Undergraduate Courses, Fall 2005

Please note: The online course atlas (rather than the printed course atlas) is the most current version. Last update: March 9, 2005.
All Visual Arts courses, formerly worth 2 credit hours, are now worth 4 credit hours, starting with Spring Semester, 2002.

ARTHIST 101: Art/Architecture, Prehistory to Renaissance
MW 11:45am-12:35pm--------MAX: 150
Course Coordinator: Fletcher; Lecturers: Fletcher, Stone-Miller, Robins, Wescoat, Varner, Pastan, Campbell

Content: A general art history survey course focusing on the paintings, sculpture, and architecture of major civilizations including Ancient Egypt, the Ancient Americas, Greece, Rome, Byzantium and Islam, as well as that of Romanesque, Gothic, and Renaissance Europe.
Texts: Stokstad, Art History, revised 2nd ed.; Pierce, Abacus to Zeus , 7 th ed., and readings on e-reserve.
Particulars: Two lectures and one small-group discussion meeting per week. Grading based on midterm and final exam, short response statements to some of the readings, a visual description and an analysis, and participation in discussion sections. Course is basic survey of art history but not a prerequisite for most period survey courses. Either ARTHIST 101 or 102 may be applied to the major in Art History. This course satisfies area IV.B of the GER. NOTE: This course is managed by BLACKBOARD, the university-wide web container application.

ARTHIST 104: Drawing
Mitchell--------------- W 6:00 - 9:00 PM ----------------- MAX: 12

Content: This course explores and develops skills in representational drawing, as a foundation for all disciplines, and as an art form in itself. Drawing from the model and a variety of other subject matters. Various drawing materials: ink, charcoal, graphite, etc.
Particulars: No prerequisite, suitable for beginners or intermediate students. Helpful to students wanting to put together a portfolio. There will be class and sketchbook assignments. Evaluation will be based on class participation and attendance, growth of understanding, execution of assignments, completion of a sketchbook and a final portfolio. The three-hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. Approximately $55.00-$75.00 for cost of materials. Lab fee of: $35.00.

ARTHIST 105: Drawing and Painting I
Mitchell --------------Th 1:00 - 4:00 PM --------------- MAX: 12
Kjelgaard -----------W 1:00 - 4:00 PM -----------------MAX: 12
Kjelgaard -----------W 9:00 AM - noon-----------------MAX: 12

Content: An introduction to drawing and painting. Development of skills and visual/aesthetic awareness through experimentation with a variety of techniques and materials. Historical and contemporary attitudes, concepts and styles will be explored with emphasis on personal development and mastery of basic skills.
Particulars: No pre-requisite; suitable for beginners or intermediate students. There will be class and sketchbook assignments. Evaluation will be based on class participation and attendance, growth of understanding, execution of assignments, completion of a sketchbook and a final portfolio. The three-hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. Materials expense approximately $100. Lab fee of $35.00.

ARTHIST 106: Photography I
Instructor TBA-----------M 1:00 - 4:00 PM------------Max: 12
Instructor TBA ----------Tu 1:00 - 4:00 PM-----------Max: 12

Content: An introduction to black and white photography and darkroom. Techniques such as camera handling, film exposure and development, printing of negatives, presentation will be covered. Students will be required to attend various photography exhibitions and lectures throughout the term. Course consists of informal lectures and discussion on aspects of the history of photography. Class meets for three hours once a week, additional six or more hours required for outside assignments and completion of photography and darkroom work.
Text: Black and White Photography, Henry Horenstein (required); Other readings as appropriate.
Particulars: In lieu of final, student will prepare and present a portfolio of twenty images representing the best of all assignments. Grading for course is on participation, growth of understanding, mastery of technique and craft.Student must have a 35mm camera with adjustable lens and shutter and 50mm lens preferred. A point and shoot or digital camera is not acceptable for this course. Lab fee of $45 covers costs of chemicals for the term. Student must purchase film and paper and miscellaneous supplies.

