Program Details : University Catalogs : University of Minnesota

ARTH 3933 - What Art Historians Do: Undergraduate Theory and Methods

Credits:	3.0 [max 3.0]
Grading Basis:	A-F only
Typically offered:	Every Fall

Why do people study the history of art and what do they do with that knowledge? Designed for undergraduate art history majors but open to any students interested in the field, ?What Art Historians Do? serves as an introduction to the history of the discipline as well as to its research, writing, and interpretative methods. The course is designed as a seminar in which students are trained in historical, philosophical, and practical knowledge. They study the European origins of the academic discipline and its development and global expansion over time. They debate such questions as the purpose of art, the changing definition?across time, geographical regions, and cultures?of the artist, the limitations and implications of history, and the place of museums in both preserving and destroying cultural heritage. And they learn and practice research techniques in material and digital archives and in primary and secondary sources, as well as different writing methods including museum didactics, scholarly papers, journalism, and social media. This course is a new requirement for any student who declares their art history major in Fall 2023 or later.

ARTS 1101 - Introduction to Drawing (AH)

Credits:	4.0 [max 4.0]
Course Equivalencies:	ArtS 1101/ArtS 2101
Typically offered:	Every Fall, Spring & Summer

This is an introductory studio course in drawing with an emphasis on representation from direct observation. Students are exposed to the ideas, methods, and materials of drawing. Fundamental elements such as line, value, texture, shape, and space are explored in works using media such as graphite, charcoal, and ink on a variety of surfaces. Found and other source materials are utilized in collage and mixed-media works. Students will create original work based on observation and imagination in hands-on exercises and projects. This rigorous course will also introduce techniques and methods to realize and evaluate visual ideas. Students will draw from a live model in order to further develop observational drawing skills. Technical demonstrations, lectures, and exhibition visits will provide starting points for further explorations. Individual and group critiques will help students address technical concerns and contextualize their work within the rich history of drawing. We will develop the verbal and analytical skills necessary to critically examine students' work. Studio work outside of class time is expected.

ARTS 1102 - Introduction to Painting (AH)

Credits:	4.0 [max 4.0]
Course Equivalencies:	ArtS 1102/ArtS 2102
Typically offered:	Every Fall, Spring & Summer

This is an introductory studio course that will focus on the fundamentals of painting (oil and/or acrylic). We will explore a variety of media, techniques, and subject matter. Our assignments will emphasize developing the skills and understanding of basic painting fundamentals, using traditional and experimental approaches to painting, such as: color mixing and relationships, tone, mark-making, texture, abstraction, space, and visual language. There will be demonstrations, practice, field trip(s) and class discussion. We will develop the verbal and analytical skills necessary to critically examine students' work. We will look at historical and contemporary painters. This course provides an introduction the creative process through hands-on investigation, observation of the immediate environment, and the exploring the artist's imagination. Studio work outside of class is expected.

ARTS 1103 - Introduction to Printmaking: Relief, Screen and Digital Processes (AH)

Credits:	4.0 [max 4.0]
Course Equivalencies:	ArtS 1103/ArtS 2502
Typically offered:	Every Fall, Spring & Summer

Students will be introduced to techniques of relief printing using oil based inks, screenprinting using water based inks, and digital printmaking. Relief projects (linoleum and woodcut) emphasize the exploration of mark making, printing techniques and color layering. Screen print and digital applications will explore layering, color and image making strategies. Students will learn digital strategies for creating images in screen printing, working from both photo and drawn sources. The course includes the historical context and recent innovations for each process in order to develop contemporary applications for these each method. Students will develop meaningful content in conjunction with the acquisition of technical skills. Individual and group critiques will help students to address technical concerns and contextualize their work within the rich history of printmaking. Studio work outside of scheduled class time is expected.

