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ARTHIST 369WR: Impressionism and the Origins of Modern Visual Culture

Minturn ------------------------- Tu, Th 11:30 AM- 12:45 PM ----------------------------Max: 25

Content: This course seeks to challenge and complicate commonplace assumptions about French
Impressionism by looking at the paintings of Edouard Manet, Claude Monet, Mary Cassatt,
Berthe Morisot, Edgar Degas, Paul Cézanne, Paul Gauguin and Georges Seurat in the wider
context of fin-de-siècle Parisian visual culture.  Students will be asked to consider the
following questions:  To what extent was Impressionist painting in competition with
photography, chronophotography, lithographic posters, fashion magazines, the cabaret, and
proto-cinematic attractions?  To what extent is the visual culture of the late nineteenth
century still with us today?  Readings will include texts by George Simmel, Walter
Benjamin, T.J. Clark, Jonathan Crary, Tom Gunning, Meyer Schapiro, Linda Nochlin, and
Griselda Pollock.

Texts: James Rubin, Impressionism (London: Phaidon, 1994), as well as a Xeroxed reading
packet of supplementary articles.

Particulars: TBA

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ARTHIST 373S: Russian Art and Literature:  Russian Avantgarde
(crosslisted with RUSS 373 and FILM 373)

Apkarian ------------------------- Tu Th 2:30-3:45 PM ----------------------------Max: 10

Content: The course examines the visionary work of the 20th century Russian avantgarde, who boldly proclaimed an end to the "Old World" and to divisions between East and West.  Tearing down barriers among the arts, between art and science, and between art and everyday life, the men and women of Russian modernism sought new ways to understand and shape reality.  Using a multi-media approach, we will look at theories and dynamic practices of the avantgarde, including movements such as Futurism, Suprematism, Constructivism, Socialist Realism, and challenges from "underground."  Painters like Kandinsky, Malevich, Tatlin, Chagall, and Popova, will be examined alongside filmmakers like Eisenstein, theater directors like Meyerhold, and writers like Mayakovsky.

Texts: TBA

Particulars: TBA

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Texts:

• Robert Bringhurst, The Black Canoe
• Frederick Dockstader, The Kachina and the White Man
• David Penney and George Horse Capture, North American Indian Art
• Ruth Phillips, Trading Identities
• Ruth Phillips and Janet Berlo, Native North American Art
• Ruth Phillips and Christopher Steiner, eds, Unpacking Culture: Art and Commodity in the Postcolonial World
• Jackson Rushing, Native American Art and the New York Avant-Garde

Particulars: The course will alternate weekly lecture and discussion formats. Students will keep a journal of course readings and discussion issues which will be submitted and graded. There will be at least one field trip to a collection. A research paper will be presented in class in the final month. Grading will be weighted as follows: research paper 60%, discussion 20%, journal 20%.

ARTHIST 379: Contemporary Artists of the African Diaspora
(Crosslisted with AAS 379)

Chambers ------------------------- Tu, Th 2:30 - 3:45 PM ----------------------------Max: 15

Content: This class will look at the work of a fascinating group of contemporary artists. These are artists of African origin/background, living and working in what we now sometimes refer to as the “African diaspora”. Such communities of people, and the artists they have produced, owe their present day existence to a variety of factors including the trans-Atlantic slave trade, 20^th century patterns of migration and travel, and the evolving nature of the art world. Today, a growing number of artists of African origin have become major players in the art market. Others have become reflective of shifts and developments in 20^th Century Black cultural politics. This class will examine the work of a range of Black artists whose practice came to the fore over the course of the last three or four decades, from the early 1970s right up to the present time. Artists to be studied include US practitioners such as Jean-Michel Basquiat and Faith Ringgold, artists of Caribbean background such as Albert Chong and Barrington Watson, and British artists of the African diaspora such as Chris Ofili and Godfried Donkor.

Books: Required Reading (two publications):

• Richard J. Powell, Black Art and Culture in the 20th Century
  Reissued as Black Art: A Cultural History  (2002)
•  Veerle Poupeye, Caribbean Art (1998)

Particulars: Students are required to produce weekly response papers, relating to the previous week’s class. A 3500 - 4000 word paper, relating to some aspect of the class, must be submitted towards the end of the semester. There will also be a graded test.

