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  • 2039-375: 20th Century Art Since 1950

    3.00 Credits
    Rochester Institute of Technology

    A critical study of the art and visual culture of the second-half of the twentieth century. Major stylistic movements in Europe and America will be examined with special attention to innovations in materials, subject matter, and philosophy. Central themes include: Abstract Expressionism, Pop Art, Nouveau Realism, and Arte Povera, Earthworks, Site Specifi city, Allefory, Conceptualism, Minimalism, Feminism, Performance, and New Media. (2039-225, 2039-226 and ,2039-227 or permission of instructor) Credit 3
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  • 2039-376: Renaissance Painting in Flanders

    3.00 Credits
    Rochester Institute of Technology

    The history of Renaissance painting in the Southern Netherlands from the beginning of the 15th century to the end of the 16th century. We will consider the meaning of the Renaissance in Flanders, the observation and recording of natural appearances, "hidden symbolism" and sacramental themes in EarlyNetherlandish painting, the connections between Flemish, German, and Italian art, the development of new genres in the 16th century, "originality" and "artistiprogress." Lectures, reading assignments, and research papers. Credit 3
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  • 2039-385: Installation Art

    3.00 Credits
    Rochester Institute of Technology

    This course will introduce students to historic, contemporary, and critical issues surrounding installation art. There will be an introduction to the development of installation art as a genre. We will examine the changes, which have developed over the past three decades object sculpture to non-object. There will be an emphasis on the development of the concept of an installation project and its relationship to site and/or audience. Both public and gallery spaces will be discussed. (2039-225, 2039-226, 2039-227 and 2039-365) Credit 3
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  • 2039-390: Native American Art and Culture

    3.00 Credits
    Rochester Institute of Technology

    Survey of Native American visual arts within the context of Native American cultures and within a historical and anthropological framework. Native American arts, their roots, traditional expression, changes with European contact and contemporary expressions are examined by culture area. Consideration also is given to materials used, techniques of construction, individual and tribal styles, as well as to the meaning and function of various art forms within Native American societies. Credit 3
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  • 2039-395: Theory and Criticism of 20th Century Art

    3.00 Credits
    Rochester Institute of Technology

    A critical study of theoretical and philosophical texts which ground twentieth century art as well as their impact on artists and art historians/critics. Major issues include: the theory of autonomy and self-refl exivity, the structuralist paradigm, poststructuralist and Marxist critiques of modernism, Feminist approaches to spectacle, spectatorship, and commodity fetishism, and the relation of vision to constructions of identity and power. Key authors to be discussed include: Lessing, Kant, Foucault, Barthes, Benjamin, Saussure, Pierce, Levi-Strauss, Lacan, Bataille, Lyotard, and Baudrillard. (2039-225, 2039-226, 2039-227 and 2039-365 or 2039-375 or permission of instructor) Credit 3
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  • 2039-410: The Art of Art History

    3.00 Credits
    Rochester Institute of Technology

    This course will trace the history of how we look, talk and write about those things that western culture calls "art." The course will concentrate, in a looselychronological manner, on the development of art history and criticism from its roots in 18th century Germany to a multiplicity of viewpoints of the late 20th century. This inquiry will examine the people behind a tradition within the literature of the visual arts that not only re-examined the same issues, but also challenged, expanded and elaborated on one another's work. The course will show art history and our conception of art as something that is always under revision and is always in fl ux. (2039-225, 2039-226, 2039-227 and a non-20th Century Art History elective) Credit 3
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  • 2039-415: Thinking About Making:The Practice of Art in a Global Society

    3.00 Credits
    Rochester Institute of Technology

    A discussion based art history elective for upper level undergraduates. The course seeks to bridge the gap between studio practice and contemporary art history. The course will explore very current work and ask questions about what is art, who is the audience, what is "our" art making practice and howdoes that fi t within the larger context of the current state of the global art world. How do we measure success and artistic failure The course emphasizes observation, critical analysis, and written interpretation. (2039-225, 2039-226, 2039-227 or instructor permission) Credit 3
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  • 2039-425: Public Art/Public Space

    3.00 Credits
    Rochester Institute of Technology

    This course will introduce students to the contemporary and critical issues surrounding Public Art. There will be an introduction to the history of Public Art. We will examine the changes from public art as monument to public art as place. There will be an emphasis on the new genre of public art, which involves community and historical referencing of site. The debate over public funding for public art will also be discussed; as the question of 'whose art is it'has become a pivotal issue in defi ning public art for public places. (2039-225, 2039-226, 2039-227 and 2039-365) Credit 3
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  • 2039-430: Dada and Surrealism

    3.00 Credits
    Rochester Institute of Technology

    Explores the Dada and Surrealist movements in Europe and the United States from 1916 through 1968. Emphasis is on identifying the major works of artists involved in these aesthetic developments. Ideology and formal ideas are analyzed in lectures, reading assignments, and research papers. Credit 3
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  • 2039-433: What is Postmodernism

    3.00 Credits
    Rochester Institute of Technology

    "What is Postmodernism " will cover the art, politics, culture, and the criticaltexts that formed the discourses, and their resulting debates, about contemporary society after World War II and especially so after the social unrest of 1968. The course, "What is Postmodernism " features the question itself. How andwhy, and by whom, are questions asked and answered What if the question were to be asked from within the discourse of architecture or music or biology Would the answers be the same Would the questions be the same Credit 3
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