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Courses in the Department of Fine Art are offered in two basic areas: lecture courses or seminars in the History of Fine Art (FAH) and practical studios or seminars in Visual Studies (VIS). Minor, Major and Specialist programs are offered in both the History of Art and Visual Studies.
The FAH courses survey all periods from the Bronze Age to the present in the Mediterranean area, Europe, and North America. Five pairs of FAH half-courses at the 200 level offer comprehensive overviews of the principal periods in Western art history: Ancient (FAH 203H and 204H), Mediaeval (FAH 262H and 263H), Renaissance and Baroque (FAH 274H and 279H), and Modern (FAH 213H and 214H, and FAH 287H and 288H). As the paired courses are normally offered in sequence the first one in the fall term and the second in the spring such survey courses may be taken in order (if a student's program permits), but they may also be taken separately. One or other of any pair will partially satisfy a program requirement for coverage in that period: see "Fine Art Programs" (next section). In many cases, either one of the paired half-course surveys may also act as the "gateway" to upper-level courses (300- and 400-level) of the same period. Students should check the prerequisites for each upper-level course carefully. Students are also encouraged to study the arts of the ancient Near East, East Asia, and Islam in courses given by other departments.
The studio program, known as Visual Studies, begins with VIS 110Y, a foundation course. This is project-oriented, in a variety of media and techniques mainly drawing, painting, printmaking and sculpture. Imagery, mass media, theory and history are all considered in this course. After VIS 110Y the Visual Studies program branches along two paths in a parallel series of half-courses. Core courses in painting, printmaking, sculpture and video continue, while interdisciplinary studies pursue the making of art with a strong commitment to theoretical, social and political issues (in Site-Specific Installation, for example, or Women and Art). These paths continue through the second, third and fourth years: see "Fine Art Programs" (next section). A portfolio test is required for admission into VIS 110Y. Specialist students in the History of Art require one full-course equivalent in studio to complete their program and are advised to bypass VIS 110Y and to seek admission directly into upper-level courses through a ballot (see next-to-last paragraph). The scope and variety of available courses will provide students with preparation for careers in teaching, museum and gallery work, conservation and complementary fields, though further professional training will normally be necessary.
Courses in the history of art (FAH) and in the practice of art (VIS) are useful to students in other departments or faculties; history, literature, music, and philosophy are likewise concerned with systems of thought and imagery. Fundamental concepts in such disciplines are embodied or reflected in related works of art of the same general period and area. Students in architecture, geography, or city planning will find courses in the history of architecture of benefit. Those with a special interest in the practice of architecture will find studio courses of value.
At the same time, the Department directs the attention of its students to the wide range of offerings in other departments and urges them to acquire the broad cultural background essential to an understanding of the fine arts. Of special importance are familiarity with history, the ability to read certain European languages (see below), a knowledge of the various traditions of literature and mythology, and an acquaintance with philosophy. Courses in cultural, historical or urban geography may also be relevant in programs which include the history of architecture.
In conjunction with Woodsworth College, the Department offers courses during July and August at the University of Siena, Italy. For information about these degree-credit courses, please consult the Department of Fine Art Undergraduate Handbook and contact the Student Services Office at Woodsworth College, 119 St. George Street (978-2411).
Many courses in the Department, whether history or studio, are offered in alternate years only, or on a three-year cycle. For admission to some FAH 300- and 400-level courses a reading knowledge of certain foreign languages is either recommended or required. The studio program requires no prerequisite at the secondary school level, but enrolment is limited in all studio courses; for most of them, as well as all upper- level history courses, balloting is mandatory and should be completed on forms available in Room 6036, Sidney Smith Hall, by April 30 in order to guarantee consideration. For more detailed information on courses and degree programs, consult the Department of Fine Art Undergraduate Handbook. Counselling is available, by appointment, from the Undergraduate Coordinators.
The student Art Society sponsors a variety of lectures and other activities for members of the departmental community.
