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Confirm course times, discussion section times, and call numbers
on the Directory
of Classes.
All Columbia seminars (with “AHIS” prefix) require
an application. If you are interested in a Barnard seminar,
please attend the first day of class. Columbia seminar applications
are due on 25 April 2003, 5:00PM. There is no application
form to complete. Please compose a one-paragraph statement
explaining your interest in and preparation for the course.
Address the statement to the instructor (Dear Prof. xxxx.)
Include: name, PID or social security number, school, Major/Concentration(s),
year, email address. An individual application is required
for each seminar to which you apply.
Many courses fall into more than one distribution area. However,
A SINGLE COURSE CAN NEVER FULFILL TWO REQUIREMENTS AT THE SAME
TIME. For example, W3248 Greek Art & Architecture can fulfill
either ‘Ancient’ or ‘Architecture’,
but NOT BOTH. CHECK
to see which requirement the courses below fulfill.
(BC 1001) Introduction
to Art History [Barnard
lecture]
Keith Moxey
Either term may be taken separately. An introduction to the
art of the past with an emphasis on the variety of perspectives
from which it may be studied. While mainly dedicated to the
art of Western Europe, the course includes serious discussion
of other cultures as well. Works of art from different periods
will be selected for discussion in depth.
View Web site.
(AHIS W3248) Greek Art & Architecture [lecture]
Clemente Marconi
An introduction to the art and architecture of the Greek world during the Archaic,
Classical, and Hellenistic periods (11th–1st centuries B.C.E.)
View Web site.
AHIS W3937 The Unearthed Cities of Vesuvius [seminar]
Bettina Bergmann
The seminar examines the surviving art, architecture, and gardens that were created
on the Bay of Naples to the taste of Roman citizens in the late republic and
early empire. It also considers the history of archaeological and art historical
methods that have shaped our knowledge of the Roman past and inspired romantic
visions in art, theater, and film up to the present. The modern history of the
sites includes scientific studies of the ancient natural environment and ongoing
excavations at sites like Puteoli, the most important Italian harbor in the Roman
empire. The students will observe the changing engagement with the Roman past
as well as ancient evidence of life in a first-century town surviving in astonishing
preservation.
Note: Application required.
(AHIS W3933) Medieval Art in Manhattan [seminar]
Holger Klein
This undergraduate seminar will provide students with an introduction to the
history and historiography of Medieval art through the examination of objects
and monuments that have found their way into the collections of New York during
the 19th and 20th centuries. Topics of interest will include issues of connoisseurship,
the history of collecting, cultural appropriation, and historic preservation
Download application
form.
(AHIS V3400) Italian Renaissance Painting, 15th Century [lecture]
James Beck
The origins and development of Renaissance painting: humanism and religion, perspective
and art theory, the revival of classical form and content. Emphasis on major
centers, especially Florence and Venice, and the courts, and on the major masters:
Masaccio, Fra Angelico, Piero della Francesca, Giovanni Bellini, Leonardo da
Vinci.
View Web site.
(AHIS V3500) 17th Century Painting & Sculpture:
Italy, France, and Spain [lecture]
Sarah McPhee
Painting, sculpture, and architecture in western Europe, 1580–1660. The
Baroque style in relation to its cultural background with emphasis on Bernini,
Borromini, Caravaggio, Claude, Poussin, Velazquez, Rembrandt, and Rubens.
(AHCL C3922) Themes
in The Art & Literature of the Renaissance: Myths of Love [seminar]
David Rosand & Robert Hanning
(Dept. of English & Comp. Lit.)
THIS SEMINAR IS CLOSED.
Prerequisites: Art Humanities and Literature Humanities and at least one course
in either literature or art history focused on the Renaissance, early modern,
or medieval period. An exploration of the theme and character of Love in Renaissance
literature and imagery, its function in defining cultural parameters and human
experience, sacred and profane. Authors to be read include: Plato, Ovid, Petrarch,
Ariosto, Castiglione, Dolce, Michelangelo, Shakespeare, Marlowe, Sidney, Spenser.
Images by: Botticelli, Giorgione, Titian, Raphael, Correggio, Michelangelo, Carracci,
Rubens, Poussin. If interested, e-mail Professors David
Rosand and Robert Hanning immediately.
View
Web site.
