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ARTH
101 M
W F
10:30-11:20
ART
HISTORY I: PYRAMIDS TO PAGODAS SCALLEN
crn 30832, 30804, 86966, 30855, 31207, 30861
Cave paintings, Egyptian
pyramids, the Colosseum, Byzantine mosaics, Chinese
scroll paintings, Hindu temples, Mayan sculptures, Chartres
Cathedral. ARTH 101 is a broad-ranging course –– geographically and
chronologically –– which highlights the major artistic monuments created
throughout the world from the Paleolithic era up to the start of the fifteenth
century. Students will learn how to look at, discuss, and write about works of
art, considering such issues as how historical and cultural contexts shaper the
meaning, appearance, and function of art, and how artistic concepts and styles
develop and change over time and in different world regions. In addition
to two weekly lectures once a week discussion sessions will provide time to
review concepts and prepare for examinations and paper writing.
Requirements: Two short papers, two in-class tests, a final examination and
participation in discussions and any assignments in the small group sessions.Required
texts: Marilyn Stokstad, Art History, Revised
Volume I (w/CD-ROM),2/E (revised second edition), Prentice Hall, 2005.
ISBN: ISBN: 0-13-145528-1; Sylvan Barnet, A Short Guide to Writing about Art,
8/E (eighth edition), Pearson Longman, 2005. ISBN: 0-321-29248-0
ARTH
104 T
TH 10:00-11:15
INTRODUCTION
TO ASIAN ART CUNNINGHAM
This course offers an overview of the world’s oldest
cultural traditions, and among today’s most vibrant artistic environments: Asian. Comprising the vast global regions of
India
,
Central Sia,
Southeast Asia,
China
,
Korea
and
Japan
,
we will begin twith the Neolithis,
and end in 2001
Seoul—or
Shanghai. Clay, architecture, gardens, glass, calligraphy and sculpture represent
some of the media to be considered through time, as well as themes focusing on
Buddhism and the nature of representational art.
Requirements: Weekly
readings will be assigned from an assortment of books and articles selected by
the instructor and placed on reserve at Kevin Smith Library. There will be 4 quizzes (50% of grade), a
midterm (25% of grade) and a final exam (25% of grade).
ARTH
280 T
TH 2:45-4:00
MODERN
ART AND MODERN SCIENCE: TECHNOLOGY STAFF
AND
THE BODY IN MODERN AND CONTEMPORARY ART
crn 15357
This course will examine
apocalyptic and utopian visions of the human body in art, as mediated through
technology. For background, we will consider mechanized visions of the
human form in art between the wars, including the Dada movement and Fritz
Lang's film Metropolis. More recently, artists have employed
robotics technologies and even plastic surgery to transform the body. The
fantasy of the "cyborg" has been a
prevalent theme in performance and web-based art since the 1990s. We will
look broadly at imagined and real transformations of the body through
technology, always grounding examples in their social historical context. Requirements: midterm and final exams;
one ten-page research paper.
Reading: TBA
ARTH
290 T TH
1:15-2:30
INTRODUCTION
TO THE ART OF SUB-SAHARAN
AFRICA PETRIDIS
crn 10224
In this course we
will explore the diverse forms and multiple contexts of the visual arts of
sub-Saharan
Africa. Attention will be focused
on the sculpture of different peoples of West and
Central
Africa. Aside from surveying the most important contemporary
art-producing cultures, we will also discuss ancient arts in terracotta and
metal of
Nigeria
,
Mali
and
Chad
,
and rock art of
Southern Africa. The course
will consist of lectures, critical readings, questions and discussions. Requirements: There will be a mid-term
exam and a final exam as well as two short research papers. Text: In addition to five chosen
journal articles and book chapters, the course will rely on the introductory
textbook: A History of Art in Africa by Monica Blackmun VISONÀ et al. (
New York: Harry N.
Abrams, 2001). Chapters from this book will be assigned as required reading per
week.
