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Undergraduate Courses

FALL & WINTER COURSES 2023-2024

Timetable: please click here

• Fall & Winter 2023-2024
  • Art History
  • Studio Art
  • Museum and Curatorial Studies
• Special Topics 2023-2024
• Previous Years Undergraduate Course Outlines

 

  

Art History

Course descriptions: please click here

• Click the course number to download the outline as a pdf. when available
• Note: Course outlines for 2023-2024 will be available in August-September.

Course Number	Course Title	Instructor	Course Delivery Type
AH 1642A	Art History and Visual Culture: Baroque to Contemporary	C. Sprengler	Online
AH 1646B	Media and Popular Culture	J. Hatch	Online
AH 2600F	Theories and Practices of Art History and Visual Culture	M. Aylen-Gillies	Blended
AH 2632G	Canadian Art	S. Bassnett	Online
AH 2634G	Indigenous Women in the Arts in Canada: Cultural Traditions, Survival, and Colonial Resistance	R. Bedard	In-Person
AH 2672G	Art and Architecture in Latin America	A. Robin	Blended
AH 2674F	Islamic Visual Culture	S. Esfahani	In-Person
AH 2676F	Introduction to Design	J. Hatch	In-Person
AH 2690G	Special Topics: Methods of Appropriation in the Digital Age	S. Opeiko	In-Person
AH 3642F	Cold War Art and Politics	S. Bassnett	Online
AH 3660F	Hollywood and Cinema	C. Sprengler	Blended
AH 3676G	Lessons by Design	J. Hatch	Online
AH 3690G	Special Topics in Art History: Projection in the Arts	K. Wood	In-Person
AH 3692G	Special Topics in Art History: U.S. Art: Colonial to Present	C. Barteet	Blended
AH 4640G	Seminar in Modern/Contemporary Art: Artists as Historians	S. Bassnett	Blended
AH 4642F	Making Art with Environmental Awareness	K. Wood	Online
AH 4690F	Special Topics in Art History: London’s Religious Arts	C. Barteet	In-Person
AH 4692F	Special Topics in Art History: The New Baroque	J. Hatch	In-Person
AH 4694G	Special Topics in Art History: Seminar in Film and the Moving Image	C. Sprengler	In-Person

 

Studio Art

Course descriptions: please click here

• Click the course number to download the outline as a pdf.
• Note: Course outlines for 2023-2024 will be available in August-September.

Course Number	Course Title	Instructor	Course Delivery Type
SA 1601	Foundations of Visual Arts	T. Johnson	In-Person
SA 1605	Advanced Visual Arts Foundation Studio	J. Karuhanga	In-Person
SA 2500A	Art Now! I		In-Person
SA 2510A	Explorations: Drawing Explorations	G. Shepherd	In-Person
SA 2560B	Explorations: Making Art with Accessible Technology	D. Sneppova	In-Person
SA 2602A	Studio Seminar I	J. Karuhanga	In-Person
SA 2610A	Introduction to Drawing	A. Madelska	In-Person
SA 2610B	Introduction to Drawing	S. Nault	In-Person
SA 2620A	Introduction to Painting	K. Neudorf	In-Person
SA 2620B	Introduction to Painting		In-Person
SA 2630A	Introduction to Print Media	T. Johnson	In-Person
SA 2630B	Introduction to Print Media	T. Johnson	In-Person
SA 2640B	Introduction to Spacial Practices	S. Esfahani	In-Person
SA 2652B	Introduction to Digital Photo		In-Person
SA 2662A	Time-Based Video & Animation	D. Sneppova	In-Person
SA 2670A	Islamic Visual Art	S. Esfahani	In-Person
SA 2676B	Landmarks: Spatial Storytelling, Land, Art, Place & Community I	J. 2bears	In-Person
SA 2690Y	Special Topics in Studio Art: Ceramics & Clay Art	G. Shepherd	In-Person
SA 2694B	Special Topics in Studio Art: Methods of Appropriation in the Digital Age	S. Opeiko	In-Person
SA 3602B	Studio Seminar II	J. Karuhanga	In-Person
SA 3611	Drawing	S. Nault	In-Person
SA 3623	Painting	A. Madelska (Fall term) S. Glabush (Winter term)	In-Person
SA 3633	Print Media	T. Johnson	In-Person
SA 3650A	Photography: Outdoors and Architecture	K. Wood	Blended
SA 3674A	Alternative Approaches to Creative Methods	S. Nault	In-Person
SA 3690B	Special Topics in Studio Art: Projection in the Arts	K. Wood	In-Person
SA 3692B	Special Topics in Studio Art: Oil Painting: From Material to Concept	P. Gurrey	In-Person
SA 4603	Experiential Learning		In-Person
SA 4605	Practicum	S. Esfahani	In-Person
SA 4642A	Making Art with Environmental Awareness	K. Wood	Online

