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.

Details below are subject to change. Please confirm all information in the official Course Schedule.
 

Fall 2020 Teaching Formats

Online
The course is taught entirely online and does not require in-person activities on campus.

Online with Elective In-Person Component
The course is taught mostly online, but includes optional opportunities for in-person activities on campus.

Online with Required In-Person Component
The course is a hybrid format that blends online instruction and required in-person activities on campus.

In-Person
The course is taught entirely in-person on campus.

Fall 2020 Studio Art Courses

ART 352C
Painting for Non-Majors

Introduction to painting techniques, composition, and exploration of personal expression. This course will be taught using a hybrid format that includes online and in-person components, as space and safety permit.

Peter Abrami
MW 8–11
Teaching Format →  Online with Required In-Person Component
(Please contact the instructor for further details on type/frequency of in-person instruction.)

ART 352D
Drawing for Non-Majors

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. This course will be taught using a hybrid format that includes online and in-person components, as space and safety permit.

Audrey Blood
F 11–5
Teaching Format →  Online with Required In-Person Component
(Please contact the instructor for further details on type/frequency of in-person instruction.)

ART 352F
Print for Non-Majors

In Fall 2020 this course will be taught entirely online with the possibility of optional in person activities and optional access to print labs outside of class hours. This optional access to labs will allow students to work on projects in the print labs if they wish to.

This course will introduce students to the basic concepts, methods, and materials of printmaking focusing on techniques that are historically low-tech and accessible, allowing for printing without access to a press. Students will learn how to hand print using a baren and explore a variety of techniques including a combination of: linoleum cut, monotype, collagraph, publications/book arts, serigraphy, and/or cyanotype. Other classic low-tech methods such as frottage, pochoir, and hand coloring may also be introduced. Readings/videos, short writing responses, and critiques may also be required. Students of all backgrounds and skill levels are welcome.

Beverly Acha
MW 2–5
Teaching Format →  Online

ART 352J
Photography for Non-Majors

In this course you will learn the fundamentals of 35mm black & white photography. You will learn how to use a manual 35mm camera, expose black & white film, and learn how to digitally edit, sequence, and critique your own and your fellow classmates' work.

In the interest of public health, this course will primarily take place online. A camera kit (35mm camera, and any necessary accessories) will be available for checkout from UT. You must be in Austin to use this opportunity. Alternatively, if you are not on or near campus, you must provide your own 35mm camera (such as Pentax K-1000, Canon AE-1, or Nikon F-6, with a 50mm or otherwise non-zoom lens. You will be required to purchase film and the Adobe Suite (discounted for students). You will drop off, or ship film to UT where Lab Monitor Amber Johnson will oversee the development and scanning of film.

You will study aspects of photographic history and begin to define your individual voice as an artist. Assignments will be given in order to challenge how you think about and make pictures both technically and conceptually. Class time will be dedicated to slide lectures and discussions, group critiques, visiting artist talks, demos, peer editing, and supervised work time.

riel sturchio
TTH 6–9
Teaching Format →  Online with Elective In-Person Component
(Please contact the instructor for further details on type/frequency of in-person instruction.)

ART 352G
Sculpture for Non-Majors

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.

Course will be taught through online instruction with occasional in-person activities. It is still uncertain to what degree the sculpture classrooms, labs, and equipment will be open and available, but students will be asked to pick up some materials from the Sculpture Lab. In this course students will learn to work resourcefully and develop an adaptable at-home studio practice by investigating and utilizing the environment and materials available to them.

Rachael Starbuck
MW 11–2
Teaching Format →  Online with Required In-Person Component
(Please contact the instructor for further details on type/frequency of in-person instruction.)

ART 316V
Transmedia: Expanded Media I

Introduction to network art with an emphasis on experimentation and a DIY approach to production. Projects in augmented reality, creative coding, and more. Focuses on the history, theory, and evolution of network art practices, and critical thinking around digital technology and platforms. Browser-based projects are produced and experienced on personal computers and phones. No prior digital media or coding skills required. Course taught entirely online.

