92130

ARTH 101

Perspectives in World Art

Gretta Tritch Roman

T Th 10:10 am-11:30 am

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 14^thcentury. Works from Europe, Asia, Africa, and the Americas are studied chronologically to create an integrated historical context. Readings from various critical perspectives present different methodological approaches. Requirements include two papers, a mid-term, a final, and quizzes. This course fulfills one requirement for moderating into Art History; potential majors are urged to take Perspectives prior to other Art History classes. Open to all students. Class size: 25

91738

ARTH 122

Survey of African Art

Susan Aberth

T Th 3:10 pm-4:30 pm

OLIN 102

AART

DIFF

Cross-listed: Africana Studies; Latin American & Iberian 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, 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. 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. There will be a field trip to the Metropolitan Museum of Art, 2 papers, and 2 exams. Art History Distribution: Asia/Africa/Middle East Class Class size: 25

91931

ARTH 126

Modern Architecture: Going

Global, 1930-1990

Olga Touloumi

M W 10:10 am-11:30 am

OLIN 102

AART

Cross-list:ed: Environmental & Urban Studies This course examines the global implications of architectural modernism, particularly as articulated in 20th century architectural and urban design practices and theories. As a survey the course covers major 20th century architectural movements, such as brutalism, functionalism, megastructures, corporate architecture, phenomenology, postmodernism, and deconstruction. At the same time, the course interrogates the social and political function of the built environment, addressing social housing, third-world development, and urbanism. Major figures discussed include Le Corbusier, Louis Kahn, Charles and Ray Eames, Eero Saarinen, Yona Friedman, Robert Venturi and Denise Scott Brown, Aldo Rossi, Peter Eisenman, and Rem Koolhaas. Assignments include visual analysis projects, as well as midterm and final exams. Art History distributions requirements: 1800 to present/European/American Class size: 25

91736

ARTH 130

FROM MONET TO MUGS SHOTS: AN IntroDUCTION to Visual Material

Julia Rosenbaum

M W 3:10 pm-4:30 pm

FISHER ANNEX

AART

“Looking isn’t as easy as it looks” Ad Reinhardt, early 20^th century artist

“It is only shallow people who do not judge by appearances. The true mystery of the world is the visible, not the invisible.”

Oscar Wilde, The Picture of Dorian Gray, Chapter 2

This course constitutes an introduction to the discipline of art history and to visual artifacts more broadly defined. It teaches students to look at, think

about, and analyze or interpret visual material. We will focus on different types of visual “texts,” from monuments to media advertising, considering how they communicate through style, medium, or genre, and how the visual can convey meaning, whether political, personal, or social. Thinking about images goes hand in hand with writing about them. The short writing assignments and the essays that you will work on over the semester are designed to strengthen your interpretative skills and help you become a more persuasive and effective writer and observer. Class size: 15

91732

ARTH 132

Cultural Practice of Mapping

Gretta Tritch Roman

M W 11:50 am-1:10 pm

HDR 106

AART

Cross-listed: Environmental & 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 China, Islamic Central and South Asia, pre-contact America, as well as the intersection of these practices and the application of digital mapping within this history. Short writing assignments will complement individual and collaborative digital projects aimed at gaining a familiarity with different methods of mapping. Class size: 22

91743

ARTH 205

Contested Spaces

Olga Touloumi

T Th 10:10 am-11:30 am

FISHER ANNEX

D&J

AART

Cross-listed: Environmental & Urban Studies; Gender and Sexuality Studies; Human Rights During the 19th and 20th century, streets, kitchens, schools, and ghettos were the spaces of political conflict and social transformation. Often these spaces are studied as sites of contestation, where old pedagogical, medical, institutional paradigms witness the emergence of new. This course will focus on these spaces of contestation and discuss how objects and buildings in dialogue construct new ideas about class, gender, and race. Readings by Chantal Mouffee, Hannah Arendt, Antony Vidler, W.E.B. Du Bois, and Michel Foucault will provide us with analytical tools and theoretical frameworks to address those actors excluded from history, problematizing agency and authorship in art and architecture. The class assignments include weekly responses, collaborative projects on the course website, and a final paper. The first installment of the class will be taught in collaboration with the University of Michigan and Michigan State University. The course will culminate in a field trip to Detroit and a weekend conference that will bring the three classes together. Art History distribution: 1800-Present.