ARTHIST 107: Film, Video & Photography
Brown ---------------- Tu 6:30-9:30 PM ---------------- MAX:12
Brown ---------------- W 6:30-9:30 PM----------------- MAX: 12

Content: Introduction to media techniques, theory, and practice. Students will learn still camera techniques and produce a color/sound media presentation. Students will produce several short video/film presentations related to the history and theory of film/video production. Hands-on camera editing classes will be augmented by film/video screenings that review the history of avant-garde film/video works.
Particulars: No pre-requisite. Problems in media technique and design will be assigned. Attendance and growth of understanding of techniques and aesthetics of photography/film/video will be considered in students' evaluations. Students are expected to have a 35mm adjustable camera. The three-hour class session will be complemented by weekly critique and individual consultation for the four credit hours in this course. Independent study is available to advanced students for variable credit. A lab fee of $35 covers studio use.

ARTHIST 108: Ceramics I
Kempler --------------M 2:00 - 5:00 PM ----------------MAX: 12

Content: This class will explore ceramics as a medium of creative expression. Basic methods of hand building will be taught, creating work of a personal and exploratory nature.
Particulars: No prerequisite. Grades will be based on weekly projects and on a substantial final project using various techniques. A minimum of four hours of studio work in addition to class time also required. There is a $45 materials fee.

ARTHIST 109: Sculpture I
Armstrong ---------------- W 1:00 - 4:00 PM ----------------- MAX:12
Armstrong------------------W 6:00 - 9:00 PM------------------MAX:12

Content: Various approaches to 3-D design within a broader framework dealing with contemporary art in general.
Particulars: No pre-requisite. Evaluation will be based on the development of each student through completion of projects and independent research. The three-hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. There is a $35 lab fee.

ARTHIST 190: The Treasures of Tutankhamun
Robins-------------TTh 2:30-3:45 PM ------------Max: 15

Content: When the tomb of Tutankhamun was discovered in 1922, it contained one of the few royal burials from ancient Egypt to have been preserved with all its funerary equipment virtually intact. The course will be presented around this material in order to examine who Tutankhamun was; the religious and political background to his reign; the return to traditional forms in art after the unorthodox Amarna period; what it meant to be king in ancient Egypt and how this was expressed in royal iconography; and the funerary beliefs of the ancient Egyptians and how they were depicted visually.
Texts: Nicholas Reeves. The Complete Tutankhamun. London and New York: Thames and Hudson, 1990; selected readings on reserve.
Particulars: participation in class discussion; presentation of readings; short paper assignments; museum visits; 10 page research paper.

ARTHIST 190: Love, Death and Image-Making
Campbell--------------Th 1:00-4:00 PM-------------Max: 15

Content : This freshman seminar will explore some of the central Western European myths dealing with the interrelationships of love, life, death, and the making of art. Beginning with readings from Ovid and other ancient authors we will consider the cultural meanings conveyed in the artistic retellings of familiar tales from classical antiquity to the present. We will consider such figures as Narcissus, whose life was extinguished for the love of his own image, and Pygmalion, whose desire brought cold art to life.

Texts :

• Maurizio Bettini, The Portrait of the Lover
• Ovid, Metamorphoses, trans. Rolfe Humphries
• Other texts TBA

Particulars : Freshmen only. Evaluation with be based on class discussion of readings, weekly response papers, short presentations and a final paper.

ARTHIST 205: Drawing and Painting II
Kjelgaard ---------------------- Tu 2:00 - 5:00 PM -------------------- MAX: 12

Content: Students in this class will undertake intermediate and advanced projects in Drawing and painting, including explorations of contemporary techniques. Emphasis will be placed on broadening the students' acquaintance with visual elements and materials, modern and historical practices, and personal development. Independent projects will supplement the in-class work.
Particulars : Prerequisite: ARTHIST 105 or equivalent. Students with AP credit or prior experience must acquire the permission of the instructor to enroll. Grades will be based on class involvement, growth of understanding, execution of assignments and final portfolio. The three hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. Cost of materials may vary depending upon the individual projects (approximately $100). Lab fee of $35.

