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ARHS 3349 - Hieroglyphs to Hypertext: The Art and History of the Book
Credits: 3
Examines the early development and the enduring cultural impact of the book - the physical format of written communication known as the codex, which has dominated the intellectual landscape for the past two millennia. Traverses the historical forms of written communication, including cuneiform, hieroglyphs, calligraphy, woodblock, letterpress printing, and the new dematerialized forms stored in digital information retrieval technologies. (Temporalities pre-1500)
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ARHS 3350 - Modern Art and Media Culture, 1789-1870
Credits: 3
Examines the emergence of a public sphere and a culture of looking in the 19th century. Discusses European visual art in relation to the rise of museum and gallery culture, journalistic illustration, the department store display window, photography and the panorama, the art critic, and early cinema. (Methods and theories)
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ARHS 3351 - British Art and Architecture: The Making of Modern Britain
Credits: 3
Surveys the history of art and architecture in Britain and Ireland, with a focus on the modern era roughly between the coronations of Henry VIII in 1503 and Elizabeth II in 1953. Includes a brief study of ancient Roman, Celtic, Viking, and Norman presence on the isles. Examines landscape traditions, portraiture, genre painting, history painting, the conversation piece, caricature and satire, and architecture and the built environment, with each situated within major developments in the nation’s dynastic, political, and social history. The course is thematically focused on the question of how geography, ethnicity, and history have interacted over centuries in the production of concepts of national identity and national styles. Investigates strategies of place-making and space-taking in art and architecture as a form of cultural nation-building.
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ARHS 3352 - Impressionism, Symbolism, and the Deviant Body: Making a Difference
Credits: 3
Examines impressionist and symbolist art in relation to the emergence of the modern metropolis and the concept of modernity in Europe during 1870-1940. The discourse of degeneration that emerged in the context of 19th-century racial theory, criminology, and medical science forms the framework for discussion. (Methods and theories) (Also SMU-in-Paris)
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ARHS 3355 - History of Photography II: 1940-Present
Credits: 3
A survey of the history of photographic media from 1940 to the present, with particular emphasis on the still photograph in its various uses as art, document, aide-memoire, amateur pursuit, and social practice. Examines photographic images and image-makers in relation to the social historical contexts in which they are produced, the evolution of photographic technologies, and the idea of the photographic image as it appears in and is transformed through TV, video, film, conceptual art, and new media. (Temporalities post-1500)
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ARHS 3356 - Modern Architecture
Credits: 3
Western architecture from the late 19th century to the present, focusing on the protomodern trends of the late 19th century and the major masters of the modern movement: Sullivan, Wright, Gropius, Le Corbusier, and Mies van der Rohe. (Temporalities post-1500)
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ARHS 3358 - Gender and Sexuality in the Visual Arts
Credits: 3
Considers the representation of gender and sexuality in the visual arts, as well as the gendering of art production, patronage, and viewership. Topics may include the work of female artists, representations of male and female bodies, the role of the visual arts in constructing, subverting, norms of gender and sexuality, and the gendering of art theory and the art historical canon.
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ARHS 3359 - Topics in Art History: International Studies
Credits: 3
Specific topics chosen by the instructor.
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ARHS 3360 - Modern Painters in Spain
Credits: 3
Spanish art since the beginning of modernity in Spain from the early 19th century to the present. Focuses on the most important and internationally recognized Spanish painters of the 20th century (Picasso, Dali, and Miro) and trends in painting. Special attention is given to integrating program activities into the syllabus, such as the study of Gaudi’s architecture. (Temporalities post-1500) (SMU-in-Spain)
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ARHS 3361 - Special Studies in Art History
Credits: 3
Specific topics chosen by the instructor.
