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Course Criteria
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0.00 - 4.00 Credits
Seminar on the long-standing problems concerning the tradition of Greek sculpture, most of which survives in later Roman copies. Emphasis on stylistic comparison of the surviving copies (Kopienkritik); critical engagement with the ancient written sources that attest the most famous works (Opera Nobilia); the historiographic and critical tradition in modern scholarship devoted to these works; and, in particular, those works in the PAM and the MMA that may serve as prime examples of the phenomenon.
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0.00 - 4.00 Credits
Recent studies have examined Greek architectural sculpture through the lens of socio-political relations. This course will evaluate how and when (if ever) the sculpture assumes such an allegorical character. It will seek in particular to discover an approach that can integrate architectural sculpture more coherently into the materiality of sacred space. The seminar will address the issues of space and landscape; religious ritual; votive dedications; temple decoration and ornamentation; and agency. It will then turn to several case studies from the late Archaic and Classical periods.
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0.00 - 4.00 Credits
Examination of the ideas of time and temporality in the Renaissance image, via the lens of two early modern obsessions and their history: the representation of movement and the idea of the copy. Focus will be on artists and works from the Netherlands, Germany, and Italy. Topics include: procession, print technology, replicas, pilgrimage, archaeology, the workshop, and more. Course includes at least one trip to the Metropolitan Museum of Art.
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0.00 - 4.00 Credits
The logic of the discipline points to world art history. This seminar will discuss the possibilities of a global history of art and architecture. Questions will be considered in relation to historiography and theory of the geography of art.
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0.00 - 4.00 Credits
Seminar explores roles works of art play in Rainer Maria Rilke's writings and their reception. Key case studies of Rodin and Cézanne, with additional readings on their work by philosophers and art historians whose approaches speak to concerns of Rilke's own. Conceptualization and representation of works of art and aesthetic experience in relation to other things, and significance of painting, sculpture, and other media, artistic and nonartistic, in Rilke's work. Investigation of signal instances and central issues in the history of modernism in the visual arts and literature.
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0.00 - 4.00 Credits
A seminar on the art produced in Germany after 1945. Classes will be structured around the work of individual artists and the critical frameworks (cultural, theoretical, historical) that their works invoke. Artists to be discussed: Beuys, Polke, Richter, Knoebel, the Bechers, Genzken, Trockel, Struth, among others. Themes to be discussed: art and technics/technology, pedagogy, internationalism/nationalism, memory and trauma, the legacy of the avant-garde. Authors include: Appadurai, Butler, Luhmann, Stiegler, Siegert, Mumford, de Duve, Flusser, Blumenberg, Arendt, Fried.
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0.00 - 4.00 Credits
Just as there was initially no one process that was identified as what we call "photoography" today, there was no one moment of "invention" or clear idea of what making pictures with light might accomplish. At a time when it has become fashionable to speak of the "death of photography," this seminar returns to the earliest experiments with light, silver salts, and cameras between 1789 and 1848 in order to reconsider what photography was, why it embodied the ideals of "modernity," and how it can be located within practices ranging from drawing, printmaking, magic, optical amusements, art, natural philosophy, and industrial production.
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0.00 - 4.00 Credits
Song-Yuan painting, 10th through 14th centuries. Focus on the rise of scholars' painting, the conditions for and timing of its emergence, the changing role of description in painting style, the persistence of earlier styles, historians' characterizations of change in Chinese painting history.
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0.00 - 4.00 Credits
The origin and early functions of writing in comparative perspective, with special attention to Mesopotamian, Egyptian, and Chinese writing systems, but some mention also of the New World (Maya hieroglyphic; Inka khipu).
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0.00 - 4.00 Credits
The seminar examines the diverse arts employed in pre-modern chanoyu, the Japanese tea ceremony, including ceramics, paintings, lacquer, calligraphy, and architecture. Special attention is given to period texts written about tea objects. Among the topics considered are the physical and conceptual adaptations of objects (both indigenous and non-Japanese) for the tea context, the aesthetic terms tea practitioners created for chanoyu objects, the practice of bestowing names on objects, and the ensemble use of objects of different mediums. Seminar members may also, if they wish, study objects outside Japanese tea as comparative examples.
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