|
11336 |
ARTH 102 Perspectives in World Art II |
Julia Rosenbaum |
. T . Th . |
3:10 -
4:30 pm |
OLIN 102 |
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. Class size: 25
|
11337 |
ARTH 113 History of Photography |
Laurie Dahlberg |
. T . Th . |
8:30 -
9:50 am |
CAMPUS WEIS |
AART |
Cross-listed: Science, Technology & 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. Class size: 35
|
11386 |
ARTH 123
Survey of 20th Century Art |
Tom Wolf |
. . W Th . |
10:10 -
11:30 am |
PRE 110 |
AART |
This class will survey the major movements of
modern art, beginning with Post Impressionism in the late Nineteenth century
and 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: 30
|
11366 |
ARTH 124 Japanese Arts of Edo Period |
Patricia Karetzky |
. . . Th . |
1:30 -
3:50 pm |
FISHER ANNEX |
AART/DIFF |
Cross-listed: Asian Studies After
a period of five hundred years of civil war, Japan entered the Edo period when
a stable government established peace that lasted until the modern era. From
1615 - 1868 Japan and its capital at Edo, the modern Tokyo, underwent a number
of dramatic changes which are readily apparent in the art and architecture.
This course will examine the variety of painting styles that characterize the
Edo period, including the native, western influenced, Zen, genre, and aristocratic,
as well the development of print making represented by such masters as Utamaro,
Hokusai, and Hiroshige. Contemporary developments in architecture,
textiles and ceramics will also be viewed and contemporary literature
will be studied for the cultural and historical context it provides
for understanding the art. The social and artistic aspects of Edo
culture are also viewed as a preparation for modern Japan. No
prerequisites. Class
size: 20
|
11340 |
ARTH 160 Survey of Latin American Art |
Susan Aberth |
M . W . . |
3:10 -
4:30 pm |
OLIN 102 |
AART/DIFF |
Cross-listed:
LAIS (core course) Related
interest: Africana Studies, Theology A broad overview of art and
cultural production in Latin America, including South and Central America,
Mexico, and the Caribbean. The survey will commence with an examination of
major pre-Columbian civilizations and a field trip to the Metropolitan Museum.
This is followed by an examination of the contact between Europe and the
Americas during the colonial period, the Independence movements and art of the
19th century, and finally the search for national identity in the
modern era. All students welcome. Class
size: 25
|
11338 |
ARTH 219 Art of Northern Renaissance |
Jean French |
. T . Th . |
10:10 -
11:30 am |
OLIN 102 |
AART |
Related interest:
Science, Technology & Society A survey of painting in Flanders,
the Netherlands, and Germany during the 15th and 16th centuries.
The course opens with an examination of the remarkable innovations of Flemish
and Dutch artists working abroad, primarily under the patronage of the French
court. It then shifts to the emergence, in the North, of new forms of painting
in the work of Hieronymus Bosch, Pieter Bruegel, Albrecht Dürer, Hans
Holbein, Jan van Eyck, and Rogier van
der Weyden. The class examines developments in landscape and portraiture
(including engagement and marriage portraits), the use of oils, changing
patronage, as well as the influence of various philosophical and religious
movements, including nominalism, the Devotio moderna, and
mysticism. Particular attention is paid
to controversial works (alleged references to alchemy, witchcraft, and
heretical sects in the paintings of Bosch) and recent interpretations of old
favorites (The Arnolfini Wedding of van Eyck). Class size: 22
|
11387 |
ARTH 237 Travel and Exploration in 19th
Century Photography |
Laurie Dahlberg |
. T . Th . |
1:30 -
2:50 pm |
WEIS CINEMA |
AART |
Cross-listed:
Photography, Victorian Studies This course surveys the far-ranging work of
the peripatetic photographers of the nineteenth century. Travel and exploratory
photographs of landscapes, people, and architecture were made by European and American
photographers throughout the world. They reflect the photographers’
preconceptions and expectations as well as the inherent properties of their
subject matter. Such Photographs were produced as government surveys,
historical records, souvenirs for travelers, scientific documents, and
picturesque views. Imperialist expansion of European powers, the romantic
poets’ reverence for nature, and the projection of the photographers’ (and
their audiences’) fantasies upon alien realms and peoples are among the forces
that helped shape the travel photography of this period. The course is of
interest to history and social science students as well as art history and
photography students. Class size: 22
|
11368 |
ARTH 248 Roma in Situ |
Diana Minsky |
. T . Th . |
4:40 -
7:00 pm |
FISHER ANNEX |
AART |
(8 credits) Cross-listed: Classical Studies,
Environmental & Urban Studies,
Italian Studies Roma in situ considers the temporal
and spatial experience of art, architecture, and urbanism by combining two intensive weeks in Rome in January with seminar-style meetings
in the spring semester. In Rome, the
first week focuses on the ancient city, studying the evolving role of public
monuments as the republic transformed into an empire. The second week explores post-antique (up to the present day)
reconfiguration of antiquities in order to construct political and theological
meaning. The portion of the class in
Rome is rigorous, consisting of over sixty hours of lectures at archaeological
sites, in museums, and in churches.
