Fall 2025

(Fall 2025 course descriptions will be posted soon. Please refer to the Schedule of Classes for a complete listing of courses and check Athena for course restrictions.)

Art Education

ARED 4350S/6350S

Elementary Curriculum in Art Education

Hanawalt | Undergrads: 38305 | Grads: 38306

The purpose of this course is to engage with practices, theories, and discourses relevant to elementary curriculum in art education. Each semester, students will work both individually and collaboratively to investigate contemporary perspectives and dialogues within the field of art education through critical and experiential inquiry. Over the course of the semester, students will: perform research, analyze school contexts, study learners, engage in an art classroom in a local school, design and lead art experiences, document personal and student learning, develop art curricula, and present the results of inquiry. Through the experiences of this course, students will navigate the complex journey of developing a professional identity as a teacher and leader in the field of art education.

Time for field experiences is built into this course, therefore it is a requirement that students have their pre-service certificate processed prior to the start of the fall semester.

ARED 5460

Student Teaching in Art Education

Yim | 56909

ARED 5460/7460

Student Teaching in Art Education

Kallio-Tavin | Undergrads: 53262 | Grads: 53263

ARED 5470/7470

Issues & Practices in Teaching

Pinneau | Undergrads: 18719 | Grads: 18725

The student teaching experience is designed to allow art education students in their final semester to continue their preparation as art teachers within the classroom setting. A mentor teacher, UGA supervisor, and UGA seminar instructor will work together to help students further develop their teaching skills. Students also install an exhibition of work for the BFA Exit Show at the end of the semester.

ARED 8460

Theoretical Perspectives in Art Education

Hanawalt | 56912

Tsuneaki Hiramatsu, 2014

In this graduate seminar, students will engage with select theories that hold a place of prominence in current research, curriculum, and pedagogical dialogues in the field of art education. The course will involve careful reading of the work of key theorists through primary sources as well as an exploration of secondary sources that exemplify putting theory to work in art education and related fields. This course is not intended to promote particular theories or theorists, but rather to assist graduate students in their development as scholars who persist in the stimulating, yet often difficult work of challenging the limitations of personal experience, understanding, and ways of knowing through engagement with theories that can offer alternative perspectives and help build a framework for their own research projects.

ARED 9630

Writing Critique in Art Ed

Bustle | 53266

This course will give each student an opportunity to work on a specific research or educational project of their design in a collaborative environment characterized by critical support from peers and individualized guidance from the professor. In the past, students have worked on writing projects such as developing their Prospectus or chapters of their dissertations. A significant part of the course involves engaging in constructive-critical feedback and dialogue in connection with the research and writing process through “critical friends” discussions.

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 Art History 

ARHI 4050/6050

Icons in Byzantium: Theory and Practice 

Kirin | Undergrads: CRN 53250 | Grads: CRN 53251

Icon of the Triumph of Orthodoxy, c. 1400, Constantinople, tempera on wood (British Museum)

Various issues of panel painting in the Byzantine Empire. The Byzantines not only mastered the production of such pieces of art but additionally they developed a highly sophisticated theory of images that was unique in the medieval world. This course explores the dynamics between the theory and the practice of creating, displaying, and venerating icons.

ARHI 4440/6440

American Modernism: Migration, Diaspora, and Forms of Belonging

Oh | CRN TBD

Joseph Stella, The Brooklyn Bridge: Variation on an Old Theme, 1939

Migration largely shaped the conditions of modern America, driven by a complex mix of economic opportunities, social and political factors, forced migrations, advances in technology and transportation, and the pursuit of a better life, both domestically and internationally. Artists witnessed and represented this changing world, in which ideas of nation, community, culture, and identity frequently fluctuated and transformed—shaping a trajectory of American art in the age of modernity. At the same time, migrant artists responded to the new world by creating forms of belonging to—or estrangement from—their new place and community through cultural ideas and objects. This course will explore art and visual culture, from rich fusions of cross-cultural styles and narratives to inventive and resourceful practices of picturing identity, belonging, and home—each marking a vital chapter in the history of American art in the first half of the twentieth century.

ARHI 4900/6900

Topics in Ancient Art

TBD | Undergrads: CRN 63453 | Grads: CRN 63453

Head of Apollo. Carved ivory (burnt), hammered gold sheet, bronze, and inlaid stone (or glass). 6th century BCE. From the sanctuary of Apollo at Delphi, Greece. Delphi, Archaeological Museum.

This course provides students interested in Greek art, architecture, and mythology with an opportunity to delve into the visual and material culture of sacred spaces in ancient Greece. We will engage with questions of what sanctuaries were, to the ancient Greeks, and how individual Greek gods were represented and worshipped in their shrines across the Mediterranean in the first millennium BCE. The course encourages students to establish a foundation of knowledge on Greek sanctuaries—on temples, altars, treasuries, and votive offerings—and to simultaneously cultivate their interests in ancient politics, rituals, athletics, and performances. Students will develop their writing and speaking skills and learn to critically assess the different kinds of evidence available for narrating ancient art histories. Specific topics to be addressed include the art and architecture of festivals such as the Olympic Games and the Eleusinian Mysteries; the movement of objects in the Mediterranean through trade, piracy, and pilgrimage; evidence for worship and artistry by groups historically sidelined in scholarship, including women, enslaved peoples, and metics (foreigners with citizenship privileges); and the spread of healing sanctuaries throughout the Greek world following the Plague of Athens.