(AHIS W3928) Leonardo da Vinci [seminar]
James Beck
The course is designed to define Leonardo as the "universal man" of
the Renaissance. More than anyone in history Leonardo was a student of all aspects
of knowledge from human anatomy to perspective, from theatrical performances,
to war machines. He was not only a painter of the highest rank, but he was also
a practicing sculptor, an ingenious architect and a brilliant engineer.
(AHIS W3936) Baroque Rome [seminar]
Sarah McPhee
Rome as metropolis and center of artistic production 1585–1680. Major artists
include Caravaggio, Bernini, Borromini, and Poussin; topics will include the
three arts plus town planning, fountains, gardens, and large complexes such as
the chapels of S. Maria Maggiore, St. Peter's, and the Cornaro chapel.
(AHIS W3600) 19th Century Art [lecture]
Anne Higonnet
This course studies the European visual arts of the nineteenth century. Beginning
with the radical changes of the Enlightenment and ending with the glamorous portraits
of the Belle Epoque, W3600 covers a century of rapid stylistic, political and
technological changes. Careers and works of individual artists, formal innovation,
the invention of new media, materials, institutional structures and ideological
functions will all be considered in relation to each other.
View Web
site.
(BC 3642) North American Art & Culture [lecture]
Elizabeth Hutchinson
An examination of North American painting, sculpture, photography, graphic art
and decorative arts from the Colonial Period until World War I. Artists discussed
will include Benjamin West, John Singleton Copley, Thomas Cole, Lilly Martin
Spencer, Harriet Powers, Rafael Aragon, Robert Duncanson, Frederick Church, Winslow
Homer, Thomas Eakins, James MacNeill, Whistler, Mary Cassatt, Thomas Moran, Henry
Ossawa Tanner and Eadweard Muybridge. *Must register for discussion section,
time TBA on Directory of Classes.
View
Web
site.
(BC 3658) History of the Avant-Garde [lecture]
Rosalyn Deutsche
This course examines the practice of artistic avant-gardism from the mid-nineteenth
to the late twentieth century. Using case studies, it explores the relationship
between the avant-garde, the institutions of art, and political radicalism. The
course also studies art-historical theories of the modernist, historical and
neo-avant-gardes as well as critiques of avant-gardism from feminist and democratic
points of view,
discussing the charge of "elitism" often leveled against avant-gardism. The approach
is genealogical, investigating the constitution and uses of "the avant-garde" as
a concept.
(BC 3948) The Visual Culture of the Harlem Renaissance [Barnard
seminar]
Elizabeth Hutchinson
Introduction to the paintings, photographs, sculptures, films and graphic arts
of the Harlem Renaissance and the publications, exhibitions, and institutions
involved in the production and consumption of images of African-Americans. Focuses
on impact of Black northward and transatlantic migration and the roles of region,
class, gender, and sexuality.
(BC 3949) The Art of Witness [Barnard seminar]
Rosalyn Deutsche
Instructor determines class roster on first day of class. Examines aesthetic
responses to collective historical traumas, such as slavery, the Holocaust, the
bombing of Hiroshima, AIDS, homelessness, immigration, and the recent attack
on the World Trade Center.
Note: Limited to 15 Students.
(AHIS G4556) Marcel Duchamp: Histories and Frameworks,
from Dada to the Neo-Avante
Garde
T.J. Demos
This course explores the artwork of Marcel Duchamp, placing it in relation
to select historical contexts and avant-garde formations of the twentieth-century,
and reviewing the diverse and recent scholarship that addresses it. Topics include
the ways in which Duchamp's artistic practice proposes new forms of artistic
identity, modes of audience address, and innovative artistic categories such
as the ready-made and installation design, and how it relates to capitalism and
industrialization, anti-nationalism and exile, gender and sexuality.
(AHIS
C3001) Introduction to Architecture [lecture]
Hilary Ballon
Architecture analyzed through in-depth case studies of major monuments
of sacred, public, and domestic space, from the Pantheon and Hagia
Sophia to Fallingwater and the Guggenheim. Satisfies architectural
history/theory distribution requirement for majors, but the course is
also open to students wanting a general humanistic approach to
architecture and its history. Mandatory weekly discussion section.
View
Web
site.