ARTH 303/403 T
TH 2:45-4:00
HISTORY OF FAR EASTERN
ART: CUNNINGHAM
URBAN FANTASIES OF
MODERN
JAPAN
-
THE “FLOATING WORLD” OF
JAPANESE WOODBLOCK PRINTS
crn 05310/05332
Edo (modern
Tokyo)
was a bustling metropolis of some one million inhabitants in the 18th century. It was also the locus of
dynamic social and political shifts in a culture traditionally known for its
conservatism. Yet beginning in the 17th
century wealthy commoners sought out respite from the government's eyes in the
entertainment districts northeast of the city, as well in the city's stylish
theatre life. These two subjects comprise two of the most popular subjects of
"ukiyo-e," the Japanese word now familiar
to westerners for describing the fascinating realms of life and intriguing
compositional designs that characterize Japanese woodblock prints, books, and
paintings. Their mesmerizing visuality propelled the
appreciation of Japanese art among 19th and twentieth century western artists
and collectors alike, as no other medium in Asian art has done. This class will
introduce the subjects, social settings and visual evolution of "Floating
World" imagery. It will also
incorporate readings in contemporary literature as well as make references to
the European and American artists influenced by their contact with ukiyo-e.
Requirements:
Half of the classes will take place actually viewing prints at the Cleveland
Museum of Art. Weekly reading
assignments will be given. Reserves will
be established at both Kelvin Smith Library and the Cleveland Museum of Art Ingalls Library, which is the more significant resource for
this subject.
4 short(3-5 pages) papers, midterm and final exam.
ARTH
328/428 M
2:00-05:00
GREEK
SCULPTURE NEILS
crn 10231/10277
This
course will deal with the development of bronze and marble sculpture in ancient
Greece
from its beginnings in the seventh century B.C. to the end of the Hellenistic
period in the first century B.C. Both
free-standing and architectural sculpture will be studied as well as major
artists like Myron, Pheidias, Praxiteles and Lysippos. Special
attention will be given to the emergence of the classical style in
Athens in the mid-fifth
century B.C. Class meetings will consist
of illustrated lectures and discussion groups. There will be a midterm, paper/report, and final exam. Text: Andrew Stewart, Greek Sculpture (
Yale
University Press).
ARTH
350/450 F
2:00-4:30
ISSUES
IN MEDIEVAL ART: PAINTING IN STAFF
THIRTEENTH
AND FOURTEENTH CENTURY
SIENA
crn 15366/15379
This
course introduces painting during the period in which the small Tuscan town of
Siena became one of
Italy
’s foremost artistic
centers. It also aims to provide a more
general introduction to themes in late medieval and early Renaissance art. Study will focus on paintings
associated with Guido da Siena, Duccio, Simone Martini, Pietro and Ambrogio
Lorenzetti. The works connected with
these artists raise not only traditional questions of attribution, style, and
iconography, but also fundamental issues including the ritualistic and
political functions of painting; the role of patrons and commissioners;
workshop practice; artistic techniques; the development of narrative painting
and altarpiece design; art in the service of the church and state. Relationships between Sienese paintings and those produced in other Italian artistic centers such as Assisi
and Florence, as well as northern Europe and Byzantium, will also be
considered, as will other Sienese arts including
sculpture, manuscript illumination, goldsmith’s work, and textiles.
Requirements: midterm and final
examinations, one oral presentation on an assigned topic, two papers on
assigned topics, two short in class visual quizzes, and participation in class
discussions. Texts: weekly reading assignments will be given and discussed in
class. Please purchase T. Hyman, Early Sienese Painting: The Art of a
City
Republic 1278-1477 (
London, 2003), D. Norman, Painting in Late Medieval and
Renaissance Siena (
New Haven and
London, 2003), and J. White, Art and Architecture in
Italy
1250-1400 (New Haven, 1966).
ARTH
353/453 MWF
11:30-12:20
SIXTEENTH
CENTURY ITALIAN ART OLSZEWSKI
crn 10245/10286
A
specialized study of the visual arts in
Italy
from 1500-1600 with emphasis
on major masters, artistic programs, conditions of patronage and conceptual
issues. Stylistic categories will be
discussed including the High Renaissance, Mannerism and the new seriousness in
art after the Council of Trent. The
artistic careers of Michelangelo, Leonardo, Raphael, Titian, Correggio,
Parmigianino, Rosso, Pontormo,
Cellini and Giovanni da Bologna, among others, will
be examined. Texts: Anon, Bronzino,
Riverside,
1996; L. Murray, Michelangelo, Thames
& Hudson, 1984; F. Hart & D. wilkins, History of
Italian Renaissance Art, Prentice Hall, 2006. Requirements: examination every five weeks, term paper
and two critical reviews on assigned topics. Lecture exams: 15% of fine grade each, final exam: 35% of fine grade,
and paper assignments: 35% of final grade.
