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ARTH 102 M
W F 10:30-11:20
ACTS OF
GENIUS: THE ARTS OF HUMANKIND – ADAMS
THE
RENAISSANCE TO THE PRESENT
Works of art such as The Mona Lisa, Michelangelo’s David, A Noble Scholar Under a
Willow, The Joy of Life, and a dismembered
shark—artists such as Rembrandt, Van Gogh, Ma Lin, Mary Cassatt and Andy
Warhol. The class will survey world art,
from the Renaissance to the present, in a broad cultural and historical
context, including the art of
India
and
Asia. Requirements: short weekly
questionnaires, a midterm and a final exam. Required Text: Marilyn Stokstad, Art History.
ARTH 203 T
TH 10:00-11:15
THE ARTS OF
ASIA CUNNINGHAM
THE EAST ASIAN CONTINENT
AND
JAPAN
:
HISTORIC WAVES OF CULTURAL
TRANSMISSION
Japan
and
Korea
are two of the most dynamic economic and cultural centers of the contemporary
world. In both places extraordinary innovation, especially in technology and
design, coexists with attachment to tradition and the preservation of the
cultural heritage.
Through Samurai movies etc., Japanese traditional culture is well known in the
west, and Japanese painting and ceramics have inspired western artists and
molded western art since the nineteenth century. Korean art is less familiar.
This course will offer an introduction
to the art of both
Japan
and
Korea
.
An important theme will be the relationship between the island nation of
Japan
and the
Korean peninsula, not least in the transmission of Buddhism. We will of course
study the impact of
China
on Japanese culture. This is well recognized in the West, but in fact
Korea
's
contributions to the Japanese cultural heritage have been more important. Pots,
paintings, and the architecture and decoration of Buddhist shrines are but some
of the surviving cultural emblems shared by
Korea
and
Japan
,
and they will provide the focus of this class. Requirements: 4 class
quizzes; weekly reading assignments, with discussion and reporting assignments;
midterm and final exams
ARTH 284 M
W 9:00-10:15
HISTORY OF
PHOTOGRAPHY DEAN
This course is designed to introduce students to the
history of photography as well as the social contexts in which the medium
evolved. Students will learn about the
photography from its antecedents in the Camera Obscura,
to the early technical processes and uses and aesthetic debates, to more
contemporary issues. You will have the
opportunity to compare early images with more contemporary work through field
trips. The course will be divided into 4
sections: (1) Antecedents and early
processes (2) Aesthetic Debates, Scientific and Documentary Uses; Photography
for the Masses (3) Photography as Art; the Rise of Photojournalism (4) Globalization
and New Possibilities for Photography
Requirements: Three short
papers (3-5 pages) and one longer paper (10-12 pages)
Required
Texts: Jean-claude Lemagny and Andre Rouilee, eds.,
1987 A History of Photography,
New York:
Cambridge
Press
T. J. Demos ed. 2006 Vitamin Ph: new Perspectives in Photography,
New York: Phaidon Press.
ARTH 293 W
5:45-8:15
A WORLD ART HISTORY CARRIER
Traditionally art historians have focused on the history of European
art. But recently there
has been great interest in art of other cultures. Is a history of world art
possible? And if so, what form might it take? This course explores that
question. We read Richard Wollheim’s aesthetic
focused on European art. And then we discuss James Elkins, Stories of Art,
which attempts to imagine a history of world art. We then pursue our
investigation by reading recent accounts of Islamic art (Oleg Grabar on Islamic Art, Indian art (Partha Mitter, Indian Art), and Chinese art (Craig Clunas, Art in
China
).
This class requires a good deal of reading. It does not presuppose any
prior knowledge of art
history or aesthetics.
Three papers, two short ones and one long one will be required. There is
no final exam.
ARTH 340/440 M
2:00-5:00
ISSUES IN NON-WESTERN ART PEFFER
AFRICA AND CINEMA
What are
the images of
Africa as portrayed in films?
