Course	ARTH 102 Perspectives in World Art II
Professor	J. Nick Napoli
CRN	18331
Schedule	Mon Wed 12:00 – 1:20 pm Preston 110
Distribution	Analysis of Art/ Rethinking Difference

Related interest: African Studies, LAIS

This course, the second half of a two-semester survey, will continue to explore the visual arts worldwide. Beginning in the fourteenth century and ending in the present, the class will survey painting, sculpture, and architecture, as well as works in newer media (such as photography, video, and performance). 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 in art history or studio. Students who have taken part one of this course will be given either preferential enrollment. First and second year students are encouraged to enroll. On-line registration

Course	ARTH / PHOT 113 History of Photography
Professor	Laurie Dahlberg
CRN	18335
Schedule	Wed Fr 10:30 - 11:50 am Preston 110
Distribution	Analysis of Art

Cross-listed: Science, Technology and Society

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. On-line registration

Course	ARTH 160 Survey of Latin American Art
Professor	Susan Aberth
CRN	18334
Schedule	Tu Th 4:00 -5:20 pm Olin 102
Distribution	Analysis of Art/ Rethinking Difference

Cross-listed: LAIS (core course) SRE

Related Interest: Africana Studies, Theology

A broad overview of art and cultural production in Latin America, including South and Central America, Mexico, and the hispanophone Caribbean. A survey of major pre-Columbian monuments is followed by an examination of the contact between Europe and the Americas during the colonial period, 19^th-century Eurocentrism, and the reaffirmation of national identity in the modern era. On-line registration

Course	ARTH 193 Arts of Japan
Professor	Patricia Karetzky
CRN	18355
Schedule	Wed 1:30 -3:50 pm Fisher Annex
Distribution	Analysis of Art

Cross-listed: Asian Studies

This course begins with a study of the Neolithic period and its cord-impressed pottery circa 2000 B.C.E., when Japanese cultural and aesthetic characteristics were already observable. Next, the great wave of Chinese influence is considered, including its impact on government, religion (Buddhism), architecture, and art. Subsequent periods of indigenous art in esoteric and popular Buddhism. Shinto, narrative scroll painting, medieval screen painting, Zen art, and ukiyo-e prints are presented in a broad view of the social, artistic, and historical development of Japan. On-line registration

Course	ARTH 211 Sightseeing: Vision and the Image in the Early Modern Period
Professor	Susan Merriam
CRN	18333
Schedule	Tu Th 2:30 -3:50 pm Olin 102
Distribution	Analysis of Art

Cross-listed: Science, Technology and 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. On-line registration

Course	ARTH 218 20th Century Sculpture
Professor	Tom Wolf
CRN	18337
Schedule	Wed Th 10:30 - 11:50 am AVERY 117
Distribution	Analysis of Art

This course surveys the major issues and the major artists who created modern sculpture. Beginning with Rodin in the late nineteenth century and ending with installation art in the late twentieth, the course examines the various media, styles and subjects investigated by Picasso, Brancusi, Giacometti, David Smith, the Minimalists and others. On-line registration

Course	ARTH 221 Romanesque and Gothic Art
Professor	Jean French
CRN	18265
Schedule	Mon Wed 10:30 - 11:50 am Olin 102
Distribution	Analysis of Art

Cross-listed: French Studies, Medieval Studies

This course will examine five hundred years of art and architecture – from the “terrors” of the Year One Thousand through the “Waning of the Middle Ages.” The focus of the course is the construction of the great monasteries, cathedrals and castles of Europe. Emphasis is placed on the analysis of architecture (religious and secular), sculpture, frescoes, stained glass, tapestry, manuscripts and metalwork as part of a wider cultural context. Among the topics studied are monasticism, the pilgrimage routes and the cult of relics, the Crusades, the rise of urbanism and the universities, technological innovations, and the role of patrons as well as that of marginalized groups (heretics, the poor and lepers) within a dynamic and changing society. Open to all students. On-line registration

Course	ARTH 225 Contested Images and Iconoclastic Acts: A History of Image Destruction
Professor	Susan Merriam
CRN	18336
Schedule	Wed Fr 12:00 -1:20 pm Olin 102
Distribution	Analysis of Art