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ARHS 3362 - Picturing Children and the Family in Art, 1850 to the Present
Credits: 3
Considers changing representations of children and the family in art from 1850 to the present. Artworks will be studied in relation to theoretical and literary texts, from Lewis Carroll’s ‘Alice in Wonderland’ to Melanie Klein’s research on the emotional development of children. Key topics will include the perceived relationship between childhood and artistic creativity, the representation of gender and sexuality, family members as artistic collaborators, and the changing structure of the family in the twenty-first century. (*updated* 11/27/2017; effective Spring 2018)
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ARHS 3363 - Topics in Brazilian Art and Architecture
Credits: 3
Explores Brazilian art and architecture from the encounter of the Portuguese with native peoples of the New World in 1500, through the long period of colonial history, to the vibrant contemporary arts of Brazil today. Topics include the complex tapestry of artistic and intercultural exchange among Brazil’s Amerindian, African, and European populations; indigenous terra-forming; Tupi feather work, ceramics, and urban planning; European mapping of Brazil and the Amazon; religious art and architecture; Afro-Brazilian art forms and religious practices; Carnival and other performances of popular culture; the artistic production of the colonial period and the foundations of Brazilian modern art; video art during the dictatorship and contemporary allegories of underdevelopment; and historical artistic practices and their link to different national and international models for representing Brazilian national identity today, as well as their ethical, aesthetic, political, and/or social repercussions. (Temporalities post-1500; global perspectives)
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ARHS 3364 - History and Theory of Prints
Credits: 3
Covers how prints are made and how they can function (newspapers, postage stamps, maps, works of art, etc.). Also, the history of printmaking, established and emerging printmakers and major printmaking techniques from the 15th through 21st centuries, and fundamental issues regarding originality and copying, uniqueness and multiplicity, display, and collecting as raised by the medium of print. Provides first-hand experience of prints through looking assignments, visits to local collections, and in-class exercises. (Temporalities post-1500)
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ARHS 3365 - Race and Gender in Visual Culture
Credits: 3
The body is not just a compilation of organs. It is a site through which this era’s most contentious political discussions (e.g., human rights violations, racism, and sexism) are experienced. This course explores the complex interconnections among race, gender, and politics in visual culture. Analyzes how these identities, locations, and markers are constructed and deployed in various media, including painting, photography, and TV. (Temporalities post-1500; methods and theories)
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ARHS 3366 - The Rise of European Modernism
Credits: 3
Surveys the history of modernism in the visual arts in Europe during the period between the Revolutions of 1848 and the Second World War. Considers major artists and movements in the context of the social, economic, and political upheavals of the time period. Topics include the avant-garde; the social meanings of abstraction; the relationship between politics and art; and the impact of new technologies, industrial mass production, and two world wars on the making and viewing of art.
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ARHS 3367 - History of Photography I: Origins-1940
Credits: 3
Examines the origins of photography in the early 19th century, when photography emerged as part of a late-Enlightenment scientific discourse and was interwoven with a wide array of new institutional spaces, including botany, anthropology, and geology. Also, photography on the battlefield and in prisons, the emergence of documentary photography and the role that medium played in shaping consumer culture, and the emergence of art photography, from Victorian peasant imagery to Precisionist portrayals of skyscrapers in the 1930s. (Temporalities post-1500)
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ARHS 3368 - Art and Context: 1940-1970
Credits: 3
An international survey of modern art during 1940-1970 that looks at the postwar development of modernist, formalist, figurative, realist, and antimodernist art in a social historical context, with particular attention to the cultural impact of World War II, the ideological conflicts and geopolitics of the Cold War, and the social and political upheaval of the 1960s. Also, the relevant histories of gender, sexual, racial, regional, and national identity in America and other industrialized nations (Britain, France, Germany, Italy, the Soviet Union, and Japan.) (Temporalities post-1500)
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ARHS 3369 - Contemporary Art: 1965-Present
Credits: 3
An international survey of contemporary art from 1965 to the present, with specific attention to the rise of the current proliferation of new modes and new media in art (multimedia, installation, performance, site-specificity, video, interactive, and digital art), locating its origins in the social upheaval and shifting artistic practices at the close of the 1960s. Also, contemporary art practices as they relate to a range of influential developments in critical theory, social history, and local and global visual cultures. (Temporalities post-1500)
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ARHS 3370 - The Art Market: Making, Selling, and Displaying Art in Early Modern and Modern Europe
Credits: 3
Examines how art was produced, sold, collected, and displayed in early modern and modern Europe. Includes case studies of different centuries and cultures, which might include 16th-century Italy, 17th-century Holland, 18th-century England, or 19th-century France. Students consider issues such as artists’ education and self-promotion, the roles of private and governmental patronage, the development of art academies and public exhibitions, the circulation of art objects between Europe and non-European countries, the gendering of the production and consumption of art, and the rise of the dealer system. (Temporalities post-1500)
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ARHS 3371 - The Decorative Arts and the History of Dress in 18th-Century Europe
Credits: 3
Explores the history of production and consumption of the decorative arts and clothing in 18th-century Europe. Topics include how decorative objects and clothing were made and by whom, how styles evolved and in what political and social contexts, how consumers used objects to define themselves in and against society, and how objects and textiles circulated between Europe and the rest of the world. Also, the gendering of production and consumption, and the relationship between the luxury market and more affordable objects. (Temporalities post-1500)
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ARHS 3373 - American Art and Architecture to 1865
Credits: 3
A survey of American painting, sculpture, and architecture from the Colonial period through the Civil War.
