| Title | Instructor | Location | Time | All taxonomy terms | Description | Section Description | Cross Listings | Fulfills | Registration Notes | Syllabus | Syllabus URL | Course Syllabus URL | ||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| ARTH 0143-401 | The Past Preserved: Conservation In Archaeology | Molly Gleeson | F 12:00 PM-2:59 PM | This course explores the scientific conservation of cultural materials from archaeological contexts. It is intended to familiarize students with the basics of artifact conservation but is not intended to train them as conservators. The course will cover how various materials interact with their deposit environments; general techniques for on-site conservation triage and retrieval of delicate materials; what factors need to be considered in planning for artifact conservation; and related topics. Students should expect to gain a thorough understanding of the role of conservation in archaeology and how the two fields interact. | ANTH3235401, CLST3315401, MELC4955401 | |||||||||
| ARTH 0500-301 | First Year Seminar: The Art History of the Bio-Pic: Biography, Identity, and Translation | Hannah Feldman | T 1:45 PM-4:44 PM | The primary goal of the first-year seminar program is to provide every first-year student the opportunity for a direct personal encounter with a faculty member in a small setting devoted to a significant intellectual endeavor. Specific topics are posted at the beginning of each academic year. | Arts & Letters Sector (all classes) | https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do | ||||||||
| ARTH 0500-302 | First Year Seminar: Origins of Art: Western Traditions | Sarah M. Guerin | M 1:45 PM-4:44 PM | The primary goal of the first-year seminar program is to provide every first-year student the opportunity for a direct personal encounter with a faculty member in a small setting devoted to a significant intellectual endeavor. Specific topics are posted at the beginning of each academic year. | Arts & Letters Sector (all classes) | |||||||||
| ARTH 1020-401 | Renaissance to the Present | Andre Dombrowski | TR 5:15 PM-6:14 PM | This course is an introduction to the history of art in a global context from the early 1400s to the present. Lectures will introduce students to significant moments in artistic production in both the Western and Eastern hemispheres through focused studies on crucial aspects of exchange between cultures and continents. Covering an era of increasing economic transactions, imperial conquests, and industrialization, this course will build recursively through themes such as: the emergence of authorial identity and models of artistic collaboration, the traffic of artistic materials and techniques and their adaptation in different cultural settings, and the foregrounding of art to both document and initiate political change. Developing vocabularies to discuss painting, sculpture, architecture, and prints, as well as photography and film, students will learn to analyze art's decisive role during times of social transformation, including modernization, colonization, and technological advances. We will also examine the role of broad-reaching media and the advent of art criticism in forming public opinion. Assignments will encourage students to think widely across geographies and study intimately local examples in the Philadelphia museums. | VLST2320401 | Arts & Letters Sector (all classes) | https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do | |||||||
| ARTH 1100-601 | What is Modern Art? | Sara Vakili | TR 7:00 PM-8:29 PM | Modernism is not easily defined. For some, the word simply identifies Western art of the last two hundred-odd years. For others, modernism refers to forms of “advanced” visual art, whether the cubist distortions of Pablo Picasso or the allover abstractions of Jackson Pollock, that break with established representational conventions. For still others, the term singles out modes of artistic opposition to the ravages of capitalism, colonialism, industrialization, imperialism, and war that continue to define our world. Among its manifold practices, we find the rise of abstraction, paintings that pretend to show nothing but an instant, dreams and erotic desires set free for everyone to see, and everyday objects elevated to the status of sculpture. At key moments, "Art" itself was declared dead, then resurrected as the solution to the social problems of the era, forming a highly ambivalent relationship to the spheres of politics and history. We will cover the development of Modernism broadly, from the 1860s to the 1960s, introducing many of the best-known figures (like Monet, Van Gogh, Duchamp, and Picasso) and movements (like Impressionism, Cubism, Dada, and Surrealism). Europe and North America