Undergraduate Coordinators: (FAH) E.M. Kavaler (978-3290); (FAS/VIS) Mr. C. Campbell (978-3289)
Enquiries: Sidney Smith Hall, Room 6036 (978-7892)
Enrolment in the Fine Art programs requires the completion of four courses; no minimum GPA required.
FINE ART (HISTORY OF ART) (B.A.)Specialist program: S09081 (12 full courses or their equivalent, including at least one 400-series course)
At least 9 FAH courses, 1 FAS/VIS course (VIS 110Y) and 2 courses in one or more languages (including at least one French, German or Italian), fulfilling the following distribution requirements:
Major program: M09081 (6 full courses or their equivalent)
At least 6 FAH courses fulfilling the following distribution requirements:
Minor program: R09081 (4 full courses or their equivalent)
At least 4 FAH courses fulfilling the following distribution requirements:
VISUAL STUDIES Program (B.A.)Specialist program: S06601 (10 full courses or their equivalent, including at least one 400-series course)
Requirements as follows: at least 8 VIS and 2 FAH full courses or their equivalent including FAH 100Y
Major program: M06601 (6 full courses or their equivalent)
A total of 6 Visual Studies full courses or their equivalent
NOTE: During 2nd and 3rd year, Major students must take a total of 4 interdisciplinary half-courses
Minor program: R06601 (4 full courses or their equivalent)
A total of 4 Visual Studies full courses or their equivalent
For Distribution Requirement purposes, all FAH and FAS/VIS courses are classified as HUMANITIES courses.
Undergraduate seminar that focuses on specific ideas, questions, phenomena or controversies, taught by a regular Faculty member deeply engaged in the discipline. Open only to newly admitted first year students. It may serve as a breadth requirement course; see First Year Seminars: 199Y.
HISTORY OF ART (FAH)
Issues and perspectives in the study of western art. Consideration of representative monuments, their original significance, and their continuing relevance.
The material revealed by archaeological investigations as documents of general cultural and historical significance as well as works of art. (Offered in alternate years)
The major developments in the Archaic, Classical and Hellenistic periods (ca. 750 - ca. 100 B.C.) in their social and historical context.
The visual arts of the ancient Roman world, in the Republican and Imperial periods (ca. 300 B.C. - ca. 300 A.D.). An introductory survey of major forms and monuments.
Discussion of the importance of seven cities (Pergamon, Sardis, Smyrna, Ephesos, Laodikeia, Thyateira, Philadelphia) in the world of the 1st century A.D., and an account of the major monuments revealed by excavation. (Offered in alternate years)
A study of the ancient and Early Christian monuments at some of the cities connected with the travels of St. Paul in Asia Minor, the Aegean and Greece; the survey concentrates on significant visible remains at sites not studied in detail in other course offerings. (Offered in alternate years)
The appearance of new types of buildings and the development of established types in Europe and North America in the modern period (especially mid-18th to early 20th century), their forms, uses and meanings. (Offered in alternate years)
Major monuments of architecture and town planning in Europe and North America from the middle of the 18th century through the 19th century.
Continuous with FAH213H, a study of the work of key figures in Europe and North America from the "early moderns" of the late 19th century through the "Modern Movement" to the present. (Offered in alternate years)
The aesthetic, historical and cultural significance of selected major works of art and architecture in the Christian world between the 3rd and 15th centuries.
The art and architecture of the first Christian millennium from its Jewish and classical origins in the world of Late Antiquity to its subsequent development in the Byzantine East and the Carolongian and OttonianWest.
The art of Western Europe architecture, painting, manuscript illumination, sculpture, and metalwork from the year 1000 through the emergence and dissemination of the Gothic style.
The mediaeval townscape: forms and uses of religious and secular public buildings, domestic architecture, and other ordinary furnishings of cities.
A history of western medieval monasticism, male and female, from the 6th to the 15th century through its art and architecture, focusing on the monastery as a distinctive architectural form and the evolving inter-relationship between material culture, monastic craft, and the spiritual ideals of various monastic orders.
