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Course Criteria
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1.00 Credits
This course explores the vast cultural developments that took place from the rise of Christianity to the voyages of Columbus. We will study the art, architecture, and visual culture of the people inhabiting Europe and the Mediterranean basin, with comparative forays intro Africa and Asia. Monuments and works of art studied will reflect the religious traditions of Christianity in the western (Latin/Roman) and eastern (Byzantine/Orthodox) churches, as well as Judaism, Islam, and polytheism. We will consider major themes such as gender, patronage, monasticism, materials and techniques, and civic and secular life. Close attention will be paid to cultural contact and artistic exchange facilitated by pilgrimage, trade, and the crusades. Our goal is to develop visual literacy across a broad cultural spectrum, analyze and understand individual works, and be able to integrate them into an appropriate cultural and historical context.
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1.00 Credits
In the wake of the nineteenth-century invention of photography, art's traditional functions began to be questioned. If a machine could produce an exact image of an object, then what was the purpose of art, and what was the role of the artist? Between the First Impressionist Show in 1874 and the Nazis' "Degenerate Art" Exhibition of 1938, artists wrestled with these questions through their work: experimenting with new techniques, employing new formal vocabularies, and exploring connections not only between painting and other forms of art-making, but between the very idea of art itself and the social, economic, and political circumstances within which it was made. The modern period--one of unparalleled tumult in recent European history--thus fostered an era of unprecedented innovation in art. We tend to think of the avant-garde as the most radical spearhead of modern art. But "modernism" and the "avant-garde" may be seen as two distinct concepts during the first half of the twentieth century. Modernism has been interpreted as a campaign to "purify" the practice of art-making in order to determine art's "essence." Modernist art was autonomous--separate from everyday life and hostile towards mass culture. In contrast to modernism's introversion, the avant-garde defined art as activism: direct, affective engagement in social issues and political debates. It reached beyond the easel to employ "impure" media such as photography, collage, advertising, fashion, interior decoration, and product design. Yet modernism and the avant-garde shared a complex relationship, as both were driven by the need to redefine the practice and purpose of art for modernity. This course surveys collaborations and confrontations between modernism and the avant-garde in France, Germany, Italy, Holland, and Russia from the late nineteenth century to the eve of World War II. It invites students to consider not only what art was during this period, but how and why it mattered. Was art a way of participating in the momentous debates of the modern period, or was it a means of escape? While focusing on changing approaches to painting, we too will move "beyond the easel" to look at architecture, design, photography, and collage, assessing the impact of these "impure" arts, not just on the development of painting, but on the texture of history.
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1.00 Credits
This course explores the terms of debate, the key figures, and the primary sites for the production and reception of contemporary art on a global scale since 1960. Students will learn how today's art has become more heterogeneous, contradictory, and dispersed than ever before; there is no cohesive international "art world." At the same time, we will explore the ways in which cultures influence each other and enter into dialogue through the transnational work habits of many contemporary artists, curators, and critics. The course will be divided roughly into two halves: the first part will treat art produced primarily in the major cities of North America and Europe from the 1960s through the 1980s; the second part will focus on the changes prompted by the political, social, and cultural realignments that occurred after 1989, as today's globalizing art world began to take concrete form.
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1.00 Credits
This course is a study of architecture and urban design throughout the world from the 1990s to the present. American topics include public and private development in the "neo-liberal" city in New York, Chicago, Los Angeles, and post-Katrina New Orleans; contemporary museum architecture; sprawl and New Urbanism; and affordable housing, both urban and rural. Major American architects considered include Frank Gehry, Richard Meier, Daniel Libeskind, and Diller + Scofidio (+Renfro). In Europe, the focus is on contemporary public architecture in Berlin, London, Paris, Valencia, Lisbon, Rome, and Athens, with attention to major works of Sir Norman Foster, Zaha Hadid, Jean Nouvel, Santiago Calatrava, Rem Koolhaas, and Renzo Piano. In China we will study state monuments of the Communist Party in Beijing and issues of preservation and urban development there and in Shanghai. In Japan the recent work of Tadao Ando is a focus, as are selected projects in Tokyo and Yokohama. Additional lectures will treat airport architecture and sites in India, Jerusalem, Cairo, Guinea, South Africa, Rio di Janeiro, and Quito, Ecuador. The last quarter of the course focuses on green or sustainable architecture, including passive and active solar heating, photovoltaics, energy-efficient cooling and ventilation, timber and rammed-earth techniques, LEEDs certification, wind and geo-exchange energy, green skyscrapers, vertical farming, and zero-carbon cities.