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ARHS 3374 - American Art and Architecture, 1865-1940
Credits: 3
Provides a stylistic and iconographic survey of American painting, sculpture, photography, and architecture from 1865 to 1940 and attempts to situate the images within their specific cultural contexts. Also, broad underlying issues such as nationalism, class, race, and gender. Group discussions on the strengths, assumptions, and weaknesses of these interpretations are relevant for the students’ research, thinking, and writing. (Temporalities post-1500)
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ARHS 3376 - Latin American Art
Credits: 3
A survey of art and architecture in Latin America from the initial contacts between European and American civilizations until the 20th century. (Temporalities post-1500; global perspectives)
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ARHS 3377 - Art and Architecture of Hispanic New Mexico
Credits: 3
Examines the artistic and cultural legacies of colonial New Mexico: Spanish city planning and church design; “retablos,” “santos,” and their place in religious experience; and art in the secular life of towns and haciendas of colonial and postcolonial New Mexico. Field trips to galleries, collections, and historical sites of northern Mexico. (Temporalities post–1500; global perspectives) (SMU–in–Taos)
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ARHS 3378 - Art and Cultural Production: The Stranger in Visual Culture and Literature of the Americas
Credits: 3
In this experimental lab, students examine why strangeness, or the succession of encounters with and repulsion of alien life forms, has been a foundational preoccupation of Western culture. Begins with the assumption that the alien operates beyond and within three conceptual boundaries: alien as informal crosser, alien as expatriate, and alien as extraterrestrial. Thus, the sign for alien turns out to be a condensed metaphor for what exists beyond the closed circle of the community. Analyzes the political function and visual production of strangers and alien forces in different locales and specific historical moments. Examines visual and literary representations of the discovery of America, and considers topics such as abduction, transmigration, alien ethnography, prisoners, imposters, sexed monsters, refugees, and intruders. Takes an interdisciplinary approach to the study of these questions.
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ARHS 3379 - Power and Spectacle: The Arts of Spain and New Spain
Credits: 3
Examines the visual arts of early modern Spain and colonial Mexico. Emphasis on the interplay and creative synthesis of European and New World visual cultures within the colonial sphere. (Temporalities post-1500; global perspectives)
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ARHS 3382 - Art and Experience in Inka Peru
Credits: 3
The ritual and everyday objects of the native inhabitants of North America, and the architecture of the Mound Builders and the Southwestern Indians. (Temporalities post-1500; global perspectives)
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ARHS 3383 - The Ancient Maya: Art and History
Credits: 3
Introduces the art and history of the Maya of Central America. Also, addresses the principal sites and monuments of the ancient Maya civilization, imparts a working understanding of the Maya hieroglyphic writing system, and surveys the political history of the fractious ancient Maya cities. (Temporalities pre-1500; global perspectives)
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ARHS 3384 - Land Art
Credits: 3
Focuses on site-specific art made in the landscape. Special attention is given to land art made in the American West. The contemporary practice of land art is studied in relation to historical examples of site-specific works, including petroglyphs from the ancient and Colonial periods, as well as modern alterations of the landscape. Discussion of these works parallels the consideration of philosophical concepts of space, place, and time. Travel to specific sites in New Mexico is a component of this course.
