|
19412 |
ARTH 102 Perspectives in World Art II |
Julia Rosenbaum |
M . . . . . . W . . |
3:00
pm -4:20 pm 3:00
pm -4:20 pm |
OLIN
102 WEIS
CINEMA |
AART/DIFF |
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.
|
19402 |
ARTH 113 History of Photography |
Laurie Dahlberg |
. T . Th . |
10:30 -11:50 am |
OLIN
102 |
AART |
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.
|
19408 |
ARTH 131 Vermeer |
Susan Merriam |
M . . . . . . W . . |
10:30 -11:50 am 10:30 -12:50 pm* |
FISHER
ANNEX |
AART |
Johannes Vermeer created some of the most beautiful
and enigmatic paintings of the entire seventeenth century. His scenes of
domestic interiors, often representing women alone, or women and men in complex
social engagement, share characteristics with Dutch genre painting in general
at the same time that they are entirely exceptional. In this class, we will
attempt to locate Vermeer’s difference by examining his work thematically,
looking at topics including: Vermeer and the Delft School, Vermeer and domestic
space, Vermeer and optics, Vermeer and sexuality, Vermeer and belief, and
Vermeer’s reception. An important aspect of the course will be consideration of
the interpretive difficulties posed by Vermeer’s work. *This is a writing
intensive course. We will spend an extra hour a week in a writing lab. The
general goals of these labs are to improve the development, composition,
organization, and revision of analytical prose; the use of evidence to support
an argument; strategies of interpretation and analysis of texts; and the
mechanics of grammar and documentation. Regular short writing assignments will
be required. Enrollment limited to 14. By permission of the instructor.
|
19400 |
ARTH 160 Survey of Latin American Art |
Susan Aberth |
M . W . . |
3:00
pm -4:20 pm |
RKC
102 |
AART/DIFF |
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, 19th-century Eurocentrism, and the reaffirmation of
national identity in the modern era. This is a writing intensive course. We
will spend an extra hour a week in a writing lab. The general goals of
these labs are to improve the development, composition, organization, and
revision of analytical prose; the use of evidence to support an argument;
strategies of interpretation and analysis of texts; and the mechanics of
grammar and documentation. Regular short writing assignments will be required.
|
19407 |
ARTH 194 Arts of India |
Patricia Karetzky |
. . W . . |
1:30
pm -3:50 pm |
|
AART |
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. Its evolution of an iconic tradition is studied,
as are its development of religious architectural forms, narrative painting,
and sculpture.
|
19409 |
ARTH 216 Leonardo's Last Supper |
Diana Minsky |
. T . Th . |
4:00
pm -5:20 pm |
FISHER
ANNEX |
AART |
Cross-listed: Italian Studies; Science, Technology & Society
This seminar-style class
will situate Leonardo's recently restored Last
Supper within the Renaissance tradition of Last Suppers and depictions of the life of Christ by studying the
evolution of the interpretation of this painting. While our primary texts will be Leo Steinberg's Leonardo's Incessant Last Supper (2000)
and his controversial Sexuality of Christ
(1983), other reading will include Vasari, Leonardo, Goethe, Freud, Panofsky,
Clark, Kemp, and Pedretti. Students
will be expected to have read Dan Brown’s The
Da Vinci Code (2003) prior to the beginning of class so that we can
consider the validity of its assertions.
Requirements will include critical essays and class presentations. Some knowledge of Renaissance art,
literature, or culture will prove helpful.
