Undergraduate Programs
Questions?
Undergraduate Program CoordinatorMarlene Jones
519-661-3440
visarts@uwo.ca
Undergraduate Chair
Prof. C. Barteet
VAC 200D
519-661-3440
vaugc@uwo.ca
Faculty of Arts & Humanities Academic Counselling
University College 2230
arts@uwo.ca
Undergraduate Courses
Fall 2019 - Winter 2020
Visual Arts Launches NEW Course Numbers, Subject Areas
We've revamped our course numbers and subject names to offer more options to our students. We’re delighted to now offer three areas of study and have new minor and certificate programs as available options for our undergraduate students.
| Old Course Subject Areas | New Course Subject Areas |
| (Starting February 2019, for 2019-2020 Academic Year) | |
| VAH - Visual Arts History VAS - Visual Arts Studio |
AH - Art History MCS - Museum and Curatorial Studies SA - Studio Art |
FALL & WINTER COURSES 2018-2019
Timetable: please click here
Visual Arts History
Course descriptions: please click here
Note: Course outlines for 2018-2019 will be available in August-September.
- Click the course number to download the outline as a pdf.
Course Number |
Course Title |
Instructor |
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Art, Visual Culture, and Power |
C. Sprengler |
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Art, Science and Technology |
J. James |
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Theories and Practices of Art History and Visual Culture |
J. James |
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History of Photography |
S. Bassnett |
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Greek Art |
D. Wilson |
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Italian Renaissance Art |
C. Barteet |
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Introduction to Gallery, Museum & Curatorial Studies |
K. Robertson |
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Art and Mass Media |
C. Sprengler |
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Histories of Architecture and Urbanism |
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Mexico City |
A. Robin | |
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Special Topics in Art History: Baroque Modalities in Modern and Contemporary Art |
J. Hatch |
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Special Topics in Art History: Making Art with Environmental Awareness |
K. Wood |
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Special Topics in Art History: Forms of Narrative |
N. Ricci |
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Special Topics in Art History: Greatest Shows on Earth: Exhibitions That Changed Art History |
K. Robertson |
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Seminar in 20th Century Art: Mobility in Architecture |
C. Barteet |
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Seminar in Contemporary Art: Globalization and After |
S. Bassnett |
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Seminar in Photography: The Photograph and the Archive in Contemporary Art Practice |
J. James |
Visual Arts Studio
Course descriptions: please click here
- Click the course number to download the outline as a pdf.
-
Note: Course outlines for 2018-2019 will be available in August-September.
Course Number |
Course Title |
Instructor |
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Foundations of Visual Arts |
T. Johnson |
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Advanced Visual Arts Foundation Studio |
A. Madelska |
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Image Explorations |
K. Moodie |
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Image Explorations |
G. Shepherd |
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Introduction to Drawing |
D. Merritt |
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Drawing/Painting |
N. Klassen | |
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Introduction to Painting |
K. Moodie | |
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Introduction to Painting |
K. Neudorf | |
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Sculpture, Installation and Performance I |
G. Shepherd | |
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Introduction to Printmaking |
T. Johnson |
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Introduction to Printmaking |
T. Johnson |
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Digital Photography |
C. Carney | |
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Digital Photography |
J. Martin | |
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Introduction to Contemporary Media Art I |
C. Battle | |
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Introduction to Contemporary Media Art II |
D. Sneppova |
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Art Now! |
L. Eurich | |
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Honors Studio Seminar I |
D. Merritt |
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Advanced Drawing |
K. Moodie |
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Advanced Painting |
S. Glabush |
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Advanced Printmaking |
P. Mahon / T. Johnson |
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Advanced Photography |
K. Wood |
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Advanced Media Art |
D. Sneppova |
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Honors Studio Seminar II |
D. Merritt |
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Special Topics in Art History: Making Art with Environmental Awareness |
K. Wood |
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Practicum |
S. Glabush / A. Madelska |
Special Topics (Fall & Winter 2018-2019)
Special Topics (Fall / Winter 2018-2019)
VAH 3390G Special Topics in Art History: Mexico City
VAH 3390G - Mexico City (cross listed with CLC 2129B and Spanish 2102B)
Professor A. Robin
Monday 4:30-6:30pm, and Wednesday 4:30-5:30pm
Welcome to the megalopolis! 25 million inhabitants; 7 centuries of history and culture. Examine Mexico City through its history of continuous transformations from the Aztec capital up to today. Identify traces of the various pasts in the city's contemporary urban landscape and daily life through art, film, and literature. Taught in English.