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1.00 Credits
In this course we shall study the production and circulation of artifacts produced by Europeans engaged in the colonization of North America from the 16th to 19th centuries. In particular we shall explore how artists and patrons explored changing notions of civic identity in emerging nations: the United States, the Mexican Republic, and the Dominion of Canada.
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1.00 Credits
The history of later Indian painting is dominated by two distinct stylistic traditions, one flourishing at the court of the Mughal empire, the other at the courts of the various Rajput dynasties that held sway in regions along the periphery of the Mughal domain. Despite complex historical relationships between the two traditions, modern scholarship has tended to emphasize their separate identities as distinct, isolable schools with mutually opposing stylistic and aesthetic ideals. Mughal painting is characterized as naturalistic, rational, and political; contemporary Rajput work is seen as lyrical, erotic, and spiritual in its approach. In this course, we will trace the history of the emergence and interaction of these two traditions of painting, beginning with the pre-Mughal and pre-Rajput traditions current before the 16th century and continuing to the transformation of the Mughal and Rajput traditions through British colonial patronage. The course strikes a balance between the modes of historical survey and thematic enquiry; some of the themes to be examined include the relationship between painting and literature, the structure of patronage and the degree of the patron's influence in shaping style, and the extent to which the Mughal and Rajput styles were influenced by 16th-century European prints and paintings.
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1.00 Credits
Several of the primary traditions of East Asian painting are studied in this course, including Chinese landscape painting and Japanese works in the YAMATO-E style and the monochromatic ink painting associated with Zen Buddhism. The art will be discussed in terms of its historical, philosophical, and aesthetic significance.
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1.00 Credits
This course looks at contemporary Africa and African diaspora artists. We will cover a wide range of media, including the room installations of Yinka Shonibar and the art of Julie Mehretu, exhibited in the Davison Art Center in fall 2011. We will look at online art sites such as PAAACK, whose director, Dominique Malaquis, will be a visiting scholar for a week. Students will also have a chance to create a museum exhibition of photography by Senegalese teenagers, made as part of a West African peace-building project.
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1.00 Credits
This class will explore the art and culture of the various cultures of medieval Iberia (modern Spain and Portugal) between 711 and 1492. For eight centuries, Muslims Jews, and Christians lived side by side as neighbors enjoying varying degrees of religious freedom, political autonomy, and mutual well-being. This carefully negotiated state of coexistence was known as convivencia and while it ultimately failed, for centuries it allowed each community to maintain its integrity, often thriving, and always surviving. Using visual evidence and primary sources, we will explore the works produced by the pluralistic societies of medieval Iberia from the perspectives of art, architecture, history, archaeology, literature, and music. We will learn to decode elements such as dress and home decor, food and hygiene, gardening and agriculture, to learn how each community influenced the others and formed blended cultural forms. We will carefully and objectively evaluate their shared experience of convivencia and the mutual cultural affinities and appropriations that developed over the long centuries of coexistence. Finally, we will compare the Iberian experience to our own era of religious encounters and uneasy attempts at tolerance and coexistence on a global, local, and national level.
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1.00 Credits
This introduction to drawing gives special attention to the articulation of line, shape, volume, light, gesture, and composition. A variety of media and subjects will be used, including the live model. This course is suitable for both beginners and students with some experience. Individual progress is an important factor in grading. The graded option is recommended. Full classroom attendance is expected.
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