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Course Criteria
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4.00 Credits
LAIS André Breton, founder and leader of the surrealist movement, first visited Mexico in 1938 and the Caribbean in 1941. Politically supportive of Latin America's struggle against European imperialism, Breton was also deeply interested in the region's art and culture, and had a large collection of ethnographic artifacts. Surrealist journals and artists extolled "primitive" mythologies andwere captivated by such "exotic" artists as FridaKahlo and Wifredo Lam. This course explores surrealism in the literature and art of Latin America and the European surrealist's fascination with non-Western culture. Also studied are the ways in which surrealism and its influences survive in contemporary cultural production.
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4.00 Credits
Human Rights Can the ancient idea of a "right to the city" tellus something fundamental about both rights and cities? Our notion of citizenship is based in the understanding of a city as a community; yet, today millions of people live in cities without citizenship. The class discusses issues such as the consequences of cities' development in relation to their peripheries (beginning with the normative idea of urban boundaries deriving from fortifying walls); debates around the public sphere; slums, shantytowns, and other informal settlements; surveillance and control in urban centers; refugees and the places they live; catastrophes (natural and man-made) and reconstruction; and sovereign areas within cities (the United Nations, War Crimes Tribunals). Admittance at the professor's discretion.
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4.00 Credits
Classics This class consists of two weeks of walking, talking, looking, and learning in Rome, followed by class meetings to discuss secondary scholarship and present student research. In Rome, the first week focuses on the ancient city, while the second week focuses on postantique (Early Christian, Renaissance, Baroque, and contemporary) art and architecture. In addition to lectures, class time is spent at archaeological sites, in museums, or in churches. Prerequisite: successful completion of one of the following courses: Rise and Fall of Ancient Rome ( Classics 103), Roman Art and Architecture ( Art History 210), Roman Urbanism ( Art History 227), Tacitus and Gibbon ( Classics 333), or Latin 101, 201, or 301.
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4.00 Credits
A survey of 18th- and 19th-century art in England, with a focus on major figures such as Blake, Constable, Turner, the Pre-Raphaelites, and Beardsley. Victorian genre painting is also considered. The semester concludes with a study of the British Arts and Crafts movement, as inspired by John Ruskin and William Morris.
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4.00 Credits
American Studies Edith Wharton's first book, The Decoration of Houses ( 1898), dealt with domestic decoration, not domestic drama, and she continued her interest in the meaning and appropriateness of architectural styles throughout her career. In her short stories and novels, architecture not only sets the stage and mood, but also emerges as a character or chorus contributing to, commenting on, or controlling the action (or inaction). This course analyzes Wharton's narratives in the context of the architectural principles she expounds and the building boom of the Gilded Age.
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4.00 Credits
This course serves as a multidisciplinary introduction to that most maligned of art decades, the 1980s. While the prevalent iconic documents of the time ( Dallas, Miami Vice, Wall Street, the Brat Pack) dependably reemerge in the realm of popular culture, the serious art practices from this decade are less well known. The class looks at work by seminal painters, sculptors, and collectives from the United States, Europe, Latin America, and Africa-e.g., Schnabel, Sherman, Gonzalez-Torres, Polke, Leirner, Watts, Group Material-through the multivalent lenses of such intellectual movements as postmodernism, appropriation, deconstruction, and liberation theology. Contentious and/or momentous exhibitions ( Magiciens de la terre and Primitivism in 20th-Century Art) and the attendant rise of the curator-as-celebrity are also evaluated.
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4.00 Credits
A social history beginning with the art of the prerevolutionary 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 presence abroad; the shift from history painting to scenes of everyday life; landscape painting as an autonomous art form; and attitudes toward race and sexuality. Emphasis is placed on French artists such as Corot, Courbet, David, Delacroix, Géricault, Greuze, Ingres, and Vigée-Lebrun; Constable, Friedrich, Goya, and Turner are also considered.
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4.00 Credits
French painting in the mid-19th century is often considered one of the high points in the history of European art, and many trace the origins of modern art to that place and time. This course surveys two of the movements central to that period. The realists, painters of everyday life, were led by Gustave Courbet and Jean-Fran?ois Millet. They were followed in the 1860s by the impressionists, among them Mary Cassatt, Edgar Degas, Edouard Manet, and Claude Monet. The careers of these artists are examined as they reacted to the art of the major painters who preceded them and responded to the political and cultural conditions of 19th-century Paris.
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4.00 Credits
A survey of 20th-century German and Austrian art, with brief forays into Scandinavian art. The emphasis is on Germany, from Jugendstil through expressionism, dadaism, Neue Sachlichkeit, Nazi and concentration camp art, and the post-World War II era. Artists studied include Wassily Kandinsky, Ernst Ludwig Kirchner, Paul Klee, and Egon Schiele. The course concludes with a look at more recent artists, including Bernd and Hilla Becher, Joseph Beuys, Sigmar Polke, and Gerhard Richter, and their connections to previous German artistic tendencies.
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4.00 Credits
Human Rights, SRE, Studio Arts The shantytown, the slum, the favela, and the bidonville-by some estimates, these communities are home to one-third of the world's urban dwellers. They arise in in-between spaces: the border between two countries, the ring between urban and rural, the area between downtown and suburb, the sidewalk between shop and street. The results are self-organizing communities that rely on political collaboration, recycling of materials, and an informal architecture based on contingency and necessity. Through readings, slide lectures, discussion, and field trips, students look into how the communities' informal architecture, improvised city planning, and use of recycled materials are influencing projects by urban planners, architects, and artists. Students also participate in several charettes ( intensive, design-specific working sessions). Prerequisites: at least one Level II studio course and permission of the instructor.
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