Introduction to history of topics that investigate power/importance of art both globablly and in its diverse forms, from architecture and painting to video and prints. Sacred space, propaganda, the museum, art/gender, art/authority, tourism.

Internship or research assistantship in approved program, art institution, business or museum. prereq: instr consent

Field work at local, regional, national, or international arts organization or with professional artist provides experience in activities/administration of art/art-based organizations. prereq: BFA Art major, instr consent

Physical, chemical, and biological characteristics of fibers, yarns, textile structures, and finishes. Their effect on performance/appearance of textile products, including apparel, interior, and industrial textiles.

This course provides a hands-on and research experience in collections management utilizing artifact, archival, and digital collections. Museum collections, the objects or specimens they contain, the information associated with them, and their care and maintenance are a crucial part of both the sciences and the humanities. While seemingly disparate, many of the issues faced by those responsible for collections are quite similar: how to preserve and care for those collections, legal issues surrounding the materials they contain, how to organize and classify the items, how to facilitate discovery and access, and how to make the information contained in them available to the broadest audience possible. The course includes lectures by museum professionals, hands-on activities and selected readings. Credit will not be granted if credit has been received for ANTH 5501.

Archives are not neutral. In order to decolonize them, scholars in anthropology and other disciplines must first understand the ways in which Western settler values have structured them. Who decides acquisition policy? How are items indexed, described, and related to one another? Who has access, and under what conditions? And who is structurally excluded? In this course we decolonize by recontextualizing both the archives as institutions and their contents. In other words, we use methods appropriate for contemporary anthropological archival research. We will consider preservation, curation, organizational bias in archives, analytic scale, voice, and how historical texts are material culture. Students engage in original archival research.

Contexts of cultural heritage applicable to federal/state protection. Approaches to planning/management. Issues of heritage/stakeholder conflict.

Introduction to design, design process. Developing/understanding ways of seeing, thinking, and acting as a designer. Changes in design being wrought by digital technology. Team design project.

Historic building materials, systems, methods of conservation. Structural systems, building repair/pathology. Introducing new environmental systems. Conserving interiors. Research on materials/techniques, using primary/secondary resources. Documenting with photography/measured drawings. prereq: 4671 or concurrent enrollment in 4671 or instr consent

Design/planning options for conservation of historic buildings/cultural heritage sites. Case studies link current practices, methods/solutions with expert preservationists, site conservationists, local communities in development/design of conservation proposals. prereq: Jr or sr or instr consent

Professional Practices in the Arts is a course that examines practical applications of presentation, documentation, business skills, and career planning specific to studio art. It provides a foundation of practical information to assist undergraduate and graduate studio majors in building a successful career. The course consists of lectures, discussions, readings, presentations, and demonstrations. The class will spend a significant amount of time discussing different types of art venues and the appropriate contexts for different types of work. Additionally, we will assess and interpret individual students' work as a means to generating appropriate questions and insights for artists statements. prereq: Grad student or [Art BFA student or Art Major, jr or sr]

This course looks at current critical questions of curating and exhibition making. We explore the process of developing an exhibition, building working relationships with artists and understanding how to e?ectively communicate ideas to turn a concept into a project. The course assumes that curating has also evolved from a practice associated with a museum art expert to something that is increasingly framed as a creative marketable skill related to cultural production. Discussions, readings, and coursework include consideration of gallery and public space and audience experience. Curatorial trends will be explored via site visits to established and alternative exhibit spaces. Students are introduced to a wide variety of artists and how their work is contextualized by the exhibition format. Site visits to exhibition spaces and conversations with professional curators reinforce the course material. Through practice and application, students examine the evolving de?nitions and responsibilities of a curator, and a variety of issues related to the development of a coherent and relevant exhibition. Students participate in hands-on, curatorial workshops, and curate a professional, public presentation using a nontraditional space, gallery space, digital space or other local venue.

Recreation, leisure, and tourism are significant parts of the world, national, and state economies. Understanding visitor behavior is important and has significant implications for organizations, agencies, and businesses related to parks, tourism destinations, and museums. In this class, you will learn to apply both social science theory and methods to understand consumers, with an emphasis on visitors to parks and protected areas. You will immediately apply your learning of survey development, interviewing, observation and content analysis to real-word situations in class projects. This is an online course.

Historical and philosophical roots of museums and emerging philosophical issues faced by museums today - from art, history, science, and youth to living collections, living history sites, and historic houses. Field trips to area museums.

Practical aspects of museum work. Standards, practices, responsibilities, issues, all set in greater museum context. Curatorial/educational duties, collections management, security, funding, boards, public relations, installation, budgeting. prereq: Grad student or instr consent

Concepts/tools for project/budget planning. Program analysis. Interpreting financial reports. Identifying/resolving organizational performance issues. Case studies, real-world exercises. prereq: Jr or sr

Interpretations of collective past as produced in public venues, including museum exhibitions, films, theme parks, and websites. Intellectual and political issues in history produced for public audiences. Career opportunities.

Interpretations of collective past as produced in public venues, including museum exhibitions, films, theme parks, websites. Intellectual and political issues in history produced for public audiences. Career opportunities.

Interpretations of collective past as produced in public venues, including museum exhibitions, films, theme parks, websites. Intellectual and political issues in history produced for public audiences. Career opportunities.

Study abroad course.

During the Middle Ages and in the early Modern Age, three great civilizations clashed for the control of the Mediterranean basin: the Latin West, the Byzantine Empire, and the Muslim world. But the sea was not just a theatre of war, it was also a lively economic area, with trade routes crossing it from north to south, from east to west. Moreover, it was the place where different cultures met: This course will explore their reciprocal influence, with a special focus on art history and a mainly Italian and Florentine point of view. Topics will include: the impact of Islamic art on Western culture; the role of Byzantine art in the development of Florentine painting; the rediscovery of Greek classical culture and its importance in Renaissance civilization; the consequences of the fall of Constantinople and of the expansion of the Ottoman Empire. Students will explore Florentine churches, palaces, and museums in search of visual evidence of the links between the city and the diversity of Mediterranean culture.

