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Course Criteria
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3.00 Credits
Distribution Course in Arts & Letters. Class of 2009 & prior only. Brownlee. The history of western architecture from about 1700 until the last quarter of the nineteenth century. Topics to be considered include Palladianism, neo-classicism, the picturesque, historicism, and the search for a new style.
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3.00 Credits
Distribution Course in Arts & Letters. Class of 2009 & prior only. Brownlee. The history of Western architecture from the late nineteenth century until the present. Topics to be considered include the Arts and Crafts movement, Art Nouveau, Expressionism, the International Style, and "Post-modernism".
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3.00 Credits
Distribution Course in Arts & Letters. Class of 2009 & prior only. Brownlee. A study of the European and American city in the eighteenth, nineteenth, and twentieth centuries. Emphasis will be placed on the history of architecture and urban design, but political, sociological, and economic factors will also receive attention. The class will consider the development of London, St. Petersburg, Washington, Boston, Paris, Vienna and Philadelphia.
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3.00 Credits
Distribution Course in Arts & Letters. Class of 2009 & prior only. Staff. The death of the revolutionary hero, the search for spiritual meaning, the "rape" of the countryside by industrialization, the anxious masculinity of romanticism, abolition and its aftermath, the quest for a national identity: these are only some of the themes that will be addressed through the art of this early modern period, as they emerged in the art of painters working in France, England and Germany. Among other things, we will analyze Jacques-Louis David's "martyr portraits" of the French Revolution; the romantic "anti-heroes" of Delacroix; Friedrich's nationalist landscapes; the fantastic visions of J.M.W. Turner and William Blake; Gericault;s representations of madness; and the politicized "realism" of Gustave Courbet, the painter who would so profoundly influence the later generation of Impressionists.
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3.00 Credits
Distribution Course in Arts & Letters. Class of 2009 & prior only. Dombrowski. French Impressionism is the centerpiece of this course, which will explore paintings, and some sculptures, produced between 1848 and 1906. We consider French, Dutch, and Scandanavian artists who painted and exhibited in Paris during these years, exploring not only their historical stature and reputation, but their contemporary relevance. We will reflect on such myths of modernism as the "misogyny"of Degas; the "obsessiveness" of Cezanne; the "primitivism" of Gauguin; and, of course, the "madness" of Van Gogh. All art is considered within the context of the social, economic and political changes that were taking place in Paris--the capital of the nineteenth--century.
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3.00 Credits
Distribution Course in Arts & Letters. Class of 2009 & prior only. Poggi. The art of the early twentieth century is marked by a number of exciting, and sometimes bewildering, transformations. This period witnessed the rise of abstraction in painting and sculpture, as well as the inventions of collage, montage, constructed sculpture, performance art, and new photography-based practices. Encounters with the arts of Africa, Oceania and other traditions unfamiliar in the West spurred innovations in media, technique, and subject matter. Artists also began to respond to the challenge photography, to organize themselves into movements, and in some cases, to challenge the norms of art through "anti-art." A new gallery system replaced traditional forms of exhibition organizers. This course will examine these developments, with attention to formal innovations as well as cultural and political contexts. The emphasis will be on major movements and artists in Europe.
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3.00 Credits
Poggi. Many people experience the art of our time as bewildering, shocking, too ordinary (my kid could do that), too intellectual (elitist), or simply not as art. Yet what makes this art engaging is that it raises the question of what art is or can be, employs a range of new materials and technologies, and addresses previously excluded audiences. It invades non-art spaces, blurs the boundaries between text and image, document and performance, asks questions about institutional frames (the museum, gallery, and art journal), and generates new forms of criticism. Much of the "canon" of what counts as important is still in flux, especially for the last twenty years. And the stage is no longer centered only on the United States and Europe, but is becoming increasingly global. The course will introduce students to the major movements and artists of the post-war period, with emphasis on social and historical context, critical debates, new media, and the changing role of the spectator/participant.
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3.00 Credits
Distribution Course in Arts & Letters. Class of 2009 & prior only. Marcus. This survey of modern utilitarian and decorative objects spans the century, fromt he Arts and Crafts Movement to the present, from the rise of Modernism to its rejection in Post-Modernism, from Tiffany glass and tubular-metal furniture to the Sony Walkman. Its overall approach focuses on the aesthetics of designed objects and on the designers who created them, but the course also investigates such related topics as industrialization, technology, ergonomics, and environmental, postindustrial, and universal design. Among the major international figures whose graphics, textiles, furniture, and other products will be studied are William Morris, Frank Lloyd Wright, Josef Hoffmann, Le Corbusier and Charlotte Perriand, Mies van der Rohe, Alvar Aalto, Raymond Loewy, Charles and Ray Eames, Isamu Noguchi, Eero Saarinen, Paul Rand, Jack Lenor Larsen, Ettore Sottsass,Jr., Robert Venturi, Frank Gehry, and Philippe Starck.
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3.00 Credits
Butterfield.
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3.00 Credits
Beckman. This course will allow us to study the changing shape of the road movie genre from Bonnie and Clyde (1967) to the French feminist revenge narrative, Baise-moi (Rape me), (2000). In addition to considering the possibilities and limits of genre as a category of analysis, we will grapple with a number of questions that will persist throughout the course: What is the relationship between cinema and the automobile Is the road trip a particularly American fantasy, and if so, what does it mean when non-U.S. filmmakers adopt the road-movie genre Is the road movie a "masculine" genre What role do urban and rural spaces play in the development of the genre What happens to race/gender/sexuality/national identity in the road movie What kinds of borders does this genre dream of crossing Do the radical fantasies of characters within the road movie genre necessarily translate into films with radical politics
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