History of Art

Courses for the Nonmajor

• FINA–H 100 Introduction to Art History and Visual Culture for Non-Majors (3 cr.) CASE A&H Designed to acquaint students with outstanding works of art and to provide an approach to appreciation through knowledge of purposes, techniques, form, and content. Does not count toward the fine arts major. Credit given for only one of H100 or A108.

• FINA–A 108 Art of the Western World (3 cr.) CASE S&H Western art from ancient Greece through the present day, focusing on major artists and artwork of western culture, stressing underlying social, cultural, and historical circumstances for each period. Does not count toward the fine arts major. Credit given for only one of A108 or H100.

Introductory Courses

• FINA–A 101 Ancient and Medieval Art (3 cr.) CASE S&H A survey of major styles and monuments in art and architecture from prehistoric times to the end of the Middle Ages.

• FINA–A 102 Renaissance through Modern Art (3 cr.) CASE S&H A survey of major artists, styles, and movements in European and American art and architecture from the fifteenth century to the present.

• FINA–A 150 African, New World, and Oceanic Art (3 cr.) CASE S&H Arts of the non-Western world outside the Orient.

• FINA–A 155 Introduction to African Art (3 cr.) CASE A&H, CASE GCC African art in its cultural setting. Major style areas: prehistoric Nok culture, kingdoms of Ife and Benin, Western Sudan, Guinea Coast, equatorial forests, Congo, eastern and southern Africa.

• FINA–A 160 Introduction to East Asian Art (3 cr.) CASE A&H, CASE GCC A survey of major monuments, artists, and movements in Chinese and Japanese art.

• FINA–A 200 Topics in Art History (3 cr.) Various topics in the history of art will be offered depending upon instructors and their area of expertise. May be repeated with a different topic for a maximum of 6 credit hours.

• FINA–A 290 Architecture for Planet Earth (3 cr.) CASE S&H Focuses on the relationship between architecture and the environment at different points in history and in various parts of the world. Students will analyze (1) the natural conditions that determine basic building forms, (2) the cultural forces that add complexity to evolving built environments, and (3) conflicting modern attitudes towards nature and culture in architecture.

Ancient Art

• FINA–A 206 (CLAS C206) Classical Art and Archaeology (3 cr.) CASE A&H, CASE GCC Survey of the art and archaeology of classical lands from the Minoan-Mycenaean Age through classical Greece and Rome. Emphasis on the contributions of archaeology to our understanding of classical culture.

• FINA–A 210 Topics in Ancient Art (3 cr.) Special topics in the history and study of ancient art. May be repeated with a different topic for a maximum of 6 credit hours.

• FINA–A 214 Art and Life in Ancient Rome (3 cr.) CASE S&H, CASE GCC Thematic exploration of the art and architecture of ancient Rome with a focus on the relationship between art and society during the imperial period.

• FINA–A 310 Topics in Ancient Art (3–6 cr.) CASE A&H Special topics in the history and study of ancient art. May be repeated with a different topic for a maximum of 6 credit hours.

• FINA–A 311 The Art of the Classical Age of Greece (3 cr.) CASE S&H, CASE GCC Architecture, sculpture, and painting in the fifth and fourth centuries B.C.

• FINA–A 312 The Art of the Roman Empire from Augustus to Constantine (3 cr.) CASE S&H Survey of art and architecture of the Roman Empire from 31 B.C.E. to 337 C.E.

• FINA–A 313 Greek Pottery and Painting (3 cr.) Survey of Greek painted pottery and remains of painting from 1000 to 200 B.C. It illustrates the successive stages of development, drawing upon the rich collection of the IU Art Museum to illuminate the different phases. Emphasis is on period as well as individual styles and on the interpretation of subject matter as well as on technique.

• FINA–A 314 History of Greek Sculpture (3 cr.) P: A101 and A206. The history of Greek sculpture from the early Iron Age (ca. 900 B.C.) to the late Hellenistic period. Focus on problems of change, context, and stylistic differentiation between parts of the Greek world. Original material from the IU Art Museum will also be studied.

• FINA–A 316 Ancient Art from Alexander the Great to Augustus (3 cr.) CASE A&H Introduction to the art and architecture of the ancient Mediterranean world during the Hellenistic and Roman Republican periods.

• FINA–A 410 Topics in Ancient Art (3–4 cr.) Special topics in the history and study of ancient and Classical art. May be repeated with a different topic for a total of 8 credit hours.

• FINA–A 412 (CLAS C412) The Art and Archaeology of the Aegean (3 cr.) CASE A&H, CASE GCC P: A206 or CLAS C206. Introduction to the preclassical art and archaeology of the Aegean Basin: Greece, Crete, and the Aegean islands during the Stone and Bronze Ages (to about 1000 B.C.). Topics covered include Troy, Minoan Crete, and Mycenaean Greece.

• FINA–A 413 (CLAS C413) The Art and Archaeology of Greece (3 cr.) CASE A&H P: A206 or CLAS C206. Art and archaeology of Greece from about 1000 B.C. through the Hellenistic period. Special attention given to the development of Greek architecture, sculpture, and vase painting. Continuation of A412 (C412), but A412 (C412) is not a prerequisite.

• FINA–A 414 (CLAS C414) The Art and Archaeology of Rome (3 cr.) CASE A&H P: A206 or CLAS C206. Development of Roman architecture, sculpture, and painting from the beginning through the fourth century A.D. Consideration given to the major archaeological sites. Continuation of A413 (C413), but A413 (C413) is not a prerequisite.

• FINA–A 415 Roman Painting (4 cr.) CASE S&H P: A101, A312, A314, A414, or consent of instructor. Critical survey of Roman painting from second century B.C. through early fourth century A.D. Emphasis is on paintings from Rome and the region of Pompeii in the period from 100 B.C. to A.D. 79.
  

• FINA–A 416 Greek Architecture (4 cr.) P: A412, A413, or consent of instructor. The development of Greek architecture from the ninth to the first century B.C.
  

• FINA–A 417 Roman Sculpture (4 cr.) CASE S&H P: A101, A312, A314, A414, or consent of instructor. Analytical survey of Roman sculpture from the Republic through the reign of Septimus (circa 3rd century B.C.E. to early 3rd century C.E.)

• FINA–A 418 Roman Architecture (4 cr.) P: A312, A414, A416, or consent of instructor. The formation and development of Roman architecture from the second century B.C. to the middle of the fourth century A.D.