(AHIS W3833) Architecture, 1750–1890 [lecture]
Barry Bergdoll
Major theorists and designs of architecture, primarily European, from the Age
of Enlightenment to the dawn of the art nouveau critique of historicism. Particular
attention to changing conditions of architectural practice, professionalization,
and the rise of new building types, with individual lectures being devoted to
major figures, including Soufflot, Adam, Boullée, Ledoux, Schinkel, Pugin,
and Garnier.
(AHIS V3080) Pre-Columbian Art & Architecture [lecture]
Esther Pasztory
Survey of the pre-Hispanic art of Mesoamerica and the Andean
region from the earliest times to the Spanish conquest.
(AHIS V3203) Arts of Japan [lecture]
Melissa McCormick
An introduction to the painting, sculpture, and architecture
of Japan from the Neolithic period through the nineteenth century.
Discussion will focus on key monuments within their historical
and cultural contexts.
View Web
site.
(AHUM V3340 Section 1) Art in China,
Japan, and Korea (Asian Humanities) [lecture]
Susan Beningson
An introduction to the distinctive aesthetic traditions of China, Japan,
and Korea--their similarities and differences--through an examination of
the visual and cultural significance of selected works. A survey of
masterpieces of painting, sculpture, architecture, and other arts in
relation to the history, culture, and religions of East Asia.
View
Web
site. (TBA)
(AHUM V3340 Sectioin 2 ) Art in China, Japan, and Korea
(Asian
Humanities) [lecture]
Dawn Delbanco
An introduction to the distinctive aesthetic traditions of
China, Japan, and
Korea—their similarities and differences—through
an examination of the visual and cultural significance of selected
works. A survey of masterpieces of painting, sculpture, architecture,
and other arts in relation to the history, culture, and religions
of East Asia.
View
Web
site. (TBA)
(AHIS V3342) Masterpieces of Indian
Art & Architecture
(Asian Humanities) [lecture]
Vidya Dehejia
This lecture course will introduce students to 2000 years of
art on the Indian subcontinent. It will consist of discrete
segments on the early art of Buddhism, rock-cut architecture
of the Buddhists and Hindus, the emergence and development
of the Hindu temple, the painted miniatures of the Mughals
and Rajputs, and the art of British India.
View
Web
site.
(AHIS W3907) The Construction of
Andean Art [seminar]
Esther Pasztory
Prerequisite: Course in related field, or equivalent experience. Explores the
various ways in which the West has made sense of Andean Art from the sixteenth
century to the present.
(AHIS W3991) Significant Recent
Discoveries in Chinese Art & Archaeology: Problems of Interpretation
[seminar]
Guolong Lai
A survey of recent archaeological discoveries on early China
and how this new data has been interpreted and altered our
pictures of early Chinese art and society. Focusing on specific,
detailed discussions of some of most important archaeological
finds, topics include various archaeological, art historical,
and anthropological themes.
(AHIS G4123) Japanese Screen Painting [graduate
seminar]
Melissa McCormick
This graduate lecture surveys the history and development of the
folding-screen format in Japanese painting from the 8th to 17th
centuries. Through a series of case studies, the course explores art
historical issues for which the folding screen provides a unique
perspective, including the relationships between painting and
architectural space, poetic practice, religious ritual.
(AHIS G4128) Visual Narratives
of India [graduate
seminar]
Vidya Dehejia
This course proposes the existence of distinct modes of visual narration
used by India's artists to present stories visually, both in the medium
of relief sculpture, and that of watercolors on paper or plastered
walls. The first half of the course is devoted to the rich corpus of
Buddhist narrative reliefs, while the second half considers the
relationship of text and image in the manuscript tradition of India.
Note: Permission required. Sign-up
in 826 Schermerhorn Hall by 25 April 2003. Colloquium is required
of all CU Art History Majors
and is recommended to be taken during the Major’s junior
year.
(AHIS W3895 Section 1) Major’s
Colloquium
Cordula Grewe
An introduction to different methodological approaches to art history as well as a variety of critical texts by ancient to modern authors.
Note: Department permission required. Sign-up in 826 Schermerhorn Hall by April 25, 2003. Colloquium required of all CU Art History Majors.
(AHIS W3895 Section 2) Major’s
Colloquium
Mia Mochizuki
An introduction to different methodological approaches to art
history as well as a variety of critical texts by ancient to
modern authors.