The Gothic cathedral represents the archetypal accomplishment of medieval art. The course considers the cathedral from multiple perspectives: technology and construction, ideology and iconography, patronage and programs, liturgy and function, history and historiography, urban setting, and such integral elements as stained glass, sculpture, and liturgical furnishings.
An interdisciplinary course focusing on new pictorial structures around 1300, paralleled by an evaluation of Italian (Tuscan) civilization, culture and language (volgare).
Taught in Siena; course description same as FAH269H above.
Art in Context (formerly FAH270Y) 26L
The beginnings and the mature stage of the Italian painted altarpiece. Evaluation of these paintings focuses on Duccio and Giotto and their followers.
The development of fresco painting from the time of Giotto to the great masters of the period ca. 1500. Taught in Siena: field trips to Florence as well as visits to Assisi, Padua, S. Gimignano, and Arezzo.
Consideration of his art and thought in view of the intellectual milieu in which he worked, contemporary artistic theory and patronage.
Major forms of expression in the visual arts ca. 1400 - ca. 1600 with particular attention to Italy, but also in Germany, France and the Low Countries: forms, techniques, theories, and patronage of the arts as well as biographies of the artists.
A study of the two most important Netherlandish artists of the 17th century and their contemporaries.
An examination of the work of Andrea Palladio (1508-1580), with an analysis of the significance of his architectural and literary legacy to 1800. The course concentrates on political circumstances and patronage in Palladio's own work and addresses the diffusion of his work in Northern Europe.
Major forms of expression in the visual arts ca. 1600 - ca. 1750 with particular attention to forms, techniques, theories, and patronage of the arts as well as biographies of artists in Italy, France, the Netherlands, Flanders, Germany and England.
An introductory survey of the history of painting and sculpture in Canada from the 17th to the mid-20th century.
A survey of major movements and artists active in Europe in the late 18th century and during the 19th century.
A continuation of FAH287H, this course comprises a survey of major movements and artists in the Western World between the 1880s and ca. 1960.
Major themes of eastern art drawn from the rich legacy of Ancient Near Eastern, Islamic, Indian, Chinese and Japanese civilizations from prehistory to the recent past. Emphasis on appreciation within cultural context; museum visits.
Credit course for supervised participation in faculty research project. See Research Opportunity Program for details.
NOTE Most FAH 300- and 400-level courses are taught only in alternate years. All 300-series courses have limited enrolment and are balloted through the Department.
Detailed study of selected monuments and sites exemplifying the development of Greek architecture and planning through the complex programs of the Hellenistic period (ca. 750 - ca. 100 B.C.).
Design and function of architectural forms in the Roman world ca. 300 B.C. - ca. 300 A.D.: late Hellenistic and Italic roots; the transformed orders; Roman forms in capital and empire.
Different facets of these and related arts of Classical and Early Hellenistic Greece, with reference to the impact of recent archaeological discoveries on our knowledge.
Painting techniques and the development of styles from the 10th to the 5th century B.C. Analysis of themes (mostly mythological), representational conventions and pictorial narrative, with comparison to contemporary sculpture.
Arts of the 16th century in the context of literature, religion, urban expansion, political and economic development. Detailed study of Dürer, Hieronymus Bosch, Pieter Bruegel, rise of vernacular literature and secular art.
Concentration on the major masters of Holland's Golden Age with reference to works in the Art Gallery of Ontario.
The development of these arts from the late 17th to mid-20th century and their relationship to European traditions; emphasis on the re-assessment of the growth of a distinctive national style; international interaction.
Concepts and expression of narrative in the Greek pictorial arts (free-standing and relief sculpture, monumental painting, ceramics and minor arts), from the 8th through the second century B.C., with reference to other traditions (e.g. Aegean, Near Eastern).
Transformation in the visual arts painting, sculpture, and mosaics of the expanding Greek world, ca. 400 - ca. 100 B.C.; the response to Hellenization from the new artistic centres of Pergamon and Italy.
