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 of Modern China 8811 Studies in Chinese Art Florman, Lisa 6001 Historical/Conceptual Bases Fullerton, Mark 2001H Honors Western Art 1 5311 Art & Archaeology of Pre-Classical Greece Haeger, Barbara 2001 Western Art 1: Ancient & Medieval Worlds 4531 17th Century Art of the Netherlands Hamann, Byron 2005 History of Latin American Art 4016 Senior Research Seminar: Materialities Kleinbub, Christian 5001 Sacred Images of the Italian Renaissance 8521 Materiality: Concepts and Case Studies Kunimoto, Namiko 3605H Honors History of Photography 5002 Film in Post-War Japan Levin, Erica 5910 Documentary Cinema Marcus, Danny 4605 Aspects of Modernity 5622 From Dada to Dictatorship Mathison, Christina 2003 Art & Visual Culture of East Asia 4005 Artistic Media & Techniques
Neumeier, Emily 8001 Orientalism/Occidentalism Paulsen, Kris 5645 Video Art 8901 Becoming Picture: Mimesis, Camouflage, and the Arts of Invisibility Shelton, Andy 2002 Western Art 2: Renaissance to Present 8001 Orientalism/Occidentalism Lecturers TBD 2901 Intro to World Cinema 3901 World Cinema Today Department of History of Art 5036 Smith Lab 174 W. 18th Ave. 614-292-7481 history-of-art.osu.edu
HISTORY OF ART 2001 WESTERN ART I: THE ANCIENT & MEDIEVAL WORLDS Professor Barbara Haeger Diversity (Global) Studies; Historical Studies; VPA. This course examines the history of Western Art (architecture, painting and sculpture) from the third millennium BCE through the fifteenth century CE. Rather than a complete survey of that period, the course will concentrate its attention on a select group of representative monuments. We will examine not only the monuments themselves, but also the historical context in which they were produced in order to explore their purpose and the way that they functioned. There will be a strong emphasis on visual analysis and understanding how visual forms convey meaning and relate to the viewer. Our goal is to impart not only a body of knowledge but also a set of critical tools, which you should be able to apply to even material not specifically covered in this course. Class # 16013 (+ RECITATION) LECTURE Mon & Wed 9:10-10:05 RECITATION Thurs or Fri 9:10-10:05
HISTORY OF ART 2001D WESTERN ART I: THE ANCIENT & MEDIEVAL WORLDS (DISTANCE LEARNING) ONLINE! Diversity (Global) Diversity (Global) and either Historical Studies; Historical Studies or Arts & Studies; VPA. Humanities VPA. This course examines the history of Western Art (architecture, painting and sculpture) from the third millennium BCE through the fifteenth century CE. Rather than a complete survey of that period, the course will concentrate its attention on a select group of representative monuments. We will examine not only the monuments themselves, but also the historical context in which they were produced in order to explore their purpose and the way that they functioned. There will be a strong emphasis on visual analysis and understanding how visual forms convey meaning and relate to the viewer. Our goal is to impart not only a body of knowledge but also a set of critical tools, which you should be able to apply to even material not specifically covered in this course. Class # 25192 ONLINE
HISTORY OF ART 2001H WESTERN ART I: THE ANCIENT & MEDIEVAL WORLDS (HONORS) Professor Mark Fullerton This course examines the history of Western Art (architecture, painting and sculpture) from the Ancient and Medieval eras. We will examine not only the monuments themselves, but also the historical context in which they were produced. There will be a strong emphasis, too, on questions of analysis and interpretation. Our goal is to impart not only a body of knowledge but also a set of critical tools, which you should be able to apply also to material not specifically covered in this course. Class # 33910 WEDS & FRI 11:10-12:30 Diversity (Global) Studies; Historical Studies; VPA.