 

Museum and Curatorial Studies

Course descriptions: please click here

• Click the course number to download the outline as a pdf.
• Note: Course outlines for 2023-2024 will be available in August-September. 

Course Number	Course Title	Instructor	Course Delivery Type
MCS 2620F	Introduction to Gallery, Museum & Curatorial Studies	K. Robertson	In-Person
MCS 2690G	Special Topics in MCS: Methods of Appropriation in the Digital Age	S. Opeiko	In-Person
MCS 3642F	Cold War Art and Politics	S. Bassnett	Online
MCS 3660B	Digital Tools for Arts Professionals		In-Person
MCS 3690G	Special Topics in MCS: Projection in the Arts	K. Wood	In-Person
MCS 4605E	Museum and Curatorial Practicum	K. Robertson	In-Person

 Special Topics (Fall & Winter 2023-2024)

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AH 2690G/ MCS 2690G/ SA 2694B - Special Topics: Methods of Appropriation in the Digital Age

Instructor: S. Opeiko

This is a hybrid course in Art History, Museum and Curatorial Studies, and Studio Arts investigating methodologies of appropriation in artistic practice. Appropriation is the practice of borrowing from existing media such as advertising, film, television, video games, and other fields of visual culture in order to decontextualize the source material through manipulation, alteration, and remix. Focusing primarily on appropriation in the digital age, the course will begin with a historical and theoretical overview of artistic appropriation in the late 20th and 21st centuries. We will address ethical concerns regarding appropriation and debate on strategies for good practices in borrowing media for studio projects, as well as how they can best be incorporated in curatorial pursuits. The course will require written assignments as well as studio-based projects using still images, sound, and video. Basic familiarity with digital editing tools such as Adobe Photoshop, Premiere, and Audition is an asset, but guidance will be provided to those unfamiliar with the software.

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AH 3690G/ MCS 3690G/ SA 3690B - Special Topics: Projection in the Arts

Professor K. Wood

Projection in the Arts is available to students in all visual arts programs: Studio Arts, Museum and Curatorial Studies and Art History. Organized as creative research intensive, Projection in the Arts explores innovations in light as material and medium—paying particular attention to how artists, such as Olafur Eliasson, have engaged with light projection. The course will offer lectures on the deep historical past of light arts that includes shadow play, light puppetry, and lantern projection. Lecture material will also include newer developments in Light and Space and technologies such as lasers, interactive technologies, outdoor projections, AR and Holograms. This course will historically investigate—and practically experiment with some forms of light projection in the arts. The course will offer some basic instruction on the use of light and projector technologies now available within the department. DIY and low-tech experiments in light art installation will be encouraged. Students will participate in weekly lecture presentations, discussion forums, online activity, technical demonstrations and light projection workshops. Students have a choice to produce a final research paper; or, a final artistic project.

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AH 3692G - Special Topics: Crafting the U.S. through Art and Architecture: Colonial to the Present

Professor C. Barteet

Coming Soon.