The art and architecture of French monasticism in the 12th century, with an emphasis on the interrelationship of art and spirituality. Among the topics considered: monastic architecture (the crypt, the facade, the cloister, and the portal), pilgrimage, relics and reliquaries, the illuminated bible, royal patronage, and controversies over the legitimacy of images.
The course considers the art and architecture, sacred and secular, produced in and around major centres of royal and imperial patronage, among them, Paris, Burgundy, London, and Prague, in the 13th, 14th, and early 15th centuries, with emphasis on issues of dynastic propaganda, artistic rivalry and exchange (the "International Style"), and the emergence of modern notions of art and artistry.
An interdisciplinary examination of illuminated manuscripts in the cultural context of medieval Christianity, from the origins of the book in Late Antiquity to the invention of printing.
The Jewish antecedents of Christian art, the continuity and the revival of classical styles and iconography, the impact of devotional images, church decoration, the role of patronage and working methods of mediaeval artists.
Mediaeval sculpture from Carolingian times to the last quarter of the 12th century in architectural decoration and in church furnishings in stone, metal and wood.
The imagery in Books of Hours mirrors contemporary societal concerns, and is a window onto late medieval culture. Topics include: origins, function, ownership and patronage; relationships between image and text; effects of changing patterns of literacy; and interplay between realism and abstraction.
Architecture and architectural theory ca. 1400 - ca. 1600.
Taught in Siena; course description same as FAH324H above.
A study of the 13th- and 14th-century sculpture in Siena and its environs, with particular attention given to Nicola and Giovanni Pisano and the social and architectural contexts for their work. Taught in Siena.
Painting, manuscript illumination, and the graphic arts in northern Europe (France, the Netherlands, Burgundy, and Germany), ca. 1300 to 1500. In addition to major artists, the course treats topics such as the emergence of panel painting and other, novel forms of devotional imagery; courtly patronage and collecting, and changing functions and audiences for art.
The development of art in England from the 7th century to the end of the Gothic period.
The development of Renaissance sculpture from Ghiberti to Michelangelo; emphasis on the works of Donatello and Michelangelo, and the latter's impact on the succeeding Mannerist generation (Cellini, Ammanati, Sansovino).
Taught in Siena; course description same as FAH331H above.
Focussing on developments in Venice, Florence and Rome during the Renaissance, this course examines altarpieces both as aesthetic objects and as expressions of the social, religious and political structures for which they were made.
Architectural theory and practice in Tuscany from Brunelleschi through Alberti, Francesco di Giorgio, and Peruzzi to Michelangelo and Ammanati as seen against concurrent developments in Venice and Rome. Taught in Siena. Field trips to Florence and throughout Tuscany, as well as Venice, Vicenza, and the Veneto.
The origins and development of the Baroque style in architecture in the Italian peninsula, principally in Rome.
A wide array of works in architecture, painting and sculpture studied in light of some of the most important political and social developments of the period: the French invasion of Italy, the rise of Savonarola and the fate of the Medici, the imperialization of the papacy under Julius II, and the Sack of Rome.
Form and meaning, theory and practice of painting and architecture in Venice, ca. 1450-ca. 1600. Social, political and cultural contexts of making and viewing art, including works by Giorgione, Titian, Veronese, Tintoretto and Palladio.
Systems of decoration (programmed, integrated, or both), particularly in Italy and France in the 16th century.
An investigation of the birth and development of Cubism, Futurism and Orphism in Europe and North America.
Evolution of ornamental style from the Renaissance through Art Nouveau in prints and drawings. Focussed on these works on paper as a genre and on the chronology of European ornament, the course also addresses theories of ornament and the many different roles played by such prints and drawings in art, architecture, and decorative arts.
The evolution of distinctly Roman artistic forms from their Hellenistic and Italic origins, ca. 100 B.C. - ca. 100 A.D. Emphasis on Augustan Rome and Pompeii.
Tradition and innovation in the art of the later empire: the transformation of the city of Rome and its architecture; the invention of new monumental types; the revival of earlier styles as the visualization of ideology.
A survey of artistic culture from the time of Mignard, named as First Painter and Director of the Royal Academy in 1690, to the Academy's dissolution in 1793.