will be the focus, but we will frequently look to global developments as well and analyze art made in colonial and diasporic conditions. The standard narratives of Modernism will be questioned at every turn, and artists of color, diverse gender and sexual orientations, as well as national and economic backgrounds studied in depth as well. We will proceed more or less chronologically, doubling back or projecting forward when necessary to understand the determinative historical influences that have shaped the development of modernist idioms in particular times and places. In every instance, we will study works of art that have confronted our culture’s visual means—of life, death, consumption, and display—and attempted to work them over into critical form. | Arts & Letters Sector (all classes) | |||||||||
| ARTH 1500-401 | Eye, Mind and Image |
Hammam Aldouri Ian F Verstegen |
TR 10:15 AM-11:44 AM | Understanding the visual character of our natural and built environments involves both scientific and humanistic disciplines. While the various specialties involved require considerable effort to master, Visual Studies 1010, drawing on a subset of disciplines— neuroscience, psychology, philosophy, art history, and cinema studies—provides an initial guide through the many claims made about seeing art and seeing the world. Students weigh ideas and evidence about seeing through an interdisciplinary lens. Does seeing vary across cultures? What can art tell us about vision? How is it that combining green and red yields yellow? How do still movie frames produce an experience of motion? Is there a new, modern form of seeing? To address such questions, students gain knowledge of the eye and visual centers of the brain, basic principles of perception, the way in which psychological proclivities are utilized in the cultural sphere, the interaction between art and visual theory, and philosophical questions concerning the mind-brain relation, the value of art, and vision as a source of knowledge. They learn from lectures by an interdisciplinary set of Penn faculty, from hands on labs (for example, an eye dissection), and field trips (to the Dia Beacon Museum). | VLST1010401 | Nat Sci & Math Sector (new curriculum only) | ||||||||
| ARTH 1800-401 | The Sexuality of Modern Art | Jonathan D Katz | MW 12:00 PM-1:29 PM | It's no exaggeration to note that queers have long been at the forefront of innovation in the arts, and that the arts, generally, have been a comfortable home for queers, even at moments when society at large was distinctly hostile. In fact the concepts of modern art and homosexuality that we use today are twins, for they were both founded in the third quarter of the 19th century and grew up together. Introduction to Queer Art thus begins with the coining of the word "homosexual" in 1869, and surveys how a range of mediums including painting, sculpture, poetry, music, and film shifted in response to new definitions of sexuality. Along the way, we will work towards answering two related questions: 1) Why were queer creators largely responsible for the introduction of modernity in the arts, and 2) why do we find so often that queer social and political dissent found form in, and as, aesthetic dissent as well? In creating new forms for art that often seem far removed from any traditional definition of sexuality, including non-objective and abstract art, queer artists pushed the boundaries of normativity, leading to new ways of seeing, hearing, feeling and thinking that often dared to encode queer meanings as part of their formal innovation. We will look into the politics of queer art, and how and why in the US, even amidst often dangerous homophobia, it was queer artists who represented America to itself. Thus, we will cover such key cultural figures such as Walt Whitman, Gertrude Stein, Georgia O'Keeffe, Frank O'Hara, Jasper Johns, Andy Warhol, and Agnes Martin. Throughout, new methods informed by queer, gender, and critical race theory will be utilized. | GSWS1800401 | |||||||||
| ARTH 2094-401 | Dress & Fashion in Africa | Ali B. Ali-Dinar | TR 3:30 PM-4:59 PM | Throughout Africa, social and cultural identities of ethnicity, gender, generation, rank and status were conveyed in a range of personal ornamentation that reflects the variation of African cultures. The meaning of one particular item of clothing can transform completely when moved across time and space. As one of many forms of expressive culture, dress shape and give forms to social bodies. In the study of dress and fashion, we could note two distinct broad approaches, the historical and the anthropological. While the former focuses on fashion as a western system that shifted across time and space, and linked with capitalism and western modernity; the