Medieval Art

• FINA–A 226 Survey of Medieval Art (3 cr.) CASE A&H, CASE GCC Origins and development of the architecture, and especially the sculpture and painting, of the period from Constantine the Great (A.D. 300) to the fall of Constantinople in 1453 in the Byzantine East and the beginning of the Renaissance in the Latin West.

• FINA–A 321 Early Medieval Art (3 cr.) CASE S&H, CASE GCC Art and architecture in western Europe from the disintegration of the Roman Empire in the fifth century through the creation of the Holy Roman Empire by Charlemagne and his heirs in the eighth and ninth centuries. Materials considered in the contexts of warfare, kingship, and monasticism.

• FINA–A 322 Romanesque and Gothic Art (3 cr.) CASE S&H Survey of the art of the High Middle Ages from the eleventh through the fifteenth centuries, with an emphasis on architecture and sculpture in England, France, Germany, and Italy.

• FINA–A 323 Illuminated Manuscripts in the Middle Ages: Form, Function, and Audience (3 cr.) CASE A&H Starting with the invention of the codex in the first century, and continuing to the end of the Middle Ages, this course will investigate the tools, methods, and inspiration behind the creation of medieval manuscripts. Lectures will survey the most important types of manuscripts and schools of manuscript illumination, as well as their audiences.

• FINA–A 324 The Gothic Cathedral (3 cr.) This course surveys the development of one of the most important cultural institutions of the Medieval era, the Gothic cathedral. A study of the Gothic cathedral provides an ideal jumping-off point to examine the most important trends of the twelfth, thirteenth, and fourteenth centuries. The cathedral became the most important innovating force in Europe, leading the way in the development of architecture and the visual arts, as well as education and music. The centrality of the cathedral in the later medieval world reflects a fundamental change in the structure of medieval society, which changed from being primarily rural to urban in the course of only a century.

• FINA–A 325 Medieval Architecture (3 cr.) CASE S&H A survey of architecture from the early Christian period to the Renaissance, combining a consideration of the historical aspects of building in economic terms, the planning and execution of monuments, and the question of style in architecture.

• FINA–A 329 Topics in Medieval Art (3 cr.) CASE A&H Special topics in the history and study of Medieval art. May be repeated for a total of 6 credits.

• FINA–A 421 Early Christian Art (4 cr.) CASE S&H Christian art and architecture as it developed within the structure of the later Roman Empire (A.D. 200–600).

• FINA–A 423 Romanesque Art (4 cr.) CASE S&H Intensive analysis of the art of the eleventh and twelfth centuries. Emphasis on architecture and sculpture of England, France, Germany, Italy, and Spain.

• FINA–A 424 Gothic Art (4 cr.) CASE S&H Origins and development of the architecture, sculpture, and painting of the Gothic period, from the twelfth to the fifteenth century in England, France, Germany, and Italy. Emphasis on the cathedral.

• FINA–A 425 Byzantine Art (4 cr.) CASE S&H Art and architecture of the Byzantine Empire (A.D. 600–1453). Consideration of materials from the core territories of the Byzantine world (Constantinople, Asia Minor, Greece), the Byzantine commonwealth of Orthodox lands (Kievan Rus, Serbia) and Western Europe (Sicily, Venice, Crusader states).
  

• FINA–A 426 The Medieval City (4 cr.) CASE S&H This course will examine the cities of Western Europe and the Islamic and Byzantine worlds from the perspective of the institutions of the city and the art and architecture they generated, including houses, fortifications, churches, town halls, guild halls, and markets. Medieval representations of the city also will be explored.
  

Renaissance and Baroque Art

• FINA–A 231 The Age of Giants: Art in the Time of Leonardo and Michelangelo (3 cr.) CASE A&H, CASE GCC Italian painting and sculpture in the time of Leonardo da Vinci (1452–1519) and Michelangelo Buonarroti (1475–1564), whose accomplishments represent what S. J. Freedberg has called the “most extraordinary intersection of genius art history has known.” Besides an overview of Italian High Renaissance art, major topics to be addressed include the rivalry between Leonardo and Michelangelo, Leonardo’s notebooks, and the reception of both artists’ works in later centuries.

• FINA–A 233 Renaissance and Baroque Art in Italy 1250–1700 (3 cr.) CASE S&H, CASE GCC Survey of the major artists and monuments in Italy 1250–1700. Painting, sculpture, and architecture in Florence, Venice, and Rome will be given particular attention.
  

• FINA–A 234 Renaissance Florence (3 cr.) CASE A&H, CASE GCC A survey of the interrelationships between Florentine artistic and literary culture between 1300 and 1530. Major emphasis on Boccaccio, Giotto, Masaccio, Donatello, Lorenzo dé Medici, Leonardo da Vinci, Guicciardini, Machiavelli, and Michelangelo.
  

• FINA–A 330 Art of Renaissance and Baroque (3 cr.) CASE S&H P: A102 or permission of instructor. Special topics in the history and study of Renaissance and Baroque art. May be repeated with different topics for a maximum of 6 credit hours.

• FINA–A 331 Fourteenth- and Fifteenth-Century Art in Italy (3 cr.) CASE S&H Survey of painting, sculpture, and architecture.
  

• FINA–A 332 Sixteenth- and Seventeenth-Century Art in Southern Europe (3 cr.) CASE S&H P: A102. Beginnings of baroque style and the pictorial traditions, which spread from Italy to Spain and France.
  

• FINA–A 333 From Van Eyck to Vermeer (3 cr.) CASE S&H R: A101, A102, or consent of instructor. Survey of major artists and themes in Netherlandish painting from the fifteenth to the seventeenth century.
  

• FINA–A 334 High Renaissance and Mannerism: Italian Art, 1490–1590 (3 cr.) CASE S&H Painting, sculpture, and architecture in Italy, 1490–1590. Course work and lectures will center around the works of major artists active in Florence, Rome, and Venice (such as Michelangelo, Raphael, and Titian). Students will learn to analyze art critically in relation to its socioeconomic and religious context.
  

• FINA–A 335 Baroque Art in Italy, 1580–1700 (3 cr.) CASE S&H Sculpture, painting, and architecture in Italy, 1580–1700. Development of baroque style from the late sixteenth century through the period of the High Baroque in Rome, Florence, and Venice in the mid- to late -seventeenth century. Lectures, readings, and discussions will be centered around questions of stylistic progression, and the influence of patrons, socioeconomic conditions, and religion on artistic practice.