Permission of the instructor required.
|
19405 |
ARTH 220 Early Medieval Art |
Jean French |
M . W . . |
10:30 -11:50 am |
OLIN
102 |
|
Cross-listed: Medieval Studies, Classical Studies,
Theology An
examination of art from the age of Constantine to 1000 C.E., including catacomb
painting, the early Christian basilica and martyrium, the domed churches of the
East, and Byzantine mosaics and icons. The class explores the contrasting
aesthetic of the migrations, the “animal style” in art, the Sutton Hoo and
Viking ship burials, the golden age of Irish art, the Carolingian
“renaissance,” the treasures of the Ottonian empire, and the art of the
millennium. Special emphasis is given to works in American collections. Open to
all students.
|
19598 |
HR/ ARTH 240 Observation and Description |
Gilles Peress |
. T . Th . |
10:30am-11:50
am |
OLIN
306 |
SSCI |
See Human Rights section for description.
|
19403 |
ARTH 247 Photography: 1950 to the Present, Human Documents to the Image World |
Laurie Dahlberg |
. T . Th . |
2:30
pm -3:50 pm |
OLIN
102 |
|
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.
|
19410 |
ARTH 248 Roma in Situ |
Diana Minsky |
M . W . . |
7:00
pm -8:20 pm |
FISHER
ANNEX |
AART |
Cross-listed: Italian Studies This class consists of two weeks in Rome
(January, 2009) followed by bi-weekly meetings during the spring semester.
Credit will only be awarded upon successful completion of both
components.
Roma in situ offers two
intensive weeks of walking, talking, looking, and learning in Rome followed by
class meetings in the spring semester to discuss secondary scholarship and
present student research. In Rome, the first week will focus on the
ancient city, studying the evolving role of public monuments as the republic
transformed into an empire. The second week will analyze how post-antique
(Early Christian, Renaissance, Baroque, and nineteenth/twentieth-century) art
and architecture reference and reconfigure antiquities in order to articulate
the agendas of their patrons. The portion of the class conducted in Rome
will be rigorous, consisting of approximately 60 hours spread over fourteen
days. There will be three-hour morning and afternoon sessions (9-12:30;
1:30-5:00) with half-hour coffee breaks. Lectures will fill most
sessions; others will incorporate time for on-site drawing or exploration.
Some days will only have one meeting to provide students with time to
study and document the objects they will research during the spring semester.
Sessions will begin promptly; no absences will be allowed (except for medical
emergencies). Class time will be spent at archaeological sites, in
museums, or in churches. Lectures will occur in situ , rain or
shine . Required communal dinners (all but three of the nights in
Rome) will incorporate preparatory discussions. The hours between the
end of the afternoon session and dinner (probably circa 8:00 p.m.)
will provide further time to explore the art, architecture, food, and fashion
of Rome. During the spring semester, requirements for the class will consist of
two presentations (one of a text, one of a monument), two papers (one a textual
analysis, one a research paper), and two exams. There will be no
make-up exams or extensions for papers. Prerequisites for the class
include successful completion of one of the following classes: The Roman
Revolution (CLAS 102), Rise and Fall of Ancient Rome (HIST/CLAS
103), Roman Art and Architecture (ARTH 210), Roman Urbanism (ARTH
227), Tacitus and Gibbon (HIST/CLAS 333), or Latin (LAT 101,
201, or 301). (Registration for this class is complete.)
|
19416 |
ARTH 262
20thCentury Northern European Art |
Emily Pugh |
. . . Th F |
12:00
pm -1:20 pm |
FISHER
ANNEX |
AART |
This course focuses on
German and Austrian art of the 20th
century, with brief forays into Scandinavian and Austrian art. The emphasis is
on art in Germany from Jugendstil through expressionism, dadaism, Neue
Sachlichkeit, nazi and concentration camp art, and post-World War II
developments. Artists studied include
Ernst Ludwig Kirchner, Wassily Kandinsky, Paul Klee, and Egon Schiele. The
course concludes with an investigation of how more recent artists such as
Joseph Beuys, Bernd and Hilla Becher, Sigmar Polke, and Gerhard Richter connect
to previous German artistic tendencies.
|
19414 |
ARTH 265 Dada and Surrealism |
Tom Wolf |
. . W Th . |
10:30 -11:50 am |
OLIN
301 |
AART |
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.
