Log in to post comments Spring 2023 Art Education ARED 6060S Art Education Practicum in Schools, Museum, and Community Hanawalt | CRN 64131 This course offers students interested in understanding the importance of visual arts in schools, museums, and community settings the opportunity to facilitate art experiences for learners. This course takes place at the Athenaeum, where students take on instructional roles for an after-school program for middle school learners. More information about the program can be found on the Athenaeum website: https://athenaeum.uga.edu/programs/ Prerequisites: Undergraduate: ARED 2110S and either ARED 4350S or 4360S; Graduate: ARED 4350S or 4360S ARED 6360S Secondary Curriculum in Art Ed Kallio-Tavin | CRN 46007 Through lecture, observation, assigned readings, artmaking and service-learning, students will gain an understanding of theoretical foundations, content, curriculum and instructional methods used to teach art to secondary level students. This is a service-learning course, meaning that it is a credit-bearing educational experience in which students participate in an organized service activity that meets identified community needs, and reflect on the service activity to gain further understanding of course content, a broader appreciation of the discipline, and an enhanced sense of personal values and civic responsibility. Offered once a year and required for all art education majors. Must be accepted to the program to take the class. ARED 7460 Student Teaching in Art Education Pinneau | CRN 28885 ARED 7460 Student Teaching in Art Education Bustle | CRN 63954 ARED 7470 Issues & Practices in Teaching Art Pinneau | CRN 28887 The student teaching experience is designed to allow you to continue your preparation as an art teacher within the classroom setting. Your mentor teacher, UGA supervisor, and UGA seminar instructor will work together to help you further develop your teaching skills. ARED 8410 History of Art Education Hanawalt | CRN 63957 Allan Rohan Crite, School's Out, 1936, oil on canvas, Smithsonian American Art Museum, Transfer from General Services Administration, 1971 This course is designed to provide graduate art education students with a historical understanding of the development of art education theory and practice. In this course, we will examine the history of art education, chiefly in the United States, paying special attention to the relationships between education and society. A major component of this course is the development of a historical research project in connection with the UGA Special Collections Library. ARED 8990 Research Seminar in Art Education Kallio-Tavin | CRN 61006 Artists Ingela Ihrman, in the Nordic Pavilion, 58th Biennale di Venezia, Image by Mira Kallio-Tavin This course will provide an introduction to conducting and understanding research in the field of art education. Participants will become familiar with a variety of research methods/methodologies/modes of thinking; will critically read, interpret and analyze research; develop an annotated bibliography and write a critical review of literature. The course is taught in a seminar format. Students will read, discuss, and write broadly across educational research theory. Through class presentations and peer discussion, students will develop their own research topics, selection of research methods, and skills in connecting theory to the conduct of research. This course is primarily for graduate students in Art Education. Art History ARHI 6008 Roman Sculpture Abbe | CRN 64128 Shield bust of Neilos, the god of the Nile. Black Egyptian greywacke, c. second century AD. From Egypt, Alexandria, Canopus. Alexandria Maritime Archaeological Museum. This course offers a critical investigation into the rich and diverse figured sculpture produced in the Roman world (c. 200 BC-AD 600) with an emphasis on current methodological approaches and newly discovered material. After exploring the modern historiography of the study of Roman period statuary and the wide range of materials and techniques employed in its production, this course will seek to offer a range of historical and cultural explanations for the central functions of sculpture in Roman society. To a significant degree we will focus on the most cosmopolitan period of the “long” second century AD and three principal categories from across the empire: first, portraiture, from its disputed historical origins to the cultural reception of its diverse styles of cultures from across the Mediterranean; second, so-called “Ideal sculpture”, representing the gods and cultural heroes, including the replicas (or “copies”) of earlier works of Greek sculpture whose “Roman” character has been much-contested in recent scholarship, and third, sculpture from across the Roman empire of local traditions, often distinctly non-“classical” in visual appearance and function. Throughout, the complex range of ancient messages and social functions of figured images and their roles in ancient formulations of identity within the globalized Mediterranean world are emphasized, as are the diverse responses to them in antiquity. ARHI 6160 Buddhist Visual Worlds Morrissey | CRN 63945 This course will explore the development of Buddhism and Buddhist Visual Culture from its inception in ancient India during the early centuries before the Common Era (4-5th centuries B.C.E.) to the Medieval period (8-15th centuries C.E.) in the Himalayan regions, including Tibet. Emphasis will be placed on studying the genesis of Buddhist art, architecture, thought, institutions and ritual practice in light of the changing