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Course Criteria
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3.00 Credits
This thematic seminar will focus on subjects through which artists referred to their own profession and its products, e.g., self-portraits and other portraits of artists, legends about the origin of art, contemporary and historical artists in their studios, finished art on display. By analyzing specific examples we will track the major changes in the choice and interpretation of such subjects from the end of the Middle Ages to the present.
Prerequisite:
ArtH 101-102
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3.00 Credits
This seminar will explore the ways artworks and artists engage with urban space. We will examine the interactions (and tensions) between art and the public realm, considering issues such as public access, public representation, and, importantly, public space in relation to questions of democracy and dialogue. Throughout the semester we will analyze various debates on art and urban space through historical and theoretical writings and consider the issues of urban development (including, gentrification, privatization, and surveillance), cultural diversity, immigration, and globalization. While exploring the important role of street art in visual culture, we will also study institutions and organizations that support and promote public projects, particularly experimental and/or multimedia approaches.
Prerequisite:
ArtH 101-102
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3.00 Credits
The goal is to think about describing bodies from a variety of disciplinary approaches and genres of writing. Its focus is on living bodies, or bodies that were once alive, with an emphasis on bodies that move i.e., performing bodies--actors, dancers, singers--and what makes them unique. We will also consider objects associated with bodies, and the ways they are animated, including how they are animated when the person who had them dies. The course is meant for juniors, seniors, and graduate students who wish to analyze bodies from different disciplinary formations--art, theatre, literature, anthropology, philosophy--and who have a particular interest in writing. We will read scholarly writing, fiction, New Yorker profiles, as well as memoir/autobiography, and take each as a model through which to write about a person or an object redolent of a person. Possible readings: Roland Barthes on cultural theory and representation; Zine Magubane and Zadie Smith on othered bodies; Tamar Garb on portraiture; Elaine Scary on the body in pain; Joan Acocella, Hilton Als, Judith Thurman and other writers on the arts; Judith Butler and Peggy Phelan on the performative body; Joseph Roach, Diana Taylor, and Michael Taussig on the body, memory, and ritual; Marvin Carlson and Terry Castle on haunting; and Bill Brown on things. These will be supplemented by selected tapes of live performances as well as films.
Prerequisite:
ArtH 101-102, or permission of the instructor; a writing sample that conveys the kind of subject you might be interested in pursuing
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3.00 Credits
California has long been considered a land of "sunshine and noir," unique in the national and international imagination as a land of physical recreation and destruction, a land of opportunity and social unrest. In this course, we will study the visual arts and culture of California from the 1960s to the present. Although we will focus on southern California, particularly Los Angeles, we will also consider movements in San Diego and the San Francisco-Oakland Bay Area. The course will approach California pop, conceptual, funk, performance, installation, public, and media arts to pursue questions of influence and interpretation concerning the relations between space, place, identity, and style in the visual arts and popular culture. Alongside analyzing California's visual culture, we will examine the region's cultural geography through historical and theoretical readings. Particular attention will be given to the region's special relations to Hollywood, the automobile, beach-surf culture, and the great diversity that characterizes the state.
Prerequisite:
ArtH 101-102
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3.00 Credits
The Hellenistic period begins with Alexander the Great's extension of the borders of the Greek world from the central Mediterranean to the banks of the Indus River. Kingdoms replaced city-states as important centers of power. Increased trade and movement of individuals between Greece, Egypt and the Near and Middle East, encouraged a cross-cultural examination of religion, philosophy, literature and art. The new cosmopolitan attitude brought about not only a revolution in sculptural ideals and forms but in the approach towards art in general. Museums and libraries are established for the first time, and the concept of collecting art takes hold. We see a historical self-consciousness, and self-referential quality in sculpture as well as a new interest in theatricality and the diversity of human nature and experience. This course will explore Hellenistic sculpture through the close study of individual works of art of the fourth through first centuries B.C.E., as well as the broader philosophical, religious, literary and political forces that encouraged its innovations. Reading material includes ancient literature in translation, recent surveys of Hellenistic sculpture and recent critical essays.
Prerequisite:
ArtH 101-102
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3.00 Credits
Over a span of four decades Sol LeWitt conceived nearly 1300 wall drawings, of which a representative survey of ninety-two can be seen at MassMoCA in an exhibition curated and designed by the artist himself. The very concept of the wall drawing was partly inspired by LeWitt's encounter with Italian Renaissance fresco painting, and he once remarked that he "would like to produce something that I would not be ashamed to show Giotto." Yet, while LeWitt's wall drawings are a triumphant extension of the millennia-old tradition of mural art, they also constitute a radical intervention in that genre and in art-making itself, challenging conventional notions of authorship, medium, composition, and execution as well as venerable assumptions about the very nature of mural art. This seminar, with classes taking place in the galleries, will explore these issues in depth. Coinciding with the seminar and serving it as a teaching and research resource will be an exhibition at WCMA on LeWitt's use of the grid as a generative matrix for works across media.
Prerequisite:
Permission of the instructor
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3.00 Credits
To graduate with honors in art history, students are to enroll in the Senior Honors Seminar during the Spring semester of their senior year, where they will develop an original research paper based on prior research. Under the guidance of the instructor, students will present and defend their own work in both written and oral form, as well as respond to, and critique, the work of their peers. As students work toward transforming their existing paper into an honor's thesis, they will also be trained in skills necessary to analyze an argument effectively, and strategies of constructive critique.
Prerequisite:
For requirements of entry into the course, please see "The Degree with Honors in Art, Art History," or with permission of Chair of the Department
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3.00 Credits
Art History independent study.
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3.00 Credits
Art History independent study.
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3.00 Credits
This seminar takes as its subject the architectural articulations of utopia in the early modern period. Setting the stage for our discussions will be some of the Classical philosophical models--from polis to metropolis--as interpreted by urban historian Lewis Mumford, among others. We will grapple with the medieval monastery as organizing principle of communal life (the Plan of St. Gall). We will then turn to the image of the city-state and the connections between microcosm and macrocosm it articulated. The word "utopia" denotes simultaneously "no-place" and "happy place"--a double meaning exploited in Sir Thomas More's Utopia (1516), the novel that defined the genre. We will treat More's city of Amaurote as well as Ambrosius Holbein's memento mori map in the context of the Age of Discovery. Ultimately ours will be a selective as opposed to comprehensive approach to the theme, including such examples as: the Ideal City panels of Piero della Francesca's circle, Filarete's city of Sforzinda, the geometric configurations of the fortified city (orthogonal, circular, and radial), and the myth of Arcadia and its legacy (from the Pastoral Concert attributed to Titian or Giorgione to Nicolas Poussin's Et in Arcadia Ego). We will conclude with Enlightenment experiments such as Boullee's visionary architectural drawings and Ledoux's ideal city of Chaux.
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