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ARHS 3385 - The Aztecs Before and After the Conquest: Mesoamerica, 1400-1600
Credits: 3
Examines the art and cultural history of Mexico in the centuries immediately before and after the Spanish arrival in Mesoamerica. Topics include the art and ceremony of the imperial Aztec state; the nature of the conflict between 1519 and 1521 that ended in the fall of the Aztec capital to the Spanish; and the monuments of Spanish conquerors, missionaries, and the native elite in Mexico’s early colonial period. (Temporalities pre-1500; global perspectives)
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ARHS 3386 - Subcultures
Credits: 3
Studies the scope and nature of subcultural visual production, especially film, photography, illustration, and fashion and/or dress. Distinctions between the related concepts of subculture, counterculture, fan culture, club culture, neo-tribes, and “scenes” are of particular interest. Focuses on discussing problems surrounding the definition, intersection, and historical emergence of group identities within dominant cultures, as well as the subcultural expression of gender and sexual identity in relation to ethnicity, youth, and socioeconomic class. Related themes include the interaction of fashion and politics and the relationship between art and popular culture. The cultures studied run from the end of the 19th century to the present.
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ARHS 3388 - Why We Go to Auschwitz: Art, Trauma, and Memory
Credits: 3
Examines how societal memory of the Holocaust is shaped by visual media and public spaces of remembrance like museums, memorials, and artistic monuments. Also, the close ties between fascism and visual culture in the 1930s (Leni Riefenstahl’s propaganda films for Hitler and the Degenerate Art Exhibition of 1937) and the emergence of a Holocaust consciousness in philosophy, literature, art, and film in the 1960s, stimulated by Eichmann’s trial in Israel. The primary focus is the preoccupation with the Holocaust in the last two decades by artists and intellectuals born after World War II whose knowledge of Shoah (the Holocaust) derives from its representation in books, photographs, and film. (Methods and theories; global perspectives)
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ARHS 3391 - Visual Culture in Colonial Mexico
Credits: 3
The arrival of Europeans in the Americas in 1492 inaugurated one of the most remarkable and violent encounters in human history. This course examines the visual and material culture created in the aftermath of this cultural collision in Mexico, the former Viceroyalty of New Spain, from the 16th to 18th centuries. Topics include the interplay and creative synthesis of discrete European and indigenous visual cultures within the colonial sphere; the role of the arts in empire building; and feather work, manuscripts, painting, sculpture, architecture, urban planning, etc. as visual practices. (Temporalities post-1500; global perspectives)
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ARHS 3392 - Islamic Art and Architecture: The Creation of a New Art
Credits: 3
Issues significant to the creation and expansion of Islamic art from the 7th to the 15th century, e.g., the cultural and political exchange and conflict between Muslims and Christians, religious concerns and the artistic forms created to meet them, the importance of the book in Muslim culture, the distinctions between religious and secular art, and the appropriation of sacred space in Muslim architecture. (Temporalities pre-1500; global perspectives)
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ARHS 3393 - Culture of Oaxaca: A Sense of Place
Credits: 3
Learning adventure in Oaxaca: exploration of multilayered cultural history through field trips to artists’ workshops, museums, archaeological sites, and religious fiestas. The focus is on art, art history, folklore, and religion. Lectures, readings, discussion, essays, interviews and photographs of artists for student projects, and numerous field trips provide a broad exposure to Oaxacan culture. (Global perspectives) (SMU-in-Oaxaca)
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ARHS 3394 - Art and Architecture of Japan
Credits: 3
A survey of religious and secular arts from prehistoric times through the Edo period. Field trips to Kyoto and Nara. (Temporalities pre-1500; global perspectives) (SMU-in-Japan)
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ARHS 3396 - Art and Architecture of China
Credits: 3
Important monuments in China, dating from 2000 B.C. to the present day, in a variety of media: cast bronze, stone, sculpture, painting on silk and paper, porcelain, wooden architecture, etc. Selected objects and sites illuminate the concept of monument from differing perspectives of technology, aesthetics, labor, religion, ethnicity, and politics. Also, comparisons to analogous monuments outside China and visits to collections of Chinese art in Dallas/Fort Worth. (Temporalities pre- and post-1500; global perspectives)
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ARHS 3398 - Introduction to Museum Studies
Credits: 3
Introduces art history majors and graduate students to the basic principles of connoisseurship, conservation, framing, lighting, and exhibition design in the context of the art museum today, with emphasis on the interpretative, cultural, and social role of museums over time. Evaluates specific collections and exhibitions in area museums and examines a number of private collections, challenging students to make quality judgments based upon objective criteria and intuitive response. Students assess the meaning of art through visual analysis and comparison. The efficacy and ethics of museum management are considered.
