Course offerings, spring 2014
Please check the Online COD to confirm the following information. Updates can occur at any time and the information here is to be used as a guideline.
Undergraduate students can also register for arah 5000 level courses.
Art and FilmHigginbotham > TTR 12:30 - 1:45 FHL 208
Through the 20th and 21st centuries, the relationship between art and film (moving pictures) has been met with equal parts excitement, intrigue, suspicion, and hostility. But why? This wide-ranging introductory seminar examines film as an aesthetic resource, a technological inevitability, and a cultural competitor to art over the last 100 years. Individual units focus on specific art trends (realism, the avant-garde, post-modernism, etc.) in order to develop art-historical tools of analysis to deepen our understanding of the production and reception of film in modern art. Major themes include the role of modernity and technology, nationalism as a form of artistic identity, "art" film criticism, and the importance of gender, race, and sexuality to the intersection of art and film.
Etruscan and Roman ArtDobbins > MW 3:30 - 4:45 CAM 160
The development of art in Italy from the time of the Etruscans to Constantine the Great, focusing on the monuments of imperial Rome and on the architecture, sculpture, paintings, and mosaics in Italy and throughout the empire. Also considered are Pompeii, Ostia, major cities of the Roman provinces, such as Ephesos, Lepcis Magna, Palmyra), and villas, houses, and their decoration. Archaeological methodology is introduced and employed to confront chronological and interpretive problems that are raised by the instructor's research.
The Age of Rubens and Rembrandt: Baroque Art in the NetherlandsGoedde > MW 5:00 - 6:15 CAM 160
A survey of the art of the Dutch and Flemish Golden Age, including such artists as Rubens, Rembrandt, van Dyck, Hals and Vermeer. The course examines innovations in style and new subjects like landscape, still life and daily-life genre in relation to major historical developments, including the revolt of the Netherlands, the rise of the Dutch Republic, and the Counter-Reformation.
Impressionism and Post ImpressionismBetzer> TTH 9:30 - 10:45 CAM 160
This class will focus upon the origins, significance, and afterlives of Impressionist painting in terms of the social and cultural settings of late nineteenth-century France. Focusing on the work of artists Claude Monet, Edgar Degas, Berthe Morisot, Mary Cassatt, Gustave Caillebotte, Paul Gauguin, Vincent Van Gogh, Paul Cézanne, George Seurat and others, we will examine the development of an urban Parisian avant-garde; impressionist themes of modern life; the development of new art exhibition strategies; issues of gender in/and representation; and the rise of landscape painting.
Modern Art, 1900-1945Schoenthal > MW 2:00 - 3:15 CAM 160
This lecture course will chart key moments in the history of modern art, from the late nineteenth century to the late twentieth century, with a special emphasis on the historical and social dimensions of art practice. Necessarily selective, the narrative developed throughout the course will stress those episodes in the history of art that have proven critical to understanding the story of modern and contemporary art as it developed in the western world. The class lectures will provide a synthetic view of the 20th century, including critical assessment of individual works and broader movements, changes in the production and reception of art, and reasons for the shift from Paris to New York as the home of the "avant-garde." Thematic subtexts will also include avant-gardism as an ideology, the perception and identity of the artist, dialogues and tensions between "high" art and mass culture, and the success and failure of Modernism/s.
Modern South Asian Architecture (20346-001)Johnson-Roehr > MW 3:30 - 4:45 Monroe 118
This course explores the built environment and cultural landscapes of South Asia (India, Bangladesh, Pakistan, Sri Lanka) from 1800 to the present day. Primary sources—planning proposals, architectural criticism, case studies—and built works will be used to investigate questions of identity, modernity, tropicalism, industrialization, urbanism, nationalism, and postcolonialism.
Intro to World Art (20898-200)Summers> TTH 12:30 - 1:45 CAM 160
You will see beautiful and interesting works of art from many times and places, but the course is not a survey, rather it is meant to provide you with ways of addressing, and thinking about, the art of many cultures. The ultimate purpose of the course is to provide an art historical basis for intercultural conversation. We will treat such subjects as materials and facture, places, kingship and empire, images, the great religions, and the formation of the modern world. Texts are D. Summers, REAL SPACES: WORLD ART HISTORY AND THE RISE OF WESTERN MODERNISM; and H. Honour, WORLD ART.
Arts of the Buddhist World-India to JapanEhnbom > TTR 2:00 - 3:15 CAM 160
The class is an overview of sculpture, architecture, and painting made in the service of Buddhism in Asia.