How has cinema been a critical site of the struggle for representation, both
aesthetic and political, for Africans? This seminar will examine film,
video, and installation art about Africa and from Africa, from classic
Hollywood stereotypes of primitives and witchdoctors to
contemporary postcolonial critiques of civil society and the injustices of
Western hegemony. Each week we will view films and discuss theoretical
literatures on topics such as "Third Cinema", the role of cinema as
oral history, the status of the "document" and ethnographic film, and
the writings of directors and artists about
Africa
and film. We will be equally attentive to the particulars of film form, film
history, and the politics of moving pictures. We will consider Africa and film
generally, and will also consider the special cases of Djibril Mambety and Ousmane Sembene in
Senegal
,
the activist cinema of Jean Rouch, and the problems
of race and art in South African film. We will also look at film production in
North Africa, and it's presentation of a dialogue with, or alternative to, European modernist film.
ARTH 367/467 T
TH 10:00-11:15
17th & 18th CENTURY FRENCH
ART SCALLEN
Louis XIV, the "Sun King," and his palace at
Versailles; the paintings
of Watteau and Poussin; Rococo decorative arts, women
patrons and painters. These are some of
the topics we will consider as we survey the arts of painting and printmaking,
sculpture, decorative arts and architecture in
France
from 1600 to 1789.
Lectures and discussions will focus on the social and political uses of art,
stylistic developments, and patronage. Requirements for 367: midterm and
final examinations, short critiques of articles, one research paper and one
class presentation. 467: same basic requirements as 367; graduate students will also write
additional critiques, lead a class discussion, and write a longer research
paper. Texts: Anthony Blunt and
Richard Beresford, Art and Architecture in France, 1500-1700 (Yale
University Press Pelican History of Art) 5th rev ed., 1999, paperback:
ISBN: 0300077483 and Michael Levey, Painting and
Sculpture in France: 1700-1789 (Yale University Press Pelican History of
Art), 1995, paperback: ISBN: 0300064942.
ARTH 350/450 T
TH 1:15-2:30
ISSUES IN MEDIEVAL ART BURROUGHS
GOTHIC
EUROPE
This course surveys western
European art and architecture of the Gothic period, from the mid 12th century
to the late 14th century. Focusing mainly on
France
,
England
,
Germany
, and
Spain
the course will explore the
development of architecture, sculpture and stained glass in the major building
projects of the period – mostly cathedrals. We will study the interlocking interest in daring construction and in
striking aesthetic effects, often with some overriding symbolic purpose related
to the message of the Church but sometimes also connected to more specific
agendas and concerns. Apart from a diminishing area of Muslim control in
Spain
and
Jewish and “pagan” communities here and there, we will be dealing with a
culture that was almost entirely “Christian,” though also torn by internal
struggles against various “heretical” communities and movements. The dream of conquest in the “
Holy Land” was maintained, largely through a serious of
expensive failures; meanwhile the sophisticated and sensual Arab culture
exerted a powerful attraction on westerners, even if they usually denied it.
Prerequisites: No formal prerequisites. ARTH
101 is recommended as are introductory courses in History, Sociology, Medieval
Literature, etc. Some knowledge of
French or any other major European language would be useful
Textbooks: Coldstream, Nicola. Medieval
Architecture.
Oxford:
Oxford
University
Press, 2002
Wilson, Christopher. The Gothic Cathedral: The Architecture of
the Great Church, 1130-1530.
New York,
NY: Thames and
Hudson,
1990
Requirements:
Undergraduates: weekly readings will be set. A separate notebook for the course will
be used for class notes as well as readings. There will be a mid term and a
cumulative final. The term paper will
consist of an imagined visitor’s report on a particular place at a particular
time; you will need to choose a persona and figure out what he or she might see
and what s/he might make of it.
Graduate students: there will be a research paper (a block of time
toward the end of the semester will be set aside for a mini-seminar) and
regular presentations of specific topics and/or sites alternating with lectures. Depending on enrollment, I will hold a few
workshop sessions just for graduate students as work on the papers gets under
way.
