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Fall 2002 Undergraduate Courses
ARTH 200, Art of the Western World to 1300 (Professor Gerstel)
ARTH 201, Art of the Western World after 1300 (Professor Bland)
ARTH 250, Art and Archaeology of Ancient America (Professor Miller)
ARTH 275, Art and Archaeology of Africa (Professor Eyo)
ARTH 290, Art of Asia (Professor Kita)
ARTH 302, Greek Art and Archaeology (Professor Venit
ARTH 310, Byzantine Art and Archaeology (Professor Gerstel)
ARTH 323, Fifteenth-Century Italian Renaissance Art (Professor Georgievska-Shine)
ARTH 324, Sixteenth-Century Italian Renaissance Art (Professor Georgievska-Shine)
ARTH 330, Seventeenth-Century Art in the Netherlands (Professor Wheelock)
ARTH 350, Twentieth-Century Art to 1945 (Professor Mansbach)
ARTH 370, Latin American Art and Archaeology (Professor Miller)
ARTH 385, Art of China (Professor Kuo)
ARTH 389A, Visual Culture of America (Professor Promey)
ARTH 407, Art and Archaeology of Mosaics (Professor Spiro)
ARTH 444, British Painting: Hogarth to the Pre-Raphaelites (Professor Pressly)
ARTH 462, Twentieth-Century Black American Art (Professor Ater)
ARTH 488A, The Harlem Renaissance (Professor Ater)
ARTH 488B, Ancient Egyptomania: Greek and Roman Egypt
Graduate Courses Colloquia
ARTH 658: Studies in American Art: Still Life and Genre Painting in Nineteenth-Century America
Although in recent years much of the scholarship on American nineteenth-century painting has been directed to landscape painting, there have also been important investigations into still life and genre. This class will follow the developments of both types of painting, beginning with the work of the Peale family, John Lewis Krimmel, and others, continuing with the achievements of Mount, Bingham, Edmonds, and Spencer during the 1830s, 40s, and 50s, mid-century still life specialists such as Severin Roesen, and concluding with the works of Homer, Eakins, Harnett, Peto, Haberle and others at the end of the century. Among the texts that will be important to class discussion are Elizabeth Johns, American Genre Painting: The Politics of Everyday Life; Alex Nemerov, The Body of Raphaelle Peale, Norman Bryson, Looking at the Overlooked, and David Lubin, Picturing America.
ARTH 669, Studies in African Art: Issues in Contemporary African Art
This class will consider the issues related to a misconception that African creativity ended with the institution of colonialism. This will be done under various themes which will throw light on the course of developments in African art since 1920. The themes will include, but are not limited to the following: 1) The art/artifact debate=20 2) Ulli Beier's Mbari Mbayo Club at Oshogbo, Nigeria 3) Frank McEwen's studio at the former Rhodesian National Gallery 4) the art of apartheid South Africa 5) the art of Lamidi Fakeye 6) the sculpture of Sokari Douglas Camp 7) the Modernist art of "African Picassos" and 8) the future of African art. Seminars
ARTH 709: Seminar in Late Roman and Early Christian Art and Archaeology: Christian Art in the East and West: Third Century through the Seventh Century
This seminar will examine specific issues in the formation and development of Christian imagery, especially in regard to the uses and interpretations of pre-Christian and biblical images and those from the natural world. Religious, official, imperial, and secular images and programs in various contexts will be analyzed and contemporary literary texts will be consulted to discover and determine the degree of continuity and innovation in Christian iconography during these centuries. Another issue to be discussed concerns the role of the patron or benefactor as an author of individual programs or scenes. Required Book: T. Mathews, The Clash of Gods.
ARTH 758: Seminar in American Art Readings in Colonial Visual and Material Culture
This seminar will focus on careful readings of recent scholarly literatures of colonialism. It will engage, most fully, materials that illuminate the histories of images and objects in the colonial United States in the seventeenth and eighteenth centuries. Attention will also be paid, however, to other colonial cultures (in Latin America, for example) as both comparative material and as the subject of student inquiry and presentation. Field trips to relevant sites and exhibitions will offer contact with objects of study.