Cross-listed: Human Rights, Religion

UNESCO termed the Taliban’s destruction (2001) of two revered ancient stone Buddhas in Afghanistan a “sacrilege to humanity,” and much of the world concurred. Yet to the Taliban (at least in official statements), it was the Buddhas that constituted the sacrilege: they violated the Islamic prohibition against figural imagery, and thus needed to be destroyed. Image critiques and iconoclastic acts such as this date to antiquity, and have frequently originated in beliefs about the right of human beings to represent and worship divinity in visual form. But iconoclastic acts are also frequently politically motivated--directed at representations of power-- and in many instances, the destruction of images results from the complex conflation of political aims and spiritual beliefs (as many would argue was the case with the Taliban). More recently, theorists have argued that certain images function as critiques of figural representation, and are thus “iconoclastic images.” This course looks at the most important instances of iconoclasm in the history of images, including those in Byzantium, Reformation Europe, revolutionary France, and more recently, isolated cases such as that of the Taliban. Primary attention will be paid to iconoclasms in the west, but comparative cases will be drawn from throughout the world. Our primary interest is not in the destruction of images per se, but rather in the theories about images that both provide for their making and that in turn may provoke their annihilation or disfigurement. Central issues to be addressed include: theories of idolatry; the way image critiques shaped the form and content of art; the ritual destruction of images; the relationship between idolatry and desire; contemporary valuations of the art object and idolatry. Two papers and two exams. Open to all students. On-line registration

Course	ARTH 228 Imperial Spain: Art and Architecture in Spain, Naples and the Americas, 1400-1800
Professor	J. Nick Napoli
CRN	18329
Schedule	Mon Wed 3:00 -4:20 pm Olin 102
Distribution	Analysis of Art

In a period of two centuries (1400-1600), an informal trade alliance in the Mediterranean anchored by the House of Aragon expanded into a worldwide empire. Architecture and Urbanism in Imperial Spain considers how architecture, art, and urban form responded to and shaped this extraordinary geopolitical phenomenon. As the contemporary world comes to terms with the benefits and failures of globalization, cultural historians have begun to show that this phenomenon has a rich history: many contend, furthermore, that the Renaissance and Baroque were the first artistic expressions to go global. Considering the art and architecture in geographical confines of the early modern Spanish Empire provides a rubric for examining this hypothesis. This lecture course examines the art and architecture of Spain and Spanish territories from Lima and Mexico City to Naples from 1500 to 1800. Lectures and discussions will explore three principal questions: How did art and architecture serve as a vehicle for the dissemination of Catholicism in the early modern world? How did the expansion of the Spanish Empire allow for the geographic diffusion of architectural form? What happens to Renaissance art and architecture outside of Europe? What is the relationship between architecture and cultural identity in the Spanish world? (Students who have taken ARTH 286: El Greco to Goya: Spanish Art and Architecture may not enroll in this course.) On-line registration

Course	ARTH / SPAN 239 Surrealism in Latin American Literature & Art
Professor	Melanie Nicholson / Susan Aberth
CRN	18083
Schedule	Mon Wed 1:30 -2:50 pm Olin 202
Distribution	Analysis of Art/ Rethinking Difference

Cross-listed: LAIS

André Breton, founder and leader of the Surrealist Movement, first visited Mexico in 1938 and the Caribbean in 1941. Politically supportive of Latin America’s struggle against European imperialism, Breton was deeply interested in both its art and culture, and had a large personal collection of ethnographic artifacts. Surrealist journals and artists extolled “primitive” mythologies and were captivated by such “exotic” artists as Frida Kahlo and Wifredo Lam. This course plans to explore two areas: the rich and varied field of surrealism in both literature and the arts of Latin America and, to question the Surrealist fascination with non-Western culture. As numerous critics have noted, surrealism came alive in Latin America at the moment when it was waning in Europe, and continued to develop throughout the twentieth century. By looking through the double lens of art and literature, we will tease out answers to such questions as: What geographical, political, and/or social factors contributed to the widespread growth of Surrealism in Latin America? In what ways did cross-fertilization take place among the countries of Latin America, and between these countries and Europe? Did Latin American artists always feel comfortable being labeled “Surrealist” or was it viewed as another form of colonization? In what ways did the European Surrealists project their fantasies regarding the psychic power of the “primitive” onto Latin American creative production? Finally, we will examine the ways in which Surrealism and its influences survive in contemporary cultural production. Maximum enrollment: 25. On-line registration

Course	HR / ARTH 240 Observation and Description
Professor	Gilles Peress
CRN	18498
Schedule	Tu Th 2:30 – 3:50 pm OLIN 205
Distribution	Social Science

See Human Rights section for description.