(AHIS
G4123) Japanese Screen Painting
Melissa McCormick
This graduate lecture surveys the history and development of the
folding-screen format in Japanese painting from the 8th to 17th
centuries. Through a series of case studies, the course explores art
historical issues for which the folding screen provides a unique
perspective, including the relationships between painting and
architectural space, poetic practice, religious ritual.
(AHIS G4128) Visual Narratives of Indian
Vidya Dehejia
This course proposes the existence of distinct modes of visual narration used
by India's artists to present stories visually, both in the medium of relief
sculpture, and that of watercolors on paper or plastered walls. The first half
of the course is devoted to the rich corpus of Buddhist narrative reliefs, while
the second half considers the relationship of text and image in the manuscript
tradition of India.
(AHIS G4556) Marcel Duchamp: Histories and Frameworks, from Dada to the Neo-Avante
Garde
T.J. Demos
This course explores the artwork of Marcel Duchamp, placing it in relation to
select historical contexts and avant-garde formations of the twentieth-century,
and reviewing the diverse and recent scholarship that addresses it. Topics include
the ways in which Duchamp's artistic practice proposes new forms of artistic
identity, modes of audience address, and innovative artistic categories such
as the ready-made and installation design, and how it relates to capitalism and
industrialization, anti-nationalism and exile, gender and sexuality.
(AHIS
G6723) Roman Art III: From Trajan to Constantine
Natalie Kampen
Some knowledge of Antiquity and German useful. Roman art from
Trajan to Constantine; examination of Roman figural art, painting,
mosaic, sculpture, their principal modes and themes of representation,
and an analysis of the phenomenon of Late Antiquity
back to top
APPLICATION PROCEDURES: All
seminars require an application by 25 April
2003, 5:00PM. Phone, Web and in-person registration will not be possible for
any CU graduate seminar.
An application consists of a one-paragraph statement explaining your
interest in and preparation for the class (there is no application
form). Address the statement to the instructor (Dear Prof. xxxx.)
Include: name, PID or social security number, school, degree program,
field of study, year, email address. An individual application is
required for each seminar which you are interested in. Students who wish
to audit or take a seminar for an "R" grade should also submit an
application.
(AHIS W3907)
The Construction of Andean Art
Esther Pasztory
Open to graduate students. Prerequisite: Course in related
field, or equivalent experience. Explores the various ways
in which the West has made sense of Andean Art from the sixteenth
century to the present.
(AHIS W3991) Significant
Recent Discoveries in Chinese Art & Archaeology: Problems of
Interpretation
Guolong Lai
A survey of recent archaeological discoveries on early China and how this new
data has been interpreted and altered our pictures of early Chinese art and society.
Focusing on specific, detailed discussions of some of the most important archaeological
finds, topics include various archaeological, art historical, and anthropological
themes.
Note: Open to graduate students.
(AHIS
G8014) Italian Renaissance Drawing
Carmen Bambach (The Metropolitan Museum of Art)
More so than the finished works, drawings can offer an extraordinary
glimpse into the artist's mind and creative act. In many ways,
the study of Italian Renaissance drawings is still a wide open
field, and can still offer numerous oportunities for original
research and discoveries. The course will focus on the study
of original drawings (rather than reproductions) in order to
analyze the archaeological evidence, and pose questions regarding
artistic intention, technique, function, and workshop practice.
We will explore numerous issues of methodology in the study
of art-historical evidence. Great attention will be given to
the works of the major artists of the Italian Renaissance (Pisanello,
Leonardo da Vinci, Michelangelo, Raphael, Titian). We will
examine drawings intended for paintings, prints, decorative
arts, sculptures, and buildings, as well as drawings done as
works in and of themselves. The course is "hands on" and
will be conducted mostly on-site at The Metropolitan Museum
of Art. Visits to other public and private collections will
also be arranged.
(AHIS G8545) Rubens
David Freedberg
An examination of the life and works of Peter Paul Rubens in
light of the most recent scholarship.
Note: See application procedure
above.
(AHIS G8251) Kosmos: Greek Temple Decoration
Clemente Marconi
Perception and current interpretation of Greek architectural sculpture. The relationships between architects and sculptors; the origin, the diffusion and distribution of architectural sculpture; the working process. The imagery of architectural sculpture, and its relation with the imagery in other artistic media. The religious and political context of the images and their social role.