Arts and culture are rapidly growing sectors of the economy in the UK and worldwide. This course will focus on the ways in which the Creative industries are structured, and how arts administrators successfully share creativity with the public and lever-age the commercial opportunities of creative production. Key topics to be explored will include the arts as a business; managing financial imperatives and the artistic process; promoting and presenting cultural products. Case studies will be drawn from a variety of fields such as film, digital media, gaming, theatre, museums, and publishing, and students will have the opportunity to engage directly with practitioners successfully working in various fields of arts and culture and those managing the interface between creativity and business in London. It is an industry that is growing year on year, but it can be a difficult market to navigate and capture economical value, as "cultural goods" are less fixed, or less concrete than other measurable areas of ex-change. Students will examine the history of the Creative Industries to understand the current environment in an historical context. They will focus specifically on the shifting creative industries in a digital world with the advent of social media, streaming services, revolutionary marketing techniques, crowd-sourcing, and audience creation. Students will explore key concepts and theories, but they will also explore the practical applications of the industries in action. They will gain a deeper understanding of the media they consume via interaction with professionals, venues, and event opportunities highlighted in this module. Throughout this course, students will be encouraged to explore their own interests of the Creative Industries. By bringing personal experience and interest into an analytical environment, this module will allow students to gain a deeper understanding of media artifacts, and provide them with the tools and skills to expand their understanding and engagement with their chosen sectors.

In the early twenty-first century, museums are becoming increasingly more relevant to all parts of society, exhibition displays are often controversial and politically charged. This course is an introduction to both British society, culture and museology. The course considers museums as reflections of the British psyche, unique cultural constructs that help us understand "Britishness". We will also be looking at museums as institutions of "global" heritage in the context of a global city, with a unique British perspective. As an introduction to museology, the course will look at the development of the modern museum and its operation, as well as interrogate the different types of museums. We will look at the impact British history, society and politics have had on London museums, their creation and their day to day operations and audiences. Taking advantage of our location, we will do field work in eight different museums, from the famous and vast "global" British Museum to the small and privately-owned Saatchi Gallery. Students will analyze the ways in which imperialism and its legacy, as well as Britain's global relationships have influenced museum development and how this gives rise to the politics of patrimony. We will look at questions of cultural appropriation and the political debate on repatriation versus protection. This debate has recently been energized by the depredations of IS on what many would call the global heritage of Iraq and Syria. We will also be looking at material culture and what it says about individuals and society. Students will examine the choices, ethics and political and social meanings of both creating material culture and collecting it, and the ethics of preservation and restoration. While the creation of material culture has specific psychological, social and often political meanings; collecting, preserving and displaying one particular object involves a very complex decision-making process which is influenced by the cultural values of the decision maker. We will examine, for example, the impact of the Classical period on British society in the past and present, its importance to class and education in Britain, and how this is reflected in museum collections. Students will also look at the complex decision making of conservators and restorers. These decisions have social and political impact, choosing to emphasize one period and use over another. The course will also look closely at decision makers and their role in the museum industry, the origins of museums from individuals to trade exhibitions and current museum professionals, as well as the impact museum audiences have on the work of museums. Students will also examine the impact of communities on museum development, on exhibition creation, how engaged museums are with their communities, and how the unique diversity of London is reflected (or not) in its museums.

This class combines theoretical analysis, case studies, and hands-on practice to understand and execute traditional and online communications strategies. The course will begin with a literature review of theories and principles relevant to the practice of strategic communication and social media practices including media effects, Internet effects, and uses and gratification theory. Second, cases studies will be utilized to investigate the effectiveness of messaging strategies employed by not-for-profit and commercial organizations as well as individual actors such as businesses, politicians, and influencers. Finally, students will work for a real-world client and their own portfolios to formulate an overarching communication strategy inclusive of recommendations for messaging strategies across all platforms (traditional messaging, website, Facebook, YouTube, Instagram, press releases, e-blasts, and speeches.)

This course is designed to help you think about American history, experiences, and identities by looking closely at the visual record of painting, sculpture, decorative/applied arts, and other sites and artifacts made in the United States, from the colonial period to the rise of the Cold War in the 1950s-60s. Our particular interest will be to understand how "America" is an idea that has been continually shaped, expressed, represented, and even contested through the visual and material world.

Major monuments/issues of modern period. Sculpture, architecture, painting, prints. Neo-classicism, romanticism, realism, impressionism, evolution of modernism, symbolism, fauvism, cubism, dadaism, surrealism, abstract expressionism, pop art, conceptualism, postmodernism.

Why does art so often elicit anger, debate, protest, and vandalism? Arts controversies raise many difficult questions that this class examines: should artists be allowed to use taxpayer funds to create works of art critical of the government or that some find offensive? Should public sculptures commemorate Confederates, slave owners, or colonialists? How do we know when something is obscene? Is censorship ethical? Do artists have the right to control the fate of their work after it is sold? Who should decide what artists are chosen for public commissions, what artworks are selected for public buildings, or how works of art should be interpreted? Does public opinion make bad art? This course trains students in the history of arts controversies in the United States from the 19th century to the present and in the changing social conditions through which art has become a flashpoint for public debate. Assignments focus on discipline-specific research and writing techniques that build toward a group project in which students research, take up positions, and debate the merits of important case studies. The class is primarily designed for students to learn about the arts and arts policy today, i.e., the art world of which they are and will be citizens. They are asked to inspect the sources of dominant cultural beliefs and to gain a deeper understanding of and take responsibility for their own cultural, political, and artistic values.

