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Course Criteria
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3.00 Credits
PQ: Enrollment in Paris study abroad program. The groundwork for abstract painting was laid between the early 1880s and the 1920s. This course explores relationships between this seemingly non-representational art and its broader artistic and cultural context, centered largely around Paris and its outskirts. Artists include Paul Cézanne, Robert and Sonia Delaunay, Wassily Kandinsky, Henri Matisse, Piet Mondrian, Pablo Picasso, and Sophie Taeuber-Arp. Visits to museums required. C. Mehring. Spring.
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3.00 Credits
This course examines the art and personality of the two artists who are often considered the culminating figures of the Italian Renaissance. We give some attention to understanding the Florentine artistic and social context out of which these two near-contemporary, but very different, individuals emerged. We then examine their careers in the context of the other major centers in which they worked, especially Rome and Milan. This course encompasses the whole artistic career of Leonardo (d. 1519), but it concentrates on the first half of Michelangelo's much longer career (e.g., juvenalia, Pieta, David, Sistine ceiling, Julius Tomb). C. Cohen. Winter.
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3.00 Credits
This is a core course that serves as an introduction to the history of art by concentrating on some fundamental issues in the history of photography and film. Our central theme concerns the way in which photographs and films have been understood and valued during the past 165 years. We focus on the work of photographers and theorists of photography and film, as well as on films by John Huston, Billy Wilder, and Roman Polanski. J. Snyder. Autumn, Spring.
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3.00 Credits
Through visits to museums, galleries, and experimental spaces in the greater Chicago area, this course introduces the close consideration of works of art created in our times. We discuss the application to these works of pertinent modes of critical and historical inquiry. Visit to sites required, including the Smart Museum, Fraction Workspace, Mess Hall, Hyde Park Art Center, Art Institute of Chicago, Museum of Contemporary Art, Museum of Contemporary Photography, and Gallery 400. D. English. Winter. The following courses do not meet the general education requirement in the dramatic, musical, and visual arts.
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3.00 Credits
This course focuses on various art forms (e.g., ritual jades and bronzes, tomb murals and sculptures, family temples and shrines) that were created between the third millennium BC and the second century AD for ancestral worship, the main religious tradition in China before the introduction of Buddhism. Central questions include how visual forms convey religious concepts and serve religious communications, and how artistic changes reflect trends in the ancestral cult. H. Wu. Spring.
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2.00 - 3.00 Credits
This course introduces Roman art: its place in the genesis of the general theoretical bibliography of art history, its particular and complex characteristics, and the range of its kinds of artifacts. We begin inductively, but then move to a history of the general theoretical overviews that have been offered for Roman art-overviews that have been influential in the broader historiography of art history as a discipline. Two- to three-hour class meetings are held the first five weeks of the quarter. Individual discussion sessions required. J. Elsner. Spring.
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3.00 Credits
PQ: Consent of instructor required; GNDR 10100-10200 recommended. This course examines contemporary theories of sexuality, culture, and society. We then situate these theories in global and historical perspectives. Topics and issues are explored through theoretical, ethnographic, popular, and film and video texts. R. Zorach. Winter.
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3.00 Credits
PQ: Prior knowledge of East Asian art required; knowledge of Chinese or Japanese recommended. This course aims to provide groundwork skills in conducting primary research in the study of Chinese painting history. We emphasize the study of early periods, especially the Song and Yuan Dynasties. We consider implications in the material investigation of medium (e.g., silk, paper, mounting, ink, color) in conjunction with relevant sinological tools. We discuss connoisseurship practices and issues of authenticity and provenance (i.e., identification and judging of the authenticity of seals and inscriptions). P. Foong. Autumn.
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3.00 Credits
Though they did not compose a "multi-cultural society" in the modern sense, the ruling elite and subjects of the vast Ottoman Empire came from a wide variety of regionally, ethnic, linguistic, and religious backgrounds. The dynamics of th e Empire ? internal cultural diversity-as well as of its external relations with contemporary courts in Iran, Italy, and elsewhere-were continuously negotiated and renegotiated in its art and architecture. This course examines classical Ottoman architecture, arts of the book, ceramics, and textiles, focusing particularly on the fifteenth and sixteenth centur ies. P. Berlekamp. Autu
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3.00 Credits
P. Berlekamp. Autumn.
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