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TBA
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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. Barnard seminars do not require an application; instead, please attend the first day of class.
Columbia seminar applications are due on April 23, 2004, 5:00PM, in 826 Schermerhorn Hall.
There is no application form to complete. Please compose a brief statement (1-2 paragraphs) explaining your interest in the course and any past coursework, if any, that may have prepared you for the course. Please address the statement to the instructor (Dear Prof. xxxx.), and include your name, year, social security number, school, Major/Concentration(s), email address. An individual application is required for each seminar to which you apply.
Seminars are limited enrollment courses, and therefore admission can sometimes be competitive. There is no limit to the number of seminar to which you can apply; in fact, it is often a good idea to apply to more than one seminar, especially if you need to fulfill a seminar requirement.
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.
(BC1001) Introduction to Art History
K. Moxey
Either term may be taken separately. Brief examination of the techniques of visual analysis, followed by a chronological survey of the major period styles of Western European art. Emphasis on the introduction of form and content in the works studied and on the correlation of the visual arts with their cultural environments. BC1001: Greek and Roman art; medieval art. BC1002: Renaissance to modern art.
(ACLGW3002) Introduction to Archaeology
J. Smith
An exploration of past and present knowledge that exists because of the field of archaeology. Individual site-based and cultural studies from around the world combine with rediscoveries of systems of communication, such as languages and belief systems, to make for a broad-based introduction to archaeological discourse.
(AHISV3248) Greek Art and Architecture
C. Marconi
Introduction to the art and architecture of the Greek world during the archaic, classical, and Hellenistic periods (11th - 1st centuries B.C.E.).
(AHUMV3340) Art in China, Japan, and Korea
D. Delbanco, Sec. 001
S. Larrivé-Bass, Sec. 002
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. Survey of masterpieces of painting, sculpture, architecture,
and other arts in relation to the history, culture, and religions of
East Asia. Major Cultures Requirement: East Asian Civilization List
B.
(AHUMV3342) Masterpieces of Indian Art and Architecture
V. Dehejia
Introduction to 2000 years of art on the Indian subcontinent. Consists 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. Major Cultures Requirement: South Asian Civilization List B.
(BC3345) Islamic Architecture: The Mongol Legacy 1200-1650
K. Rizvi
The destruction of Baghdad in 1258 by the armies of the Golden Horde predicated a profound change in Islamic society whose influence was felt from Egypt to India, and from Samarqand to Istanbul. This course examines the architecture commissioned by the Ottoman, Mamluk, Safavid, Uzbek and Mughal rulers and the new cities they founded to further their unique imperial visions.
(AHIS W3410) Italian Renaissance Architecture 1400-1600
F. Benelli
An introduction and analysis of Italian Renaissance architecture from
its beginnings in the 1430s until the end of the 16th century. While
our emphasis will be on events in Italy, some attention will be paid to
related architectural developments in France, England, Germany and
Spain.
(AHIS W3420) Italian Renaissance Sculpture
J. Beck
A survey of the principal Renaissance sculptors operating in Italy, including Jacopo della Quercia, Donatello, Ghiberti, Desiderio da Settignano, Niccolò dell’Arca, Verrocchio, and Michelangelo, with an introduction to the early masters, including Nicola and Giovanni
Pisano.
(AHIS W3600) Nineteenth Century Art
J. Crary
Juniors and seniors only; no graduate students.
Painting
and sculpture in Western Europe, 1789-1900. The neoclassic,
romantic, realist, impressionist, and post-impressionaist
movements.
(BC3658) History and Theory of the Avant-Garde
R. Deutsche
Examines the practice of artistic avant-gardism from the mid-19th to the late 20th century. Explores the relationship between the avant-garde, the institutions of art, and political radicalism. 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.
(AHISG4130) The Indian Temple
V. Dehejia
This course explores the emergence and development of the Indian temple,
examines the relationship between form and function, and emphasizes the
importance of considering temple sculpture and architecture together. It
covers some two thousand years of activity, and while focusing on Hindu
temples, also includes shrines built to the Jain and Buddhist faiths.
(AHISW4215) Aegean Art and Architecture
J. Smith
An examination of the arts, architecture, and archaeology of the Aegean, inclusive of surrounding eastern and western Mediterranean regions, this survey includes material from the Bronze Age, with a particular focus on the visual culture of the Minoans and Mycenaeans.
(AHISW4357) Gothic Architecture
S. Murray
How have "Gothic" edifices been represented in words and images? Examines monuments and considers the historiography and theories that they have generated.
(AHIS W4448) Baroque Painting in Italy
P. Berdini
Description to come.