Western art has a long tradition of depicting and directly engaging with the environment?from ancient earthworks such as Stonehenge and Avebury Stone Circle, to 18th and 19th century landscape paintings and 20th century photographs, to land and earth art of the 1960s and ?70s, and what is now called environmental or eco art. Such art has had a prominent place in art?s history, but do we really need art to save the environment? Studies repeatedly show that the arts are crucial to understanding and forestalling environmental disaster because, it turns out, human attitudes are shaped by the stories we tell, by our ability to imagine the unimaginable, to accept the inanimate as potentially coming to life, to picture things on a vast scale. In this course students learn the historical development of artistic movements from 1968, when the first exhibition of such art, called ?Earthworks,? took place at the Dwan Gallery in New York, up to the present day. The course tracks the changing aesthetic, political, and climatic forces that influenced such art, from the anti-institutionalism and participatory approaches of the 1960s to the more activist artistic engagement with environmentalism today. The class takes up two primary concerns: understanding the historical and scientific conditions that have given rise to such art and learning the ways in which artists have sought to intervene in and affect a changing environment. Students put historical knowledge, environmental research, and visual analysis skills to work in a culminating group project creating art that responds to a contemporary environmental problem.

The end of the Second World War is commonly understood as a watershed moment in art history when the center of western art shifted from Paris to New York and the old tradition of art academies and annual salons disappeared once and for all. It is a moment that sees dramatic changes in who artists are, how they are trained, what kind of art they make, and the audiences to whom they appeal. This course surveys U.S. and European art history from 1945 to the present so that students gain a thorough understanding of the social, political, and economic forces that contributed to the development of significant art movements including abstract expressionism, pop art, and minimalism, as well as key modes of artmaking including painting and sculpture, happenings, installations, video, earthworks, and participatory art. The course also trains students in philosophies of art and tracks the dramatic changes in aesthetics over the period. Primarily a lecture course, students? historical knowledge is assessed through two in-class examinations in which they identify, compare, contrast, and think critically about works of art. In addition, students practice discipline-specific research skills by compiling an annotated bibliography and writing short papers that rigorously examine primary sources.

Development of photography, from 19th century to present. Photography as legitimate art form. Portraits/photo albums in culture. Birth of criminal justice system. Technological/market aspects. Politics of aesthetics. Women in photography. Ways in which idea of America has been shaped by photographs.

This course will engage with the history of film as an art form through a selection of significant movements, styles, filmmakers, institutions, and, of course, individual films from around the world. While this will not be a comprehensive study, it will address both mainstream, commercial films as well as oppositional, experimental, underground, and otherwise challenging works. Some of the wide-ranging selection of films we will watch and discuss: Germaine Dulac?s La Coquille et le Clergyman (The Seashell and the Clergyman) (1922), Gillo Pontecorvo?s The Battle of Algiers (1966), Julie Dash?s Daughters of the Dust (1991), and Alfonso Cuarón?s Roma (2018).

Course examines contemporary cinema, including fiction films, documentaries, animation, and avant-garde experiments. Focuses on feature-length theatrical films, but will also consider other aspects of the contemporary media world: graphic novels, video games, television series and the Internet (e.g., Youtube). Examines media production, distribution, marketing, exhibition, and reception. Course will also present a survey of developments in contemporary cinema studies, since the choice of films will support a variety of critical approaches including economic, aesthetic (generic, auteurist, formalist), ideological (race, class, gender), and reception studies.

One rather old and rigid concept in the history of art and aesthetics is that artistic media, each with its distinct qualities, are most successful when they remain separate. The best painting, according to this view, is one that explores its own properties of flatness, abstraction, and color. What became known in the first half of the 20th century as the philosophy of ?medium specific purity? was radically challenged in the 1960s when the differences between painting and sculpture were intentionally blurred and when new media (performance, body art, happenings, video art, installations and digital art) were introduced. This course seeks to understand how alternative media were developed not through the invention of new technologies nor in isolation, but through revolutionary modes of thinking about time and space, human and non-human life, machines, archives, cyborgs, and interactivity (some of which date back to the 18th and 19th centuries). Through assigned readings and discussions as well as structured essay assignments, the class provides students with extensive practice in the critical analysis of theoretical texts and ample experience synthesizing diverse intellectual ideas and arguments in written form. More broadly, through a creative ?timeline? assignment, the course seeks to teach students to think inventively about new media and their histories, to learn strategies for looking at, evaluating, and thinking about works of new media art. It also provides instruction in research techniques and resources in contemporary art, as well as on writing in art history.

The art of today as it is practiced around the globe takes a bewildering variety of forms?from traditional painting and sculpture to AI, interactive digital media, film projections, bio art (involving human, plant, and animal blood, tissue and DNA), participatory and community engaged projects, and environmental interventions. It addresses urgent social and political themes including globalization, institutionalized racism, climate crisis, big data, and mechanized vision. Just as today?s citizens should inform themselves about contemporary politics and current events, so is it crucial that we understand the art of our own time. In this course students gain an understanding of art?s development since the late 20th century and key ideas that are central to interpreting the art of this period. The course begins with a review of important movements, significant artists, and influential theories and issues. It then takes up and studies specific themes through the reading and analysis of theoretical texts. Students are asked to read, participate in class discussions, complete guided or independent research papers, prepare an in-class presentation on one of the course themes, and complete a book review for a textbook on contemporary art history. Each of these assignments is designed to impart specific historical knowledge about the period of the contemporary, to provide students with opportunities to practice critical reading and synthetic writing, and to offer them a chance to inspect their own positions regarding key debates.

What happens when two cultures meet? How do different cultures shape and influence each other? In this course we'll examine how the diverse cultures of the Ancient Eurasian world became entangled with one another through the material remains they left behind. We'll use a variety of tools and techniques to analyze and interpret material objects, spaces and art? from the Egyptians and Sassanians, to the Romans and Qin and Han dynasties. Uncover a more nuanced and inclusive understanding of how these ancient cultures changed their ideologies, iconographies, and modes of representation through trade networks, political alliances, and colonial enterprise.

Grounded in critical race theory, intersectionality, and queer theory, this class draws on primary texts and a range of visual and material sources to trace the histories, experiences, and representations of marginalized identities in the medieval world. We will consider gender, sexuality, and race in the context of Jewish, Christian, and Islamic cultures during the Middle Ages. This class will examine topics including transgender saints, miraculous transformations, demonic possession, female artists and patrons, the "monstrous races" of travel accounts, and gender-affirming surgeries. In contrast to misconceptions of a homogenous white European past, the reality of medieval Europe was diverse and complex, and its boundaries - geographical, cultural, bodily, and otherwise - were in flux, as reflected in its visual and material culture.

