15290 |
ARTH
102 Perspectives in World Art II |
Susan Aberth |
. T . Th . |
3:10pm-4:30pm |
OLIN 102 |
AART/DIFF |
This course,
the second half of the general art survey, explores the making of visual arts worldwide.
Beginning in the fourteenth century and ending in the twentieth, 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. 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:
first and second year students are especially encouraged to enroll. (Art
History requirement: ARTH 101 or 102)
Class size: 25
15295 |
ARTH
113 History of Photography |
Laurie Dahlberg |
. T . Th . |
8:30am-9:50am |
OLIN 102 |
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 the real
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 2000s 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.
(Art History requirement: Modern)Class size: 22
15292 |
ARTH
145 Byzantine Art & Architecture |
Katherine Boivin |
M . W . . |
3:10pm-4:30pm |
OLIN 102 |
AART |
Cross-listed: Environmental &
Urban Studies, Medieval Studies This course serves as an introduction to
the art and architecture of the Byzantine Empire. Beginning with the reign of Constantine the
Great in 324 and ending with the fall of Constantinople to the Ottomans in
1453, the course will look at art produced in the eastern Mediterranean region
under successive emperors. In addition
to architecture, the course will look at mosaics, textiles, painting, city
planning, manuscripts, and a range of other media. Course requirements include two short papers
as well as quizzes and exams. (Art History requirement: Ancient/Medieval, European) Class size: 25
15291 |
ARTH
160 Survey of Latin american Art |
Susan Aberth |
M . W . . |
11:50am-1:10pm |
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. (Art History requirement: Americas) Class
size: 25
15294 |
ARTH
219 Art of Northern Renaissance: Van Eyck to Bruegel |
Teju Cole |
M . W . . |
11:50am-1:10pm |
RKC 102 |
AART |
This course
explores the visual culture of the Netherlands and Germany in the fifteenth and
sixteenth centuries. This was a period of important formal changes in art, from
the invention of oil painting to the rise of vernacular art. It was also a time
of great upheaval in European society, encompassing the discovery of the new
world, the Renaissance, the Reformation, the birth of modern science, and the
beginning of the counter-Reformation. We will study the works of Van Eyck,
Dürer, Bosch, and Bruegel, among others, as they expressed the political and
quotidian effects of these changes. Our approach will be chronological, but the
subjects addressed will reflect the wide range of concerns present in the
paintings, prints, tapestries, drawings, and sculpture of major European
artists working north of the Alps during this period. Subjects touched on will
include patronage, iconoclasm, distribution networks, religion, cross-currents
with Italy, gender roles, and the invention and/or revival of local traditions.
Course requirements: class attendance, a visit to the Met, two short response
papers, mid-term and finals exams. (Art History requirement: 15th through 18th C.,
Europe) Class size: 22
15298 |
ARTH
236 16th Century Italian Art, Architecture &
URBANISM |
Diana DePardo-Minsky |
. T . Th . |
4:40pm-6:00pm |
OLIN 102 |
AART |
Cross-listed: Environmental & Urban Studies, Italian
Studies Proceeding chronologically and emphasizing
Florence, Rome, and Venice, this lecture class situates formal and iconographic
innovations in painting, sculpture, architecture, and urbanism within the
politics and theology of the cinquecento Renaissance
and the Counter Reformation. The course
explores how a deepening knowledge of antiquity (the invention of
archaeology!), an ongoing development of art/architectural theory, and the
continued study of the natural world crafted a visual vocabulary able to
address the existential challenge posed by the Protestant north. Beginning with Leonardo da Vinci, the class
analyzes the contributions of Michelangelo, Raphael, Correggio, Pontormo,
Parmigianino, Giorgione, Titian, Veronese, and Palladio. In addition to secondary scholarship,
readings incorporate primary sources by Leonardo, Raphael, Michelangelo,
Palladio, and Vasari. Requirements include a mid-term, a final, a critical essay,
and a research paper on a work in the Metropolitan Museum of Art. Open to all students; fills both the Art
History 15th century to 18th century requirement and the
European Art requirement. Class size: 22.
Completion of this class
qualifies students for consideration for Roma
in Situ, taught in Rome during January of odd-numbered years and completed
at Bard in the Spring
semester. (Art History requirement: 15th through 18th C.,
European) Class size: 22
15296 |
ARTH
237 Travel & Exploration in the age of empire |
Laurie Dahlberg |
. T . Th . |
1:30pm-2:50pm |
FISHER ANNEX |
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.
