CRN	94274	Distribution	A/C */ (Analysis of Art)
Course No.	ARTH 101
Title	Perspectives in World Art I
Professor	Susan Aberth
Schedule	Mon Wed 1:30 pm - 2:50 pm OLIN 102

Related-interest: Africana Studies, LAIS

The objective of this two-semester course is to introduce students to the breadth and diversity of the visual arts worldwide. The painting, sculpture, architecture and other cultural artifacts examined will range from the Paleolithic period through the fourteenth century. The class will encompass works from Europe, Asia, Africa, and the Americas, arranged chronologically in order to provide a more integrated historical context for their production. In addition to the course textbook, readings will be chosen to broaden critical perspectives and to present different methodological approaches. This course is designed for those students with no background in art history as well as for those who may be contemplating a major either in art history or studio.

First year students are welcome and encouraged to enroll.

CRN	94273	Distribution	A */ (Analysis of Art)
Course No.	ARTH 122
Title	Survey of African Art
Professor	Susan Aberth
Schedule	Mon Wed 3:00 pm - 4:20 pm OLIN 102

Cross-listed: Africana Studies

Related interest: LAIS, Gender and Sexuality Studies

This introductory course surveys the vast array of art forms created on the African continent from the prehistoric era to the present, as well as arts of the diaspora in Brazil, the Americas, Haiti, etc. In addition to sculpture, masks, architecture and metalwork, we will examine beadwork, textiles, jewelry, house painting, pottery, and other decorative arts. Some of the topics to be explored will be implements of divination, royal regalia, the role of performance, music and dance, funerary practices, and the incorporation of western motifs and materials. All students welcome.

CRN	94275	Distribution	A */ (Analysis of Art)
Course No.	ARTH 125
Title	Modern Architecture from 1850 to 1950
Professor	Noah Chasin
Schedule	Mon Wed 11:30 am - 12:50 pm OLIN 102

This course will address the history of modern architecture from its emergence in Western Europe during the eighteenth century through to its widespread presence and diversification by the end of World War II. The course will pay particular attention to the way in which architects have responded to, and participated in, formal and aesthetic developments in other arts as well as broader technological, economic, and social-political transformations. As architecture encountered the industrialized condition of modernity and the rise of the metropolis it gave rise to a fascinating range of aesthetic and programmatic experimentations. Covering many aspects of architecture—from buildings, drawings, models, exhibitions, and schools, to historical and theoretical writings and manifestoes—the course will investigate a range of modernist practices, polemics, and institutions. The readings have been selected both to provide an overview of the history of modern architecture and to offer a number of critical and historical approaches to evaluating its legacy. First year students and prospective majors, as well as anyone interested in architecture, are welcome and encouraged to enroll. This course does not require background in the topic.

CRN	94276	Distribution	A */ (Analysis of Art)
Course No.	ARTH 130
Title	Introduction to Visual Culture
Professor	Laurie Dahlberg
Schedule	Wed Fr 11:30 am - 12:50 pm Fisher Annex

This course teaches students how to look at, think about, and describe works of art. It constitutes an introduction to the discipline of art history and to visual artifacts more broadly defined. Texts will include John Berger, Ways of Seeing, Nicholas Mirzoeff, Visual Culture Reader, and Henry Sayre, Writing About Art. Frequent short writing assignments will be based on first-hand observation of works of art at nearby museums and galleries. This course is designed for anyone with an interest in, but no formal work, in art history. Preference will be given to prospective majors and first year and arts division students. Limited to 15 students.

CRN	94277	Distribution	A */ (Analysis of Art)
Course No.	ARTH 218
Title	Celtic Art from its Beginnings through the Viking Invasion
Professor	Jean French
Schedule	Mon Wed 6:15 pm - 7:35 pm Fisher Annex