(AHISW4631) Feminist Theories & Art Practices
C. Kiaer
Self-defined feminist artists’ practices since the
1960s, in relation to changing feminist theories: essentialist
body-based feminism of the 1970s; the 1980s theorizing of
gender as a cultural construction; the return to the body
in the 1990s; the women's movement and radical politics;
feminist art, modernism, postmodernism, and avant-garde strategies
of engagement; the current state of art world feminism.
(AHISW3895) Majors' Colloquium
Z. Bahrani, Sec. 001
F. Benelli, Sec. 002
Must sign up in 826 Schermerhorn. Required course for all majors. Limited enrollment: seniors get first priority, juniors get second priority. Introduction to different methodological approaches to the study of art and visual culture. Majors are encouraged to take the colloquium during their junior year.
(BC3946) Cubism
S. Zeidler
Please attend the first day of class if interested. Cubism has always been considered one of the seminal watersheds of modern art. In a series of close analyses of the works of Picasso and Braque, this class will explore just what was at stake in their art, and how those stakes were interpreted in its aftermath. We will examine the emergence of new, processual models of making and viewing works of art; new structural models of generating meaning within them; and the complex interaction between artistic autonomy, its constraints and its spaces of refuge in modernity.
(BC3949) Memorials and Historical Trauma
R. Deutsche
Please attend the first class if interested. Limited
to 15 students. 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 attack
on the World Trade Center.
(AHISW3960) Catherdral: Narrating Gothic
S. Murray
Requires an application statement; please see instructions on how and by when to apply. We have created “Gothic” as much with words as with stones. With a sequence of readings in the primary sources, we will explore the relationship between building and talking, with especially reference to “Gothic.”
(BC3968) Art Criticism
J. Miller
Please attend first day of class
if interested. Description to come.
(AHISW3974) Painting and Photography, from Daguerre to Richter
S. Pinson
Requires an application statement; please see instructions on how and by when to apply. This class will survey the major movements in painting and
photography in the 19th and 20th centuries, and examine methods for understanding the often-contested relationship between the two media. The guiding thread of the class will be a critical reading of Aaron Scharf’s classic text Art and Photography (1968), expanding upon its strengths and commenting on its shortcomings. The class is a workshop to rethink the similarities and differences between painting and photography as means of representation.
(AHISW3975) The Totalitarian Body: Figurative Art of the 1930s
C. Kiaer
The body in figurative art (painting, sculpture, photography, and, to a lesser
extent, film) in Stalinist Russia, Fascist Italy, and Nazi Germany. Topics: the
return to figuration in relation to abstraction and the avant-garde; totalitarian
art as a form of public art; the lived experience of bodies under these regimes
in relation to represented bodies; models of the totalitarian body as armored,
phallic, athletic, militarized, mechanized, maternal, modern vs. primeval, etc.;
theories of fascism and totalitarianism.
(AHISW3977) Graphic Satire King George II - George W. Bush
D. Fordham
Requires an application statement; please see instructions on how and by when to apply. This seminar will examine the Anglo-American tradition of visual political satire from the eighteenth century to the present. Beginning with the works of William Hogarth in the 1740’s, the course will examine visual satires by such major figures as James Gillray, George Cruikshank, Thomas Nast, Punch Magazine, Gary Trudeau, and Steve Bell. Major themes in the course include the relationship of graphic satire to state censorship, the use of satire as an oppositional tool against the dominant regime, and the use and abuse of caricature in the creation of racial and ethnic stereotypes. The course will also trace the historical development of graphic satire as an independent genre including its shifting relevance to Fine Art. To what extent have fine artists drawn from the resources of graphic satire in order to make their own work more polemical, political, or populist? Alternatively, to what extent has Fine Art defined itself against graphic satire over the past three centuries? Making occasional forays into French and German graphic satire in the nineteenth and twentieth centuries, the course will focus upon major contributions to Modern political satire as well as the landmarks in art historical scholarship on this relatively neglected, yet tremendously fertile, topic.
(AHISW3981) The Visual Culture of the Tale of Genji
M. McCormick & H. Shirane
Requires an application statement; please see instructions on how and by when to apply. The Tale of Genji, authored by Lady Murasaki around 1000 AD, is the most celebrated narrative of the Japanese literary tradition. Examines the visual reception of the Tale of Genji throughout Japanese history, from its earliest pictorialization in the twelfth century until the present day. Explores how the Genji was represented in a broad range of visual media, including paintings, book illustrations, woodblock prints, and film, provides unique insight into historical developments in the artistic, cultural, technological and discursive spheres. Requires no prior knowledge of Japanese language or history.
(AHIS W3984)
Wasteland: Environment, Technology, and the Modern
Landscape
V. Di Palma
Requires an application statement; please see instructions on how
and when to apply. This undergraduate seminar explores concepts of
nature and technology by focusing on the theme of the wasteland.