ARTH
360/460 M
W 12:30-1:45
THE
RENAISSANCE IN
NORTHERN EUROPE SCALLEN
ca,
1380-1570
crn 10259/10290
The visual arts of the
fifteenth and sixteenth centuries participated in the widespread social and
political changes in northern Europe in what is today
Belgium
, The Netherlands,
Germany
, and
France
. In this course
we will examine both the work of pioneering individual artists, such as Jan van
Eyck, Hieronymus Bosch, Albrecht Dürer and Pieter Bruegel,
and larger themes such as patronage and the rise of the art market, the
invention and dissemination of prints, the development of new subjects in art
(landscapes, scenes of daily life) and the use of art for political propaganda
and religious devotion.Requirements for 360: Midterm
and final examinations, two critiques of articles read for class
discussion, a research paper of 8-12 pages, oral presentations on the
research project, participation in class discussions. Requirements
for 460: Same as for 362, with a longer (ca 15-20 page) research paper and
three critiques of assigned readings. Graduate students will also
lead one class discussion. Text to purchase: Jeffrey Chipps Smith, The Northern Renaissance, Phaidon,
2004, ISBN 0714838675. The other course readings will consists of
articles, book chapters, and exhibition catalogues that will be placed on
reserve at the CMA and Kelvin Smith libraries.
ARTH 382/482 T
TH 10:00-11:15
VISIONS OF UTOPIA: 20TH CENTURY EUROPEAN ART HELMREICH
crn 10262/ 10306
This
course examines European art from the turn of the last century to World War
two. It considers art movements such as Futurism, Cubism, Dadaism, Purism, Die
Stijl, Expressionism, and Surrealism that sought to remake the world. Art and
its makers will be contextualized in terms of social, political, and economic
change as well as new developments in literature, philosophy and the sciences.
The first half of the semester will provide an overview of these different
movements and the second half of the course will focus on the exhibition at the
Cleveland Museum of Art, Barcelona &
Modernity: Picasso, Gaudi, Miro, Dali, that opens 15 October. Students will have an opportunity to study works of
art first hand and to learn directly from this landmark exhibition of Spanish
art. As course texts, we will utilize the exhibition catalogue as well as a
selection of books on European art c. 1900-1939.
ARTH
382: Course
assignments will range from museum-based exercises, such as writing an object
label, to thematic essays and examinations on such questions as the nature of
the avant-garde.
ARTH
482: In addition to
gaining familiarity with the various forms of avant-garde expression in the
period c. 1900-1939; the graduate section of this course will focus on the
nature of the avant-garde and will engage with theoretical readings on this
topic by such authors as Peter Bürger, Hal Foster,
Rosalind Krauss, and Renato Poggioli.
Students will be responsible for completing a variety of writing assignments
designed to gain mastery of these fields of knowledge as well as leading at
least one undergraduate class in the exhibition developed in consultation with
the course instructor.
ARTH 392/492 T
TH 4:30-5:45
ISSUES IN 20TH/21ST CENTURY ART: STAFF
THE MUSEUM AS MEDIUM:
INSTITUTIONAL CRITIQUE SINCE 1970
crn 15382/15398
Art that is directly
engaged with the politics of exhibitions has emerged as a significant mode of
global artistic production over the last several decades. We will briefly
examine the roots of institutional critique in Dada, nouveau réalisme, and Fluxus before
considering the diverse politics of international practitioners from 1970s
through the 1990s including Hans Haacke, Fred Wilson,
Louise Lawler, Michael Asher, Kryzstof Wodiczko, Marina Abramoviæ, Felix
Gonzalez-Torres, Renée Green, the Guerrilla Girls, and Andrea Fraser.
Finally, the course will consider the recent emergence of many artists'
collectives such as "The Wrong Gallery" and the Bernadette
Corporation in which artists appropriate the role of the institution. We
will question the status of institutional critique today, considering the
example of the 2006 Whitney Biennial in which institutional critique functioned
as an institutional (curatorial) strategy. Requirements for 392: midterm
and final exams plus ten-page research paper. Requirements for 492:
additional theoretical readings will be assigned; twenty-page research paper,
plus classroom presentation. Reading:
Texts include Douglas Crimp, On the Museum's Ruins; Miwon Kwan, One Place after Another: Site-Specific Art and Locational Identity. However, most readings will be available in a course pack.
ARTH 398 AS
ARRANGED
INDEPENDENT STUDY IN ART
HISTORY STAFF
crn V0309
Individual
research reports on special topics. Consent
of supervision Professo and a permit is required.