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ARHS 3399 - The Medieval Jewish-Christian Dialogue in Art and Text
Credits: 3
Examines the mutual perceptions, conflicts, and commonalities among medieval European Christians and Jews as reflected in works of visual art and in philosophical, theological, legal, and literary texts. (Temporalities pre-1500; global perspectives)
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ARHS 4101 - Directed Studies and Tutorials
Credits: 1
Independent study for undergraduate majors under the direction and supervision of a faculty member. A directed study is a close collaboration between the professor and an advanced student who conducts a rigorous project that goes beyond the experience available in course offerings. Instructor permission required.
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ARHS 4102 - Directed Studies and Tutorials
Credits: 1
Independent study for undergraduate majors under the direction and supervision of a faculty member. A directed study is a close collaboration between the professor and an advanced student who conducts a rigorous project that goes beyond the experience available in course offerings. Instructor permission required.
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ARHS 4111 - Undergraduate Museum Internship
Credits: 1
Available to majors with a GPA of 3.000 or higher.
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ARHS 4201 - Directed Studies and Tutorials
Credits: 2
Independent study for undergraduate majors under the direction and supervision of a faculty member. A directed study is a close collaboration between the professor and an advanced student who conducts a rigorous project that goes beyond the experience available in course offerings. Instructor permission required.
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ARHS 4202 - Directed Studies and Tutorials
Credits: 2
Independent study for undergraduate majors under the direction and supervision of a faculty member. A directed study is a close collaboration between the professor and an advanced student who conducts a rigorous project that goes beyond the experience available in course offerings. Instructor permission required.
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ARHS 4211 - Undergraduate Museum Internship
Credits: 2
Available to majors with a GPA of 3.000 or higher.
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ARHS 4301 - Directed Studies and Tutorials
Credits: 3
Independent study for undergraduate majors under the direction and supervision of a faculty member. A directed study is a close collaboration between the professor and an advanced student who conducts a rigorous project that goes beyond the experience available in course offerings. Instructor permission required.
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ARHS 4302 - Directed Studies and Tutorials
Credits: 3
Independent study for undergraduate majors under the direction and supervision of a faculty member. A directed study is a close collaboration between the professor and an advanced student who conducts a rigorous project that goes beyond the experience available in course offerings. Instructor permission required.
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ARHS 4304 - The City as Place
Credits: 3
Given to us by ancient Roman reality and myth, the distinction between the city as a physical place (“urbs”) and the city as an idea (“orbis”) created a long–standing link between territory and ritual, locale and law, nation and citizen, and homeland and world. Students investigate the city in Italy in space and time as it is the locus of such cultural to–and–fro. The goal is to better understand the complexities of the Italian city as a living entity. The period of study spans some 3,000 years, from the Etruscan foundations of Rome to Richard Meier’s Jubilee Church, located along the suburban periphery of the city. Topics include the Italian city of antiquity, early Christianity, the Middle Ages, the Renaissance, the Baroque era, and modernism. Includes city and museum tours, lecture, readings, discussion, and short essays. (Temporalities pre– and post–1500) (SMU–in–Italy)
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ARHS 4310 - Seminar on Ancient Art
Credits: 3
Specific topics chosen by the instructor. (Methods and theories)
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ARHS 4311 - Undergraduate Museum Internship
Credits: 3
Available to majors with a GPA of 3.000 or higher.
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ARHS 4312 - Special Topics on 18th-Century Art and/or Architecture
Credits: 3
Seminar course on 18th-century art and/or architecture, with specific topics chosen by the instructor.