ARTHIST 206R: Photography II
Instructor TBA ------------------- Th 1:00 - 4:00 PM----------------- MAX: 12

Content: A continuation of the work done in Arthist 106R. Emphasis will be on experimental techniques which may include pinhole photography, toy camera work, and alternative black and white printing techniques. Students will work through assignments with the goal of producing a final portfolio.
Particulars: Class requires outside assignments and visits to galleries, museums and lectures outside of class time. Note: High school photography will not substitute for Arthist 106. Students must provide film, photo paper, mounting materials, and miscellaneous supplies. Supplies need not be purchased at once, but must be purchased. Lab fee $40.

ARTHIST 208R: Ceramics II
Kempler -------------------- Tu 6:00 - 9:00 PM ---------------------- MAX:12

Content: This course is designed for students with previous hands-building experience. Emphasis will be placed on exploring creative expression in clay, paying attention to the details of form and surface quality.
Particulars: Prerequisite: ARTHIST 108 or the equivalent. Grades will be based on weekly projects and on a substantial final project using various techniques. A minimum of five hours of studio work in addition to class time also required. There is a $45 materials fee.

ARTHIST 209: Sculpture II
Armstrong------------Th 6:00 - 9:00 PM-------------Max: 12

Contents: This course springs from a contemporary definition of sculpture: Sculpture as idea manifested in matter. This implies that sculpture is involved with materials and the process of "making". At the same time the evolutionary process of sculpture involves the continual reexamination of the definition of sculpture. The focus of this course is the experimentation with the ideas and media of sculpture. Emphasis will be on the exploration of contemporary issues in relationship to individual aesthetic choices. A non-refundable $35 studio fee is required.
Particulars: Prerequisite: ARTHIST 109.  Student with AP credit or prior experience must acquire the permission of the instructor to enroll.  Students will develop project proposals to submit for instructor's approval.  Grades will be based on the successful completion of projects via criteria agreed to by both instructor and student.  Independent projects will be supplemented by presentations and field trips when possible.  The three-hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. Lab fee of $30.

ARTHIST 221: Ancient Greek Art and Architecture
(same as CL 221)
Wescoat---------------MWF 1:00-1:50 PM----------------MAX: 30 (Art History); 5 (Classics)

Content:An investigation of the art and architecture of ancient Greece from its Dark Age beginnings through the legacy of Alexander the Great.  We will concentrate on the origins of Greek art and architecture, the creation of monumental stone sculpture and buildings, the visual interpretation of Greek mythology, the interaction of art and politics, the dissemination of Greek art across the Mediterranean, and the history of archaeological discovery.  Hands-on classes will be held at the Michael C. Carlos Museum.
Particulars: Quiz, midterm, and final, as well as a research paper about a work in the classical collection of the Carlos Museum.

ARTHIST 226: Introduction to the Art of Ancient Central and South America
( LACS 270)
Stone-Miller (with Scher, Teaching Associate)-----MWF 10:40 -11:30 AM-------MAX: 25 (Art History); 5 (LACS)

Content: This introduction covers the art and architecture of pre-Hispanic Central America, principally ancient Costa Rica, and western South America, especially the Central Andes. Architecture, stonework, textiles, metalwork, and ceramics are featured. Works of art from the Carlos Museum collection will be included.
Text: Stone-Miller, Art of the Andes from Chavín to Inca, 2002; other readings handed out in class.
Particulars: midterm and final examinations and two short papers, other small assignments. No prerequisites.

ARTHIST 244: High Renaissance Art and Architecture
Campbell---------------MWF 9:35-10:25 AM --------- MAX: 25

Content : This course will survey important developments in Italian and Northern European art and architecture between approximately 1460 and 1570. The course will follow a roughly chronological line and consider the works of such famous artists and architects as Leonardo da Vinci, Raphael, Albrecht Dürer, Hieronymous Bosch, Michelangelo, Titian, Palladio, and Pieter Brueghel the Elder and Hans Holbein. The material will be organized around topics selected to represent the diversity of problems and approaches that are current in the study of High Renaissance Art.
Texts : Paoletti and Radke, Art in Renaissance Italy; Readings on reserve.
Particulars : In addition to attending lectures and participating in weekly discussion sessions, students will write two analytical papers, a midterm, and a final examination.