ARTH 759A: Seminar in Twentieth-Century Art: STATE OF THE ART: Feminist Art & History in the New Century
What does it mean, in the new century, to practice feminism, as an intellectual? An art historian? Or visual artist? How are our questions different than they were 15 or 25 years ago? What are the major issues now being addressed in public discourse and in the academy? This seminar is timed to coincide with a major retrospective exhibition of the work of Judy Chicago, organized by the National Museum of Women in the Visual Arts. Precisely because Chicago is widely regarded as both a pioneering and controversial figure in feminist art of the past 25 years, this exhibition will provide both context and focus for some of the broad questions we wish to address in this seminar. Qualified graduate students from all disciplines are warmly welcome, although they must have the instructor's permission in order to register. This course must be taken for regular credit (sorry, no auditors). Suggested preparatory readings: Amelia Jones, ed., Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History (1996; this is both a catalogue of an exhibition held in Los Angeles, and a collection of essays by American art historian Amelia Jones and other writers and artists) two titles representing a 20-year evolution in the thinking of British art historian Griselda Pollock: Griselda Pollock & Rozsika Parker, Old Mistresses: Women, Art, and Ideology (1981); and Griselda Pollock, ed. Differencing the Canon: Feminist Desire and the Writing of Art's Histories (1999); Fiona Carson & Claire Pajaczkowska, eds. Feminist Visual Culture (2001). see esp. the intro "Issues" chapter, and "Part I: Fine Art."
ARTH 759B: Seminar in Twentieth-Century Art: Abstraction and Utopia, ca. 1890-1950
It has been long argued, and frequently debated, whether the genesis of abstract art was the result of a searching commitment to achieving a higher order of social, political, spiritual, or aesthetic life; or whether abstract art was, more ingenuously, a manifestation of a stylistic imperative, one that emerged almost inexorably from the "force" of modernist developments. This seminar will examine the intentions, practices, applications, and limitations of "classical" abstract art, its makers, its critics, and its audiences from the end of the nineteenth century through the middle of the twentieth. The course will consider artists and movements from western and eastern Europe (and beyond), as well as the seminal role of the decorativ and applied arts, architecture, painting, and sculpture.
ARTH 768: Seminar in Latin American Art and Archaeology: The Practice of Painting in Ancient and Colonial Mexico
This seminar focuses on the painting of the New World, from pre-Hispanic times into the sixteenth century. We will examine painting as a cultural document, considering mediums, contexts, techniques, and styles in establishing the cultural significance of the various painting traditions we will discuss. Research projects will be designed around major monuments of New World painting, using published and unpublished data made available to students of this colloquium. We will avail ourselves of the rich sources of pre-Coumbian painting in the Washington area and make study trips to private and public collections that house examples of this rich visual tradition. A particular focus of our meetings will be the varied and sophisticated painting techniques used to paint images on the walls of archicture, surfaces of ceramics and sculptured stone, and on the walls of palaces and tombs. For this reason in particular this colloquium is of special interest to studio students, as well as art historians and archaeologists.
ARTH 778: Seminar in Chinese Art: Modern Chinese Painting
In spite of being reviled and denigrated for many decades as symbol of the decline of Chinese civilization by many Chinese reformers and neglected by mainstream scholars in the West until a few years ago, modern Chinese painting actually embodies the heroic story of constant renewal and reinvigoration of Chinese civilization amidst rebellions, reforms, and revolutions, even if the process may appear confusing and bewildering. It also demonstrates the persistence of tradition and the limits of continuities and changes in modern Chinese culture. This course will focus on the following issues in modern Chinese painting: tradition versus "modernization"; Chinese responses to Western art; Japanese influences on modern Chinese painting; historical, social, and political aspects of painting in mainland China, Taiwan, Hong Kong since 1949; connoisseurship; and other topics of interest to members of the course. This course will attempt to answer the following questions: How extensively can cultural tradition be reinterpreted before it is subverted? At what point is creative re-invention an act of betrayal of tradition? How has selective borrowing from Chinese tradition and foreign culture enabled modern Chinese artists to sustain themselves in the modern world. Weekly readings, discussions, exercises; short essays; 15-page research paper with oral presentation and full documentation (final paper due date: one week after last class meeting). Exercises (20%), in-class discussions (20%), oral presentation of research (20%), final written research paper (40%). Your final paper must be prepared in accordance with The Chicago Manual of Style, 14th ed. |
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