Department of Art

www.unc.edu/art

MARY SHERIFF, Chair

Professors

S. Elizabeth Grabowski, Jim Hirschfield, Juan Logan, Yun-Dong Nam, Mary D. Sheriff, Daniel J. Sherman, elin o’Hara slavick, Mary C. Sturgeon, Dennis J. Zaborowski.

Associate Professors

Pika Ghosh, Mary Pardo, Dorothy Verkerk, Jeff Whetstone.

Assistant Professors

Glaire Anderson, John Bowles, Eduardo Douglas, Cary Levine, Wei-Cheng Lin, Carol Magee, Mario Marzan, Kimowan McLain, Roxana Perez-Mendea, Lyneise Williams.

Lecturers

Jennifer J. Bauer, Susan Harbage Page, Michael Sonnichsen, David Tinapple.

Ackland Art Museum

Adjunct Professors

Emily Kass, Timothy Riggs.

Adjunct Associate Professors

Barbara Matilsky, Carolyn Wood.

Adjunct Assistant Professor

Carolyn Allmendinger.

Adjunct Instructor

Lyn Koehnline.

Institute for the Arts and Humanities

Adjunct Assistant Professor

Megan Granda.

North Carolina Museum of Art

Adjunct Associate Professors

John Coffey, Kinsey Katchka, Mary Ellen Soles, David H. Steel, Dennis P. Weller.

Professors Emeriti

Robert Barnard, Jaroslav T. Folda, James Gadson, Frances Huemer, Richard W. Kinnaird, Arthur Marks, Jerry Noe, Marvin Saltzman.

Introduction

From a strong central core in the traditional practices of making and interpreting art, the faculty and students at UNC–Chapel Hill move out in innovative and personal directions. As a department, we are committed to working closely with our students and to guide them in developing an individual voice, and we are diverse enough to offer a variety of choices in materials and methods. We cultivate exchange between the studio art and art history areas and offer maximum flexibility within our individual programs. We invite our studio art students to work in different media and across the various disciplines. We encourage art history students to develop connections with other fields of inquiry and to intertwine historical analysis with theoretical speculation.

The department welcomes undergraduates to take its introductory courses as electives. Foundation courses in studio art (ART 102, 103, 104, and 105) and introductory courses in art history (100 level) do not assume previous work in high school. Some students with sufficient high school experience may be eligible for placement at the 200 level of studio media classes. Nonmajors seeking placement in these upper-level studio or art history classes should see the appropriate department advisor, or in the case of studio art courses, students may seek permission directly from the instructor. For placement in studio classes, students should be prepared to show evidence of proficiency in the prerequisite by a portfolio review. Note, however, that studio art majors cannot use this permission of the instructor as a waiver of foundation course requirements. For official waiver of foundation courses, students must submit work for a formal portfolio review. (See also a more specific discussion of advanced placement under the studio art program description.)

Programs of Study

The degrees offered are the bachelor of arts with a major in art history, the bachelor of arts with a major in studio art, the bachelor of fine arts in studio art and a combined studio/art history degree: the bachelor of fine arts with an emphasis in art history. This combined degree was designed for those wishing a depth of study in both programmatic areas of the Department of Art. A minor in art history is also offered.

Majoring in Art History: Bachelor of Arts

The undergraduate program in art history is directed toward two main educational goals: 1) to provide students with an excellent liberal arts foundation through an understanding of the historical and global significance, cultural diversity, and intellectual richness of human artistic traditions from prehistoric times to the present; and 2) to provide these students with the intellectual tools needed to investigate the complex roles played by the arts in a variety of social contexts. Skills in visual analysis, historical research, critical reading, analytical and descriptive writing, and oral communication are developed throughout the course of the study. The practice of art history is interdisciplinary, dynamically engaged with many fields in the humanities and social sciences, as well as with the University’s diverse area studies programs and the Ackland Art Museum. The art history degree equips students with skills, knowledge, and values to negotiate rapidly changing, richly diverse, and increasingly interconnected local, national, and worldwide communities.

During the first and sophomore years, students who plan to major in art history should take four courses at the introductory level (numbered between ART 150 and 159) and one studio course. All of these courses satisfy the visual and performing arts Approaches requirement.

Of the remaining required courses, at least six semester hours must be in courses at the intermediate level (ART 200–399) and three semester hours at the advanced level (ART 400–699). Additionally, the student will elect three more courses numbered 200 or above. Students in their senior year will take a capstone course (ART 697). Students wishing to write an honors thesis will enroll in ART 691H and 692H as part of their electives. Students will choose an area of concentration whose requirements will be filled by five courses at any level; concentrations are listed below. Both intermediate and advanced courses require at least one previous course in art history—at the intermediate level, at least one previous introductory-level course, and at the advanced level, at least one previous intermediate-level course. It is strongly recommended that before taking a course numbered above 399, students take a lower-level course devoted to the same period. Advanced courses numbered 400–699 are lecture classes open to both graduate and undergraduate students.

Concentration I 5000 BCE–400 CE

• ART 151, 153, 156, 262, 263, 266, 460, 461, 462, 463, 464, 465, 466, 467, 680, 683

Concentration II 200–1500 CE

• ART 151, 153, 154, 155, 156, 157, 251, 264, 265, 270, 272, 273, 351, 362, 457, 458, 466, 471, 472, 561

Concentration III 1250–1850

• ART 064, 077, 080, 151, 152, 153, 154, 155, 156, 157, 254, 266, 270, 271, 272, 273, 274, 275, 283, 352, 370, 451, 457, 458, 466, 471, 472, 473, 561

Concentration IV 1750–1950

• ART 064, 077, 080, 152, 153, 155, 156, 157, 159, 254, 266, 275, 283, 284, 352, 353, 370, 383, 387, 453, 473, 457, 551, 581

Concentration V 1900–Present

• ART 152, 153, 155, 156, 157, 159, 255, 259, 283, 284, 285, 352, 353, 383, 386, 387, 453, 457, 473, 488, 554, 551, 586

Minoring in Art History

Students majoring in another department may elect to pursue a minor in art history. The minor consists of five courses at any level in art history. Studio art majors may not pursue an art history minor.

Honors in Art History

The honors program is open to students with a 3.2 GPA who have demonstrated overall excellence in the discipline. Honors are generally pursued in the senior year. Students enroll in the honors courses (ART 691H in the fall; ART 692H in the spring) through the student services liaison in the Department of Art office. This should be done after consultation with the faculty honors advisor and department honors advisor. For more information, see the honors program description elsewhere in this bulletin and the departmental honors announcement. Honors work will allow a student to graduate with honors or with highest honors.