ARTHIST 261: Europe in the Age of Revolution, 1750-1850
Liebman-------MWF 9:35-10:25 AM --------MAX: 30

Content: This lecture and discussion course studies art and architecture during a period of rapid and often violent change in the emergence of modern European culture.  In the general contexts of industrial revolution and political conflict, the course focuses on forms of art that we call Neoclassical and Romantic.  The course follows these movements across genres of art and over the national boundaries of England, France, Spain, Italy and Germany.
Texts: TBA
Particulars: Midterm, final, paper, and class participation.

ARTHIST 265: Europe in the 20th Century
Poling-----------MWF 10:40-11:30 AM-----------MAX: 25

Content: Modern European art after 1900, including France, Italy, Holland, Germany, and Russia. The course will consider the reaction of artists to the First World War and the revolutionary changes in Russia and Germany, and how their work expressed the new social, political, psychological, and technological realities of the modern period. The major artistic movements to be treated are Fauvism, German Expressionism, Cubism, Futurism, Dada, Constructivism, DeStijl, the Bauhaus, and Surrealism. Artists will include Matisse, Picasso, Kandinsky, Malevich, Mondrian, Duchamp, Miro, Dali, and Giacometti. Class discussions will consider writings by artists and critics.
Texts: C. Harrison & P. Wood, Art in Theory, 1900-1990; and TBA
Particulars: Three tests, three papers.

ARTHIST 282: Arts of Eastern & Southern Africa
(crosslisted with AFS 282)
Kasfir--------------MWF 10:40 - 11:30 AM  --------------- MAX: 20 (Art History); 5 (AFS)             

Content:  This course introduces students to the visual and performing arts and architecture of selected cultures throughout the regions of Eastern and Southern Africa, beginning with the ivory trade and ending with contemporary urban art.  In addition to studying important architectural sites in the early history of the region, we will examine arts of the body (costume, regalia, weaponry, body painting, hair) and various forms of contemporary art as they relate to major social movements and historical developments.
Texts: Reserve readings, videos, at least one novel.
Particulars:   Course requirements: three quizzes, final examination (fourth quiz), two short critical papers.      

ARTHIST 329: The Age of Nero
(Classics 228)
Varner------------T/Th 1:00-2:15 PM------------- MAX: 10 (Art History); 10 (Classics)

Content: As an interdisciplinary investigation of the literary, philosophical and artistic culture associated with the court of Nero, this course will focus on the ideology and aesthetics of a wide range of media and genres, both visual and literary.  Nero's reign witnessed significant developments in architecture, sculpture, wall paintings, glyptic and numismatic art, philosophy, drama, literature (e.g., Seneca, Lucan, Calpurnius Siculus, and Petronius).  The cultural artifacts of the Neronian period have often been characterized as "baroque," "mannered," "postclassical," "decadent," or even "depraved."  In contrast with earlier periods.  An analysis if the diverse artistic productions of the period challenges many of the traditional assumptions about Nero an his reign.  We will also consider the reception of the Neronian cultural inventions, including the emperor himself, from antiquity to the present.  In general, we will examine Neronian culture as a paradigmatic episode in the imperial transformation of Republican and Hellenistic culture.

Selected Texts:

• E. Champlin, Nero
• J. Elsner and J. Masters, eds., The Reflections of Nero
• R. Holland, Nero, the Man behind the Mask
• Lucan, The Civil War
• Petronius, Satyrica, trans.  Branham and Kinney (Berkeley 1996)
• Seneca, Four Tragedies and Octavia
• Seneca, Apocolocyntosis
• Suetonius, Lives of Twelve Caesars
• Tacitus, Annals of Imperial Rome

Particulars:  Short paper, midterm, final.