The craft and social history of drawings and prints in Western tradition ca. 1400- ca. 1900; their real and perceived roles in the development and dissemination of subject matter (original, interpretive and popular).
Major movements and significant graphic artists from the Fin de Siècle to the present. Students have the opportunity to study works of art in the Art Gallery of Ontario, Toronto collections, and printmaking collectives.
Vernacular traditions of the colonial period, patterns of settlement and urbanization, the emergence of the architect and development of high styles of architecture throughout representative parts of what is now the United States, from ca. 1650 to ca. 1925.
Vernacular traditions in building, patterns of settlement and urbanization, and development of high styles in architecture in New France, British North America, and what is now Canada, from ca. 1650 to ca. 1925. Material economy, cultural identity, local character, regional expression, national symbolism and international influences.
The changing concerns of architects and planners from the first quarter of the nineteenth century to the present are examined closely in a series of site visits. Structures are chosen from different periods to represent the broadest possible range of designers, building types, materials, technologies and styles.
The origin and development of Impressionism in France and Europe, 1860-1886, in its social, political and intellectual context. Painting, graphics and sculpture by Monet, Renoir, Degas, Pissarro, Sisley, Cassatt and Morisot.
The formal vocabulary and theory of the Modern Movement (ca. 1907- ca. 1927) set in the context of social and political changes, of debates in the field of aesthetics and criticism, and of dialogue with the other arts.
An examination of architectural theory and practice spanning the period marked by the dissolution of Modernist utopia to Post-Modernism and beyond.
The origins and development of the Dada and Surrealist movements in early 20th-century Western art, and their lasting impact on art after World War II. Painting, sculpture, graphic arts, and the theoretical preoccupation which accompanied artistic production.
The development of representational forms of art between World War II and the present beginning with late Surrealism and Magic Realism. Included are such movements as Pop Art, Super Realism, Performance Art and Neo-Expressionism, as well as individual artists such as Tinguely, Kienholz, Bourgeois, Marisol, Christo and D. Oppenheim.
The development in terms of style and meaning of abstract or non-figurative modes of art as manifested in painting, sculpture and other selected media between World War II and the present. Movements covered include Abstract Expressionism, Colour Field, Hard Edge, Op Art, Minimalism, Conceptualism and Earthworks.
This course investigates the role of Theory in the art of the modern period. The texts studied include works by the principal theoreticians and critics from the late 18th century to the present.
An investigation of the different definitions and issues of minimal art including seriality, materials, process, objecthood, chance, installation, reception, relations to music and film, and the influence of structuralism.
NOTE All 400-level courses are balloted through the Department. With the written permission of the Graduate Secretary, some 400-level courses may be available to graduate students.
Le Corbusier's work as it interprets and reflects artistic and societal issues critical to the 20th century.
The art of Paul Gauguin in the context of his involvement with the Impressionist and Symbolist movements in France.
Developments in the mainstream of Western painting and sculpture since World War II with special emphasis upon interrelations between Europe and North America.
An investigation of the birth and development of Neo-Impressionism (Divisionism or Pointillism) and its subsequent influence.
An examination of mid-19th century French Realism with emphasis on Courbet, Millet, the Barbizon School, Daumier and Manet.
An examination of the theoretical underpinnings of the Modern Movement set in the context of 19th-century sources, contemporary developments in aesthetics, art history, and science.
Seminar investigation of the work and role of women artists within the history of western art; the development of Feminist art in the 20th century; and the history of Feminist art history.
Investigation of English, French, German and Swiss landscape painting from the birth of the Romantic movement to Post-Impressionism.
Close examination of turning points in American architecture represented by critical works of major designers such as: Jefferson; Latrobe; Mills; Davis; Renwick; Olmsted; Richardson; McKim, Mead & White; Burnham & Root; Adler & Sullivan; and Wright.
The work and influence of major figures in Late Georgian and Victorian architecture in Great Britain and Ireland (with some reference to the colonies).