Kristin Lucas
TTH 8–11
Teaching Format →  Online

ART 336V
Transmedia: Expanded Media II

Investigate virtual communities and virtual environments as a class. Inhabit, intervene, perform, stage, recontextualize, and prototype your own. Create born-digital projects for born-digital spaces. Introduction to web apps, coding environments, open source and freemium software; contemporary born-digital art; and intrepid artists creating new content streams, calls to action, creative tools and equitable platforms for digital art. Student-initiated and collaborative projects are produced and experienced on personal computers, phones, and iPads that can be checked out. Course taught entirely online.

Fulfills →  Independent Inquiry flag

Kristin Lucas
TTH 2–5
Teaching Format →  Online

ART 356V
Transmedia: Expanded Media III

Investigate virtual communities and virtual environments as a class. Inhabit, intervene, perform, stage, recontextualize, and prototype your own. Create born-digital projects for born-digital spaces. Introduction to web apps, coding environments, open source and freemium software; contemporary born-digital art; and intrepid artists creating new content streams, calls to action, creative tools and equitable platforms for digital art. Student-initiated and collaborative projects are produced and experienced on personal computers, phones, and iPads that can be checked out. Course taught entirely online.

Fulfills →  Independent Inquiry flag

Kristin Lucas
TTH 2–5
Teaching Format →  Online

ART 317C
Transmedia: Performance Art I

A concise definition of performance art has yet to be established, however, most people would agree on two points: there are no rules, and one may borrow from anywhere to generate ideas. In this introductory course, students will learn how to produce solo performance art pieces for a variety of contexts. Focus will be on engaging a process of layering text, movement, and audio/visual elements taken from popular culture, current events, art and everyday life. In addition to presenting and critiquing individual assignments, class time will be devoted to exercises, screenings and lectures. The class will be taught remotely via Zoom.

Michael Smith
MW 2–5
Teaching Format →  Online

ART 318C
Transmedia: Digital Time Art I

Study in digital video, sound, and animation, with emphasis on the exploration of cinematic time and its time-based installation. Guided inquiry into the relationship between video and video projections, and technics and technology.

Bogdan Perzyński
MW 8–11
Teaching Format →  Online with Elective In-Person Component
(Please contact the instructor for further details on type/frequency of in-person instruction.)

ART 338C
Transmedia: Digital Time Art II

Study in digital video, sound, and animation, with emphasis on the exploration of cinematic time and its time-based installation. Guided inquiry into the relationship between video and video projections, and technics and technology.

Fulfills →  Independent Inquiry flag

Bogdan Perzyński
MW 2–5
Teaching Format →  Online with Elective In-Person Component
(Please contact the instructor for further details on type/frequency of in-person instruction.)

ART 358C
Transmedia: Digital Time Art III

Study in digital video, sound, and animation, with emphasis on the exploration of cinematic time and its time-based installation. Guided inquiry into the relationship between video and video projections, and technics and technology.

Fulfills →  Independent Inquiry flag

Bogdan Perzyński
MW 2–5
Teaching Format →  Online with Elective In-Person Component
(Please contact the instructor for further details on type/frequency of in-person instruction.)

Fall 2020 Art History Courses

ARH 301
Introduction to the Visual Arts

Art is a language: how do we decode its meaning and its extraordinary effect on us, the viewers? Through a blend of lectures, quizzes, and tests, as well as TA-led visits to UT’s Blanton Museum, students will learn that art is a prism—often beautiful, always challenging—through which we can view the human experience, both 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! We will concentrate on the familiar media of painting, sculpture, and architecture, but we will also examine drawings, prints, photography, garden planning, ceramics, textiles, earthworks, installation art, and other forms of visual culture.