ART (Art History Courses)

051 First-Year Seminar: Assumed Identities: Performance in Photography (3). This course will look at historical and contemporary photographers who use assumed identities and personas to comment on and explore their changing identity roles in society and challenge society’s stereotypes.

053 First-Year Seminar: Art and the Body (3). This course will examine presentations and representations of the body in Western art and how such portrayals relate to their social, cultural, and political contexts.

054 First-Year Seminar: Art, War, and Revolution (3). Focusing on one or two works of art per week in a variety of media, this course explores the complex relationship between war and conflict in the modern world.

061 [006K] First-Year Seminar: Introduction to African American Art (3). The purpose of this class is to examine African American art and some of the historical considerations that affected the nature of its developments.

064 [006K] First-Year Seminar: Picturing Nature (3). This seminar focuses on how the collecting and study of natural and aesthetic wonders shaped ideas about knowledge in the arts and sciences.

077 [006K] First-Year Seminar: Seeing the Past (3). This seminar will introduce students to practices of critical analysis that inform academic work in all the core humanistic disciplines: how do we ask analytical questions about texts, artwork, and other cultural artifacts that come down to us from the past or circulate in our own culture?

079 [006K] First-Year Seminar: Meaning and the Visual Arts (3). In the course of the semester, each student will learn to become an art historian. Students will undertake a series of viewing, research, and writing exercises, which will culminate in the production of an exhibition catalogue on world art titled "In the Eye of the Beholder."

080 [006K] First-Year Seminar: Representing the City of Lights: Paris 1600–2000 (3). This class explores the cultural, political, and artistic circumstances in which images of Paris have been made and viewed, including technologies that have disseminated and marketed "Paris" as an image.

084 [006K] First-Year Seminar: Society of the Spectacle: Impressionism and Post-Impressionism (3). Students will pay special attention to recent historical and theoretical studies of Impressionist and post-Impressionist painting, as well as selected French novels of the period.

089 First Year Seminar: Special Topics (3). Content varies by semester.

150 [048] World Art (3). This course provides an introductory survey of some of the major traditions of art making throughout the world, from prehistory to the present.

151 [031] History of Western Art I (3). This is the first semester of a two-semester survey that is designed to acquaint the beginning student with the historical development of art and with the offerings and instructors of the art history faculty. ART 151 covers ancient, medieval, and early Renaissance periods.

152 [032] History of Western Art II (3). This is the second semester of the two-semester survey course including Western art from the Renaissance to modern art. ART 151 is not a prerequisite for ART 152, but all art history majors are required to take both courses.

153 [022] Introduction to South Asian Art (ASIA 153) (3). An introductory survey of the visual arts of South Asia.

154 Introduction to Art and Architecture of Islamic Lands (8th–16th Centuries CE) (ASIA 154) (3). This course introduces the arts of the Islamic lands from the seventh-century rise of the Umayyad dynasty of Syria to the 16th-century expansion of the Ottoman Empire.

155 African Art Survey (3). A selective survey of sub-Saharan African art (sculpture, painting, architecture, performance, personal decoration) in myriad social contexts (ceremony, politics, royalty, domestic arenas, cross-cultural exchanges, colonialism, postcolonialism, the international art world).

156 [030] Introduction to Architecture (3). What is architecture? What does it do? This course is designed to encourage students to consider architecture less as something technical, existing in a separate sphere from everyday life, but as social space.

157 Introduction to Latin American Visual Culture (3). This course examines manifestations of visual culture such as festivals and their related objects, comics, and painting in Latin America according to themes like indigenismo, religion, race, modernism, and identity.

158 Introduction to East Asian Art and Architecture (3). This course traces the history of art and architecture in premodern East Asia, emphasizing ideas and ways of seeing and representing that were common or different across East Asia.

159 [029] The Film Experience: Introduction to the Visual Study of Film (3). A critical and historical introduction to film from a visual arts perspective. The course surveys the history of film from its inception to the present, drawing upon both foreign and American traditions.

251 Art and Architecture in the Age of the Caliphs (7th–12th CE) (3). Introduces the art and architecture of the caliphal period, concentrating on the 7th through 12th centuries (the "classical" period of Islamic art).

254 [064] Women in the Visual Arts I (WMST 254) (3). Required preparation, any introductory art history course or permission of the instructor. This course analyzes the role of women in Western art as art producers and consumers of art and looks at how women have been represented.

255 African Art and Culture (3). This course explores the art and culture of sub-Saharan Africa on the levels of both production and consumption both locally and globally.

258 Chinese Art and Culture: From Han to Tang (3). This course investigates cultural and artistic complexities and diversities in medieval China, resulting from its exchanges with neighboring peoples during the period between the Han and Tang dynasties.

259 Native American Art and Culture (3). A selective survey of Native North American art (sculpture, painting, architecture, performance, personal decoration) in myriad social contexts (ceremony, politics, domestic arenas, cross-cultural exchanges, colonialism, postcolonialism, the international art world).

262 [077] Art of Classical Greece (CLAR 262) (3). Required preparation, any introductory art history course or permission of the instructor. A chronological study of the main developments of Greek sculpture, architecture, and painting from the fifth to the first centuries BCE.

263 [078] Roman Art (CLAR 263) (3). See CLAR 263 for description.

264 [052] Medieval Art in Western Europe (3). Required preparation, any introductory art history course or permission of the instructor. Survey of major developments in painting and sculpture in Europe during the Latin Middle Ages (300–1400 CE).

265 [054] Medieval Iconography (3). Required preparation, any introductory art history course or permission of the instructor. Understanding the meaning of medieval art by examining the iconography of selected important works.

266 [068] Arts of Early and Medieval India (ASIA 266) (3). Required preparation, any introductory art history course or permission of the instructor. This course is an introduction to the visual culture of early and medieval India.

267 Latin American Modernisms (3). This course focuses on the relationship between the national and international and art and politics within Latin American modernist movements from ca. 1900 to 1960.

270 [056] Early Renaissance Art in Italy (3). Required preparation, any introductory art history course or permission of the instructor. The course develops a solid acquaintance with representative aspects of Italian art from about 1250 to 1450. In alternate semesters the emphasis may change from central (Florence, Rome) to northern (Venice) Italy.

271 [057] High Renaissance Art in Italy (3). Required preparation, any introductory art history course or permission of the instructor. The course is a survey of major Italian painting from about 1490 to 1575. From semester to semester the emphasis may alternate between central Italian and Venetian/northern Italian works.

272 [059] Northern European Art: Van Eyck to Bruegel (3). Required preparation, any introductory art history course or permission of the instructor. Survey of painting and sculpture ca. 1400–1600 in the Netherlands—Belgium (Flanders) and Holland—as well as France and England.