The painted image as a mirror of the life, thought, and attitudes of Archaic and Classical Greece, especially Athens.
Special studies in the sources, development and significance of painting trends, selected in consultation with interested students.
Analysis of the physical and artistic environment of this central cultural institution from a neo-historicist perspective.
Development from the first appearance in the 7th century B.C. through efflorescence in the 5th century B.C. The impact of techniques on style and other aspects of formal evolution; influences from contemporary cultures; Greek myth, legend and religion, as these affect theme and narrative manner.
Studies in the manipulation of monumental art and construction for commemorative and propagandistic purposes in the Greek world.
Republican and Imperial painting; its Hellenistic sources and parallel media (mosaic, relief). Styles, themes and modes of display in cultural context.
Investigation of the newly discovered city of Akrotiri, on Thera, north of Crete. This Bronze Age Aegean Pompeii is producing artistic and architectural remains unique to the time and area.
Minoan society during the second millennium B.C. on the island of Crete centered about palaces, where social, artistic, and economic activities flourished; emphasis on architecture, wall painting and the minor arts.
The character of the religious architecture (shrines and cult areas) and the possible meanings of ritual scenes as depicted by the Minoans, Mycenaens and other Aegean peoples in wall painting and other representational art, ca. 2000 - ca. 1200 B.C.
Mycenaean culture as revealed through excavation of palace centres on the Greek Mainland. Art, artifacts, and architecture, as well as published texts, contribute to an understanding of the society.
Special topics concerning the interaction of social, political or intellectual trends in Western Mediaeval history as manifested in works of art, selected in consultation with interested students.
The study of Pieter Bruegel's works in the context of Netherlandish culture. Emphasis on secular works.
The house as a total work of art, and its effect on the character of private life: the development of its architectural forms as a setting for the display of painting, sculpture, mosaic, and decorative arts.
The life and work of Caravaggio in the context of 17th-century Roman and Neapolitan art theory and patronage, with a particular emphasis on the contentious issues of realism.
Illustrated bestiaries produced in England and France from the 12th to the 14th century attribute social, political, economic, and theological significance to animals. Other issues investigated include: relationship of images to text, mise-en-page and scale, programs and sequences, reception by different audiences and changing functions.
The history of attitudes towards image-making through a history of image breaking from late Antiquity to the Reformation. Among the issues explored: censorship, vandalism, art as propaganda, and the "power" of images. Close reading of primary sources (in translation) in conjunction with consultation of surviving objects.
A close consideration of Jan van Eyck in the context of Early Netherlandish and late medieval painting, with some attention to chronology and attribution, but with the focus on the function the inimitable illusionism that defines his art and its meaning in the context of 15th-century patronage and spirituality.
We consider the proliferation of forms of religious art produced in late Medieval Europe: cult statues, reliquaries, prayer books, icons and panels, devotional dolls, and altarpieces. We explore differences in monastic and lay piety, religious attitudes north and south of the alps, "low" and "high" forms of piety, and the distinguishing features of female spirituality.
The seminar examines the art of Rome between the Pontificate of Innocent III and the exile of the Curia in Avignon (late 12th - early 14th century). This period is marked by radical historical, political, and religious changes which had significant repercussions on artistic production in Rome.
A careful reading of some classic accounts of the "High Renaissance", from Vasari and Reynolds to Wolfflin and Freedberg, serves as the basis for an analysis of developments within various genres and types of art production in the period: drawings, altarpieces, portraits, cabinet pictures and sculpture.
Study of so-called "scenes of everyday life." Special attention given to cultural context and problems of interpretation, the work of Jan Vermeer, and the reputation of this art in following centuries.
The literary and philosophical bases of art-historical research. Laboratory sessions make use of the considerable resources of the Metropolitan Toronto area, and cover a wide range of periods, themes, and geographic regions.
Individual projects taken in Siena under the supervision of an instructor.
Aspects of 15th- and 16th-century sculpture in Florence and Siena. Selected topics dealing with the development of the art of sculpture from Renaissance to Mannerism.
