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  • ARTH 203: Chicana/o Film and Video

    3.00 Credits
    Williams College

    Hollywood cinema has long been fascinated with the border between the United States and Mexico. This course will examine representations of the U.S.-Mexico border, Mexican Americans, and Chicana/os in both Hollywood film and independent media. We will consider how positions on nationalism, race, gender, identity, migration, and history are represented and negotiated through film. We will begin by analyzing Hollywood "border" and gang films before approaching Chicana/o-produced features, independent narratives, and experimental work. This course will explore issues of film and ideology, genre and representation, nationalist resistance and feminist critiques, queer theory and the performative aspects of identity.
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  • ARTH 214: The Landscape of Allusion: Gardens and Landscape Design to c. 1800

    3.00 Credits
    Williams College

    This lecture course investigates how humans have shaped and interpreted nature through a study of gardens, architecture, and painting from antiquity to the nineteenth century, with a focus on Europe and the early modern period. It traces the persistence of the classical tradition in European landscape design and also addresses to a lesser extent the Islamic world and America. Approaching landscape and the garden as expressive media, we examine the social and intellectual contexts of their design and themes such as the sacralization of landscape, its use as an instrument of power, and the invention of landscape as an idea. Prerequisite:    ARTH 101-102 or permission of instructor
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  • ARTH 223: Comic Lives: Graphic Novels & Dangerous Histories of the African Diaspora

    3.00 Credits
    Williams College

    This course explores how the graphic novel has been an effective, provocative and at times controversial medium for representing racialized histories. Drawing on graphic novels such as Jeremy Love's Bayou and Ho Che Anderson's King: A Comic Biography, this course illustrates and critiques multiple ways the graphic novel commingles word and image to create more sensorial access into ethnic traumas, challenges and interventions in critical moments of resistance throughout history. Students will practice analyzing graphic novels and comic strips, with the help of critical essays, reviews and film; the chosen texts will center on Africana cultures, prompting students to consider how the graphic novel may act as a useful alternate history for marginalized peoples. During the course, students will keep a journal with images, themes and reflections and will use Comic Life software to create their own graphic short stories based on historical and/or autobiographical narratives. This course is part of the Gaudino Danger Initiative.
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  • ARTH 229: From Analog to Digital: Historical Photography in Africa

    3.00 Credits
    Williams College

    As a technology and practice, photography evolved alongside Europe's colonization of Africa. Nevertheless, the image and its archiving were critical facets of the continent's histories of liberation and post-independence. This survey course introduces students to the historical development of photography in Africa and the historical usages of photographs in the late-nineteenth century to recent times. The course begins by considering the photography of the royal courts in North Africa and Christian missionaries in West Africa, before shifting to the role of photography in the making of independent African nations and their liberation struggles after World War II. The course concludes by considering the commoditization of African photography at international biennales and its function for single-party regimes that continue to rule across Sub-Saharan Africa. Key themes include photography's role in shaping historical knowledge and representation of Africa and its people, the appropriation of image making into African creative practices and daily life, the politics of exhibition and archiving, and the ethics of seeing war and social injustice. Students will cultivate their skills in visual analysis through historical contextualization and by frequently engaging with the photographic collections available at the WCMA and Clark Art Museum.
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  • ARTH 230: Materiality and Meaning

    3.00 Credits
    Williams College

    In this course we will study the things people make and use, from works of art to clothing, buildings, and tools. We will use anthropological theory to explore the social and communicative roles that objects play in human society and to explain how people use objects to communicate, rebel, exert power, or make sense of the world around them. We will begin by reconsidering the category "art" and by exploring the idea that visual practices are culturally constructed. Through reading ethnographic case studies, we will investigate how meaning and value are produced in different cultural contexts. In particular, we will focus on semiotic theories of value and on theories of exchange, building on Marcel Mauss's seminal work The Gift. In the second half of the course, we will attend to the role of material culture in capitalist societies by exploring the processes whereby things become commodities; by investigating the relationship between style, aesthetics, and class; and by tracing the interrelationships between design, advertising, and consumer society. Readings will include the work of Pierre Bourdieu, Dick Hebdige, Bronislaw Malinowski, Karl Marx, Annette Weiner, and others. Prerequisite:    Open to all students
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  • ARTH 232: The Visual Culture of Renaissance Rome