• FINA–A 337 Age of Rubens and Rembrandt (3 cr.) CASE S&H, CASE GCC P: A102. Baroque art in northern Europe of the sixteenth and seventeenth century, emphasizing the art and culture of the Netherlands.

• FINA–A 432 Italian Art of the 16th Century (4 cr.) Investigates art in Italy during one of its most important centuries. Focuses on the artists of central Italy including such luminaries as Leonardo da Vinci, Raphael, and Michelangelo. Examines the puzzling phenomenon of mannerism (Pontormo, Rosso, Bronzino, Parmigianino) and the warm, painterly naturalism of Venice (Giorgione, Titian).

• FINA–A 436 Italian Art of the Fifteenth Century (4 cr.) CASE S&H Major artists and stylistic trends of fifteenth-century Italy. Special attention to Tuscan painting and sculpture and to the works of Masaccio, Ghiberti, and Donatello.

• FINA–A 437 Fifteenth-Century Netherlandish Visual Culture (4 cr.) CASE S&H Examines visuality in early modern England, France, Germany and the Low Countries. Topics include the cognitive functions of the image, varieties and consequences of interpretive skills, rivalry among different media, and the commodification of artistic identity.
  

Art of the Modern World

• FINA–A 280 The Art of Comics (3 cr.) CASE A&H Analysis of the visual and narrative language of comics from the earliest newspaper strips to the graphic novels of today.

• FINA–A 340 Topics in Modern Art (3 cr.) Special topics in the history and study of nineteenth- and twentieth-century European and American art. May be repeated with different topics for a maximum of 6 credits.

• FINA–A 341 Nineteenth-Century European Art (3 cr.) CASE S&H P: A102. Survey of major artists and styles in painting and sculpture from c. 1770 to 1900, emphasizing developments in France, England, and Germany. Topics include neoclassicism, romanticism, realism, impressionism, and post-impressionism.

• FINA–A 342 Twentieth-Century Art (3 cr.) CASE S&H, CASE GCC P: A102. R: A341. Survey of major artists, styles, and movements in painting and sculpture from 1900 to the present in Europe and the United States. Topics include expressionism, cubism, futurism, dada, surrealism, and abstraction.

• FINA–A 345 American Art to 1913 (3 cr.) CASE S&H American architecture, sculpture, painting, photography, and graphics from seventeenth century to the Armory Show of 1913.

• FINA–A 346 Roots and Revolution: Early Twentieth-Century Mexican Art (3 cr.) CASE A&H, CASE GCC Critical analysis of painting, printmaking, and photography of Mexico from 1890 to 1950 in terms of political and cultural phenomena.

• FINA–A 347 Picasso (3 cr.) CASE A&H A survey of the different phases of Picasso’s career, the artistic milieu in which he worked, and the critical approaches that have been taken to his art.

• FINA–A 348 American Architecture (3 cr.) CASE A&H P: A102 or permission of instructor. A survey of American architecture from the colonial period to the late twentieth century, including public, commercial, and domestic design, with emphasis on historical context and the role of architecture as signifier of social, cultural, and political ideologies.

• FINA–A 349 Dada and Surrealism (3 cr.) CASE A&H An examination of the Dada Surrealism project, in particular the critique of established forms of art making; also the historical background, intellectual sources, and social and political goals of the two movements.

• FINA–A 440 Nineteenth-Century Painting I (4 cr.) CASE A&H, CASE GCC P: Any 300-level course in art history or consent of instructor. A thematic look at neoclassical and romantic art throughout Europe.

• FINA–A 441 Nineteenth-Century Painting II (4 cr.) CASE S&H, CASE GCC P: Any 300-level course in art history or consent of instructor. Major European painters and artistic movements, particularly in France, with some coverage of the United States. Focus on cultural and intellectual milieu of each artist.

• FINA–A 442 Twentieth-Century Art, 1900–1924 (4 cr.) CASE A&H, CASE GCC P: A341, A342, or permission of the instructor. European artists and art movements of the first part of the twentieth century: Matisse, Picasso, cubism, and futurism, German expressionism, Dada, constructivism, the Bauhaus. Focus primarily on painting with some attention to sculpture, architecture, and design, with emphasis on the central concepts of modernism and the avant-garde.
  

• FINA–A 443 History of 20th-Century Photography (4 cr.) CASE S&H Surveys twentieth-century photography as a medium of art and communication. Considers portraiture, landscape, still life, the nude, conceptual photography, the social documentary tradition, the magazine picture story, fashion, advertising, and war photography. Examines the impact of postmodern theories on photographic practice and the understanding of photography.
  

• FINA–A 445 American Art to 1860 (4 cr.) CASE A&H P: A341, A342, or consent of instructor. History of art in the United States from the colonial period to the eve of the Civil War.

• FINA–A 446 American Art, 1860–1900 (4 cr.) CASE A&H P: A341, A342, or consent of instructor. History of art in the United States from the end of the Civil War to the turn of the twentieth century.
  

• FINA–A 447 Modernism and Anti-Modernism in American Art, 1900–1945 (4 cr.) CASE A&H P: A341, A342, or permission of instructor.  A survey of American painting, sculpture, photography, design, and commercial art in the early Modern period. Topics include the urban realism of the “Ash Can School”; the early avant-garde; New York Dada; the cult of the machine; regionalist painting and the American heartland; the expressionist landscape; and surrealism, American style.
  

• FINA–A 449 Twentieth-Century Art, 1925–Present (4 cr.) P: A342 or A442. Painting, sculpture, and architecture 1925–1970. Main emphasis will be on American developments, including necessary historic background from the Armory Show to migration of surrealism, abstract expressionism, op, pop, minimal, and kinetic art. A world view of architecture will cover such topics as international style and new brutalism.

• FINA–A 450 History of Photography (4 cr.) CASE S&H P: A341 or A342 or permission of instructor. Surveys the history of photography from its beginning to the mid-twentieth century, with focus on theoretical issues as well as the cultural and social contexts of photography and its practices.

• FINA–A 480 Russian Art (4 cr.) CASE S&H, CASE GCC R: One Russian history course or art history course. Russian art from the twelfth century to the present. Emphasis on the period 1850 to the present: realism, the Slavic revival, symbolism, constructivism, and socialist realism.

Islamic Art

• FINA–A 327 Survey of Islamic Art (3 cr.) CASE S&H, CASE GCC Architecture, sculpture, and painting of Islam from its origins in the Fertile Crescent to the nineteenth century.

