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Course Criteria
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4.00 Credits
An examination of the major movements and architects in the history of American architecture. Note: Field trips are mandatory for this class.
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4.00 Credits
Does our present global environmental crisis demand a new way of thinking about art and its history? What role has art played in constructing an image of our environment as natural resource, scientific specimen, mythic Eden, arena of struggle, and/or fragile ecosystem? Can art and art history help envision a more sustainable world or are they part of the problem? As a way of addressing such questions, this course takes an “ecocritical” perspective on American art from the late 19th century (when the word “ecology” first appeared) to the present. More than any other single nation, the United States bears responsibility for the ecological challenges facing our planet, even as its citizens arguably enjoy unparalleled opportunities for creative freedom. By highlighting the interconnectedness of human beings with their environment in America, as well as the power of art to re-imagine that relationship, the course provokes students to re-think accepted canons and practices in light of other criteria having to do with sustainability, environmental justice, and our ethical responsibility to non-human life. Covering a wide range of artists and media – from the Romantic paintings and writings of Thomas Cole and John James Audubon to more recent work by Edward Burtynsky, Subhankar Banerjee, Mierle Laderman Ukeles, Robert Smithson, Helen and Newton Harrison, Eduardo Kac, Alexis Rockman, Mark Dion and other contemporary artists active in this country – the course gives students a new and richly diverse opportunity to think about American art. Note: Field trips are mandatory for this course.
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4.00 Credits
A selected topic in the Non-Western history of art will be examined. Note: Field trips are mandatory for this class.
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4.00 Credits
This course focuses on topics related to the correspondence between the arts of Eastern and Western cultures. Past and future topics include: American chromolithography and Japanese woodblock prints; religious iconography in the East and West; art and technology in modern Eastern and Western art and culture; trade and commerce and the interchange of artistic motifs, philosophies and techniques. Note: Field trips are mandatory for this class.
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4.00 Credits
This course introduces the history and aesthetics of visual arts in Japan from ancient times to the present through close visual analysis of objects and critical readings. Students study the development of major forms of Japanese visual culture including painting, sculpture, architecture, prints, and ceramics. Special attention will be paid to the cultural, social, and religious context in which works were produced and functioned. Note: Field trips are mandatory for this class.
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4.00 Credits
The art and architecture of the Indian sub-continent from 2500 BC to the present. The Hindu, Buddhist, Jain, and Islamic religions have been crucially important for the formation of south Asian culture and art. This class will emphasize how religious ideas have been made visually manifest in the arts. Art’s role in the formation of modern India will also be examined. Note: Field trips are mandatory for this class.
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4.00 Credits
The art and civilization of Sri Lanka, Burma, Thailand, Cambodia, Vietnam, and Indonesia, focusing on the key aspects that have shaped cultures from the 5th century AD to modern times. Note: Field trips are mandatory for this class.
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4.00 Credits
Architecture, sculpture, painting and the functional art of Asia (India, China, Japan and Southeast Asia). A historical examination of the art as a religious expression and as a product of changing social and economic conditions. Note: Field trips are mandatory for this class.
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4.00 Credits
This course is an introductory survey of the arts of China from the Neolithic period to the 20th century. Looking primarily at works in situ and in Asian collections, we will investigate how art objects and monuments reflect the religious beliefs, political agendas and aesthetic preferences of the artists and patrons who created them. We will also pay particular attention to the roles that media and technology play in the appearance of and status attached to the finished products. Another major theme will be the development of indigenous and imported religions, and their impact on iconography. Finally, time permitting, we will touch on related contemporary subjects, such as forgeries and the illegal trade in looted art. Note: Field trips are mandatory for this class.
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3.00 Credits
Did you know that the Getty Museum paid over 9 million dollars for a statue that many now consider a fake? That some curators believe that 40% of the art on the market today is fake or so restored that we can consider the pieces fake? We will begin looking at some prominent fakes that took in scholars (the Metropolitan’s “Etruscan” Warriors), talk about when something becomes a fake, and problematic pieces that are still on display. Fakes are made because there is so much money in the art market, and we will see how this market developed. In doing so we will see how Napoleon’s policies ultimately lead to the looting on a massive scale in Nazi Germany; discuss the modern development of international law on looting and the protection of antiquities; and argue about what is the United States’ responsibility in Iraq now. Finally, we will look at various means of how governments try to protect their antiquities (paying attention to the real-life soap operas like the Lydian Hoard); what is the role of museums in protecting antiquities (looking at the major news story on the indictment of the curator of the Getty, and the return of the stolen Euphronios vase by the Metropolitan Museum); what dealers do; and how an ethical collector can pursue his/her hobby responsibly. Note: This course is for Honors students. Field trips are mandatory for this class.
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