Course: |
ARTH 101 Perspectives in World Art |
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Professor: |
Katherine Boivin |
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CRN: |
90235 |
Schedule: |
Mon Wed 10:20 AM - 11:40
AM Olin 102 |
Distributional Area: |
AA Analysis of Art |
Class cap: |
20 |
Credits: |
4 |
Cross-listed: Africana Studies
Perspectives in World Art introduces the diversity of the visual arts
worldwide over the course of two semesters.
Students may take either semester or both. The first semester examines
painting, sculpture, architecture, and other artifacts from the Paleolithic
period through the 14th century. Works
from Europe, Asia, and Africa are studied chronologically to create an
integrated historical context. Readings from various critical perspectives
present different methodological approaches.
Requirements include a semester-long term paper (turned at three
intervals), a mid-term, a final, and quizzes.
This course fulfills one requirement for moderating into Art History;
potential majors are urged to take Perspectives prior to other Art History
classes. Open to all students.
Course: |
ARTH 123 20th Century Art: What it means to be Avant-Garde |
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Professor: |
Alex Kitnick |
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CRN: |
90240 |
Schedule: |
Tue Thurs
2:00 PM - 3:20 PM Olin
102 |
Distributional Area: |
AA Analysis of Art |
Class cap: |
20 |
Credits: |
4 |
A survey of the major movements of modern art, beginning with
postimpressionism in the late 19th century and moving through fauvism,
expressionism, cubism, futurism, constructivism, Dadaism, surrealism, abstract
expressionism, pop art, and minimalism. Painting and sculpture are emphasized.
(1800-present)
Course: |
ARTH 125 Modern Architecture in the Age of Colonialism |
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Professor: |
Olga Touloumi |
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CRN: |
90244 |
Schedule: |
Tue Thurs
3:50 PM - 5:10 PM Olin
102 |
Distributional Area: |
AA Analysis of Art |
Class cap: |
20 |
Credits: |
4 |
Cross-listed: Architecture; Environmental
& Urban Studies
This course examines the history of modern architecture,
examining the debates, theories, and practices that informed its many facets
from the late eighteenth to the early twentieth century. We will be discussing
the production of the built environment within the context of colonialism,
focusing on the infrastructures, institutions, and building types that emerged
in response to industrialization, social revolutions, and epistemic shifts. The
industrialization of production, new technologies, material, and institutions,
as well as growing urban cultures and changing social structures called for
architects and designers to partake in the process of modernization. The course
will pay particular attention to the ways in which architects responded to and
participated in formal and aesthetic developments, as well as epistemic and
cultural shifts that marked modernity, such as the enlightenment, Darwinism,
positivism, and the rise of psychology. Covering many aspects of architecture,
from buildings, drawings, exhibitions, and schools, to historical and
theoretical writings and manifestos, we will investigate the wide range of
modernist practices, polemics and institutions. The aim of the course is to
provide a solid historical framework of the debates and practices that made
architecture modern, while engaging the students in a critical discussion of
the role of architecture in the production of the built environment and the
forces that shape it. The course includes field trips, readings, and short
assignments. (1800-present)
Course: |
ARTH 193 Art of Japan |
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Professor: |
Patricia Karetzky |
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CRN: |
90238 |
Schedule: |
Wed 2:00 PM - 4:20
PM Fisher Studio Arts ANNEX |
Distributional Area: |
AA Analysis of Art |
Class cap: |
15 |
Credits: |
4 |
This course beings 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
panting, Zen art, and ukoy-e prints are presented in a broad view of the
social, artistic, and historical development of Japan. Art History distribution: Asia
Course: |
ARTH 203
Contemporary Art |
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Professor: |
Tom
Wolf |
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CRN: |
90855 |
Schedule: |
Wed 10:20 AM - 11:40 AM Olin 301 Thurs
10:20 AM - 11:40 AM Olin 307 |
Distributional
Area: |
AA Analysis
of Art |
Class
cap: |
15 |
Credits: |
4 |
The heart of this class is three or four
trips to New York City to visit art galleries and museums that are showing
compelling exhibitions of contemporary art. Our meetings on campus will
provide background about these shows, and will contextualize them by surveying
important movements in recent art, starting with Minimalism in the 1960s.
