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Course Criteria
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3.00 Credits
An examination of his life, his work, and his time. A consideration of the artist's painting, sculpture, and architecture in relation to his contemporaries and to the broad historical, political, and artistic currents of his day. Prerequisite: Art-Arch 112.
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3.00 Credits
Examines representations of the American West and of the frontier encounter between Euro-American and Native American cultures, from the early 19th to the early 20th centuries. We consider travel accounts, fiction painting, ledger drawings, photography, and film in order to analyze the ways in which historical circumstances have shaped artistic and literary representations. At the same time, we look at how images and texts have shaped formative myths about the West that in turn leave their impact on history.
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3.00 Credits
Developments in American culture from the end of the Civil War to the turn of the century: novels, buildings, images, public and private spaces of this transitional period-a time of new class formation, of unparalleled social diversity, and of new urban forms. The connections between art, literature, and social experience. Representative figures include Henry James, Henry Adams, Louis Sullivan, Stanford White, Thomas Eakins, Louis Tiffany.
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3.00 Credits
From the beginnings of modernism in the visual arts of the United States, around 1900, to Abstract Expressionism and the Beat aesthetic. Focus on the cultural reception and spread of modernism, native currents of modernist expression, from organicism to machine imagery, the mural movement and the art of the WPA, the creation of a usable past, abstraction and figuration, regionalism and internationalism, photography, and advertising.
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3.00 Credits
American modernism: What is it? What is the nature of its encounter with mass culture? What happened to modernism as it migrated from its "high" European origins to its "middlebrow" version in America between the turn of the 20th century and the eve of World War II? What was the rhetoric of modernism in everyday life-its impact on design, photography, advertising? In addition to the fine arts, we look at popular media, film, and photography. Lecture/discussion. Prerequisite: Art-Arch 211 (Introduction to Modern Art) or permission of the instructor.
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3.00 Credits
This course examines the modern movement known as the Harlem Renaissance and its profound impact on American culture both then and now. The aim of the class is to imagine or theorize modernity not as singular event or time bound grand narrative but as a relational process consisting of various points of articulation, sometimes positioned outside of mainstream narratives. In the process of engaging the Harlem Renaissance, the class explores several key ideas and concepts such as the development of black subjectivity; black visual and racial aesthetics; the rise of Diasporic and Pan-African consciousnesses; the representation of race, gender, and sexuality and the process of "othering" within canonical formation.
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3.00 Credits
This course investigates topics in European painting, sculpture, architecture, photography, and film. Lectures and readings address major artistic developments, including Cubism, De Stijl, Futurism, Expressionism, Dadaism, Constructivism, Surrealism, the Bauhaus, and Art Brut. Prerequisite: Art-Arch 211 or permission of instructor.
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3.00 Credits
This course considers the practice and use of photography in America from its invention up to the present, offering various ways of thinking about the medium and its relation to society and culture. Students come to understand the ways photographic practices shape public perceptions of national identity, ethnicity and gender, nature, democratic selves, and a host of other concerns. We discuss famous practitioners such as Matthew Brady, Jacob Riis, Lewis Hine, Walker Evans, and Robert Frank. We consider not only the social and public uses of the medium through such episodes as the New Deal/FSA and photojournalism, but also the private explorations of "fine art" photographers, and the everyday practices of the snapshot. Prerequisites: Art-Arch 112 (Introduction to Western Art), or Art-Arch 211 (Introduction to Modern Art), or one course in American History, American Cultural Studies, or permission of the instructor.
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3.00 Credits
Same as Re St 3802
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1.00 Credits
This course considers the relationship between the Parisian art world and the avant-garde painters who retreated to the countryside between 1880 and 1900 to paint rural landscapes, provincial life, and exotic locales. We consider the artistic dialectic of city and country through examining the art and careers of Van Gogh in Provence, Gauguin in Brittany and Tahiti, Cézanne in Aix and Monet in Giverny, among others. We consider such themes as artist colonies, the market for landscape, rural escape as a critique of bourgeois urbanism; and the connections between tourism, the nostalgia for the provincial, and the exotic.
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