273 [069] Arts in Mughal India (ASIA 273) (3). Required preparation, any introductory art history course or permission of the instructor. This course explores the visual culture patronized by the Mughal dynasty in India from the 11th to the 17th centuries.

274 [050] European Baroque Art (3). Required preparation, any introductory art history course or permission of the instructor. This course examines 17th-century art and architecture in Europe.

275 [070] 18th-Century Art (3). Required preparation, any introductory art history course or permission of the instructor. An introductory survey of architecture, sculpture, and painting with emphasis on European developments in the "fine" and "decorative" arts from the late 17th century to the Napoleonic era.

282 [072] Modernism I: Impressionism and Post-Impressionism (3). Required preparation, any ART 50–89 or 100–199. Permission of the instructor for students lacking the prerequisite. The development of European art from 1850 to 1905, with an emphasis on French avant-garde movements including realism and impressionism.

283 [045] Picturing Paris: 1800–2000 (3). Required preparation, any introductory art history course or permission of the instructor. This class explores the cultural, political, and artistic circumstances in which images of Paris have been made and viewed, as well as various visual technologies that have disseminated and marketed.

284 [075] Modernism II: 1905–1960 (3). Required preparation, any introductory art history course or permission of the instructor. Major figures, movements, and themes of modernism from cubism and the emergence of abstraction to the transfer of artistic energy and innovation to the United States after World War II.

285 [076] Post-1945 Art (3). Required preparation, any introductory art history course or permission of the instructor. An investigation of visual arts from the end of World War II to the present time, including abstract expressionism, pop art, minimal art, new realism, and postmodern theories.

286 [043] American Art from Colonial Times to the Present. (3). Required preparation, any introductory art history course or permission of the instructor. History of painting, sculpture, and architecture in North America.

287 [040] African American Art Survey (AFAM 287) (3). An introduction to African American art and artists and their social contexts from early slavery.

290 [080A] Special Topics in the Visual Arts (3). Required preparation, any introductory art history course or permission of the instructor. Selected topics in art history or art studio.

295 Egypt, Near East, and Aegean (3). Required preparation, any introductory art history course or permission of the instructor. This course surveys the ancient art and architecture of Egypt, the Near East, and the Aegean Bronze Age, from the Neolithic period to the end of the Neo-Assyrian empire.

351 [082] Crusader Art (3). Required preparation, any introductory art history course or permission of the instructor. This course surveys the main works of Crusader art in order to understand their nature and development from 1099 to 1291. The Crusader monuments are set in their historical context and in relation to Byzantine and Western European art.

352 Religious Architecture and Visual Culture in Latin America (3). Prerequisite, ART 157. Permission of the instructor for students lacking the prerequisite. This course uses case studies to introduce students to the visual culture manifested in architecture, festivals, ritual spaces, clothing, and objects associated with religious practices of Latin America.

353 African Masquerade and Ritual (AFRI 353, ANTH 343) (3). Prerequisites AFRI 101, ANTH 102 or 120, and ART 155. Permission of the instructor for students lacking the prerequisites. Explores ideas of and contexts for select sub-Saharan African rituals/masquerades. Examines how people use objects in establishing and mediating relationships with one another, ancestors, and the spiritual world.

362 Early Christian Art and Modern Responses (3). Required preparation, any introductory art history course or permission of the instructor. The early Christian origins of art and architecture in domestic and public contexts of the 200–600 CE Christian communities; the 18th- and 20th-century adaptation of early Christian art.

370 Visual Art in the Age of Revolution (3). Required preparation, any introductory art history course or permission of the instructor. This course focuses on the visual arts of Europe between 1750 and 1830, and addresses the political, social, cultural, and aesthetic issues pertinent to art in an age of revolution.

383 Modern Architecture (3). Required preparation, any introductory art history course or permission of the instructor. This course will examine the history of architecture from the late 19th century to the present.

386 Art since 1960 (3). Required preparation, any introductory art history course or permission of the instructor. This course will explore major trends in Western art since 1960. It focuses on key contemporary movements and their relations to social, cultural, and political contexts.

387 [073] 20th-Century African American Art (AFAM 387) (3). This course will focus upon the expression of African Americans in the United States in the 20th century.

390 [121] Special Topics in the Visual Arts (1–21). Required preparation, any intermediate art history course or permission of the instructor. Selected topics.

396 [098] Directed Readings in Art History (3). Permission of the instructor. Independent study under the direction of a faculty member.

397Art History Practicum (3). Students complete an internship in an art history related field. Students will gain practical knowledge of the practice of art history.

450 [039] The City as Monument (3). A city or cities will be considered as cultural artifact(s), with emphasis given to plans and planning, architecture, public monuments and to various institutions, such as religion, government, the arts, and commerce that initiate or affect these urban developments and forms.

451 [151] Women in the Visual Arts II (WMST 451) (3). Prerequisite, ART 151 or 254. Permission of the instructor for students lacking the prerequisite. Discussion of topics related to the representation of women in Western art and/or women as producers of art.

453 Africa in the American Imagination (AFRI 453) (3). Restricted to sophomores, juniors, and seniors. Examines the ways African art appears in United States popular culture (advertisements, magazines, toys, films, art) to generate meanings about Africa. Addresses intersecting issues of nationalism, multiculturalism, imperialism, nostalgia, race.

456 [128] Art and Visual Culture of South Asia (ASIA 456) (3). Required preparation, any intermediate art history course or permission of the instructor. This thematic course explores how objects and monuments are viewed, experienced, and used in a ritual context in South Asia.

457 [187] Studies in the History of Graphic Art (3). Required preparation, any intermediate art history course or permission of the instructor. Study of prints and printmaking in Western art from ca. 1400 to the present focusing on selected topics.

458 Islamic Palaces, Gardens, and Court Culture (Eighth–16th Centuries CE) (3). Prerequisite, ART 154. Permission of the instructor for students lacking the prerequisite. This course focuses on palaces, gardens, and court cultures beginning with the eighth-century Umayyad period and ending with the 16th-century reigns of the Mughal, Safavid, and Ottoman dynasties.

460 [193] Greek Painting (CLAR 460) (3). Required preparation, any intermediate art history course or permission of the instructor. A survey of the development of Greek art from geometric to Hellenistic painting through a study of Greek vases, mosaics, and mural paintings.

461 [194] Archaic Greek Sculpture (CLAR 461) (3). Required preparation, any intermediate art history course or permission of the instructor. A focused study of sculpture during the Archaic period in Greece.

462 [195] Classical Greek Sculpture (CLAR 462) (3). See CLAR 462 for description.

463 [196] Hellenistic Greek Sculpture (CLAR 463) (3). Required preparation, any intermediate art history course or permission of the instructor. A focused study of Greek sculpture in the Hellenistic period.