The dynamic exhibition of Pattern and Decoration art currently at Bard’s Center
for Curatorial Studies will provide another focus for the class. The
structures of the art gallery system and art market will also be
considered. Students
will give presentations to the class about selected contemporary artists and
write papers about their works, and about the exhibitions we see.
Course: |
ARTH 227 Visualizing Freedom; Revolution, Emancipation,
Rights |
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Professor: |
Julia Rosenbaum |
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CRN: |
90243 |
Schedule: |
Tue Thurs
12:10 PM - 1:30 PM Bard
Chapel |
Distributional Area: |
AA Analysis of Art |
Class cap: |
22 |
Credits: |
4 |
Cross-listed: American Studies; Human Rights
Political and cultural revolutions
from the eighteenth through the early twentieth centuries ignited debates about
basic human rights and equality. How were these rights defined, promoted, and
resisted? This course explores the role of visual material in developing
discourses of freedom in the Atlantic World of this period. It also considers
the use of visual symbols of enslavement. Topics include: representations of
political revolutions in the United States, France, and Haiti; the visual
rhetoric of slavery and emancipation in the U.S., the Caribbean, and Brazil;
and the visual promotion of female suffrage in England and the United States.
The class will address a range of media, including popular prints and cartoons,
paintings, photography, and sculpture, as well as reflect critically on connections
between historical and present-day struggles for political, gender, and racial
equality.
Course: |
ARTH 249 The Altarpiece |
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Professor: |
Katherine Boivin |
||
CRN: |
90563 |
Schedule: |
Tue Thurs
10:20 AM - 11:40 AM Fisher
Studio Arts ANNEX |
Distributional Area: |
AA Analysis of Art |
Class cap: |
20 |
Credits: |
4 |
Cross-listed: Medieval Studies; Theology
This course offers a thematic
look at the art object called an “altarpiece.”
The altarpiece has long been central to the narrative of western art
history, and much of the late medieval and Renaissance art now in museums once
belonged to this type of object.
Developed in the fourteenth century as a painted or carved image program
placed on an altar table, the altarpiece became a site for artistic innovation.
Focusing on medieval and Renaissance examples from across Western Europe, this
course explores the development, function, iconography, and art historical and
liturgical significance of important altarpieces. Where possible, it considers altarpieces in
their original context. In addition to
short writing assignments, students will write two papers and give an oral
presentation. (Art History distribution pre 1500, European)
Course: |
ARTH 255 Outsider Art |
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Professor: |
Susan Aberth |
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CRN: |
90094 |
Schedule: |
Tue Thurs
5:40 PM - 7:00 PM Reem
Kayden Center 103 |
Distributional Area: |
AA Analysis of Art |
Class cap: |
22 |
Credits: |
4 |
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, naà¯ve, 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. Art
History distribution: Modern
Course: |
ARTH 257 Art in the Age of
Revolution: European Painting 1750-1850 |
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Professor: |
Laurie Dahlberg |
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CRN: |
90474 |
Schedule: |
Tue Thurs
10:20 AM - 11:40 AM Campus
Center WEIS |
Distributional Area: |
AA Analysis of Art |
Class cap: |
20 |
Credits: |
4 |
Cross-listed: French Studies
The mid-eighteenth to the mid-nineteenth century, a period brimming over with
revolution and political upheaval in Europe, witnessed profound changes in the
way art was produced, understood, criticized, marketed, distributed and
exhibited. This course seeks to
introduce major themes, objects, persons, and social currents of European Art
from the 1770s to the 1850s. We will
follow currents in Spain, Germany, Great Britain, and France. Major topics include changing definitions of
neoclassicism and romanticism; the impact of the 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, gender and sexuality. We will try to understand artworks from
three distinct perspectives: the social, the aesthetic, and the political, and
investigate how these forces intersected to both create and reflect “the
modern” as it is understood today.
