Department of Art History and Art

Department of Art History and Art Spring 2010 Courses

Spring 2010 - Art History Courses

The following courses in Art History will be offered by the faculty of the Case Western Reserve University/Cleveland Museum of Art Joint Program in Art History & Museum Studies. Courses at the 100, 200 and 300 levels are open to undergraduate students. For specific questions concerning a particular course please contact the professor.

ARTH 102
M W F 10:30-11:20 - ADAMS
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: Fred S. Kleiner, Gardners Art Through the Ages, A Global History, Thirteenth Edition, Thomson/Wadsworth, 2009.

ARTH 204
T TH 1:15-2:30 - GIUFFRIDA

This course provides an introduction to the arts of East Asia (China, Japan, and Korea) from the Bronze Age to the present. Students will gain an understanding of the visual arts (architecture, sculpture, painting, and decorative arts) as they relate to religious practices and ideas (Buddhism, Shinto, Daoism, and Confucianism) and to the historical, political, and social contexts of the region. Students learn the practices of visual analysis, including stylistic and iconographic analyses, and they are introduced to some of the current issues in the field of East Asian art history. Requirements: three exams (including the final), three quizzes, two short papers, participation in class discussions.

ARTH 260
T TH 10:00-11:15 - SCALLEN

The seventeenth and eighteenth centuries in western and central Europe were a time of great artistic innovation and creativity; they also represent a period of significant change and upheaval in European societies. As we look at the major monuments of architecture, painting, and sculpture, in addition to studying the development of new artistic styles, we will consider such issues as : how did the arts serve nation building and political symbolism? How were religious reforms reflected in works of art? What role did the rising middle class play as patrons of art? Where did open art markets develop and why? Among the artists studied will be: Caravaggio, Bernini, Rubens, Rembrandt, Vermeer, Poussin, Watteau, Hogarth. We will look at building projects in Rome, Paris, and Versailles. Format: course lectures and in-class discussion of readings. Readings will be posted online; there is no textbook for the course. Requirements: two 3-4 page papers, one brief class presentation, in-class mid-term examination, take-home final examination, and active participation in class discussions.

ARTH 270
M W 12:30-1:45 - ADAMS

This course is the first half of a two semester survey of American art. The lectures this semester cover American art over its first 30 centuries, from the first art objects created by Native Americans, 3000 years ago, to the creations of the early 20th century. This class will survey how American art has reflected broad changes in American society, as settlement expanded from the Eastern seaboard to embrace an entire continent, as living patterns changed from small villages to cities of a million or more people, and as economic production shifted from agriculture to heavy industry. The class will explore how art has expressed American values and American anxieties. While the emphasis will be on painting, the class will also include architecture, decorative arts, literature, music and film. Requirements: There will be weekly written assignments, a mid-term and a final exam. Textbook: Wayne Craven, American Art and Culture, McGraw-Hill.

ARTH 302/402
M W 12:30-1:45 - GIUFFRIDA

This course explores the visual culture of Buddhism in Asia from its origins in India to its transmission and transformation in China, Korea, Japan, Tibet, Nepal, and Southeast Asia. Our historically and culturally structured examination will trace major developments in Buddhist art and their relationship with belief, practice, and ritual. We will consider the ways that artistic traditions have adapted and evolved both within individual cultures and cross-culturally. The study of sculpture, architecture, and painting in their religious contexts will be our primary focus, but we will also consider the movement of Buddhist art from temples to sites of secular display in museums around the world and the religious and cultural issues that arise from these moves. Topics include: representations of the life of the historical Buddha; visual programs of temples; artistic representations of paradises and hells; sacred sites and architecture; imperial patronage of Buddhist art; the role of art in pilgrimage and ritual; and visual imagery associated with schools of Buddhism such as Pure Land, Chan, and Zen. Requirements: three exams (including the final), three quizzes, two short papers, participation in class discussions. Graduate students will write an additional paper and include a research component in the second regular paper.

ARTH 334/434
T TH 10:00-11:15 - NEILS

The two centuries of Greek art and architecture covered by this course were considered in antiquity as well as in later history to represent the apex of classical culture, and, as such, have had an immense impact on later Western art. The course examines Greek architecture, sculpture, painting, and the luxury crafts from the Persian invasions of Greece (ca. 500 B.C.) to the aftermath of Alexander the Great's conquest of Persia (ca. 300 B.C.). Particular attention will be paid to cultural, social and political contexts as well as key issues such as patronage, narrative, and gender.
Texts: Jeffrey Hurwit, The Acropolis in the Age of Pericles (Cambridge 2004) Jenifer Neils, British Museum Concise Introduction to Ancient Greece (London 2008) John Pedley, Greek Art and Archaeology, 4th ed. (2007) or newer edition if published.

ARTH 351/451
MWF 11:30-12:20 - OLSZEWSKI

Italian Gothic architecture, late Gothic developments in Pisa, Siena and Florence; sculpture of the Pisani; Italo-Byzantine painting; Cimabue and Giotto; Duccio, Simone Martini, and the Lorenzetti; painting in Florence and Siena after the Black Death; the International Style. Course requirements include two lecture examinations (15% of grade each) a final examination (35% of grade) and a term paper project (35% of grade). Texts: J. White, Art and Architecture in Italy, 1250-1400, Pelican. T. Hyman, Sienese Painting, Thames & Hudson.