• FINA–A 489 Topics in Islamic Art (4 cr.) Special topics in the history and study of Islamic art. May be repeated with a different topic for a maximum of 8 credit hours.

Art of Africa, Oceania, and Pre-Columbian America

• FINA–A 350 Topics in African, Oceanic, and Pre-Columbian American Art (3 cr.) Special topics in the history and study of African, Oceanic, and Pre-Columbian American art. May be repeated with different topics for a maximum of 6 credit hours.

• FINA–A 351 Art of the South Pacific (3 cr.) CASE S&H, CASE GCC A one-semester survey of the visual art traditions of Australia and the South Pacific Island groups of Polynesia, Micronesia, and Melanesia. Focus on style regions, individual island styles, and the cultural and historical contexts of objects. Emphasis on traditional arts, but contemporary forms will also be discussed.

• FINA–A 352 Art of Eastern and Southern Africa (3 cr.) CASE S&H, CASE GCC A one-semester survey of visual arts, traditions of eastern and southern Africa, examining architecture, personal arts of the body and household, religious arts, and contemporary painting and sculpture. Emphasis on the nineteenth and twentieth centuries, but some earlier traditions, such as Ethiopian Christian art and Swahili architecture, are also discussed.

• FINA–A 355 Art, Craft, and Technology in Sub-Saharan Africa (3 cr.) CASE GCC Examination of technology, history, and uses of traditional African art materials, such as metals, ceramics, wood, and fiber. Emphasis is on furniture, textiles, decorative arts, and utilitarian objects.

• FINA–A 356 Art of Central Africa (3 cr.) CASE A&H, CASE GCC Analysis of visual art traditions of central Africa, focusing primarily on the Democratic Republic of the Congo, but also including art from Cameroon, Gabon, Congo, Central African Republic, and Angola.

• FINA–A 452 Art of Pre-Columbian America (3–4 cr.) CASE S&H, CASE GCC Survey of precontact arts of the Americas south of the Rio Grande. Emphasis on sculptural, architectural, and ceramic arts of ancient Mexico and Peru.

• FINA–A 453 Art of Sub-Saharan Africa I: Arts of Africa’s Western Sudan (4 cr.) CASE S&H, CASE GCC Analysis of visual art traditions of West Africa, focusing primarily on the peoples of the Western Sudan and including the area from northern Nigeria to Senegal. Emphasis on the concepts and themes that give the art its beauty, power, and social relevance for the peoples who use it.

• FINA–A 454 Art of Sub-Saharan Africa II: Arts of the West African Coast (4 cr.) CASE S&H, CASE GCC Analysis of visual art traditions of West Africa, focusing primarily on the peoples of the Atlantic coast from Nigeria to the Republic of Guinea. Emphasis on the concepts and themes that give the art its beauty, power, and social relevance for the peoples who use it.

• FINA–A 458 Topics in the Ethnographic Arts (3 cr.) CASE S&H Specific themes of particular interest in the ethnographic arts. Topics will be based on art categories (such as textiles and music) or geographic areas (such as new developments in the study of central Bantu initiation arts). May be repeated once with a different topic for a maximum of 6 credit hours.

Asian Art

• FINA–A 262 Introduction to Japanese Art and Culture (3 cr.) CASE S&H, CASE GCC A historical survey of Japanese art in the context of culture, society, and politics; the arts of traditional Buddhism; ink painting and other arts associated with the Zen sect; the created landscape, in painting and garden design; historical narratives and scenes of ordinary life; and decorative and useful things, e.g., ceramics, lacquer, textiles, and “golden screens.” Credit given for only one of A262 or A362.

• FINA–A 360 Topics in East Asian Art (3 cr.) CASE A&H, CASE GCC Topics vary; each is focused on a specific aspect or issue in East Asian art, studied in the context of social and intellectual history. May be repeated for a total of 9 hours of credit with different topics.

• FINA–A 464 Art and Archaeology of Early China (4 cr.) CASE S&H, CASE GCC The arts of China from Neolithic times through the T’ang Dynasty (618–906 A.D.): prehistoric ceramics, ritual bronzes, jades, animal sculpture, Buddhist art, and early pictorial art. Particular attention will be paid to major archaeological discoveries, and the material will be discussed in the context of the development of Chinese culture and civilization.

• FINA–A 466 Early Chinese Painting (4 cr.) CASE S&H, CASE GCC Chinese painting and pictorial art from the Bronze Age to the end of the Sung dynasty (A.D. 1279): tomb paintings and reliefs, Buddhist cave paintings, courtly art and imperial patronage, and landscapes. Materials and techniques, art theory, and the relationship between painting and calligraphy will also be considered.

• FINA–A 467 Later Chinese Painting (4 cr.) CASE S&H, CASE GCC Chinese painting from the Yuan dynasty (A.D.1279–1368) to the twentieth century: the emergence, development, and interaction of diverse painting schools; amateurs and professionals, regional styles, political and social contexts, the role of patronage and collecting, and art theory and criticism.

Art Theory

• FINA–A 276 Eye of the Beholder: Art and Perception (3 cr.) CASE A&H Introduction to the philosophy and psychology of perception as they are related to Western art theory and criticism from Plato to the present.

• FINA–A 471 Art Theory I (4 cr.) CASE A&H Art theory from antiquity through the thirteenth century. Topics include Classical Greek and Roman art theory/early Christian art theory, or Medieval art theory: East and West. May be repeated with a different topic for a maximum of 8 credit hours.

• FINA–A 472 Art Theory II (4 cr.) CASE A&H Art theory of the late Middle Ages and the Renaissance. Topics include fourteenth- and early-fifteenth-century art theory in Italy and fifteenth-century art theory in Florence. May be repeated with a different topic for a maximum of 8 credit hours.

• FINA–A 473 Art Theory III (4 cr.) CASE A&H Art theory of the seventeenth and eighteenth centuries. Topics include eighteenth-century background in romanticism; England and Germany or classicism and romanticism; 1750–1850 England and France. May be repeated once with a different topic for a maximum of 8 credit hours.

• FINA–A 474 Art Theory IV (4 cr.) CASE A&H Art theory of the nineteenth and twentieth centuries. Topics include romanticism-realism in France, Baudelaire and romantic theory in France, nineteenth-century German art theory, or late-nineteenth-century French art theory. May be repeated once with a different topic for a maximum of 8 credit hours.