|
19413 |
ARTH 278 Modernism in America |
Julia Rosenbaum |
. T . Th . |
1:00
pm -2:20 pm |
OLIN
102 |
AART |
Cross-listed:
American Studies This
course concentrates on early twentieth-century artists and art movements in the
United States, from Winslow Homer to Jackson Pollock, from the emergence of
photography to the rise of Abstract Expressionism. What have artists and
critics meant when they talked about realism and abstraction? How have artists
understood their work as modern? What responses have they had to social
injustice and war? Covering a range of media and genres, we will explore these
and other questions about art making in the context of social and political
events. Topics include “modernity” and nationalism; the roles and
representation of technology in art; exhibitions and cultural propaganda;
artistic identity and gender roles; public art, murals, and social activism.
|
19406 |
ARTH 330 Italian Renaissance Sculpture |
Jean French |
M . . . . |
4:30
pm -6:50 pm |
FISHER
ANNEX |
AART |
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.
|
19411 |
ARTH 332 Villas of the Hudson Valley |
Diana Minsky |
. . . . F |
1:30
pm -3:50 pm |
FISHER
ANNEX |
AART |
Cross-listed:
American Studies
The villa or country house, as opposed to a working farm, embodies a
city dweller’s idyllic interpretation of country life. Built more to express an idea than fulfill a
function, villa architecture allows its patrons and architects to create
innovative means to express the relationship between man and nature. The first month and a half of this seminar
will study the characteristics and evolution of villas from ancient Rome to
twentieth-century America before spending the rest of the semester visiting
local sites where students will present their research. The architecture of the Hudson Valley played
a critical role in the evolution of the country house and landscape garden in
America. Using local archives in
addition to published sources, each student will study an estate and situate it
within the context of the history of villa architecture. Requirements include critical essays, one
class presentation, one research paper, and field trips. Permission of the instructor required. Limited to fourteen students.
|
19417 |
ARTH 338 Berlin in 20th & 21st Century – Architecture and National Identity |
Emily Pugh |
. . . Th . |
4:00
pm -6:20 pm |
OLIN
301 |
AART |
Cross-listed:
German Studies
This course will trace Berlin's urban development through the Weimar era
and into the twenty-first century, tracing the various attempts to construct
the city as the capital of several different "Germanies." In
particular, we will consider how various regimes have tried to impose their own
visions of Berlin onto the city, and the support for or rejection of these
visions by the city's population. While the course will focus on Berlin, the
larger issue of architecture's role in the formation and expression of national
identity will be addressed. Specifically, we will examine what groups have been
included or excluded in various architecture and planning projects, as well as
the issue of "actual" urban development—specific building policies,
for example—in comparison with grandiose, often idealized urban schemes. Though
lectures will sketch for students the political, economic and social backdrop
against which particular architectural projects were designed and/or built,
this course will place a heavy emphasis on in-class discussion and on writing.
Accordingly, course grades will be based on participation, short critiques of
course readings and on a final research paper. Students interested in the
course must speak with the professor for permission to enroll.
|
19415 |
ARTH 348 Asian American Artists |
Tom Wolf |
. . . Th . |
1:30
pm -3:50 pm |
FISHER
ANNEX |
AART/DIFF |
|
19401 |
ARTH 349 Women Artists of the Surrealist Movement |
Susan Aberth |
. T . . . |
1:30
pm -3:50 pm |
FISHER
ANNEX |
AART |
Related interest: Gender & Sexuality Studies, LAIS This
course examines the use of female sexuality in surrealist imagery and then
juxtaposes it to the writing and work of such female surrealists as Dorothea
Tanning, Lee Miller, Meret Oppenheim, Leonor Fini, Remedios Varo, Toyen, Claude
Cahun, Leonora Carrington, Dora Maar, and others. Issues explored are female
subjectivity, cultural identity, occultism, mythology, dream imagery, artistic
collaboration, and the various methodologies employed to interpret surrealist
in general. Seniors in photography are permitted to take this course to fulfill
their upper level photography course requirement.
|
19404 |
ARTH 385 Art Criticism and Methodology |
Laurie Dahlberg |
. . W . . |
1:30
pm -3:50 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.