Course	ARTH 256 The Art of the 1980s
Professor	Noah Chasin
CRN	18328
Schedule	Mon Wed 12:00 -1:20 pm RKC 102
Distribution	Analysis of Art

Courses on the history of late-twentieth-century art tend to begin with movements of the late 1960s-early 1970s and then move quickly into the most contemporary practices. Art of the 1980s serves as a multidisciplinary introduction to this most maligned of art decades. While the prevalent iconic documents of the time (Dallas, Miami Vice, Wall Street, the Brat Pack) dependably reemerge cyclically in the contested realm of popular culture, unawareness of the serious art practices from this decade is common. We will look at work by seminal painters, sculptors, and collectives from the US, Europe, Latin America, and Africa—e.g., Schnabel, Sherman, Gonzalez-Torres, Polke, Leirner, Watts, Group Material— examining these practices through the multivalent lenses of the decade’s important intellectual movements such as postmodernism, appropriation, deconstruction, and liberation theology. Contentious and/or momentous major exhibitions such as “Magiciens de la terre” and “Primitivism in 20^th Century Art” (and the attendant rise of the curator-as-celebrity) will be evaluated in terms of their contemporary impact as well as their era-defining roles. Among the radically diverse themes we will cover are the East Village gallery scene (including Gracie Mansion and Civilian Warfare), graffiti culture, institutional critique, activist art, the cultural impact of the fall of communism and the rise of Reaganite neoliberalism, post-punk and new wave music, fashion and cultural icons, and video games, contributing to a larger understanding of this important, misunderstood decade. Assignments include short reviews and a final research paper.

On-line

Course	ARTH 330 Artists, Patrons and Ideas: Seminar in Italian Renaissance Sculpture
Professor	Jean French
CRN	18266
Schedule	Mon 4:30 -6:50 pm Fisher Annex
Distribution	Analysis of Art

Cross-listed: Italian Studies

An examination of the ideas that inspired sculptors and the patrons who footed the bills; the relationship among artists, poets, and philosophers of the Renaissance; and the degree of influence exerted by patrons and their associates on the selection of content and the establishment of stylistic trends. Topics include the materials and forms of sculpture, the changing social position of the artist, the Neoplatonic movement of Florence, and Renaissance theories of love. The major sculptors of the Renaissance are studied, with an emphasis on Donatello, Ghiberti, Jacopo della Quercia, and Michelangelo. Also investigated are the political ambitions and socioeconomic milieu of such remarkable patrons as Cosimo de Medici, Julius II, and Lorenzo the Magnficent. On-line registration

Course	ARTH 342 Rome, Paris and London: Urbanism and Architecture in Europe, 1600-1800
Professor	J. Nick Napoli
CRN	18463
Schedule	Tue 1:30 -3:50 pm AVERY 117
Distribution	Analysis of Art

In the Principles of Art History (1915), Heinrich Wölfflin devised five criteria of opposition (linear to painterly, plane to recession, closed to open form, multiplicity to unity, and absolute to relative clarity) for understanding the change in painting, sculpture, and architecture from the Renaissance to the Baroque. Wölfflin’s criteria provide a starting point for understanding architectural form in the seventeenth and eighteenth centuries, but can they explain how architecture functioned in the European city of this period? In addition, how applicable are these criteria in urban centers beyond Rome? This seminar will address both the form and function of architecture as we explore how cities functioned – from providing venues for commerce to expressing political and religious ideals – in seventeenth and eighteenth-century Europe. We will do this by considering buildings and the people who built and used them in three cities: Rome, Paris, and London. While our discussion is not limited to these cities, in each case we will consider how architecture shapes the routines of a city’s inhabitants and visitors, responds to the needs of its patrons and builders, and embodies the fears and aspirations of its creators. On-line registration

Course	ARTH 359 Manet to Matisse
Professor	Laurie Dahlberg
CRN	18490
Schedule	Th 9:30 - 11:50 am Fisher Annex
Distribution	Analysis of Art

A social history of French 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, the gendering of public spaces, 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 upper college students with priority being given to those who have previously taken an art history course. On- line

Course	ARTH 367 Feminism and American Art
Professor	Tom Wolf
CRN	18464
Schedule	Th 1:30 -3:50 pm Fisher Annex
Distribution	Analysis of Art

Cross-listed: Gender and Sexuality Studies

This seminar will study the intertwined relationship between women’s liberation and art in the United States during the Twentieth century.  We will look at the role of women in the Arts and Crafts movement and the art and artists associated with the Suffragist movement around 1900.  In the second half of the course we will study “Second Wave” feminism of the 1970s as manifested in the art world, and examine how it relates to its predecessors.  Students will present reports to the class about selected women artists, or about issues concerning the interplay between art and women’s political issues.  We will read classic documents of feminist art history and theory including texts by Charlotte Perkins Gilman and Linda Nochlin.  The class is open to Upper College students and others with the permission of the instructor. On-line registration

Course	ARTH 385 Art Criticism and Methodology
Professor	Noah Chasin
CRN	18332
Schedule	Tue 1:30 -3:50 pm Fisher Annex
Distribution	Analysis of Art

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. On-line registration