ARTH 392/492
W 5:45-8:15 - CARRIER

This course presents the materials of a book-in-progress I am writing with Joachim Pissarro. We are interested in what happened to the initial (and partially lost, or misconstrued) promises uttered at the dawn of the modern era (the late 18th century) at the incipient development of the modern world of art and aesthetics - knowing that we, to a large degree, live off the legacy of this foundational moment. These early promises stemmed from an unprecedentedly wide democratic calling: art, taste, the enjoyment of beauty were suddenly conceived as pertaining to all, and stopped being seen as the carefully guarded preserve of the wise and wealthy.

This "democratic calling," which advocated art for the people took essentially two directions, complementary: one (political) opened up, literally, the gates of the princely palaces and availed to the public the discovery and contemplation of objects (e.g., Titian's Portrait of Francis I) that had been conceived, executed for the celebration and enjoyment of the monarchs, and their courts. The second direction (more philosophical) demonstrated that the contemplation of objects of beauty is not, necessarily, the result of some arduous or rigorous training; there is nothing esoteric about it.

Our abstract philosophical argument is systematically fleshed out with a very wide range of vivid examples. We will illustrate not only of such well known non-art world artists as Thomas Kinkade and Leroi Neiman, but a whole host of others: graffiti artists, street artists (some shown now in museums, others outside that world); artists making shadow paintings; community art projects; Michael Jackson imitators; and the ideas of some collectors who are interested in our project.

Our class might be titled Open Your Eyes for its thesis is that if we only look, we find art (most of it totally outside the art world) everywhere. The world is a bigger place than the art world knows. This book, which will interest art historians concerned with modernism and philosophers, thus is aimed at a wider audience. Our genealogy of contemporary art history offers a critically constructive perspective on the art museum and, indeed, on the entire history of modernist culture and its politics. Kant has always been much admired. But art history (and the art museum) developed in ways that are totally inconsistent with his account of aesthetic judgment. Why, if we are right, did art history and the art museum go so wrong? The whole of art history is in realm of illusion. But we all aim at it, for we demand universal assent, though we should know that we cannot get it. The paradox of all paradoxes: Modernism. Whereas one could have expected Modernism to celebrate the phenomenal ascension of the individual, and to rejoice in the advent of individualism, difference, singularity, in fact, what happened was the very opposite: the history of Modernism became consonant with the history of various dogmatic models (each one, of course, rejecting the next, or the previous one). In the end, the modernist art world is all about rules; classification; axiology, etc.

We are not relativists, for relativism only the other side of dogmatism. Judgments of beauty are not votes, nor can they be refuted by votes. If, instead, of wanting to be administrators, and 'taste managers,' curators/scholars/academics accepted to consider themselves, not so much as custodians of a particular truth, but as 'creators' themselves, this would radically change the ongoing situation. Curators/Scholars would no longer be 'in charge' of passing on a particular truth: the positivist truth of the unstoppable, fully determined History of artistic truth (that unfolds according to a teleological, and pre-determined model.) Instead, the curator (however knowledgeable s/he would be) could accept the challenge of taking a few liberties, and allow some creative moves to take place within the daily routine of her job activities. This is a creative endeavor.

Book assignment: Kant, Critique of the Power of Judgment (The Cambridge Edition of the Works of Immanuel Kant in Translation) (Paperback) by Immanuel Kant (Author), Paul Guyer (Translator), Eric Matthews (Translator), Cambridge University Press; 1 edition (December 3, 2001) ISBN-10: 0521348927. Many readings to be announced.

ARTH 395

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 - 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. 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 2010. Permit required for sophomores or for non-Art History majors who wish to use this as their SAGES capstone.

ARTH 398

Individual research and reports on special topics. Consent of Professor.

ARTH 399

Consent of Department Chair. List name of supervising Professor.

ARTH 489

Graduating Art History (ARH) Masters students only.

W 3:00-6:00 - STAFF

This course examines the idea of the art museum in both its historical and contemporary manifestations, focusing on the context of Western Europe and the United States. As a result of this course, students should be familiar with the following topics: the historic development of the museum, from its origins in collecting practices to its modern incarnation as an institution; the development and care of a collection, including acquisition, cataloguing, and conservation; the display and housing of a collection, including internal and external museum architecture; the study and interpretation of the collection/exhibition, considering diverse publics; the governance of the institution, including project management, finance, and administration. Through the study of these topics, the student should be familiar with the following concepts: the museum as a place for learning, research and scholarship and the museum as steward of cultural property and the attendant issues of ethics and the law. ARTH490B concentrates on the museum as an institution, including physical aspects, management and governance, and as a site of learning. The inter-connections between these broad fields and individual departments will be demonstrated and reinforced throughout the semester. Students who successfully complete ARTH490A and ARTH490B may be considered for admission into ARTH 491A, a supervised internship in an art museum or gallery situation.