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ARHS 4320 - Seminar on Medieval Art
Credits: 3
Specific topics chosen by the instructor. (Methods and theories)
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ARHS 4322 - Museum Theory
Credits: 3
Specific topics chosen by the instructor.
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ARHS 4330 - Seminar on Early Modern Art
Credits: 3
Specific topics chosen by the instructor. (Methods and theories seminar)
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ARHS 4331 - Seminar on Spanish Art
Credits: 3
Specific topics chosen by the instructor. (Methods and theories)
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ARHS 4349 - Seminar on Contemporary Art
Credits: 3
Specific topics for investigation are chosen by the instructor. (Methods and theories)
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ARHS 4350 - Seminar on Modern Art
Credits: 3
Specific topics chosen by the instructor. (Methods and theories)
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ARHS 4362 - The City of New York
Credits: 3
This course examines the changing art and architecture of the city of New York from the 18th century to the present.
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ARHS 4391 - Art History Honors Thesis
Credits: 3
First of a two-part Art History Honors Program sequence. Research-based directed study with thesis adviser. Instructor permission required.
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ARHS 4392 - Art History Honors Thesis
Credits: 3
Second of a two-part Art History Honors Program sequence. Completion of writing honors thesis. Prerequisite: ARHS 4391 . Instructor permission required.
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ARHS 4399 - Research and Methods in Art History
Credits: 3
This seminar introduces students to seminal texts and contemporary debates in the research and writing of art history. Each week is devoted to a fundamental critical issue raised in the study of images and objects, including form, materials, content, context, connoisseurship, taste, biography, iconography, social identity, politics, ideology, class, and economics. Students read, discuss, and compare the many methods adopted by art historians and use those methods in discussions of objects in Dallas/Fort Worth collections. The course also contains a research and writing workshop component in which students are introduced to research tools, taught writing skills specific to art history, and guided through the process of conducting scholarly research. Enrollment is required for art history majors and is a prerequisite to all other 4000-level seminars. (Methods and theories)
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ARHS 5011 - Museum Internship
Credits: 0
Available to majors with a GPA of 3.000 or higher.
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ARHS 5012 - Museum Internship
Credits: 0
Available to majors with a GPA of 3.000 or higher.
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ARHS 5101 - Directed Studies
Credits: 1
To be arranged with permission of the adviser and the faculty members directing the studies project.
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ARHS 5102 - Directed Studies
Credits: 1
To be arranged with permission of the adviser and the faculty members directing the studies project.
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ARHS 5201 - Directed Studies
Credits: 2
To be arranged with permission of the adviser and the faculty members directing the studies project.
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ARHS 5202 - Directed Studies
Credits: 2
To be arranged with permission of the adviser and the faculty members directing the studies project.
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ARHS 5301 - Directed Studies
Credits: 3
To be arranged with permission of the adviser and the faculty members directing the studies project.
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ARHS 5302 - Directed Studies
Credits: 3
To be arranged with permission of the adviser and the faculty members directing the studies project.
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ARHS 5303 - History and Methods of Art History
Credits: 3
Introduction to the history of the discipline with discussion of major methodological approaches as they have shaped past scholarship and the present sense of crisis in the discipline. Exercise in methods of research and its presentation in good form. Required of all first-year graduate students.
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ARHS 5304 - Seminar on Ancient Art
Credits: 3
Specific topics chosen by the instructor. Seminar members discuss the student reports.
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ARHS 5305 - Seminar on Greek Art
Credits: 3
Specific topics chosen by the instructor. Seminar members discuss the student reports.
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ARHS 5316 - Seminar on Non-Western Art
Credits: 3
Specific topics chosen by the instructor.
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ARHS 5320 - Seminar on Medieval Art
Credits: 3
Specific topics chosen by the instructor.
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ARHS 5322 - Seminar on Convivencia: Jewish, Islamic, and Christian Art in Medieval Spain
Credits: 3
The art and architecture produced by the Christians, Jews, and Muslims of Iberia during the 10th through 15th centuries. Students study the cultural contacts, conflicts, and compromises that affected each culture’s artistic traditions and contributed to the diverse heritage of what now is called Spanish art.