HISTORY OF ART 2001 WESTERN ART I: THE ANCIENT & MEDIEVAL WORLDS (NIGHT) Diversity (Global) Diversity (Global) and either Historical Studies; Historical Studies or Arts & Studies; VPA. Humanities VPA. This course examines the art of the United States and Europe from about 1500 to the present, with an emphasis on painting. It will concentrate on a select group of representative works that shaped and were shaped by developments in western social, political, and intellectual history and that participated in individual and community identity formation. There will be a strong emphasis on questions of analysis and interpretation, as the goal is to impart not only a body of knowledge but also a set of critical tools that you should be able to apply to a wide range of material not specifically covered in the course. Class # 16057 TUES & THURS 5:30-6:50
HISTORY OF ART 2002 WESTERN ART II: THE RENAISSANCE TO THE PRESENT Professor Andrew Shelton This course examines the art of the United States and Europe from about 1500 to the present, with an emphasis on painting. It will concentrate on a select group of representative works that shaped and were shaped by developments in western social, political, and intellectual history and that participated in individual and community identity formation. There will be a strong emphasis on questions of analysis and interpretation, as the goal is to impart not only a body of knowledge but also a set of critical tools that you should be able to apply to a wide range of material not specifically covered in the course. Class # 16020 (+ RECITATION) LECTURE: M & W 10:20-11:15 RECITATION: Th or F 10:20-11:15 Diversity (Global) Studies; Historical Studies; VPA.
HISTORY OF ART 2002 WESTERN ART II: THE RENAISSANCE TO THE PRESENT (NIGHT) Diversity (Global) Diversity (Global) and either Historical Studies; Historical Studies or Arts & Studies; VPA. Humanities VPA. This course examines the art of the United States and Europe from about 1500 to the present, with an emphasis on painting. It will concentrate on a select group of representative works that shaped and were shaped by developments in western social, political, and intellectual history and that participated in individual and community identity formation. There will be a strong emphasis on questions of analysis and interpretation, as the goal is to impart not only a body of knowledge but also a set of critical tools that you should be able to apply to a wide range of material not specifically covered in the course. Class # 20788 TUES & THURS 5:30-6:50
HISTORY OF ART 2003 EAST ASIAN ART Professor Christina Mathison Diversity (Global) Diversity (Global) and either Historical Studies; Historical Studies or Arts & Studies; VPA. Humanities VPA. This course offers an introduction to the visual arts in East Asia, from the Neolithic through This course today. introduces The course students examines to in the particular major media the relationship and techniques between used cultural by artists production in Asia. and We will changing examine notions in-depth of the authority practical in aspects East Asia of in the a production comparative of historical sculptures, perspective. paintings, Case prints, studies drawings, will mandalas, be drawn and from other China, media. Japan, This and emphasis neighboring on technique regions. will Issues be balanced examined include: religion by discussions of the and ways early that state a work s formation; materiality courtly shapes culture and and activates monumentality; its meaning. the development of urban popular culture; the age of empire; art and modernization. Class # 16027 (+ RECITATION) LECTURE Mon & Wed 11:30-12:25 RECITATION Thurs or Fri 11:30-12:25
HISTORY OF ART 2005 LATIN AMERICAN ART Professor Byron Hamann This course examines the art of Latin America from about 1500 BC to 1821, surveying both prehispanic civlizations as well as the era of Spanish and Portuguese rule from first encounters in 1492 to the wars of independence in the early nineteenth century. A wide range of objects and images will be discussed, from painting, sculpture, and architecture to ceramics, featherwork, and textiles. These artifacts will be studied both for how they reflect the aesthetic ideals of different peoples from different cultures and backgrounds (indigenous American, European, African) in the past, as well as for how they illuminate social, political, and economic themes in the cultures they were made for. The course s main goal is to teach not only a body of knowledge but also a set of critical tools that you should be able to apply to a wide range of material not specifically covered in the course. Class # 24200 TUES & THURS 11:10-12:30 Fulfills these GE Diversity (Global) Diversity (Global) and Historical either Historical Studies; and Arts & Studies VPA. or Arts & Humanities VPA. Humanities VPA.