historical, social, economic and intellectual circumstances within which Buddhist communities found themselves on the subcontinent and in the Himalayas. In this regard, some of the major topics to be considered in this course include: the socio- religious context out of, and into which the Buddha, presumably, as well as Buddhism emerged in India and Tibet; the historical development of settled monasticism and its influence on the production of – and innovation within – Buddhist art and architecture; the history of the ‘ascetic ideal’ of renunciation in Indian and Himalayan Buddhism; the rise of Mahayana and Esoteric Buddhist communities and their associated literature, art and rituals. Special attention will also be given to the interaction between Buddhism and the indigenous religious and artistic traditions of India and Tibet, the way Buddhism adapted and changed as a result of this interaction, and how this process found expression in different Buddhist artistic traditions. Throughout this course, the various ways in which the often mercurial relationship between doctrine and practice within Buddhism progressed over time will also be a recurring theme, and one of the fundamental goals of this course is to cultivate an understanding of how this dialectic both created and sustained significant changes, continuities and syncretism within different Buddhist visual cultures. ARHI 6440 American Modernism 1900-1946: Alfred Stieglitz's America Simon | CRN 63947 Alfred Stieglitz (1864-1946), both as an innovator in the new "art" of photography and as mentor/financier/friend to a diverse group of artists, photographers, writers, and patrons, fundamentally shaped the look and principles of American modernism during the first half of the twentieth century. This course seeks to understand the artistic and intellectual contributions that Stieglitz, his artistic colleagues, and his cultural contemporaries made to what historians have called "the American Century." Beginning with Stieglitz’s pictorialist visions and Arthur Wesley Dow’s aesthetic theories, we will proceed to study how Stieglitz and his circle pioneered America's distinct reception to and recreation of European modernism. We will examine how such public venues as the Armory Show & 291 gallery, photographic texts such as Camera Work, George Gershwin’s music and the phenomena of jazz, and the rising importance of cinema and Hollywood introduced the new vision of modernist art to a democratic spectrum of Americans, and in some cases, made it not only palatable, but the American way. New York City as aesthetic subject and force will be a dominant concern. We will discover that certain philosophical themes and visual motifs came to dominate America's brand of early 20th century modernism: the broader contexts of intellectual and cultural history will inform our "looking" at American modernist artists. From such study you should expand your understanding of modernism, American culture, your own artistic and/or art historical practices, and how art, especially modern art, has and does function as a component of American life. Ashcan artists, Stieglitz Circle, NY Dadaists, the New Mexico Transcendentalists will be our focus. Instead of exams there will be several writing/visual projects. There will be engagement with the collection of the GMOA as one researches an artist for your own virtual exhibition that will tie the entire course together; a paper taking your artist to the Armory Show of 1913 will be the other major assignment. ARHI 6290 Ren Baroque Sculpture Zuraw | CRN 63952 Detail, Donatello, Miracle of the Mule, Il Santo, Padua, ca. 1450 The subject of this course is the history of sculpture in the period between ca. 1250 and 1700. Although numerous justifications might be proposed for such a course, mine is quite simple - sculpture was arguably the preeminent artistic medium in the Renaissance and continued to be so during the Baroque. Linked both to ancient traditions and to the Christian religious object, sculpture reveals most clearly the dual demands made on art in the Renaissance and Baroque. It reflects the collaboration between individual artists and the traditions and expectations of the patron and/or the project. Especially today, when sculpture has become the step-child of the more powerful arts of painting and architecture, it is even more important that one learns to appreciate sculpture, in all its diversity, as a medium with a glorious history. This is a Writing Intensive Program class (WIP) and, therefore, instead of exams, students will do written and oral assignment in responses both to specific works of art and to ideas generated by them. ARHI 6916 Special Topics: Object Lessons in American Art Richmond-Moll | CRN 64255 Renee Cox, The Signing, 2017 This course, which accompanies an exhibition of the same title at the Georgia Museum of Art, will survey four centuries of American art by considering the historical practice and contemporary function of “object lessons”: the study and use of material things to convey an underlying or embodied idea. Looking to Euro-American, Native American, and African American art across a variety of media, and often examining historical objects in conversation with contemporary art, the course unfolds thematically to consider American art in relation to craftsmanship, patronage, socioeconomics, race, gender, and the environment. Students will spend one class meeting each week in the exhibition galleries at the museum, using this space and the objects on view as a learning laboratory. As a result, students will not only become