(AHIS G8260) Roman Ensembles
Bettina Bergmann
The seminar considers Roman architectural complexes as multimedia environments
composed of painting, mosaic, furniture, and sculpture. Although recognized as
great innovations of spatial design, such complexes are rarely studied with the
media so integral to their design. Painting, sculpture, and mosaic form separate
traditions in scholarly literature. The rationale for the seminar is that it
is precisely in their combination that these media, and Roman experiences of
environments, can be understood. Students will investigate case-studies with
a critical awareness of the scholarship on different media as well as of the
methods, benefits, and pitfalls of reconstructing ancient contexts. In addition
to villas and houses, we will look at the evidence of tombs, baths, and spectacle
buildings. Sites include Delos, Pompeii, Nemi, Rome, Tivoli, Vienne, Chirargon,
Ephesos, and Lullingstone.
(AHIS G8633) 19th Century French Photography
Malcolm Daniel (The Metropolitan Museum of Art)
Focusing on the first quarter-century of photography in France, this
graduate seminar makes extensive use of original works of art in the
Metropolitan Museum's fall 2003 exhibition "The Dawn of Photography:
French Daguerreotypes, 1839-1855" and in the museum's permanent
collection. The seminar will explore a wide range of genres (including
architecture, landscape, portrait, nude, exploratory, tableau-vivant),
artists (including Baron Gros, Gustave Le Gray, Edouard Baldus, Charles
Nègre, Nadar, A.A.E. Disdéri, Victor Hugo, and others) and media
(daguerreotypes, paper negatives and salted paper prints, glass
negatives and albumen prints.)
(AHIS G8659) Post-war European
Art, 1948–1968
Benjamin Buchloh
Prerequisite: instructor's permission. Seminar examines two
decades of post-war European avant-garde production: its attempts
at historical continuity, its contestation of American hegemony
and the emerging confrontation with the culture industry conditions.
(AHIS G8667) Romanticism
in Art & Architecture
Barry Bergdoll & Cordula
Grewe
Description to come.
(AHIS G8686) Methods: The Post-Medium
Condition
Rosalind Krauss
Installation Art, the orthodoxy of contemporary production,
is ballasted by the idea that the aesthetic medium -- whether
painting, sculpture, or drawing -- is dead, absorbed into the
multi-media condition of Installation. The seminar will examine
the history of the consolidation of this idea along with challenges
to it, in the form of those contemporary practices that continue
to invoke the condition of "medium
specificity". Texts, such as Derrida's "The Law of Genre," will be
examined.
(AHIS G6009) Proseminar: Introduction to the Study of Art History
Keith Moxey
Description to come.
Note: Required course for all first-year Ph.D. students in
the Department.
(AHIS G8990) Masters Colloquium
John Rajchman
Description to come.
Note: Required course for all first year M.A. Curatorial AND
Critical Studies students.
(AHIS G8777) Behind the Scenes:
How Exhibitions and Collections are Formed
Sylvia Wolf (Whitney Museum of American Art)
This course will give students in the M.A. Curatorial program exposure to the range of possibilities that exist for the acquisition, publication and exhibition of visual art. Designed as a practicum, Behind the Scenes will provide students with hands-on experience in developing exhibition ideas and building an institutional collection. It will also give them privileged access to institutional collections and museum professionals through off-site visits. In coursework and class discussions, students will be asked to consider options, make choices, and defend their positions as much as they would in a curatorial post. They will also hone their analytical skills and gain practical training that is essential to becoming a museum professional..
Note: Required course for all first-year M.A. Curatorial Studies
students.
(AHIS G9901 Section 1) M.A. Thesis
Colloquium, Critical Studies
Rosalind Krauss
Description to come.
Note: This is a required, year long course. M.A. Critical Studies students [only] must enroll in this section.
(AHIS G9901 Section 2) M.A. Thesis Colloquium,
Curatorial Studies
Anne Higonnet
Description to come.
Note: This is a required, year
long course. M.A. Critical Studies students [only] must enroll
in this section.
Zainab Bahrani, Richard Brilliant, Jonathan Crary, Robert
Harrist, Christina Kiaer, Robin Middleton, Stephen Murray,
Joanna Smith
Zainab Bahrani, James Beck, Richard Brilliant, Jonathan Crary, Christina
Kiaer, Clemente Marconi, Robin Middleton, Keith Moxey, Stephen Murray, Joanna
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