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ARHS 5326 - History and Theory of Creative Computation
Credits: 3
How have computers and information networks been used to create art? What ideas and practices have contributed to the development of creative computing? What does making art using code, algorithms, and the Internet say about the nature of art today? The identity of the artist? How do we assess the quality of the art produced by computers or responsive systems? Students explore the rich history and theory of creative computation, from the earliest experiments in machine art of the 20th century to the most advanced concepts of the present, from Artificial Intelligence to Virtual Reality. Prerequisites: A second-level coding course (CSE 1342 or ASIM 3305 or CRCP 3305 ), or 9 credits in any 3000-level courses designated ARHS, ASAG, ASIM, CRCP, or CSE.
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ARHS 5330 - Seminar on Italian Renaissance Art
Credits: 3
Specific topics chosen by the instructor.
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ARHS 5331 - Seminar on Early Modern Art
Credits: 3
Specific topics chosen by the instructor.
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ARHS 5333 - Seminar on 18th-Century Art
Credits: 3
Specific topics on 18th-century art and/or architecture chosen by the instructor.
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ARHS 5340 - Seminar on Spanish Art
Credits: 3
Specific topics chosen by the instructor.
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ARHS 5354 - Seminar on 19th-Century Art
Credits: 3
Specific topics chosen by the instructor.
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ARHS 5355 - Seminar on 20th-Century Art
Credits: 3
Specific topics chosen by the instructor.
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ARHS 5358 - Seminar on Modern Art
Credits: 3
Specific topics chosen by the instructor.
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ARHS 5359 - Seminar on Contemporary Art
Credits: 3
Specific topics chosen by the instructor.
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ARHS 5360 - Seminar on British Art
Credits: 3
Specific topics chosen by the instructor.
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ARHS 5361 - Seminar on American Art
Credits: 3
Specific topics chosen by the instructor.
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ARHS 5362 - Seminar on American Art
Credits: 3
Specific topics chosen by the instructor.
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ARHS 5366 - Seminar on Pre-Columbian Art
Credits: 3
Specific topics chosen by the instructor.
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Art-General Studio courses generally require six hours per week of in-class work and critical discussion. Students should enroll with a firm commitment to regular attendance and should expect to spend an additional four to six hours per week, per class, to complete their coursework.
Prerequisites and Course Fees. In enrolling for courses in art, it is necessary that the course number be preceded by the appropriate subject code prefix for credit to be properly recorded. Many courses at the 3000 level and all courses at the 5000 level have prerequisite coursework required. All directed studies courses require instructor approval before enrollment. All courses in studio art, except lectures and seminars, have a laboratory fee of $30 per credit hour, which is added to the tuition and fees assigned at the time of enrollment. Certain courses in art require an additional material or tool expense in addition to fees.
Foundations and Art, General Studio
Foundations courses are ASAG 1300 , ASAG 1304 , ASAG 1308 and ASAG 1312 . This sequence of courses is for art majors or any student who seeks an intensive study of the visual arts. The remaining ASAG courses are organized thematically to explore a range of assumptions and practices – from the historical to the contemporary – that inform the making and display of art; these general studio courses have been designed to provide students with intensive training in studio practice, exposure to a range of materials, processes and research methods, and an introduction to the theoretical issues that frame contemporary art.
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ASAG 1300 - Observation
Credits: 3
Seeing is not as simple as it looks. What people see, how they see, and how and why they chose to represent their experience of the world in a particular form and through a particular medium are fundamental questions for the artist. Students experiment with various media while exploring the history, theory, and application of these resources of representation in visual art; they learn the differences among looking, scanning, and seeing; and they encounter a range of resources, from theories of perspective in drawing and painting through 3–D modeling and digital simulations of reality. Corequisite: ASAG 1304 .
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ASAG 1304 - Spaces
Credits: 3
The apprehension of space is tied to the fact that each person occupies space and invests various kinds of spaces with meaning. The expression of spaces through art may include a range of media and situations, from sculpted forms, constructions, architecture, and installations to two–dimensional renderings and virtual representations of space. Students explore this multivalent conception of space to understand how one’s embodied conception of the world is made manifest through visual art. Corequisite: ASAG 1300 .