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ARTHIST 387: Issues in the Conservation of Art and Cultural Properties

Renée A. Stein, Conservator ------------------------ Tu, Th 2:30 - 3:45 PM ----------------------------Max: 6

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

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ARTHIST 393: Computer-Aided Design

Shpuza ------------------------- Tu 6 - 9 PM---------------------------- Max Enrollment: 6

Content: This course is designed to provide students with a basic understanding of computer-aided design and graphic analysis. The course is an introduction to creating, presenting, and managing graphical information on the computer through learning two popular CAD programs: AutoCAD (2D drafting) and 3D Studio Viz (3D modeling and rendering). Emphasizing a hands-on approach, the course is structured around two workshop projects which are structured according to students' own disciplinary interests: art history, architecture, graphic design and archaeology. 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.

Juneja ------------------------- M W F 12:50 - 1:40 PM ---------------------------- Max Enrollment: 6

Content: Art of the Indian subcontinent never fails to evoke images of exotic splendour – the ethereal beauty of the Taj Mahal, the exuberant eroticism of Hindu sculpture, or the delicate detail of miniature paintings. This course is intended as a systematic overview of South Asia’s multifaceted visual past from the beginnings to modern times. It begins by drawing attention to the historical configurations in which what we describe today as the ‘arts of India’ came to be constituted as a distinct field of study in the early twentieth century, classified and written about in a specific conceptual mould. Going beyond an exercise in dismantling Orientalist and nationalist canons, the course seeks to enter the field of artistic production – sculpture, painting, architecture – of the Indian subcontinent through a recovery of what the experience of viewing, possessing and responding to objects of art meant to different groups of people and how visual culture has evolved historically. Doing so would involve engaging with the ways in which art was imbricated within domains of social and cultural practice – religious practice, aesthetic notions, political legitimacy, love and sexuality, perceptions of nature and the rituals of everyday life. These areas provided the underpinnings of artistic creation and were in turn constituted by the works of arts that were produced and circulated in these contexts.

Texts: Introductory Readings:

Partha Mitter, Indian Art, Oxford 2001.

Vidya Dehejia, Indian Art, London 1997.

Catherine B. Asher and Thomas R. Metcalf (eds), Perceptions of South Asia’s Visual Past, New Delhi 1994.

Richard H. Davis, Lives of Indian Images, Princeton and Delhi 1997.

Monica Juneja (ed.), Architecture in Medieval India – Forms. Contexts, Histories, New Delhi 2001.

Tapati Guha-Thakurta, The Making of a New ‘Indian’ Art’: Artists, Aesthetics and Nationalism in Bengal, Cambridge 1992.

Yashodhara Dalmia, The Making of Modern Indian Art: the Progressives, New Delhi 2006.

Gayatri Sinha, Expressions and Evocations: Contemporary Women Artists of India, Bombay 1996.

Particulars: TBA

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ARTHIST 394 (Film Studies 385):  Documentary Film

Brown ------------------- Tu 6:30 - 9:30 PM ----------------- Max Enrollment: 12 (6 Visual Arts / 6 Film Studies)
Film Screenings: M 8:30 – 10:30 PM

Content: Class will consist of 3 hours of lecture/workshop and one film screening per week. Students will be expected to learn basic DV camera operation, interview techniques, basic lighting for documentary filmmaking, basic sound recording techniques, and basic editing on a non-linear Final Cut Pro editing system.

Particulars: This will be a hands-on course with weekly assignments that will be graded using the critique method. Students will present and defend work in front of the class. Digital production equipment will be provided. The class will meet in the video studio in the Visual Arts Building. In addition to weekly skill building assignments, students will be responsible for completing a 10-minute documentary by the end of the semester. Lab fee. NO PREREQUISITES.

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ARTHIST 397R: Internships in the History of Art
Coordinator: Meyer

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.

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ARTHIST 398R: Supervised Reading and Research
Faculty

 Contact Visual Arts (727-6315 or helen.kwon@emory.edu) for more information.

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ARTHIST 470: Greek Vase Painting: An Introduction

Gaunt ------------------------- Wed 2:30 - 5:30 PM ---------------------------Max: 5

Content: During the archaic and classical periods in particular, potters and  painters in several
Greek poleis developed a tradition of ceramic  creativity that is almost without
parallel. This course takes a look  at the craftsmen themselves, who, though largely
anonymous are  recognised today on stylistic evidence; and at the exceptionally rich 
constellation of images that have come down to us. These provide  important evidence for
every aspect of ancient life, thought and  belief. An attempt is also made to see these
clay vessels in relation  to their counterparts in other media, whether bronze, or wood
or  marble.  Prime importance is attached to working with and handling  original works of
art in collections of the Carlos Museum.