(Art History
requirement: Modern, European) Class size: 22
15304 |
ARTH
281 GOVERNING
THE WORLD: AN Architectural
History |
Olga Touloumi |
. . W . . . . . . F |
1:30pm-2:50pm 1:30pm-2:50pm |
RKC 103 OLIN 203 |
AART |
Cross-listed: Environmental &
Urban Studies; Experimental Humanities The 1990s found a wider public attentive to the processes
of globalization. The term itself acquired a life of its own, making it into
journals and newspapers. What appears to be a very recent phenomenon, however,
constitutes only a chapter in a longer history of world organization. The
course will utilize architecture both as an anchor and lens to study the
history of world organization. Slave ships, plantation houses, embassies,
assembly halls, banks, detention camps, corporate headquarters, seed bank
vaults, as well as atlases, encyclopedias, and communication technologies, will
provide us with focal points in an effort to historicize the emergence of a
“global space” and decipher its architectural constructions. Readings will
include historians and scholars such as Immanuel Kant, Karl Marx, Rosa
Luxemburg, Woodrow Wilson, Hannah Arendt, Cornelios Castoriadis, Frantz Fanon,
Edward Said, Gayatri Chakravorty Spivak, Homi Bhabha, Ulrich Beck, Saskia
Sassen, Mark Mazower; as well as architectural projects and texts by Paul
Otlet, Le Corbusier, Etienne-Louis Boullée, Buckminster Fuller, among others.
Course requirements include response papers and a longer final research paper. (Art History requirement: Modern) Class size: 20
15303 |
ARTH
285 History of Art Criticism |
Alex Kitnick |
. T . Th . |
3:10pm-4:30pm |
FISHER ANNEX |
AART |
This course
will explore art criticism as an historical phenomenon. Beginning with the
writings of Diderot and Baudelaire, we will examine the emergence of art
criticism as a response to the public forum of the Salon and, subsequently, its
relationship to other sites of presentation. We will also consider the position
of art criticism in relation to film and cultural criticism, as well as models
of the poet-critic and the artist-critic. Towards the end of the course we will
look at the historical moment in which criticism became increasingly embroiled
with theory. As the status of the public has changed in recent years we will
ask how the role of criticism has transformed as well. Throughout the course we
will ask the question, What can art criticism do?
Assignments: Students will be required to submit a weekly response paper.
Students will also write two reviews: one of an exhibition at the Center for
Curatorial Studies, and one of an exhibition in New York. A final research
paper (8-10 pages) will be due at the end of the semester. Class size: 18
15301 |
ARTH
287 Experiments in Art & Technology |
Alex Kitnick |
. T . Th . |
11:50am-1:10pm |
AVERY 117 |
AART |
This course
will explore various imbrications between art and technology from the 1960s to
the present day. Students will examine a wide range of writings,
artworks, performances, and videos. The idea of the course is to show
that both artists and theorists are involved in a common project of responding
to new technologies. Questions of distribution, audience, and
globalization will be of key concern. In the last weeks, we will consider
how these ideas have evolved in the age of the Internet. Open to all
students. (Art History requirement: Modern) Class size: 22
15479 |
ARTH
289 RIGHTS AND THE IMAGE |
Susan Merriam |
M . W . . |
1:30pm-2:50pm |
OLIN 102 |
AART |
Cross-listed: Human Rights (core
course); Experimental Humanities This course examines the relationship
between visual culture and human rights. It considers a wide range of visual
media (photography, painting, sculpture), as well as aspects of visuality
(surveillance, profiling). We will use case studies ranging in time from the
early modern period (practices in which the body was marked to measure
criminality, for example), to the present day. Within this framework, we will
study how aspects of visual culture have been used to advocate for human
rights, as well as how images and visual regimes have been used to suppress
human rights. An important part of the course will be to consider the role
played by reception in shaping a discourse around human rights, visuality, and
images. Subjects to be addressed include: the nature of evidence; documentation
and witness; censorship; iconoclasm; surveillance; profiling; advocacy images;
signs on the body; visibility and invisibility. Class size: 22
15300 |
ARTH
292 Contemporary Chinese Art |
Patricia Karetzky |
. . W . . |
1:30pm-3:50pm |
OLINLC 115 |
AART |
Cross-Listed: Asian Studies This
course begins with the emergence of a modernist aesthetic in the 19th
century (at the end of China’s last dynasty) and covers the formation of a
nationalist modern movement, the political art that served the government under
the Communist regime, and the impact of the opening of China to the West. The primary focus is the various ways in
which artists respond to the challenges of contemporary life and culture. (Art History requirement: Modern, Asian) Class size: 22
15299 |
ARTH
312 Roma in Situ |
Diana DePardo-Minsky |
M . . . . |
3:10pm-5:30pm |
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 bycombiningtwo 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 seventy hours of lectures at archaeological
sites, in museums, and in churches.
During the spring semester, the class analyzes the art seen in Rome and
discusses the secondary scholarship.
Requirements include two presentations (one on texts, one on art), two
exams, and a research paper term paper.
The prerequisite for the class is successful completion of eitherRoman Art and Architecture (ARTH 210), Roman Urbanism (ARTH 227), or 16th-century
Italian Renaissance Art,Architecture,
and Urbanism (ArtH
236). The class is limited to sixteen students;
priority is based on academic relevance and intellectual maturity. The cost of the Rome component is circa $1700 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. (Art History requirement: European) Class size: 15
15321 |
THTR
317 20th Century Avant Garde Performance |
Miriam Felton-Dansky |
M . . . . |
1:30pm-3:50pm |
FISHER CONFERENCE |
AART |
See Theater
section for description.
