Courses for Art and Art History

Principles and methodology of the discipline as described in the writing of its founders and chief makers; bibliographical research method and mastery. Required of all art history MA students.

This advanced seminar focuses on the development and application of discipline-specific research skills. Students will broaden their knowledge of art historical methodologies and themes generally, as well as construct a research program specific to their area of study (Medieval, Early Modern, Modern/Contemporary, etc.). Each class session will address a different theme or topic that students will discuss in relation/apply to individual topics or questions. Generally, these sessions will focus on historiographic issues, ideas, and trends, as well as professional expectations with regard to scholarship and academic practice. As part of this course, students are expected to work closely not only with the instructor and their peers in the class, but also with their major (faculty) advisor. This seminar is intended to be taken after students complete ARH 550 (Literature of Art) since it demands the further study and application of the methods and theoretical approaches learned in that course.

This seminar course considers a broad range of issues, objects, and themes relevant to the study of Asian art.

This course considers a broad range of issues, objects, and themes relevant to the study of art and architecture in medieval Europe. Class sessions will be organized around readings selected to introduce existing scholarship and methods while stimulating new questions for future research.

This graduate-level seminar will explore a variety of critical themes and issues in the study of Early Modern/Renaissance art.

This seminar course considers a broad range of issues, objects, and themes relevant to the study of Baroque or Rococo art.

This seminar course considers a broad range of issues, objects, and themes relevant to the study of nineteenth-century art.

This seminar course considers a broad range of issues, objects, and themes relevant to the study of American art in a historical context.

This seminar course considers a broad range of issues, objects, and themes relevant to the study of modern or contemporary art.

This course considers a broad range of issues, objects, and themes relevant to the study of African American art. Class sessions will be organized around readings selected to introduce existing scholarship and methods while stimulating new questions for future research. Topics may include African American Photography, American Spectacles and Race, African American Film, African American Portraiture, and Race and American Mythologies.

Independent study allows students to pursue academic interests outside the formal classroom setting under the supervision of a faculty member of the department. The activities may include reading, research, or a special project. Independent study is not a substitute for courses regularly available in the department curriculum and is only available to students who are ready to conduct in-depth and largely self-directed research on a specific topic. Enrollment is subject to approval by the Graduate Program Director and a supervising faculty member. A proposal of the topic, and program of work must be submitted to the instructor for approval.

This independent research course partially fulfills required master’s-level research thesis hours toward the master’s degree in art history. The course is conducted under the guidance of the thesis advisor. Discussion and advisor guidance will be directed towards readings of research articles and development of research methodology, with the aim of producing a unique research contribution that represents a novel development in the field, or a novel perspective on a pre-existing topic in the field.

Prerequisites: Twelve undergraduate hours in the specific studio field requested, review of portfolio, and permission of the department chairperson. This course is open only to graduate students who are not enrolled in a graduate program in the Department of Art.

Students may make proposals for projects not taught in the regular curriculum. These must be approved by a faculty sponsor and the chairperson of the department.

Special projects course titles include Alternative Photographic Process, Photo-based Printmaking, Water Media on Paper, Figurative Modeling and Sculpture, Experimental Drawing and The Photographic Artist's Book.

The focus of this course will be the study and production of drawings as an activity that documents our memories, examines and explains the world around us, transforms our perceptions of time and space, and helps us invent new ways of seeing and thinking.

A critical examination of contemporary issues, philosophies, criteria, and ideas in art.

The ceramics program has a fully equipped facility with a complete inventory of clay and glaze materials. Facilities include equipment for clay mixing and preparation; workstations for forming and throwing; gas, wood fire, raku, and electric kilns; and materials for experimental kiln construction. Personal instruction is given in all forming techniques, glaze calculations, and firings. Students are encouraged to experiment with the medium and explore new processes. Emphasis is placed on the student's development of concepts and forms.

The primary goal of the painting program is to enhance the student's ability in conceiving of a strong personal vision. The program defines painting as a complex and vital art form that exists in a state of constant flux, a tradition that is both mired in history and capable of regularly redefining itself. It equally embraces students who define painting as a practice that goes far beyond the brush, and those who employ more traditional methodologies.

Photography is viewed as a means of personal expression and exploration, emphasizing development of the student's vision. Instruction is individually tailored and, although the facilities are designed for black and white printing, the exploration of alternative applications is encouraged. Graduate students are expected to increase their knowledge of the history of photography and contemporary art, and participate in teaching undergraduates. Facilities include a film developing area, two darkrooms, and a critique space. Computers are accessed through the digital media area.

Graduate printmaking is conducted in a workshop situation, including group critiques and technical demonstrations. The program philosophy embraces a broad spectrum of activities relating to the idea of the multiple and the history of printed material. Students are expected to master traditional techniques and encouraged to work in an interdisciplinary manner, exploring the boundaries of the media area. The facility comprises equipment for intaglio and relief printing, stone and plate lithography, screen printing, and photo-based/digital printmaking.

The sculpture program allows students to work with an extensive range of media and processes while emphasizing conceptual development and refined technical ability. Sculpture encompasses traditional media, methods, and processes as well as technologies that can be adapted to sculptural activities, idioms, and forms. Facilities include a full wood shop, metal fabrication shop, foundry, critique/installation room, and graduate studio space.

This course examines the studio practice through critical discourse, defending and discussing aesthetic philosophy and its application to research in the visual arts.

Graduate students will acquire expertise with teaching concepts and techniques relative to studio foundations teaching.

The ceramics program has a fully equipped facility with a complete inventory of clay and glaze materials. Facilities include equipment for clay mixing and preparation; workstations for forming and throwing; gas, wood fire, raku, and electric kilns; and materials for experimental kiln construction. Personal instruction is given in all forming techniques, glaze calculations, and firings. Students are encouraged to experiment with the medium and explore new processes. Emphasis is placed on the student's development of concepts and forms.

The primary goal of the painting program is to enhance the student's ability in conceiving of a strong personal vision. The program defines painting as a complex and vital art form that exists in a state of constant flux, a tradition that is both mired in history and capable of regularly redefining itself. It equally embraces students who define painting as a practice that goes far beyond the brush, and those who employ more traditional methodologies.

Photography is viewed as a means of personal expression and exploration, emphasizing development of the student's vision. Instruction is individually tailored and, although the facilities are designed for black and white printing, the exploration of alternative applications is encouraged. Graduate students are expected to increase their knowledge of the history of photography and contemporary art, and participate in teaching undergraduates. Facilities include a film developing area, two darkrooms, and a critique space. Computers are accessed through the digital media area.

Graduate printmaking is conducted in a workshop situation, including group critiques and technical demonstrations. The program philosophy embraces a broad spectrum of activities relating to the idea of the multiple and the history of printed material. Students are expected to master traditional techniques and encouraged to work in an interdisciplinary manner, exploring the boundaries of the media area. The facility comprises equipment for intaglio and relief printing, stone and plate lithography, screen printing, and photo-based/digital printmaking.

The sculpture program allows students to work with an extensive range of media and processes while emphasizing conceptual development and refined technical ability. Sculpture encompasses traditional media, methods, and processes as well as technologies that can be adapted to sculptural activities, idioms, and forms. Facilities include a full wood shop, metal fabrication shop, foundry, critique/installation room, and graduate studio space.

This course examines the studio practice through critical discourse, defending and discussing aesthetic philosophy and its application to research in the visual arts.