conversant with innovative methodologies for the study of American art. They will also gain direct insights into the development, mounting, and interpretation of museum exhibitions, and engage with current debates regarding American art and curatorial practice. Class readings and assignments will similarly focus on combining theory and praxis in American art. ARHI 6920 Special Topics in Modern Art Geha | CRN 64126 In this senior seminar, students will consider the work of contemporary American artist Kara Walker. Central to our investigation will be the exhibition of her drawings at the Athenaeum concurrent with the seminar. Through case studies of her drawings, videos, sculptures, and conceptual projects and those in her orbit, students will touch on topics ranging from satire, contemporary drawing, the Antebellum South, monuments, constructed histories, and racism as it relates to the art market and histories of art. Class trips may include visiting the Ware-Lyndon House, Stone Mountain, and other historic sites in the area which touch on the history of slavery and the Confederate South. Students will be expected to attend talks at the Athenaeum that coincide with the exhibition as well as complete weekly readings and short writing assignments. A significant portion of the class will be spent workshopping final research projects which draw from participants' background and interests. Students are expected to give short oral presentations and complete a major final research paper. ARHI 8400 Byzantine Seminar Kirin | CRN 64129 ARHI 8950 Contemporary Seminar: Art Since 1990 Wallace | CRN 63949 Pierre Huyghe, Untitled (Human Mask), 2014 This intensive, seminar-style course focuses on art since 1990 and is organized around a variety of themes including: leisure and productivity, natural history and the anthropocene; narcissism and projection; networks and activism; telephones and communication; disorientation; incarceration, and ornament. Readings will be drawn from a wide range of humanistic disciplines and will put aesthetic concerns in dialogue with philosophy, psychoanalysis, and critical theory. Our studies will culminate in 20 minute oral presentations, which will then form the basis for research papers on topics chosen by students in consultation with Professor Wallace. GRSC 7850 Teaching Art History Andrew | CRN 46659 Studios & Seminars ARST 6020 Advanced Figure Drawing Anatomy Whittle | CRN 63965 Students work from the life model using a variety of mediums. Focus placed on essential life drawing skills and structural anatomy including human skeletal and muscular systems, surface anatomy, and bio-mechanical concerns. Emphasis on the development of technical skills, creativity and expression, and the elements and principles of design. ARST 6020 requires an additional graduate level assignment to be determined in consultation with the instructor. ARST 6215 Sound Reynolds | CRN 53408 ARST 6315 Introduction to Book Arts Wallace | CRN 53462 The class is structured upon a sequence of technical, formal, and conceptual units designed to investigate book arts and papermaking. The course will also serve as an introduction to the field of artists’ books as a form of artistic expression. It will examine the history and craft of the book as art and as a carefully designed object in our cultural landscape and will examine the myriad shapes and forms that books have taken in different cultures and throughout history. We will consider the book as a complete object with an emphasis on design and planning while allowing plenty of space for experimentation and play. This class is not designed to make students professional bookbinders but rather, it is designed to introduce students to content, context, and construction of books and how to utilize these skills in a broad creative practice. ARST 6330 Special Topics in Printmaking: Papermaking Wallace | CRN 63968 This course is an introduction to the use of handmade paper as a versatile and sustainable medium for creative expression in two- and three-dimensional applications. The course will provide a survey of traditional and contemporary hand papermaking processes, introduce the tools and techniques of the medium, and explore the materiality and science of paper. The course will cover the properties of paper including the fiber itself and variables that make each paper unique and will consider paper not only as a substrate but as an artistic medium in and of itself; students will learn to process fibers to create work that capitalizes on fiber properties to make paper that can be used as a substrate, installation, or sculpture. Issues of sustainability and material ecology will also be addressed. We will also collaborate with students in a sculpture class on a project that uses e gadgets to make paper objects that move, light up, or otherwise activate the paper. ARST 6345 Advanced Print Studio Harshman | CRN 53463 Advanced Print Studio is a course for graduate students to utilize the print studios to create new prints or pieces to incorporate into other mixed media works. Some print experience is expected. Graduate students may be required to work simultaneously on assignments with undergraduates in the course, but the majority of the time will be spent on individual studio practice with group and individual critiques with the instructor. ARST 6350 Letterpress Wallace | CRN 63970 Letterpress printing typically uses metal or wood type that is locked up into the bed of a printing press. It is a relief printing process whereby the raised surface of the letters is inked and transferred to the surface of