However, revivalism, tradition, and conservative reaction were equally
powerful factors in shaping the art of the period, and we will be particularly
interested in the push and pull of old, new, and in-between. We do not cover architecture and sculpture in
this course. There will be two research papers, two exams, and a class
presentation. Written abstracts of key
readings on notecards will also be collected weekly.
Course: |
ARTH 286 Spanish Visual Culture1550-1850 |
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Professor: |
Susan Merriam |
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CRN: |
90242 |
Schedule: |
Wed Fri 10:20 AM - 11:40
AM Fisher Studio Arts ANNEX |
Distributional Area: |
AA Analysis of Art |
Class cap: |
15 |
Credits: |
4 |
Cross-listed: Latin American/Iberian Studies
This course surveys the complex
visual culture of early modern Spain. Spain exercised enormous political and military
influence during this period, and undertook a number of colonial enterprises.
At the same time, the nation witnessed the efflorescence of visual 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 its
colonies. Palace art, architecture, and interior decoration 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 hyperreal sculpture. Particular attention will be paid to the art
of Spanish visionary experience. Other topics to be addressed include: Spanish
art theory and the training of artists, the art market and collecting, and
artistic critiques of royal power.
Course: |
ARTH 297 Visual
Cultures of Colonial South Asia |
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Professor: |
Heeryoon Shin |
||
CRN: |
90575 |
Schedule: |
Tue Thurs 12:10 PM - 1:30 AM Olin 102 |
Distributional Area: |
AA Analysis of Art |
Class cap: |
22 |
Credits: |
4 |
Cross-listed: Asian Studies
What
happens to the production and reception of visual forms when cultural exchanges
take place in the context of unequal power relations? This course explores the
visual and material cultures – painting, architecture, sculpture, photography,
craft, print culture, and film – and institutions of art that rose from the
impact of British colonial activity in South Asia since c. 1650. As we
encounter these hybrid cultural forms, from painted portraits of East India
Company officers in Mughal robes to Neoclassical pediments
on Hindu temple walls, we will examine the multidirectional process of
negotiating and adapting different ways of making and seeing art, and ask how
such interactions create spaces of dominance and resistance.
Course: |
ARTH 352 Cities and Photography |
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Professor: |
Lucy Sante |
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CRN: |
90712 |
Schedule: |
Tue 2:00 PM – 4:20 PM Fisher Studio Arts
ANNEX |
Distributional Area: |
AA Analysis of Art |
Class cap: |
15 |
Credits: |
4 |
Cross-listed:
Environmental & Urban Studies
Although
it took a few decades for the speed of photography to catch up to the speed of
the city, the two have been inseparable since at least 1900. The
pairing virtually defined photography in the twentieth century. Now that
we are in the twenty-first, however, their union is once again in question, for
reasons that range from ethical and political considerations to formal
exhaustion. We will examine the record and ponder the conundrums. Major
photographers include Annan, Marville, Riis, Atget, Brassa, Abbott, Alvarez
Bravo, Weegee, Levitt, Klein, Arbus,
Winogrand, Moriyama, Shore, diCorcia.
Art History Distribution: Modern.
Course: |
ARTH 385 Theories and Methods of Art History |
||
Professor: |
Olga Touloumi |
||
CRN: |
90245 |
Schedule: |
Wed 3:50 PM - 6:10
PM Olin 205 |
Distributional Area: |
AA Analysis of Art |
Class cap: |
15 |
Credits: |
4 |
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.
Course: |
ARTH 397 Art School |
||
Professor: |
Alex Kitnick |
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CRN: |
90239 |
Schedule: |
Mon 2:00 PM - 4:20
PM Fisher Studio Arts ANNEX |
Distributional Area: |
AA Analysis of Art |
Class cap: |
15 |
Credits: |
4 |
Cross-listed: Studio Art
Can art be taught? And if so, what exactly does one teach? Drawing?
