11576

ARTH 102 Perspectives in World Art II

Julia Rosenbaum

M . W . .

3:10 pm -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 preferential enrollment. First and second year students are encouraged to enroll. Class size: 25

 

11569

ARTH 113 History of Photography

Laurie Dahlberg

. T . Th .

8:30 am -9:50 am

PRE 110

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

 

11566

ARTH 126 Architecture since 1945

Noah Chasin

. T . Th .

1:30 pm -2:50 pm

RKC 102

AART

Cross-listed: Environmental & Urban Studies; Science, Technology & SocietyA 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

 

11792

ARTH 140 Survey of Islamic Art

Betsy Chunko

. . W . F

10:10 -11:30 am

OLIN 102

AART/DIFF

Cross-listed: Medieval Studies This course will provide a broad overview of Islamic visual culture. Our investigations will progress largely by dynasty, emphasizing exchange between cultural centers and peripheries in the development of distinctive regional styles. We will begin by examining the formulation of a common visual language in the Islamic world, tracing its early development under the Umayyads to its regionalization through the 14th century. We will then progress to the grand imperial traditions of the Ottomans, Safavids, and Mughals. Throughout, both decorative arts and architectural accomplishments will be considered within the context of the dynamic religious and cultural traditions that supported and inspired them. Class size: 25

 

11564

ARTH 160 Survey of Latin American Art

Susan Aberth

. T . Th .

4:40 pm -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 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. Class size: 25

 

11793

ARTH 224 Art of the British Isles: Prehistory to 1300

Betsy Chunko

. T . Th .

10:10 m - 11:30 am

FISHER ANNEX

AART/DIFF

Cross-listed: Medieval Studies This class investigates the early art and architectural traditions of the British Isles, tracing their historical and cultural underpinnings from prehistory through the Middle Ages. Our goal will be to synthesize a transhistorical understanding of changes in artistic values. We will commence with Stonehenge and the pagan ritual landscape before moving to Roman Britain. Our focus then shift to consider the effects of Celtic monasticism and the Christianization of Britain by examining Hiberno-Saxon manuscripts and decorative objects. Ultimately, we will transition to discuss art and architectural developments under the Normans, concluding with the rise of the Gothic style. Class size: 22

 

11568

ARTH 244 Contemporary African Art

Teju Cole

M . W . .

3:10 pm -4:30 pm

HEG 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

 

11572

ARTH 248 Roma in Situ

Diana DePardo-Minsky

. T . Th .

3:10 pm -4:30 pm

FISHER ANNEX

AART

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

 

11570

ARTH 258 Manet to Matisse

Laurie Dahlberg

. T . Th .

11:50 am -1:10 pm

FISHER ANNEX

AART

Cross-listed: French Studies, Gender & 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. Class size: 22

 

11574

ARTH 277 The Dutch "Golden Age"

Susan Merriam

M . . . . . . W . .

1:30 pm -2:50 pm 1:30 pm -2:50 pm

FISHER ANNEX HDR 101A

AART

Cross-listed: Science, Technology & Society This course examines the extraordinarily rich visual culture that emerged in seventeenth-century Holland, the first bourgeois capitalist state. We will study the art of Rembrandt and Vermeer, among others, as it expressed the daily life, desires, and identity of this new society. The course will be taught thematically, addressing artistic practice (materials and production, patronage, the art market), aesthetics (realism, style), and social concerns (public and private life, city and rural cultures, national identity, colonialism, domesticity, gender, religion, and the new science). Open to all students. Class size: 22

 

11577

ARTH 278 Modern in America

Julia Rosenbaum

. T . Th .

3:10 pm -4:30 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 Georgia O'Keeffe to Jackson Pollock, from the Ashcan School to the 'Harlem Renaissance' to Abstract Expressionism. How have artists understood their work as modern? What have artists and critics meant when they talked about realism and abstraction? In a period shaped by two world wars, Jim Crow laws, and women's suffrage, how did artists respond to social injustice and warfare? 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; technology and art; exhibitions and cultural propaganda; artistic identity and gender and racial roles; public art, murals, and social activism. Class size: 22

 

11575

ARTH 289 Rights and the Image

Susan Merriam

M . W . .

11:50 am -1:10 pm

OLIN 102

AART

Cross-listed: Human Rights An examination of the relationship between visual culture and human rights, using case studies that range in time from the early modern period (marking the body to register criminality, for example) to the present day (images from Abu Ghraib). Subjects addressed include evidence, disaster photography, advocacy images, censorship, and visibility and invisibility. Class size: 22

 

11573

ARTH 293 East Meets West

Patricia Karetzky

. . W . .