the printing paper to reproduce text or image. Photopolymer plates, photoengravings, carved wood and linoleum blocks are also traditional matrices. In this course, we will approach letterpress printing as it relates to the creative synthesis of text and image. The course covers the tools, techniques, vocabulary, history, and creative potential in traditional, contemporary, and non-traditional letterpress applications. Students will learn how to operate and maintain the Vandercook cylinder presses used for printing and will learn a range of techniques via short exercises and then have the opportunity to combine these processes into individual projects. This is not a bookbinding class but we will cover the history of printing as it relates to the book and there is a possibility of printing a small book project. ARST 6500 Advanced Ceramics Yuh | CRN 53333 This course is a fundamental necessity in an otherwise studio intensive discipline. The studio component of this course will provide students with ample time for concentration on specific projects discussed and agreed upon by the faculty and student. It provides an opportunity, once a week, for the ceramics faculty and the graduate students to meet and discuss arts/ceramics related issues of specific importance to the individual and to the group. This meeting is also used to review current exhibitions, deliver papers, review written assignments, discuss assigned readings, receive guest lectures, discuss career options, and critique student work. ARST 6800 Video II Cogan | CRN 65495 ARST 7110 Advanced Studio Concepts Morrison | CRN 61497 Advanced inquiry into varied approaches in generating and developing paintings. Modern and contemporary techniques as well as mixed media approaches, experimental attitudes, ideas and solutions are encouraged. Students will expand their awareness of social, historical and critical issues, with an emphasis on contemporary art and criticism. ARST 7110 requires the graduate student to conduct critiques and studio visits with undergraduate students under the supervision of the instructor. ARST 7620 / 7630 / 7640 / 7650 Advanced/Exit/Grads Pearse 7620 CRN 56366 | 7630 CRN 49489 | 7640 CRN 30418 | 7650 CRN 30431 This seminar provides concentrated time to develop a progressive, critical dialogue regarding one’s creative production, developing interests and avenues of exploration. Through discussions, group critiques and individual studio visits students will explore the studio as a place for creative actions and knowledge production. ARST 7900 Graduate Research Studio: Mapping the Studio Pearse and Shindelman | CRN 63977 This graduate-only course will help sharpen your research and studio practice. Weekly seminars will center on writing, individual studio visits and peer critiques to assist with articulating ideas visually, orally and in written form. This will prepare you for more formal critiques. Evening critiques will take place throughout the semester with invited guests from across the School of Art and University at large. ARTS 6000 Reynolds, L. | CRN 64258 Artist Research Methods What is research to a visual artist? This course will cover modern research methods as they pertain to the visual arts. Emphasis will be placed on the contemporary application of visual arts research today. With a focus on your individual work/practice, the aim of the course is to help you articulate your own research trajectory whether that’s material, conceptual or some mix of the two. Course Objectives To identify lines of inquiry within your studio practice. To explore a diverse range of artists’ research processes and agendas. To recognize information systems and think critically about how they are organized and hierarchized. To identify means of disseminating research output within the discipline of art. ARTS 6930 Feedback: Critical Evaluation Methods in Art Callahan | CRN 63979 How can critique become more effective? Readings and guided discussions will address the history and role of critique in higher education, psychology of feedback, and comparative approaches to critical evaluation across disciplines. Workshops will include activities in mapping critique and creative practice, exploring critique semantics, developing inquiry, and analyzing instructor and student expectations. The core of the course is practice-based research where each participant will have the opportunity to receive, give, and facilitate group feedback in multiple settings. GRSC 7770 MFA Pedagogy Vogt | CRN 61001 Thematic Inquiry ARST 6915 Thematic Inquiry: Theory of Community Enos | CRN 40580 Material | Ideas of Community— will expand upon physical notions of art and design in terms of how practitioners engage issues of public concern in their work. The course will bridge interdisciplinary themes of ecology and geography, as well as technology and ideology; to further understand predicaments within political, social, and environmental knowledge. It will draw from the discourse of the cultural Anthropocene, specifically, the ways in which problems are currently imagined. To this end, the studio will operate as space for thematic research, open practice, and potentially, a basis for launching newly collaborative projects. ARST 6915 Thematic Inquiry: The Internet and My Feelings Calloway | CRN 57907 In this interdisciplinary research-based course, students will be asked to examine their work’s relationship to the internet. In this course we will look deeply at the content you consume online and create work in response to it. Students will be challenged to find a means to integrate art and life, to