Painting? Political Theory? A crash course in the market? So many of art's
fundamental questions revolve around the question of education, and so the
space of the art school, and art education more broadly, is of crucial
importance. In this class we will examine some of the most important centers
for art education across the twentieth and twenty-first centuries, including
the Bauhaus and Black Mountain College, in addition to less well-known
institutions, such as The Mountain School and Dark Study. (Our case studies
come from Russia and the United States, as well as Western Europe, Africa, Mexico,
and China.) As we undertake this project we will examine the changing nature of
artistic skills and speculate about what kinds of art education we'd like to
see in the future. Art history majors and studio arts majors, as well as those
with an interest in education, are all encouraged to enroll. In the last few
sessions we'll test our ideas by establishing a temporary art school in our
class--a school within a school.
Course: |
ARTH 399 The
Politics of Modern Craft |
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Professor: |
Heeryoon Shin |
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CRN: |
90574 |
Schedule: |
Mon 10:20 AM - 12:40 PM Fisher Annex |
Distributional Area: |
AA Analysis of Art |
Class cap: |
15 |
Credits: |
4 |
Cross-listed: Asian Studies
This
course examines the ways in which craft practices and objects became
intertwined with issues of national identity, class, gender, and political
resistance throughout the twentieth century. While the focus of the course will
be on the history of craft and its contradictions in South Asia, case studies
from the Japanese Empire and its colonies in East Asia will provide a
comparative perspective beyond the boundaries of a single empire or
nation-state. Beginning with the rise of the Arts and Crafts movement in late
nineteenth-century Britain in response to the growth of industrial production
and consumer culture, we will trace the spread of craft ideology and practice
across the British Empire and beyond. In some cases, political leaders drew on
issues of craft to drive national policy and define national identity, while in
other cases, resistance movements transformed the
nostalgia and exoticism underlying the idea of craft into a critique against
imperial authority. A special emphasis will be placed on the materials and
techniques of production and the actual craft objects, including textiles,
ceramics, silver and base metal, and wood. Topics include representations of
the craftsman, colonial exhibitions and art education, craft as protest in
Gandhi’s homespun movement, the Japanese folk arts (mingei)
movement and Orientalism, embroidery and weaving as gendered craft, and craft
and tourism.
Cross-listed courses:
Course: |
CLAS 238 Houses of the Gods: Ancient Greek Sacred Space |
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Professor: |
Ranjani Atur |
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CRN: |
90477 |
Schedule: |
Tue Thurs 12:10 PM - 1:30
PM Hegeman 204 |
Distributional Area: |
AA Analysis of Art |
Class cap: |
22 |
Credits: |
4 |
Cross-listed: Architecture,
Art History and Visual Culture, Religion
Course: |
PHIL 234 Philosophy, Art, and the Culture of Democracy |
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Professor: |
Norton Batkin |
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CRN: |
90035 |
Schedule: |
Tue Thurs
2:00 PM - 3:20 PM Olin
303 |
Distributional Area: |
MBV Meaning, Being, Value |
Class cap |
12 |
Credits: |
4 |
Cross-listed: Art History; Human Rights
Course: |
REL 316 Visual Religion: Vision, Icon, and Temple |
||
Professor: |
Richard Davis |
||
CRN: |
90050 |
Schedule: |
Wed 2:00 PM - 4:20
PM Olin 307 |
Distributional Area: |
MBV Meaning, Being, Value |
Class cap |
15 |
Credits: |
4 |
Cross-listed: Art History
Course: |
RUS 225 Russian Art of the Avant-Garde |
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Professor: |
Oleg Minin |
||
CRN: |
90227 |
Schedule: |
Mon Wed 3:50 PM - 5:10
PM Olin 102 |
Distributional Area: |
FL Foreign Languages and Lit |
Class cap: |
20 |
Credits: |
4 |
Cross-listed: Art History