Courses Open to Non-Majors

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

Non-Majors may occasionally be allowed enroll in major-restricted courses with instructor approval and 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.

Spring 2023 Studio Art Courses

ART 350M
Commuting into Community: Introduction to Community-Based Art Practices

Nicolás Dumit Estévez Raful
MW 2–5
Instruction Mode →  Face-to-Face

This theorical and praxis-focused class centers on legacies of activisms in the burgeoning field of socially-engaged art/social practice. It therefore serves as a point of departure for critical reflections on the most pressing issues raised by the work of socially-conscious creatives: artists’ visions versus participants’ expectations and needs; and long-term commitment with collaborating communities and their demands on artists. What is the fine line between revindicating or fetishizing disenfranchised individuals and groups? What are the roles—yes, plural—of the artist when traveling, being and becoming with communities sometimes far away from their own? What happens with the connections forged when the work is complete and the artist returns home? Our group will engage in conversations on the possibilities of art for self and collective transformation, and the potentialities of envisioning new worlds that we can inhabit. Similarly, we will explore together somatic exercises dealing with space, presence, and care. Some of our class will take place outside of the classroom as we commune with communities in the city of Austin, Texas.

ART 350M
Art Within Walking Distance

Nicolás Dumit Estévez Raful
MW 8–11
Instruction Mode →  Face-to-Face

In this class the entire city of Austin, Texas, is given preeminence in order to serve as the encyclopedic tool for a series of theoretical discussions and practical exercises in strolling, journeying, parading, pilgrimages, processions and the like. Each week participants take to the streets to put in motion individual or group actions dealing with, but not restricted to, the topic of walking: from window shopping to strolling through managed nature (e.g. parks). Participants comb block after block for the purpose of becoming familiar with what may be to some an uncharted territory. In the classroom, our group engages in conversations prompted by lectures on the works of artists/scholars on the subject of walking, as well as by the participants’ experiences as pedestrians, which bring to the forefront issues of accessibility. For whom and for what bodies have cities been planned and designed and what needs to change? Some of the seminar presentations address sites of disasters, places of mourning, and monuments deemed as historic, among others. Similarly, to be discussed is the phenomenon of tourism, and the current movements of people pushed away from our communities/cities/countries by the economic exploitation caused by globalization and by the unfolding destruction of our planet in the hands of corporations and conspicuous consumption. The majority of this class will be held outdoors as much as possible and will include somatic practices dealing with embodiment, space and bodily awareness, and care.

ART 352C
Painting for Non-Majors

Alexandre Pépin
MW 11–2
Instruction Mode →  Face-to-Face

Joy Scanlon
TTH 8–11
Instruction Mode →  Face-to-Face

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

Sarah Navasse Miller
MW 11–2
Instruction Mode →  Face-to-Face

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

Kerry Maguire
MW 5–8
Instruction Mode →  Face-to-Face

As a print survey course, Print for Nonmajors will introduce students to the basic conceptual issues of print and the technical processes of risograph, relief, intaglio, monoprint etc. This course is a “sampler platter” in that it will give students a taste of numerous processes so that students can get a sense of which they would like to explore further. The structure will include a mix of demonstrations, hands-on instruction, and lectures on historical and contemporary print artists.

ART 352J
Photography for Non-Majors

Helen Jones
TTH 11–2
Instruction Mode →  Face-to-Face

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.

Spring 2023 Art History Courses

ARH 301
Introduction to the Visual Arts

Moyosore Okediji
MW 9–11
Fulfills →  VAPA / Global Cultures flag
Instruction Mode →  Internet

Jeffrey Chipps Smith
TTH 2–3 + Discussion Section
Fulfills →  VAPA / Global Cultures flag
Instruction Mode →  Face-to-Face

This survey course explores art and human creativity. The class stresses visual literacy by examining how and why art is made. We shall examine both famous and less well known examples of painting, sculpture, prints, and architecture, among other arts, as we investigate the many roles that art plays in different world cultures.

