|
91572 |
ARTH 101 Perspectives in World Art |
Diana DePardo-Minsky |
M . W . . |
3:10 pm -4:30 pm |
OLIN 102 |
AART |
Cross-listed: Africana
Studies Perspectives
in World Art
introduces the diversity of the visual arts worldwide over the course of two
semesters. Students may take either
semester or both. The first semester examines painting, sculpture,
architecture, and other artifacts from the Paleolithic period through the 14th
century. Works from Europe, Asia,
Africa, and the
|
91581 |
ARTH 114 History of the Decorative Arts |
Tom Wolf |
. . W . . . . . Th . |
10:10 am -11:30 am 10:10 am -11:30 am |
OLIN 102 OLINLC 115 |
AART |
Cross-listed: Science, Technology & Society 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. Open
to all students. Class size: 25
|
91576 |
ARTH 123 A
Survey of 20th Century Art |
Alex Kitnick |
M . W . . |
11:50 am -1:10 pm |
OLIN 102 |
AART |
A
survey of the major movements of modern art, beginning with postimpressionism
in the late 19th century and moving through fauvism, expressionism,
cubism, futurism, constructivism, Dadaism, surrealism, abstract expressionism,
pop art, and minimalism. Painting and sculpture are emphasized.
Art
History distribution: Modern
|
91575 |
ARTH 124 Japanese Arts of |
Patricia Karetzky |
. . W . . |
1:30 pm -3:50 pm |
RKC 200 |
AART/DIFF |
Cross-listed: Asian Studies After a period of
five hundred years of civil war,
|
92015 |
ARTH 125 MODERN ARCHITECTURE 1850-1950 |
Olga
Touloumi |
.
T . Th . |
11:50
am - 1:10 pm |
FISHER
ANNEX |
AART |
Cross-listed:
Environmental & Urban Studies 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 ways in which architects have responded to, and participated
in, formal and aesthetic developments in other arts, as well as the role of
architecture in broader technological, economic, and social-political
transformations. Covering many aspects of architecture from buildings,
drawings, models, exhibitions, and schools, to historical and theoretical
writings and manifestoes we will investigate a range of modernist practices,
polemics, and institutions. The readings, both primary and secondary texts,
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. Figures discussed include Schinkel, Paxton, Sullivan,
Wright, Oud, Corbusier, Mies, and Aalto. Requirements include two short written
assignments, a midterm, and a final exam. No prerequisites. Class size: 22
|
92014 |
ARTH 130 INTRO TO VISUAL CULTURE |
Laurie
Dahlberg |
.
. W . F |
8:30
am -9:50 am |
FISHER
ANNEX |
AART |
This course concerns the interpretation of
“visual texts,” — human-made images of all kinds. This means looking at, analyzing, talking about,
and writing about visual images, including art works, film, television,
advertising, and other modes of visual culture.
The term "visual culture" has a double sense: first, it can
mean the actual visual materials produced in a given place and time, and it can
also mean the way in which we are enculturated (trained by our culture or
society) to read images. We'll spend the
semester thinking about and comparing different types of visual communications,
and thinking about the many ways one can interpret their messages-and the
reasons why their meanings shift from context to context. Our thinking and
reading brings together philosophies of art, communication, and media studies,
as well as the history of art. Assignments
and Exams: midterm and final exams; four short papers and generous
participation in discussion. Class
size: 22
|
92353 |
ARTH 132 THE CULTURAL PRACTICE OF MAPPING |
Gretta Tritch-Roman |
M . W . . |
11:50 am -1:10 pm |
HDR 106 |
AART |
Cross-listed: Environmental and Urban Studies, Experimental Humanities Astrolabes, sea
charts, atlases, and more recently global positioning systems (GPS) or
geographic information systems (GIS) are all tools for the navigation and
mapping of the surface of the earth. Behind each of these specific measuring
devices is a culture of production that informed its making or the map images
produced by these tools. This course is a critical examination of the visual
history and cultural production of maps as various discourses of power, nation
building, identity formation, and economics. Foundations for the class are
built on texts written by geographers, sociologists, and urban or art
historians such as J. B. Harley, Dennis Cosgrove, David Buissert, Henri
Lefebvre, and Edward Soja as well as authors who theorize the future production
of maps using digital technologies. From prehistoric cave drawings to spatial
history digital projects, topics will include mapmaking traditions in Western
Europe, ancient and medieval
|
91568 |
ARTH 140 Survey of Islamic Art |
Katherine Boivin |
. T . Th . |
10:10 am - 11:30 am |
FISHER ANNEX |
AART/DIFF |
Cross-listed: Africana
Studies, Middle Eastern Studies,
Medieval Studies This course offers an introduction to
the widespread visual production defined as "Islamic Art". In
addition to architecture and architectural ornamentation, the course will also
look at pottery, metalwork, textile and carpet weaving, glass, jewelry,
calligraphy, book illumination, and painting. Beginning with the death of
Muhammad in 632 C.E. and continuing through the present, the course will cover
works from
|
91573 |
ARTH 201 GREEK ART AND ARCHITECTURE |
Diana DePardo-Minsky |
. T . Th . |
4:40 pm -6:00 pm |
OLIN 102 |
AART |
Cross-listed:
Classical Studies, Environmental and Urban 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. Class size: 25
|
92016 |
ARTH
214 ARCHITECTURE
AND MEDIA |
Olga
Touloumi |
.
