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Course Criteria
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3.00 Credits
Art Now offers student an introduction to the theories, practices, and debates around contemporary American and global art, 1960 to the present. Emphasis will be placed on art of the last decade. The approach to the material will be thematic rather than strictly chronological; course lectures and discussions will explore key themes, like memory and loss, and significant strategies, like repetition and appropriation, by giving each an art-historical context and then moving on to examine specific examples of recent American as well as global art.
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3.00 Credits
This course introduces the discipline of art history through a variety of cultural and geographic perspectives. Rather than offering a comprehensive narrative that attempts to document centuries of artistic production, we instead focus on key histories, sites, and objects that allow us to explore significant themes and concepts that have challenged cultures over time. We will explore defining issues such as the respective roles of tradition and innovation in the production and appreciation of art; the relation of art and visual culture to its broader intellectual and historical contexts; the role of display and exchange in creating meaning in art; and the changing concepts of the artist, style, and art itself.
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3.00 Credits
This course examines the longstanding relationship works of art have had to globally relevant political, social and cultural conflicts. Through a series of focused case studies, the course will expose students to how artworks have produced, responded to and negotiated conflict in a variety of historical moments and cultural contexts. Students will develop a comparative and transnational approach to addressing issues of pressing social concern by examining artistic production in a wide range of media.
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3.00 Credits
The course introduces the arts of China from the Neolithic period to the Qing Dynasty. We look at how the material remains such as bronzes, lacquers, and tomb sculpture shed light on the Chinese notion of the body, life after death, and immortality. Students are introduced to the different ethnic groups that came to rule China and subsequently, we question what constitutes Chineseness in Chinese art. Lastly, we see how the arts reflect and engage with religions and philosophies such as Daoism, Buddhism, and Confucianism. One of the objectives of this course is to study how art objects de-center the so-called, Middle Kingdom.
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3.00 Credits
This course provides a broad thematic survey of artistic production in Japan from the archaic pottery of the Jomon period to the impact of Japanese animation on the global art market. While the chronological scope of this course is defined broadly, works of art are studied within their specific social, religious, and political settings. Topics include Zen temple gardens, the decoration specific social, religious, and political settings. Topics include Zen temple gardens, the decoration of feudal castles, woodblock prints of the pleasure quarters and contemporary Japanese anime.
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3.00 Credits
This course explores the visual culture of China's three main religions, Confucianism, Daoism, and Buddhism, through key monuments of Chinese visual culture form the Han (206 BCE-220CE) to the Song (960 CE-1279 CE). We will consider thematic issues that shed light on the major cultural, social, and artistic contexts in which these images and objects were produced and viewed as forms of material religion. We will also read primary texts (in English translation) associated with these works of art and visual culture to examine the dynamic relationship between text, image, and practice.
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3.00 Credits
This course investigates the diverse intersections of art, trade, and religion along the Silk Road: the network of overload routes that stretched from China in the east to the ports of Roman Empire in the west. The first part of the course explores the chronological and geographical breadth of the Silk Road through its visual and material culture, while the second part is devoted to a study of the basic styles and iconographies of Buddhist art from the cave temple site of Dunhuang, the most important repository of Buddhist art from the historical Silk Road.
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3.00 Credits
This course explores the visual and material cultures of Buddhism as a pan-Asian phenomenon, past and present. The first part of the course introduces key debates and interpretive approaches to the study of Buddhist art raised by its transnational and international history. Beginning in India, the movement of Buddhist art across Asia reflects a complex process of cultural, social, and religious adaptation to local contexts that provides a historical counterpoint to contemporary discussions of globalization. The second part of the course focuses on select major Buddhist monuments within their specific cultural settings and is attentive to the modern rediscovery of ancient sites as seen through a comparative cultural lens.
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3.00 Credits
The course focuses on the intersections of art, displacement, and diaspora through the lens of American visual culture. Accordingly, this course takes the historical and current experience of Asian Americans as a framework to visualize and analyze artistic creativity and media representation within the context of a specific racial and ethnic minority group in the United States. By studying fine art, commercial images, documentary photography, the built environment, and popular media, our goal is to critique the potential of images to create bias as well as to question power structures of race, class, and gender. Topics include Chinatowns and Japanese interment camps as sites of art making, and modern and contemporary artists of the Asian American diaspora.
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3.00 Credits
The course surveys the rich cultural settings of ancient Greece and Rome through lecture, discussion, and written essays in order to explore the emergence and evolution of distinct visual identities. A broad range of objects is considered in developing interpretive strategies of works of art and architecture. Students will analyze the role of key monuments in framing a notion of a classical ideal. Principles of archaeology will open discussions on modern perceptions of Antiquity.
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