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Course Criteria
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4.00 Credits
4 credits. Alternate years Focuses on objects and movements influenced by industrialization and mechanization in the U.S. between 1900 and 1940. Topics include: the rise of the skyscraper in American architecture and its effect on painters and printmakers; the advent of the automobile and the assembly line’s replacement of the factory worker; and Dada’s expressionof the havoc wreaked during World War I by new machine-age technology. Prerequisite: Permission of instructor
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4.00 Credits
4 credits. Special topic (offered irregularly) The term “sculpture” has become so elastic that it can encompass foundobjects, language art, video projections, or body art. Beginning with Auguste Rodin, the class explores the changes in concepts, methods, and materials that have brought about dramatic shifts in the critical approach to sculpture. Prerequisite: Two courses in art history or permission of instructor
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4.00 Credits
4 credits. Special topic (offered irregularly) The work of Robert Rauschenberg is examined in the context of postwar neo-avant-garde activities in the U.S. and in relation to the work of contemporaries like Jasper Johns and John Cage. Students also review recent theoretical debates about the meaning and significance of the artist’s work. Some background in the study of modern or contemporary art is useful. Prerequisite: Permission of instructor
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3.00 Credits
3 credits. Spring A practical course in art criticism, which meets regularly in New York. Contemporary works of art form the basis for lectures, discussions, and written essays. Limited to art history majors. Off e red as VIS 4460 for visual arts majors.
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4.00 Credits
4 credits. Alternate years Explores reciprocal influences of Western and non-Western art in the modern period. Topics include diverse artistic movements like “Orientalism,”“Japonisme,” and “Primitivism.” The class also examinthe impact of non-Western art on specific artists, including Delacroix, Manet, Whistler, Picasso, and Pollock.
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4.00 Credits
4 credits. Alternate years An examination of various types of writing about art, from visual analysis essays to art journalism, exhibition reviews, and research papers. Students study the critical characteristics of these different writing formats and learn to write their own reviews, essays, and papers. Prerequisite: One upper-level art history course and permission of instructor
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4.00 Credits
4 credits. Alternate years Pop Art, initially regarded with suspicion and considered frivolous, has proved to be a significant and influential movement. Today, it is perceived as an art form that expresses serious social and political concerns. This course focuses on the emergence of Pop Art in England, the influence of American Pop Art on European artists, and the way in which Pop Art energizes conceptual art today. Artists covered include Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Gerhard Richter, Jeff Koons, and Damien Hirst.
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4.00 Credits
4 credits. Special topic (offered irregularly) In this historical approach to Pop Art, the evolving relationship between mass culture and the visual arts is surveyed, from the development of “modern life” painting in France in the late 19th centuryto the development of Pop in Britain and the U.S. in the mid-20th century. The legacy of Pop is examined in politically oriented practices of the 1970s and in post-Pop tendencies in contemporary art. Prerequisite: Permission of instructor
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8.00 Credits
8 credits. Every semester Students use the methodology of art history in an extended project (e.g., a research thesis, an exhibition at the Neuberger Museum of Art, a critical study, or a project based on monuments found within the New York are a ) . Two semesters re q u i red (8 credits total).
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4.00 Credits
4 credits. Alternate years The major theoretical orientations and methodologies associated with art historical study are discussed and critiqued. Methods reviewed range from connoisseurship to the iconographical and social-historical. Theories surveyed include formalist, Marxist, literary, feminist, psychoanalytic, and new-historicist concerns that dominated 20thcentury interpretative practice. Required for M.A. students.
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