Fulfills →  VAPA / Global Cultures flag

Dr. Ann Johns
MW 10–11 + Discussion Section
Teaching Format →  Online

ARH 302
Survey of Ancient through Medieval Art

Why did somebody scratch a chain of impeccably drawn diamonds on a chunk of red stone 77,000 years ago? Was the Egyptian Sphinx as enigmatic in antiquity as it is today? Why did the Greeks need images? Why were the medieval cathedrals laden with cute but ominous monsters? There are no easy answers to these questions but works of art are fun to look at and think about. A chronological survey of the visual arts from the Stone Age to the end of the Medieval Period, this course will focus on major achievements of painting, sculpture, and architecture and on their roles as vehicles of expression for individuals and societies alike. Artistic creations have always enshrined a gamut of experiences and mental states: emotions, desires, fears, frustrations, power, repulsion, propaganda, memory, nostalgia, and play, to name but a few. Our goal will be to examine precisely how these elements were expressed in individual cultures, how they changed over time, and whether or not their messages are still recoverable today. Although major emphasis will be given to the western world, non-western developments will also be considered.

Fulfills →  VAPA / Global Cultures flag

Dr. Astrid Runggaldier
TTH 11–12 + Discussion Section
Teaching Format →  Online

ARH 322
Issues in Exhibitions and Collections of Visual Art: Consequences of Collecting and Exhibiting Buddhist Art

How are temporary art exhibitions developed? In what ways can they be evaluated? And how does this activity relate to broader collecting practices by individuals and institutions? Such questions frame this course which focuses on a temporary exhibition to be held at the Blanton Museum this fall, entitled “Realms of the Dharma: Buddhist Art Across Asia”. Drawn from the permanent collections of the Los Angeles County Museum of Art, this is a major international survey of Buddhist art created throughout Asia, from India to Japan. The course considers myriad factors that shape perceptions of value and the resulting consequences. Students will also develop a broad understanding of Buddhist art, learning to assess significant artistic achievements and the religious practices for which these works were created.

Fulfills →  Global Cultures flag / Writing flag

Dr. Janice Leoshko
MW 1–2:30
Teaching Format →  Online with Required In-Person Component
(Please contact the instructor for further details on type/frequency of in-person instruction.)

ARH 327R
Art in the Lives of Ordinary Romans

This course examines how the study of visual culture allows us to enter into the mentality of ancient non-elite Romans, including the freeborn working poor, slaves, and former slaves. Through the lens of the art and architecture of Roman Italy between 100 B.C. and A.D. 315, we explore Roman attitudes toward the practices of daily life: religion, work, theater, gladiatorial games, tavern-going, banqueting, sexuality, self-representation, death, and burial. By framing visual culture as an expression of the beliefs, aspirations, and tastes of ordinary people, we will gain insight into the ways that the Romans were—and were not—“just like us.” There will be three one-hours exams (half slide discussions and half prepared essays). With the instructor’s permission, students may substitute an oral presentation or an 8–10 page essay in lieu of the third exam. Textbook: Clarke, Art in the Lives of Ordinary Romans (Berkeley: University of California Press, 2003).

Fulfills →  VAPA / Global Cultures flag

Dr. John Clarke
TTH 9:30–11
Teaching Format →  Online

ARH 328L
Medieval Middle East History in 100 Objects

Objects, “things”—whether mundane, everyday household items or great works of art and architecture patronized by merchants, religious leaders, or rulers—have had a profound impact on the course of history. Indeed, recently historians have begun to speak of a “material turn” within the field—a movement away from a purely text-based model of understanding the past. This model acknowledges that things can often reveal a more nuanced and rich picture of past lives, in particular, allowing us to understand how ordinary people lived. And yet, history is often still taught as though our only source of knowledge about the past comes through texts. This course will be a survey of the history of the medieval Middle East, from the period of Late Antiquity (in the seventh century) to the rise of early modern empires of the Safavids, Ottomans, and Mughals (in the seventeenth century), taught by a close examination of the meaning and significance of 100 objects. The objects will come from sources as diverse as archaeological investigations, museum collections, and European Church treasuries, but all of them will tell a vivid story about their time. Students will learn basic skills of visual analysis and object analysis, and will gain an introduction to theories of seeing and interpreting works of art and architecture—essential skills in today’s increasingly visually-based information economy. At the end of the course, students will not only have a clear sense of the histories of the great medieval and early modern Islamic dynasties, but will also be able to use works of art and architecture, as well as everyday objects, as an effective tool of analysis. This is a cross-listed course with Middle Eastern Studies