Course Texts Recommended for Purchase (additional readings on reserve)
Cuno, James. Whose Muse? Art Museums and the Public Trust. Princeton: Princeton University Press, 2006.
McClellan, Andrew. The Art Museum from Boul┼Że to Bilbao. Berkeley: University of California Press, 2008.
Marstine, Janet, ed. New Museum Theory and Practice. Malden, Oxford, Carlton: Blackwell Publishing, 2006.

ARTH 491 A & B

Consent of supervising Professor. Prerequisite: ARTH 490A & B

ARTH 512
T 1:15-4:15 NEILS

In the absence of written texts that describe women's lives in antiquity, this new seminar will explore the imagery of women in several ancient Mediterranean contexts with an eye to ascertaining shared experiences as well as major cultural differences. The roles of women as wives, mothers, mourners, priestesses, workers, sex objects, slaves, and in some cases rulers, will be defined through a variety of media from humble utilitarian objects to official portraiture.

ARTH 551
TH 1:15-4:15 - SCALLEN

Two towns dominated the artistic world of Netherlandish art during the fifteenth and sixteenth centuries - Bruges and Antwerp. In the fifteenth century Bruges was a major commercial center and port, with many foreign bankers and merchants in residence. Its preeminence in the commercial and artistic worlds was surpassed in the sixteenth century by Antwerp, which became an even large mercantile, banking, and shipping center. In this seminar we will study the careers of artists based in these centers, the works they produced, the kinds of patrons who commissioned their art works or who bought them readymade in the newly developing open art market, the first in Europe. Painting, prints, and to some degree, sculptures will be examined, and the rise of new subjects (genre scenes, landscapes, and still lifes) explored. Finally, we will investigate the larger socio-economic and political factors that influenced the art worlds of Bruges and Antwerp. Some of the artists we will consider are Jan van Eyck, Petrus Christus, Hans Memling, Gerard David, Quentin Massys, Joachim Patinir, Joos van Cleve, Pieter Aertsen, and the printmaker Hieronymus Cock and his most famous designer, Pieter Bruegel. Prof. Larry Silver of the University of Pennsylvania will be delivering a lecture on March 3rd on a Netherlandish Renaissance topic; attendance at this lecture will be required for all in the seminar.

Requirements: The seminar meetings will focus on extensive discussion of readings done in common each week. Every seminar member is expected to participate in these discussions regularly as a seminar requirement. Two-person teams will also present the careers of some of the artists we will study. Finally, each participant will deliver an abbreviated version of their semester research project in class and provide an annotated bibliography for the other participants at that time. The research project will culminate in a 15-18 page research paper. No required textbooks; we will be reading articles, book chapters and exhibition catalogue essays weekly that will be placed on reserve at Ingalls Library. Whenever possible, these will also be scanned and posted to Blackboard.

ARTH 576 T 1:15-4:15 - LANDAU

As one art historian recently noted, the French expatriate artist Marcel Duchamp has been "the obsessive object (and subject) of desire for art and artists in the United States, particularly those challenging the hegemony of abstract expressionism." Considered the "Daddy of Dada" and "Grandpop of Pop," despite the fact that most of his works were produced before 1921, Duchamp's major strategies (including the use of ready-mades and alter egos that question the nature of originality; his employment and enjoyment of visual puns, irony, playfulness and chance; his focus on eroticism and the blurring of boundaries of sexual difference) have constituted a central set of prototypes for postmodern developments in American art beginning in the 1980s.

More than a century after his birth, Duchamp remains an enigma whose seminal role in the history of art is still being felt and debated by artists and critics alike. In this seminar we will first examine Duchamp's participation in New York Dada during the early years of the 20th century and then attempt to chart key aspects of his impact on a wide range of artists practicing from the 1960s to today. Some possible examples for the latter focus include Jasper Johns, Robert Rauschenberg, Claes Oldenburg, Andy Warhol, Robert Morris, Robert Mapplethorpe, Hannah Wilke, Vito Acconci, Yasumaso Morimura, Cindy Sherman and Joseph Cornell. Assignments will include: bibliographic critique, a group close reading and a theme paper presented orally. Limit of 15 students. Advanced undergraduates (juniors and seniors) may enroll in this seminar with instructor permission.

READINGS: Among other sources, we will read and analyze Wanda Corn's chapter on Duchamp in The Great American Thing: Modern Art and National Identity 1915-1935 (1999); essays in Rudolf E. Kuenzli and Francis M. Naumann, Marcel Duchamp: Artist of the Century (1996) and Martha Buskirk and Mignon Nixon, The Duchamp Effect: Essays Interviews, Round Table (1996); Dalia Judovitz, Unpacking Duchamp: Art in Transit (1995); and Amelia Jones, Postmodernism and the En-gendering of Marcel Duchamp (1994).

ARTH 601

List name of supervising Professor.

ARTH 610

Open to doctoral candidates in the Museum Studies Program only.

ARTH 701

List name of supervising Professor.