ARTS 1701 - Introduction to Photography (AH)

Credits:	4.0 [max 4.0]
Course Equivalencies:	ArtS 1701/ArtS 2701
Typically offered:	Every Fall, Spring & Summer

Want to take photography to the next level beyond the phone in your pocket? Photography is a way to understand and explore the world and your own inner life. This class incorporates both digital and analog (black and white darkroom) technologies. It will emphasize a balance of technical skills, exploration of personal vision, and development of critical thinking and vocabulary relating to photography. Your own image making will be considered in the context of photographic history, visual literacy, and the universe of imagery in which we live. Half of the semester will be devoted to B&W film and darkroom, and half to digital cameras and processes. Students will learn the fundamentals of digital and film camera operation and will be introduced to digital imaging software and printing. We will cover refined digital capture, image adjustment/manipulation and inkjet printing methods. Class activities will consist of lectures and demonstrations, individual and group exercises, project assignments, lab time, field trips and student presentations. Students? work will be constructively discussed in class and small group critique sessions. 35mm film cameras will be provided. The class requires students to have their own digital camera (a limited number of cameras are available for students unable to provide their own). Students who have no prior experience with serious photography, as well as those who are already avid photographers, are both welcome. The class serves as a prerequisite for all 3000 level photography classes.

ARTS 1704 - Introduction to Moving Images (AH)

Credits:	4.0 [max 4.0]
Course Equivalencies:	ArtS 1704/ArtS 2601
Typically offered:	Every Fall, Spring & Summer

Do you want to engage with a medium of the everyday? From watching a film to making a video of a friend or family reunion, moving images are all around. This is an introductory, hands-on studio course in digital filmmaking. Through lectures, screenings, demonstrations, hands-on practice, readings, and discussions, this course will cover practical and theoretical elements of digital filmmaking. Students will be introduced to film language, aesthetics, and technical terminology, as well as camera, lighting, sound and editing. Throughout the semester we will view and discuss films and clips from a variety of genres, including narrative, documentary, experimental, and combinations thereof. Students create several short film projects. They also develop skills in critical evaluation through critique sessions that investigate the aesthetic, technical, and cultural interpretation of moving images. As filmmakers you are free to make films in any genre in this class. Students need to provide their own portable drive and 1 - 2 SD cards for each class, and may choose to purchase their own subscription to Adobe Creative Cloud if they wish to use their own computer. This course is the prerequisite for intermediate level Department of Art courses in Moving Images including Narrative Digital Filmmaking, Experimental Film and Video, Animation, Super 8 and 16mm Filmmaking.

ARTS 1801 - Introduction to Ceramics: Wheel-Throwing and Hand-Building Techniques (AH)

Credits:	4.0 [max 4.0]
Typically offered:	Every Fall, Spring & Summer

Are you interested in working with a material and practice that dates back 20,000 plus years? The creative journey in this course includes learning about diverse global histories, people, and cultures and the dynamic realm of contemporary ceramics. This introductory ceramic course focuses on the various methods and processes of working with clay as an artistic medium. One half of the semester focuses on hand-building methods and techniques. The other half will focus on learning wheel-throwing methods and techniques. This hands-on experience with clay unifies hand, eye, and mind. You will learn foundational three-dimensional concepts, terminology, and vocabulary related to ceramics and explore the range of forms and processes to create functional and sculptural works with clay. In addition, the curriculum places importance on creating space to examine and discuss diverse historical and contemporary global perspectives related to ceramics. You will learn to make clay, load electric and gas kilns, fundamentals of glaze chemistry, and ceramic lab health and safety protocols. Your finished pieces will reflect essential skills, techniques, and knowledge of the complete ceramic production process. This course provides relevant, challenging, and rewarding projects developing creative and critical thinking skills to sustain long-term creative growth. You will be supported with meaningful direction from your instructor and constructive critique, discussion, and self-reflection with peers. At the end of this course, your knowledge and technical skills will prepare you for upper-level ceramic courses.

ARTS 1802 - Introduction to Sculpture: Understanding the Fundamentals of the Practice of Sculpture (AH)

Credits:	4.0 [max 4.0]
Typically offered:	Every Fall, Spring & Summer

This course is aimed at students who are eager to creatively take risks, experiment, play, and work in an environment of collaboration and team learning experiences. This intro level course is the foundation for sculpture. Through hands-on demonstrations of basic sculptural processes (for example: carving, modeling, assembling, and casting) you will gain experience in developing art projects from idea to realization all the way to the final surprising artwork. Throughout the semester we will be looking at contemporary and historical works of art as examples of how a broad range of diverse artists have explored the concepts and materials they use in their work and how this applies to the work you create. Critiques will be used as a tool for developing critical thinking and project development. You can expect by the end of this course to discover your individual creative processes and feel comfortable and safe working independently in a sculpture studio. You will be prepared for advanced sculpture and foundry and metal casting courses.