    3.00 Credits
    Williams College

    During the fifteenth and sixteenth centuries, the city of Rome saw itself transformed from a shrinking and neglected medieval town into a thriving center of artistic achievement. This lecture course focuses on the historical, geographic, and ideological forces behind this period of renovation and restoration forces that reworked the urban fabric of the city while shaping the character of the visual arts from Filarete and Fra Angelico to Bramante, Michelangelo, and Raphael. We will examine monuments such as Michelangelo's Sistine Chapel, then, not only as touchstones for the history of western art, but also as images capable of reflecting, and even constructing, a uniquely Roman sense of power, time, and historical destiny. Prerequisite:    Open to Art majors as well as non-majors
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  • ARTH 238: Greek Art and the Gods

    3.00 Credits
    Williams College

    In the Iliad, when the god Apollo is visualized, it is as a man, angry in his heart, coming down from the peaks of Olympos, bow and quiver on his shoulders, the arrows clanging as the god moves, "like the coming of night," to bring dogs, horses, and men to their deaths. By the end of the Classical period, one statue of the archer god depicted him as a boy teasing a lizard. In this course, we will examine the development of the images the Greek gods and goddesses, from their superhuman engagement in the heroic world of epic, to their sometimes sublime artistic presence, complex religious function, and transformation into metaphors in aesthetic and philosophical thought. The course will cover the basic stylistic, iconographical, narrative, and ritual aspects of the gods and goddesses in ancient Greek culture. The course will address in detail influential artistic monuments, literary forms, and social phenomena, including the sculptures of Olympia and the Parthenon; divine corporeality in poetry; the theology of mortal-immortal relations; the cultural functions of visual representations of gods, and the continued interest in the gods long after the end of antiquity. Readings assignments will include selections from Homer, Hesiod, Sappho, Aischylos, Euripides, Plato, Walter Burkert, Jean-Pierre Vernant, Nikolaus Himmelmann, Erika Simon, and Friedrich Nietzsche.
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  • ARTH 253: Art in the Age of the Revolution, 1760-1860

    3.00 Credits
    Williams College

    A social history beginning with art of the pre-Revolutionary period and ending with realism. Major topics include changing definitions of neoclassicism and romanticism, the impact of the revolutions of 1789, 1830, and 1848, the Napoleonic Empire, the shift from history painting to scenes of everyday life, landscape painting as an autonomous art form and attitudes toward race and sexuality. The course stresses French artists such as Greuze, Vigee-Lebrun, David, Ingres, Delacroix, Gericault, Corot, and Courbet, but also includes Goya, Constable, Turner, and Friedrich. Prerequisite:    ArtH 101-102 or permission of instructor
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  • ARTH 254: Manet to Matisse

    3.00 Credits
    Williams College

    A social history of French painting from 1860 to 1900, beginning with the origins of modernism in the work of Courbet and Manet. Among the topics to be discussed are the rebuilding of Paris under Napoleon III; changing attitudes toward city and country in Impressionist and Symbolist art; the impact of imperialism and international trade; the gendering of public spaces, and the prominent place of women in representations of modern life. The course addresses vanguard movements such as Impressionism and Post-Impressionism and the styles of individual artists associated with them, as well as the work of academic painters. Prerequisite:    ArtH 101-102
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  • ARTH 265: Pop Art

    3.00 Credits
    Williams College

    The use of commercial and mass media imagery in art became recognized as an international phenomenon in the early 1960s. Items such as comic strips, advertising, movie stills, television programs, soup cans, "superstars" and a variety of other accessible and commonplace objects inspired the subject matter, form and technique. This course will critically examine the history and legacy of Pop Art by focusing on its social and aesthetic contexts. An important component of the course involves developing skills in analyzing visual images, comparing them with other forms, and relating them to their historical context. Prerequisite:    ArtH 101-102
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