Grounded in critical race theory, intersectionality, and queer theory, this class draws on primary texts and a range of visual and material sources to trace the histories, experiences, and representations of marginalized identities in the medieval world. We will consider gender, sexuality, and race in the context of Jewish, Christian, and Islamic cultures during the Middle Ages. This class will examine topics including transgender saints, miraculous transformations, demonic possession, female artists and patrons, the "monstrous races" of travel accounts, and gender-affirming surgeries. In contrast to misconceptions of a homogenous white European past, the reality of medieval Europe was diverse and complex, and its boundaries - geographical, cultural, bodily, and otherwise - were in flux, as reflected in its visual and material culture.

Grounded in critical race theory, intersectionality, and queer theory, this class draws on primary texts and a range of visual and material sources to trace the histories, experiences, and representations of marginalized identities in the medieval world. We will consider gender, sexuality, and race in the context of Jewish, Christian, and Islamic cultures during the Middle Ages. This class will examine topics including transgender saints, miraculous transformations, demonic possession, female artists and patrons, the "monstrous races" of travel accounts, and gender-affirming surgeries. In contrast to misconceptions of a homogenous white European past, the reality of medieval Europe was diverse and complex, and its boundaries - geographical, cultural, bodily, and otherwise - were in flux, as reflected in its visual and material culture.

Architecture, painting, and other arts from Islam's origins to the 20th century. Cultural and political settings as well as themes that unify the diverse artistic styles of Islamic art will be considered.

Architecture, painting, and other arts from Islam's origins to the 20th century. Cultural and political settings as well as themes that unify the diverse artistic styles of Islamic art will be considered.

This course will provide an introduction to the history of Greek art, architecture and archaeology from the formation of the Greek city states in the ninth century BCE, through the expansion of Greek culture across the Mediterranean and Asia in the Hellenistic period, to the coming of Rome in the first century BCE. While this survey concentrates on the main developments of Greek art, an important sub-theme of this course this is the changes Classical visual culture underwent as it served non-Greek peoples, including the role it played for Alexander and his successors in forging multiethnic, globally minded empires in Western, Central and South Asia. No background in the time period or discipline is expected and therefore this class will also serve as an introduction to interdisciplinary study of art history and the classical world. A number of art historical methodologies will be introduced in order to not only give students a useful background in art history but to give them the tools to think as art historians and incorporate related visual and textual evidence meaningfully into their writing.

This course will provide an introduction to the history of Greek art, architecture and archaeology from the formation of the Greek city states in the ninth century BCE, through the expansion of Greek culture across the Mediterranean and Asia in the Hellenistic period, to the coming of Rome in the first century BCE. While this survey concentrates on the main developments of Greek art, an important sub-theme of this course this is the changes Classical visual culture underwent as it served non-Greek peoples, including the role it played for Alexander and his successors in forging multiethnic, globally minded empires in Western, Central and South Asia. No background in the time period or discipline is expected and therefore this class will also serve as an introduction to interdisciplinary study of art history and the classical world. A number of art historical methodologies will be introduced in order to not only give students a useful background in art history but to give them the tools to think as art historians and incorporate related visual and textual evidence meaningfully into their writing.

Introduction to history of Roman art, from formation of city-state of Rome under Etruscan domination, to transformation of visual culture in late antiquity under peoples influenced by the Romans.

Introduction to art and material culture of Roman world: origin, change, continuity. Progress/decay in later empire, its legacy to modern world.

A Chicana/o has been described as a Mexican-American with a political sense of identity that emerges from a desire for social justice. One journalist bluntly stated, "A Chicano is a Mexican-American with a non-Anglo image of himself" (Ruben Salazar, Los Angeles Times, 1970). This identity emerged through the Chicano Movement, a social and political mobilization that began in the 1960s and 1970s. The Chicano Movement witnessed the rise of community-based political organizing to improve the working conditions, education, housing opportunities, health, and civil rights for Mexican-Americans. For its inception, the Chicano Movement attracted artists who created a new aesthetic and framework for producing art. A major focus of Chicana/o artists of the 1960s and 1970s was representation, the right to self-determination, and the role of art in fostering civic and public engagement. This focus continues to inform Chicana/o cultural production. Social intervention, empowerment, and institutional critique remain some of the most important innovations of American art of the last several decades, and Chicana/o artists played a significant role in this trend.

A Chicana/o has been described as a Mexican-American with a political sense of identity that emerges from a desire for social justice. One journalist bluntly stated, "A Chicano is a Mexican-American with a non-Anglo image of himself" (Ruben Salazar, Los Angeles Times, 1970). This identity emerged through the Chicano Movement, a social and political mobilization that began in the 1960s and 1970s. The Chicano Movement witnessed the rise of community-based political organizing to improve the working conditions, education, housing opportunities, health, and civil rights for Mexican-Americans. For its inception, the Chicano Movement attracted artists who created a new aesthetic and framework for producing art. A major focus of Chicana/o artists of the 1960s and 1970s was representation, the right to self-determination, and the role of art in fostering civic and public engagement. This focus continues to inform Chicana/o cultural production. Social intervention, empowerment, and institutional critique remain some of the most important innovations of American art of the last several decades, and Chicana/o artists played a significant role in this trend.

This seminar focuses on some of the major masters of Spanish Baroque art, including Francisco de Zurbarán, Diego Velázquez, Jusepe de Ribera, Bartolomé Esteban Murillo, and Juan Sánchez Cotán. We will explore their works from a variety of perspectives in an effort to understand the unique character and contributions of the art of the Spanish Golden Age.

This seminar focuses on some of the major masters of Spanish Baroque art, including Francisco de Zurbarán, Diego Velázquez, Jusepe de Ribera, Bartolomé Esteban Murillo, and Juan Sánchez Cotán. We will explore their works from a variety of perspectives in an effort to understand the unique character and contributions of the art of the Spanish Golden Age.