Class size: 22

91737

ARTH 209

Art & Nation Building

Julia Rosenbaum

T Th 3:10 pm-4:30 pm

OLIN 301

AART

Cross-listed: American Studies; Human Rights Between 1650 and 1876, a new nation came to dominate the world scene. This course explores the contribution of the visual arts to the conceptualization of an American national identity, from the founding of the colonies through the Federal and Antebellum periods to the Civil War and Reconstruction. We will look at a range of visual and textual materials to examine the development of American culture and the efforts to portray the political experiment of democracy. Topics range from depictions of authority and difference, to the importance of portraiture and landscape painting to national culture and politics, to the emergence of American art institutions, to issues of aesthetics, to transatlantic connections and traditions. The course serves as an introduction to the painting, sculpture, photography, and material culture of America.
Art History Distribution: The Americas. Class size: 22

91741

ARTH 211

Sightseeing: Vision and Image IN EARLY MODERN EUROPE

Susan Merriam

T Th 11:50 am-1:10 pm

OLIN 102

AART

Cross-listed: Experimental Humanities; Science, Technology, Society This class examines the relationship between theories of vision, and the production and reception of images, in European art and culture of the early modern period (ca. 1500-1750). During this time, ways of thinking about visual experience changed profoundly. The “new science” placed particular importance on observation, and a number of visual technologies (optical devices such as the camera obscura, telescope, microscope, and "peepbox") came into common use. At the same moment that ideas about visual experience were undergoing rapid change, older ways of thinking about vision (the experience of miraculous apparitions, and the dangers inherent in viewing seductive images, for instance) were still a part of everyday life. We will examine this complex moment thematically, considering topics such as: the historicity of vision; perspective systems and their distortion; deception and deceptive images (trompe l’oeil); curiosity and connoisseurship; voyeurism; optical devices; visions of the divine; the image as evidence; the representation of sight. The class culminates in an exhibition, both online and on the Bard campus. Art History Distribution: Europe, 1400-1800. Class size: 22

91735

ARTH 227

Roman Urbanism from Romulus to Rutelli

Diana DePardo-Minsky

M W 3:10 pm-4:30 pm

OLIN 102

AART

Cross-listed: Classical Studies; Environmental & Urban Studies; Italian Studies Politicians and popes from the Rome’s founder (Romulus) to recent governments (including Francesco Rutelli, former mayor of Rome), conscious of the historic significance of urban topography and architectural type, have crafted Rome into a capital that expresses their ideological aims. This class focuses on the commissioning of large-scale representational architecture, the creation of public space, and the orchestration of streets at seven sites in continuous use since antiquity. By charting the chronological development of these sites, the class examines the ongoing dialogue between the past and present in Rome. Requirements include critical essays, presentations, and tests. Completion of this class qualifies as a prerequisite for Roma in Situ (ARTH 248), taught during January in Rome and in the Spring at Bard. Open to all students. Art History Distribution: European, Ancient -1400. Class size: 22

91747

ARTH 235

Florentine Renaissance Art, ARCHITECTURE, AND URBANISM

Diana DePardo-Minsky

T Th 4:40 pm-6:00 pm

OLIN 102

AART

Cross-listed: Environmental & Urban Studies; Italian Studies Proceeding chronologically and focusing on the Republic of Florence, this lecture class situates formal and iconographic innovations in painting, sculpture, architecture, and urbanism within the politics, philosophy, and theology of the quattrocento Renaissance. The course emphasizes the role of Franciscan theology and Humanist philosophy in crafting a new visual vocabulary. Beginning with Giotto, the class analyzes the contributions of Ghiberti, Brunelleschi, Masaccio, Donatello, Pierodella Francesca, Fra Angelico, Alberti, Botticelli, and the Sangallo family. In addition to secondary scholarship, readings incorporate primary sources by Alberti and Vasari. Requirements include a mid-term, a final, a quiz, and a research paper on a work in the Metropolitan Museum of Art. Open to all students; Art History distribution, European, 1400-1800. Class size: 22