ARTHIST 340: Gothic Art & Architecture
Pastan------------T/TH 11:30 AM -12:45 PM-------------MAX: 20

Contents: The Gothic Cathedral, that most characteristic of medieval creations, has been variously portrayed as a symbol of the Heavenly Jerusalem, a theater for the arts, the supreme example of structural engineering, the reflection of Scholastic ideals, and a visual ' bible for the poor.' This course will explore all aspects of artistic endeavor of the Gothic site, from its stone vaulting sustained by flying buttresses and the elaborate carvings on the exterior to the vibrant stained glass windows, rich metalwork, textiles and illuminated manuscripts adorning the interior.  Recent work on the economic and social implications of this kind of large-scale building will place the cathedrals in a broader cultural context.  Focus will be on French monuments of the twelfth and thirteenth centuries, including Saint-Denis, Chartres, Bourges, Amiens, Beauvais and the Sainte-Chapelle.   
Texts:  Whitney Stoddard, Art & Architecture of Medieval France, along with selected articles and reading from the current literature.
Particulars:  Two short paper, midterm and a final.

ARTHIST 349: The Altarpiece and its Functions, 1300-1700
Melion------------T/Th 10:00 - 11:15 AM --------------MAX: 15

Contents: Upper division survey of the liturgical and devotional functions of altarpieces produced in various media between the early fourteenth and mid-seventeenth centuries. The first half of the course will focus on selected examples painted and/or sculpted in the Burgundian Netherlands and the city states of Italy and southern Germany. The second half will consider altarpieces that operated within programs of religious reform, both Catholic and Lutheran. Among the artists we shall study are Duccio, Simone Martini, Jan van Eyck, Rogier van der Weyden, Filippo Lippi, Albrecht Dürer, Lucas Cranach, Tilman Riemenschneider, Raphael, Pontormo, Pieter Paul Rubens, Guido Reni, and Bernini.

Texts:

• H. Belting, Likeness and Presence: A History of the Image before the Era of Art;
• R. Jones and N. Penny, Raphael
• M. Baxandall, The Limewood Sculptors of Renaissance Germany
• H. Hibbard, Bernini

Particulars: Please note that this course fulfills either the Medieval or Renaissance/Baroque requirement of the art history major.

ARTHIST 365: Postcolonial African Art
(crosslisted with AFS 386)
Kasfir ------------- T/Th  1:00-2:15 PM ------------- Max: 10 (Art History); 5 (AFS)

Content: A survey of nontraditional forms of twentieth century African art which have developed in response to the colonial and missionary experience, urbanization, and the intrusion of foreign patronage. The disruptive effects of both Islam and Christianity upon precolonial art will be analyzed, along with the "discovery" of African art by the international art market. Other topics include art as a genre of political protest in South Africa; the development of new forms of urban popular art and their relationship to traditional art forms in rural areas; tourist or "airport" art and the curio trade. Particular emphasis on the self-taught urban proletarian artist as well as the graduate of Western-style university art schools.

Texts: 

• Sidney Kasfir, Contemporary African Art;
• Camara Laye, The Dark Child;
• Athol Fugard, Statements;
• other readings on reserve. 

Particulars:  Two or three 3-5 page critical papers (15% each); 3 in-class quizzes (15% each), final exam (20%); attendance and participation will count for the remaining points toward a grade for the course. 

ARTHIST 369WR: Architecture and Exhibition
Rohrer---------T/TH 10:00 - 11:15 AM-----------MAX: 18

Contents: The opening last year of the newly designed Museum of Modern Art in New York and the upcoming inauguration of the expanded High Museum in Atlanta (November 2005), have brought to public attention the continuing prestige and visibility of such architectural commissions. Museums have come to play a significant role in the articulation and formation of cultural values and have become sites of display and consumption closely linked to communal memory and identity. In this class we will trace the evolution of the modern museum--a building type specifically designed for the public exhibition of art or cultural artifact--from its origins in the European Enlightenment to the current postmodern “boom” in museum construction everywhere in the world. Through a series of case studies we will examine the evolution of design typologies in keeping with the changing functions and activities that the museum is called upon to serve--from shrine, “boutique”, or warehouse to cultural shopping mall, urban amenity, and/or performative space.
Texts: TBA
Particulars: Permission of the Instructor Required. Several short (3-5 pages) critical papers and a term research paper (15 pages) will be required.