latter approach defines dress as an assemblage of modification the body. The Africanist proponents of this anthropological approach insisted that fashion is not a dress system specific to the west and not tied with the rise of capitalism. This course will focus on studying the history of African dress by discussing the forces that have impacted and influenced it overtime, such as socio-economic, colonialism, religion, aesthetics, politics, globalization, and popular culture. The course will also discuss the significance of the different contexts that impacted the choices of what constitute an appropriate attire for distinct situations. African dress in this context is not a fixed relic from the past, but a live cultural item that is influenced by the surrounding forces. | AFRC2324401, ANTH2024401 | |||||||||
| ARTH 2180-401 | Art & Architr Anc Egypt | David P Silverman | MW 3:30 PM-4:59 PM | This course will be an introduction to the art, architecture and minor arts that were produced during the three thousand years of ancient Egyptian history. This material will be presented in its cultural and historical contexts through illustrated lectures and will include visits to the collection of the University Museum. | ANCH1305401, MELC0210401 | |||||||||
| ARTH 2240-401 | Art of Mesopotamia | Holly Pittman | TR 1:45 PM-3:14 PM | Visual expression was first developed in Mesopotamia in the same environment as the invention of writing. This lecture class will introduce the arts of the major periods of Mesopotamian History ending with the "cinematic" effects achieved by the Assyrian artists on the walls of the royal palaces. The strong connection between verbal and visual expression will be traced over the three millennia course of Mesopotamian civilization from the earliest periods through the imperial art of the Assyrians and Babylonians of the first millennium BCE. The class and the assignments will regularly engage with objects in the collections and on display in the galleries of the Penn Museum. | AAMW6240401, ARTH6240401, MELC0060401, MELC6060401 | |||||||||
| ARTH 2680-401 | Art and Empire in India, 1750-1900 | Sonal Khullar | TR 1:45 PM-3:14 PM | This course surveys transformations in visual culture between the Mughal and British empires in India from the mid-eighteenth through the nineteenth centuries. We shall consider changes in artistic production, patronage, publics, and viewing protocols in the contexts of the court and bazaar. We shall examine the emergence of new technologies and its impact on visual forms, media, and genres, focusing on the interplay of photography, print, and painting. We shall explore the role of institutions -the art school, the museum, and the archeological survey- and the professions and practices they engendered. We shall analyze how architecture and urban planning created new built environments and social relationships in colonial India. We shall view objects first-hand in the Penn Museum, Penn Libraries, and Philadelphia Museum of Art. This is a reading- and writing-intensive course. Students with a background in related disciplines such as literature, history, religion, anthropology, and South Asian Studies are welcome. | ARTH6680401, SAST2680401, SAST6680401 | https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do | ||||||||
| ARTH 2810-401 | Modern Architecture, from the Enlightenment to the Present | Ana Ozaki | TR 10:15 AM-11:14 AM | In this introductory course, we will contextualize modern architecture beyond the 20th-century Western canon of modern architecture to examine the social, intellectual, and material life of buildings and movements from around the globe. Starting with the Enlightenment, this class’s weekly themes are structured chronologically around major historical events and across different geographies. Rather than a conventional survey, this class aims to offer students a global literacy regarding modern architecture and an understanding of the intertwined nature of architectural practice and historiography globally. That is, as opposed to trying to cover all architectural movements and theories, the course focuses on providing students with the tools to find and critically assess architecture’s multiple layers, including but limited to the actions of peoples, ideas, objects, technologies, images, and other forces, and how they have interacted in specific locations. Challenging architecture’s Western and male gaze and production, the lectures include less conventional spatial actors, especially those often marginalized by ideals of racial difference, gender and sexuality, class, and religion, among other factors. Informed by critical theory, ecology, gender, postcolonial, and critical race studies, the course will examine the political ground on which architecture stands and interferes, including land, property, capital, and patronage. We will establish architecture, therefore, as a contested and disputed practice, never neutral and constantly adapting to socio-political and environmental constraints. Focused on a capacious understanding of modern architecture, we will explore global connections and situated knowledge production methods that have shaped and disputed the logic of capital, fossilization, and colonialism. | ARTH6810401 | |||||||||
