|
99226 |
ARTH 101 Perspectives in World Art |
Diana Minsky |
M . W . . |
3:00 -4:20 pm |
OLIN 102 |
AART |
Perspectives in World Art is a two-semester course which introduces the
breadth and diversity of the visual arts worldwide. Students may take
either semester or both. In the first semester, the class examines painting,
sculpture, architecture, and other cultural artifacts from the Paleolithic
period through the 14th century. Works from Europe, Asia, Africa,
and the Americas are studied chronologically in order to situate them in an
integrated historical context. In addition to the course textbook, readings are
assigned to broaden critical perspectives and present different methodological
approaches. Requirements include two papers, a mid-term, a final, and quizzes.
This course is open to all students especially those considering a major in
either art history or studio arts. It is designed for students with no
background in art history.
|
99871 |
ARTH 113 History of Photography |
Laurie Dahlberg |
. T . Th . |
1:00 – 2:20 pm |
AVERY 217 |
|
The
discovery of photography was announced in 1839, almost simultaneously by
several inventors. Born of experiments in art and science, the medium combines
vision and technology. It possesses a uniquely intimate relation to reality and
for this reason has many applications outside the realm of fine art;
nevertheless, from its inception photography has been a vehicle for artistic
aspirations. This survey of the history of photography from its earliest
manifestations to the 1970s considers the medium’s applications – as art,
science, historical record, and document. This course is open to all students and
is the prerequisite for most other courses in the history of photography.
|
99227 |
ARTH 114 History of the Decorative Arts |
Tom Wolf |
. . W . . . . . Th . |
10:30 - 11:50 am 10:30 - 11:50 am |
OLINLC 115 OLIN 102 |
AART |
Cross-listed:
STS A survey
of decorative arts from the rococo period to postmodernism. Students explore
the evolution of historical styles as they appear in furniture, interiors,
fashion, ceramics, metalwork, and graphic and industrial design. Objects are evaluated in their historical contexts, and
formal, technical, and aesthetic questions are also considered. Two or more
trips to museums to see decorative arts collections are included.
|
99228 |
ARTH 122 Survey of African Art |
Susan Aberth |
. . W . F |
12:00 -1:20 pm |
RKC 103 |
AART/DIFF |
Cross-listed: Africana Studies, SRE 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, and
Haiti. 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. Because art
and visual culture most deeply reveal the aesthetic, spiritual and social
values of a people, this course fulfills the Rethinking Difference
requirement. We will examine the ways in which objects, performances,
regalia and other forms designed for visual consumption work together in
African societies to create a cohesive sense of identity and belonging to
community members. All students welcome.
|
99229 |
ARTH 125 Modern Architecture |
Noah Chasin |
. T . Th . |
2:30 -3:50 pm |
RKC 102 |
AART |
Cross-llisted:
EUS This course
introduces students to the architectural history of the modern era, including
styles and movements, major architects and, to a limited degree, methodologies.
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. Students will leave the class with a thorough knowledge of the
most important stylistic and engineering developments of the 19th and 20th
centuries, will have mastered the basic vocabulary of architecture and
building, and will have begun to develop their writing skills in relation to
not only architectural history, but also visual analysis generally. Course grades
will be based on attendance and participation, one short written assignment on
visual analysis of architecture, a midterm and a final exam. Open to all
students.
|
99230 |
ARTH 130 Intro to Visual Culture |
Julia Rosenbaum |
M . W . . |
1:30 -2:50 pm |
FISHER ANNEX |
AART |
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 material more broadly defined. The
course explores the uses of different genres and media and
considers different interpretative approaches to visual material.
The art of writing about art is also a focus. Coursework includes
first-hand observation of works of art, short writing assignments,
and a final project. 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.
|
99231 |
ARTH 201 Greek Art and Architecture |
Diana Minsky |
. T . Th . |
4:00 -5:20 pm |
OLIN 102 |
AART |
Cross-listed: Classical
Studies This
class traces the evolution of Greek sculpture, vase painting, and architecture from
the Bronze Age through the Hellenistic Age. Topics include the development of
nude sculpture, the depiction of myths and daily life in painting, and the
political alliances and institutions which shaped Greek architecture. The
stylistic vocabulary and icongraphy set forth in this class both expressed
contemporary beliefs and laid the foundation for future Western art and
architecture. Requirements include two quizzes, two papers, a mid-term, and a
final. Open to all students.