Text: TBA
 
Particulars: TBA

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ARTHIST 470WR: Understanding Roman Sculpture

Varner----------------------------Tu 1:00 - 4:00 PM-------------------------- Max: 7

Content: This course is a multi-disciplinary exploration of Roman sculpture focused on issues of historical interpretation and artistic practice and will concentrate on Roman sculpture produced in the Ancient and Baroque periods. The seminar is designed in close conjunction with an extended visit to Emory by Peter Rockwell, a practicing sculptor based in Rome and an expert in the sculptural technique of the Ancient and Baroque periods and he will offer students in our class several hands-on “Master Class” sessions in which they will actually learn stone carving techniques. In addition, the course will examine sculpture in the permanent collections of the Michael C. Carlos and High Museums, as well as temporary exhibitions including Louvre Atlanta: the Louvre and the Ancient World at the High Museum. Ultimately, the seminar will offer students a special opportunity to learn how active sculptural practice informs historical interpretation of works of art.

Texts: TBA

Particulars: Taught concurrently with ARTHIST 475, ARTHIST 729, and ARTHIST 759

ARTHIST 475WR: Understanding Roman Sculpture

McPhee----------------------------Tu 1:00 - 4:00 PM-------------------------- Max: 6

Content: This course is a multi-disciplinary exploration of Roman sculpture focused on issues of historical interpretation and artistic practice and will concentrate on Roman sculpture produced in the Ancient and Baroque periods. The seminar is designed in close conjunction with an extended visit to Emory by Peter Rockwell, a practicing sculptor based in Rome and an expert in the sculptural technique of the Ancient and Baroque periods and he will offer students in our class several hands-on “Master Class” sessions in which they will actually learn stone carving techniques. In addition, the course will examine sculpture in the permanent collections of the Michael C. Carlos and High Museums, as well as temporary exhibitions including Louvre Atlanta: the Louvre and the Ancient World at the High Museum. Ultimately, the seminar will offer students a special opportunity to learn how active sculptural practice informs historical interpretation of works of art.

Texts: TBA

Particulars: Taught concurrently with ARTHIST 470, ARTHIST 729, and ARTHIST 759

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ARTHIST 480WR: Return of the Sixties—Narratives of the Contemporary

Meyer----------------------------Tu 9:00 AM - 12:00 PM-------------------------- Max: 2

Content: What is it to “remember” the recent past—a past that is not one’s own, a past
whose effects are still felt? This course, an advanced seminar, explores the impact of
the art and culture of the 1960s, or sixties effects, in the art of the last decade and a
half. Topics to be explored include the evolution of notions of site-specificity and
sculptural scale since Minimalism; the transformation of the formats of Conceptual Art
and Institutional Critique; and the competing legacies of Smithson and Serra, among
others.

Readings: Writings by Friedrich Nietzsche, Pierre Nora, Andreas Huyssen, Hayden White,
Fredric Jameson, Susan Stewart, Thomas Crow, Richard Serra, Robert Smithson, Andrea
Fraser, Renee Green, Miwon Kwon, Hal Foster and Rosalyn Deutsche.

Particulars: 1 short paper (5 pages); final report and research paper (15 pages).

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ARTHIST 485S: Early 20th c. Artists of the African Diaspora

Chambers ------------------------------ Th 9:00 AM -12:00 PM ----------------------------Max: 10

Content: This seminar will look at the development of art practice across the African diaspora during the early decades of the 20 th century. In particular, the seminar will examine African American art of the period, with particular emphasis on the seminal cultural movement and moment known as the Harlem Renaissance. Another important cultural sphere to be looked at is the development of visual art practice in the Caribbean, particularly in countries such as Jamaica. The seminar will look at how artists of African and African-Caribbean origin and background of the early 20 th century contributed to debates about history, identity and nationality both locally and beyond, in the international arena, and how such work was reflective of the development of ‘Pan-Africanism’ and contemporary framings of what we now refer to as “diaspora”. To this end, the seminar will seek to emphasise the international conditions that affected Black people and how such conditions impacted on intra national cultural debates and developments. Similarly, how much of today’s Black cultural politics owes itself to debates initiated the best part of a century ago. Artists to be examined include John Dunkley, Aaron Douglas, Edna Manley, Ronald Moody, James Van Der Zee and Augusta Savage.

