Undergraduate Programs
Questions?
Program Assistant519-661-3440
visarts@uwo.ca
Undergraduate Chair
Tricia Johnson
VAC 200D
519-661-3440
vaugc@uwo.ca
Faculty of Arts & Humanities Academic Counseling
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 September 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 2019-2020
Timetable: please click here
Arts History
Course descriptions: please click here
Note: Course outlines for 2019-2020 will be available in August-September.
- Click the course number to download the outline as a pdf.
Course Number |
Course Title |
Instructor |
| Art History and Visual Culture: Baroque to Contemporary |
C. Barteet |
|
|
Collecting Art and Culture |
K. Robertson |
|
|
Theories and Practices of Art History and Visual Culture |
J. James |
|
|
Canadian Art |
S. Bassnett |
|
|
Baroque in Europe and the Iberian Territories |
C. Barteet |
|
| Introduction to Design |
J. Hatch |
|
|
Hollywood Art |
C. Sprengler |
|
|
Special Topics: SASAH cross |
J. James | |
|
Seminar in Modern/Contemporary Art |
J. Hatch |
|
|
Photography Seminar |
S. Bassnett |
|
|
Seminar Film & the Moving Image |
C. Sprengler |
Studio Art
Course descriptions: please click here
- Click the course number to download the outline as a pdf.
-
Note: Course outlines for 2019-2020 will be available in August-September.
Course Number |
Course Title |
Instructor |
|
Foundations of Visual Arts |
T. Johnson |
|
|
Advanced Visual Arts Foundation Studio |
A. Madelska |
|
|
Art Now |
L. Eurich |
|
|
Studio Seminar I |
K. Wood |
|
|
Introduction to Drawing |
G. Shepherd |
|
|
Introduction to Drawing |
G. Shepherd |
|
|
Introduction to Painting |
K. Neudorf | |
|
Introduction to Painting |
K. Neudorf | |
|
Introduction to Print Media |
T. Johnson | |
|
Introduction to Print Media |
T. Johnson | |
|
Introduction to Digital Photo |
C. Carney |
|
|
Introduction to Digital Photo |
J. Martin |
|
|
Time-Based Sounds & Performance |
E. Moffat (PhD) | |
|
Time-Based Video & Animation |
T. Moore | |
|
Studio Seminar II |
C. Migone | |
|
Drawing |
G. Shepherd | |
|
Painting |
A. Madelska | |
|
Print Media |
T. Johnson | |
|
Photography |
K. Wood |
|
|
Time-Based Media Art: Sound |
C. Migone |
|
|
Time-Based Media Art: Video |
D. Sneppova |
|
|
SA 4603 |
Experiential Learning |
|
|
Practicum |
A. Madelska |
Museum and Curatorial Studies
Course descriptions: please click here
Note: Course outlines for 2019-2020 will be available in August-September.
- Click the course number to download the outline as a pdf.
Course Number |
Course Title |
Instructor |
| Controversies & Contestations |
K. Robertson |
|
| Digital Tools for arts Professionals |
|
|
|
Practicum |
K. Robertson |
Special Topics (Fall & Winter 2019-2020)
Special Topics (Fall / Winter 2019-2020)
AH 3660G - Special Topic: Hollywood and Art (3rd year)
Professor C. Sprengler
Wednesday 2:30-5:30pm, VAC 247
The relationship between film and the visual arts is a long and complex one, stretching back to cinema’s very first years. It is one defined by reciprocity, experimentation, and inspiration. This course will begin with a brief survey of this historical relationship and then consider the myriad ways in which contemporary visual artists have made Hollywood film the subject of their work.There will be a special focus on the cinema of Alfred Hitchcock and the artistic practices his oeuvre has inspired.
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AH 3694F - The Living Archive: Artist as Witness
Professor J. James
Wednesday 2:30-5:30pm, VAC 249
This third-year seminar course is organized around five themes: the Anthropocene, Anxiety, Love, Sense/non-Sense, and Identity/Difference. In recent decades each of these ‘areas of concern’ has become a prominent subject of investigation for contemporary art, literature, critical theory and emerging aesthetic models. Embracing these cross-disciplinary affinities as our foundational framework, a single thematic engagement will be focused through generative pairings of specific exhibitions with provocative literary works. In the context of a series of readings, presentations, field trips to galleries, and dynamic group discussion, we will look at how important and necessary reconfigurations of the above areas of study—and their impact on individual and collective life in these early decades of the 21st century—might be understood.
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AH 4640G - Artistic Moments at the Center of the Void: Milan, January 2, 1957
(Cross-listed with graduate course 9555/9655B)
Professor J. Hatch
Wednesday 8:30-11:30am, VAC 247
On January 2nd, 1957, an exhibition opened at the Galleria Apollinaire in Milan that featured blue monochrome paintings by the French artist Yves Klein. This was essentially the starting point of Klein’s mercurial career which involved a journey or quest to capture the void as described in a variety of sources ranging from Zen Buddhism and Grail mythology to the work of Gaston Bachelard and Marcel Duchamp. The exhibition was visited notably by two artists, the Argentinian-born Lucio Fontana and Piero Manzoni. For the former, Klein’s work re-affirmed the direction Fontana’s own paintings and sculptures were taking; with the latter, the exhibition marked the beginning of an intense rivalry, with Manzoni echoing in his own, very unique fashion, some of the innovative visual experiments Klein produced. Yet, and this is something Klein failed to understand, the three artists approached the idea of the void from markedly different perspectives. Klein took a spiritualist tact, Manzoni a far more empiricist approach, while Fontana represented a perfect blend of the two ends of the spectrum represented by the younger artists. The works that resulted represented the most daring of artistic gestures that paved the way for the art of generations that followed. In France, most immediately with the New Realists, and in Italy, Arte Povera. This course will examine the work of these three seminal artists, what influenced them (everything from Phenomenology and Existentialism to Jungian psychoanalysis to Japanese avant-garde art), and who they influenced.
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AH 4650G - Seminar in Photography: Photography & Social Change
(Cross-listed with graduate course 9594B/9694B)
Professor S. Bassnett
Tuesday 11:30-2:30am, VAC 247
Many of the social and political upheavals of the late 20th and early 21st centuries are familiar to us through photographs: The Vietnam War, the civil rights protests of the 1960s, 9/11 and the subsequent war in Iraq, the war on terror, and global migration. Focusing on modern conflict, social movements, and changes brought about by globalization, this seminar explores the diverse ways photography has been used to negotiate social transformation. In the process, we look at different practices of photography – from portraiture and photojournalism to contemporary art. We discuss recent scholarship on issues such as spectatorship and the ethics of witnessing, photography as a form of encounter, and the role of iconic images in public memory. Seminar participants will develop their own research on some aspect of photography and social change.
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AH 4660F - Special Topic: Film and the Moving Image
(Cross-listed with graduate course 9581A/9681A)
Professor C. Sprengler
Wednesday 2:30-5:30pm, VAC 247
This seminar explores a range of contemporary art practices that engage with the cinema. We begin with “paracinema,” artworks 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 that encourage analysis of “cinema” as an idea or concept by recreating its aesthetic, spectatorial, and technological dimensions through a variety of creative strategies. From here, we shift to more recent work, produced since the 1990s and often described as part of the “cinematic turn” in contemporary art. These practices contend with a range of issues including memory, intermediality, remediation, cinephelia, epistemophilia, and the creative possibilities of new technologies, including AI.