ARTHIST 369: Nomads: Artists and Travelers in the Era of Globalization
(cross-listed with IDA 385)
Meyer ----------------- T/Th 2:30-3:45 PM ---------------- Max: 20 (Art History); 5 (IDA)

Contents :  What are the effects of globalization on contemporary art? How have artists representated these effects in their work? How have they navigated the increasingly international character of exhibitions and conditions of art-making? This course will examine the emergence of a global exhibition circuit in recent years; the escalation of artistic scale in response to the spatial demands of global "destination" museums; artists’ explorations of economic inequities between first and third world nations; and the representation of the figure of the artist-traveler and a "nomadic" subjectivity in contemporary practice. The course will focus on such artists as Hans Haacke, Martha Rosler, Allan Sekula, Mark Lombardi, Renee Green, Rirkrit Tiravanija, Christian Philipp Müller, John Di Stefano, Andrea Fraser, Gregg Bordowitz, Yinka Shonibare, Ursula Biemann, The Yes Men, and the Web-based Critical Art Ensemble.

Texts :

• David Held and Anthony McGraw, The Global Transformations Reader;
• Naomi Klein, No Logo;
• Writings by Hal Foster, Fredric Jameson, Saskia Sassen, Okwui Enwezor, Olu Oguibe, Robert Hobbs, Nato Thompson, Renee Green, Gregg Bordowitz, Martha Rosler and Andrea Fraser.

Particulars : One short paper (5 pgs) and final research paper (10-12 pages).

ARTHIST 379: Contemporary Artists of the African Diaspora
(cross-listed with AAS 379)
Chambers--------- Tu/Th 11:30 AM -12:45 PM-------------MAX: 15 (Art History); 5 (AAS)

Contents: The class will take a broad look at the work of artists of the African diaspora of the modern and contemporary period. It will focus on three main international constituencies of practitioners. Diasporic artists of North America, Diasporic artists of the United Kingdom and expatriate African artists living and working much of the time in countries beyond the ones in which these artists were born and raised. Artists to be considered include Cheri Samba, Faith Ringgold, David Hammons, Keith Piper and Sonia Boyce.

Texts:

• Caribbean Art, Veerle Poupeye, Thames and Hudson World of Art Series, 1998.
• Black Art and Culture in the 20th Century, Richard J. Powell, Thames and Hudson World of Art Series, 1997. (Reissued as Black Art: A Cultural History, 2002)
• Contemporary African Art, Sidney Littlefield Kasfir, Thames and Hudson World of Art Series, 1999

Particulars: Students are required to produce weekly response papers, relating to the previous week¹s classes. A 3000 word paper, relating to some aspect of the class, must be submitted at the end of the semester.

ARTHIST 387: Issues in the Conservation of Art and Cultural Properties
Renée A. Stein, Conservator-------TTh 4:00 - 5:15 PM--------MAX: 12

Content: This course will provide an introduction to the field of Art Conservation as well as an overview of the principle issues surrounding the care and preservation of cultural properties. Lecture and discussion will address historic materials and technologies, as well as aging properties, deterioration, and conservation treatment. Examples will be drawn from a wide variety of cultures and will represent diverse media, including paper, paintings, stone, metals, ceramics, archaeological remains, and historic monuments. We will examine the use of conservation science to recognize fakes or forgeries, document artists' working methods, and identify historic materials. Discussions will consider issues of aesthetics, artist’s intent, change over time, and compensation for loss or damage.
Texts: Articles to be distributed in class.
Particulars: Course format involves slide-lecture, group discussion, materials workshops, guest speakers, and hands-on work with objects. Attendance and participation in class discussion are expected. Assignments will include weekly readings, occasional short assignments, midterm and final exams.