FAH480Y/481H Studies in Ancient Art
Students who have demonstrated unusual ability in earlier years are encouraged to undertake supervised special research projects culminating in a major research paper. Not more than one course in Independent Studies may be taken in a single year. Students must obtain the written consent of their faculty supervisor(s) and the Undergraduate Secretary before registering.
FAH482Y/483H Studies in Mediaeval Art
The same course description and prerequisites as FAH480Y/481H.
FAH484Y/485H Studies in Renaissance Art
The same course description and prerequisites as FAH480Y/481H.
The same course description and prerequisites as FAH480Y/481H.
FAH488Y/489H Studies in Modern Art
The same course description and prerequisites as FAH480Y/481H.
VISUAL STUDIES (VIS)
NOTE 1. In 1996 Fine Art Studio will begin to replace the current FAS program with a new one called Visual Studies. While maintaining its commitment to studio techniques, Visual Studies will introduce interdisciplinary courses with an emphasis on critical theory, cultural studies and post-modern discourse.
NOTE 2. All VIS and FAS courses, except for VIS110Y, are balloted. Students must follow the balloting procedures as outlined in the March Access Timetable and Instructions and in the Fine Art Undergraduate Handbook.
NOTE 3. New students are required to complete a portfolio for admission into VIS 110Y. This is a standard portfolio for incoming students. The details for the portfolio may be obtained at the Department of Fine Art or in the First Year Handbook which is received by students after an application to the UofT has been made.
This course is designed to provide a basic understanding of ideas, creative processes and skills upon which the more advanced core courses in Visual Studies depend. A variety of media and techniques are introduced for a comparative approach to two and three dimensional expression and design. Two required critical texts accompany this course. Projects in sculpture, painting and printmaking, plus a video seminar are consistent throughout all VIS110Y sections.
This is a hands-on course that deals with technical and theoretical issues of painting in the late 20th Century. The act of painting and the relevance of painting are stressed through both historical and current issues. This course is very project oriented.
This course is designed to introduce students to Video Art production and post-production techniques. Students conceive, shoot and edit a video tape in a hands-on-manner under the guidance of the instructor. The production of the Video Art project occurs within the framework of seminars, exhibitions and current critical writing on issues particular to Video Art. (A studio fee of $50 payable with tuition.)
Principles and practices of Relief Printmaking. Projects in single and multiple block edition production. (A studio fee of $60 is payable with tuition.)
A studio introduction to the formal and expressive potentials of three dimensional form. Three projects, centred around broad thematic parameters, focus on the concepts, techniques and processes involved in the realization of sculptural form. Each of these projects are further defined in terms of additive, subtractive and constructive methods. (A studio fee of $60 is payable with tuition.)
Studio-based projects explore drawing practice in the late 20th century. Materials and approaches both bear witness to continuity and respond to changing contemporary cultural issues. (A studio fee of $25.00 is payable with tuition.)
Popular culture in the Post-modern era is the central idea here. Artistic strategies in cultural appropriation and other post-modern concerns are discussed and used in the production of studio projects. Projects illustrate a particular situation and also index components of popular culture in a consumer society.
This course is comprised of three segments. Participants define an aspect of life in Toronto, research a concrete dimension of this defining process and create a work which expresses their relationship to it. This course poses the question: where does the "city" sit in your imagination? Final projects must be realized within or accessible to the context defined. The media employed in the projects are determined by the prior research. (A studio fee of $50 is payable with tuition.)
Practical and aesthetic concerns in the evolution of Performance against the backdrop of critical and historical perspectives. Students explore a range of Performance possibilities, alone and collaboratively to develop both intellectual and physical skills which will inform both their performance work and their view of art. Seminars focus on critical aspects of Performance.
The emergence and incorporation of the feminist perspective in current art theory and practice form the basis of lectures, seminars, projects and essays that focus on language, photography and other mediums that signal the shift to a variety of strategies shaping art in the post-modern era.
Theories and dialogue informing the practice of art in the 20th century are studied and form the basis of studio projects. The goal is to encourage cross-discipline research to inform your thinking about art and the making of art.