464 [190] Greek Architecture (CLAR 464) (3). See CLAR 464 for description.

465 [191] Architecture of Etruria and Rome (CLAR 465) (3). See CLAR 465 for description.

466 [153] History of the Illuminated Book (3). Required preparation, any intermediate art history course or permission of the instructor. Chronological survey of major developments in book painting during the European Middle Ages from 300 to 1450 CE.

467 [155] Celtic Art and Cultures (3). Required preparation, any intermediate art history course or permission of the instructor. This course explores the art and culture from the Hallstat and La Tčne periods (seventh century BCE) to the Celtic "renaissance" (ca. 400–1200 CE).

468 Visual Arts and Culture in Modern and Contemporary China (3). This course examines visual materials, including those from fine arts, commerce, popular culture, political propaganda, avant-garde movements, etc., produced in modern and contemporary China as an important means of defining China’s self-identity in the modern and global world.

469 Art of the Aztec Empire (3). This course provides a comprehensive introduction to the art of the Aztec Empire, including architecture, monumental sculpture, small-scale sculpture, ceramics, painting, lapidary work, gold work, and feather work.

471 [154] Northern European Art of the 14th and 15th Centuries (3). Required preparation, any intermediate art history course or permission of the instructor. Advanced study of painting and sculpture in France, England, and the Netherlands, 1300 to 1400.

472 Early Modern Art, 1400–1750 (3). Required preparation, any intermediate art history course or permission of the instructor. This course explores specialized themes and/or broad topics in Western European art of the early modern period.

473 Early Modern and Modern Decorative Arts (3). Required preparation, any intermediate art history course or permission of the instructor. This course traces major historical developments in the decorative and applied arts, landscape design, and material culture of Western society from the Renaissance to the present.

480 [062] British Art (3). Required preparation, any introductory art history course or permission of the instructor. Survey of British painting from the time of Hogarth (ca. 1750) through the 19th century. Emphasis will be given to significant artists (Hogarth, Reynolds, Turner, Gainsborough, Constable); movements (neoclassicism, romanticism, pre-Raphaelitism); and ideas (impact of science, industrialization).

485 Art of the Harlem Renaissance (3). Examines the Harlem Renaissance (1918–1942) as an instance of both transnational modernism and cultural nationalism through study of how artworks articulate interrelated conceptions of race, gender, sexuality, and social class.

487 [086] African Impulse in African American Art (AFAM 487) (3). Required preparation, any intermediate art history course or permission of the instructor. This class will examine the presence and influences of African culture in the art and material culture of Africans in the Americas from the colonial period to the present.

488 Contemporary African Art (AFRI 488) (3). Prerequisite, AFRI 101 or ART 152 or 155. Permission of the instructor for students lacking the prerequisite. Examines modern and contemporary African art (1940s to the present) for Africans on the continent and abroad. Examines tradition, cultural heritage, colonialism, postcolonialism, local versus global, nationalism, gender, identity, diaspora.

490 Special Topics in Visual Arts (3). Required preparation, any intermediate art history course or permission of the instructor. This course entails an intensive look at issues in the visual arts, and may cover specialized topics or broad themes from any part of the world or any historic period.

514 [132] Monuments and Memory (HIST 514, INTS 514) (3). See INTS 514 for description.

550 [183] Topics in Connoisseurship (3). Permission of the instructor. Works in the Ackland Museum’s collection will be studied directly as a means of training the eye and exploring the technical and aesthetic issues raised by art objects.

551 Introduction to Museum Studies (3). Introduces careers in museums and other cultural institutions. Readings and interactions with museum professionals expose participants to curation, collection management, conservation, exhibition design, administration, publication, educational programming, and fundraising.

552 [185] The Literature of Art (3). Required preparation, any intermediate art history course or permission of the instructor. A study of the principal critics and historians who have contributed to the development of modern art history. Also application of the principles to specific works of art.

553 [080D] The Body in Social Theory and Visual Representation (3). A study of how the human body has been represented in contemporary art and the relation of those representations to theories of the individual and society.

554 Imagining Otherness in Visual Culture in the Americas (AFAM 554) (3). Required preparation, any intermediate art history course or permission of the instructor. This course examines representational othering of black, Asian, Latina/o, and Native American people in images in the Americas through postcolonial topics like racial stereotyping, Orientalism, primitivism, essentialism, and universalism.

561 Art and Society in Medieval Islamic Spain and North Africa (ASIA 561) (3). Prerequisite, ART 154. Permission of the instructor for students lacking the prerequisite. This course introduces the art and architecture of medieval Islamic Spain and North Africa between the eighth and 16th centuries.

581 [181] Modern Art and Criticism (3). Required preparation, any intermediate art history course or permission of the instructor. A study of modern art (ca. 1850–1945) with special emphasis on the reception and evaluation of works by writers and art critics.

583 [180] Theories of Modern Art (3). Required preparation, any intermediate art history course or permission of the instructor. A study of theoretical issues central to the understanding of trends in modern art (e.g., modernism, the avant-garde, formalism originality).

586 Cultural Politics in Contemporary Art (3). Required preparation, any intermediate art history course or permission of the instructor. This course will examine the strategies of critique in contemporary art. Organized thematically, it focuses on the tactics employed by artists who address political, social, or cultural issues through their work.

595 History and Theory of Museums (3). Required preparation, any intermediate art history course or permission of the instructor. Provides an historical overview of museums. Serves as an introduction to many of the theoretical issues museums face including: ethics, audiences, the role of museums in society, exhibiting dilemmas.

596 Experience in Research (3). Majors only. This course provides students an experiential learning opportunity in independent original research in a topic/field of their choosing. The student will work under the close direction of a faculty supervisor.

597 Studiolo to Wunderkammer (3). Required preparation, any intermediate art history course or permission of the instructor. This course explores the history of early modern collecting, encompassing scholars’ and merchants’ "study rooms," aristocrats’ menageries, humanists’ "sculpture gardens," and princely cabinets of wonders.

680 [296] Roman Sculpture (CLAR 680) (3). See CLAR 680 for description.

683 [299] Etruscan Art (CLAR 683) (3).

691H [090] Honors in Art (3) . Permission of the instructor. Independent research directed by a faculty member leading to an honors thesis

692H [091] Honors in Art (3). Permission of the instructor. Independent research directed by a faculty member leading to an honors thesis.

697 Art History Capstone (3). Majors only. In this seminar, designed for undergraduate majors, students apply their training in art historical methods towards the creation of a geographically and chronologically inclusive online exhibition.