ARTH 1001 - Introduction to Western Art (AH)

Credits:	4.0 [max 4.0]
Typically offered:	Every Spring

This course serves as a general introduction to key questions about the nature and history of art in the West from the prehistoric to contemporary eras: Who creates art and why? What unique insights does it provide into the past? And, finally, what good does art do? Organized around these three central questions, lectures, readings, and assignments will address several themes, central to understanding the history of Western art in a wider global context: (1) the forms, functions, and symbolism of images, objects, and spaces; (2) materials, techniques, and skills deployed by artists, architects, artisans, and laborers to make aesthetic objects; (3) the historical and cultural construction of visual experiences; and (4) customs, beliefs, and values associated with art production, collection, and exhibition in various cultures, including patronage, fame, trade, cross-cultural influence, authenticity, and reproduction.

ARTH 3009 - Intersectional Medieval Art (AH)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3009/MeSt 3009/RelS 3609
Typically offered:	Periodic Fall & Spring

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.

MEST 3009 - Intersectional Medieval Art (AH)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3009/MeSt 3009/RelS 3609
Typically offered:	Periodic Fall & Spring

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.

RELS 3609 - Intersectional Medieval Art (AH)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3009/MeSt 3009/RelS 3609
Typically offered:	Periodic Fall & Spring

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.

ARTH 3152 - Art and Archaeology of Ancient Greece (HIS)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3152/CNES 3152
Typically offered:	Periodic Fall & Spring

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.

CNRC 3152 - Art and Archaeology of Ancient Greece (HIS)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3152/CNES 3152
Typically offered:	Periodic Fall & Spring

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.

ARTH 3018 - Art of the Ottoman Empire

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

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."

ARTH 3015W - Art of Islam (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3015W/ClCv 3015W/RelS 370
Typically offered:	Every Fall

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.

RELS 3706W - Art of Islam (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3015W/ClCv 3015W/RelS 370
Typically offered:	Every Fall

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.

ARTH 1004W - Introduction to Asian Art (HIS, WI)

Credits:	4.0 [max 4.0]
Course Equivalencies:	ArtH 1004W/1004V/1016W/1016V
Typically offered:	Every Fall & Spring

This one-semester course is an introduction to painting, sculpture, and architecture from South, Southeast, and East Asia. It will cover works from ancient cultures to those of contemporary Asian diasporas. Resisting the impossible task of covering everything, we will instead home in on specific objects in order to understand them in their broader cultural, religious, and social contexts. We will trace the ways in which common themes and problems appear in different art forms and in different places, and we will discover the ways in which seemingly disparate styles and objects may be productively understood in conversation with each other. We will work together to create an interpretive model that is synthetic, critical, and appreciative of the enormously diverse field that is 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 the contemporary reception of Asian art.

ARTH 3019 - Buddhist Art and Architecture

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3019, RelS 3019
Typically offered:	Periodic Fall & Spring

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.

ARTH 3765 - Chinese Art and Architecture

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

This class provides an introduction to Chinese art and architecture, from prehistory to the present. Proceeding chronologically and thematically, the class will consider a broad range of artistic media including jade, stone, bronze, paintings, calligraphy, ceramics, printing, photography, and architecture. Through a close connoisseurial engagement and visual analysis these materials, the class will examine how Chinese art developed in relation to broader themes of Chinese political, religious, and cultural history. At the same time, it will consider how the art of China engaged in cultural and artistic dialogue with other traditions and cultures of East Asia.

ARTH 3779 - Visions of Paradise: The Indian Temple

Credits:	3.0 [max 3.0]
Course Equivalencies:	ARTH 3779/RELS 3779
Typically offered:	Periodic Fall & Spring

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.

ARTH 5774 - The Body in Indian Art

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

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.