| ARTH 2910-401 | East Asian Cinema | Chenshu Zhou | MW 3:30 PM-4:29 PM | This survey course introduces students to major trends, genres, directors, and issues in the cinemas of East Asian countries/regions, including Japan, Korea, China, Hong Kong, and Taiwan. Charting key developments over more than a hundred years from the early twentieth century to the present, this course examines films as aesthetic objects, asking questions about film form, narrative, and style. It also pays attention to the evolution of cinema as an institution (e.g. modes of production, circulation, and exhibition) in different cultural and political contexts. Weekly course materials will include both films (primary sources) and analytical readings (secondary sources). By the end of the course, students are expected to gain broad knowledge of East Asian cinema, develop skills of film analysis, and apply these skills to perform historically informed and culturally sensitive analysis of cinema. Prior knowledge of East Asian languages is NOT required. | ARTH6910401, CIMS2910401, CIMS6910401, EALC1116401, EALC5116401 | |||||||||
| ARTH 2930-401 | British Cinema: Film, Television, and Transatlantic Screen Culture | James English | TR 10:15 AM-11:44 AM | This course explores an aspect of cultural studies intensively. See the English Department's website at www.english.upenn.edu for a description of the current offerings. | CIMS2420401, COML2420401, ENGL2420401 | |||||||||
| ARTH 3000-301 | Undergraduate Methods Seminar | Ivan Drpic | M 1:45 PM-4:44 PM | Topic varies from semester to semester. This course, required for history of art majors, acquaints students with a wide variety of historical and contemporary approachees to studying art, architecture, material culture, and visual culture. | ||||||||||
| ARTH 3020-301 | Methods of Object-Study: Understanding Works of Art on Paper |
Christina Taylor Nancy E Ash Thomas J Primeau |
This immersive hands-on seminar introduces students to methods of analyzing the material, physical, and visual aspects of objects in a museum, gallery, or library context. Students will receive training in curatorial practices, close observational skills, and precise descriptive terminology for materials and techniques. They also will learn about essential tools of conservation and technical analysis. | |||||||||||
| ARTH 3070-401 | Rise of Image Culture | Hammam Aldouri | W 1:45 PM-4:44 PM | Today images are everywhere; two centuries ago, they were rare. This seminar considers key historical and theoretical contexts for this change and its social consequences. With the help of some of the strongest critics and theorists of image culture, we will consider five interrelated aspects of the rise of image culture. - First, we will explore how new media and mechanical reproduction has changed the idea of the image over in the free market. - Second, we will explore how images operate through the psyche and gaze and how that operation is tied to social and political power. - Third, we will examine how representations make meaning and form identity in coded systems. - Fourth, we will consider the relationship between visual space and concepts of reality. And finally, we will interrogate how the physical and digital material that images are made from affects their meaning. | VLST3030401 | |||||||||
| ARTH 3200-301 | Aegean Bronze Age Art Seminar: Minoan and Cycladic Wall Paintings in Their Architectural Contexts | Elizabeth Shank | R 10:15 AM-1:14 PM | In this class, we will explore the art and cultures of the Aegean Bronze Age in Greece, a period from roughly 3,300-1,100 BCE. The geographic regions of the Greek Mainland, the Cycladic islands, and the island of Crete were home to complex cultural groups that formed a unique Bronze Age society. Topics will vary from semester to semester, and may include and not be limited to the examination of the architecture, pottery, wall paintings, stone carvings, jewelry, seals, weapons and other metalwork, and the iconography of these prehistoric arts. We will also delve into issues of the organization of society and the distribution of power, the role of women and men, trade and the unique position of the (rather small) Aegean world as it existed between two huge powerhouses of the ancient Mediterranean: the Ancient Near East and Egypt. | ||||||||||