• FINA–A 483 Toys and the Visual Culture of Play (4 cr.) Examines how cultures define the visual scope and nature of play. The primary objective is to arrive at a set of critical terms and skills, mated to a general historical awareness, with which to discuss this elusive subject.
  

General

• FINA–A 300 Topics in Art History (1–3 cr.) R: FINA A102. Specialized topics in the study of art history. May be repeated with different topics for a total of 6 credit hours.

• FINA–A 372 History of Portraiture (3 cr.) CASE S&H Interpretive analysis of portraiture from ancient Egypt to the seventeenth century in western Europe.

• FINA–A 390 Museum Studies I: Methods, History, Issues (3 cr.) Introduction to basic workings of an art museum: the history of museums, collection management, cataloging of objects. The course works closely with the IU Art Museum and its staff and, where applicable, with staff from other museums nearby.

• FINA–A 391 Museum Studies II: Museum Exhibitions (3 cr.) Exhibitions in art museums: conception and development, budget, funding, catalogue writing and production, education and publicity. Students work with a chosen group of museum objects, normally at least partly from the IU Art Museum; the group of objects varies by course topic. Students will receive practical experience by involvement in all aspects of exhibition preparation.

• FINA–A 396 Foreign Study in History of Art (1–9 cr.) Intended only for students participating in IU Overseas Study Program; all fine arts majors are required to obtain prior approval from undergraduate history of art advisor. May be repeated for a total of 9 credit hours.

• FINA–Y 398 Professional Practice in Fine Arts (1–6 cr.) P: Junior standing, approval of the undergraduate advisor. Supervised, career-related work experience in a cooperating institution, agency, or business. Evaluation by employer and the undergraduate advisor. Does not count toward distribution or fine arts requirements. A maximum of 6 credit hours may be earned in Y398.

• FINA–A 400 Senior Seminar (4 cr.) Intensive examination of selected topics in art history. Open only to art history majors or with consent of instructor. Required for art history honors students. May be repeated with a different topic for a maximum of 8 credit hours.

• FINA–A 476 History of Print (4 cr.) CASE S&H History of printmaking from the earliest woodcuts and engravings (c. 1400) through the revival of wood engraving and the invention of lithography around 1800. Study of history of printmaking processes and the function of prints, the development of graphic conventions, and the styles of individual masters such as Dürer, Glotzius, Rembrandt, Goya, etc.

• FINA–A 481 The Worlds of Art History: Academic, Museum, Commercial (4 cr.) P: Art history juniors and seniors. An introduction for art history majors to the three main realms of the professional art historian: academia (colleges and universities), museums, and commerce (galleries, auction houses, appraisal, and corporate work). Exploration of the various ways in which art historical skills and knowledge prepare one for interesting and rewarding careers. Field trips required.

• FINA–A 482 Sixteenth-Century Visual Culture in Northern Europe (4 cr.) CASE A&H Major themes and images from the Renaissance in England, France, Germany, and the Low Countries. Discussion of such notable painters and sculptors as Hieronymus Bosch, Pieter Bruegel the Elder, Albrecht Düer, Jan Gossaert, Quentin Massys, Antonis Mor, and Veit Stoss. Issues include landscape and vicarious travel, assertions of artistic and intellectual self-sufficiency, forms of visual play, and the relationship between print and interpretive conflict.

• FINA–A 490 Topics in Art History (4 cr.; max of 12 cr.) P: Senior or graduate standing or consent of instructor. Topic varies with the instructor and year and will be listed in the online Schedule of Classes. May be repeated twice for credit with different topics.

• FINA–A 495 Readings and Research in Art History (1–4 cr.; max of 8 cr.) P: Consent of instructor. May be repeated for a total of 8 credit hours.

• FINA–A 499 Senior Honors Thesis (4 cr.) P: Approval of departmental honors committee.

Studio

Introductory Courses

• FINA–F 100 Fundamental Studio—Drawing (3 cr.) CASE A&H Development of visual awareness and coordination of perceptual and manual skills; seeing, representing, and inventing on an experimental, exploratory level in two dimensions. Includes placement, scale, volume, light, formal articulation, and investigations of graphic tools and media.

• FINA–F 101 Fundamental Studio—3D (3 cr.) CASE A&H Volume, space, material, and physical force studies provide the basis for exploration of three-dimensional form; includes carving, construction, and modeling, using wood, plaster, clay, etc.

• FINA–F 102 Fundamental Studio—2D (3 cr.) CASE A&H Color, shape, line, and value structures are studied as the basis for exploration of two-dimensional spatial relationships; includes investigation of conventional and invented tools and media.

• FINA–N 110 Introduction to Studio Art for Nonmajors (3 cr.) CASE A&H Introduction to the visual language of the studio arts. Students learn and apply the basic elements of design and begin to understand the principles of organization. Through the exploration of a variety of two-dimensional and three-dimensional media (drawing, painting, wire, and clay) students become familiar with basic techniques used to develop art works.

Ceramics

• FINA–S 260 Ceramics I (3 cr.) CASE A&H A limited introduction to handbuilding, throwing, glaze mixing, and glaze application, including lectures on basic ceramic techniques. Critiques of student work.

• FINA–S 361 Ceramics II (3 cr.) CASE A&H P: S260. Continued practice in forming and glazing, with emphasis on wheel throwing, surface decoration, and kiln firing techniques. Instruction through lectures, demonstrations, and critiques. May be repeated once.

• FINA–S 461 Ceramics III (arr. cr.) P: 6 credit hours in ceramics or consent of the instructor. Further practice in advanced ceramic techniques. Instruction through lectures, demonstrations, and critiques. Topics vary by instructor and semester. Consult the online Schedule of Classes for current information on content. May be repeated with different topics/instructors for a total of 20 credit hours.

• FINA–S 462 B.F.A. Ceramics (arr. cr.) P: Admission to the B.F.A. program in ceramics. Directed advanced study and production of a body of work leading to an exhibition. Students meet independently with instructor and in groups for critiques and lectures to maintain a dialogue with contemporary issues and to provide technical advice. May be repeated for a total of 60 credit hours.

• FINA–S 469 B.F.A. Ceramics Seminar (1 cr.) P: Admission to the B.F.A. program in ceramics. Discussions, critiques, and research projects in ceramic art. Required each semester for B.F.A. candidates in ceramics. May be repeated for a total of 10 credit hours.

• FINA–R 478 History of Ceramics (3 cr.) Emphasis on the historical development of pottery in individual cultures, as well as how one culture's pottery has influenced another’s. No credit in History of Art.

