12213

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, explores the visual arts worldwide. Beginning in the fourteenth century and ending in the twentieth century, the class will survey painting, sculpture, and architecture, as well as works in newer media (such as photography). 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. Open to all students. Class size: 22

12175

ARTH 113 History of Photography

Laurie Dahlberg

. T . Th .

8:30 -9:50 am

PRE 110

AART

Cross-listed: Science, Technology & Society The first complete photographic process was announced in 1839, and immediately launched a maelstrom of public interest and intense competition. Born of experiments in art and science, the medium possesses a uniquely intimate relation to reality, a unique condition that made it as appealing to artists as to criminologists, engineers, pornographers, zoologists, and everyone in between. This survey of the history of photography from its earliest manifestations to the 1990s considers the medium’s applications – as art, science, commerce, historical record, and document. This course is open to all students and is the prerequisite for many other courses in the history of photography. Classwork includes two papers and two exams. Class size: 25

12172

ARTH 126 Architecture since 1945

Noah Chasin

M . W . .

11:50 -1:10 pm

RKC 101

AART

Cross-listed: Environmental & Urban Studies; Science, Technology & Society A survey of the major transformations in architectural and urban design practice and theory since the end of World War II, with a focus on the challenges aimed at the modernist discourses of the early twentieth century. These challenges begin with Team 10's retort to historical vanguardism and move on to encompass—among others— regionalism, neorationalism, corporate modernism, postmodernism, poststructuralist critique, and various permutations of these models. We will discuss major figures such as Le Corbusier, Louis Kahn, Charles & Ray Eames, Eero Saarinen, Yona Friedman, Robert Venturi and Denise Scott Brown, Aldo Rossi, Peter Eisenman, and Rem Koolhaas. Attention is also paid to alternative and experimental practices that deal with pop art, cybernetic, semiological, and new media discourses. The course concludes with the impact on built form of globalization and advanced information technologies. ARTH 125 (Modern Architecture 1850–1945) is helpful but not at all required. Class size: 22

12214

ARTH 128 Art of the Ancient Near East

Julia Rosenbaum

M . W . .

1:30 -2:50 pm

FISHER ANNEX

AART

Cross-listed: Classical Studies This course surveys the art and culture of an area in the Near East known as Mesopotamia, “the land between the rivers.” This region, corresponding to present-day Iraq, Syria, and Iran, has been considered the cradle of civilization. Here, in the millennia before Christ from roughly 3500 BCE to 330BCE, the first urban societies arose, writing was invented, empires were born, and great power and wealth amassed. With the emergence of urban centers came monumental palaces and temples and the successive peoples of this region, first the Sumerians, then the Babylonians, the Assyrians, and the Persians produced a rich visual culture ranging from carved stone palace reliefs to sacred ritual objects and ornaments to precious ivory, gold, and bronze luxury goods. We will examine the art and architecture of these ancient societies in their social, political, and cultural contexts, with an emphasis on the use of art in the expression of authority and legitimacy, religious and ritual ideologies, and artistic interconnections such as those between Mesopotamia and ancient Egypt, Turkey, and the Levant. The course will also address modern imaginings of the ancient Near East and conclude with contemporary issues concerning the antiquities market and cultural repatriation of national objects. A goal of the course is to encourage a critical reading of the works of art based on approaches from art history and archaeology. Museum trips to New York are required. Open to all students. Class size: 22

12170

ARTH 140 Survey of Islamic Art

Susan Aberth

M . W . .

3:10 -4:30 pm

OLIN 102

AART/DIFF

Cross-listed: Africana Studies, Middle Eastern Studies. This course offers an introduction to the widespread visual production created throughout history in the Islamic world. 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 Iran, Syria, Egypt, North Africa, Turkey, Spain, China, India, Indonesia and other areas. Consideration will also be given to contemporary expressions around the world. Class size: 22

12171

ARTH 160 Survey of Latin American Art

Susan Aberth

. T . Th .

4:40 -6:00 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 19^th century, and finally the search for national identity in the modern era.  All students welcome. .

Class size: 22

12182

ARTH 210 Roman Art and Architecture

Diana Minsky

. T . Th .

3:10 -4:30 pm

HEG 204

AART

Cross-listed: Classical Studies, Environmental and Urban Studies This class follows the development of Roman art and architecture from the founding of the city by Romulus in 753 BCE to the transferal of the capital to the east by Constantine in 330 CE. Lectures explore how Romans incorporated and synthesized the styles and achievements of conquered peoples (including the Etruscans, Greeks, and Egyptians) to produce a complex visual vocabulary which articulated the nature of their Empire and established a common artistic language throughout the Mediterranean world – a vocabulary which continues to influence. The ability of art and architecture to communicate political policy and, eventually, Christian doctrine number among the themes of the class. This course is open to all students. Requirements include two papers, a mid-term, a final, and quizzes. Completion of this class qualifies students for consideration for Roma in situ, taught in Rome during January and completed at Bard in the Spring semester.

