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  • ARHI 30550: History of Photography

    3.00 Credits
    University of Notre Dame

    Open to all students. This course deals with the development and use of photography as an artistic medium from the time of its invention in the mid-19th century up to the present moment. Besides viewing slides, the student will be able to view a large number of original photographs from the Snite Museum of Art.
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  • ARHI 30551: History and Photography

    3.00 Credits
    University of Notre Dame

    Both history and photography were practices invented and developed in the 19th century, and they share a capacity to illuminate events in the past. Both history and photography can depict human suffering and point to political practices that might alleviate that suffering. Both must grapple with the nature of time. Both, in odd ways, transcend, but also cement, the finality of death. Both promise a form of truthfulness which they do not always achieve. Given these similarities, it is no wonder that so many writers have considered them together. When compared, however, the distinctive qualities of each often come to the fore. By reading about photography and history and by looking at images, students in this course will explore the limits and possibilities of each modern pursuit.
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  • ARHI 30555: History of Photography: The Nineteenth Century

    3.00 Credits
    University of Notre Dame

    This course deals with the development and use of photography as an artistic medium from time of its invention in the mid-t9th century up to the present moment. Besides viewing slides, the student will be able to view a large number of original photographs from the Snite Museum of Art. Regular visits to view original images from each period will take advantage of the Snite Museum's extensive holdings of photographs from the various periods studied.
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  • ARHI 30560: History and Theory of Twentieth Century Photography

    3.00 Credits
    University of Notre Dame

    This course seeks to introduce students to the difficulties of writing the history and criticism of photography as a separate discipline that operates simultaneously outside and inside the history of modernism: since photographic practices are defined by an extraordinary diversity of social functions and institutions (e.g. fashion and political documentary, advertisement, and avant-garde art), the impossibility of such a cohesive approach clearly poses a central methodological problem. This condition has been confronted by photographers, artists, and photography historians and critics with a wide range of responses.
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  • ARHI 30565: Visualizing America: Survey of American Art and Culture

    3.00 Credits
    University of Notre Dame

    This course examines American visual and material cultures from the pre-colonial era to the present day. Providing a broad, historical account and considering a variety of media from paintings and sculptures to quilts, photographs, world's fairs, and fashion styles, this survey explores American art within the context of cultural, social, economic, political, and philosophical developments. In particular, it considers the role that American art has played in the formation of national identity and understandings of class, race, gender, and ethnicity.
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  • ARHI 30801: Mesoamerican Art: Olmec and Their Legacy

    3.00 Credits
    University of Notre Dame

    The Olmec civilization was the mother culture of Mesoamerica, beginning in 1500 B.C. This course will introduce the student to the Mesoamerican worldview by tracing the origins of Mexican art, religion and culture from the development of the Olmec civilization up to Aztec times.
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  • ARHI 30831: Images of Mexico: A Photographic Journey

    3.00 Credits
    University of Notre Dame

    This course on Mexican photography is taught from the lens of Mexican documentary photographer, Antonio Turok. We will explore key themes and struggles in Mexican society and culture through the visual legacy of Mexico's photographers, domestic and foreign, past and present. The primary goal of the course is to analyze photography as a means of understanding Mexico's complex diversity of peoples, landscapes and history. The goal of the course is not only to motivate students to learn about Mexican photography but also to analyze the political, social, economic, cultural and religious contexts informing the work in order to formulate a broader understanding of Mexico and Mexicans. Among the questions we will be asking in our exploration of the photography of Mexico are what motivated the photographer to create the images, and how did the photographer shape the images to become visual symbols? Materials for the course include the visual legacies of photographers, photographic criticism and recorded interviews with the photographers talking about their work.
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  • ARHI 30860: Latin American Art and Architecture: 1491-1821

    3.00 Credits
    University of Notre Dame

    This course introduces the student to the rich visual and religious culture of the peoples of Latin America at the arrival of the Europeans and thereafter. The course deals with Mexico and the Andean region from 1491-1821 and the encounter of Aztecs and Incas with Christian artistic culture, and vice versa. Attention will be paid to the indigenous art forms on the eve of the Spanish invasion, the cooperative work of natives and clergy in the construction and decoration of churches, and in the development of a hybrid multicultural, multiracial society. Late medieval, Renaissance and Baroque art forms, as reinterpreted in the Spanish-speaking Americas, are the focus. Questions of religious syncretism and conscious inculturation through the arts are raised. Issues of colonialism, race, gender and class will also be dealt with in the context of the visual religious cultures of the Latin American past and present. A reading knowledge of Spanish would be helpful but is not required.
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  • ARHI 33312: Venetian and Northern Italian Renaissance Art

    3.00 Credits
    University of Notre Dame

    This course focuses on significant artistic developments of the 16th century in Venice with brief excursions to Lombardy and Piedmont. Giorgione, Titian, and Palladio, the formulators of the High Renaissance style in Venice, and subsequent artists such as Tintoretto and Veronese are examined. An investi¬gation of the art produced in important provincial and urban centers such as Brescia, Cremona, Milan and Parma also provide insight into the traditions of the local schools and their patronage.
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  • ARHI 33840: Aesthetics of Latino Culture

    3.00 Credits
    University of Notre Dame

    This course will analyze the philosophy and principles underlying the social and political aspects of Latino art. We will approach this by examining a range of topics, including Chicano and Puerto Rican poster art, muralism, Latina aesthetics, and border art. The readings will enable us to survey a number of important exhibitions of Latino art and to explore new possibilities for exhibition and representation. We will examine descriptive material and critical writings concerning issues pertaining to the representation and interpretation of Latino culture and art as well as how these questions surface in a national museum context.
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