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Course Criteria
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4.00 Credits
The Enlightenment shaped the visual arts in two seemingly antithetical ways. On the one hand, the period's valorization of cool rationalism contributed to the rise of neoclassicism as a dominant style during the 18th century. The other course of Enlightenment thinking, exemplified by the writings of J. J. Rousseau, celebrated emotion as the purest form of intellectual as well as spiritual expression. Romanticism, with its emphasis on subjectivity and intense emotionalism, is as much a product of the Enlightenment as neoclassicism. Following on the heels of romanticism, realism has been alternately described as a rejection of romanticism and as an extension of it. Focusing on these three stylistic movements, this course examines how late 18th- and early 19th-century artists negotiated not just the aesthetic ideas of the Enlightenment but its political consequences as well.
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4.00 Credits
Beginning by considering how impressionism refined and redirected the artistic aims of 19th-century realism, this course follows the development of progressive art to the brink of cubism and pure abstraction in the first years of the 20th century. Following impressionism and post-impressionism, close attention is paid to symbolism, aestheticism, art nouveau, the Arts and Crafts movement, fauvism, and expressionism. The aesthetic aims of these movements are analyzed in tandem with the social and cultural conditions that generated them.
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4.00 Credits
After analyzing the invention of cubism by Picasso and Braque, this course examines its international reverberations, including Italian futurism, the later phases of German expressionism, the de Stijl movement in the Netherlands, and suprematism and constructivism in revolutionary Russia. The dada movement in the period during and after World War I is examined as a reaction to the apparent bankruptcy, cultural and artistic, of Western civilization. However, this nihilistic impulse is followed by a "return to order" in the 1920s. The course then examines the tensions in the multiple currents of surrealism: metamorphic, academic, and abject. Painting after World War II, from Pollock to Dubuffet, is analyzed as an extension and transformation of prewar trends.
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4.00 Credits
Surveys art in the postmodern era, ca. 1955 to the present. After examining the innovations of the neoavant- garde generation (1955-75), our focus shifts from the radical innovations in mediums, materials, and techniques to the expanded field of critical engagement that contemporary art encompasses. Discrete "early" developments sometimes dubbed neo-dada, such as op, pop, and fluxus, but also minimalism, conceptual art, and arte povera, radically diversified the look of art and forced the dissolution of stylistic and formal categorization in favor of a classification based on a particular question, mediatic intervention, or mode of critique. If the late 20th century brought a new emphasis on gender, race, and a number of newly pressing political forces and motivations, as we enter the 21st century, post-studio (and perhaps also "post-critical") artistic practices increasingly tend to be reoriented toward technology and globalism, further complicating our idea of art's relationship with its own present.
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4.00 Credits
Chronicles the history of photography's complex and symbiotic relationship to the other visual arts: painting, sculpture, architecture, installation, and performance, among others. Beginning with the medium's invention and the early fights of its practitioners to establish themselves as fine artists, the course describes photographers' unique attempts to negotiate their relationships with both artistic movements and the media culture of which they are a part. Robinson, Cameron, Emerson, F. Holland Day, Stieglitz, Moholy-Nagy, Rodchenko, Weston, Álvarez Bravo, Lartigue, De Carava, Cahun, Robert Frank, Diane Arbus, and Cindy Sherman (among others) are seen within the context of their respective art worlds, so the impact of art movements, cultural attitudes, and new technologies on photographers during different historical periods can be assessed.
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4.00 Credits
A social and political history of photography, from its beginnings to the present day. The course focuses on the popular forms of photographic imagery, such as advertising, fashion, travel photography, family portraits and snapshots, scientific documents, documentary reform, and photojournalism, as well as describes the medium's relationship to Western (and global) social history during the modern era. Brady, Warhol, Capa, Nadar, Martin Chambi, Atget, Tomatsu, Muybridge, Curtis, Bourke-White, Gordon Parks, Álvarez Bravo, and Berenice Abbott are in the cast of characters to be discussed, and readings include those by Susan Sontag, John Berger, and Roland Barthes.
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4.00 Credits
Emphasizes the analysis and synthesis of visual and written information. The readings include essays by critics Roland Barthes, Donna Haraway, Susan Sontag, Boris Groys, and bell hooks, as well as articles or excerpts by Thomas Kuhn, Mircea Eliade, John Berger, and George Kubler. Critical essays are interspersed with other kinds of texts, such as The Tibetan Book of the Dead, Persepolis, Black Elk Speaks, and the novel Perfume. This mixture of topics, texts, and issues is designed to broaden students' understanding of important concerns in philosophy, art history, science, literature, and cultural studies that are relevant to photography. Class time is spent in analysis of these texts in relation to historical and contemporary pictures.
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4.00 Credits
An introduction to Renaissance and baroque art and architecture, 1400-1750. The course situates major developments in the arts against the context of historical, cultural, religious, technological, and social change. Topics include the emergence of humanism and its engagement with the ancient past; the development of transformative new techniques and technologies for making art; the function of art in religious, public, and domestic settings; the role of the patron; the impact of the Protestant and Catholic Reformations on art and society; the ever-expanding range of iconography; and the proliferation of new genres. Emphasis is placed on the great masters in each phase, and close study of works in the Metropolitan Museum of Art and the Frick Collection is an integral part of the course.
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4.00 Credits
An introduction to the art and culture of the Far East. The materials are presented in a chronological and thematic approach corresponding to the major dynastic and cultural changes of China, Korea, and Japan. Teaches how to "read" works of art in order to interpret a culture or a historical period; aims at a better understanding of the similarities and differences among the cultures of the Far East.
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4.00 Credits
An introductory survey of the arts in China, Japan, and Korea from approximately 1000 C.E. The course emphasizes an overall understanding of the development of art and culture, as well as mastery of specific works of art. East Asian Art I followed the development of the common cultural heritage of the Northeast Asia region. Part of this commonality is due to the extraordinary influence of an earlydeveloping Chinese civilization on Japan and Korea. However, Japan and Korea also developed their own cultures and arts, developments that accelerated in the last millennia up to the present. Topics include Song landscape paintings, Edo "floating world" prints, Koryo celadons, and modern art.
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