ARTH 3014W - Art of India (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3014W/ RelS 3415
Typically offered:	Every Spring

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

RELS 3415W - Art of India (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3014W/ RelS 3415
Typically offered:	Every Spring

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

ARTH 1001 - Introduction to Western Art (AH)

Credits:	4.0 [max 4.0]
Typically offered:	Every Spring

This course serves as a general introduction to key questions about the nature and history of art in the West from the prehistoric to contemporary eras: Who creates art and why? What unique insights does it provide into the past? And, finally, what good does art do? Organized around these three central questions, lectures, readings, and assignments will address several themes, central to understanding the history of Western art in a wider global context: (1) the forms, functions, and symbolism of images, objects, and spaces; (2) materials, techniques, and skills deployed by artists, architects, artisans, and laborers to make aesthetic objects; (3) the historical and cultural construction of visual experiences; and (4) customs, beliefs, and values associated with art production, collection, and exhibition in various cultures, including patronage, fame, trade, cross-cultural influence, authenticity, and reproduction.

ARTH 3309 - Renaissance Art in Europe (AH)

Credits:	3.0 [max 3.0]
Grading Basis:	A-F or Aud
Typically offered:	Every Fall & Spring

Major monuments of painting/sculpture in Western Europe, 1400-1600. Close reading of individual works in historical context. Influence of patrons. Major social/political changes such as Renaissance humanism, Protestant Reformation, market economy.

ARTH 3311 - Baroque Art in Seventeenth Century Europe (AH)

Credits:	3.0 [max 3.0]
Typically offered:	Every Spring

Dominant trends/figures of Italian, French, Flemish, and Dutch Baroque period. Works of major masters, including Caravaggio, Bernini, Poussin, Velazquez, Rembrandt, and Rubens. Development of illusionistic ceiling decoration. Theoretical basis of Baroque art. Art's subservience to Church and royal court.

ARTH 3312 - European Art of the Eighteenth Century: Rococo to Revolution (HIS)

Credits:	3.0 [max 3.0]
Typically offered:	Every Fall

Major developments in 18-century painting, sculpture, and interior decoration, from emergence of Rococo to dawn of Neoclassicism. Response of art to new forms of patronage. Erotics of 18-century art. Ways art functioned as social/political commentary.

ARTH 3345 - Imagining the North Country (AH)

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

All around us, carefully crafted landscapes of the North Country are presented to us in images. We encounter them every day on this campus whether we are at the Bell Museum of Natural History pondering Charles Corwin?s diorama of beavers at Lake Itasca, in the James Ford Bell Library examining Jean Baptiste Nolin?s seventeenth-century map of the Pays d?en Haut (?Upper Country?), or looking from the steps of Northrop Auditorium across the green spaces and architecture of the state?s land-grant university. These images exert a powerful influence on us, making our world cohere and forming the basis of strong communal identities. At the same time, without knowledge of their histories and conventions, they can stand as barriers to a more complex sense of the ground we stand on. This course will examine broadly the landscapes of the ?North Country,? the area roughly corresponding to present-day Minnesota that has for thousands of years been home to the Dakota and Ojibwe peoples and their ancestors, and more recently to peoples of European descent who in the seventeenth century began to refashion the landscape of the North Country in their own image. The aim of the class is to explore but also to unsettle our received habits of imagining the landscape, in the process opening up possibilities we may not have considered before.

ARTH 5336 - Transformations in 17th Century Art: Caravaggio, Velazquez, and Bernini

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

This course offers an in-depth examination of three of the most innovative masters of early modern European art, the painters Michelangelo Merisi da Caravaggio and Diego Vel�zquez, and the sculptor and architect Gianlorenzo Bernini. Through selected readings, slide presentations and discussions, we will explore the lives and works of these artists, paying particular attention to the ways they created an entirely new relationship between the work of art and the viewer and ushered in a radically new way of conceiving visual imagery.

ARTH 5422 - Off the Wall: History of Graphic Arts in Europe and America in the Modern Age

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3422/ArtH 5422
Typically offered:	Periodic Fall & Spring

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.

ARTH 3015W - Art of Islam (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3015W/ClCv 3015W/RelS 370
Typically offered:	Every Fall

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.

RELS 3706W - Art of Islam (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3015W/ClCv 3015W/RelS 370
Typically offered:	Every Fall

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.

ARTH 3313 - Spanish Baroque Masters: Tradition and Experimentation in Golden Age Spain (HIS)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3313/ArtH 5313
Typically offered:	Periodic Fall & Spring

This seminar focuses on some of the major masters of Spanish Baroque art, including Francisco de Zurbar�n, Diego Vel�zquez, Jusepe de Ribera, Bartolom� Esteban Murillo, and Juan S�nchez Cot�n. 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.

