Museum of The University of Texas at Austin, an unprecedented and comprehensive exhibition of African art, titled “Making African Art,” will open from October 2018 to January 2019. This course uses the exhibition as its laboratory to examine the social and cultural contexts within which people make and use artistic images in Africa. Students will explore historical, contemporary, and diasporic aspects of African art, as part of a more massive expressive complex that includes music, dance, literature, and cinematography. Within a curatorial context of the Blanton Museum exhibition, the course will present the works of major artists, art groups, ethnicities, and communities, as a lively dialog between the creative imaginations of those who make the objects, and the philosophical insight of the audiences.

Instructions for Enrolling in Major‑Restricted Courses

During the specific times listed below, students must visit the department’s Undergraduate Academic Advisor in person to possibly be added to a major-restricted course.

For fall/spring courses:

  • On the last day of registration in access period #1
  • During the first four class days of the semester in which the course is being offered

For summer courses:

  • On the last day of registration in access period #1
  • During the first two class days of the session in which the course is being offered

Things to Know

  • Even if you have instructor consent, the advisor might not be able to add a Non-Major to a major-restricted course.

  • If you see a course listed as “open/restricted” on the course schedule, the advisor still might not be able to add a Non-Major to the class if there are only a few seats open. Those seats might be needed as options for current majors who adjust their schedules, or for newly admitted external- or internal-transfer students.

  • There is no waitlist for Non-Majors in major-restricted courses.

  • Registration assistance for enrolling in any of the major-restricted AAH Core courses (ART 301C, ART 302C, ART 303C) is only offered during the first four class days, not on the last day of registration in access period #1.

  • During the 5th–12th class days of a fall/spring semester or the 3rd-4th class days of a summer session, any student “late adding” a course in this department must send the academic advisor an email containing professor consent and also stop by the office in person to be added to the course.