ARHI 4910/6910

Topics in Renaissance Art: Early Modern Printmaking & the Global World

Lee | Undergrads: CRN 53601 | Grads: CRN 53604

Theodore de Bry (after John White), The Marckes of Sundrye of the Cheif Mene of Virginia, 1590 

This class examines European prints from the early fifteenth century, when the first images were printed on paper, to the eighteenth century, immediately before the invention of lithography, and their global interactions with other cultures, particularly in the Americas and East Asia. Such a broad temporal and geographical scope challenges the conventional historiography of European prints, which has long been argued that printmaking propelled Europe toward early modernity. The rise of mass-produced images brought profound change through the Reformation, scientific discovery, and shifting political dynamics, making European culture distinctive from the societies with which it interacted. Although this narrative highlights key features of prints—especially their role as “agents of change”—it often reinforces Eurocentric perspectives and neglects the active functions of printed materials in a global context. To address both the particular development of prints in Europe and their operation within worldwide networks, the course is divided into two parts. During the first seven weeks we will trace the general history of European prints and investigate how the medium gained the status of fine art and an instrument of change. In the final seven weeks we will explore encounters between European prints and other civilizations, focusing on how prints shaped European perceptions of distant cultures, aided or challenged colonial politics, and were incorporated into local print traditions elsewhere. Students will write a research paper based on works in the print collection at the Georgia Museum of Art.

ARHI 8920

Seminar in 20th Century Art

Andrew | CRN 56908

GRSC 7770

Graduate Pedagogy

Andrew | CRN 53260

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Studios & Seminars 

ARTS 6500

Advanced Ceramics

Andrew | CRN 43945

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, discussed assigned readings, receives guest lectures, discuss career options and critique student work.

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Thematic Inquiry 

ARST 4915/6915

Embodying the Selfie

Trombetta| Undergrads: CRN 57171| Grads: CRN 57171

This interdisciplinary course investigates multiple avenues of creativity and connection within an ecological framework. Through a variety of methods, we will consider the strangeness and wonder of how our human bodies make bodies of artwork within bodies of land and water, which hold vast bodies of non-human beings. We will work independently, collaboratively, and experimentally. While each student is encouraged to explore their own mediums, as a class we will delve into a variety of methods and materials, including printmaking, papermaking, foraging, ink-making, poetry, dreams, and listening. 

In practice, taking a selfie is a gestural act through our bodies providing opportunities to connect with others by embodying our personal identity and physical lifeworld. This course examines an understanding of the selfie phenomenon as far more than a representational image, further generating progressive artistic development and creative conceptual growth. Students will research selfie culture and how the nature of self-portraiture, self-representation and self-stylization are rooted in the human condition. Selfie motivations and aesthetic experimentation will allow students to increase self-esteem and sensory awareness, fostering innovative and thoughtful explorations of materials and processes within one’s studio practice. Embodied collaborative reflection will cultivate a supportive studio environment activated by creative thinkers while encouraging freedom of thought, imagination and honest, open inquiry. Embodying the Selfie will allow students to reconfigure the meaning of their bodies, helping us challenge and understand human behavior within the ever-expanding field of art.

ARST 4915/6915

Artifacts of Performance

Shindelman | Undergrads: CRN 35501 | Grads: CRN 35502

“The body does not occupy space like an object or thing, but instead inhabits, animates, and even haunts space” - Maurice Merleau-Ponty

This semester will be creating artifacts of performance. This may be video, photographs or objects that act as remnants of performances.  This course will examine all aspects of performance except the live, public performance. It will focus specifically on work influenced by the body and action. We will begin with contemporary artists who utilize aspects of performance in their work, then look back at the Fluxus movement, and a history of performance art of the 70s, 80s, and 90s. Techniques covered will be dependent on the students enrolled, but we may cover lighting, photographic documentation, video capture, and editing. 

ARST 4915/6915

AI Punk Lab: neural distortions, fractured algorithms and I/O chaos  

Oliveri | Undergrads: CRN 38789 | Grads: CRN 38942

The AI Punk  Lab is a hands-on, no-rules, high-voltage experiment in artificial intelligence—an underground space where technology meets rebellion. Inspired by the DIY ethos of punk rock culture, this lab is not about passively consuming AI but actively dismantling, repurposing, and misusing it in creative, disruptive ways.

What It’s About:

• Hacking the System – Learn how to tweak, jailbreak, and subvert AI tools beyond their intended use.

• AI as Protest – Use AI to challenge authority, disrupt algorithms of control, and expose biases in machine learning.

• Glitch Art & AI Creativity – Generate chaotic, raw, and rule-breaking AI art, music, and writing that rejects corporate polish.

• Automating Anarchy – Build bots, generate synthetic identities, and weaponize automation for creative mischief.

• Ghost in the Machine – Explore the philosophical side of AI—who really controls it, and what happens when the machine starts thinking for itself?

Why It’s Different:

Most AI labs focus on optimization, productivity, and corporate innovation. The AI Punk Rock Lab flips that on its head, treating AI as a tool of rebellion, a medium of self-expression, and a weapon against digital conformity. It’s about embracing the chaos, making noise, and challenging the idea that AI should only serve the interests of Big Tech.

This is not a polished, neatly structured course—it’s a raw, fast-paced, trial-and-error playground for those willing to push AI to its breaking point. If you’ve ever wanted to mess with the ghost in the machine, this is your space.

Spring 2025 Art History, Art Education, & Special Topics Courses

Interested in other Art History, Art Education, Thematic Inquiry, or Special Topics courses? Find the links below for more information:

• Art History

• Art Education

• Thematic Inquiry

• Special Topics