15306 |
ARTH
348 Asian american Artists Seminar |
Tom Wolf |
. T . . . |
10:10am- 12:30pm |
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 those of the United States raise
fascinating questions concerning biography, style, subject matter, and
politics. This class will examine artists active throughout the Twentieth
Century and up to the present. One important figure will be the sculptor
Isamu Noguchi, and we will visit the Isamu Noguchi Museum in Long Island,
Queens, as well as looking at more recent art by Asian Americans in New York
museums and studios. Along with studying
visual artists we will read several classics of Asian American literature. Students will give short presentations about
historic and recent artists. Key figures will include Yasuo Kuniyoshi,
Yun Gee, Yayoi Kusama, Yoko Ono, Nam June Paik, Ai Weiwei, Patty Chang, Nikki
Lee and Mariko Mori. (Art History requirement:
Modern, Asian) Class size: 15
15322 |
ARTH / THTR
353 Performing Queer |
Jorge Cortinas |
. . W . . |
1:30pm-4:30pm |
FISHER CONFERENCE |
AART/DIFF |
See Theater
section for description.
15297 |
ARTH
359 Manet to Matisse |
Laurie Dahlberg |
. . W . . |
10:10am- 12:30pm |
FISHER ANNEX |
AART |
A social
history of French 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, the gendering of public spaces, and the prominent place of women
in representations of modern life. The course addresses vanguard movements such
as impressionism and postimpressionism and the styles of individual artists
associated with them, as well as the work of academic painters. Open to upper
college students with priority being given to those who have previously taken
an art history course. (Art History requirement: Modern, European) Class size:
15
15305 |
ARTH
361 THE Spatial Turn & its Vicissitudes |
Olga Touloumi |
. . . . F |
10:10am- 12:30pm |
FISHER ANNEX |
AART |
Cross-listed:
Environmental & Urban Studies Often associated with the rise of the digital humanities, the
spatial turn has transformed “space” into a new powerful tool for knowledge
production. Territories, landscapes, and fields, have become the keywords in
our discussions on economy, politics, and culture. This course interrogates
this “spatial turn” from the perspective of architecture and design theory.
What is “space”? How did new technologies of seeing and hearing inform these
theories? Which were the architectures that thinkers were looking at? The goal
will be to conduct a media archaeology of the spatial turn in the humanities and to bring in
creative dialogue architecture, media, and theoretical speculation. Through the
study of spaces such as panoramas, theaters, laboratories, and media
technologies such as the stereoscope, telephone, and radio, students will
investigate debates on territoriality, biopolitics, and mapping. Readings will
include Martin Heidegger, Theodor Adorno, Walter Benjamin, Guy Debord, Roland
Barthes, Henri Lefebvre, Michel Foucault, Gilles Deleuze, Jonathan Crary,
Jürgen Habermas, Marshall McLuhan, Hannah Arendt, Susan Sontag, Rosalind
Krauss, Dolores Hayden, Anne Friedberg. Course requirements include response papers and a
longer final research paper. Class size: 15
15293 |
ARTH
385 Theories & Methods of Art History |
Katherine Boivin |
M . . . . |
10:10am- 12:30pm |
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. (Art History requirement: Required) Class size: 15
See also:
15392 |
HR
331 SPACES
OF RESILIENCE: Social
Justice in Urban Territories |
Jeanne van Heeswijk |
M . . . . |
2:00pm-4:20pm |
OLINLC 115 |
AART |
Cross-listed: Art History, Studio Art,
Environmental & Urban Studies, Theater Global
urbanization and the resulting current economic crisis, shifting geopolitical boundaries
and socio-cultural demographics have generated numerous local zones of
conflict. This course will look for strategies of resilience, focusing on
spatial resistance and the interplay of art and activism in the public
sphere. It will explore how artists and political activists use arts-based
methodologies such as performative acts of civil disobedience and creative
forms of protest to work for social justice in urban territories, to challenge
and transform these systems’ underlying rules. It will address the complex
relationship of art and activism and the forms in which artists and activists
engage with human rights struggles to seek what concepts the human rights
context may provide in learning from these actions, interventions and
strategies. (Jeanne van Heeswijk is the Keith Haring Fellow in Art and Activism
for 2014-15). Class size: 18
15393 |
HR
344 Urban Curating: MODES OF ACUPUNCTURE |
Jeanne van Heeswijk |
. T . . . |
10:10am- 12:30pm |
CCS |
AART |
Cross-listed: Art History, Studio Art,
Environmental & Urban Studies, Theater In a time of
accelerated globalization, over-regulation, and rapid changes in our daily
environments, populist images prevail and people can feel increasingly
de-invested and excluded. How might people transform their own 'territory' to
an environment where they can create, produce, disseminate, distribute and have
access to their own cultural expressions? This course will look at how artistic
and curatorial practices can re-engage and bear witness to the veiled vectors
of power that shape civic space, reorganize systems of interaction, and
challenge existing political, social and economic frameworks, addressing how
areas of tension in contemporary society are made visible through these
interventions. Through reading, workshops, and discussion, students will
explore how alliances between politics and art can be imagined and tested.
(Jeanne van Heeswijk is the Keith Haring Fellow in Art and Activism for
2014-15). Class size: 9