Digital Art

• FINA–N 130 Digital Imagery for Nonmajors (3 cr.) CASE A&H Lecture course introduces nonmajors to the fundamental practice of creating art imagery using digital software. Demonstrations and optional hands-on lab sessions emphasize technical production in Photoshop and Illustrator. Art projects created in Photoshop and lecture topics focus on aesthetic approaches and issues facing artists working in contemporary digital imaging.

• FINA–D 210 Digital Art: Survey and Practice (3 cr.) CASE A&H Beginning class on digital media’s role in the world of art production and reception. Class emphasizes learning to use digital media to produce original, creative art work. Topics include digital imaging, communicative art, and interactivity. Credit given for only one of D210 or T230.

• FINA–D 310 Interactive Multimedia (3 cr.) P: D210 or T230, and portfolio review. A study of the principles and fundamental techniques for creating multimedia projects that explore their potential for critical artistic expression. The course will examine issues specific to onscreen interaction and time-based media. Tools such as Flash, Dreamweaver, and other supporting programs will be covered. Credit given for only one of D310 or T330.

• FINA–D 317 Video Art (3 cr.) CASE A&H P: F100, F101 or F102 or D210, or portfolio review. Exploration of the medium of video as an aesthetic expression. Time and sound are elements incorporated into visual composition’s traditional concerns. Emphasis on technical command of video camera and digital editing procedures in conjunction with development of a visual sensitivity. Readings and a research project are required. Credit given for only one of D317 or T320.

• FINA–D 318 3D Computer Graphics (3 cr.) P: Consent of the instructor. Hands-on studio course exploring the technical development of three-dimensional computer graphics for state-of-the-art display systems. Students will investigate user-interface design, create 3D graphical environments, and explore the parallel drives toward content creation and visual aesthetics. Credit given for only one of D318 or T340.

• FINA–D 410 Advanced Multimedia (1–6 cr.) P: D310 or T330, and permission of instructor. A broad range of aesthetic and conceptual issues related to digital material and electronic interactivity. Students are encouraged to develop art projects using digital multimedia, video, hypertext, or the incorporation of object-based media. Dialogue of timely issues through readings, screenings, Web sites, and gallery visits. May be repeated for a combined maximum of 20 credit hours in D410 and T430.

• FINA–D 411 B.F.A. Digital Art Seminar (1 cr.) P: Admission into the B.F.A. program in digital art. Weekly or biweekly seminar that includes critiques of student work, discussion of special topics, assigned readings, multimedia lectures, visiting artist lectures, and special research projects. May be repeated for a maximum of 10 credit hours.

• FINA–D 412 B.F.A. Digital Art (1–6 cr.) P: Admission into the B.F.A. program in digital art. Directed, advanced study and production of a body of work leading to B.F.A. exhibition. Students meet independently with instructor and in group critiques to maintain a dialogue and provide technical advice. May be repeated for a maximum of 60 credit hours.

• FINA–D 417 Digital Video (1–6 cr.) P: D317 or T320. Advanced study of video’s potential in contemporary fine art practice. Students will create a new visual vocabulary using the latest technology including high-definition video systems and interactive DVD authoring. Covers special effects and animation programs that allow artists to further explore the aesthetics of time-based media. May be repeated for a combined maximum of 20 credit hours in D417 and T420.

• FINA–D 418 Computer Graphical Environments (1–6 cr.) P: Consent of instructor. Students develop 3D graphic environments to visualize and conceptualize creative constructs for virtual environments, explore art and spatial simulation, including animation, interaction, lighting, and design. Dialogue of timely issues is encouraged based on readings, videos, CD-ROMs and visits to galleries, Web sites and alternative spaces. May be repeated for a combined maximum of 20 credit hours in D418 and T440.

• FINA–D 419 Special Topics in Digital Art (3 cr.) P: D210 or T230, and permission of instructor. Special topics in computer-related art production. May be repeated for a combined maximum of 6 credit hours in D419 and T338.

• FINA–T 439 Advanced Digital Media Project (2–6 cr.) Independent project of digital media under the supervision and consultation of the instructor. May be repeated for a maximum of 12 credit hours.

Drawing

• FINA–S 200 Drawing I (3 cr.) CASE A&H P: F100, F101, and F102. Preliminary course for advancement in drawing, stressing basic visual awareness; seeing, representing, and technical command on a two-dimensional surface. Problems in handling placement, scale, space, volume, light, and formal articulation.

• FINA–S 301 Drawing II (3 cr.) CASE A&H P: S200. Intermediate course in drawing from the model and other sources. Emphasis on technical command of the media in conjunction with the development of a visual awareness. Continued problems in the articulation of space, scale, volume, value, and linear sensitivity. May be repeated once.

• FINA–S 401 Drawing III (arr. cr.) P: S301. Advanced drawing. Continuation of S301. May be repeated for a total of 20 credit hours.

• FINA–S 403 Anatomy for the Artist (3 cr.) P: F100, S200. Intensive lecture/studio course describing all of the bones and muscles of the body. The emphasis is on joint movement and proportion. The areas of the body are divided into 3D mass conception, bone and muscle description, and joint description. Students draw from the skeleton, plaster cadaver casts, and the human figure.

• FINA–S 405 B.F.A. Drawing (arr. cr.) Concentrated tutorial in the drawing craft. Craftsmanship, content, and personal style are stressed. May be repeated for a total of 60 credit hours.

Textiles

• FINA–S 220 Textiles I (3 cr.) CASE A&H An introduction to textiles and fiber-related techniques and concepts. This survey course investigates a variety of materials and processes including resist dyeing, printing, and felting, emphasizing the expressive potential of each of these techniques through demonstrations, lectures, and critiques.

• FINA–S 321 Textiles II (3 cr.) CASE A&H P: S220 or instructor permission. Expands students' technical, creative, and critical abilities when working with textile-related materials, processes, and concepts. Rotating semester topics include resist-dyeing, repeat-pattern design, screenprinting, weaving, pieced construction, single-line and off-loom construction. May be repeated for a maximum of 6 credit hours.

• FINA–S 421 Textiles III (arr. cr.) P: S321. A continued exploration of textile-related materials, processes, and concepts with an emphasis on independent investigation and production. May be repeated for a total of 20 credit hours.

• FINA–S 422 B.F.A. Textiles (arr. cr.) Intensive study in textile-related materials, processes, and concepts through the production of a body of work reflecting the student's individual interests. Regular individual meetings and group critiques are planned to foster dialogue and provide additional support. May be repeated for a total of 60 credit hours.