Greek Vase PaintingSmith > TTH 11:00 - 12:15 CAM 160
A survey of the major styles, techniques, and painters of Greek vases produced in the Archaic and Classical periods (c. 700-350 BC). The class emphasizes themes of myth and daily life, the relationship of vases to other ancient arts, the legacy of form and decoration in the arts of later periods, such as 18th century England, and comparisons with other cultures, such as the Native American southwest. Prerequisite: any course in Art History, Anthropology, Classics or History.
Art and Science in the Middle AgesRamirez-Weaver > TTH 3:30 - 4:45 CAM 160
During the medieval period, the Christian church exerted a hegemonic influence over all aspects of western medieval and Byzantine life. When Charlemagne was honored in 800 as the Emperor of the Romans at Saint-Peter's church in Rome, the political implications of a union between church and government were clear. Power and knowledge relied upon the approval and support of churchmen. Rather than demonstrate a division between science and the spiritual culture of the middle ages, this unification in Christendom revealed an interpenetration of science and religion that found expression in exceptional works of art. Recent research has investigated the relationship between sacred and secular aspects of life in the Middle Ages. In this thematic survey of the kinds of artworks, which express a relationship between scientific and spiritual themes during the medieval period, we will examine objects of fine distinction, illuminated manuscripts, and building sites. Although the primary focus of this course is upon the development of western medieval Christian intellectual traditions, the myriad contributions of Arabic, Islamic, and Jewish scholars to creative and historic confrontations between science and art are everywhere celebrated. Investigated topics include medieval alchemy, astronomy, astrology, bestiaries, the construction and use of Books of Hours, calendars, celestial globes, diagrams, encyclopedias, herbals, map making in the Middle Ages, medicine, monstrous races, wandering wombs, and zodiacal synagogue floor mosaics.
Women Photographers and Feminist AestheticsRaymond > TTH 2:00 - 3:15 New Cabell 183
This course explores the question of whether there might be something called a ‘feminist aesthetics.' We look at the work of a handful of women photographers, and read criticism about photography, to leverage our exploration into feminist aesthetics. The course works within the frame of feminist discourse. It presents the work of a small number of photographers whose work we will interpret in conjunction with readings in criticism and theory.
Oceanic Art and Architecture (20354-002)Love > TTH 2:00 - 3:15 Gibson 342
This class will serve as an introduction to the art and architecture of Pacific Cultures using objects in the collection of the Fralin Museum of Art and the Kluge-Ruhe Museum. Issues of authenticity, temporatlity, and colonialism will be addressed as well as issues of museum display of non-western material.
Monuments of Japanese Art (20355-003)Wong > TTH 11:00 - 12:15 Gibson 342
The course focuses on key monuments and artistic traditions that have played a central role in Japanese art and society. Topics range from art and architecture of Shinto and Buddhism of the classical period, late Heian court art, Zen paintings and garden architecture, and also decorative paintings and woodblock prints of the later period.
Reconstructing Medieval Hajj (20574-004)Reilly > TTH 2:00 - 3:15 CAM 135
Our seminar will embark on a journey around the Mediterranean with Ibn Jubayr, a twelfth century Spanish Muslim who recorded his experiences during his pilgrimage to Mecca and Medina in remarkably lively and detailed first hand account. From his shipwreck on the coast of Sicily to his performance of the rituals associated with his visit to Mecca, Ibn Jubayr provides an unusual perspective on the built environment, culture and people he encounters throughout his travels. We will read the translation of his travels as a class with background lectures provided on the visual culture of the sites he visits, such as Palermo, Damascus, Alexandria and Mecca. Integrated with our discussion of the twelfth century travels of Ibn Jubayr will be an introduction to digital humanities tools such as Neatline and Google Earth which we will use to analyze the history of this critical region and its built environment.
Chinese ArtWong > TTH 3:30 - 4:45 Monroe 116
The course is a survey of the major epochs of Chinese art from pre-historic times to the modern period. The course intends to familiarize students with the important artistic traditions developed in China: ceramics, bronzes, funerary art and ritual, Buddhist art, painting, and garden architecture. It seeks to understand artistic form in relation to technology, political and religious beliefs, and social and historical contexts, with focus on the role of the state or individuals as patrons of the arts. It also introduces the major philosophic and religious traditions-Confucianism, Daoism, and Buddhism-that have shaped cultural and aesthetic ideals, Chinese art theories, and the writings of leading scholars.
This course fulfills the Non-Western Perspectives requirement.
