Fall 2013 Courses

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Undergraduate Courses

Course Site

Introduction to Art History I: Antiquity to the Middle Ages Course Site
CAS AH111 TR 11:00-12:30 Kleiner/Kahn
An introduction to art history and the analysis of painting, sculpture, and architecture. Study of masterpieces from prehistoric to medieval times. Focus on monuments of Greece, Rome, and the Middle Ages, with a survey of Egyptian and Near Eastern art.
Understanding Architecture:  Theoretical Approaches to the Built Environment Course Site
CAS AH201 TR 9:30-11:00 Morgan
Introduces a range of approaches to the analysis of architecture. Learn how scholars and architects have interpreted meaning in architecture through the rubrics of art, structure, language, nonverbal communication, experience, and culture.
From Morocco to Timbuktu: Art and Architecture at the Saharan Crossroads Course Site
CAS AH317 MWF 2:00-3:00 Becker
Cultural exchange between North and West Africa, and its impact on art and architecture from the medieval period to the present; the interaction between Islam and other modes of African religious practice and how this interaction influenced African aesthetic expression.
Modern Japanese Architecture Course Site
CAS AH328 MWF 10:00-11:00 Tseng
An introduction to the major architects, buildings, theories, and critical issues of Japanese architecture from 1850 to the present. Focus on the development of new forms in response to interchanges with the West, new technologies, earthquakes, nationalism, international wars, and colonialism.
Southern Baroque: “The Spectacle of the Baroque” Course Site
CAS AH361 MWF 11:00-12:00 Zell
This course explores transformations in painting, sculpture, and architecture of the late sixteenth and seventeenth centuries in Italy, Spain, and France. Major figures such as Caravaggio, Bernini, Poussin, and Velázquez will be examined from a variety of perspectives. Important topics to be considered include: The crisis of the religious image and the Counter-Reformation; the arts in the service of a rejuvenated, triumphant Catholic faith; papal nepotism and patronage; academies and art theory; collecting and antiquarianism; the rise of landscape painting; the rebuilding of Rome; the Spanish monarchy and its waning prestige; the artist-courtier; and absolutism and the visual arts.
Material Culture: American Folk Art Course Site
CAS AH367 MWF 11:00-12:00 Moore
This course will explore the range of objects created from the 17th Century to the present that have come to be known as American Folk Art, including paintings, sculptures, textiles and other mediums. Through lectures and other readings students will also be familiarized with the prominent collectors and famous collections of American folk art.
American Furniture Course Site
CAS AH377 TR  11:00-12:30 Hall
Introduction to American furniture and decorative arts from the Colonial period to twentieth century. Visits and lectures familiarize students with key styles and ‘languages’ of furniture. We explore artistic and social contexts in which furniture was developed and used and consider stylistic influences from Europe (including England and France) and Asia which came through migration, travel and trade. You will develop an ability to analyze how these arts and crafts reflect changing American lifestyles and, sometimes, propagandistic needs.
Twentieth Century American Painting Course Site
CAS AH386 TR  12:30-2:00 Hills
Realist and avant-garde movements of the twentieth century, including New York dada, early abstraction, regionalism, art and politics during the depression years, abstract expressionism, pop art and minimal art, performance art, feminist art, and recent developments in postmodernism.
Impressionism Course Site
CAS AH389 MWF 9:00-10:00 Ribner
Impressionism and its aftermath will be examined in light of contemporary developments in politics, culture, and social history. The course will cover an era in which the painting of modern life and leisure by Manet, Monet, Morisot, Renoir, and Degas was succeeded by the evocation of spirituality, pain, and desire in the work of Van Gogh, Gauguin, Rodin, and Munch.
Twentieth-Century Art to 1940 Course Site
CAS AH391 MWF   1:00-2:00 Sichel
A study of the key tendencies in European art between the 1880s and World War II. The work of van Gogh, Picasso, Matisse, Dalí, and their contemporaries is examined in relation to major issues in European culture and politics.
Contemporary Art: 1980 to Now Course Site
CAS AH393 TR 3:30-5:00 Williams
Explores the terms of debate, key figures, and primary sites for the production and reception of contemporary art on a global scale since 1980. Painting, installation art, new media, performance, art criticism, and curatorial practice are discussed.
Twentieth Century Architecture Course Site
CAS AH398 TR 2:00-3:30 Scrivano
An introduction to the major developments in architecture and urban planning from ca. 1900 to the present. Traces the history of modern architecture in key projects, taking account of formal, technological, and ideological factors, as well as social, cultural, and environmental contexts.
Seminar-Medieval Art- Topic: Saints & Sinners in Romanesque Art Course Site
CAS AH444 W 9:00-12:00 Kahn
Examines the art of 11th and 12th century Europe from the Bayeux Tapestry to Chartres Cathedral with emphasis on monastic art, patronage, symbolism, parody and especially iconography. Students will engage in original research by charting the representation of a specific saint (or sinner) throughout the term.
Seminar in Nineteenth Century Art- Topic: Romanticism Course Site
CAS AH482 W 1:00-4:00 Ribner
An exploration of the art of Goya, Blake, Friedrich, Géricault, Delacroix, and others, who created enduring works of the imagination in an era of revolution, nationalism, and religious revival. The course will include discussion of weekly readings, an oral report, and a final paper.
Seminar: Art Historical Methods Course Site
CAS AH503 R 10:00-1:00 Williams
This seminar explores a wide range of methodologies employed by art historians, introducing students to texts that are foundational for the discipline. Beginning with the essays of Vasari and Bellori, we consider the importance of artists’ biographies in the 16th and 17th centuries. Writings by Winckelmann, Kant and Hegel from the 18th and early 19th centuries demonstrate the relevance of the philosophy of aesthetics for the development of art-historical scholarship. Students trace the establishment of art history as a recognized academic discipline from the late 19th to the mid-20th century with an analysis of texts by Wölfflin, Riegl, Warburg, Panofsky and Gombrich. In addition, we explore how scholars writing from the perspective of Marxism, psychoanalysis, semiotics, feminism and post-structuralism have helped to expand the scope of art-historical inquiry during the past century.
The Museum and Historical Agency Course Site
CAS AH520 R 2:00-5:00 Hall
Using Boston’s excellent examples, we will consider history, present realities and future possibilities of museums and historical agencies. Issues and debates confronting museums today examined in the light of historical development and changing communities. Emphasis on collecting, display and interpretation, as well as on interactions between artists, dealers, collectors, donors, scholars, trustees and museum professionals. Opportunities to pursue projects in museums and historical agencies in and around Boston. Internship experience an advantage.
Art and Society: Latin American Art and the Cold War Course Site
CAS AH527 F 9:00-12:00 Reyes
This seminar explores artistic production in Latin America during the Cold War in relation to the dominant discourses of development and dependency through which cultural production was assessed. The course will study the debates concerning artistic universalism and cultural resistance, technical innovation and political commitment. We will focus on geometric abstraction, concrete, and kinetic art, the building of Brasília and the Ciudad Universitaria in Caracas, anti-aesthetics, political graphics, and dematerialized practices in relation to a Cold War political framework, such as the impact of the Cuban Revolution, U.S. and Soviet cultural policies, and the rise of numerous political dictatorships throughout the Continent. Central to this inquiry will be the analysis of primary sources, including art criticism and artists’ manifestoes.
Japanese Print Culture Course Site
CAS AH532 M 1:00-4:00 Tseng
Seminar on print culture of Japan from the eighteenth century to the present. Study of woodblock prints, photographic prints, book art, print advertisements, postcards, and manga. Focus on their function as both artistic expression and instruments of mass communication.
Hist Muslim Soc
CAS AH539 W 3:00-6:00 Chehabi
Examines the states, empires, faiths, and ideologies of the Muslim world over a 1500-year period, including states from North and West Africa, through the Middle East, to Turkey, Iran, and then to Central and Southeast Asia. Also offered as CAS AN 548, HI 596, and RN 563.
Greater Boston: Architecture and Planning Course Site
CAS AH584 W 2:00-5:00 Morgan
Examines the buildings, development patterns, and open space planning of greater Boston, with particular emphasis on the Nineteenth and Twentieth Centuries. Weekly visits to neighborhoods and buildings throughout the city are combined with independent research projects for each member of the seminar.