ARTH 5313 - Spanish Baroque Masters: Tradition and Experimentation in Golden Age Spain (HIS)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3313/ArtH 5313
Typically offered:	Periodic Fall & Spring

This seminar focuses on some of the major masters of Spanish Baroque art, including Francisco de Zurbar�n, Diego Vel�zquez, Jusepe de Ribera, Bartolom� Esteban Murillo, and Juan S�nchez Cot�n. 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.

ARTH 3315 - The Age of Curiosity: Art, Science & Technology in Europe, 1400-1800 (AH, TS)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ARTH 3315/HIST 3708/ARTH 5315/
Typically offered:	Periodic Fall & Spring

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.

ARTH 5315 - The Age of Curiosity: Art, Science & Technology in Europe, 1400-1800 (AH, TS)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ARTH 3315/HIST 3708/ARTH 5315/
Typically offered:	Periodic Fall & Spring

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.

HIST 3708 - The Age of Curiosity: Art, Science & Technology in Europe, 1400-1800 (AH, TS)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ARTH 3315/HIST 3708/ARTH 5315/
Typically offered:	Periodic Fall & Spring

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.

HIST 5708 - The Age of Curiosity: Art, Science & Technology in Europe, 1400-1800 (AH, TS)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ARTH 3315/HIST 3708/ARTH 5315/
Typically offered:	Periodic Fall & Spring

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.

ARTH 3335 - Baroque Rome: Art and Politics in the Papal Capital (HIS)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3335/Rels 3162/Hist 3706/
Typically offered:	Fall Odd Year

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.

ARTH 5335 - Baroque Rome: Art and Politics in the Papal Capital

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3335/Rels 3162/Hist 3706/
Typically offered:	Fall Odd Year

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.

HIST 3706 - Baroque Rome: Art and Politics in the Papal Capital (HIS)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3335/Rels 3162/Hist 3706/
Typically offered:	Fall Odd Year

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.

RELS 3612 - Baroque Rome: Art and Politics in the Papal Capital (HIS)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3335/Rels 3162/Hist 3706/
Typically offered:	Fall Odd Year

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.

RELS 5612 - Baroque Rome: Art and Politics in the Papal Capital

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3335/Rels 3162/Hist 3706/
Typically offered:	Fall Odd Year

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.

ARTH 3018 - Art of the Ottoman Empire

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

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."

ARTH 3015W - Art of Islam (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3015W/ClCv 3015W/RelS 370
Typically offered:	Every Fall

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.

RELS 3706W - Art of Islam (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3015W/ClCv 3015W/RelS 370
Typically offered:	Every Fall

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.

ARTH 5781 - Age of Empire: The Mughals, Safavids, and Ottomans

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 5781/RelS 5781
Typically offered:	Periodic Fall

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.

RELS 5781 - Age of Empire: The Mughals, Safavids, and Ottomans

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 5781/RelS 5781
Typically offered:	Periodic Fall

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.

ARTH 1004W - Introduction to Asian Art (HIS, WI)

Credits:	4.0 [max 4.0]
Course Equivalencies:	ArtH 1004W/1004V/1016W/1016V
Typically offered:	Every Fall & Spring

This one-semester course is an introduction to painting, sculpture, and architecture from South, Southeast, and East Asia. It will cover works from ancient cultures to those of contemporary Asian diasporas. Resisting the impossible task of covering everything, we will instead home in on specific objects in order to understand them in their broader cultural, religious, and social contexts. We will trace the ways in which common themes and problems appear in different art forms and in different places, and we will discover the ways in which seemingly disparate styles and objects may be productively understood in conversation with each other. We will work together to create an interpretive model that is synthetic, critical, and appreciative of the enormously diverse field that is 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 the contemporary reception of Asian art.

ARTH 3019 - Buddhist Art and Architecture

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3019, RelS 3019
Typically offered:	Periodic Fall & Spring

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.

ARTH 3765 - Chinese Art and Architecture

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

This class provides an introduction to Chinese art and architecture, from prehistory to the present. Proceeding chronologically and thematically, the class will consider a broad range of artistic media including jade, stone, bronze, paintings, calligraphy, ceramics, printing, photography, and architecture. Through a close connoisseurial engagement and visual analysis these materials, the class will examine how Chinese art developed in relation to broader themes of Chinese political, religious, and cultural history. At the same time, it will consider how the art of China engaged in cultural and artistic dialogue with other traditions and cultures of East Asia.