ARH 302
Survey of Ancient through Medieval Art

Douglas Cushing
MW 10–11 + Discussion Section
Fulfills →  VAPA / Global Cultures flag
Instruction Mode →  Face-to-Face

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

ARH 303
Survey of Renaissance through Modern Art

Louis Alexander Waldman
MW 11–12 + Discussion Section
Fulfills →  VAPA / Global Cultures flag
Instruction Mode →  Face-to-Face

Daisy Adams
TTH 5–6:30
Fulfills →  VAPA / Global Cultures flag
Instruction Mode →  Face-to-Face

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

ARH 329T
Art in the Age of Dante and Giotto

Ann Collins Johns
TTH 9:30–11
Fulfills →  VAPA / Global Cultures flag
Instruction Mode →  Face-to-Face

In this course, we focus on the rich artistic and architectural history of late medieval Italy (1200-1400), an era closely associated with the great poet Dante and the artistic achievements of the age’s most famous artist, Giotto. Geographically, we explore the art of late medieval Rome, Pisa, Assisi, Siena, Florence, and the imperial court of Frederick II in southern Italy. Artistically, we examine the work of artists as diverse as Arnolfo di Cambio, Giovanni Pisano, Pietro Cavallini, and the prodigiously talented Lorenzetti brothers, as well as the anonymous creators of frescoes at sites as varied as Assisi, Pisa, and Sant’Angelo in Formis.

Through lectures, discussions, and group work, we learn that the art of the era is inextricably linked to the tumult of this pivotal moment in Italian history, much of which is chronicled in Dante’s encyclopedic account. While we as a class focus on the extraordinary artistic output of the later middle ages in Italy, the continuing battles between church and state, the rise of the wealthy bourgeois merchants, and the devastating plague of 1348 ensures that we also delve into social, economic, and cultural issues of the era, punctuated by occasional readings (in English) from Dante.

ARH 333L
The Age of Rembrandt and Rubens: Northern Baroque Art

Jeffrey Chipps Smith
TTH 9:30–11
Fulfills →  VAPA
Instruction Mode →  Face-to-Face

This course explores Northern European art between 1580 and 1720. The focus will be on the Golden Age of Netherlandish art and culture as we investigate the creativity of Rembrandt, Jan Vermeer, Frans Hals, Judith Leyster, Rubens, and Anthony van Dyck, among other great masters. We shall discuss other major artistic centers, such as Paris and Versailles during the reign of King Louis XIV. This was also a period in which the world opened up to Europeans as explorers and merchants brought back knowledge, art, erotic wares, and natural wonders from Asia, Africa, and the Americas. These encounters enriched the Netherlands, among other lands, but often at a human cost.

ARH 341P
Contemporary Latin American Art

Adele Nelson
TTH 11–12:30
Fulfills →  Global Cultures flag
Instruction Mode →  Face-to-Face

It is an exciting moment of heightened visibility for postwar & contemporary Latin American art in the United States. This course will take advantage of the University’s rich Latin American art collections to study artwork first-hand and examine South American art and critical debates from 1945 to the present in particular depth. Taking advantage of new research, to which you will contribute, we will also work to redress the exclusion of Caribbean and Central American art and Afro-descendant and Indigenous creators from the study of art of Latin America. Attention will be paid to transnational artistic exchanges, including the role of new art institutions, such as the São Paulo and Havana Biennials. We will consider Latin America-based artists in their distinct contexts and in relation to broader political, social, and economic forces, among these violent dictatorial governments and the Cold War and its aftermaths.

ARH 345L
Diaspora Visions

Moyosore Okediji
MW 12–1:30
Fulfills →  Global Cultures flag
Instruction Mode →  Internet

Border crossing by cultures and groups from Africa, Asia, Europe, the Americas, and the Caribbean islands has generated the production of images by immigrants, exiles, and nomads in alien lands. With examples drawn from various continents, class investigates art across borders in the contexts of the cultural circumstances that produced the diasporas. Students will investigate the arts of voluntary, forced, colonial, distant, and recent diasporas. Illustrations will draw on images, music, and videos.

