Spring 2008 - Art History Courses
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
ARTH 203 T TH 10:00-11:15
THE ARTS OF
THE EAST ASIAN CONTINENT
HISTORIC WAVES OF CULTURAL TRANSMISSION
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
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)
Texts: Jean-claude Lemagny and Andre Rouilee, eds.,
1987 A History of Photography,
T. J. Demos ed. 2006 Vitamin Ph: new Perspectives in Photography,
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
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
the images of
ARTH 367/467 T TH 10:00-11:15
17th & 18th CENTURY FRENCH ART SCALLEN
Louis XIV, the "Sun King," and his palace at
ARTH 350/450 T TH 1:15-2:30
ISSUES IN MEDIEVAL ART BURROUGHS
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
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
Wilson, Christopher. The Gothic Cathedral: The Architecture of
the Great Church, 1130-1530.
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
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
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 "
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
Consent of the Instructor is required for all
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
E AMERICAN ART
SEC. F MODERN ART Carrier
ARTH 551 M 2:00-5:00
SEMINAR IN RENAISSANCE ART OLSZEWSKI
ART TREATISES AND ART THEORY IN
This seminar will examine
writings on art in
Blunt, A., Artistic Theory in
Lee, R., “Ut pictura poesis:” The Humanistic
Theory of Painting,
Italian Art 1500-1600, ed. by R. Klein and H. Zerner,
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
Open to doctoral candidates in the Museum Studies Program only.
ARTH 701 AS ARRANGED
List name of supervising Professor.
ARTH 703 AS ARRANGED
Advancement to PhD candidacy required. Permission of department chair and research adviser required. List name of supervising Professor