Studio Art Program

The program in studio art at UNC–Chapel Hill focuses on fine arts. Students may choose from a range of studio course work designed to develop both skill acquisition and a personal creative vision. We develop two critical skills: the means of self-expression and techniques for creative thinking. Our responsibility to the studio art major is to develop a sense of professional standards and future career potential. While the undergraduate program focuses on the fine arts, the course of study nonetheless offers a sound foundation for students to move into art education, applied arts, and other art-related careers as well as preparing for further study or careers in the fine arts.

Students choosing a studio art major begin with a series of foundation courses that are designed to develop their understanding and application of visual language across a range of media. In these courses, students address both skill development and the nature of artistic inquiry. Believing that technique serves the visual idea, we stress the integration of media skill and concept. Conventional issues of artisanship, technique, and skill acquisition are taught as part of a larger concept of art making. The goal is to equip students with a variety of skills and visual strategies that they will be able to apply in meaningful contexts. In the final analysis, we expect students to become technically competent, conceptually independent, critically aware, and dedicated to their passion of art making.

This philosophy encompasses our contextualization in an institution of higher education. We embrace the notion that being an artist today requires an intellectual curiosity and broad base of knowledge that, in turn, informs studio work. The University of North Carolina at Chapel Hill provides limitless resources to the studio artists in our program. The studio program in the Department of Art becomes a site of synthesis of intellectual inquiry and subjective lived experience.

The Department of Art offers two undergraduate degrees in studio art: the bachelor of arts (41 credit hours) and the bachelor of fine arts (60 credit hours). Additionally, a combined studio/art history degree, the bachelor of fine arts with art history emphasis (60 credit hours), has been designed for those wishing to have a depth of study in both programmatic areas in the Department of Art. The studio component of the B.F.A./art history emphasis parallels the B.A. degree with some exceptions as noted.

Majoring in Studio Art: B.A., B.F.A., B.F.A.–A.H.

Bachelor of Arts (B.A.)

The B.A. degree is intended to expose the undergraduate student to a broad range of studio art ideas and practices. Students should choose this degree option if they are seeking a general liberal arts education. It is also the most often selected degree option when pursuing a double major. Second majors are frequent in communication studies, journalism (design track), biology, drama (costume and set design), psychology (art therapy), and any field augmented by visual arts study. In fact, whatever discipline students might choose to pursue, whether the arts, humanities, or sciences, medicine or law, success will depend on two abilities: the ability to find creative solutions to problems and the ability to express individuality. Art, by its very nature, gives these skills to those who study the discipline.

Bachelor of Fine Arts (B.F.A.)

The B.F.A. is considered the preprofessional course of study, providing a more in-depth experience of visual concept and practice. Students intending to pursue further study in visual arts disciplines (master of fine arts, design fields, or architecture) should choose this degree option. Students considering the B.F.A. degree are advised to contact the undergraduate advisor for studio art during the first year and no later than the sophomore year.

Bachelor of Fine Arts with Art History Emphasis (B.F.A.–A.H.)

The bachelor of fine arts with art history emphasis degree was established to allow students to pursue concentrated study in both studio art and art history. Basically, it represents a double major of studio art and art history. Unique to UNC–Chapel Hill, this degree has been well received for students wishing to pursue graduate study in fields that demand knowledge in both history and practice, such as curatorial studies, museum studies, or education. Students pursuing this degree are advised by the director of undergraduate studies for both studio art and art history. Students interested in this degree should contact both advisors no later than the sophomore year.

Note: All Foundations, Approaches, and Connections requirements must be satisfied. Because of the increased number of Department of Art hours required for the B.F.A. and B.F.A.–A.H. degree, these students are not required to complete the Supplemental General Education requirements. Students should be aware that courses taken in the Department of Art beyond the total credits outlined in the major will not count toward graduation.

Degree Requirements: B.A., B.F.A.

The B.A. and B.F.A. degrees are divided into six basic sections:

Foundation Courses

• These courses are required for all B.A. and B.F.A. majors. All upper-level courses have at least one foundation course as a prerequisite. Students should not take more than two intermediate- or upper-level courses before they have completed all of the following foundation courses: ART 102, 103, 104, and 105.

Life Course

• One course (three credit hours): ART 223 or 214

Studio Concentration Courses

• B.A.—Two courses (six credit hours). B.F.A.—Five to six courses (13–19 credit hours)

Students choose an area of concentration in painting/drawing, printmaking, photography (including video), digital, mixed media, or sculpture. In general, courses are numbered to reflect the concentration areas in the last digit. Painting courses end in 2, sculpture 3, drawing 4, photography 5, electronic media 6, mixed media 7, printmaking 8. Other thematic or media courses may count in a variety of media areas depending on the topic. Some courses may bridge multiple areas of concentration. Be sure to check with the undergraduate advisor for studio art to know whether certain courses can apply to your area of concentration.

Some intermediate and advanced courses may be taken for variable (Var.) credit with instructor permission. Students may also pursue independent study course work with individual faculty. Such work may be undertaken ONLY with permission of the sponsoring faculty member and is appropriate only after the typical sequence of courses has been completed.

Students must consult with individual instructors to outline and contract specific requirements for variable credit hour study. Students taking variable credit should expect to engage in a minimum of two hours of supervised work and an additional two hours per credit outside of class work per week.

Studio Electives

• B.A.—Two courses (six credit hours). B.F.A.—Five to six courses (15–18 credit hours)

Studio electives provide for breadth in the studio art degree. Courses should be in areas other than the student’s concentration.

Art History

• Three courses (nine credit hours). Recommended first course: ART 151 and/or 152 (prerequisite for ART 285)

• Required Course: ART 285

Professional Development

• ART 394. Taken in the spring of the junior year, this course explores topics such as further academic study in art (graduate school), exhibiting work (galleries, museums, competitive exhibitions), and career options (including art education, art therapy, design fields, curatorial, critical writing).

• Senior Exhibition. All graduating art majors participate in a graduation exhibition. In the spring of the senior year, a designated faculty member facilitates the senior exhibition. Organizational meetings usually begin in February. The Senior Exhibition is hung during exam week and is on view through graduation.

Credit Summary: B.A., B.F.A.

B.F.A. with Art History Emphasis Degree Requirements

In general, the studio component of the joint degree parallels the B.A. in studio art.

Foundation Courses

• These courses are required for B.F.A.–A.H. majors. All upper-level studio courses have at least one foundation course as a prerequisite. Students should not take more than two intermediate or upper-level studio courses before they have completed all of the following foundation courses: ART 102, 103, 104, 105, and two art history courses at the 100 level.

Life Course

• ART 214 Life Drawing or 223 Life Sculpture

Studio Concentration Courses

• Two to three courses (six to seven credit hours)

• Students choose an area of concentration in painting/drawing, printmaking, photography (including video), digital, mixed media, or sculpture. In general, courses are numbered to reflect the concentration areas in the last digit. Painting courses end in 2, sculpture 3, drawing 4, photography 5, electronic media 6, mixed media 7, printmaking 8. Other thematic or media courses may count in a variety of media areas depending on the topic. Some courses may bridge multiple areas of concentration. Be sure to check with the undergraduate advisor for studio art to know whether certain courses can apply to your area of concentration.