| ARTH 3873-401 | History of Disney Animation | Linda R. Simensky | M 3:30 PM-6:29 PM | No organization has exerted as much influence on popular culture and the art form of animation as The Walt Disney Company. For decades, Disney films were the standard by which all other animated films were measured. This course will examine the biography and philosophy of founder Walt Disney, as well as The Walt Disney Company’s impact on animation art, storytelling and technology, the entertainment industry, and American popular culture. We will consider Disney's most influential early films, look at the 1960s when Disney’s importance in popular culture began to erode, and analyze the films that led to the Disney renaissance of the late 1980s/early 1990s. We will also assess the subsequent purchase of Pixar Animation Studios and the overall impact Pixar has had on Disney. The class will also look at recent trends and innovations, including live-action remakes and Disney+. | CIMS3203401, ENGL0593401 | |||||||||
| ARTH 3911-401 | American Independents | Meta Mazaj | TR 3:30 PM-4:59 PM | This topic course explores aspects of Film History intensively. Specific course topics vary from year to year. See the Cinema Studies website at <http://cinemastudies.sas.upenn.edu/> for a description of the current This offerings. | CIMS2011401, ENGL2911401 | |||||||||
| ARTH 3970-401 | Spiegel-Wilks Seminar: The Art of Care at the Barnes Foundation | Aaron Levy | Topic varies from semester to semester. While not having any specific pre-requisites, this seminar in contemporary art is designed for junior and senior majors in art history with some knowledge in the field. When appropriate, it may feature special guests from the art world, international travel, and/or curatorial opportunities. | ENGL2663401 | ||||||||||
| ARTH 3970-402 | Spiegel-Wilks Seminar: Curating Contemporary Art | Emily Zimmerman | W 5:15 PM-8:14 PM | Topic varies from semester to semester. While not having any specific pre-requisites, this seminar in contemporary art is designed for junior and senior majors in art history with some knowledge in the field. When appropriate, it may feature special guests from the art world, international travel, and/or curatorial opportunities. | ENGL2663402 | |||||||||
| ARTH 5110-401 | Topics in South Asian Art: The Arts of the Book in South Asia | Sonal Khullar | M 10:15 AM-1:14 PM | This seminar engages topics in the history and theory of South Asian art from antiquity to the present emphasizing global connections and comparisons. Topics vary from year to year and might include the arts of the book in South Asia; Indian Ocean art worlds; and fragments, ruins, and traces in the art of South Asia. We shall explore objects in area collections and incorporate special excursions and programs when possible. A background in South Asian studies or languages is not required. Students from related disciplines such history, anthropology, literary studies, religious studies, feminist studies, cinema and media studies, and architecture are welcome. | COML5113401, SAST5110401 | https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do | ||||||||
| ARTH 5340-301 | Art and Text, Antiquity to Byzantium |
Ann L Kuttner Ivan Drpic |
T 5:15 PM-8:14 PM | This seminar explores the relations of art, artifact, and architecture with text - both material texts and literary remains - in the Greco-Roman, Late Antique and Byzantine worlds. There, the written word was a source of power and authority as much as a means of communication; script itself could be sacred. Important literary models and genres persisted over that long arc, even while new genres of description and text-image media arose; many have had a lasting impact in the post-antique world down to our contemporary moment. By Late Antiquity, texts - whether read, spoken, remembered, or inscribed - were often intertwined with things on multiple levels. The writing on statue bases was meaningful aesthetically; the portrait in words complemented the image it inscribed. Script, sometimes illegible and nonsensical, featured as calligraphic ornament and visual sign in both secular and sacred contexts. Ancient debates concerning the role of images in religious devotion came, in the Christian era, to generate a huge body of theological and homiletic writings; this seminar especially visits the period called Iconoclasm, and traces its historical roots. Descriptions of works of art, either independent or inserted into larger literary compositions, proliferated; they could problematize the acts of seeing/reading, writing/making. We will look at some of the `catalogues' of described things and images real and fictional, in prose and in poetry. Topics sample the vast array of objects that bore inscriptions, often in the form of poetic texts, or epigrams, from monumental architecture to drinking wares, personal seals and pieces of jewelry. (Sometimes these made images and objects actually speak, as if alive, to people seeing /reading them, touching them.) | ||||||||||