91845

ARTH 251

Photography's Other Histories

Laurie Dahlberg

T Th 8:30 am-9:50 am

OLIN 102

AART

Like most established fields of study, photography has a canon: a well-worn history and literature that emphasizes a conventional set of figures and master narratives. This course will explore photography's history beyond the canon and beyond the standard Euro-American settings, in search of alternatives to conventional narratives. How, for example, has photography been appropriated and adapted by people who have more often been seen as the objects of the Euro-American gaze than wielders of the camera themselves? How can we read photographs by anonymous makers, or make sense of the inexhaustible reserves of vernacular photography? In addition to studying less familiar names and iterations of photography, we will also consider how canons are formed and why histories are constructed in particular ways. Our topics will touch on events and figures taken from the full 175-year sweep of photography's history. Class will take a lecture/discussion format; there will be substantial weekly reading, two exams and two papers.
Art History Distribution: 1800-Present. Class size: 25

91742

ARTH 254

Picasso in the 20th Century

Tom Wolf

W Th 10:10 am-11:30 am

PRE 110

AART

Pablo Picasso (1881-1972) was one of the great artists in the history of European and American art, and a major influence on developments in 20^th century art. This class will combine a survey of his career with a survey of the history of art through most of the 20^th century in Europe and America. It will meet twice a week; one meeting will examine Picasso’s work and his interactions with his contemporaries, and the second meeting will look at concurrent developments in European and American modernism, moving through Fauvism, Expressionism, Cubism, Futurism, Constructivism, Dadaism, Surrealism, Abstract Expressionism, Pop Art and Minimalism. The emphasis will be on painting and sculpture. There will be one or two trips to museums in New York City, and students will write a mid-term and a final paper, and take a mid-term and a final exam. Class size: 22

91740

ARTH 258

Manet to Matisse

Laurie Dahlberg

T Th 11:50 am-1:10 pm

PRE 110

AART

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. Art History distribution: European, 1800 – present. Class size: 22

91731

ARTH 273

Religious Imagery in Latin America

Susan Aberth

M W 11:50 am-1:10 pm

OLIN 102

AART

Cross-listed: Africana Studies; Latin American & Iberian Studies; Theology This course explores the varied visual manifestations of religious expression in Latin America after the Spanish conquest. In addition to churches, statuary, and paintings, the class examines folk art traditions, African diasporic religions, and contemporary art and practices. We will use a variety of art assignments to explore the techniques and devotional practices involved with certain types of creations, i.e. altar construction. In addition there will be a 10 page research paper, a midterm and a final. Art History distribution: the Americas. Class size: 22

91733

ARTH 286

EL GRECO TO GOYA: Spanish Art & Architecture

Susan Merriam

M W 1:30 pm-2:50 pm

OLIN 102

AART

Cross-listed: Latin American & Iberian Studies This course surveys the complex visual culture of early modern Spain with particular attention given to major figures including El Greco, Velazquez, 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 art theory and the training of artists; the art market and collecting; artistic critiques of monarchical power. Art History distribution: Europe, 1400-1800. Class size: 22

91734

ARTH 287

Experiments IN Art & Technology

Alex Kitnick

M W 1:30 pm-2:50 pm

FISHER ANNEX

AART

Cross-listed: Experimental Humanities This course will explore various connections between art and technology from the 1960s up to the present day. Students will examine a wide range of writings, artworks, performances, and videos by figures including Marshall McLuhan, John McHale, Robert Rauschenberg, and CaroleeSchneemann. The idea of the course is to show that both artists and theorists are involved in a common project of responding to new technologies. Questions of distribution, audience, and globalization will be of key concern. In the last weeks, we will consider how these ideas have evolved in the age of the Internet. Open to all students. Students will work on various writing assignments and class presentations. Art History distribution: 1800 to Present. Class size: 22

91749

ARTH 295

The Arts of India

Patricia Karetzky

W 1:30 pm-3:50 pm

OLIN 301

AART

DIFF

Cross-listed: Asian Studies Beginning with the most ancient urban civilization, dating to the prehistoric period, the flowering and development of Indian philosophical and religious thought is traced through its expression in the arts, including the culture’s unique exploitation of the sensuous as a metaphor for divinity. Other topics studied are the evolution of an iconic tradition and the development of religious architectural forms, narrative painting, and sculpture. Art History distribution: Asia/Africa/Middle East. Class size: 22

91753

ARTH / PHOT 315

The Employment of Photography

Luc Sante

T 1:30 pm-3:50 pm

RKC 200

AART

See Photography section for description.