Diverse ways in which making of art and scientific knowledge intersected in early modern Europe. Connections between scientific curiosity and visual arts in major artists (e.g., da Vinci, Durer, Vermeer, Rembrandt). Artfulness of scientific imagery/diagrams, geographical maps, cabinets of curiosities, and new visual technologies, such as the telescope and microscope.

Diverse ways in which making of art and scientific knowledge intersected in early modern Europe. Connections between scientific curiosity and visual arts in major artists (e.g., da Vinci, Durer, Vermeer, Rembrandt). Artfulness of scientific imagery/diagrams, geographical maps, cabinets of curiosities, and new visual technologies, such as the telescope and microscope.

Diverse ways in which making of art and scientific knowledge intersected in early modern Europe. Connections between scientific curiosity and visual arts in major artists (e.g., da Vinci, Durer, Vermeer, Rembrandt). Artfulness of scientific imagery/diagrams, geographical maps, cabinets of curiosities, and new visual technologies, such as the telescope and microscope.

Diverse ways in which making of art and scientific knowledge intersected in early modern Europe. Connections between scientific curiosity and visual arts in major artists (e.g., da Vinci, Durer, Vermeer, Rembrandt). Artfulness of scientific imagery/diagrams, geographical maps, cabinets of curiosities, and new visual technologies, such as the telescope and microscope.

This course explores the center of Baroque culture?Rome?as a city of spectacle and pageantry. The urban development of the city, as well as major works in painting, sculpture, and architecture, are considered within their political and religious context, with special emphasis on the ecclesiastical and private patrons who transformed the Eternal City into one of the world?s great capitals.

This course explores the center of Baroque culture --Rome-- as a city of spectacle and pageantry. The urban development of the city, as well as major works in painting, sculpture, and architecture, are considered within their political and religious context, with special emphasis on the ecclesiastical and private patrons who transformed the Eternal City into one of the world's great capitals.

This course explores the center of Baroque culture, Rome, as a city of spectacle and pageantry. The urban development of the city, as well as major works in painting, sculpture, and architecture, are considered within their political and religious context, with special emphasis on the ecclesiastical and private patrons who transformed the Eternal City into one of the world's great capitals.

This course explores the center of Baroque culture, Rome, as a city of spectacle and pageantry. The urban development of the city, as well as major works in painting, sculpture, and architecture, are considered within their political and religious context, with special emphasis on the ecclesiastical and private patrons who transformed the Eternal City into one of the world's great capitals.

This course explores the center of Baroque culture, Rome, as a city of spectacle and pageantry. The urban development of the city, as well as major works in painting, sculpture, and architecture, are considered within their political and religious context, with special emphasis on the ecclesiastical and private patrons who transformed the Eternal City into one of the world's great capitals.

History/theory of creation of lithography, social caricature (e.g., Daumier, Gavarni), revival of etching (e.g., Goya, mid-century practitioners, Whistler), and color lithography (e.g., Toulouse-Lautrec, Vuillard, Bonnard). Media changes of 20th century. Revolutionary nature of new media.

African American cinematic achievements from silent films of Oscar Micheaux through contemporary Hollywood and independent films. Class screenings, critical readings.

African American cinematic achievements, from silent films of Oscar Micheaux through contemporary Hollywood and independent films. Class screenings, critical readings.

What happens when two cultures meet? How do different cultures shape and influence each other? In this course we'll examine how the diverse cultures of the Ancient Eurasian world became entangled with one another through the material remains they left behind. We'll use a variety of tools and techniques to analyze and interpret material objects, spaces and art? from the Egyptians and Sassanians, to the Romans and Qin and Han dynasties. Uncover a more nuanced and inclusive understanding of how these ancient cultures changed their ideologies, iconographies, and modes of representation through trade networks, political alliances, and colonial enterprise.

What happens when two cultures meet? How do different cultures shape and influence each other? In this course we'll examine how the diverse cultures of the Ancient Eurasian world became entangled with one another through the material remains they left behind. We'll use a variety of tools and techniques to analyze and interpret material objects, spaces and art? from the Egyptians and Sassanians, to the Romans and Qin and Han dynasties. Uncover a more nuanced and inclusive understanding of how these ancient cultures changed their ideologies, iconographies, and modes of representation through trade networks, political alliances, and colonial enterprise.

This course offers a wide-ranging introduction to visual culture under the Ottoman Empire. Initially formed as a small principality at the beginning of the fourteenth century in Anatolia, the Ottoman polity established itself as a major political and military power through the early modern period and beyond. With emphasis placed upon key monuments and objects, we will examine an array of artistic media, ranging from manuscript illumination and calligraphy to ceramics, textiles, metalwork, glasswork and jewelry. Major themes include the urban transformation of the Byzantine capital; the formation of imperial ideology and its visual articulation, the formation of a distinctive imperial style across media; the operation of court ateliers and societies of artists and artisans; contacts and interactions with the European and Islamic contemporaries; and cultural and artistic "decline."

Western art has a long tradition of depicting and directly engaging with the environment?from ancient earthworks such as Stonehenge and Avebury Stone Circle, to 18th and 19th century landscape paintings and 20th century photographs, to land and earth art of the 1960s and ?70s, and what is now called environmental or eco art. Such art has had a prominent place in art?s history, but do we really need art to save the environment? Studies repeatedly show that the arts are crucial to understanding and forestalling environmental disaster because, it turns out, human attitudes are shaped by the stories we tell, by our ability to imagine the unimaginable, to accept the inanimate as potentially coming to life, to picture things on a vast scale. In this course students learn the historical development of artistic movements from 1968, when the first exhibition of such art, called ?Earthworks,? took place at the Dwan Gallery in New York, up to the present day. The course tracks the changing aesthetic, political, and climatic forces that influenced such art, from the anti-institutionalism and participatory approaches of the 1960s to the more activist artistic engagement with environmentalism today. The class takes up two primary concerns: understanding the historical and scientific conditions that have given rise to such art and learning the ways in which artists have sought to intervene in and affect a changing environment. Students put historical knowledge, environmental research, and visual analysis skills to work in a culminating group project creating art that responds to a contemporary environmental problem.