Cross-listed: Irish and Celtic Studies, Medieval Studies

This course will investigate the origin and identity of the Celts, the rich variety of their material way of life, their institutions, and their attitudes toward the supernatural through a study of archaeological remains, myths and sagas and, in particular, a close examination of their elusive, shape-changing, non-narrative art. The course will begin with the Continental Celts, loosely-knit tribes who left their treasures throughout Iron Age Europe – from the Balkans in the east to France and Spain in the west. Students will become familiar with chariot graves and their princely goods, with sanctuaries devoted to the “cult of the head,” as well as with swords, helmets, cauldrons, torques and bracelets, all decorated with the swirling and intricate patterns of the Celtic imagination. The course will then follow the migration of the Celts to Ireland and Britain, with particular emphasis on Ireland where Celtic forms survived and flourished in their purest form. This section will be prefaced by an examination of prehistoric passage graves (Newgrange, Dowth and Knowth) as well as Irish gold ornaments (torques, gorgets, lunulae etc.) found in streams and bogs. With the arrival of the Celts, attention will shift to dwellings, fortifications, sacred sites and mysterious stones (ring forts, crannogs, Navan Fort, the Hill of Tara etc.) and, with the coming of Christianity, to the beehive huts and oratories of ascetic monks (sometimes perched on perilous ledges above the Atlantic), and to the high crosses and round towers which, even today, dot the landscape, serving as beacons of pilgrimage. Special attention will be given to the “Golden Age” of Irish art – to the adaptation of ancient Celtic forms to magnificently illuminated manuscripts (Book of Durrow, Book of Kells) and precious metalwork (Ardagh Chalice, Tara Brooch). The course will conclude with Celtic objects found in Viking and Anglo-Saxon graves (Sutton Hoo ship burial) and with an examination of the cultural impact of Viking raids and settlements in Celtic Ireland.

CRN	94278	Distribution	A/C */ (Analysis of Art)
Course No.	ARTH 219
Title	Art of the Northern Renaissance
Professor	Jean French
Schedule	Mon Wed 10:00 am - 11:20 am OLIN 102

Painting in Flanders, the Netherlands and Germany during the fifteenth and sixteenth centuries. The course will open with an examination of the remarkable innovations of Flemish and Dutch artists working abroad, primarily under the patronage of the French court, and will then shift to the major focus of the course: the emergence, in the North, of new forms of painting in the work of such major artists as Jan van Eyck, Rogier van der Weyden, Hieronymus Bosch, Pieter Bruegel, Hans Holbein and Albrecht Dürer. The course will examine developments in landscape and portraiture (including engagement and marriage portraits), the use of oils, changing patronage, and will investigate the influence of various philosophical and religious movements, including nominalism, the Devotio moderna, and mysticism (quiet and meditative in the paintings of Memlinc, more violently manifested in those of Grünewald). Particular attention will be given to controversial works (alleged references to alchemy, witchcraft and heretical sects in the paintings of Bosch), to more recent interpretations of old favorites (the Arnolfini Wedding of Jan van Eyck), and to the importance of investigating the original placement and intended site (hospitals for the poor and infirm, for example) in assessing the intended impact of specific works. Open to all students.

CRN	94279	Distribution	A */ (Analysis of Art)
Course No.	ARTH 258
Title	Manet to Matisse
Professor	Laurie Dahlberg
Schedule	Tu Th 11:30 am - 12:50 pm OLIN 102

Cross-listed: French Studies, Gender and Sexuality Studies

A social history of European painting from 1860 to 1900, beginning with the origins of modernism in the work of Manet. Topics include the rebuilding of Paris under Napoleon III, changing attitudes toward city and country in impressionist and symbolist art, and the prominent place of women in representations of modern life. The course addresses vanguard movements such as impressionism and postimpressionism and the styles of individual artists associated with them, as well as the work of academic painters. Open to all students.

CRN	94280	Distribution	A */ (Analysis of Art)
Course No.	ARTH 265
Title	Dada and Surrealism
Professor	Tom Wolf
Schedule	Th Fr 1:30 pm - 2:50 pm OLIN 102

A survey of the two major artistic movements following World War I in Europe. Introductory lectures on the earlier modernist movements in Paris, particularly cubism, are followed by a study of the iconoclastic art of dadaists such as Marcel Duchamp, Man Ray, and Hans Arp. The course concludes with an examination of the surrealist group, including Joan Miró, André Masson, Max Ernst, and René Magritte.