|
99233 |
ARTH 212 19th Century Photographic Art |
Laurie Dahlberg |
. T . Th . |
10:30 - 11:50 am |
PRE 110 |
|
Cross-listed:
STS
Photography led a tortured path into the precincts of fine art, and this
course explores that fractious history. We begin by studying the pre-existing
debate over realism in art that forms the “backstory” for the complicated
reception of photography, and work forward to the so-called Pictorialist
movement at the end of the 19th century. Along the way, we will
discuss topics such as: photography’s status as “the bastard child of art and
science,” “passing (i.e., how to make photographs that look like art)”
photography and art pedagogy, pornography, the fine art nude, and Victorian
mores, photography’s role in the “liberation” of painting, and the 20th
century repudiation of the 19th century photography’s art
aspirations. The course will take a hybrid seminar/lecture format, and will
include significant weekly readings, at least two medium-length writing
assignments, and two exams. A trip to the Met is planned.
|
99234 |
ARTH 230 The Early Renaissance |
Jean French |
M . W . . |
10:30 - 11:50 am |
OLIN 102 |
AART |
Cross-listed: Italian Studies; Science, Technology & Society A survey of Italian
painting and sculpture of the fourteenth
and fifteenth centuries. Major
trends from Giotto and Duccio through Piero della Francesca and Botticelli are
analyzed within a wider cultural context.
Consideration is given to the evolution of form, style, technique, and
iconography; contemporary artistic theory; and the changing role of the artist
in society. Open to all students.
|
99235 |
ARTH 240 Rights and the City: Topics in Human Rights and Urbanism |
Noah Chasin |
. . W . F |
1:30 -2:50 pm |
RKC 103 |
AART |
Cross-listed: EUS, Human Rights (core course); STS The course will explore the often-contested
terrain of urban contexts, looking at cities from architectural, sociological, historical,
and political positions. What do rights have to do with the city? Can the
ancient idea of a "right to the city" tell us something fundamental
about both rights and cities? Our notion of citizenship is based in the
understanding of a city as a community, and yet today why do millions of people
live in cities without citizenship? The
course will be organized thematically in order to discuss such issues as the
consequences of cities' developments in relation to their peripheries
(beginning with the normative idea of urban boundaries deriving from fortifying
walls), debates around the public sphere, nomadic architecture and urbanism,
informal settlements such as slums and shantytowns, surveillance and control in
urban centers, refugees and the places they live, catastrophes (natural and
man-made) and reconstruction, and sovereign areas within cities (the United
Nations, War Crimes Tribunals). Students will do two position papers and one
research paper. Admittance is at the professor’s discretion.
|
99232 |
ARTH 241 Art and Exploration in American Culture |
Julia Rosenbaum |
. T . Th . |
2:30 -3:50 pm |
OLIN 102 |
AART |
Cross-Listed: American Studies; STS Exploration characterizes much of American
history, and this course focuses on the artwork emerging from the
expeditions and explorations of these new lands and peoples. It begins
with the European discovery of the continent in the fifteenth century,
concentrates on the manifold nineteenth-century expeditions sponsored by American
private and public groups to the west, south, and north of America, as
well as to the Arctic, and concludes with twentieth-century space
travel. Visions of these new worlds are captured in a compelling record
of paintings, drawings, photographs, and collections of artifacts.
We explore that visual record and the use of the visual in
understanding and making sense of the unfamiliar, the new, and the
different. Topics to be addressed include: mapping and the imagining of
new worlds; the relationship of art and science, attitudes about nature
and about native peoples and the implications of colonization and
conquest; the role of different media; display and national identity. The
class is a combination of lecture and discussion, and each student will do
an exploration project. Open to all students.
|
99236 |
ARTH 257 Art in the Age of Revolution |
Laurie Dahlberg |
. . W . F |
10:30 - 11:50 am |
PRE 110 |
AART |
A social history beginning with the art of the pre-Revolutionary
period and ending with realism. Major topics include changing definitions of
neoclassicism and romanticism; the impact of the revolutions of 1789, 1830, and
1848; the Napoleonic presence abroad; the shift from history painting to scenes
of everyday life; landscape painting as an autonomous art form; and attitudes
toward race and sexuality. Emphasis is placed on French artists such as Corot,
Courbet, David, Delacroix, Géricault, Greuze, Ingres, and Vigée-Lebrun;
Constable, Friedrich, Goya, and Turner are also considered.
|
99237 |
ARTH 269 Revolution and Social Change in Art of Latin America |
Susan Aberth |
. T . Th . |
1:00 -2:20 pm |
RKC 115 |
AART |
Cross-listed:
Human Rights, LAIS, SRE This
course examines the role that Christian iconography played in the conquests of
the 16th century and the radical new meanings that same iconography
took as time went on; it also reviews the visual strategies employed in the
presentation of the “heroes” of independence movements (Simón Bolivar, Miguel
Hidalgo) and how art contributed to the formation of national identities. It
considers the 20th century Mexican mural movement and how the
artists involved promoted and reaffirmed the nation’s new leftist political
policies in public spaces. Other topics include printmaking as a political
tool; the use of Che Guevara’s image as a catalyst for social change; murals in
Nicaragua; art in Chicano activists in the United States; and the role of folk
art traditions. The course concludes with a look at the use of performance,
installation, and video as a means to promoting dialogue on such complex issues
as the border, racism, feminism, and AIDS.