Texts: Required Reading (three publications):

• Tony Martin, Literary Garveyism: Garvey, Black Arts, and the Harlem Renaissance (The New Marcus Garvey Library ; No. 1)
• Valerie Boyd, Wrapped in Rainbows: The Life of Zora Neale Hurston
• Richard J. Powell, Black Art and Culture in the 20th Century
  Reissued as Black Art: A Cultural History (2002)

Particulars: Students are required to produce 750 word response papers, relating to the previous week’s seminar. Students are also required to make presentations, of between 30 – 45 minutes’ duration. A 6000 word paper, relating to some aspect of the seminar, must be submitted towards the end of the semester.

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Kasfir and Taplin-Stephenson ---------------------- Fri 9:00 AM- 12:00 PM ---------------------- Max: 6

Content: This seminar examines two clusters of related issues: the first is the historical study of early collecting practices in Africa, Oceania and North America and their relation to Darwinian principles of specimen-collecting, an emerging anthropology of “primitive society” and later, avante-garde primitivism; the second is the burgeoning descriptive and critical literature on exhibitionary practice and audience reception. Parallel to these discussions the seminar members will participate in preliminary conceptual and spatial planning, as well as curatorial object research, for an upcoming exhibition, African Warriorhood, to open in 2011. The aim is to materialize some of the theoretical issues being discussed in the class through real-time experience of museum work.

Texts:

• Leo Frobenius, The Voice of Africa
• Ivan Karp and Corinne Kratz, eds, Museum Frictions
• Ivan Karp and Steven Lavine, eds, Exhibiting Cultures
• Steven Nelson, From Cameroon to Paris: Mousgoum Architecture in and out of Africa
• H. Ling Roth, Great Benin: Its Customs, Art and Horrors
• Enid Schildkrout and Curtis Keim, African Reflections
• George Stocking, Jr, ed, Objects and Others
• Emil Torday, On the Trail of the Bushongo

Particulars: In lieu of the usual research paper, seminar members will write label text for individual objects they research as well as group wall texts, to be included in a portfolio of exhibition research and planning. In addition there will be one 5-7 page critical paper on a temporary exhibition or permanent museum installation outside the Carlos Museum based on observation.

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ARTHIST 485SWR: Seminar in the Art of the Ancient Americas, Method to the Madness
(crosslisted with Phys 380RS and Chem 468SWR )

Brannen, Lynn, Eisen ---------------------- Tu Th 2:30-3:45 PM ---------------------- Max: 5

Content: Capstone Seminar unifying perspectives from the Natural and Social sciences with the Humanities.

From Galileo to Dolly the Sheep, science has constantly developed new ideas that have challenged conventional thought, oftentimes driving society mad trying to reconcile these new ideas with existing ones. It’s amazing to consider that the scientific method has been the driving force behind these discoveries and that the results are powerful enough to change science and society in remarkable ways. So what is so special about the scientific method? How is it affecting our society?

Emory Researchers are making new discoveries that will challenge our society both today and tomorrow. In this class we will examine the “method to the madness” of 5 current Emory Researchers, exploring these questions. Can we learn what plants ancient Americans consumed and then determine their cultural practices and how we might also benefit from those plants and practices? Can we convince cancer cells to act normal again? Could we one day tap into the inner workings of organisms and direct them to follow our commands just by simply adding a molecule? How could life emerge from dirt, air and water? Can an analysis of how fruitflies defend themselves from parasitic wasps provide insight into the viability of humans ingesting a "poison" as a preventive medicine?

After learning about these discoveries, you will be challenged to apply the scientific method to propose your own ideas that might just turn tomorrow’s world upside down.

Texts: TBA

Particulars: This course does not fulfill one of the 4 period/cultural divisions of the Art History Major/Minor requirements.

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ARTHIST 490: Senior Seminar

Kjelgaard --------------------- Tu 4:00 – 7:00 PM ------------------------ MAX: 12

Content:  Students will develop and implement a final project in their area of choice for display in the Emory Visual Arts Gallery at the end of the semester.

Particulars: This course is required for graduating seniors with a Joint Major in Art History and Visual Arts. Lab fee.