CRN	94282	Distribution	A */ (Analysis of Art)
Course No.	ARTH 274
Title	Art after Pop 1959 – 1975
Professor	Rhea Anastas
Schedule	Mon Wed 3:00 pm – 4:20 pm Fisher Annex

This course presents a historical view of postwar art during the period 1959-1975. Considering select examples across pop art, minimalism, conceptualism and experiments from earth and process art to video, photography, installation, and film, we will reevaluate the period’s avant-gardist oppositions (e.g. modernism and mass culture or neo-avant-garde). Our study and discussion of these works and the challenges they posed to the role of the object, artist, and viewer, considered together with the rise of the art gallery, art magazine, curator, and museum, will shape an alternate history of the period. From its art, a portrait of an adversarial culture that was already reconciling itself to a global marketplace with creative ingenuity and resistance, but never pessimism, will emerge. Our focus will be on American art, though comparisons will be drawn to practices in centers across Europe and South America. Readings include writings by artists and critics such as Walter Benjamin, Michael Fried, Annette Michelson.

CRN	94285	Distribution	A/C
Course No.	ARTH 286
Title	El Greco to Goya: Spanish Art and Architecture, 1550-1850
Professor	Susan Merriam
Schedule	Mon Wed 1:30 pm - 2:50 pm Fisher Annex

Cross-listed: LAIS

This course surveys the complex visual culture of early modern Spain with particular attention given to major figures including El Greco, Velázquez, Murillo, Zurbaran, and Goya. Spain exercised enormous political and military influence during this period, and undertook a number of expansionist enterprises. At the same time, the nation witnessed the emergence of the Spanish “Golden Age” in art and literature. We will examine the formation of a distinct Spanish style within the context of European art, and consider how Spanish artistic identity was a kind of hybrid, complicated both by Spain’s importation of foreign artists (Titian, Rubens), and by its relationship to the art and architecture of the colonies. Palace art, architecture and interior decoration--visual manifestations of Spanish power--will be one important focus. We will also look at some of the most intense devotional art ever produced, including elaborate church furnishings, altarpieces, reliquaries, and hyperreal sculpture. Particular emphasis will be paid to the art of Spanish visionary experience. Other topics to be addressed include: Spanish artistic theory and the training of artists; the art market and collecting; artistic critiques of monarchical power.

CRN	94283	Distribution	A/C */ (Analysis of Art)
Course No.	ARTH 291
Title	Chinese Landscape Painting
Professor	Patricia Karetzky
Schedule	Wed 1:30 pm - 3:50 pm CAMPUS

The Chinese love of landscape can be traced to ancient times when the mountains were considered the home of the immortals; such deep spiritual connotations maintained their vitality during the evolution of this most highly regarded of the pictorial arts. Through an analysis of the evolution of the Chinese landscape, the society’s rich poetic tradition, historical events, and cultural contexts are viewed.

CRN	94286	Distribution	A */ (Analysis of Art)
Course No.	ARTH 334
Title	Postmodernism and Deconstruction
Professor	Noah Chasin
Schedule	Fri 1:30 pm – 3:50 pm OLIN 301

What is Postmodernism? When did it begin? Did it ever end? Was Deconstruction a continuation of Postmodernism? A critique? The purpose of this course is to examine these questions and many others through the reading of theoretical, architectural, and artistic “texts” of the 1970s and 1980s. We will debate the different iterations of these movements as they arose and unfolded in both practical as well as theory-based systems. Of utmost importance will be the critical discourses that developed at the time, particularly those that address the issues from a sociopolitical point of view, and that reacted to developments such as the election of Ronald Reagan, the AIDS crisis, and debates about identity politics. Emphasis will be placed o the major writings on these movements, yet will include a strong visual component (buildings, art, film, television).

Requirements include several short position papers, bibliographic research, and a final research project/presentation. Some background in modern and contemporary art, architecture, or in the political, social, or cultural history of the period is preferred. Majors from disciplines outside of art history are encouraged to enroll. Permission of instructor required.