ARTH 3779 - Visions of Paradise: The Indian Temple

Credits:	3.0 [max 3.0]
Course Equivalencies:	ARTH 3779/RELS 3779
Typically offered:	Periodic Fall & Spring

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.

ARTH 5774 - The Body in Indian Art

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

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.

ARTH 3014W - Art of India (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3014W/ RelS 3415
Typically offered:	Every Spring

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

RELS 3415W - Art of India (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3014W/ RelS 3415
Typically offered:	Every Spring

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

ARTH 3777 - The Diversity of Traditions: Indian Empires after 1200

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3777/ArtH5777/RelS 5777
Typically offered:	Periodic Fall & Spring

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.

ARTH 5777 - The Diversity of Traditions: Indian Empires after 1200

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3777/ArtH5777/RelS 5777
Typically offered:	Periodic Fall & Spring

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.

RELS 3777 - The Diversity of Traditions: Indian Empires after 1200

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3777/ArtH5777/RelS 5777
Typically offered:	Periodic Fall & Spring

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.

RELS 5777 - The Diversity of Traditions: Indian Empires after 1200

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3777/ArtH5777/RelS 5777
Typically offered:	Periodic Fall & Spring

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.

ARTH 1001 - Introduction to Western Art (AH)

Credits:	4.0 [max 4.0]
Typically offered:	Every Spring

This course serves as a general introduction to key questions about the nature and history of art in the West from the prehistoric to contemporary eras: Who creates art and why? What unique insights does it provide into the past? And, finally, what good does art do? Organized around these three central questions, lectures, readings, and assignments will address several themes, central to understanding the history of Western art in a wider global context: (1) the forms, functions, and symbolism of images, objects, and spaces; (2) materials, techniques, and skills deployed by artists, architects, artisans, and laborers to make aesthetic objects; (3) the historical and cultural construction of visual experiences; and (4) customs, beliefs, and values associated with art production, collection, and exhibition in various cultures, including patronage, fame, trade, cross-cultural influence, authenticity, and reproduction.

ARTH 1921W - Introduction to Film Study (AH, WI)

Credits:	4.0 [max 4.0]
Course Equivalencies:	ArtH 1921W/CSCL 1201W/SCMC 120
Typically offered:	Every Fall

Fundamentals of film analysis and an introduction to the major theories of the cinema, presented through detailed interpretations of representative films from the international history of the cinema.

ARTH 3005 - Identity and American Art (AH)

Credits:	3.0 [max 4.0]
Typically offered:	Periodic Fall & Spring

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.

ARTH 3012 - 19th and 20th Century Art

Credits:	3.0 [max 3.0]
Typically offered:	Every Fall, Spring & Summer

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.

ARTH 3021 - Art and Revolution, 1789-1889

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

The visual arts both reflected and shaped the large-scale transformations?from imperialism to the rise of the ?new? woman?that defined the modern world as we know it. Focusing on European artworks produced between 1789 and 1889, we?ll investigate how paintings, sculptures, prints, and photographs both illustrated and fashioned the revolutionary character of the period and the enduring legacies of the nineteenth century today.

ARTH 3401W - Art on Trial (AH, CIV, WI)

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

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.

ARTH 3434 - Art and the Environment (AH, ENV)

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

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.

ARTH 3464 - Art Since 1945 (HIS)

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Spring

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.

ARTH 3577 - Photo Nation: Photography in America (AH)

Credits:	3.0 [max 3.0]
Typically offered:	Every Fall & Spring

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.

ARTH 3921W - Art of the Film (AH, WI)

Credits:	4.0 [max 4.0]
Typically offered:	Every Spring

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 Cuar�n?s Roma (2018).

ARTH 3929 - Cinema Now (AH)

Credits:	3.0 [max 3.0]
Typically offered:	Fall Odd Year

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.

ARTH 5413 - Alternative Media: Video, Performance, Digital Art

Credits:	3.0 [max 3.0]
Grading Basis:	A-F or Aud
Typically offered:	Periodic Fall

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.

ARTH 5466 - Contemporary Art

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Spring

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.

ARTH 3216W - Chicana and Chicano Art (AH, CIV, WI)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3216W/Chic 3216W/Chic 512
Typically offered:	Periodic Fall & Spring

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.