Studio Electives

• Three to four courses (nine to 10 credit hours)

• Studio electives provide for breadth in the studio art degree. Courses should be in areas other than the student’s concentration.

Art History Emphasis

• Seven courses (21 credit hours); a choice of any seven art history courses numbered 200–699, two of which must be above 400

Professional Development

• ART 394. Taken in the spring of the junior year, this course explores topics such as further academic study in art (graduate school), exhibiting work (galleries, museums, competitive exhibitions), and career options (including art education, art therapy, design fields, curatorial, critical writing).

• Senior Exhibition. All graduating art majors participate in a graduation exhibition. In the spring of the senior year, a designated faculty member facilitates the senior exhibition. Organizational meetings usually begin in February. The Senior Exhibition is hung during exam week and is on view through graduation.

Credit Summary: B.F.A.–A.H.

Studio Courses and Nonmajors

Studio art courses, especially foundation courses, are extremely popular. Because these are required courses for studio art majors, registration is limited to majors during the first part of the preregistration period. Remaining spaces are made available to nonmajors during the registration time for first-year students. Because the department gives this preference to studio art majors, nonmajors, undeclared students, or continuing study students often find it difficult to enroll in these courses. Individuals seriously considering a studio art major and experiencing such difficulty should see the undergraduate advisor for studio art. We reserve a small number of spaces for such students. Students may be asked to demonstrate commitment to studio art with some examples of artwork.

Variable Credit in Studio Art

Some intermediate and advanced courses may be taken for variable (Var.) credit with instructor permission. Students must consult with individual instructors to outline and contract specific requirements for variable credit hour study. Students taking variable credit should expect to engage in a minimum of two hours of supervised work and an additional two hours per credit outside of class work per week.

Independent Study

Students may pursue independent study course work with individual faculty members. Such work may be undertaken only with permission of the sponsoring faculty member and is appropriate only after the typical sequence of courses has been completed. Students should consult individual faculty members prior to registration to secure permission. Most faculty members require a written plan for the proposed semester’s work. Students should submit a proposal outlining technical and conceptual motivations and goals for production for the semester.

Independent study work requires a minimum of three hours per week per credit hour. Students must meet with the faculty member within the first week of classes initially to confirm goals, review expectations, and establish semester deadlines. Thereafter, students must meet regularly to review work in progress. The suggested frequency for these meetings is every two weeks but should not be less than once per month.

Honors in Studio Art

The honors program in studio art is designed to enable senior majors an opportunity to pursue serious and substantial work culminating in a senior honors project. Successful completion of the project qualifies the student to graduate with honors or with highest honors. Studio art majors with a grade point average of 3.2 or above are eligible for consideration. Admission to the studio art honors program is determined by a review of work by a designated faculty committee. For this review, students must submit the following materials:

• A completed application,

• A written statement regarding the work, and

• A specified body of work for review by the honors committee.

The work must demonstrate a mature capability to perform visual research. These reviews are scheduled each spring, in early April, for rising seniors.

Additional review times can be scheduled for students who are studying abroad during the normal spring application time or who anticipate a December graduation date. Students should notify the honors advisor in studio art as soon as it is determined that an alternate review is needed. Reviews must be scheduled a week in advance and completed absolutely no later than the first week of the senior year.

Once accepted as a studio art honors candidate, students enroll in the honors courses (ART 691H in the fall and ART 692H in the spring). These credit hours are applied toward the concentration. All studio honors students must exhibit their honors project work in the Honors Exhibition scheduled for the June and John Allcott Gallery or in an approved alternate venue. Specific requirements for the honors project and a schedule of departmental and University deadlines are issued at the time of acceptance into the studio honors program and are available on the studio art majors’ Blackboard site.

ART (Studio Art Courses)

Foundation Courses

050 First Year Seminar: The Artistic Temperament (3). Class examines how to advance and sustain artistic production, focusing not only on being a successful artist, but also on the importance of creativity and hard work in any successful venture.

057 [006K] First-Year Seminar: Narrative Sight/Site (3). A mixed media course investigating visual storytelling.

058 [006K] First-Year Seminar: Book Art (3). The book as a structural format for expression has a long history in visual arts. We will address aspects of the book that function visually, considering both design and content.

059 [006K] First-Year Seminar: Time, A Doorway to Visual Expression (3). This class will study one of the lesser considered, but most intriguing, visual components: the element of time.

071 [006K] First-Year Seminar: Contemporary Native North American Art Practice (3). This course provides an overview of contemporary Native American art from the late 1800s and will focus on regional styles and three major art exhibitions from the 1980s and 1990s.

075 [006K] First-Year Seminar: Stories in Sight: The Narrative Image (3). This class looks at the theory and practice of telling stories through photographs.

078 [006K] First-Year Seminar: The Visual Culture of Photography (3). This course will investigate how photography is inextricably entwined in our lives and histories.

082 First-Year Seminar: Please Save This: Exploring Personal Histories through Visual Language (3). This class will investigate the idea of personal histories in visual art. As a studio class, the course will be organized around several art making projects. As a catalyst to our own art-making, we will explore the idea of personal history and memory through readings, as well as looking at contemporary artists whose work functions in an autobiographical framework.

089 First Year Seminar: Special Topics (3). Content varies by semester.

Foundation Courses

102 [005] Two-Dimensional Design (3). The study of the anatomy of a visual message. Through manipulation and analysis of the formal elements of line, shape, value, texture, and color, students will explore psychological and intellectual consequences and strategies for controlling compositional structures.

103 [002] Three-Dimensional Design/Introduction to Sculpture (3). Designed to develop aesthetic sensibility, analytical capacity, and fundamental skills in three-dimensional media.

104 [004] Basic Drawing and Composition (3). Designed to develop aesthetic sensibility, analytical capacity, creative interpretation and fundamental skills in two-dimensional media.

105 [009] Basic Photography (3). A beginning course in creative black and white photography. Technical information will serve the broader goal of understanding aesthetic and critical concerns of the photographic image and art in general.

Level 1 Courses

106 [018] Electronic Media (3). A beginning course in electronic media; introduction to various programs frequently used in art making.

202 [015] Painting I (3). Prerequisites, ART 104, 102. Permission of the instructor for students lacking the prerequisites. Introduction to the techniques of two-dimensional thought and process through the application of various painting media.

203 [016A] Sculpture I (3). Prerequisite, ART 103. Permission of the instructor for students lacking the prerequisites. Introduction to the techniques of three-dimensional thought and process through the application of the various sculpture media.