Class size: 22

12176

ARTH 212 The Handmaiden's Tale: Nineteenth-Century Photography and Fine Art

Laurie Dahlberg

. . W . F

10:10 - 11:30 am

FISHER ANNEX

AART

Cross-listed: Science, Technology & Society; Victorian Studies Photography has followed a tortured path into the precincts of fine art, and this course explores that fractious history. This semester, we have a unique opportunity to combine the study of 19th-century photography and its cultural meanings with the actual making of photographic images using 19th-century processes, because we will be collaborating with Lothar Osterburg’s Photogravure class. We begin by studying the pre-existing debate over realism in art that forms the “backstory” for the complicated reception of photography, and work forward to the Pictorialist movement at the end of the 19th century. Along the way, we will discuss topics such as: photography’s status as “the bastard child of art and science,” photography and art pedagogy, pornography and the nude, photography’s role in the “liberation” of painting, and the 20th century repudiation of the 19th century photography’s art aspirations. The course takes a seminar/lecture format, and will include significant weekly readings, two medium-length writing assignments, a midterm exam, and a final portfolio, created in collaboration with Prof. Osterburg's students. In order to accommodate this studio work and the lectures and discussions that take place in the normal class period, we will have extended class periods (10:10-2:00) on five Fridays during the semester. (Three class periods over the semester will be cancelled to balance the extra work). I strongly recommend that this be the only class you schedule on Friday, and priority will be given to those students who are not taking a Friday afternoon class. Attendance of all classes, including the extended sessions, is required. Important dates: extended class periods (always on Fridays): 2/17, 3/9, 3/30, 4/27, 5/18 Enrollment: 15. Contact me by e-mail in advance of registration for the best chance at enrollment, give details of interest, previous work, etc. Class size: 15

12183

ARTH 232 Italian Renaissance Architecture and Urbanism

Diana Minsky

M . W . .

3:10 -4:30 pm

HEG 102

AART

Cross-listed: Italian Studies, Environmental and Urban Studies This class follows the development of architecture and urbanism in Italy in the 15th and 16th centuries. Proceeding chronologically from Florence to Rome and Venice, the lectures situate the architecture and ideas of Brunelleschi, Alberti, Leonardo, Bramante, Raphael, Michelangelo, and Palladio (yes! they were all architects) within their political and theological context in order to decode their meaning. The course focuses on how Renaissance study of antiquity gave birth to both archaeology (the study of the material remains of the past) and architectural theory (the formulation of ideas for the future). The second half of the class explores how the demands of the Counter Reformation modified architectural form and theory. Requirements include a mid-term, final, critical essays, and quizzes. Open to all students. Completion of this class qualifies students for consideration for Roma in situ, taught in Rome during January and completed at Bard in the Spring semester. Class size: 22

12541

ARTH 233 Vermeer

Susan Merriam

M . W . .

11:50 -1:10 pm

FISHER ANNEX

AART

Johannes Vermeer created some of the most beautiful and enigmatic paintings of the 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; at the same time, Vermeer’s work is exceptionally nuanced in its exploration of psychological and formal issues. 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, Vermeer and reception. An important aspect of the course will be consideration of the interpretive difficulties posed by Vermeer’s work. Class size: 22

12173

ARTH 244 Modern African Art

Teju Cole

. T . Th .

11:50 -1:10 pm

OLIN 102

AART/DIFF

Cross-listed: Africana Studies This course looks at the visual arts of Africa and its recent diaspora from the post-colonial period to the present. We will focus on painting, photography, installation, video, and conceptual art, and challenge received ideas about the artistic practice of African artists. Some of the key figures studied, through lectures and discussions, will be El Anatsui, Wangechi Mutu, Julie Mehretu, Yinka Shonibare, Nnenna Okore, William Kentridge, and Jelili Atiku.  For assessment: two short papers, a midterm, and a final. 22

12052

ARTH/FILM 249 International Film Noir

Richard Suchenski Screening:

. . . Th . . . W . .

1:30 -4:30 pm 7:00 -9:00 pm

AVERY 110 AVERY 110

AART

See Film section for description.

12177

ARTH 257 Art in the Age of Revolution

Laurie Dahlberg

. T . Th .

11:50 -1:10 pm

FISHER ANNEX

AART

Cross-listed: Victorian Studies This course surveys European painting beginning with the art of the pre-Revolutionary period (c. 1770) and ending with Realism (c. 1850). Major topics include changing definitions of neoclassicism and romanticism; the impact of the French revolutions of 1789, 1830, and 1848; the Napoleonic presence abroad; the shift from history painting to scenes of everyday life; landscape painting as an autonomous art form; and attitudes toward race and sexuality. Inasmuch as Paris was the center of the 19th century art world, special emphasis duly falls on French art, although we will also devote time to artists in Spain, Great Britain, and Germany. Classwork includes two significant papers and two exams. Class size: 22

12217

ARTH 265 Dada and Surrealism

Tom Wolf

. . W Th .