HISTORY OF ART 2901 INTRO TO WORLD CINEMA Diversity (Global) Studies; VPA. This course will introduce students to the principal films, directors, and movements of World Cinema from the beginning of the twentieth century to the present day. Emphasis will be on helping students acquire and develop the requisite skills for analyzing the formal and stylistic aspects of specific films, and on helping students understand those films in their social and historical contexts. Class # 16030 TUES & THURS 9:35-10:55
HISTORY OF ART 2901 INTRO TO WORLD CINEMA (NIGHT) Diversity (Global) Studies; VPA. This course will introduce students to the principal films, directors, and movements of World Cinema from the beginning of the twentieth century to the present day. Emphasis will be on helping students acquire and develop the requisite skills for analyzing the formal and stylistic aspects of specific films, and on helping students understand those films in their social and historical contexts. Class # 16031 TUES & THURS 5:30-6:50
HISTORY OF ART 3605H EAST-WEST PHOTOGRAPHY (HONORS) Professor Namiko Kunimoto VPA. This course This course introduces will students begin with to the major emergence media of and photography techniques used and will by artists examine Asia. the medium s examine pivotal in-depth role in the shaping practical relations aspects between of the production Asia and the of West. sculptures, We will paintings, explore early We will prints, This course portraiture, drawings, mandalas, will explore architectural and major developments sites, other colonial media. This in tourism, emphasis on technique will be balanced Chinese popular art from culture, 1850 to family the present, photographs, with and by discussions of the ways that a work s materiality shapes and activates its meaning. particular contemporary interest in how art photography. artists defined No themselves previous experience in the context in Asian of radical art or social photography and economic required. changes, periods of destructive warfare, and an increasingly international art world. Class # 33927 TUES & THURS 2:20-3:40
HISTORY OF ART 3901 WORLD CINEMA TODAY Fulfills the GE requirement Fulfills these for GE Arts & Humanities -- Visual Diversity and Performing (Global) Studies; Arts (VPA). VPA. This course This course will survey will survey the best the of best world of world cinema cinema within within the past the past decade decade or two, or two, including representative examples of national of national cinemas, cinemas, such such as (potentially, as (potentially, since since the selections the selections including would would change) change) Iranian, Iranian, Chinese, Chinese, Taiwanese, Taiwanese, and Indian; and ethnic Indian; cinemas, ethnic cinemas, such (potentially) Kurdish, tially) Jewish Kurdish, diaspora, Jewish and diaspora, Quebecois; and Québécois; regional cinemas, regional such cinemas, (potentially) such as (potentially) East- such as (poten- This course introduces students to the major media and techniques used by artists in Asia. We will examine in-depth the practical aspects of the production of sculptures, paintings, ern European Eastern and European Middle and Eastern Middle cinemas; Eastern continental cinemas; continental cinemas, such cinemas, African such and as African South and prints, drawings, mandalas, and other media. This emphasis on technique will be balanced This American; course South global will American; explore cinema, global major such developments cinema, as Euro-American, such as in Euro-American, Chinese Hong art Kong, from Hong 1850 and Kong, Dogme to the and present, 95; Dogme and with the 95; and by discussions of the ways that a work s materiality shapes and activates its meaning. particular cinemas the of interest cinemas civilizations, in of how civilizations, such artists as Islamic, defined such as Judeo-Christian, themselves Islamic, Judeo-Christian, in the and context Confucian. and of Confucian. radical Not all social these Not and categories, categories, changes, others that or periods others are possible, that of destructive are are possible, represented warfare, are represented in and any an given increasingly any quarter. given international quarter. art all these economic world. AUTUMN 2016 2017 Class Call # 23681 24118 TUES WEDS & THURS & FRI 2:20-3:40 3:55-5:15
HISTORY OF ART 4005 ARTISTIC MEDIA AND TECHNIQUES Professor Christina Mathison This course introduces students to the major media and techniques used by artists throughout history. This course We will introduces examine in-depth students the to the practical major aspects media and of the techniques production used of in sculptures, Asia throughout paintings, history. prints, We mosaics, will examine manuscripts, the process drawings, and techniques textiles, involved metalwork, in the and production other media. of Bamboo, This emphasis Ceramics, on Drawing, technique Epigraphy, will be balanced Ivory, Lacquer, by discussions Mandalas, of Metals, the ways Painting, that a Paper, work s Prints, materiality Stone, shapes Textiles, and activates and Wood. its meaning. Lectures and coursework will center around understanding the Silk, media and techniques of these art forms and analyzing the relationship between materials and meaning. The course will also involve the study of the limitations of some of these media and the approaches to conservation. Class # 34000 TUES & THURS 12:45-2:05
HISTORY OF ART 4016 SENIOR RESEARCH SEMINAR: MATERIALITIES Professor Byron Hamann A seminar designed to perfect the research and writing skills of advanced majors in History of Art, this course is reading and writing intensive. Initial classroom meetings will be focused on the discussion of key theoretical and art historical texts, in which every student will be required to participate; the overall arc of the class is centered around the writing of a major research paper by each student. This edition of the course will examine material perspectives on objects and images developed within and beyond the history of art, including substance symbolism, histories of the book, media archaeologies, microhistory, and thing theory. Class # 33928 WEDS & FRI 12:45-2:05 Diversity (Global) Historical Studies; and Arts & VPA. Humanities VPA.