The art of today as it is practiced around the globe takes a bewildering variety of forms?from traditional painting and sculpture to AI, interactive digital media, film projections, bio art (involving human, plant, and animal blood, tissue and DNA), participatory and community engaged projects, and environmental interventions. It addresses urgent social and political themes including globalization, institutionalized racism, climate crisis, big data, and mechanized vision. Just as today?s citizens should inform themselves about contemporary politics and current events, so is it crucial that we understand the art of our own time. In this course students gain an understanding of art?s development since the late 20th century and key ideas that are central to interpreting the art of this period. The course begins with a review of important movements, significant artists, and influential theories and issues. It then takes up and studies specific themes through the reading and analysis of theoretical texts. Students are asked to read, participate in class discussions, complete guided or independent research papers, prepare an in-class presentation on one of the course themes, and complete a book review for a textbook on contemporary art history. Each of these assignments is designed to impart specific historical knowledge about the period of the contemporary, to provide students with opportunities to practice critical reading and synthetic writing, and to offer them a chance to inspect their own positions regarding key debates.

Architecture, painting, and other arts from Islam's origins to the 20th century. Cultural and political settings as well as themes that unify the diverse artistic styles of Islamic art will be considered.

Architecture, painting, and other arts from Islam's origins to the 20th century. Cultural and political settings as well as themes that unify the diverse artistic styles of Islamic art will be considered.

This course will provide students with foundational knowledge in the art, architecture, and archaeology of Egypt, East Africa, Asia Minor, Mesopotamia, Iran and Central Asia from the Neolithic through Late Antiquity (ca. 7,000 B.C.E. - 650 C.E.). Students will gain an understanding of the relationship between the visual material and the social, intellectual, political, and religious contexts in which it developed and functioned. In this regard, students will also gain an understanding of the evolution of, and exchanges and differences among, the visual cultures of these time periods and regions. It will also expose them to the preconditions for contemporary geopolitics in the region.

This course will provide students with foundational knowledge in the art, architecture, and archaeology of Egypt, East Africa, Asia Minor, Mesopotamia, Iran and Central Asia from the Neolithic through Late Antiquity (ca. 7,000 B.C.E. - 650 C.E.). Students will gain an understanding of the relationship between the visual material and the social, intellectual, political, and religious contexts in which it developed and functioned. In this regard, students will also gain an understanding of the evolution of, and exchanges and differences among, the visual cultures of these time periods and regions. It will also expose them to the preconditions for contemporary geopolitics in the region.

This course will provide students with foundational knowledge in the art, architecture and archaeology of Egypt, East Africa, Asia Minor, Mesopotamia, Iran and Central Asia from the Neolithic through Late Antiquity (ca. 7,000 B.C.E. - 650 C.E.). Students will gain an understanding of the relationship between the visual material and the social, intellectual, political and religious contexts in which it developed and functioned. In this regard, students will also gain an understanding of the evolution of, and exchanges and differences among, the visual cultures of these time periods and regions. It will also expose them to the preconditions for contemporary geopolitics in the region.

Artistic developments under the three most powerful Islamic empires of the 16th through 19th centuries: Ottomans of Turkey; Safavids of Iran; Mughals of India. Roles of religion and state will be considered to understand their artistic production.

Artistic developments under the three most powerful Islamic empires of the 16th through 19th centuries: Ottomans of Turkey; Safavids of Iran; Mughals of India. Roles of religion and state will be considered to understand their artistic production.

This class provides an introduction to Buddhist art and architecture, from the sixth-century BCE to the present. Beginning with the life of the historical Buddha (563-483), it will follow the development of Buddhist art in India before tracing it across the Silk Road to China, Korea, and Japan. The class will consider how art and architecture evolved to serve the needs of Buddhism as its doctrine and practice evolved. At the same, we will consider how Buddhist cosmology and metaphysics were translated into culturally specific modes that served the multifarious cultural and artistic traditions of Asia.

Western art has a long tradition of depicting and directly engaging with the environment?from ancient earthworks such as Stonehenge and Avebury Stone Circle, to 18th and 19th century landscape paintings and 20th century photographs, to land and earth art of the 1960s and ?70s, and what is now called environmental or eco art. Such art has had a prominent place in art?s history, but do we really need art to save the environment? Studies repeatedly show that the arts are crucial to understanding and forestalling environmental disaster because, it turns out, human attitudes are shaped by the stories we tell, by our ability to imagine the unimaginable, to accept the inanimate as potentially coming to life, to picture things on a vast scale. In this course students learn the historical development of artistic movements from 1968, when the first exhibition of such art, called ?Earthworks,? took place at the Dwan Gallery in New York, up to the present day. The course tracks the changing aesthetic, political, and climatic forces that influenced such art, from the anti-institutionalism and participatory approaches of the 1960s to the more activist artistic engagement with environmentalism today. The class takes up two primary concerns: understanding the historical and scientific conditions that have given rise to such art and learning the ways in which artists have sought to intervene in and affect a changing environment. Students put historical knowledge, environmental research, and visual analysis skills to work in a culminating group project creating art that responds to a contemporary environmental problem.

The end of the Second World War is commonly understood as a watershed moment in art history when the center of western art shifted from Paris to New York and the old tradition of art academies and annual salons disappeared once and for all. It is a moment that sees dramatic changes in who artists are, how they are trained, what kind of art they make, and the audiences to whom they appeal. This course surveys U.S. and European art history from 1945 to the present so that students gain a thorough understanding of the social, political, and economic forces that contributed to the development of significant art movements including abstract expressionism, pop art, and minimalism, as well as key modes of artmaking including painting and sculpture, happenings, installations, video, earthworks, and participatory art. The course also trains students in philosophies of art and tracks the dramatic changes in aesthetics over the period. Primarily a lecture course, students? historical knowledge is assessed through two in-class examinations in which they identify, compare, contrast, and think critically about works of art. In addition, students practice discipline-specific research skills by compiling an annotated bibliography and writing short papers that rigorously examine primary sources.