Graphic Design

• FINA–S 250 Introduction to Design Practice (3 cr.) CASE A&H P: F100, F101, F102. Drawing and perception in the history and practice of visual communication, including a basic introduction to the field and exercises with pencil, marker, computer, and other tools, to produce symbols, letter forms, and symbol-letter combinations.

• FINA–S 351 Typography I (3 cr.) CASE A&H P: S250 and consent of instructor. Studies in visual communication with an emphasis on typography, including measurement and structure, detail and refinement, hierarchy and legibility, tools, and application to various media in digital and print formats. An introduction to type history, aesthetics and analysis are also considered.
  

• FINA–S 352 Production for the Graphic Designer (3 cr.) CASE A&H P: S351 and consent of instructor. A thorough set of practical exercises that combine design projects with related information about both presentation of ideas and printing of finished designs.
  

• FINA–S 451 Graphic Design Problem Solving (arr. cr.) P: S352 and consent of instructor. Professional problem solving in graphic design. Using a variety of mediums to communicate messages, students apply processes from printing to multimedia as appropriate for directed projects. May be repeated for a total of 20 credit hours.

• FINA–S 452 B.F.A. Graphic Design (arr. cr.) Directed, advanced study in graphic design. See description of B.F.A. program for studio majors. May be repeated for a total of 60 credit hours.

• FINA–S 455 Practice and History of Graphic Design (3 cr.) P: S250, S351, S352, and consent of instructor. Examines the history of graphic design with a focus on Western Civilization and comparisons to other cultures. Design projects and reports by students provide graphic design experience and reflection on the historical topics covered.

• FINA–S 459 Graphic Design Advanced Seminar: Topics in History, Theory, and Criticism (3 cr.) P: FINA S352 and permission of instructor. Background on major graphic design movements, the design of the alphabet and type styles, the use of tools (printing press, wood cut, engraving, camera, airbrush, computer). Social and political forces such as industrial development and nationalism will be considered. Writings of theorists and historians will be reviewed. Recommended for B.F.A. students in graphic design. May be repeated for a total of 12 credit hours.

Metalsmithing and Jewelry Design

• FINA–S 280 Metalsmithing and Jewelry Design I (3 cr.) CASE A&H P: F101, F102, or consent of instructor. Introductory course for exploring metalworking and jewelry design as a serious form of creative expression. Focuses on the basic techniques of piercing of metals, soldering, sheet metal construction, surface embellishment, mechanical joining, wire forming and forging, stretching of sheet metals, and various metal finishing techniques.

• FINA–S 381 Metalsmithing and Jewelry Design II (3 cr.) CASE A&H P: S280. Extensive designing and model making for exploring forms and ideas in metal and mixed media, either as jewelry, hollowware objects, flatware, tea strainers and infusers, boxes, or small-scale sculpture. Focus on techniques of angle raising, repoussé and chasing, forging of flatware, stone setting, and lost-wax casting, jewelry mechanisms, hinge making, and patination of metals. May be repeated for a maximum of 6 credit hours.

• FINA–S 481 Metalsmithing and Jewelry Design III (arr. cr.) P: S381. Improves and expands knowledge and skill in metalsmithing and jewelry design. Guidance toward developing a personal direction of creative expression, artistic aesthetic, and art philosophy. Advanced techniques include large-scale vessel forming from sheet metal, large-scale soldering, die forming, jewelry mechanisms, chain making, chasing and repoussé, enameling, stone cutting, PNP etching, and working with alternative materials. May be repeated for a total of 20 credit hours.

• FINA–S 482 B.F.A. Metalsmithing and Jewelry Design (arr. cr.) P: Admission to the B.F.A. program in metalsmithing, formal review of work. Mentor-directed, independent study in jewelry and metalsmithing leading to the development of a professional portfolio and a B.F.A. thesis exhibition. Creation of a cohesive body of work for application to graduate school or to begin working as a professional metalsmith or jeweler. May be repeated for a total of 60 credit hours.

• FINA–S 485 B.F.A. Metalsmithing Seminar (1 cr.) P: Admission to the B.F.A. program in metalsmithing. Seminar in metalsmithing and jewelry design that includes critiques of students’ work, discussion of readings, special projects, slide lectures, technical demonstrations, visiting artist lectures, and exhibitions. Guidance toward developing a personal direction of creative expression, artistic aesthetic, and art philosophy. May be repeated for a total of 10 credit hours.

Painting

• FINA–S 230 Painting I (3 cr.) CASE A&H P: F100, F101, and F102. Preliminary course for advancement in painting; exploring technical and visual aspects of color media. Emphasis on media command and structural problems in painting. Media: oil and acrylics.

• FINA–S 331 Painting II (3 cr.) CASE A&H P: S230. Intermediate course in painting from the model and other sources. Emphasis on technical command and understanding of the components of painting space, color, volume, value, and scale. Media: oil or acrylics. May be repeated once.

• FINA–S 431 Painting III (arr. cr.) P: S331. Advanced course in painting. Continuation of S331. May be repeated for a total of 20 credit hours.

• FINA–S 432 B.F.A. Painting (arr. cr.) P: S431. Concentrated studio projects within the framework of the B.F.A. painting program. (See description of the B.F.A. program.) May be repeated for a total of 60 credit hours.

• FINA–S 439 B.F.A. Painting Seminar (1 cr.) Advanced study in painting. Weekly review of student work with attention to content, craftsmanship, intent, and resources. Periodic discussions of art history with slide material to illustrate painting problems and concepts. Group participation stressed. Open to B.F.A. painters only. May be repeated for a total of 10 credit hours.

Photography

• FINA–N 198 Introduction to Photography for Non-Majors (3 cr.) CASE A&H For those who use digital single lens reflex (SLR) cameras and do not require darkroom expertise. Covers basic camera operations, composition, color, lighting, visual communication, and aesthetics. Considers journalism, commercial, and fine art photography. Also discusses new imaging technology. A digital camera is required.

• FINA–S 291 Fundamentals of Photography (3 cr.) CASE A&H Basic practice of digital camera operation, exposure calculation, exposing, image file management, image optimization and digital printing. Guidance toward establishment of a personal photographic aesthetic. A digital SLR camera is required.

• FINA–S 392 Intermediate Photography (3 cr.) CASE A&H P: S291 or consent of instructor. Practice of black-and-white photography: camera work, darkroom practices, appreciation of photographs, and experience in expressive use of the medium.