1:30 pm -3:50 pm

PRE 110

AART

Cross-listed: Asian Studies A consideration, through art, of the impacts Eastern and Western cultures have had on one another. Broad topics for discussion include the art of Buddhism and the Silk Road; medieval European borrowings from the East; travelers East and West; Arabs as transmitters of Asian technologies; concepts of heaven and hell; Western missionaries and the introduction of Western culture in India, China, and Japan; chinoiserie in European architecture gardening and d飯r; and Japonisme-the influence of the Asian aesthetic on modern are movements. Class size: 22

 

11684

LIT 3041 The New York School: Poetry, Art, Collaboration & Criticism

Ann Lauterbach

. . . Th .

3:10 pm -5:30 pm

OLIN 309

ELIT

Cross-listed: Art History See Literature section for description. (This course does not satisfy the Art History seminar requirement.)

 

11456

ANTH 342 Post-Secular Aesthetics?

Abou Farman Farmaian

. . . Th .

10:10am - 12:30pm

OLIN LC 206

HUM/DIFF

Cross-listed: Art History This seminar examines the evolving relationship between art and secularism from the modern period to the present. We will begin by examining the emergence of secular discourses regarding art in thinkers such as Nietzsche and Weber, and the separation of art as an autonomous, self-sufficient social domain with its own institutional forms, such as museums and memorials, and its own non-transcendent aesthetic values, such as authenticity. Yet, throughout this period, art and the artist occupied an ambiguous position between the sacred and the profane. Today, in what some call a post-secular period, there is a rise in artistic and scientific practices associated with cosmology, immortality, animism, and transcendence. In the second part of the course, we will explore contemporary practices in the arts and sciences that indicate a post-secular sensibility from an anthropological perspective. We will look at recent international exhibits on animism and fetishism, as well as writings on the notion of re-enchantment. Tackling ideas and practices from neuroaesthetics and bio-art to cryonics, hypnosis and techno-shamanism, we will explore the way these concepts and strategies are changing the secular rules of separation between person and body, object and agency, affect and cognition, matter and the immaterial, this life and an afterlife. (This course does not satisfy the Art History seminar requirement.) Class size: 15

 

11657

REL 343 Popular Arts in Modern India

Richard Davis

M . W . .

3:10 pm -4:30 pm

OLINLC 210

HUM

Cross-listed: Art History, Asian Studies, Global & Int’l Studies In India one sees them everywhere: bright wide-eyed Hindu deities, in poster form, perched above cash registers in restaurants and clothing shops, glued to the dashboards of taxis and buses, and framed on the walls of temples and home shrines. These mass-produced chromolithographs or “god-posters” occupy a central place in the visual landscape of modern India, but until recently they have remained far on the periphery of scholarly attention. In this seminar we will explore the world of Indian god-posters. The course will consider iconographic features, stylistic developments, political and religious significations, and devotional responses to these popular commercial prints. We will look at the ways the artists have adapted their visual practices within commercial structures of production, and how they have directed their arts towards devotional needs. We will also situate this pervasive genre in “interocular” relation to other modern forms of South Asian visual arts, such as tribal and folk arts (Warli and Mithila painting), pilgrimage paintings (Kalighat, Nathadvara), Parsi theater, photography in India, and especially Bollywood cinema. Class size: 18

 

11571

ARTH 345 Michelangelo: The Man, The Masterpieces, The Myth

Diana DePardo-Minsky

. . . . F

1:30 pm -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

 

11565

ARTH 353 Outsider Art

Susan Aberth

. . W . .

1:30 pm -3:50 pm

FISHER ANNEX

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, naﶥ, 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. Class size: 15

 

11567

ARTH 385 Art Criticism and Methodology

Noah Chasin

. . . . F

10:10am - 12:30 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. Class size: 15

 

11724

THTR 353 Performing Queer

Jorge Cortinas

. . W . .

10:10 am -1:10 pm

FISH

AART

See Theater section for description. (This seminar will satisfy the seminar requirement in art history.)

 

11802

ARTH 388 Contemporary Queer Theory

Jeannine Tang

. . W . .

10:30am - 1:00 pm

CCS

AART

Cross-listed: Gender & Sexuality Studies This seminar explores contemporary debates in queer theory across three overlapping domains. Following queer theory's attention to concepts such as sex, gender, desire and embodiment, we will consider the relationships between queer theory and queer culture (whether subcultural, artistic or sexual) and corresponding debates on relationality and political community. We will also take up various interactions between queer theory and other modes of critical theory, ranging from economic theories of neoliberalism, political theories of nationalism and militarism, diasporic and disability studies. Throughout, we will explore queer theory's reorientation of various disciplines, its modes of inquiry and proximity to social justice -- to ask how queer theory's objects and methods might be redefined for continued relevance to gendered and sexual life. Course material includes theoretical texts, legal cases, in addition to works of art, video and film. Assignments: weekly written responses, a presentation with seminar co-facilitation, and a research paper (20 pages). For admission to this course, please email statements of interest to jtang@bard.edu. (This seminar will satisfy the seminar requirement in art history.) Class size: 15