10:10 - 11:30 am

PRE 110

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 and Salvador Dali. Class size: 22

12180

ARTH 286 Spanish Art and Architecture: El Greco to Goya

Susan Merriam

M . W . .

10:10 - 11:30 am

OLIN 102

AART

Cross-listed: LAIS This course surveys the complex visual culture of early modern Spain with particular attention given to major figures including El Greco, Velázquez, 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 artistic theory and the training of artists; the art market and collecting; artistic critiques of monarchical power. Class size: 22

12539

ARTH 292 From Ming to Post-Mao: Modern Chinese Art

Patricia Karetzky

. . W . .

1:30 -3:50 pm

PRE 110

AART

Cross-listed: Asian Studies This course covers the emergence of modern art in China up until the present day. We begin by examining the emergence of a modernist aesthetic in the 19th century at the end of China's last dynasty, analyze the formation of a nationalist modern movement, survey the political art that serves the government under the Communist regime, and asses the impact of the opening of China to the West in art. The focus will be on the creation of art from the late 1990's to the present day and the various ways artists respond to the challenge of contemporary life and culture. Students will produce an illustrated exhibition catalogue and essay devoted to any modern artists or movement they chose and the books will be placed on public view. In addition two short papers are required. Class size: 22

12184

ARTH 336 Villa Culture: Origins and Adaptations

Diana Minsky

. . . . F

1:30 -3:50 pm

FISHER ANNEX

AART

Cross-listed: Italian Studies, Environmental and Urban Studies The villa or country house, as opposed to a working farm, embodies a city dweller’s idyllic interpretation of country life. Conceived to express an idea rather than fulfill a function, the villa allows its patrons and designers to create innovative means to express the relationship between man and nature. This seminar studies the evolution of villa architecture, pastoral literature, and landscape design from their development in ancient Rome, through their revival in the Italian Renaissance, to their flourishing during the European Baroque. Students then apply the principles developed in Europe to Hudson Valley estates. Requirements include critical essays, presentations, one research paper, and field trips. Permission of the instructor required. Limited to twelve students. Fulfils the 1420 to 1850 requirement in Art History. Class size: 12

12181

ARTH 341 Preserving Berlin

Susan Merriam

. T . . .

3:10 -5:30 pm

FISHER ANNEX

AART

Cross-listed: Environmental & Urban Studies, German Studies This class examines issues of preservation and display using the museums, monuments, and urban fabric of Berlin. Berlin has a rich museum culture, and due to its particular circumstances, a complex history of building, destruction, and preservation. Although the entire city could function as a laboratory for study, we will look at several key areas. One important focus will be “Museumsinsel,” a cluster of museums built on the Spree River from 1824-1930; another focus will be the “Kulturforum,” a group of museums constructed near the Potsdamer Platz in the 1950s. The Jewish Museum, the Museum of Natural History, the German Historical Museum, the Museum of Contemporary Art, the Holocaust Memorial, and buildings with profound historical significance (such as the Reichstag) will also be examined. Topics to be addressed include theories concerning the display of objects; the repurposing and preservation of display spaces and buildings; the museum and the city; the concept of the collection; the museum and cultural memory. Assignments include papers and a class digital project. Class size: 15

12241

ARTH 348 Asian American Artists Seminar

Tom Wolf

. . . Th .

1:30 -3:50 pm

FISHER ANNEX

AART/DIFF

Cross-listed: American Studies, Asian Studies In recent years there has been increasing interest in artists of Asian ancestry who have worked in the United States. The relationships between the artistic traditions of their native lands and their subsequent immersion in American culture provide material for fascinating inquiries concerning biography, style, subject matter, and politics. This class will examine artists active in the United States in the first half of the twentieth century as well as more contemporary artists. A central figure will be the sculptor Isamu Noguchi, as the instructor is organizing a museum exhibition locating Noguchi’s work in the context of his Japanese American contemporaries. We will visit the Isamu Noguchi Museum in Long Island, Queens, and get insight into the process of developing such an exhibition. Students will give presentations about selected artists either historic or recent. Key artists studied will include Yasuo Kuniyoshi, Yun Gee, Yayoi Kusama, Yoko Ono, Nam June Paik, Patty Chang, Nikki Lee and Mariko Mori.

Class size: 15

12174

ARTH 385 Art Criticism and Methodology

Noah Chasin

M . . . .

1:30 -3:50 pm

RKC 101

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