Art History: Theory and PracticeSmith > M 3:30 - 6:00 FHL 208
This course introduces art history majors to the basic tools and methods of art historical research, and to the theoretical and historical questions of art historical interpretation. The course will survey a number of current approaches to the explanation and interpretation of works of art, and briefly address the history of art history. Students in this class must also enroll for the library lab. Prerequisite: Major or minor in art history.
Minoans and Mycenaeans (20357-001)Dakouri-Hild > W 3:30 - 6:00 FHL 206
The seminar tackles a variety of questions relevant to Greek prehistory, such as the Greekness of Greek prehistory, the politics of the past involving major sites, the interrelationship of myth and antiquity, the interpretation of architecture and artifacts, symbolic meaning, performance and gender/body politics in Aegean prehistory.
The Life and Art of Pompeii (20357-002)Dobbins > W 10:00 - 12:30 FHL 208
An exploration of the life, art, (especially wall painting from the domestic realm), architecture, urban development, religion, economy, and daily life of the city destroyed in the cataclysmic eruption of Mt. Vesuvius in A.D. 79. Themes include patronage (including the political implications of patronage), social interaction within the city, meaning of artistic programs, legibility of the urban environment, and influence from Rome. Special attention is given to the Pompeii Forum Project and its research in the forum at Pompeii. Weekly reading and writing, seminar paper; final report.
Spaces of Science (20359-003)Johnson-Roehr > M 1:00 - 3:30 FHL 208
This seminar is based on a critical review of selected texts, primary sources, and buildings that have helped define the relationship between architecture and science since the late seventeenth century. As a group, we will explore the definitions of science and technology as they have changed in response to the needs and work of scientists and architects. We will engage with critical analyses of space in an attempt to answer specific questions: What is the relationship between architecture and science? What constitutes a laboratory? How has this typology changed over time? We will also engage with the larger concepts of "modernity," "progress," and "development" as they relate to science and architecture.
Painting in the Ancient World (20360-004)TBA
W 3:30 - 6:00 FHL 208
Paris and Prague-Twilight of the Middle Ages (15721-005)Ramirez-Weaver > W 1:00 - 3:30 FHL 208
Late medieval Paris and Prague were united historically and genealogically by ties between the royal families of each city and artistically by the international Gothic style of the year 1400. In this course, we will survey the transformative era of the 14th and early 15th centuries, examining what the artistic record informs us about patronage, artistic styles, everyday life, science, and courtly culture in the late medieval period.
Beginning with a brief examination of the Capetian court and Louis IX's Sainte-Chapelle (ca. 1248), the seminar explores artistic evidence for the rise of the Valois and the social pressures or transformations which gave rise to masterful manuscripts, ascendant architecture, and intellectual innovation during their dynasty. A scholarly review of the patronage of Charles V and Jean, Duke of Berry, inter alia, provides an important introduction to key artists of the late medieval period, and focuses class discussion upon major themes of significance for the later middle ages, including courtly culture, lay literacy, the expansion of vernacular literatures, burgher domesticity, university life, mysticism and astrology, and late medieval developments in the liberal arts and theology.
Rather than focus exclusively upon the French courts linked to Valois princes, however, this course radically interrogates and reviews the relevance of outlying centers of medieval influence like Prague. The courtly culture of Prague under Charles IV of France's nephew, the Holy Roman Emperor Charles IV of Bohemia, and his prodigal progeny, Wenceslas IV, experienced an efflorescence around the year 1400. The spiritual, intellectual, ideological, and aesthetic aspects of the Beautiful Style will be evaluated, underscoring the pivotal and central place of Prague in the development of European artistic traditions, as the sun set on the fact and fiction, framing conceptions of the medieval world.
Art of the Beat Generation (15722-006)Schoenthal > T 1:00 - 3:30 FHL 206
Although the so-called "Beat Generation" lasted only a short period of time - from the late 1940s through the early 1960s - its effects were wide-spread and immediate. Originally a literary movement, the Beat writers' emphasis on spontaneity, individual freedom, spiritual liberation and subcultural "hipness" was shared by many visual artists of the period. As members of a new oppositional counterculture, writers and artists alike developed innovative aesthetic practices in response to American postwar society. This course will examine alternative art practices of the 1950s from the position of the Beat subculture, situating the work in its (art)historical context. We will discuss the problematic descriptor "beat" as it applied, or didn't apply, to the visual arts. There will also be time devoted to reading and discussing the literature of the Beats.