HISTORY OF ART 4531 17th CENTURY ART OF THE NETHERLANDS: SHAPING IDENTITIES, RELIGIOUS BELIEFS, AND VALUES Professor Barbara Haeger This course examines the major artists and varied functions of paintings and prints created in the northern and southern Netherlands (what we know today as The Netherlands and Belgium) during the seventeenth century. The material has been organized to explore the role of art in propagating religious beliefs, facilitating social cohesion, shaping values, and defining civic, national, and individual identities. We will also examine the particular contributions of individual artists (e.g. Rubens, Rembrandt, and Vermeer) and issues of artistic theory and practice. Class # 33930 TUES & THURS 3:55-5:15
HISTORY OF ART 4605 ASPECTS OF MODERNITY Professor Danny Marcus This class explores the emergence of mass culture and mass politics in Europe and North America between the 1870s and the 1920s, a period during which many of the key institutions of contemporary society from the popular press and the democratic franchise to technologized entertainment and ready-to-wear fashion were first introduced on a large (but not universal) scale. In lectures and discussions, we will investigate the many, often divergent, strategies by which artists sought to adapt to, and participate in, the modernization of culture and society; to help direct our attention, we will work through a handful of key texts by major historians and theorists, all of which offer original arguments about the relationship between art and modernity. Students will be asked to think critically about the shifting significance of race, class, gender, and sexuality during the period at issue, rooting these concerns in close observation of artworks and cultural artifacts. Class # 25185 WEDS & FRI 2:20-3:40 VPA.
HISTORY OF ART 4815 THE ART OF MODERN CHINA: 1850 TO THE PRESENT Professor Julia Andrews This course will explore the ways in which Chinese artists of the past century have defined modernity and tradition against the complex background of China s history. A key issue is the degree to which artists have chosen to adopt or adapt Western conventions and the extent to which they have rejected them. We will examine art works in different media, including oil painting, Chinese ink painting, graphic design, woodblock prints, and recent installation and video art, along with documentary and theoretical materials to investigate the most compelling of the multiple realities that Chinese artists have constructed for themselves. Class # 25186 TUES & THURS 9:35-10:55
HISTORY OF ART 5001 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 and worship in churches, monasteries, and other sacred settings. In fact, some of the greatest artists who have ever lived, including giants like Botticelli, Leonardo da Vinci, Michelangelo, Raphael, and Titian, created works first and foremost to invite spiritual contemplation. In this class, we will seek to recover the original motivations behind the paintings and 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 and period sources in relationship to would change) Iranian, Chinese, Taiwanese, and Indian; ethnic cinemas, such as (potentially) Kurdish, Jewish diaspora, and Quebecois; regional cinemas, such as (potentially) East- This course issues introduces of context and students patronage. to Part the major 2 will treat media several and 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 mandalas, a gradual displacement and other media. of spiritual This meanings emphasis by on secular technique considerations. will be In balanced this way, we will ern European and Middle Eastern cinemas; continental cinemas, such as African and South prints, This American; course global will explore cinema, major such developments as Euro-American, in Chinese Hong art Kong, from 1850 and Dogme to the present, 95; and with the by discussions discover that, of the even ways in the that Renaissance, a work s materiality secular ideas shapes were beginning and 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 and context Confucian. of radical Not all social these and categories, or changes, others that periods are possible, of destructive are represented warfare, in and any an given increasingly quarter. international art about and made, and that the struggle between religious and secular objectives in Italian Renaissance economic art defines how art is made even today. world. AUTUMN 2016 2017 Class # Call # 23681 35615/35616 WEDS & FRI 2:20-3:40 3:55-5:15
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 and filmmakers techniques used contributed by artists to in Asia. and were We will affected examine by in-depth the fraught the practical political aspects environment of the production of the 1950s, of sculptures, 1960s, and paintings, 1970s. We will prints, This course explore drawings, will themes mandalas, explore such and major as other developments trauma media. and war This emphasis on technique will be balanced in Chinese memory, art gender from 1850 and to nationhood, the present, with American by discussions of the ways that a work s materiality shapes and activates its meaning. particular hegemony interest and in how the Cold artists War, defined the culture themselves of high in economic the context growth of radical in the social 1960s, and political economic protest, changes, and the periods bubble of economy destructive and warfare, its aftermath. and an increasingly international art world. Class # 33947/33948 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, and material culture of Ancient Greece from the early Bronze Age (c. 3000 BCE) through the Archaic period (c. 480 BCE). Students will be encouraged to consider the wide range of disciplines and methodologies including those of art history, archaeology, history and philology. Class # 33949/33950 TUES & THURS 11:10-12:30