| ARTH 5431-401 | Visualizing Science |
Elly Truitt Nicholas Herman |
T 1:45 PM-4:44 PM | This seminar focuses on the intersection of visuality and natural knowledge in the pre-modern world. It is open to graduate students and undergraduate students with permission of the instructor. | HSSC5431401 | |||||||||
| ARTH 5830-401 | Art, Sex and the Sixties | Jonathan D Katz | M 5:15 PM-8:14 PM | With a distinct emphasis on performance, film, installation art, video and painting, this course explores the explosion of body-based, nude and erotic work from the 1950 to the 1970s, with particular focus on the 1960s. And it seeks to explore this dynamic not only within the familiar confines of North America and Europe but within Latin America and Asia, too, in what was a nearly simultaneous international emergence of the erotic as a political force in the art world. Reading a range of key voices from Frankfurt School philosopher Herbert Marcuse, to performance artists Carolee Schneemann and Yoko Ono, Neo-Freudian theorist Norman O. Brown and Brazilian theorist and poet Oswald de Andrade, we will examine how and why sexuality became a privileged form of politics at this historical juncture in a range of different contexts across the globe. We will pay particular attention to how and why an art about sex became a camouflaged form of political dissidence in the confines of repressive political dictatorships, as were then rising in Brazil, Argentina. and ultimately Chile. Students interested in feminist, gender or queer theory, Latin American Studies, social revolution, performance studies, post war art and Frankfurt School thought should find the course particularly appealing, but it assumes no background in any of these fields. | CIMS5830401, GSWS5200401, LALS5830401 | |||||||||
| ARTH 5910-401 | Cinema and the Museum | Chenshu Zhou | T 1:45 PM-4:44 PM | Cinema and the museum are both important modern cultural institutions that have global relevance. How do cinema and the museum interact with each other conceptually, artistically, and spatially? In this graduate seminar, we will cross the disciplinary boundaries between film and media studies, museum studies, visual studies, and art history. A wide range of phenomena at the intersection of cinema and the museum will be considered, including the museum in films, the museum as an institution of cinema, video arts and moving images in museums, museum exhibitions that interrogate the cinematic medium, and film museums. Examples will be drawn from diverse historical periods and cultural contexts. This course is supported by Spiegel-Wilks funding and will include at least one class field trip. | CIMS5910401 | |||||||||
| ARTH 6240-401 | Art of Mesopotamia | Holly Pittman | TR 1:45 PM-3:14 PM | Visual expression was first developed in Mesopotamia in the same environment as the invention of writing. This lecture class will introduce the arts of the major periods of Mesopotamian History ending with the "cinematic" effects achieved by the Assyrian artists on the walls of the royal palaces. The strong connection between verbal and visual expression will be traced over the three millennia course of Mesopotamian civilization from the earliest periods through the imperial art of the Assyrians and Babylonians of the first millennium BCE. The class and the assignments will regularly engage with objects in the collections and on display in the galleries of the Penn Museum. | AAMW6240401, ARTH2240401, MELC0060401, MELC6060401 | |||||||||
| ARTH 6680-401 | Art and Empire in India, 1750-1900 | Sonal Khullar | TR 1:45 PM-3:14 PM | This course surveys transformations in visual culture between the Mughal and British empires in India from the mid-eighteenth through the nineteenth centuries. We shall consider changes in artistic production, patronage, publics, and viewing protocols in the contexts of the court and bazaar. We shall examine the emergence of new technologies and its impact on visual forms, media, and genres, focusing on the interplay of photography, print, and painting. We shall explore the role of institutions -the art school, the museum, and the archeological survey- and the professions and practices they engendered. We shall analyze how architecture and urban planning created new built environments and social relationships in colonial India. We shall view objects first-hand in the Penn Museum, Penn Libraries, and Philadelphia Museum of Art. This is a reading- and writing-intensive course. Students with a background in related disciplines such as literature, history, religion, anthropology, and South Asian Studies are welcome. | ARTH2680401, SAST2680401, SAST6680401 | https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do | ||||||||