|
99238 |
ARTH 286 Spanish Art & Architecture: El Greco to Goya |
Susan Merriam |
M . W . . |
12:00 -1:20 pm |
OLIN 102 |
AART |
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 hyper-real 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. Prerequisite:
permission of the instructor;
preference given to LAIS and Art History majors. Students who have taken ARTH 228 may not
enroll in this course.
|
99239 |
ARTH 293 East Meets West |
Patricia Karetzky |
. . W . . |
1:30 -3:50 pm |
PRE 110 |
AART |
Cross-listed: Asian Studies, SRE A consideration, through art, of the impacts
Eastern and Western cultures have had on one another. Broad topics for
discussion include the art of Buddhism and the Silk Road; medieval European
borrowings from the East; travelers East and West; Arabs as transmitters of
Asian technologies; concepts of heaven and hell; Western missionaries and the
introduction of Western culture in India, China, and Japan; chinoiserie in
European architecture, gardening and décor; and Japonisme - the
influence of the Asian aesthetic on modern art movements.
|
99240 |
ARTH 298 History of the Museum |
Susan Merriam |
. T . Th . |
1:00 -2:20 pm |
OLIN 102 |
AART |
Cross-listed:
Science, Technology & Society Examines the history of the museum from the
Renaissance to the present. Traces the transformation of early collecting and
display practices into the first modern “survey” museum, and considers the
emergence of alternatives to this model. Particular attention given to
critiques of the museum (including critiques of exclusivity and cultural
insensitivity), as well as to problems in contemporary museum practice (such as
contested provenance and the issue of restitution). Other topics to be
addressed include: the museum as memory and memorial; the role played by the
museum in the wake of New World discovery and European colonization;
collections as sites for producing knowledge; artists’ intervention in the
museum; the virtual collection; the gallery and the museum; the logic and
politics of display. The class will be conducted as both lecture and
discussion. Open to all students.
|
99241 |
ARTH 323 “Crossroads” of Civilization: Art of Medieval Spain |
Jean French |
M . . . . |
4:30 -6:50 pm |
FISHER ANNEX |
AART |
Cross-listed: Medieval
Studies, LAIS A study of over thirteen
hundred years of the art and architecture of the Iberian peninsula. The course
will begin with a brief look at the Celtiberian culture and at the colonial
activities of the Phoenicians, Greeks and Romans. The major focus, however, will be four primary areas: Visigothic
art; Al-Andalus, the Islamic art of Spain; Asturian and Mozarabic art;
Romanesque art of the pilgrimage route to Santiago de Compostela. Students will investigate the complex
patterns of exchange, appropriation, assimilation and tension among the
Islamic, Judaic and Christian traditions and will attempt to assess the effects
of this cross-fertilization of cultures on the visual arts. The course will be
conducted as a seminar and is open to students outside art history.
|
99145 |
PHOT/ ARTH 328 Photography, History And News |
Luc Sante |
. . . Th . |
1:30 -3:50 pm |
OLIN 304 |
AART |
See
Photography section for description.
|
99243 |
ARTH 340 Seminar in Contemporary Art |
Tom Wolf |
. . . Th . |
1:30 -3:50 pm |
FISHER ANNEX |
AART |
A
consideration of the history of recent art, beginning with a short survey
of the minimalism of the 1960s and then focusing on subsequent artistic
developments through the early 21st century. The class meets in New
York City every fourth week to view current exhibitions. Students
give presentations about selected artists and topics to the class.
|
99242 |
ARTH 353 Outsider Art |
Susan Aberth |
. T . . . |
4:00 -6:20 pm |
FISHER ANNEX |
AART |
The
term “Outsider Art” is a problematic umbrella under which are grouped a variety
of difficult to categorize artistic practices.
This class will first examine the use of terminology such as outsider,
naïve, and visionary, as well as groupings such as art brut, folk art, art of
the insane, and even popular culture.
We will pursue relevant questions such as: what exactly are the criteria
for inclusion in such categories, do art markets drive this labeling, how does
this work function within the art world, and are categorical borders crossed in
order to fit the needs of exhibiting institutions, and finally how has Outsider
Art impacted mainstream modern and contemporary art and are the dividing lines
between the two still relevant?
|
99244 |
ARTH 385 Art Criticism and Methodology |
Susan Merriam |
. T . . . |
9:30 - 11:50 am |
FISHER ANNEX |
AART |
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.
|
99491 |
PHIL 390 Politics and the Arts: Art, Philosophy, and Democratic Culture |
Norton Batkin |
M . . . . |
1:30 -3:50 pm |
OLIN 309 |
HUM |
See
Philosophy section for description.