VAH 3392G – Special Topics in Art History: Baroque Modalities in Modern and Contemporary Art
Professor John Hatch
Tuesday 8:30-11:30am
Revivals are a matter of course in the history of art, the most common being classical ones that look back to the art of the Greeks and Romans. The twentieth century embraced a return to the classical with the famous ‘retour à l’ordre’ in Europe during the First World War, but this was soon accompanied by an interest and revival of the Baroque that had festered since the publication of the German art historian Heinrich Wölfflin's Renaissance and Baroque (1888). Artistically this interest manifested itself initially with the Secession movement in Vienna, and possibly spread to other art nouveau centres. By the 1920s, the Baroque surfaced in Holland and conspired in instigating the breakup of De Stijl, while suffering some frightfully bad press amongst the Polish Constructivists, who nonetheless found the idea of the Baroque a useful critical tool for understanding their own work. However, other Constructivists would not be so damning of the Baroque, finding its approaches to the description of time and space pertinent. Shortly after World War II, there would be something of a larger and more positive explosion of interest in the Baroque; starting in the field of literary criticism, this fascination would soon surface in the cultural studies of Umberto Eco, Michel Foucault, Roland Barthes, Jean Baudrillard, and Michel de Certeau, and find an artistic outlet in the work of Francis Bacon, Emilio Vedova, Lucio Fontana, and the Arte Povera group, amongst many others. This attraction persists and has spread to a variety of media including film and has become a significant undercurrent in Post and Hyper-modernism. This course outlines the development of this interest in the Baroque up to the present day, examines the possible reasons for it, and highlights its contemporary importance and relevance under the banner of the Neo-Baroque.
VAH 3394G / VAS 3394B – Making Art with Environmental Awareness
Professor Kelly Wood
Wednesday 2:30-5:30pm
Organized as a creative research group for artists, curators and historians, Making Art with Environmental Awareness explores artistic responses to ecology, sustainability and related social issues. This year, the course will focus on the materiality and consequences of plastics use in our culture and physical world.
VAH 3395G – Special Topics in Art History: Forms of Narrative
Professor Nino Ricci
Wednesday 11:30-2:30pm
This workshop course will allow students to explore writing in a range of narrative forms, from the traditional short story to metafiction, micro-fiction, podcasts, graphic novels, fan fiction, and others. Students will be encouraged to consider how narrative informs other disciplines (visual arts, business, the sciences) with a view to creating new forms relevant to their own educational backgrounds and interests.
VAH 3396F – Greatest Shows on Earth: Exhibitions That Changed Art History
Professor Kirsty Robertson
Tuesday 11:30-2:30pm
This course considers exhibitions from around the world, from the nineteenth century to the present, that have profoundly altered the study of art history and impacted the ways museums function. Students will gain a broad overview of influential exhibitions that have launched art movements, have led to new methods of display, collecting, and archiving, and have changed relationships between museums and their publics.
VAH 4477F – Seminar in 20th Century Art: Mobility in Architecture
Professor Cody Barteet
Thursday 11:30-2:30pm
Movement through architectural and urban spaces has long been common place for people. Over the millennia theories and practices have developed to allow for the easy movement of supplies, peoples, and other commodities the build form as well as provide sites for elaborate displays of state and spectacle. In modern and contemporary society, these practices have continued as people commute to and from work, school, errands, and leisure (whether going to a movie or traveling). Added to this, the large migration of peoples due to war, natural disaster, and the like, thus contributing to our continuous and evolving understanding of movement through architecture. So too are the means by which we observe the movements of peoples through architectural spaces as overarching ideas of safety and security come to the fore. In this course we will examine various topics related to the observation and movement of peoples through permanent and temporary architectural spaces. Specific consideration will be given to ideas of surveillance, defense, terrorism, migration, and memory. We cover these range of topics by drawing upon theoretical texts and case studies as well as through guest lectures.
VAH 4478G – Seminar in Contemporary Art: Globalization and After
Professor Sarah Bassnett
Tuesday 11:30-2:30pm
This seminar examines themes in art since 1980 through the lens of globalization. Globalization has been described as one of the most important changes in human history, and although difficult to define, it is typically associated with an increase in the movement and connectedness of people, goods, information, and knowledge, along with new systems and networks to regulate or expedite their flow. In this course, we focus on the work of artists who have explored issues connected to globalization and after. This includes themes such as: migration and cultural displacement, human rights, inter-cultural exchange, surveillance capitalism, and the Anthropocene. We also consider how artists are responding to the current wave of authoritarian populism and state protectionism. Students will develop their own research projects in relation to the course theme.
VAH4482G – Seminar in Photography: The Photograph and the Archive in Contemporary Art Practice
Professor Joy James
Monday 2:30-5:30pm
This fourth year seminar in photography focuses on art practices that engage the photographic as archive. Within this foundational framework, the course will examine contemporary artists’ multiple archival encounters across a range of concerns, objects and ideas. The course is designed around experiential learning with an emphasis on field trips to archives and galleries, group discussion, discussions with artists who actuate the model of the archive in their work, and critical readings on the histories and practices relevant to this area of study. Course evaluation is based on: active participation, reading, writing, and short presentation assignments, and the collaborative conceptualization, construction and exhibition of an archive by seminar participants.