This course traces the development and diversity of the Indian temple, focusing the ways in which people interact with sacred space and how religious art addresses its viewers. We primarily focus on Hinduism, but also include Buddhism and Jainism. We will discuss the role of sculpture, painting, textiles, dance, and food within the temple. We will also examine how the legacy of colonial and orientalist scholarship inflects our study of these traditions and monuments. Although the architecture of both structural and rock-cut temples will be our main object of study, we will also discuss the role of sculpture, painting, textiles, and food within the temple. Our consideration of the structures will be attentive to the ways in which people interact with the space and how objects of sacred art address their viewers. In classroom discussions we will work together to create an interpretive model that is synthetic, critical, and appreciative of the enormously diverse field that is South Asian Art. Lectures will move from explanatory descriptions of objects and histories that are covered in the textbook to critical interpretations of the historiographies that shape their contemporary reception. Class discussions and assignments are intended to encourage students to bring their own ways of looking at this art, to read critically in light of what they see, and to consider new approaches to the material. No prior experience in the history of art or religions of South Asia is required for this course.

The art of today as it is practiced around the globe takes a bewildering variety of forms?from traditional painting and sculpture to AI, interactive digital media, film projections, bio art (involving human, plant, and animal blood, tissue and DNA), participatory and community engaged projects, and environmental interventions. It addresses urgent social and political themes including globalization, institutionalized racism, climate crisis, big data, and mechanized vision. Just as today?s citizens should inform themselves about contemporary politics and current events, so is it crucial that we understand the art of our own time. In this course students gain an understanding of art?s development since the late 20th century and key ideas that are central to interpreting the art of this period. The course begins with a review of important movements, significant artists, and influential theories and issues. It then takes up and studies specific themes through the reading and analysis of theoretical texts. Students are asked to read, participate in class discussions, complete guided or independent research papers, prepare an in-class presentation on one of the course themes, and complete a book review for a textbook on contemporary art history. Each of these assignments is designed to impart specific historical knowledge about the period of the contemporary, to provide students with opportunities to practice critical reading and synthetic writing, and to offer them a chance to inspect their own positions regarding key debates.

This course explores the concept of embodiment and the nature of representation, from images of gods to human portraits, in Hindu, Jain, Buddhist, Muslim, and courtly contexts. We consider diverse media from ancient to modern periods, including painting, sculpture, photography, architecture, inscriptions, and literature. This course explores the concept of embodiment in the diverse artistic traditions of South Asia. We will consider how ideas of representation of an individual have been understood and expressed differently across the history of South Asian art and religions. The course will consider the embodied representation of deities and semidivine figures along with those of ?real? people; we will consider, given the ontologies of such representations in their religious and cultural contexts. Representation of an individual ? a portrait ? is a foundational subject in the canon of art history. What does the very idea of a portrait mean so far outside the canon of (Western) art history? As we survey the diverse traditions and media of images of the body, we will be attentive to questions such as, Does media make meaning for these types of images? Can a ?portrait? be textual? Is verisimilitude essential to the depiction of a person? In what ways are practices of depiction informed by other modes of image-making, such as images of religious devotion, and traditions of representation encountered through trade or gift? We will consider diverse media from Ancient India to the modern period, including painting, stone and metal sculpture, photography, architecture, inscriptions, and even a Sanskrit play.

Indian sculpture, architecture, and painting from the prehistoric Indus Valley civilization to the present day.

Indian sculpture, architecture, and paintings from the prehistoric Indus Valley civilization to the present day.

This class considers the development of Indian and Pakistani art and architecture from the introduction of Islam as a major political power at the end of the 12th century to the colonial empires of the 18th century. We will study how South Asia?s diverse ethnic and religious communities interacted, observing how visual and material cultures reflect differences, adaptations, and shared aesthetic practices within this diversity of traditions. Students in this class will have mastered a body of knowledge about Indian art and probed multiple modes of inquiry. We will explore how Muslim rulers brought new traditions yet maintained many older ones making, for example, the first mosque in India that combines Muslim and Indic visual idioms. We will study the developments leading to magnificent structures, such as the Taj Mahal, asking why such a structure could be built when Islam discourages monumental mausolea. In what ways the schools of painting that are the products of both Muslim and Hindu rulers different and similar? The course will also consider artistic production in the important Hindu kingdoms that ruled India concurrently with the great Muslim powers. In the 18th century, colonialist forces enter the subcontinent, resulting in significant innovative artistic trends. Among questions we will ask is how did these kingdoms influence one another? Throughout we will probe which forms and ideas seem to be inherently Indian, asking which ones transcend dynastic, geographic and religious differences and which forms and ideas are consistent throughout these periods of political and ideological change. To do all this we must constantly consider how South Asia's diverse ethnic and religious communities interact. There are no prerequisites for this course.

This class considers the development of Indian and Pakistani art and architecture from the introduction of Islam as a major political power at the end of the 12th century to the colonial empires of the 18th century. We will study how South Asia?s diverse ethnic and religious communities interacted, observing how visual and material cultures reflect differences, adaptations, and shared aesthetic practices within this diversity of traditions. Students in this class will have mastered a body of knowledge about Indian art and probed multiple modes of inquiry. We will explore how Muslim rulers brought new traditions yet maintained many older ones making, for example, the first mosque in India that combines Muslim and Indic visual idioms. We will study the developments leading to magnificent structures, such as the Taj Mahal, asking why such a structure could be built when Islam discourages monumental mausolea. In what ways the schools of painting that are the products of both Muslim and Hindu rulers different and similar? The course will also consider artistic production in the important Hindu kingdoms that ruled India concurrently with the great Muslim powers. In the 18th century, colonialist forces enter the subcontinent, resulting in significant innovative artistic trends. Among questions we will ask is how did these kingdoms influence one another? Throughout we will probe which forms and ideas seem to be inherently Indian, asking which ones transcend dynastic, geographic and religious differences and which forms and ideas are consistent throughout these periods of political and ideological change. To do all this we must constantly consider how South Asia?s diverse ethnic and religious communities interact.