ARTH 399 AS
ARRANGED
HONORS THESIS STAFF
crn 24544
Consent of
supervising Professor and a permit is required.
ARTH 491 A & B AS
ARRANGED
VISUAL ARTS AND MUSEUMS:
INTERNSHIP
A: crn 25204 B: crn 25315
Consent of
supervising Professor. Prerequisite: ARTH 490
ARTH 494 (A-F) AS
ARRANGED
DIRECTED
READINGS
Consent of
supervising Professor and a permit is required for all Directed
Readings:
A:
Non-Western Art crn V4941 PETRIDIS
B:
Ancient Art crn V36335 NEILS
C:
Medieval Art crn V3636 OLSZEWSKI
D:
Renaissance and crn V3637 SCALLENOROLSZEWSKI
Baroque Art
E:
American Art crn V3638 STAFF
F:
Modern Art crn V2059 LANDAU OR HELMREICH
ARTH 495 W 3:00-5:30
METHODOLOGY OF ART HISTORY OLSZEWSKI
crn 86532
An introduction to the library as a research tool -
basic source books; object research; methods and theories of art historical
research.
Requirements: frequent written exercises, oral and written
reports on research of an art object, final examination.
Textbooks:
Butler, Postmodernism; Eagleton, Literary Theory: Introduction; Jones, Art Information; Pointon, History of Art; Focillon, The Life of Forms in Art
ARTH
584 T
1:15-4:15
TOPICS IN THE HISTORY OF PHOTOGRAPHY: PHOTOGRAPHY HELMREICH
NINETEENTH-CENTURY
EUROPE
crn 10319
This
seminar will examine the development of photography as a medium for artistic
expression in nineteenth-century
Europe. It
will investigate the relationship between photography and other art forms,
namely painting and printmaking. The course will focus upon those photographers
and photographs pertinent to this topic found in the collections of the
Cleveland Museum of Art. The course will be co-taught with the curator of
photography at the Cleveland Museum of Art, Tom Hinson, and will provide
students with experience in aspects of museum practice. The key outcomes of the
course are a research paper on an object in the Cleveland Museum of Art
collection, a research presentation based on this object, an essay
demonstrating mastery of the secondary literature on a specific topic, and a
presentation on a selected assigned reading. The assigned readings will be
drawing from a wide variety of sources (primary and secondary) that will be on
reserve at Ingalls Library at the Cleveland Museum of
Art and Kelvin Smith Library.
ARTH
576 TH
1:15-4:15
SEMINAR
IN CONTEMPORARY ART: PICASSO LANDAU
crn 10322
In
conjunction with the Cleveland Museum of Art’s exhibition
Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí opening
October 15, 2006, this seminar will investigate what is inarguably the
pre-eminent theme in Pablo Picasso’s oeuvre: the female nude. We will take advantage of guest lecturers and
public programs in conjunction with the
Barcelona
show to provide a more in-depth look at Picasso’s formative years; however, the
seminar will cover later development of this subject as well. Psychoanalytic, feminist, semiotic and other
theoretical approaches will be applied to analysis of key works including
Cleveland’s La Vie and the
Museum of
Modern Art’s Demoiselles d’Avignon.
Competing critical approaches, examining topics such as primitivism, anarchism,
power and spectacle, eros and thanatos,
will be compared. We will determine how
the Catalán milieu prepared Picasso to develop his
“eye for the ladies” and where this led in his subsequent career.
Required texts will include Christopher
Green, ed., Picasso’s Les Demoiselles d’Avignon (2001) as well as an extensive list of recent
articles and catalogue essays. It is recommended that class participants read
John Richardson’s A Life of Picasso (v. 1-2) over the summer in preparation for this class.
Limit: 15 students
ARTH
601 AS
ARRANGED
RESEARCH
IN ART HISTORY
crn V0310
List
name of supervising Professor.
ARTH
610 AS
ARRANGED
CLEVELAND
MUSEUM OF
ART
INTERNSHIP
crn 31446
Open
to doctoral candidate in the Museum Studies Program only.
ARTH
701 AS
ARRANGED
DISSERTATION
PhD
crn V0312
List
name of supervising Professor.
ARTH
703 AS
ARRANGED
DISSERTATION
FELLOWSHIP
crn V1705
Advancement
to PhD candidacy required. Permission of
Department Chair and Research Advisor required.
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