HISTORY OF ART 5622 FROM DADA TO DICTATORSHIP Professor Danny Marcus This course surveys developments in European art and culture between the two World Wars, a period that saw the world order of the nineteenth century defined, on one hand, by the political arrangement of Great Powers, and on the other, by unbridled laissez-faire capitalism succumb to a fatal crisis, in which the ultra-nationalist Right and communist Left emerged as primary actors. Over the span of the semester, we will track the metamorphoses of art and culture in France, Germany, Italy, Russia, and the United States, among other key theaters of artistic experimentation, focusing on the interplay of art and radical politics, but with an eye toward the global re-stabilization of political and cultural authority soon to follow after World War II. Class # 33954/33955 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 and political forces that shaped its form and content. We will trace Video Art s roots back to Pop, Minimalism and Conceptual Art, and examine its early identities as sculpture or performance document. We will pay special attention to Video s relationship to its parent media television and study how artists used television broadcasts to distribute their work and 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 and temporal structures, its relationship to social history and politics, as well as its cinematic properties, such as narrative, shot and editing. Class # 33945/33946 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 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 and analytically about documentary form, ethics, and aesthetics. We will examine the major modes of documentary filmmaking including cinema verité, direct cinema, investigative documentary, ethnographic film, agit-prop, activist media, autobiography and 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 and meaning of the perpetual doubt documentary inspires. Class # 34947/34948 WEDS & FRI 9:35-10:55
HISTORY OF ART 6001 THE HISTORICAL & CONCEPTUAL BASES OF ART HISTORY Professor Lisa Florman The aim of this course is to offer a grounding in the history of the discipline of art history (including its various philosophical engagements), so as to enable you to better understand the current state of the field, and to assess the claims of current art history and theory. It is not a methods course, insofar as a method is typically understood as a systematic procedure that, once mastered, can be applied to a wide range of diverse objects. The majority of the texts we ll be examining assume instead that the art work itself largely determines or should determine how it is to be interpreted. Typically, too, a method assumes the uncontested availability of the object of study, whereas this course aims to put some pressure on precisely that idea (i.e.: What is a work of art, and how do we recognize it? How does it differ if it does from other sorts of man-made objects? What sort of access do we have to it? etc.). Class # 16034 MONDAYS 11:30-2:00
HISTORY OF ART 8001 ORIENTALISM / OCCIDENTALISM Professors Andrew Shelton & Emily Neumeier The concept of Orientalism and its underlying premise namely, the West observing and imagining the East has emerged as a veritable sub-field within the humanities, pointing to questions about imperialism, race, gender, and transcultural encounter that are today more pressing than ever. In this seminar, two art historians, one specializing in 19th-century European art and the other in the arts of the Islamic world, aim to introduce students to the ways in which the modalities of Orientalism can be witnessed and analyzed in both the fine arts and visual culture. While we will touch upon the legacies of Orientalist rhetoric in modern and contemporary art production, our primary focus will be the 19th and early 20th centuries in Europe and the Ottoman Empire. Students will explore how the binary and mutually constitutive relationship between the West and the Rest impacted European artists as well as their counterparts in the Islamic world, who in many ways sought to speak back to this discourse. We will begin by exploring the foundations of Orientalism laid by Edward Said and his critics as well as the work of post-colonialist theorists such as Dipesh Chakrabarty and Gayatri Spivak. We will then consider both classic and more recent work on the themes of Orientalism and Occidentalism in art history, including readings by Linda Nochlin, Darcy Grimaldo Grigsby, Mary Roberts, Ali Behdad, and Edhem Eldem. Class # 33944 THURSDAYS 2:15-5:00