• FINA–S 490 Advanced Photography I (3 cr.) P: S392 and consent of instructor. May be repeated for a total of 60 credit hours.

• FINA–S 491 Advanced Photography II (arr. cr.) P: S392 and consent of instructor. May be repeated for a total of 20 credit hours.

• FINA–S 492 B.F.A. Photography (arr. cr.) May be repeated for a total of 60 credit hours.

Printmaking

• FINA–S 240 Basic Printmaking Media (3 cr.) CASE A&H Introduction to printmaking. Emphasis on three basic media: intaglio, lithography, and silk screen. Problems in pictorial composition and drawing. Study of the interrelationships of all graphic media.

• FINA–S 341 Printmaking II—Intaglio (3 cr.) CASE A&H P: S240. Advanced study with emphasis on intaglio. Problems in pictorial composition and drawing stressed.
  

• FINA–S 343 Printmaking II—Lithography (3 cr.) CASE A&H P: S240. Advanced study with emphasis on lithography. Problems in pictorial composition and drawing stressed.
  

• FINA–S 344 Printmaking II—Silk Screen (3 cr.) CASE A&H P: S240. Advanced study with emphasis on silk screen. Problems in pictorial composition and drawing stressed.

• FINA–S 441 Printmaking III—Intaglio (arr. cr.) P: S341. Advanced work in intaglio for qualified students. This course is also open for non–M.F.A. printmaking students on the graduate level. May be repeated for a total of 20 credit hours.

• FINA–S 442 B.F.A. Printmaking (arr. cr.) Directed study in printmaking. May be repeated for a total of 60 credit hours.

• FINA–S 443 Printmaking III—Lithography (arr. cr.) P: S343. Advanced work in lithography for qualified students. This course is also open for non–M.F.A. printmaking students on the graduate level. May be repeated for a total of 20 credit hours.

• FINA–S 444 Printmaking III—Silk Screen (arr. cr.) P: S344. Advanced work in silk screen for qualified students. This course is also open for non–M.F.A. printmaking students on the graduate level. May be repeated for a total of 20 credit hours.

• FINA–S 445 Relief Printmaking Media (1–3 cr.) P: S240 or consent of instructor. Relief printmaking media: woodcut, linocut, monotype, and collograph. Students create prints in each medium in both black-and-white and color using a variety of traditional and innovative techniques such as photo and the computer. May be repeated for a total of 20 credit hours.

• FINA–S 449 B.F.A. Printmaking Seminar (2 cr.) Open to B.F.A. printmakers. Required each semester. Seminars will have different topics taught by printmaking faculty on a rotating basis. Special printmaking projects, critiques, and artists’ lectures related to the field of printmaking. Historical, technical, and conceptual issues discussed. Group critiques held once a month as part of the seminar. May be repeated with different topics for a total of 20 credit hours.

Sculpture

• FINA–S 270 Sculpture I (3 cr.) CASE A&H P: F101. Foundation in basic technical and formal methods of traditional and contemporary sculpture. Use of tools and equipment for additive and subtractive techniques including wood construction, steel fabrication, clay modeling, plaster mold making and cold casting, and assemblage. Emphasis placed on technical execution, conceptualization, and creative problem solving.

• FINA–S 271 Introduction to Figurative Sculpture (3 cr.) CASE A&H Figurative sculpture has been the traditional method of introducing students to form, space, and proportion in sculpture. Students work from the model with clay, creating sculpture from observation.

• FINA–S 371 Sculpture II (3 cr.) CASE A&H P: S270 or consent of instructor. Development of skills in both traditional and contemporary sculpture methodology. Rotating semester topics may include figurative sculpture, carving, casting, steel/wood construction, computer-aided machining and rapid prototyping, installation art, and public art. Emphasis on the exploration of ideas through the sculptural form and knowledge of materials and historical traditions. May be repeated for a maximum of 6 credit hours.

• FINA–S 471 Sculpture III (arr. cr.) P: S371 or consent of instructor. Advanced work in sculpture for qualified students working in the chosen materials. The course focuses on the development of ideas as manifest in sculptural form. May be repeated for a total of 20 credit hours.

• FINA–S 472 B.F.A. Sculpture (1–7 cr.) Production of a body of work reflecting the student’s specific interests. Students meet independently with professor and in group critiques to maintain a dialogue and provide technical advice. Open to B.F.A. degree majors only. May be repeated for a total of 60 credit hours.

• FINA–S 479 B.F.A. Sculpture Seminar (1 cr.) P: Admission into the B.F.A. sculpture program. Weekly critiques, assigned readings, discussions, slide lectures, and special research projects. May be repeated for a total of 10 credit hours.

General

• FINA–G 400 B.F.A. Final Review (No cr.) Final portfolio review for B.F.A. program.

• FINA–U 201 Special Topics in Studio Art (1–3 cr.) Selected introductory-level topics not ordinarily covered in other studio art courses. May be repeated once with a different topic for a maximum of 6 credit hours.

• FINA–U 301 Special Topics in Studio Art (1–3 cr.) Selected intermediate-level topics not ordinarily covered in other studio art courses. May be repeated once with a different topic for a maximum of 6 credit hours.

• FINA–U 400 Sources and Resources: Professional Skills in Fine Arts (1–3 cr.) P: B.F.A. major or advanced B.A. studio art major. Focuses on building professional skills for careers in art. Seminar format will be structured to foster individual growth and insight in understanding both conceptual and practical concerns of choosing to be an artist. May be repeated with different topics for a total of 6 credit hours.

• FINA–U 401 Special Topics in Studio Art (1–3 cr.) Selected topics in studio art not ordinarily covered in other departmental courses. May be repeated once with a different topic.

• FINA–U 402 Technical Resources in Studio Art (1–3 cr.) Special aspects of studio training in the various disciplines focusing on technical and safety issues of equipment use and/or chemical substances. May include advanced aspects of technologies in studio areas and preparation for use of facilities in independent studio projects. May be repeated once with a different topic.

• FINA–R 408 Contemporary Art Issues and Cultural Themes (3 cr.) Focus is on artwork from 1980 to the present. Historical references and cultural theory are considered to provoke thoughts about the intersections between art and culture.

• FINA–U 450 Independent Studio Projects (cr. arr.; max of 12 cr.) Individual studio projects under guidance of faculty member or committee. Does not fulfill a specific course requirement for a fine arts major.