CHIC 3216W - Chicana and Chicano Art (AH, CIV, WI)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3216W/Chic 3216W/Chic 512
Typically offered:	Periodic Fall & Spring

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.

CHIC 5216W - Chicana and Chicano Art (AH, CIV, WI)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3216W/Chic 3216W/Chic 512
Typically offered:	Periodic Fall & Spring

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.

ARTH 3655 - African-American Cinema (AH, DSJ)

Credits:	3.0 [max 3.0]
Course Equivalencies:	Afro 3655/ArtH 3655/ArtH 5655
Typically offered:	Spring Even Year

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

ARTH 5655 - African-American Cinema (AH, DSJ)

Credits:	3.0 [max 3.0]
Course Equivalencies:	Afro 3655/ArtH 3655/ArtH 5655
Typically offered:	Periodic Fall

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

ARTH 3434 - Art and the Environment (AH, ENV)

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

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.

ARTH 3464 - Art Since 1945 (HIS)

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Spring

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.

ARTH 5466 - Contemporary Art

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Spring

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.

ARTH 3015W - Art of Islam (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3015W/ClCv 3015W/RelS 370
Typically offered:	Every Fall

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.

RELS 3706W - Art of Islam (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3015W/ClCv 3015W/RelS 370
Typically offered:	Every Fall

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.

ARTH 5781 - Age of Empire: The Mughals, Safavids, and Ottomans

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 5781/RelS 5781
Typically offered:	Periodic Fall

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.

RELS 5781 - Age of Empire: The Mughals, Safavids, and Ottomans

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 5781/RelS 5781
Typically offered:	Periodic Fall

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.

ARTH 3019 - Buddhist Art and Architecture

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3019, RelS 3019
Typically offered:	Periodic Fall & Spring

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.

ARTH 3434 - Art and the Environment (AH, ENV)

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

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.

ARTH 3464 - Art Since 1945 (HIS)

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Spring

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.

ARTH 3765 - Chinese Art and Architecture

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

This class provides an introduction to Chinese art and architecture, from prehistory to the present. Proceeding chronologically and thematically, the class will consider a broad range of artistic media including jade, stone, bronze, paintings, calligraphy, ceramics, printing, photography, and architecture. Through a close connoisseurial engagement and visual analysis these materials, the class will examine how Chinese art developed in relation to broader themes of Chinese political, religious, and cultural history. At the same time, it will consider how the art of China engaged in cultural and artistic dialogue with other traditions and cultures of East Asia.

ARTH 3779 - Visions of Paradise: The Indian Temple

Credits:	3.0 [max 3.0]
Course Equivalencies:	ARTH 3779/RELS 3779
Typically offered:	Periodic Fall & Spring

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.

ARTH 5466 - Contemporary Art

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Spring

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.

ARTH 5774 - The Body in Indian Art

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

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.

ARTH 3014W - Art of India (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3014W/ RelS 3415
Typically offered:	Every Spring

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

RELS 3415W - Art of India (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3014W/ RelS 3415
Typically offered:	Every Spring

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

ARTH 3777 - The Diversity of Traditions: Indian Empires after 1200

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3777/ArtH5777/RelS 5777
Typically offered:	Periodic Fall & Spring

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.

ARTH 5777 - The Diversity of Traditions: Indian Empires after 1200

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3777/ArtH5777/RelS 5777
Typically offered:	Periodic Fall & Spring

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.

RELS 3777 - The Diversity of Traditions: Indian Empires after 1200

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3777/ArtH5777/RelS 5777
Typically offered:	Periodic Fall & Spring

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.

RELS 5777 - The Diversity of Traditions: Indian Empires after 1200

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3777/ArtH5777/RelS 5777
Typically offered:	Periodic Fall & Spring

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.

ARTH 1002W - Why Art Matters (AH, GP, WI)

Credits:	4.0 [max 4.0]
Typically offered:	Every Fall

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.

ARTH 5766 - Chinese Painting

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

Major works from the late bronze age to the modern era that illustrate the development of Chinese landscape painting and associated literary traditions.

ARTH 5950 - Topics: Art History

Credits:	3.0 [max 9.0]
Typically offered:	Every Fall, Spring & Summer

Topics specified in Class Schedule.