ARH 348K
Formation of Indian Art

Janice Leoshko
TTH 12:30–2
Instruction Mode →  Face-to-Face

Two thousand years ago “the wonder that was India” was well known not only elsewhere in Asia but as far away as Rome. This course examines the ways in which visual culture developed through the centuries as a result of India’s material and spiritual wealth. Themes to be examined include the constructions of sacred space that led to distinctive architectural traditions, the principles of image-making that resulted in elaborate iconographies and the entwined nature of political allegory and religious narrative in the works and monuments creted there up to 1500.How these visual forms were shaped by particular social and religious factors is an issue that will allow us to consider the relationships among India’s religious traditions (Hinduism, Jainism and Buddhism). Another focus of this class is upon understanding how we investigate and produce knowledge about the past and why this is important. Course carries a global flag.

The course broadly engages with the practices of art history and the ways in which it explores cultural differences. Students will become familiar with socio-historical and religious traditions in which multiple artistic traditions developed in South Asia.

Another facet of concern will be the ways in which the study of Indian art first developed and the colonial constraints upon this process. Assignments will involve creative thinking and analysis in order to evaluate material presented in lectures, discussions and readings.

ARH 361
Printmaking in the Americas

Adele Nelson
MW 9:30–11
Instruction Mode →  Face-to-Face

Recent research notes the centrality of printmaking and its conceptual and material processes to not only art history, but also visual culture and visuality more broadly. This course examines 20th and 21st century printmaking in the Americas, taking advantage of the tremendous collections of Black, Latin American, and U.S. Latinx art at UT – at the Art Galleries at Black Studies, Benson Latin American Collection, Blanton Museum of Art, and Harry Ransom Center. The course also coincides with the exhibition Social Fabric: Art and Activism in Contemporary Brazil, an exhibition co-organized by Prof. Nelson, and we will study prints in the exhibition in-depth. We will pay particular attention to the relationship between art and activism and study a wide range of printed and paper things—books, magazines, mail art, photographs, posters—in addition to fine art prints.

ARH 365
Baroque Art and the Imagination in Italy, 1600–1700

Louis Alexander Waldman
MW 12–1:30
Instruction Mode →  Face-to-Face

Consult Course Schedule or inquire with instructor for course description and information.

ARH 366J
Fransicso Goya, Politics and Art in the 19th Century

Michael Charlesworth
MW 1:30–3
Instruction Mode →  Face-to-Face

This course will study the work of the famous Spanish painter and print-maker, Francisco Goya (1746–1828). We shall start by considering his print series of the 1790s that satirize Spain’s Absolutist monarchy and aristocratic society. We’ll look at his anti-war works, and his famous last paintings on the walls of his house, grotesque and horrible as they are. The course will examine Goya’s works in relation to Romanticism, a pan-European literary and artistic movement. We shall also study the aftermath of Goya, including, but not limited to, the work of the famous French painter, Edouard Manet. In this way we shall also be able to judge whether Modernism was really a break with the past, or a continuation of elements of Romanticism. 3 in-house tests; 2 papers.

Instructions for Potentially Enrolling in Major‑Restricted Courses

Occasionally instructors may allow Non-Majors to enroll in restricted classes, if space allows. Non-Majors must provide proof of instructor approval via email to the department’s Course Scheduler to possibly be added to a major-restricted course. Instructions:

  1. Obtain instructor approval by emailing the instructor directly. Find contact info for instructors.
  2. If you receive approval from the instructor, forward the approval to the Course Scheduler, Stefanie Donley, during the first four class days of the semester. Include your full name, EID, and course/unique number of the class you have approval to add.
  3. Be aware that the Course Scheduler may still not be able to add you to the class even if you have approval; read conditions below.

Things to Know

  • Non-Majors may only be added to restricted classes during the first four class days of the semester in which the course is being offered.
  • Even if you have instructor consent, the Course Scheduler still might not be able to add you to a major-restricted course. It depends on availability in that class and is up to the discretion of the Course Scheduler.

  • If you see a course listed as "open/restricted" on the course schedule, the Course Scheduler still might not be able to add you 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 transfer students.

  • Non-Majors may not be added to any "closed" or "waitlisted" major-restricted courses.

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

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