208 Print Survey (3). Introduction to four basic approaches to printmaking: intaglio, relief, planographic, and stencil processes. Students will explore creative strategies unique to the printed process.

213 [016B] Ceramic Sculpture I (3). Prerequisite, ART 103. Permission of the instructor for students lacking the prerequisite. An investigation of clay as a sculptural medium; developing technical skills, aesthetic awareness, and historical perspective.

214 [024] Life Drawing I (3). Prerequisite, ART 104. Development of proficiency in figure drawing through the use of various drawing and painting materials (study from the model).

223 [026] Life Sculpture (3). Prerequisite, ART 103. Permission of the instructor for students lacking the prerequisite. Conceptual investigation of the figure and issues of the body through the combined use of various sculptural materials.

324 [014] Intermediate Drawing (3). Prerequisite, ART 104. Continuation of ART 104.

356 Introduction to Digital Photography (3). Exploration of the transition of photography from traditional darkroom processes to digital formats. Includes methods of interpretation, analysis of images, scanning, retouching, color correction, basic composition, and inkjet printing.

Level 2 Courses

206 [088] Intermediate Electronic Media (3). Prerequisite, ART 106. Permission of the instructor for students lacking the prerequisite. Continuation of ART 106.

290 [080A] Special Topics in the Visual Arts (3). Required preparation, any introductory studio art course or permission of the instructor. Selected topics in studio art.

302 [065] Intermediate Painting (1–21). Prerequisite, ART 202. Continuation of ART 202.

303 [066A] Intermediate Sculpture (1–21). Prerequisite, ART 203. Continuation of ART 203.

305 [079] Intermediate Photography (3). Prerequisite, ART 105. Continuation of ART 105.

307 [063] Mixed Media Seminar (3). Prerequisite, ART 103 or 104. Permission of the instructor for students lacking the prerequisite. Work produced in this class crosses media boundaries. Students consider the codedness of media and stylistic approaches and how these mediate specific content ideas as determined from specific readings.

313 [066B] Intermediate Ceramic Sculpture (1–21). Prerequisite, ART 213. Continuation of ART 213.

314 [084] Life Drawing II (3). Prerequisite, ART 214. Continuation of ART 214.

328 Serigraphy (1–21). Serigraphy is an intermediate printmaking class. The course provides basic technical introduction primarily in silkscreen. Students will explore the printed image through hand-drawn, photographically and digitally produced images.

330 [093] Time, the Forgotten Element (3). Prerequisite, ART 103, 104, or 105. Required preparation, one additional course numbered in the 100s. Permission of the instructor for students lacking the prerequisites. Concept-driven studio course explores issues of time. Students consider scientific, philosophical, and personal definitions of time to inform projects using a variety of two-, three-, and multidimensional approaches.

336 Digitizing the Body (3). This class examines contemporary artistic production by international artists that engage, question, and challenge ideas of the body. Students will create work in relation to the body using digital technology.

338 [067A] Intermediate Intaglio and Relief Printmaking (1–21). Prerequisite, ART 208. Continuation of ART 208, with emphasis on intaglio and relief.

348 Lithography (1–21). Lithography is an intermediate printmaking class. The course provides basic technical introduction to stone and plate lithography. Students will investigate artistic strategies to forge visual literacy in print media.

428 [047] Book Art (3). Prerequisite, ART 102. Required preparation, one additional two-dimensional studio course (drawing, photography, or printmaking). Defining the book as a "multiple and sequential picture plane," this course considers a range of traditional approaches and conceptual departures of the book as a format for creative expression.

Level 3 Courses

390 [121] Special Topics in the Visual Arts (1–21). Required preparation, any intermediate studio art course or permission of the instructor. Selected topics.

394 [131] Professional Seminar (2). Required preparation, 20 hours in studio art or second-semester junior status. Art majors only. The professional seminar introduces the studio major to practical aspects involved in a career in studio art.

396 Directed Readings in Art History (3). Permission of the instructor. Independent study under the direction of a faculty member.

402 [125] Advanced Painting (1–21). Prerequisite, ART 302. Permission of the instructor for students lacking the prerequisite. Continuation of ART 302. May be repeated for credit.

403 [126A] Advanced Sculpture (1–21). Prerequisite, ART 303. Permission of the instructor for students lacking the prerequisite. Continuation of ART 303. May be repeated for credit.

405 [099] Color Photography (3). Prerequisite, ART 105. The class will focus on lectures, readings, technical demonstrations, and visual assignments investigating color photography. Students will be responsible for completing a series of photographic assignments. Emphasis will be placed on intensive final projects.

406 [135] Interactive Media (COMM 636) (3). See COMM 636 for description.

407 [123] Body Imaging (3). Prerequisites, ART 102. Required preparation, one intermediate ART class or permission of the instructor. Work is made through close examination and analysis of the human "body." Work may be made using any technical or theoretical approach. Required readings provide a conceptual grounding.

410 [133] Public Art (3). Prerequisite, ART 302, 303, or 305. Permission of the instructor for students lacking the prerequisite. This studio class explores public art from historical and critical perspective. Students will propose and create works of public art. Opportunities to implement projects will be explored through the Department of Art and other resources.

413 [126B] Advanced Ceramic Sculpture (1–21). Prerequisite, ART 313. Permission of the instructor for students lacking the prerequisite. Continuation of ART 313. May be repeated for credit.

415 [109] Conceptual-Experimental Photography (3). Prerequisites, ART 105 and either 305 or 405. An advanced photography course for students interested in contemporary photographic practices, critical theory, art history, and experimental processes: theory and practice, formal and conceptual investigations, and historical and contemporary strategies will all be given equal attention.

416 [138] Video Art (3). Prerequisite, ART 106. Permission of the instructor for students lacking the prerequisite. An introduction to the creative and technical processes in producing video art. Students will shoot and edit their own independent video projects. Some class time will be devoted to viewing video art and other media-based work.

417 Advanced Mixed Media Projects (3). Cultural production and practice, theory, and criticism. Pursuit of individual visual projects, formally and conceptually, through theoretical, poetic, art historical, and autobiographical texts, critiques, collaboration, and discussion using all media.

418 Advanced Printmaking (1–6). Prerequisites, ART 208 and any two of 318, 328, 338, or 348. Permission of the instructor for students lacking the prerequisites. This course is appropriate for students who have had a minimum of three semesters of prior printmaking experience. Students submit a proposal outlining technical and artistic goals for the semester.

423 [136] Installation (3). Prerequisite, ART 303. Permission of the instructor for students lacking the prerequisite. This class explores art that encompasses its audience. Conceptual motivations as well as practical realities of dealing with a specific three-dimensional space will be considered.