This course addresses, through theoretical and practical projects, the principles and sensibilities of paper-based expression, including drawing, with an emphasis on the interaction of its practice with contemporary image making and technology.
Colour may be claimed as the property of all: for most everyone sees, uses, and knows colour. Studying colour takes us into areas of humanities and sciences. This study, through lectures, projects and readings aims to develop a student's understanding and use of colour.
At the heart of form is movements; metamorphosis, transformation, regeneration. While central to our study is form as it manisfests in visual art, the dialectic between matter and form of object, nature and culture continually places this study in a broader interdisciplinary context.
This course explores pertinent issues of appropriating painted images along with their content.
A seminar based course that confronts questions of accessibility to painting in contemporary culture. Issues of alienation through gender, sexual orientation, and race meet the legacy of painting.
Creative projects are introduced to develop an aesthetic with social and political relevance, with specific emphasis on painting.
The course emphasizes pre-production, production and post-production. Students are expected to have previous experience in video production and editing, and will produce an independently conceived video project. (A studio fee of $50 is payable with tuition.)
An introduction through studio projects to the principle forms of intaglio printmaking, including etching and collagraph. (A studio fee of $60 is payable with tuition.)
Exploration of the narrative object. This course makes use of multi-media, specifically involving installation projects. (A studio fee of $50.00 is payable with tuition.)
Time and place in drawing and painting. This course provides a discourse with which to continue the evolution of the students' work in drawing and painting.
The analysis of contexts from an artist's perspective and the construction of an "operative fiction" form the basis for two mixed media installation projects. (A studio fee of $50 is payable with tuition.)
Applying art to the borders of other disciplines or issues within the university community, students develop projects with the objective of opening spaces for discourse: art as a transgressive device.
An examination of concepts that provided the impetus for the interrogation of Modernism, beginning with the historic rupture between photography and painting.
Lectures, seminars and studio projects address issues of transformation, commodity, ownership and the singularity of images through the intersection of photo-based and processed iconography.
A lecture and seminar based course with a studio project, examining plastic, social and gender politics in contemporary painting.
Students propose and produce projects in media that are offered by Visual Studies. (A studio fee of $50 in video and sculpture only is payable with tuition.)
An investigation of the history and process of collage in the 20th century. From cubism to photoshot, collage remains an integral component of visual expression.
Ideas about the body are challenged by developments in technology, culture and politics. This course studies the metamorphosis of gender, age, and culture through lectures, projects, and readings.
The course explores the meaning and function of stage and costume design for the theatre with emphasis on creative thinking, text analysis and concept development. Limited enrolment for Visual Studies students who must be at the 3rd-year level.
The course provides the opportunity for a 4th year student to prepare a final thesis text in support of the thesis project which is the other core component.
This is the final independent project and exhibition in Visual Studies.
Projects in non-thesis areas of emphasis, in a variety of media and topics at the 4th year level.
Individual advanced projects, including texts, that are subject to group critiques.
FAS430H/431H Advanced Projects in Painting
An outline of the proposed project is required, and should include a bibliography, lists of artists and galleries to be visited, and any complementary studies to be undertaken in connection with the proposal.
FAS434H/435H Advanced Projects in Printmaking
Qualified students should present proposals to an instructor in Printmaking. A final report, and a portfolio (and/or exhibition) of original prints in any of the graphic media (intaglio, planography, relief, stencil), are expected as evidence of achievement.
FAS436H/437H Advanced Projects in Sculpture
Involves execution of an approved proposal dealing with sculptural concepts and visual communication at an advanced level.
FAS438H/439H Advanced Projects in Drawing
An outline of the proposed project is required, and should include a bibliography, lists of artists and galleries to be visited, and any complementary studies to be undertaken in connection with the proposal.
Selected readings, gallery and studio visits as the basis for a study of theoretical and critical issues in recent painting.
This course is an exploration through projects and research, with faculty advisors. A final presentation is required for completion of this course.
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