Fulfills →  Global Cultures flag

Dr. Stephennie Mulder
MWF 1–2
Teaching Format →  Online

ARH 331K
Early Italian Renaissance Art to 1470

Renaissance means “rebirth”, and the rebirth of art and culture is a concept that was very vividly alive in fifteenth-century Italy. This course looks at the great artists and innovations of the period that spans:
...from Brunelleschi to Bramante in architecture
...from Masaccio to Botticelli to Leonardo in painting
...from Donatello to the young Michelangelo in sculpture
Among the issues to be discussed will be: the development of mathematical perspective, art and engineering, the revival of ancient Greek and Roman culture, the role of women in society, religion, gender and sexuality, politics and warfare, technology and science—and how all these themes are reflected in important works of art.

Fulfills →  VAPA / Global Cultures flag

Dr. Louis Waldman
TTH 2–3:30
Teaching Format →  Online

ARH 331P
Art and the City in Renaissance Italy

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.

Fulfills →  VAPA / Global Cultures flag

Dr. Ann Johns
MWF 12–1
Teaching Format →  Online

ARH 332K
Northern Renaissance Art, 1350–1500

This course traces the origins and first flowering of the Renaissance in Northern Europe from the late Gothic courts of France and Bohemia to the apocalyptic visions of Hieronymus Bosch. The class will concentrate upon Netherlandish art, especially the works of Jan van Eyck, Rogier van der Weyden, and Bosch. Since much of the surviving art is religious, we shall examine its liturgical and theological functions and how the art relates to the ideas of Thomas à Kempis and the Modern Devotion movement. This brilliant period witnessed the invention of prints and book publishing, developments that transformed contemporary attitudes about art and its purposes.

Fulfills →  VAPA / Global Cultures flag

Dr. Jeffrey C. Smith
MW 8:30–10
Teaching Format →  Online

ARH 337K
Twentieth Century Art to 1940

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. In addition to lecture, class discussion forms an important part of the course.

Grading: Two exams and a final, each 30% of the grade; class participation, 10%; optional paper may replace one of the exams or the final.

Fulfills →  VAPA / Global Cultures flag

Dr. Linda Henderson
TTH 11–12:30
Teaching Format →  Online

ARH 341P
Contemporary Latin American Art

This course examines art in Latin America from 1945 to the present. It investigates the distinct social, political, and historical contexts of art making in various Latin American centers, with particular attention to the artists and artistic movements of South America. Discussions will focus on the emergence of abstraction after World War II; the effects of economic development, immigration, and violent dictatorships on artistic production; the relation of Latin American art and artists to European and U.S. cultural centers; and the role of art criticism and art institutions. We will take advantage of the large-scale re-installation of the permanent collection galleries at the Blanton Museum of Art to study works in person and to analyze curatorial models and approaches to Latin American art.

Fulfills →  Global Cultures flag

Dr. Dorota Biczel
TTH 11–12:30
Teaching Format →  Online with Optional In-Person Component
(Please contact the instructor for further details on type/frequency of in-person instruction.)

ARH 341S
Art Cinemas of the Americas

This course examines art cinemas from the Spanish-speaking Americas from the 1950s to the present. Weekly screenings and readings foreground the audio-visual experiments and historical contexts, both national and transnational, of films at the intersection of art worlds and film industries. Emphasis will be placed on narrative cinema, with a handful of shorts.

Fulfills →  Global Cultures flag

Dr. George Flaherty
MW 4–5:30
Teaching Format →  Online with Elective In-Person Component
(Please contact the instructor for further details on type/frequency of in-person instruction.)

ARH 345J
Contemporary Art of the African Diaspora

This class will consider a fascinating group of contemporary artists, of African origin/background, in what we now refer to as the “African diaspora”. This diaspora owes its existence to a variety of factors including the trans-Atlantic slave trade, and 20th century patterns of migration and travel. Today, because of the evolving nature of the art world, a growing number of artists of African origin have become major players in the art market. And artists’ work has become reflective of shifts and developments in 20th century Black cultural politics. This class examines the work of artists whose practices came to the fore, from the early 1970s up to the present time. Artists to be studied include Jean-Michel Basquiat, Faith Ringgold, Albert Chong, Chris Ofili, Godfried Donkor.