CRN	94288	Distribution	A */ (Analysis of Art)
Course No.	ARTH 346
Title	Collage, Montage and Sampling
Professor	Luc Sante
Schedule	Th 1:30 pm - 3:50 pm OLIN 301

It has been said that montage was the dominant artistic mode of the twentieth century. Right now it would seem as though this dominance has extended into the twenty-first, since montage has been given new life by innovations in the electronic media. This course will involve a panoramic tour of the forms of expression that involve cutting, pasting, and manipulation. Besides the impressive genealogy of collage and montage in the plastic arts and photography, we will also look at analogous developments in literature (Lautréamont and the history of détournement) film (Meliès, Vertov, Guy Debord, Bruce Conner, et al.), and of course music (the art of the DJ from Stockhausen and Cage to Lee Perry, John Oswald, Steinski, the RZA, and so on). We will examine the moral, legal, and philosophical ramifications of art made up of recontextualized bits of other art. We will see how far back we can trace its roots, speculate on how much farther it can go, and have a stab at the million-dollar question: What is originality? Each student will be required to make a presentation, and there will be a take-home final exam.

Limited to Upper College students. Admission by interview only.

CRN	94645	Distribution	A */ (Analysis of Art)
Course No.	ARTH 360
Title	Fin de Siècle: Seminar in Symbolism, Art Nouveau, and Arts and Crafts
Professor	Tom Wolf
Schedule	Fri 10:30 pm – 12:50 pm OLIN 301

Cross-listed: Integrated Arts

In this seminar we study developments in the fine and decorative arts at the end of the 19^th and the early 20^th centuries in Europe and the United States Topics explored include the anti-Realist reaction of artists such as Vincent van Gogh, Paul Gauguin, and Aubrey Beardsley; the development of the Arts and Crafts movement; photography at the turn of the century; and the relationship between the Arts and Crafts movement, the Vienna Werkstatte and Art Nouveau. Students will give presentations on selected subjects and there will be several field trips. Some background in art history preferred.

CRN	94289	Distribution	A */ (Analysis of Art)
Course No.	ARTH 367
Title	Image of Evil
Professor	Natalie Lettner
Schedule	Wed 10:30 am - 12:50 pm OLIN 301

This seminar aims to analyze images of evil in the last few centuries and to investigate how this European pictorial tradition is perpetuated in modern European and American art and in the popular media. Although evil is an abstract concept, European art and culture has had no difficulty in portraying it in a highly concrete and visible manner. Western pictorial art is full of devils, demons, witches, dragons and other monsters, all of which are tangible personifications of evil with specific and unmistakable characteristics. Among the number of scenes and subjects in Christian mythology in which images of evil play a role are the Fall of Man, the Fall of the Angels, the Last Judgment, exorcisms, witches and witch’s Sabbaths, the betrayal of Judas, the flagellation of Christ, the temptation of St. Anthony, the temptation of Christ, the seven deadly sins and other vices, and combat with dragons, to mention but a few – a repertoire of imaginary scenes that still have an impact, albeit against a different background, today. Students must have had at least one prior art history course. Assignments will include significant weekly readings, research, and writing, to be arranged.

CRN	94643	Distribution	A */ (Analysis of Art)
Course No.	ARTH 379
Title	Religious Imagery in Latin America
Professor	Susan Aberth
Schedule	Tu 1:30 pm - 3:50 pm Fisher Annex

Cross listed: Africana Studies, LAIS, SRE

The course begins by exploring major Pre-Columbian monuments along with the sacred practices of the Inca, Maya, Taino, Aztec, and others. Next the class analyzes how art and architecture were used by colonizers as conversation tools and considers how Latin America ultimately developed a unique kind of Catholic imagery and building types. African-based religions originating in Brazil and the Caribbean, such as Candomblé and Santería, are emphasized. Religious folk and the ways in which contemporary artists use religious iconography in their work in order to celebrate and critique issues surrounding national and personal identity are examined.

CRN	94287	Distribution	A */ (Analysis of Art)
Course No.	ARTH 385
Title	Art Criticism and Methodology
Professor	Susan Merriam
Schedule	Tu 10:30 am - 12:50 pm Fisher Annex

Cross-listed: Philosophy and the Arts

This seminar, designed primarily for art history majors, helps students develop the ability to think critically about a range of different approaches to the field of art history. Students read and discuss a variety of texts in order to become familiar with the discipline’s development. Methodologies such as connoisseurship, cultural history, Marxism, feminism, and post-modernism are analyzed.