ARTH 392/492 M
W 12:30-1:45
ISSUES IN 20TH/21ST CENTURY ART
ADAMS
AMERICAN ART OF THE 1930s
This class will focus on American art of the 1930s
with particular attention to two projects the professor is working on, one a
biography of Grant Wood, the other a study of Thomas Hart Benton’s relationship
with his most famous student, Jackson Pollock. Course requirements: a research paper and seminar report and occasional
short writing assignments.
ARTH 395 AS
ARRANGED
INTERNSHIP HELMREICH
This course is designated for students
seeking professional experience in art history. It focuses on the museum
experience (registration, exhibition, interpretation, and administration)
although students may also elect to conduct internships in museum-related
environments such as art conservation. Students are encouraged to have gained
significant experience in art history coursework before embarking on an internship.
Students must identify an internship and supervisor as well as a campus
internship supervisor the semester before enrolling in the internship.
ARTH 396 W
2:00-5:00
CAPSTONE – MAJORS SEMINAR LANDAU
This course qualifies as an Approved SAGES
Capstone. The topic for this semester centers on how to organize an
exhibition. The theme will be "
Cleveland in Art of the 1930s." We
will work directly with a collection of original WPA prints created here during
the '30s and now owned by Kelvin Smith Library's Special Collections
division. We will examine, as well, other original materials including
Margaret Bourke-White photographs shot in this city during the
depression. This hands-on class will meet at Kelvin Smith with trips to
other venues including the Western Reserve Historical Society, as well as to
locations around town where WPA-era art is still extant. We will study
techniques for researching original objects and the principles of curating a thematically-designed show. As a group,
students will prepare a virtual catalogue explicating the works chosen for
"exhibition."
Readings will include
texts concerning the interconnection of depression-era social issues, politics
and art. This course will help hone professional-level research skills.
Peer and faculty oversight of written and oral presentations will take place.
All junior and senior Art History majors and
minors who have not taken the Undergraduate Majors seminar must enroll in this course in Spring 2008. Permit required for sophomores or for non-Art
History majors who wish to use this as their SAGES capstone.
ARTH 398 AS
ARRANGED
INDEPENDENT STUDY IN ART
HISTORY STAFF
Individual research and reports on special
topics. Consent of
Professor.
ARTH 399 AS
ARRANGED
HONORS THESIS STAFF
Consent of Department Chair. List name of supervising
Professor.
ARTH 489 AS
ARRANGED
MA QUALIFYING PAPER STAFF
Graduating Art History (ARH) Master=s students only.
ARTH 490 W
3:00-6:00
MUSEUM STUDIES HELMREICH
This course examines the idea of the art museum in
both its historical and contemporary manifestations. The art museum is a rich
topic; we will focus on three themes:
1) The History of the Art Museum, its Institutional
Framework and Display Practices. Through selected readings, we will consider
how notions of art museums, including practices of collecting and display,
changed over time and in different historical contexts; and how modes of
display influence our interpretations of works of art.
2) The Components of a Museum. We will examine, through discussions with museum
professionals in the area as well as selected readings, the anatomy of the
museum as both an institution and a career track. With regard to the latter, we
will develop an understanding of the different professions that contribute to
the function of a museum and gain practical knowledge that can be applied and
developed through internships and future employment.
3) Museological Practice. Through interviews and discussions with
museum professionals in the area as well as selected readings, we will consider
some of the key issues and ethical debates facing the museum professions today.
The main course project, in addition to a series of
short essays, will be to develop an exhibition.
ARTH 491 A & B AS
ARRANGED
VISUAL ARTS AND MUSEUMS: INTERNSHIP HELMREICH
Consent of supervising Professor. Prerequisite: ARTH 490
ARTH 494 AS
ARRANGED
DIRECTED
READINGS
IN ART HISTORY
Consent of the Instructor is required for all
Directed
Readings:
SEC. A NON-WESTERN
ART Staff
SEC. B ANCIENT ART Staff
SEC. C MEDIEVAL Burroughs
SEC. C MEDIEVAL Olszewski
SEC. D RENAISSANCE/BAROQUE ART Olszewski
SEC. D RENAISSANCE/BAROQUE ART Scallen
SEC.