Graduate Courses

Colloquium on Twentieth Century American Painting Course Site
GRS AH786 T  2:00-4:00 Hills
This colloquium, which accompanies the lecture course for CAS AH 386, focuses on critical and theoretical readings that relate to twentieth-century American painting, photography, sculpture, installation and performance art, and criticism.
Colloquium in Twentieth Century Architecture Course Site
GRS AH798 T 10:00-12:00 Scrivano
In conjunction with the CAS AH 398 lecture course, this colloquium focuses on main figures, events, artifacts of twentieth-century architectural history.
Post-Colonial Theory and Visual Culture in Northwestern Africa Course Site
GRS AH822 W 10:00-12:00 Becker
This course underscores the continuing importance of post-colonial theory to understanding the history of African art, concentrating on historic and contemporary visual culture in Morocco, Algeria, Senegal, Mali and Niger. We begin with European theories that fostered and promoted colonialism in the region. We also read post-colonial theory through writers who considered the lasting political, social, and cultural effects of colonial subjugation: Frantz Fanon, Kwame Anthony Appiah, Léopold Sédar Senghor, Edward Said, Homi Bhabha and others. Key concepts and issues to be considered include notions of difference and universality, representation and resistance, hybridity, nationalism, ethnicity and indigeneity, feminism, place, language, and translation.
Seminar: Baroque Art and Architecture- Topic: Rembrandt Course Site
GRS AH863 W 2:00-4:00 Zell
Rembrandt is one of the most contested figures in the history of art. A veritable industry surrounding him has produced differing and at times contentious representations not easily integrated with narratives of his career or historical agency. This course considers Rembrandt’s art and career within the context of his social and cultural worlds through a variety of art historical approaches. The class also embraces the complexities of pursuing a historical account of anartist who was not only shaped by his world, but also contributed to its “horizon of expectations.”
American Material Culture Course Site
GRS AH867 M 2:00-5:00 Moore
Introduction to the theory and practice of the interdisciplinary study of material culture, which includes everything we make and use, from food and clothing to art and buildings. Explores contemporary scholarship from a range of disciplines.
Seminar: The Photographic Book Course Site
GRS AH891 M 9:00-11:00 Sichel
This seminar will examine the photographic book throughout the years from 1839 to the present. We will concentrate on the book as a unique form for the medium, and study image/text relationships, narrative structures, cultural constructions of the book’s message, the serial quality of grouped images, and the differences and similarities between literary and photographic languages. Photographic books can be roughly divided into three categories: photographic albums of original photographs; books created by a photographer or larger agency with a social agenda; and artists’ photographic books. We will study all three.