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ASAG 1308 - Narrative
Credits: 3
Narrative is the simple act of recounting a story. The ability to depict and connect events in an aesthetic and persuasive manner is at the heart of some of the most compelling visual art. Students explore a wide variety of media and issues that relate to art that includes the dimension of time, explicitly or implicitly, which can be the literal time of a moving image (film, video, animation), the duration of a performance, the time required for the reading of a text, the depiction of an event through a single image, or a sequence of still images as found in the illustrated novel or comic strip. Prerequisites: ASAG 1300 , ASAG 1304 . Corequisite: ASAG 1312 .
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ASAG 1310 - Word and Image, Art and Design: 1900-Present
Credits: 3
Contemporary designers and artists create meaningful, persuasive, and expressive works through a combination of images and text. These works of graphic design and art shape the visual culture of every aspect of life, from the look of media and information networks to people’s experience of the cities in which they live. This course surveys the modern and contemporary history of works of art and design that demand to be read as much as seen, from the industrial age to the knowledge economy.
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ASAG 1312 - Systems
Credits: 3
In the course of modern and contemporary art, many artists have chosen to take a systematic approach toward making their art. Systems in art are a set of rules or constraints that function as a machine for making art. Students encounter a wide range of systematic art practices, from the elegant serial works of impressionism to art that incorporates models taken from communication theory and linguistics. Explores the concept of systems in art drawn from the realm of social and political theory, where the artist’s work may be done in collaboration with others in order to understand and possibly change social relations that characterize everyday life. Corequisite: ASAG 1308 .
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ASAG 1375 - Introduction to Social Practice
Credits: 3
Explores the relationship between cultural production and social change and traces both the institutionalization of socially engaged art in the form of “social practice” and movements in U.S. social history that fall outside the purview of formal “social practice.” Students visit Dallas–based socially engaged projects, drawing upon these exchanges to develop socially engaged project proposals. Students from all levels and disciplines are welcome in this highly interdisciplinary class.
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ASAG 3305 - Art, Word, and Image in Contemporary Art
Credits: 3
Contemporary artists create meaningful and expressive art through the combination of images and text: artwork that demands to be read as much as seen. Students learn about the recent history of language in art and create of works of art for a variety of sites of display — real and virtual — such as the gallery, social media, printed ephemera, the fabric of the campus, and the city at large. Prerequisite: One 1300-level studio art course.
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ASAG 3310 - Art in the World
Credits: 3
Works are made in the world of art and in the world of history, not in the world of school. Students study the world of art by visiting museums, galleries, notable architecture, public lectures, installations, symposia, etc. All student work is written or made in relation to the experiences in these venues.
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ASAG 3315 - Community Engaged Practice
Credits: 3
Explores how visual and performing arts play a vital role in community transformation and social change and identifies the skills that artists need in order to successfully enter, collaborate with, and exit a community. Combines theory, history, and fieldwork to develop cross–disciplinary skills for artists desiring to work in communities. In addition to classroom sessions, students conduct site visits and meet with artists and organizers that focus on socially engaged practices. Students initiate community–engaged projects and institutional collaborations while receiving feedback and mentorship. Students create their own timeline, deliverables, and accountability measures and complete written assignments and readings relevant to their project. Culminates in a public presentation of student projects. Prerequisite: ASAG 1375 or permission from instructor.
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ASAG 3325 - Studio Workshop
Credits: 3
An intensive investigation in arts by students engaged in independent work, group collaboration, and analytical study. Prerequisite: 15 credit hours in art or permission of instructor.
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ASAG 3350 - Art Colloquium: New York
Credits: 3
Involves intensive analysis, discussion, and writing concerning works of art in museum collections and exhibitions, and in alternative exhibition spaces. Students study the philosophical as well as the practical to define and understand the nature of the art society produces and values. The colloquium meets in New York City for 2 weeks in January.
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ASAG 3360 - Color and the Visual Image
Credits: 3
Color systems of Munsell, Itten, Photoshop palettes, etc. are studied in the light of contemporary neurobiology and the capabilities of media. Klee, Albers, Matisse, and other masters of color focus the course on color modes. Prerequisite: 24 credit hours in art or permission of instructor.
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