E AMERICAN ART
Adams
SEC. F MODERN
ART Carrier
Helmreich
Landau
ARTH 551 M
2:00-5:00
SEMINAR IN RENAISSANCE ART OLSZEWSKI
ART TREATISES AND ART
THEORY IN
EARLY MODERN
ITALY
This seminar will examine
writings on art in
Italy
from the end of the late Gothic period to the early Baroque, with emphasis on
the practical application of art theory to painting, sculpture, and
architecture. The scope of the seminar will include technical treatises,
workshop manuals, dialogues on art, artists’ biographies, architectural
treatises, theoretical writings, cultural texts and autobiographies, ancient
literary models, and the place of draftsmanship to span theory and practice.
Textbook:
Blunt, A., Artistic Theory in
Italy
1450-1600,
Oxford
University
Press, 1968 (orig. 1940).
Preliminary
Reading:
Lee, R., “Ut pictura poesis:” The Humanistic
Theory of Painting,
New York:
Norton, 1967.
Italian Art 1500-1600, ed. by R. Klein and H. Zerner,
Englewood,
NJ: Prentice-Hall, 1966.
ARTH 552 T
4:30-7:30
SEMINAR IN BAROQUE ART BURROUGHS
EUROPEAN CLASSICISM: THE
LURE OF THE
IDEAL AND OF ITS SUBVERSION
This
seminar will explore the history of European Classicism in the light of key
texts, artistic achievements, and occasionally theoretical agendas or
debates. The major emphasis will be on
the Italian Renaissance and the French and English late Baroque and
Enlightenment. Emphasis will be on
mastering and mapping an important body of scholarly literature, understanding
distinct currents of classical or at least classicizing art and/or
architecture, and reviewing the history of western post-medieval art from the
standpoint of aesthetic and at times ideological debates and differences, and
their repercussions.
ARTH 576 T
1:15-4:15
SEMINAR IN MODERN ART LANDAU
ARTISTIC PARTNERSHIPS IN
THE 20TH CENTURY
This seminar will
investigate the dynamics of artistic partnering and collaboration in the 20th
century, ranging from the well-known example of Picasso and Braque to later
artistic friendships in art including Jasper Johns/Robert Rauschenberg, Philip Guston/Reuben Kadish and Jackson
Pollock/Herbert Matter. Husband and wife relationships and the problematic
"significant other dynamic" at work in such power couples as Alfred
Stieglitz/Georgia O'Keeffe, Diego Rivera/Frida Kahlo,
Eva Hesse/Tom Doyle and Jackson Pollock/Lee Krasner
will also be explored. Each student will examine in depth one of these, or
another such partnering enterprise (Sonia and Robert Delaunay, Gilbert and
George, etc.) in order to discern its implications for modernist and/or
postmodern artistic achievement .
Readings will include chapters from Joachim Pissarro, Cezanne/Pissarro,
Johns Rauschenberg: Comparative Studies on Intersubjectivity in Modern Art; Anne M. Wagner, Three Artists (Three Women): Modernism
and the Art of Hesse, Krasner and O'Keeffe; and
Whitney Chadwick & Isabelle de Courtivron, Significant
Others: Creativity and Intimate Partnership, as well as catalogue essays
and articles from a variety of sources. Bibliographic critique will be
emphasized as well as comparative research techniques and original conclusions
ARTH 601 AS
ARRANGED
RESEARCH IN ART HISTORY STAFF
List name of supervising Professor.
ARTH 610 AS
ARRANGED
CLEVELAND
MUSEUM
OF
ART INTERNSHIP
ADAMS
Open to doctoral candidates in the Museum Studies
Program only.
ARTH 701 AS
ARRANGED
DISSERTATION
PH.D.
List name of supervising Professor.
ARTH 703 AS
ARRANGED
DISSERTATION FELLOWSHIP
Advancement to PhD candidacy required. Permission of department chair and research
adviser required. List name of supervising Professor
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