HISTORY OF ART 8521 MATERIALITY: CONCEPTS AND CASE STUDIES Professor Christian Kleinbub In recent years, the study of materiality roughly defined as the examination of the nature, meaning, and handling of materials has become a dominant line of inquiry within the discipline of art history. Indeed, materiality studies has opened a wide array of avenues for considering not only the intrinsic properties and symbolic meanings of particular materials, but also their presumed sacred, scientific, philosophical, or social importance. Other questions deal with how that material is worked (in some striking cases, contemporary scholars have sought to learn by imitating the artist/artisans they study). Even the way in which a material enters circulation has been used to map geographic and temporal connections through 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 the objects themselves. Simultaneous with the explosion of materiality studies, however, there has been sometimes heard (although still faintly) a conceptual backlash from those who are seeking to move beyond this introduces approach. students Considering to the these major things, media this seminar and techniques will explore used materiality by artists and in its Asia. discontents would change) Iranian, Chinese, Taiwanese, and Indian; ethnic cinemas, such as (potentially) Kurdish, Jewish diaspora, and Quebecois; regional cinemas, such as (potentially) East- This course We will in examine its widest in-depth permutations. the Grounded practical aspects in conceptual of the work, production it will enrich of this sculptures, account through paintings, the reading ern European and Middle Eastern cinemas; continental cinemas, such as African and South prints, of drawings, case studies, mandalas, focusing and on what other we media. might This see as emphasis materiality on flash technique points, including will be balanced early modernity. This American; course global will explore cinema, major such developments as Euro-American, in Chinese Hong art Kong, from 1850 and Dogme to the present, 95; and with the by discussions Among many of the other ways things, that this a work s seminar materiality will seek to shapes understand and how activates we can its conceive meaning. of artistic media particular cinemas of interest civilizations, in how such artists as Islamic, defined Judeo-Christian, themselves in the and context Confucian. of radical Not all social these and categories, or changes, others that periods are possible, of destructive are represented warfare, in and any an given increasingly quarter. international art (e.g., sculpture, painting, architecture) in relation to their materiality, studying such recurrent themes of economic medium fluidity and specificity, and how these have come to be historicized. world. AUTUMN 2016 2017 Class Call # 23681 25191 WEDS TUESDAYS & FRI 2:15-5:00 2:20-3:40
HISTORY OF ART 8811 SOCIAL NETWORKS IN 20th CENTURY CHINESE ART Professor Julia Andrews This graduate seminar will look at some of the networks of relationships among twentieth century Chinese artists and beyond China s borders that have resulted in significant artistic movements or events. Our preliminary readings will include samplings from recent historical, literary, art historical and social science writings that take a similar approach. For their final projects students are encouraged to follow their own interests, which may include cross-cultural or international linkages among artists, joint exhibitions, collegial links that may take place in art societies, colleges, and elsewhere, to name only a few possibilities. What impact did such connections have on artistic practice and self-positioning? Class # 33943 WEDNESDAYS 2:15-5:00
HISTORY OF ART 8901 BECOMING PICTURE: MIMESIS, CAMOUFLAGE, AND THE ARTS OF INVISIBILITY Professor Kris Paulsen This course takes a long historical look at the tactics of camouflage, mimesis, and mimicry in philosophy and aesthetics, as well as natural, military, and activist contexts. The trajectory of This course the seminar will survey will be the to move best these of world historical cinema discussions within the into past our decade contemporary or two, biopolitical including representative neoliberal moment examples to think of national about how cinemas, we might such actively as (potentially, resist the since structures the selections of power in the and would age change) of mass Iranian, surveillance, Chinese, self-tracking, Taiwanese, and Indian; endless ethnic quantification. cinemas, We such will as look (potentially) Kurdish, activists Jewish across diaspora, periods and and Quebecois; movements, regional form the cinemas, ancient to such the contemporary as (potentially) East- to theorize to artists and This course introduces students to the major media and techniques used by artists in Asia. We will examine in-depth the practical aspects of the production of sculptures, paintings, ern European what it means and Middle to become Eastern invisible cinemas; and continental to understand cinemas, the power such of as disappearance. African and South Thinkers prints, drawings, mandalas, and other media. This emphasis on technique will be balanced This American; course we will global will address explore cinema, major the such seminar developments as Euro-American, include Franz in Chinese Fanon, Hong art Roger Kong, from Caillois, 1850 and Dogme to Jacques the present, 95; Lacan, and with the Maurice by discussions of the ways that a work s materiality shapes and activates its meaning. particular cinemas Meleau-Ponty, of interest civilizations, in Jean-Paul how such artists as Sartre, Islamic, defined Hanna Judeo-Christian, themselves Rose Shell, in Michel the and context Confucian. Foucault, of Zach radical Not Blas, all social these Eyal and categories, Hito or changes, Steyerl, others that and periods are Wendy possible, of Chun destructive among are represented others. warfare, in and any an given increasingly quarter. international art Weizman, economic world. AUTUMN 2016 2017 Class Call # 23681 33956 WEDNESDAYS WEDS & FRI 2:20-3:40 2:15-5:00