Fulfills →  VAPA / Global Cultures flag / Writing flag

Dr. Eddie Chambers
TTH 2–3:30
Teaching Format →  In-Person

ARH 346K
Introduction to African Art

This course is a comprehensive study of the visual arts of Africa, in the social and cultural contexts within which people make and use these images. Students will explore historical, contemporary, and diasporic aspects of African art, as part of a larger expressive complex that includes music, dance, literature, and cinematography. 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 responses of those to whom the artists address the objects.

Fulfills →  VAPA / Global Cultures flag

Dr. Moyo Okediji
TTH 11–12:30
Teaching Format →  Online

ARH 346L
Africana Women’s Art

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.

Fulfills →  VAPA / Cultural Diversity flag

Dr. Moyo Okediji
TTH 8–9:30
Teaching Format →  Online

ARH 347N
Aztec Art and Civilization

This course examines the rich visual culture of the Aztecs, covering roughly four centuries of development before the arrival of Spanish in 1519 CE, and into the first century of the early Colonial era. The focus will be on the study and interpretation of architecture, stone sculpture, and pictorial documents from this timespan, centered on the Mexica capital of Tenochtitlan (modern Mexico City). Major themes include the nature of religious art, cosmology and the visual display of state power and rulership. Students will learn details of Aztec symbolism and iconography, as well as elements of Nahuatl language and hieroglyphic writing. The class will also look at the important role of indigenous artisans in the creation of new artistic cultures in early New Spain.

Fulfills →  VAPA / Global Cultures flag

Dr. David Stuart
MWF 2–3
Teaching Format →  Online

ARH 362
Ancient Lives of Roman Buildings

Taking a broad view of Roman architecture from Republic to Empire, this seminar examines the evidence for different phases of ancient buildings’ lives, from construction to restoration to demolition, with a view to determining their political significances. Readings will cover issues such as damnatio memoriae (condemnation of memory) and vandalism, from diverse periods and cultures.

Fulfills →  Global Cultures flag

Dr. Penelope Davies
TTH 3:30–5
Teaching Format →  Online

ARH 364
The Baroque Imagination in Italy: Art, Spectacle, and Imagination

The word “Baroque” probably comes from a term for a freshwater pearl. If you haven’t seen one, just imagine a wad of ABC gum: irregular, strange in shape, bizarre. All of these adjectives could equally be applied to the art of Baroque Italy. Artists in Italy during the seventeenth century forged a new language of art that was characterized by high drama, theatricality, and visual excitement. They used light, movement, and color to tell stories in new and unprecedented ways. Working in the atmosphere of a Catholic church bent on reviving its spirituality through direct appeal to the heart and emotions, artists found themselves charged with reinventing the whole language of religious imagery in ways that would more directly engage the faithful. It was an art of contradictions, driven by the demands of different patrons. The painter Caravaggio could produce religious art of unheralded intensity and secular images of unabashed eroticism; the sculptor Bernini glorified the Church Triumphant but also the personalities of earthly princes and princelings; while Artemisia Gentileschi, one of the few women allowed to practice art, may have infused her art with an intensity born of her own personal experience as a victim of sexual violence.

Fulfills →  Global Cultures flag

Dr. Louis Waldman
TTH 5–6:30
Teaching Format →  Online

ARH 366J
The Individual Artist in the 19th Century: Eduoard Manet

The work of Edouard Manet (1832–1883) is usually seen as one of the foundations of Modernism in painting. This course will consider all aspects of his painting together with many aspects of the way it fitted in to the society he lived in, especially his friendships with figures such as Charles Baudelaire. A certain emphasis will be placed on cultural politics, and in particular the way in which his work of the 1860s can be seen as a wholesale attack on the culture and politics of the self-styled French “emperor”, Napoleon III.

Fulfills →  Global Cultures flag / Writing flag

Dr. Michael Charlesworth
TTH 12:30–2
Teaching Format →  Online with Elective In-Person Component
(Please contact the instructor for further details on type/frequency of in-person instruction.)

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 311C, ART 312C, ART 313C, ART 314C) is only offered during the first four class days, not on the last day of registration in access period #1.

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