ARTH 3896 - Directed Professional Experience

Credits:	1.0 -2.0 [max 2.0]
Typically offered:	Every Fall, Spring & Summer

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

ARTH 3993 - Directed Study

Credits:	1.0 -4.0 [max 12.0]
Grading Basis:	A-F or Aud
Typically offered:	Every Fall, Spring & Summer

TBD prereq: instr consent

ARTH 5993 - Directed Study

Credits:	1.0 -4.0 [max 12.0]
Typically offered:	Every Fall, Spring & Summer

This course provides a mechanism for advanced undergraduate and graduate students to work closely with a faculty member to plan their own course of study around a topic or topics of mutual interest that are not otherwise covered (or are not covered with the same level of depth) in the regular curriculum. In addition, the very task of designing the course?working with the faculty adviser to research the topic, decide on goals, outcomes, and assessments, and determine a sequence of readings, meetings, and tasks?is an invaluable exercise for the student. In general, the course may be designed as an intensive period of reading in key scholarly literatures in which the instructor has expertise or as an independent research project on a topic and with an outcome (such as an annotated bibliography, capstone paper draft, a qualifying paper, dissertation prospectus, exhibition proposal, or archive) that will serve the student?s future academic career. The course schedule, required readings, assignments, and assessments are worked out in advance and agreed upon by both parties in the ?Student/Faculty Contract for Independent/Directed Study,? to which is often appended a bibliography or plan of work. The contract is signed by the participants and approved by the appropriate departmental authority (e.g., the Director of Graduate Studies or Chair). prereq: instr consent

ARTH 5994 - Directed Research

Credits:	1.0 -4.0 [max 4.0]
Grading Basis:	A-F or Aud
Typically offered:	Every Fall, Spring & Summer

tbd prereq: instr consent

ARTH 3971W - Art History Capstone (WI)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3971W/ArtH 3971V
Grading Basis:	A-F only
Typically offered:	Every Fall & Spring

Capstone course for art history majors, which teaches writing skills and strategies, and aids students in the completion of senior paper projects through the study of art historical methods. Students work with both the class instructor and individual faculty advisers on independent research and writing. prereq: ArtH major, instr consent

ARTH 3971V - Honors: Art History Capstone (WI)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3971W/ArtH 3971V
Grading Basis:	A-F only
Typically offered:	Every Fall & Spring

Capstone course for art history majors, which teaches writing skills and strategies, and aids students in the completion of senior paper projects through the study of art historical methods. Students work with both the class instructor and individual faculty advisers on independent research and writing.

ARTH 3401W - Art on Trial (AH, CIV, WI)

Credits:	3.0 [max 3.0]
Typically offered:	Periodic Fall & Spring

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.

ARTH 3921W - Art of the Film (AH, WI)

Credits:	4.0 [max 4.0]
Typically offered:	Every Spring

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 Cuar�n?s Roma (2018).

ARTH 3014W - Art of India (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3014W/ RelS 3415
Typically offered:	Every Spring

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

RELS 3415W - Art of India (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3014W/ RelS 3415
Typically offered:	Every Spring

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

ARTH 3015W - Art of Islam (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3015W/ClCv 3015W/RelS 370
Typically offered:	Every Fall

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.

RELS 3706W - Art of Islam (AH, GP, WI)

Credits:	3.0 [max 4.0]
Course Equivalencies:	ArtH 3015W/ClCv 3015W/RelS 370
Typically offered:	Every Fall

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.

ARTH 3971W - Art History Capstone (WI)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3971W/ArtH 3971V
Grading Basis:	A-F only
Typically offered:	Every Fall & Spring

Capstone course for art history majors, which teaches writing skills and strategies, and aids students in the completion of senior paper projects through the study of art historical methods. Students work with both the class instructor and individual faculty advisers on independent research and writing. prereq: ArtH major, instr consent

ARTH 3971V - Honors: Art History Capstone (WI)

Credits:	3.0 [max 3.0]
Course Equivalencies:	ArtH 3971W/ArtH 3971V
Grading Basis:	A-F only
Typically offered:	Every Fall & Spring

Capstone course for art history majors, which teaches writing skills and strategies, and aids students in the completion of senior paper projects through the study of art historical methods. Students work with both the class instructor and individual faculty advisers on independent research and writing.

University Catalogs

Art History B.A.