T . Th . |
3:10
-4:30 pm |
Olin
203 |
AART |
Cross-listed:
Experimental Humanities
This course traces architecture’s multifaceted engagement with
media–including but not limited to books, magazines, television, and film. We
will consider building typologies, such as libraries, television studios, and
“media cities,” as well as theoretical projects that have appropriated
publishing, cinematic, cybernetic, and broadcasting techniques to further
architectural experimentation. We will approach media as technologies of
spatial organization, and will consider how architecture itself operates as a
form of media. Case studies span from the 19th to the 21st centuries; protagonists
will include Henri Labrouste, Le Corbusier, Rem Koolhaas, Jacques Tati, Gordon
Matta-Clark, Julius Shulman and Thomas Demand. Drawing from architectural,
critical, and media theory, we will examine texts by Walter Benjamin, Sigfried
Kracauer, Marshall McLuhan, Friedrich Kittler, Robin Evans, and Reyner Banham,
among others. Students are required to submit written analyses of texts and
projects, including a final research paper. Permission of instructor required. Class size: 22
|
91977 |
RUS / ARTH 225 Art of Russian Avant-Garde |
Oleg Minin |
. T . Th . |
10:10 am -11:30 am |
OLIN 102 |
AART |
See Russian Studies section for description.
|
91571 |
ARTH 247 Photography Since 1950 |
Laurie Dahlberg |
. . W . F |
11:50 am -1:10 pm |
PRE 110 |
AART |
Cross
listed: Photography; Human Rights; Science, Technology & Society In the decades after World War II,
photography’s social and artistic roles changed in many ways. The 1950s saw the
dominance of magazine photography in Life and Look and witnessed
the birth of a more personal photographic culture, exemplified by Robert
Frank’s book The Americans. In the 1960s and 1970s, photographers such
as Diane Arbus, Garry Winogrand, and Lee Friedlander created a new view of
contemporary life from moments gathered in the streets and from private lives.
Beginning in the late 70s, artists trained outside of traditional photography
began to employ the camera for wholly different purposes, using photography to
pose ideological questions about images and image-making in a media-saturated
culture. Today, the transformation of photography through digital technology
has again thrown the meaning(s) of photographically-derived images into
question. This lecture/discussion class will cover the historical context of
this period and tease out fundamental issues of photography and its ostensible
nature and the politics of representation. Student performance will be
evaluated in class discussion, exams, and papers. No prerequisites, but
preference will be given to moderated photography and moderated art history
students. Class size: 25
|
91566 |
ARTH 255 Outsider Art |
Susan Aberth |
. T . Th . |
1:30 pm -2:50 pm |
OLIN 102 |
AART |
Related
interest: Human Rights, Psychology 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, 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? We will look at artwork produced within certain institutional
settings such as mental asylums and prisons, as well as that produced by
mediums, spiritualists and other "visionaries" working within what
can be best described as a "folk art" category. Class
size: 25
|
91580 |
ARTH / PHOT 321 The Photographic Book |
Luc Sante |
. . . Th . |
1:30 pm -3:50 pm |
PRE 110 |
AART |
See Photography section for description.
|
91569 |
ARTH 328 Visual Culture of Medieval Death |
Katherine Boivin |
. . W . . |
10:10 am -12:30 pm |
FISHER ANNEX |
AART |
Cross-listed:
French Studies, Medieval Studies In
many ways, commemoration of the dead was central to medieval culture. Cemeteries were situated in the centers of
towns, tomb effigies and plaques filled churches, and the bodies of saints
provided a link between the earthy and heavenly realms. This seminar looks at visual materials
related to the theme of death, including among others architecture, tomb
sculpture, manuscript illumination, and reliquaries. It concentrates on art and architecture produced
in
|
91793 |
THTR 337 The Sixties |
Miriam Felton-Dansky |
. T . . . |
10:10 am -12:30 pm |
FISHER PAC CONFERENCE |
AART |
See Theater section for description.
|
91582 |
ARTH 340 Seminar in Contemporary Art |
Tom Wolf |
. . . Th . |
1:30 pm -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
|
91574 |
ARTH 345 Michelangelo: The Man, The Masterpieces, The Myth |
Diana DePardo-Minsky |
. . . . F |
1:30 pm -3:50 pm |
FISHER ANNEX |
AART |
Cross-listed:
Italian Studies In addition to cultural
and iconographic readings of Michelangelo’s sculpture, painting, and
architecture, this seminar situates his life and work within the context of the
biographies of Vasari (1550 and 1568) and Condivi (1553). The class considers how the ambitions and
alliances of the biographers shaped the texts and, thus, the reception of the
art and artist. Discussion will critique
the scholarship, interpret the work, and analyze Michelangelo's role in
crafting his public image as isolated genius.
Requirements include critical essays, one class presentation, and one
research paper. Students with some background in art history, Renaissance
studies, and/or Italian will have priority.
Permission of the professor required.
Class
size: 15
|
91567 |
ARTH 375 Mexican Muralism |
Susan Aberth |
. . W . . |
1:30 pm -3:50 pm |
FISHER ANNEX |
AART |
Cross-listed:
Environmental & Urban Studies, Human Rights, LAIS This
course considers the Mexican Mural Movement’s philosophical origins in the
decades following the Mexican Revolution. The murals of José Clemente
Orozco, Diego Rivera, and David Alfaro Siqueiros will be examined in detail, as
well as the work of lesser-known Mexican muralists. Also considered is the
Mexican Mural Movement’s wide-ranging impact on murals executed under the WPA
in the
|
91577 |
ARTH 385 Theories and Methods of Art History |
Susan Merriam |
M . . . . |
10:10 am -12:30 pm |
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.
(Art History requirement: Required) Class size: 15