FILM IN POST-WAR JAPAN

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HISTORY OF ART 5002 FILM IN POST-WAR JAPAN Professor Namiko Kunimoto This course In this introduces course, we students will consider to the major how media Japanese filmmakers techniques used

1 HISTORY OF ART 5002 FILM IN POST-WAR JAPAN Professor Namiko Kunimoto This course In this introduces course, we students will consider to the major how media Japanese filmmakers techniques used contributed by artists to in Asia. were We will affected examine by in-depth - the fraught the practical political aspects environment of the production of the 1950s, of sculptures, 1960s, paintings, 1970s. We will prints, This course explore drawings, will themes malas, explore such major as other developments trauma media. war This emphasis on technique will be balanced in Chinese memory, art gender from 1850 to nationhood, the present, with American by discussions of the ways that a work s materiality shapes activates its meaning. particular hegemony interest in how the Cold artists War, defined the culture themselves of high in economic the context growth of radical in the social 1960s, political economic protest, changes, the periods bubble of economy destructive warfare, its aftermath. an increasingly international art world /33948 TUES & THURS 11:10-12:30

HISTORY OF ART 5311 ART & ARCHAEOLOGY OF PRE-CLASSICAL GREECE Professor Mark Fullerton This course will explore the art history, archaeology, material culture of Ancient Greece from the early Bronze

2 HISTORY OF ART 5311 ART & ARCHAEOLOGY OF PRE-CLASSICAL GREECE Professor Mark Fullerton This course will explore the art history, archaeology, material culture of Ancient Greece from the early Bronze Age (c BCE) through the Archaic period (c. 480 BCE). Students will be encouraged to consider the wide range of disciplines methodologies including those of art history, archaeology, history philology /33950 TUES & THURS 11:10-12:30

HISTORY OF ART 5521 SACRED IMAGES OF THE ITALIAN RENAISSANCE Professor Christian Kleinbub Many of the best-known artworks that we now display in museums were first produced not for artistic

3 HISTORY OF ART 5521 SACRED IMAGES OF THE ITALIAN RENAISSANCE Professor Christian Kleinbub Many of the best-known artworks that we now display in museums were first produced not for artistic appreciation but for prayer worship in churches, monasteries, other sacred settings. In fact, some of the greatest artists who have ever lived, including giants like Botticelli, Leonardo da Vinci, Michelangelo, Raphael, Titian, created works first foremost to invite spiritual contemplation. In this class, we will seek to recover the original motivations behind the paintings sculptures of the Italian Renaissance. Acknowledging that the vast majority of Italian Renaissance images were religious, this class sees questions about their meaning as perhaps the central problem of image-making in the period This course will survey the best of world cinema within the past decade or two, including representative examples of national cinemas, such as (potentially, since the selections more generally. The course will be structured in two parts. Part 1 will survey some of the important categories of sacred images, studying both exemplary sacred images period sources in relationship to would change) Iranian, Chinese, Taiwanese, Indian; ethnic cinemas, such as (potentially) Kurdish, Jewish diaspora, Quebecois; regional cinemas, such as (potentially) East- This course issues introduces of context students patronage. to Part the major 2 will treat media several of techniques the larger questions used by surrounding artists the Asia. theory of We will the examine sacred image, in-depth with the special practical attention aspects to current of debates the production about whether of sculptures, or not the period s paintings, sacred images drawings, embody malas, a gradual displacement other media. of spiritual This meanings emphasis by on secular technique considerations. will be In balanced this way, we will ern European Middle Eastern cinemas; continental cinemas, such as African South prints, This American; course global will explore cinema, major such developments as Euro-American, in Chinese Hong art Kong, from 1850 Dogme to the present, 95; with the by discussions discover that, of the even ways in the that Renaissance, a work s materiality secular ideas shapes were beginning activates to change its the meaning. way art was thought particular cinemas of interest civilizations, in how such artists as Islamic, defined Judeo-Christian, themselves in the context Confucian. of radical Not all social these categories, or changes, others that periods are possible, of destructive are represented warfare, in any an given increasingly quarter. international art about made, that the struggle between religious secular objectives in Italian Renaissance economic art defines how art is made even today. world. AUTUMN Call # /33997 WEDS & FRI 2:20-3:40 3:55-5:15

HISTORY OF ART 5622 FROM DADA TO DICTATORSHIP Professor Danny Marcus This course surveys developments in European art culture between the two World Wars, a period that saw the world order of the

4 HISTORY OF ART 5622 FROM DADA TO DICTATORSHIP Professor Danny Marcus This course surveys developments in European art culture between the two World Wars, a period that saw the world order of the nineteenth century defined, on one h, by the political arrangement of Great Powers, on the other, by unbridled laissez-faire capitalism succumb to a fatal crisis, in which the ultra-nationalist Right communist Left emerged as primary actors. Over the span of the semester, we will track the metamorphoses of art culture in France, Germany, Italy, Russia, the United States, among other key theaters of artistic experimentation, focusing on the interplay of art radical politics, but with an eye toward the global re-stabilization of political cultural authority soon to follow after World War II /33955 WEDS & FRI 11:10-12:30

HISTORY OF ART 5645 VIDEO ART Professor Kris Paulsen This course will survey the history of Video Art from 1963 to the present, paying special attention to the cultural political forces that shaped

5 HISTORY OF ART 5645 VIDEO ART Professor Kris Paulsen This course will survey the history of Video Art from 1963 to the present, paying special attention to the cultural political forces that shaped its form content. We will trace Video Art s roots back to Pop, Minimalism Conceptual Art, examine its early identities as sculpture or performance document. We will pay special attention to Video s relationship to its parent media television study how artists used television broadcasts to distribute their work to subvert the power of the mass media. The course will end with a series of case studies on contemporary artists. Students will learn to analyze video art by engaging with its specific formal temporal structures, its relationship to social history politics, as well as its cinematic properties, such as narrative, shot editing /33946 TUES & THURS 12:45-2:05

HISTORY OF ART 5910 DOCUMENTARY CINEMA Professor Erica Levin The artist Hito Steyerl observes, The documentary form as such is now more potent than ever, even though we believe less than ever in

6 HISTORY OF ART 5910 DOCUMENTARY CINEMA Professor Erica Levin The artist Hito Steyerl observes, The documentary form as such is now more potent than ever, even though we believe less than ever in documentary truth claims. This course explores the paradox she identifies by looking closely at the history of documentary cinema, from the first film named to the genre Nanook of the North to the present day, as it shapes a wide range of moving image practices. The class follows an historical trajectory, but will encourage you to think comparatively analytically about documentary form, ethics, aesthetics. We will examine the major modes of documentary filmmaking including cinema verité, direct cinema, investigative documentary, ethnographic film, agit-prop, activist media, autobiography the personal essay. Through formal analysis, we will ask how these different documentary modes generate or exploit a variety of reality effects. Along the way, we will consider why the promise of documentary truth is always beset by uncertainty, or as Steyerl describes it, a shadow of insecurity. Rather than accept this phenomenon as a constraint or a limit, we will explore how artists like Steyerl help us to see the value meaning of the perpetual doubt documentary inspires /34948 WEDS & FRI 9:35-10:55

DEPARTMENT OF HISTORY OF ART AUTUMN 2017 COURSEBOOK

DEPARTMENT OF HISTORY OF ART AUTUMN 2017 COURSEBOOK DEPARTMENT OF HISTORY OF ART COURSEBOOK For further information on any course offered in Autumn 2017, or to schedule a class, please consult BuckeyeLink. COURSE BY INSTRUCTOR Andrews, Julia 4815 The Art