| ARTH 6810-401 | Modern Architecture, from the Enlightenment to the Present | Ana Ozaki | TR 10:15 AM-11:14 AM | In this introductory course, we will contextualize modern architecture beyond the 20th-century Western canon of modern architecture to examine the social, intellectual, and material life of buildings and movements from around the globe. Starting with the Enlightenment, this class’s weekly themes are structured chronologically around major historical events and across different geographies. Rather than a conventional survey, this class aims to offer students a global literacy regarding modern architecture and an understanding of the intertwined nature of architectural practice and historiography globally. That is, as opposed to trying to cover all architectural movements and theories, the course focuses on providing students with the tools to find and critically assess architecture’s multiple layers, including but limited to the actions of peoples, ideas, objects, technologies, images, and other forces, and how they have interacted in specific locations. Challenging architecture’s Western and male gaze and production, the lectures include less conventional spatial actors, especially those often marginalized by ideals of racial difference, gender and sexuality, class, and religion, among other factors. Informed by critical theory, ecology, gender, postcolonial, and critical race studies, the course will examine the political ground on which architecture stands and interferes, including land, property, capital, and patronage. We will establish architecture, therefore, as a contested and disputed practice, never neutral and constantly adapting to socio-political and environmental constraints. Focused on a capacious understanding of modern architecture, we will explore global connections and situated knowledge production methods that have shaped and disputed the logic of capital, fossilization, and colonialism. | ARTH2810401 | |||||||||
| ARTH 6910-401 | East Asian Cinema | Chenshu Zhou | MW 3:30 PM-4:29 PM | This survey course introduces students to major trends, genres, directors, and issues in the cinemas of East Asian countries/regions, including Japan, Korea, China, Hong Kong, and Taiwan. Charting key developments over more than a hundred years from the early twentieth century to the present, this course examines films as aesthetic objects, asking questions about film form, narrative, and style. It also pays attention to the evolution of cinema as an institution (e.g. modes of production, circulation, and exhibition) in different cultural and political contexts. Weekly course materials will include both films (primary sources) and analytical readings (secondary sources). By the end of the course, students are expected to gain broad knowledge of East Asian cinema, develop skills of film analysis, and apply these skills to perform historically informed and culturally sensitive analysis of cinema. Prior knowledge of East Asian languages is NOT required. | ARTH2910401, CIMS2910401, CIMS6910401, EALC1116401, EALC5116401 | |||||||||
| ARTH 7811-301 | Architectural History Seminar: Architectures of Land and Sea | Ana Ozaki | T 1:45 PM-4:44 PM | This course addresses architectural history as a global and contested field. Through different geographies and epistemologies, mainly from the South and their global connections, this class will focus on emerging topics in architectural history, including but not limited to histories of colonialism, empire, racial capitalism, labor and environmental exploitation, extraction, architecture's entanglements with the ongoing climate crisis, and histories of counter-conduct, resistance, collective action, and refusal. Using methods of architectural history in research and visual analysis, the class will assess a combination of primary and secondary sources weekly to contend with themes from political and architectural movements, postcolonial and decolonial critiques, and other theoretical frameworks from marginalized geographies and methods. | ||||||||||
| ARTH 7882-301 | Art of the Americas Seminar: Early Modern Spain and Spanish America | Byron Hamann | W 10:15 AM-1:14 PM | This seminar examines the history of art, artists, and artistic movements that emerged in the Americas between the 16th and 20th centuries. It may also engage with histories of visual culture, criticism, and the theory of art. Specific topics and periods vary from semester to semester. |