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Course Criteria
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4.00 Credits
This course will explore selected aspects of twentieth-century art, including issues of identity, difference, and the body and ways in which institutions have shaped art. Works in different media will be considered, including examples from George Eastman House. The course will focus on a limited time period or a theme.
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4.00 Credits
This class will explore the various spiritual and artistic traditions of the indigenous peoples of North America. Ranging from the Canadian arctic to the desert Southwest, we will look at various practices including: shamanism, art and hunting magic in the Arctic, art and curing societies in the Great Lakes and Eastern Woodlands, evidence for religious practice in archaeological contexts, and Kachina societies in the Pueblo southwest. More in-depth readings will focus on Navajo sandpainting and healing, and Plains Indian spiritual traditions including the Sun Dance and Vision Quest, and their manifestations in the artistic record. We shall also examine late 19th century crisis cults such as the Ghost Dance Religion, and pan-Indian movements in the 20th century like the Peyote Religion, as well as issues concerning secrecy, privacy, and ethics in the study of Native artistic and religious traditions.
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3.00 Credits
No course description available.
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4.00 Credits
This course takes an interdisciplinary approach to examining the modern city in both moments of triumph and crisis. The idea of the "city" has played a major role in conceptualizing modernity (as well as Postmodernity). We will look at representations of the metropolis in painting, photography, film and philosophy. Using critical theory, urban planning documents, as well as fictional accounts, we will explore competing ideological perspectives on and debates over the place of the city in modern culture.
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4.00 Credits
Harvestworks will offer this course as an introduction to digital art for Art New York interns. Special application is required. Permission of instructor only
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4.00 Credits
As an integral part of the internship program, all students participating in ANY will meet weekly with the program's resident director. The class will visit museums, art galleries, film & media screenings, & learn from these visits through readings, papers, presentations & discussions. The colloquium will also serve to provide an intellectual framework for understanding the operations of the NY art world & to allow students to discuss with one another their experiences at the various institutions where they intern. Each student will be expected to make a presentation about their internship to the ANY group. There will be an entrepreneurial component which will introduce the students to a wide variety of entrepreneurial activity & innovative practices within arts and culture. Through guest speakers, seminars & field trips the students will learn how entrepreneurial endeavors develop. By the end of the semester, the students will create their own proposal for an entrepreneurial project.
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4.00 Credits
The task of any discussion of frames and framing in the visual arts whether in painting, sculpture, film, performance, architecture, graphic novels and cartoon strips, or digital media - is first and foremost to counter the tendency of framing devices to invisibility with respect to the artwork they supposedly contain. We see the work, but we do not see the frame. It is against this tendency to ignore the frame that this seminar is directed. At first glance the frame may seem to be as unproblematic. Starting from a consideration of the foundational texts of frame theory in the philosophy of Immanuel Kant, we will examine the discursive limits of the material and non-material border in the writings of, among others, Mayer Schapiro, Martin Heidegger, Jean-Claude Lebensztejn, Louis Marin, Craig Owens, and Jacques Derrida.
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4.00 Credits
Cultural critic Stuart Hall has observed that “Heritage is a discursive practice. It is one of the ways in which the nation slowly constructs for itself a sort of collective social memory.” In this upper level seminar, we will look at case studies of how people (through the collectivities of gender, ethnicity, race, or nation) construct visual narratives about the past. Among the topics for consideration are Holocaust memorials, Native American and Polynesian museums and cultural centers, African American quilt histories, and even individual artists’ projects of the last few decades (Judy Chicago, Fred Wilson, Silvia Gruner, José Bedia, and Jolene Rickard, among others).
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0.00 Credits
No course description available.
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0.00 Credits
No course description available.
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