This class considers the development of Indian and Pakistani art and architecture from the introduction of Islam as a major political power at the end of the 12th century to the colonial empires of the 18th century. We will study how South Asia's diverse ethnic and religious communities interacted, observing how visual and material cultures reflect differences, adaptations, and shared aesthetic practices within this diversity of traditions. Students in this class will have mastered a body of knowledge about Indian art and probed multiple modes of inquiry. We will explore how Muslim rulers brought new traditions yet maintained many older ones making, for example, the first mosque in India that combines Muslim and Indic visual idioms. We will study the developments leading to magnificent structures, such as the Taj Mahal, asking why such a structure could be built when Islam discourages monumental mausolea. In what ways the schools of painting that are the products of both Muslim and Hindu rulers different and similar? The course will also consider artistic production in the important Hindu kingdoms that ruled India concurrently with the great Muslim powers. In the 18th century, colonialist forces enter the subcontinent, resulting in significant innovative artistic trends. Among questions we will ask is how did these kingdoms influence one another? Throughout we will probe which forms and ideas seem to be inherently Indian, asking which ones transcend dynastic, geographic and religious differences and which forms and ideas are consistent throughout these periods of political and ideological change. To do all this we must constantly consider how South Asia's diverse ethnic and religious communities interact. There are no prerequisites for this course.

This class considers the development of Indian and Pakistani art and architecture from the introduction of Islam as a major political power at the end of the 12th century to the colonial empires of the 18th century. We will study how South Asia?s diverse ethnic and religious communities interacted, observing how visual and material cultures reflect differences, adaptations, and shared aesthetic practices within this diversity of traditions. Students in this class will have mastered a body of knowledge about Indian art and probed multiple modes of inquiry. We will explore how Muslim rulers brought new traditions yet maintained many older ones making, for example, the first mosque in India that combines Muslim and Indic visual idioms. We will study the developments leading to magnificent structures, such as the Taj Mahal, asking why such a structure could be built when Islam discourages monumental mausolea. In what ways the schools of painting that are the products of both Muslim and Hindu rulers different and similar? The course will also consider artistic production in the important Hindu kingdoms that ruled India concurrently with the great Muslim powers. In the 18th century, colonialist forces enter the subcontinent, resulting in significant innovative artistic trends. Among questions we will ask is how did these kingdoms influence one another? Throughout we will probe which forms and ideas seem to be inherently Indian, asking which ones transcend dynastic, geographic and religious differences and which forms and ideas are consistent throughout these periods of political and ideological change. To do all this we must constantly consider how South Asia's diverse ethnic and religious communities interact.

This course surveys the rich diversity of painted media in India, Pakistan, Sri Lanka, and Nepal, from 5th-century murals to contemporary canvases that travel the world. We will locate the works in their physical, ritual, and intellectual contexts. We will explore how the familiar categories with which we describe painting, such as Landscape, Portraiture, Narrative, and even Modern, might be productively reassessed in light of South Asian aesthetic traditions by locating the works in their physical, ritual, and intellectual contexts. The course culminates in the contested spaces of contemporary art, where questions of politics, identity, and intention come to the fore. Although mainly focusing on the painting traditions of India, the course will include painting from Pakistan, the Himalayas, Sri Lanka, and the South Asian diaspora. The humanities sharpen our ability to develop critical questions and to judge why and how one answer or interpretation may be stronger than another. Humanistic thinking is developed in dialogue; it emerges between individuals in conversation with each other and with their objects of study. This course asks you to boldly bring your curiosity, convictions, and blind-spots to our collective conversation, close reading, and individual writing. The course consists of two weekly meetings, and one or two trips to nearby museums or galleries.

This course surveys the rich diversity of painted media in India, Pakistan, Sri Lanka, and Nepal, from 5th-century murals to contemporary canvases that travel the world. We will locate the works in their physical, ritual, and intellectual contexts. We will explore how the familiar categories with which we describe painting, such as Landscape, Portraiture, Narrative, and even Modern, might be productively reassessed in light of South Asian aesthetic traditions by locating the works in their physical, ritual, and intellectual contexts. The course culminates in the contested spaces of contemporary art, where questions of politics, identity, and intention come to the fore. Although mainly focusing on the painting traditions of India, the course will include painting from Pakistan, the Himalayas, Sri Lanka, and the South Asian diaspora. The humanities sharpen our ability to develop critical questions and to judge why and how one answer or interpretation may be stronger than another. Humanistic thinking is developed in dialogue; it emerges between individuals in conversation with each other and with their objects of study. This course asks you to boldly bring your curiosity, convictions, and blind-spots to our collective conversation, close reading, and individual writing. The course consists of two weekly meetings, and one or two trips to nearby museums or galleries.

What happens when two cultures meet? How do different cultures shape and influence each other? In this course we'll examine how the diverse cultures of the Ancient Eurasian world became entangled with one another through the material remains they left behind. We'll use a variety of tools and techniques to analyze and interpret material objects, spaces and art? from the Egyptians and Sassanians, to the Romans and Qin and Han dynasties. Uncover a more nuanced and inclusive understanding of how these ancient cultures changed their ideologies, iconographies, and modes of representation through trade networks, political alliances, and colonial enterprise.

What happens when two cultures meet? How do different cultures shape and influence each other? In this course we'll examine how the diverse cultures of the Ancient Eurasian world became entangled with one another through the material remains they left behind. We'll use a variety of tools and techniques to analyze and interpret material objects, spaces and art? from the Egyptians and Sassanians, to the Romans and Qin and Han dynasties. Uncover a more nuanced and inclusive understanding of how these ancient cultures changed their ideologies, iconographies, and modes of representation through trade networks, political alliances, and colonial enterprise.