ARTHIST 393: Introduction to Graphics and Computer-Aided Design
Shpuza ---------------- M 6:00 - 9:00 PM ----------------MAX: 6

Content : This course is designed to provide students interested in architecture with a basic understanding of computer-aided design and graphic analysis. Emphasizing a hands-on approach, the course is structured around a group project which is designed to let students explore the potential of the computer, not merely as a drafting and presentation instrument but as an active analytical and design aid.
Texts : TBA
Particulars : TBA

ARTHIST 397R: Internships
Coordinator: Rohrer

Internships are a valuable complement to art history courses. Students may apply to work in art-related institutions in the community including the Michael C. Carlos Museum at Emory, the High Museum of Art, commercial art galleries, architectural firms, auction houses, arts preservation agencies, and art publications. Through consultation with the internship coordinator, internships may be arranged both in Atlanta and elsewhere. These internships, when approved by the department and supervised by the personnel of the cooperating institutions under established guidelines, carry academic credit (4 hours per semester). For the internship guidelines and contact information for the internship coordinator, students can come by or call the Art History Department, 404-727-6282.

ARTHIST 398R: Supervised Reading and Research
Reading and research projects decided upon between the student and a member of the faculty, with final approval from the chair. May be repeated for credit.

ARTHIST 475WR: Representing the Other Medieval Art
Pastan ------------- W  9:00 AM -12:00 PM ------------------ MAX: 8

Content: The Middle Ages, corresponding roughly to 400-1400CE, is the period in which various indigenous peoples, shaking off unified Roman rule, flourished.  Whether defined by religious, linguistic, ethnic or economic differences, diverse medieval cultures rose to new prominence.  This course will examine the artistic implications of this multi-culturalism.  How were different peoples and their cultures represented artistically?  How did Western Europeans develop a language of inclusion or exclusion in this world that one scholar  has described as the formation of a persecuting society?  In short, who is the Other?  And who determines their outsider status?  Students will undertake research projects involving the representation of Jews, of Muslims, and of other nationalities, as well as artistic means for characterizing a host of Others including peasants, heretics, homosexuals and women.
Texts:  R. I. Moore, Formation of a Persecuting Society, along with selected articles and readings on e-reserve.
Particulars:  Written assignments based on readings, in-class presentations and discussions, and a 15- page research paper.

ARTHIST 480S : Impressionism
Liebman ------------- TH 9:00 AM -12:00 ----------- MAX:  10

Content: This upper-level undergraduate seminar examines the art and artists of Impressionism within the changing social and institutional structures of the nineteenth century.  Readings will range from contemporary documents to recent scholarship in order to understand how Impressionist works have generated great popular and scholarly interest since their organized debut in 1874.  Some previous art history is recommended.
Texts: TBA
Particulars: Weekly seminar presentations, final research paper and presentation.

ARTHIST 480SWR: The Art of Robert Smithson
(cross-lised with Comparative Literature 389WR)
Meyer ------------- M 1:00-4:00 PM  -------------- MAX: 10 (Art History); 5 (Comparative Literature)

Content : One of the most significant American artists of the 1960s and 1970s, whose work intersected with such developments as Minimalism and Post-Minimalism, Robert Smithson became a seminal figure of Earth Art with such projects as "Partially Buried Woodshed" and "Spiral Jetty."  In recent years, the artist’s reputation has skyrocketed, inspiring new scholarship and a major traveling exhibition. Concentrating on Smithson's writings and secondary sources, the course examines the artist’s influential notions of entropy and the Non-Site, his allegorical model of language, and his literary interests. It also explores his continued influence in the work of such contemporary artists as Renée Green, Sam Durant, Mark Roeder, and Tacita Dean.
Texts : Robert Smithson, The Collected Writings, ed. Jack Flam, 1996; writings by artists Mel Bochner, Donald Judd, Carl Andre, Robert Morris, Daniel Buren, Peter Halley, and Renée Green; by art historians including Robert Hobbs, Ann Reynolds, Caroline Jones, Rosalind Krauss, and Craig Owens; and such literary sources as Lewis Carroll,  J.G. Ballard, and J. L. Borges.
Particulars : One short paper (5 pages) and final presentation/research paper (15 pages). Writing Intensive.

ARTHIST 495 WR - Honors
Robins

Open to candidates for honors in the senior year. In addition to the undergraduate course offerings, the Art History Department offers graduate courses toward the master of arts degree and the doctoral degree, to which undergraduates may be admitted. For information consult the appropriate section in the Graduate School of Arts and Sciences catalog.

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Copyright 2005 Emory University