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ART
ARTS 1610 Introduction to Drawing I [3]
Akemi Ohira Rollando, Associate Professor
In ARTS 1610: Introduction to Drawing I, the students explore ways of visually recording, from individual and collective observations, and in the process, learn how to communicate with and through their own drawings. Students will be introduced to both traditional and contemporary drawing materials and techniques. Class emphasis will be on light, form and space, as well as understandable focus on composition.
There is no prerequisite to thake this class. However, this course is required for all majors and minors in the Studio Art Program.
ARTS 2580: Special Topics in Sculpture:
The Human Figure [3]
William Bennett, Associate Professor
The human figure has been a subject of human making for thousands of years and shows no sign of disappearing as we forge into the 21st century. From the “Venus” of Willendorf to Anthony Gormley and Louise Bourgeois, the human figure as an art object has an ancient past, provocative present and seemingly secure future as humans continue to ask, wonder, ponder, dream , question and ask who we were, who we are, and what will we become. This course will address this continuing fascination with our bodies by using sculpture research projects involving new and old representations of ourselves. The class will be available to all without prerequisites and will include traditional and modern materials, methods, and practices. A final collaborative work will yield an exhibition presented to the world on Final Fridays, January 25, 2013, at Ruffstuff Gallery, Ruffin Hall, UVA.
ARTS 2620: Introduction to Drawing II [3]
Dean Dass, Professor
Prerequisite: ARTS 1610
Drawing activity will be very broadly defined and the studio practice may include the use of cardboard, old envelopes, how-to manuals, old magazines, the photograph, bookbinding, xerography, and staining, and tracing, decalcomania, the typewriter, glue. The term will be divided into a very few sustained projects, each generating its own group of works.
Thematic drawings are a sustained series of drawings that have an idea or cluster of related ideas in common. Development of these drawings inform and content go hand in hand. The symbolic elaboration of a theme is the very essence of art. Working thematically, we will consider carefully a very short list of topics and explore each in great depth. We will look into the history of art for previous instances of these themes; in this way we will better inform our contemporary approaches. We will work imaginatively. We will visualize a course of action rather than visualize a result; in this way we will realize drawings that we must made in order to see what they look like. I hope that this is not a trivial point but points out the importance ofprocess. A work of art is no mere mental projection, like the way a slide is projected; a work of art is a construction.
ARTH 3559: Mapping the Globe from Antiquity to Google Maps [3]
Francesca Fiorani, Associate Professor
This course examines how the globe was represented from antiquity to modern times through the careful selection of pertinent case studies. It concentrates on the cartographic language of maps and globe as well as on the relations of mapping with other forms of representations, including the organization of knowledge, the display of collections of artifacts, the political claim for rulership and legitimacy, and the contemplation of the divine. The course takes advantage of UVa’s extensive cartographic collection at Special Collections.
ARTH 3559: The Travels of Ibn Jubayr
The World of the Medieval Haj [3]
THIS CLASS HAS BEEN CANCELLED
Cross listed with ARH 4591
Lisa Reilly, Associate Professor
Prerequisite: Previous course work in architectural or art history or history.
Our seminar will embark on a journey around the Mediterranean with Ibn Jubayr, a twelfth century Spanish Moslem who recorded his experiences during his pilgrimage to Mecca and Medina in remarkably lively and detailed first hand account. From his shipwreck on the coast of Sicily to his performance of the rituals associated with his visit to Mecca, Ibn Jubayr provides an unusual perspective on the built environment, culture and people he encounters through his travels. We will read the translation of his travels as a class with background lectures provided on the visual culture of the sites he visits, such as Palermo, Damascus, Alexandria and Mecca. Each student will choose one site to investigate in greater depth. The outcome of this research will be presented in class accompanied by paper.
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