91748

ARTH 349

Women Artists OF THE Surrealist MoveMENT

Susan Aberth

F 10:10 am-12:30 pm

FISHER ANNEX

D+J

AART

Cross-listed: Latin American & Iberian Studies The Surrealist Movement, launched in the 1920s by the poet André Breton in Paris, ascribed to woman a pivotal and revolutionary role in the life and work of man. The movement offered women unique roles as both muse and creator and attracted a large number of active female participants. Until recent feminist scholarship, the male Surrealists often overshadowed the lives and work of these women. This course will first examine the use of, indeed the centrality of, female sexuality in Surrealist imagery, and then juxtapose it to the writings and art work of such female Surrealists as Dorothea Tanning, Remedios Varo, Lee Miller, Meret Oppenheim, Leonor Fini, NuschEluard, Dora Maar, Jacqueline Lamba, Valentine Hugo, Mimi Parent, UnicaZürn, Ithel Colquhoun, Eileen Agar, Frida Kahlo, Leonora Carrington, Kay Sage, Toyen, Claude Cahun, and others. Issues explored will be female subjectivity, cultural identity, occultism, mythology, dream imagery, artistic collaboration, the role of poetry, and the various methodologies employed to interpret Surrealism in general. Art History distribution: 1800-Present. Class size: 15

92072

ARTH / THTR 353

Performing Queer

Jorge Cortinas

W 1:30 pm-4:30 pm

FISH CONFERENCE

D+J

AART

DIFF

See Theater section for description.

91746

ARTH 361

Spatial Turn AND ITS Vicissitudes

Olga Touloumi

T 3:10 pm-5:30 pm

FISHER ANNEX

AART

Often associated with the rise of the digital humanities, the “spatial turn” has transformed “space” into a powerful tool for knowledge production. Territories, landscapes, and fields have become keywords in our discussions of economy, politics, and culture. This course interrogates the spatial turn from the perspective of architecture and design theory. What is space? How did new technologies of seeing and hearing inform those theories? Readings from Heidegger, Adorno, Benjamin, Debord, Barthes, Lefebvre Foucault, Deleuze, Habermas, McLuhan and Sontag, among others. Art History distribution: 1800-Present. Class size: 15

91751

ARTH 362

TO CARE, TO EXHIBIT, TO PRESENT: Seminar on Curating

Alex Kitnick

T 1:30 pm-3:50 pm

CCS

AART

What does it mean to curate? This course will introduce students to key ideas and theories informing the field of curatorial studies, in addition to providing an introduction to the history of exhibitions since the 1960s. Classes will be held at Bard’s Center for Curatorial Studies and students will be introduced to the different aspects of the institution, from the library to the registrar to the collections storage. We will consider the different components of exhibitions, from design to didactics to artworks, as well as the audiences and publics exhibitions address. Towards the end of the semester we will think about the differences between curatorial work, academic work, and criticism, as well as the role of the curator today. In addition to weekly responses and a final research paper students will collectively research and curate an exhibition at the Center for Curatorial Studies at the end of the term. Class size: 15

91752

ARTH 364

THE History of Art in Woodstock

Tom Wolf

Th 1:30 pm-3:50 pm

FISHER ANNEX

AART

Cross-listed: American Studies While mostly known for the 1969 concert, Woodstock, New York, was founded as an art colony in 1902, and has been a town associated with artists ever since. The history of American art in the twentieth century can be traced in microcosm there, beginning with the Arts and Crafts movement and continuing with pioneering modernists in the second decade of the century, Social Realists in the 1930s, and members of the Abstract Expressionist group in the 1950s. We will study these developments in class and will take several trips to Woodstock to visit historic sites and arts organizations. It will be hands on, as students will present seminar reports based on research involving actual works of art and archives available in Woodstock. This semester we will work on curating an exhibition about ceramic arts in Woodstock so the class should be of special value for students interested in curatorial studies or the history of ceramics. Art History Distribution: the Americas, 1800- Present. Class size: 15

91729

ARTH 385

Theories AND Methods OF Art History

Susan Merriam

M 10:10 am-12:30 pm

FISHER ANNEX

AART

This seminar designed mainly 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

Cross-listed courses in Art History:

91959

FILM 236

Cinematic Romanticism

Richard Suchenski

W 1:30 pm-4:30 pm

AVERY 110

AART

92022

PHIL 234

PhilOSOPHY, Art, & Culture of Democracy

Norton Batkin

M W 11:50 am-1:10 pm

OLIN 204

MBV

HUM