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AH 4640G - Special Topics: Artists as Historians

Professor S. Bassnett

This seminar focuses on contemporary art in dialogue with the past. In the popular imagination, history is often thought of as what you get when a historian uncovers the truth about the past. But if instead we approach histories as interpretations of the past, then we can consider how events are described and interpreted differently depending on who is telling the story. This seminar explores how contemporary artists have embraced the role of historian by working against conventional frameworks to tell stories at the limits of the archive. Drawing on concepts of counter history from Black studies and decolonial theory, we consider how some artists have investigated lesser-known events to shed light on marginalized histories, while others have created fictional and speculative histories that offer new perspectives on the past and the future. Students will develop their own research projects in relation to the course theme.

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AH 4690F - Special Topics: “It seems hard to take a small drink”: Reconsidering London’s Religious Art

Professor C. Barteet

Coming Soon.

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AH 4692F - Special Topics: ‘If it ain’t Baroque, then fix it’: 17th-Century Tips for Survival in a Post-Modern Age

Professor J. Hatch

Over the course of the twentieth century, the Baroque, a once forgotten period in Western history and culture, became more and more prominent for a variety of historical reasons; it found itself referenced in an increasing number of 20th-century art works and architecture. Its importance grew with the emergence of Post-Structuralism and its sibling, Post-Modernism, as scholars began to recognize commonalities between these contemporary theories and the Baroque. By the turn of the 21st century, the term “neo-baroque” was coined in media studies and it has emerged alongside other more recent theoretical trends such as digimodernism, hypermodernism, etc., that are now viewed as part of the more general trend known as “metamodernism.” This course proposes to examine the history of this revival of the Baroque focusing on its use and relevance to our contemporary times. In other words, what is the Neo-Baroque and why should you care.

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AH 4694G - Special Topics: Seminar in Film and the Moving Image: Paracinema

Professor C. Sprengler

“Paracinema” refers to works that attempt to generate the effects of cinema without using the traditional materials or physical support of film. Art historically, the term has been used to describe sculpture, installation, and video works from the 1960s and 1970s (including, for example, Anthony McCall’s “Line Describing A Cone” [1973]) that encourage analysis of “cinema” as an idea or concept by recreating its aesthetic, spectatorial and technological dimensions through a variety of creative strategies. This course will begin with a brief survey of paracinema’s early twentieth-century precedents, followed by a more in-depth exploration of its post-1960s manifestations. It will also consider the extent to which the term facilitates productive engagements with a variety of practices since the “cinematic turn” in contemporary art.

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SA 2690Y - Special Topics: Ceramics & Clay Art

Instructor: G. Shepherd

An introduction to the medium of clay, focusing on hand-built ceramic sculptures and functional forms using a wide range of techniques demonstrated and discussed in bi-weekly classes. Projects will encourage learning through experimentation in scale and series in order to develop personal preferences and ability. No previous experience is required.

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SA 3692B - Special Topics: Oil Painting: From Material to Concept

Instructor: P. Gurrey

This course will explore traditional and experimental oil painting techniques and develop crucial conceptual ideas pertinent to contemporary painting. Students will explore the role of painting as a research tool and as a system of thinking. Whilst helping students develop painting techniques and their observational skills, this course will encourage students to speculate further on the nature of painting practice and the role painting plays in contemporary culture. Dogmatic devices and restrictive challenges at the beginning of term will give way to unrestricted self-directed study by the end of the course where students will be asked to think their way conceptually through the paint. Through praxis and critique students will question their role in the painting process and the importance of an artist’s cultural and geographical situation.

Text’s which directly refer to painting as a material visual concern will be set alongside the practical program. Other course materials will be delivered through group seminars, presentations and group critiques. Students will also be encouraged to contribute to the content of the class through the visual analysis of paintings which they themselves will draw from the canon of art history.

The course will explore the following topics: oil painting mediums, painted grounds, glazing, layering, painting from life, painting’s relationship to place, painting time, and painting and its relationship to ethics.

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