During the spring semester, the class will meet twice a week to analyze
the art seen in Rome, to discuss the secondary scholarship, and to present
student research. Requirements include
two presentations (one on texts, one on art), two exams, and a research
paper. The prerequisite for the class
is successful completion of either Roman
Art and Architecture (ARTH 210) or Roman
Urbanism (ARTH 227). Priority will
be based on academic relevance and intellectual maturity. The cost of the Rome component of the class
is circa $2000 to include
transportation in Rome, lodging, breakfast, museum admissions, and all but two
dinners. Airfare is not included, and
financial aid does not assist with this fee.
Credit will only be awarded upon
successful completion of both components of the class. Permission of the professor required. Class size: 15
|
11455 |
ARTH / FILM 249 International Film Noir |
Richard Suchenski Screening: |
. . . Th . . . W . . |
1:30 -
4:30 pm 7:00 -
10:00 pm |
AVERY 110 |
AART |
See Film section for description.
|
11543 |
ARTH 255 Outsider Art |
Susan Aberth |
. T . Th . |
3:10 -
4:30 pm |
PRE 110 |
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. There will be a field trip to
the Museum of American Folk Art in New York City. This class is open to all students. Class size: 22
|
11367 |
ARTH 283 The Golden Age and the Landslide: Art and
Theory Since 1945 |
Noah Chasin |
M . W . . |
3:10 -
4:30 pm |
RKC 103 |
AART |
Historian Eric Hobsbawm, in his seminal history of
the twentieth century entitled The Age of
Extremes, coined the phrase ‘The Short Twentieth Century.’ This course will
examine the period spanning two of his subcategories—The Golden Age (1950–75)
and The Landslide (1975–91)—through the lens of art and visual culture. We will
be concerned specifically with the neo-avant-garde’s radical reassessment of
the relationship between art, artist, and viewer, and various attempts to
assert an ideological challenge to free-market capitalism’s increased hegemony
throughout the postwar period. Movements to be discussed include Abstract
Expressionism, Pop, Minimalism, Conceptual Art, and Institutional Critique,
with a particular focus on the intersection of art, theory, and contextual
histories. Our primary textbook will be Foster, Krauss, Bois, and Buchloh’s Art
Since 1900 (vol. 2), with supplementary readings provided for each weekly
theme. No prerequisites, but enrollment will be at instructor’s discretion. Class size: 25
|
11389 |
ARTH 315 Beautiful by Design: The
Decorative Arts and Material Culture in Late 19th/Early 20th
century America |
Julia Rosenbaum |
. . . . F |
1:30 -
3:50 pm |
FISHER ANNEX |
AART |
Cross-listed:
American Studies It is only shallow people who do not judge
by appearances. — Oscar
Wilde, The Picture of Dorian Gray
Between roughly 1870 and 1914, Americans moved
through ever more elaborately designed and decorated structures from public
buildings to private homes. The attention to decorative detail and the opulence
of both interior rooms and exterior facades and grounds is captured in Mark
Twain’s characterization of the period as “the Gilded Age.” This seminar
focuses on the work of Gilded-Age painters, sculptures, designers, and
landscapists through the lens of one of the great Gilded-Age sites in the
Hudson Valley, Vanderbilt Mansion in Hyde Park. Students will combine the study
of aesthetic ideals with practical experience; the class will visit the mansion
regularly and each student will work closely with specific objects in the
collections. Readings will be drawn from primary sources of the period in
addition to scholarly studies. Work for the course includes trips to
Vanderbilt, short writing assignments, class presentations, and a research
project. Open to Upper College students; (sophomores by permission of the
professor.) Class size: 20
|
11339 |
ARTH 345 Michelangelo: The Man, The Masterpieces, and The Myth |
Diana Minsky |
M . . . . |
1:30 -
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
|
11348 |
ARTH 367 Women Artists |
Tom Wolf |
. . . Th . |
1:30 -
3:50 pm |
OLIN 205 |
AART |
Cross-listed: Gender and Sexuality Studies This seminar will trace
the history of women artists in the United States, beginning with the Neo
Classical sculptors of the 18th century, continuing with Mary
Cassatt, the women artists of the Arts and Crafts movement, women artists of
the suffrage movement, and Georgia O’Keeffe and her modernist
contemporaries. It will conclude with a look at the legacy of these
artists as reflected and transformed by the artists of the 1970s feminist
movement. The subjects favored by women artists, the obstacles they faced,
and their relationships with contemporary male artists will be consistently
evaluated. Students will give presentations about selected women artists
to the class, and will write two papers. If students wish, as part of
this seminar they can assist with the exhibition Peggy Bacon: Cats and
Caricatures, a survey of Bacon’s works from the 1920s and 1930s being
organized for the Woodstock Artists Association Museum. Class size: 15
|
11369 |
ARTH 375 Mexican Muralism |
Susan Aberth |
M . . . . |
4:40 -
7:00 pm |
FISHER ANNEX |
AART |
Cross-listed:
LAIS ;
Related Interest: Human Rights This course examines the muralism movement’s
philosophical origins in the decades following the Mexican Revolution, the
murals of Orozco, Rivera, and Siqueiros, the Tres Grandes (“The Three
Great Ones”); and the work of lesser-known Mexican muralists. Also considered
is the muralism movement’s wide-ranging impact on murals executed under the WPA
in the United States throughout the 1930s, in Nicaragua during the 1970s, and
in urban Chicano communities.
Prerequisite: Art History 101-102, or 160 or permission of the
instructor. Class size: 15
|
11388 |
ARTH 385 Art Criticism and Methodology |
Noah Chasin |
. . . Th . |
10:10 -
12:30 pm |
RKC 122 |
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. Class size: 15