look deeply at their own existing digital footprints as sources of artistic content and to the content they view online, and to reevaluate the ways in which they utilize social media in their daily lives and in their own creative practices. Students will be both encouraged to push new boundaries in new media and public expression as a personal and artistic outlet. The lecture component covers a broad survey of the foundational history of Video and Performance Art, the history of the Internet itself, art genres such as Net Art and Post-Internet Art, “Influencer Culture,” para social relationships, Nihilism, as well as the notion of technological determinism, specifically focusing on social media’s impact on the social construction of identity and performance in society. Students in all areas of the art school are encouraged to participate. There will be no media limitations in this course whatsoever. Material exploration and intuitive and analytical skills are central themes of this course. ARST 6915 Thematic Inquiry: Prison Project Chambers | CRN 57908 Students will explore studio practice materials, ideas, and actions in collaboration with incarcerated students in a Georgia Department of Corrections facility. The course engages in critical awareness of art practices within the penal/institutional system in a historical context through lectures, discussion and critiques. Students will have an opportunity to collaborate with incarcerated students to develop materials and actions for studio inquiry. ARST 4915/6915 Thematic Inquiry: Artificial Intelligence Art Oliveri | Undergrads: CRN 65190 | Grads: CRN 65191 This conceptually based studio course will engage language to communicate with Artificial Intelligence in the production of art. Students in the course will learn to utilize algorithms and machine learning in the fabrication of AI produced artwork. Summer 2023 THROUGH SESSION ARED 7310E Critical Multicultural Studies in Art Education Bustle | CRN 68447 ARHI 6520 Spirituality in Modern Art Simon Undergrads: CRN 70469 | Grads: CRN 70470 The development of abstract art in the late nineteenth and twentieth centuries has been intrinsically linked to the desire for a metaphysical language -- for an art that would address the most profound spiritual yearnings and inward revelations of the modern individual. Indeed, a number of modern western artists sought an art that would transcend merely material or aesthetic concerns, often by turning to non-western artistic and religious traditions, and in the process they created a radically abstract art. In 1912 Wassily Kandinsky called for a new epoch of art, one that would rise out of the "nightmare of materialism" to directly improve and refine the human soul -- "to send light into the darkness of men's hearts." His text, Concerning the Spiritual in Art, influenced generations of twentieth-century artists to invest abstract form with inner meaning. Our aim in this course will be to understand the spiritual quest Kandinsky and other artists took as they liberated the means of visual representation and artistic invention. We will examine how in their creation of a new epoch of spiritual art such artists turned to tribal ethnology, esotericism and the occult, classical and so-called "primitive" mythologies, transcendental and existential philosophies, Freudian and Jungian psychologies. Many artists could be examined but THIS IS NOT A SURVEY COURSE. Instead, we will focus on seven visual artists, including one filmmaker, who represent the many creative individuals who explored the question of spirituality and abstraction throughout the modern period. Each student will supplement these artists with their own artist to research who will be their guide as we journey through the spiritual in modern art. Our intellectual journey will begin with the fin de siécle's experimentation with abstraction, tribal mythologies, and esotericism as epitomized in the art of Paul Gauguin. From our extensive examination of Gauguin’s art we will then investigate not only Kandinsky's radical, spiritual abstraction by examining its origins in Siberian shamanism, Russian icons and folk art, Theosophy, and Secessionist art BUT ALSO the surprising avant-garde abstract spirituality of Hilma af Klint who ventured into abstraction years before Kandinsky. Af Klint will provide a clear example of an artist employing Theosophy, Spiritism, and Abstraction in large imposing works that were alas not exhibited during her lifetime! After an extended study of Kandinsky's art and theories and Af Klint’s innovations, we will turn to Kasimir Malevich, Constantin Brancusi, and Paul Klee, and the importance of occultism, Nietzsche, musical correspondences, Asian and tribal arts, Rumanian folk culture, Buddhism, and the politics of the two World Wars on their art. The filmmaker Ingmar Bergman will be studied with a required viewing of The Seventh Seal and then we will meet for a special discussion of its imagery for this extraordinary film will serve as a summation of the themes of the entire course. A planned excursion to Atlanta during a Saturday in mid July will lead us to see an extraordinary private collection of modern and contemporary art that holds 15 paintings by Kandinsky! Although this is not a course for the intellectually faint of heart, most students find their thinking expanded and their studio art or art history knowledge transformed. Papers and Visual Essay Project will be the required assignments instead of tests and a final. Readings focus on artists’ writings and interpretation of their art as well as related philosophers.