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Course Criteria
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3.00 Credits
This interdisciplinary seminar addresses the rich intersection of politics, fine arts, and visual culture in modern France from the Franco-Prussian War to World War I (1870-1914). We study the political trends, historical events, and cultural conditions of the era and their direct influence on the production and reception of a wide range of visual arts, ranging from official paintings and monuments to popular culture such as tourist and documentary photography, commercial posters, and political caricature. We also examine the question of what it meant in the Belle Epoque to be an avant-garde artist and how such artists expressed political sentiment in their work. Prerequisite: permission of instructor.
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3.00 Credits
An examination of the art and career of Paul Gauguin (1848-1903) and the artistic, social, and political milieu in which he worked in France and Polynesia. Readings include the artist's writings; studies of avant-garde culture and primitivism in fin-de-siècle France; and post-colonial theory. Special emphasis is given to the relationship of the artist and his work to indigenous Polynesian and French colonial cultures of the 1890s. Prerequisite: Art-Arch 211, or any 300-level course in Art History, or permission of instructor. Reading knowledge of French useful, but not required.
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3.00 Credits
An examination of the interplay of photography with painting and sculpture in European art from 1850 to World War I, with an emphasis on the fin-de-siècle. Readings address the history of the medium; the critical debates (starting with Baudelaire ) over photography as a tool of science or of art; the rise of ethnographic photography; the Symbolist ambivalence toward technology; and the development of Pictorialism at the turn of the century. Artists studied include Nadar, Moreau, Degas, Rodin, Steichen, Gauguin, Munch, the Nabis, Brancusi and Picasso. Prerequisite: graduate standing.
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3.00 Credits
An interdisciplinary investigation of the development of exoticism and primitivism in Europe from the Enlightenment to World War II. Topics include exoticist representations of non-Western cultures; the links between colonialism and orientalism; the intersection of discourses on race and gender with exoticism; and the anti-modernist impulse of fin-de-siècle primitivism. Sample artists and authors include Chateaubriand, Delacroix, Flaubert, Gauguin, Picasso, and Matisse. Prerequisites: any 300-level course in Art History and permission of the instructor.
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3.00 Credits
To study portraiture is to confront the complexity of human identity. The central theoretical question of this course is how identity can be expressed in a portrait. Following consideration of theories of portraiture, identity, and artistic representation, we treat specific historical and cultural instances of portrait-making, from ancient Greece to the present. Non-Western cultural examples broaden the scope beyond the conventional conceptions of portraiture. We conclude by trying to understand the continuing allure of the portrait today as digital media challenge our conventional ideas of visuality, and perhaps even the urgency of portraiture in the post-human age.
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1.00 - 3.00 Credits
No course description available.
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3.00 Credits
Diaspora can be viewed as a concept or method that insists on a level of complexity historically denied art being made outside of the centers of Western art. It is dialectical and offers infinite avenues of exploration. The Caribbean is a hyper-Diaspora, both a site of dispersal and a point of departure for people of African, Indian, Chinese and European origin as well as native peoples. This course explores the artistic, visual, and performance culture of the region in the context of globalism. In process it engages fundamental aspects of art historical scholarship, theory, and methodology, historiography, aesthetics, and the representation of power. Prerequisites: Art-Arch 112 (Introduction to Western Art), or Art-Arch 211 (Introduction to Modern Art); one 300-level course in Art History preferred or permission of instructor.
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3.00 Credits
This course engages the artistic, visual, and material culture of transatlantic slavery and slave societies in the Southern United States and the Caribbean through the indices of trauma, landscape, and memory. It posits that trauma (a culture, system, or act in or of violence) is a fundamental part of modernity within the African Diaspora, but has thus far been underexamined within art history. The course links this consciousness to an examination of trauma as content in art produced by contemporary artists such as Kara Walker and Carrie Mae Weems, and its affect in reshaping historical memory in societies such as a post-Apartheid South Africa. Prerequisites: Art-Arch 112 (Introduction to Western Art ) or Art-Arch 211 (Introduction to Modern Art); one 300-level writing-intensive course in Art History preferred, or permission of instructor.
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3.00 Credits
This course introduces key modern theories. Considering diverse thinkers, this seminar focuses on concepts that have framed and reframed the study and interpretation of aesthetic modernism and postmodernism over the past century. We read and discuss primary theories and probe their application through close visual readings of individual works of art. Discussions seek a better understanding of the role and meaning of the aesthetic object within a variety of theoretical contexts, extending from an investment in the universalist modern artistic subject, to the shifting role of the contingent viewer within modernity to an expansion of the traditional boundaries of the discipline of Art History into Visual Studies. Prerequisites: advanced undergraduate standing and permission of the instructor.
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4.00 Credits
Same as History 4976
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