515 [517] Advanced Photography (3). Prerequisite, ART 305. Permission of the instructor for students lacking the prerequisite. May be repeated for credit.

590 Independent Study in Studio Art (1–9). Permission of the instructor. For students wishing to pursue additional media or thematic study beyond the advanced level. Students register with section numbers designated for faculty. May be repeated for credit.

Special Opportunities in Art

Credit by Examination

Students who fulfill the studio art portfolio requirements for the Advanced Placement Examination and earn a score of 4 or 5 will automatically receive credit for ART 102, 103, or 104. Students who score a 3 may petition for a portfolio review to determine if they should receive credit for one of these courses (see the undergraduate advisor in studio art). Students earning a score of 5 or higher on the International Baccalaureate portfolio will be granted three credits for ART 102 or 104.

Advanced Placement by Portfolio Review

Art majors who have broad experience in visual art may petition to waive foundation-level requirements by submitting to a portfolio review. If the review is successful, students DO NOT receive credit for these courses; rather, the credit hours are redistributed to the studio concentration or elective component of the degree. Portfolio requirements are modeled after the College Board Advanced Placement portfolio guidelines. These guidelines are available from the director of undergraduate studies in studio art or on the art majors’ Blackboard site.

Departmental Involvement

The extracurricular programs in studio art are significant experiences for all studio art students outside of regular class structures. Students have opportunities to see and interact with professional artists and their work through exhibition in the Allcott Galleries, installations of sculptural works in the Alumni Sculpture Garden, artist-in-residence programs, and the Hanes Visiting Artist Lecture Series.

The Undergraduate Art Association (UAA) is the studio art student’s professional organization. The Art History Liaisons and Kappa Pi are the undergraduate art history groups. These groups serve as an important link between the majors and the department’s administration. The department utilizes these organizations to facilitate communication about matters of interest, including participation in departmental initiatives or other extracurricular opportunities. The UAA and Kappa Pi sponsor several student-initiated events (exhibitions, competitions, speakers, film screenings, social gatherings) throughout the year; the UAA has programmatic responsibility for the John and June Allcott Undergraduate Gallery. For more information about the UAA and its activities, contact the current UAA president listed on the Department of Art’s Web page. The Liaisons group sponsors events of interest to art historians and often serves as a link between the majors and the Student Friends of the Ackland Art Museum. For more information about the Liaisons or Kappa Pi groups, please contact the Art History Undergraduate Coordinator.

Internships

Students are encouraged to pursue internships at local, regional, or national arts institutions. Information about internship opportunities is available in the department office. To receive academic credit for an internship, the student must arrange in advance with a department faculty member a directed readings course (ART 396) that is approved by the department advisor.

Study Abroad

Studio art students are encouraged to pursue study abroad opportunities. While there are many opportunities to study art abroad, the Department of Art maintains a special affiliation with the Studio Art Centers International (SACI) in Florence, Italy, and the Glasgow School of Art in Scotland. Students should discuss their study abroad plans with the director of undergraduate studies in studio art to obtain prior approval for courses taken abroad. Basically, courses that have an equivalent in the UNC–Chapel Hill curriculum usually are approved. Courses that fall outside the UNC–Chapel Hill curriculum must be evaluated on a case-by-case basis.

Undergraduate Awards

Each December there is a competition for undergraduate scholarship awards in studio art. Students submit up to four works to be considered for the following scholarships: The Alexander Julian Prize (one award to our best student), the Sharpe Scholarships (multiple awards for students receiving financial aid), Kachergis Memorial Scholarships (multiple awards chosen by a student-designated committee), The Anderson Award (one award) and The Penland School of Craft Scholarship (covers expenses for a summer course at the Penland School of Craft). Awards range from a minimum of $400 up to $2,000.

Undergraduate Research

Opportunities for undergraduate research in the Department of Art exist in several forms. Detailed descriptions and application guidelines are available on the art majors’ Blackboard site and from the student services representative in the Department of Art office.

Allcott Travel Fellowships support two summer research projects in studio art or art history. The Pearman fund supports art history research; competitions are held for this in the fall and the spring.

The R.M. Hanes Summer Fellowship in Studio Art awards up to $3,000 for a studio art research project. It is a Summer Undergraduate Research Fellowship (SURF) administered through the UNC Office of Undergraduate Research.

Facilities

The department possesses outstanding facilities for the teaching of both art history and studio art in the Hanes Art Center. The building houses state-of-the-art facilities for image projection and other art history classrooms as well as specialized classroom studios for painting, drawing, printmaking, photography, and electronic media. Students enrolled in studio classes have 24-hour access to these studio labs. In addition, the 17,686 square-foot Art Lab, located 1.8 miles north of the Hanes Art Center (108 Airport Drive), houses the department’s sculpture facilities.

Department of Art resources also include the Joseph C. Sloane Art Library with its collection of 100,000 volumes, which is supplemented by the University’s Academic Affairs Libraries, with holdings of more than five million volumes. The department’s Visual Resources Library contains 250,000 slides, 40,000 photographs, and 20,000 digitized images. The University’s Ackland Art Museum is located adjacent to the Hanes Art Center. The Ackland’s programming regularly augments the educational experience of the University community.

The John and June Allcott Galleries in the Hanes Art Center are the sites for numerous exhibitions throughout the year. The main gallery has an exhibition schedule of 12 to 15 shows each year, including work by professional artists, faculty, and graduate students, and the annual award and graduation shows of undergraduate work. The John and June Allcott Undergraduate Gallery is the exhibition space designed especially for work produced or chosen by undergraduate students. The Alumni Sculpture Garden occupies the grounds surrounding the Hanes Art Center. Temporary exhibitions of sculpture are commissioned by the department and are on display for a two-year period. An annual student competition awards commissions to undergraduate and graduate students.

UNC–Chapel Hill’s location affords easy access to several regional art venues, including the North Carolina Museum of Art in Raleigh, the Green Hill Center in Greensboro, and the Southeastern Center for Contemporary Art in Winston-Salem. Additionally, the Center for Documentary Studies, the Nasher Museum at Duke University, and the Weatherspoon Museum at UNC–Greensboro offer expanded opportunities to view art in the immediate area. Several smaller galleries and alternative exhibition spaces in the Triangle region also offer regular opportunities to see contemporary art. In particular, Lump Gallery and the Contemporary Art Museum in Raleigh have hosted exceptional exhibitions. The rich museum and gallery scene in Washington, DC, is about a four-and-a-half-hour drive. Flights to New York are relatively inexpensive from the Raleigh-Durham airport.

Contact Information

Department of Art, CB# 3405, 101 Hanes Art Center, (919) 962-2015. Web site: www.unc.edu/art.