The wasteland is a non-place, an oppositional space; it resists the
pastoral and the picturesque. Visual and verbal interpretations of
the wasteland's anti-aesthetic are explored through seminar topics
including: heaven and hell; the wilderness; the industrial sublime;
land art and the west; and contemporary design responses to
post-industrial sites.
(AHISG4130) The Indian Temple
V. Dehejia
This course explores the emergence and development of the Indian temple,
examines the relationship between form and function, and emphasizes the
importance of considering temple sculpture and architecture together. It
covers some two thousand years of activity, and while focusing on Hindu
temples, also includes shrines built to the Jain and Buddhist faiths.
(AHISW4215) Aegean Art and Architecture
J. Smith
An examination of the arts, architecture, and archaeology of the Aegean, inclusive of surrounding eastern and western Mediterranean regions, this survey includes material from the Bronze Age, with a particular focus on the visual culture of the Minoans and Mycenaeans.
(AHISW4357) Gothic Architecture
S. Murray
How have "Gothic" edifices been represented in words and images? Examines monuments and considers the historiography and theories that they have generated.
(AHIS W4448) Baroque Painting in Italy
P. Berdini
Description to come.
(AHISW4631) Feminist Theories & Art Practices
C. Kiaer
Self-defined feminist artists’ practices since the 1960s, in relation to changing feminist theories: essentialist body-based feminism of the 1970s; the 1980s theorizing of gender as a cultural construction; the return to the body in the 1990s; the women's movement and radical politics; feminist art, modernism, postmodernism, and avant-garde strategies of engagement; the current state of art world feminism.
(AHISG6247) Archaic Greek Art and Architecture
C. Marconi
The historiography of Archaic Art and the current status of scholarship.
Archaic Greece: geography, history, politics, and society. Urbanism: old cities/new cities and the beginning of the orthogonal plan. Public space and private space: the spatial, ritual, and cultural articulation of the Archaic city. Sacred architecture: the origins of the monumental temple and the development of regional trends. Not minor arts, but leading arts: metalwork and ivories in perspective. Sculpture: the origins of monumental statuary and the problem of regional schools and personalities. Kouroi, korai, and relief: forms, meanings, and functions of Archaic sculpture. Terracotta figurines: beyond typology, and reassessing the significance of a whole class. Monumental painting. The definition of Regional Styles in Vase Painting and the identifications of schools, workshops, and painters. Beyond production: trade, use and reception of Archaic vase painting.
(AHISG6267) Roman Architecture
N. Kampen
This course presents a sample of Roman architecture in a chronological structure. In addition to exploring the development of Roman architectural style, forms, technologies, and typologies, the course addresses questions of function and the way meanings are created and disseminated. The primary focus geographically is the city of Rome but each session considers a range of areas throughout Italy and the rest of Rome’s empire. Readings also offer students the opportunity to explore a variety of methods and approaches to the study of ancient architecture. The course requirements are discussion of images and readings, short in-class presentations, and a final examination.
(AHISG6644) Structuralism, Poststructuralism, Modernism
R. Krauss
The discourse on Modernism in the visual arts examined in relation to the theoretical positions of structuralism and post-structuralism, specifically the work of Roland Barthes and Jacques Derrida.
(AHIS G6770) 19th-Century French Architecture
B. Bergdoll
Description to come.
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All graduate seminars require an application. Applications
are due by AUGUST 1, 2004, 5:00 PM without exception
in 826 Schermerhorn Hall.
The seminar application for all Art History and Archaeology
graduate seminars consist of a one-page form, available only
HERE (the office does not have copies of the form.) Do not
attach second pages or letters to the form, only this application
form will be accepted. An individual application form is
required for each seminar to which you apply. Please drop
off seminar applications to 826 Schermerhorn by the deadline.(AHISG6609) Proseminar
D. Freedberg
Required course for all first-year Ph.D. students in the Department, who will be automatically registered for this course by the department.
(AHISG8626) French
Architectural Theory 1789-1890
B. Bergdoll
Description to come.
(AHISG8852) Walker
Evans (Seminar at the Metropolitan Museum of Art)
J. Rosenheim
Description to come.
(AHISG8103) Copies,
Replicas, and Allusions in the History of Chinese Art
R. Harrist
An examination of how artists in China have copied, imitated,
and alluded to earlier works of art. Topics include replicas of bronze vessels, the use of tracings and rubbings in the transmission of calligraphy, copying in painting pedagogy and workshop practice, the concept of fang or creative imitation, and the use of allusions and parody in contemporary Chinese art. Open
to students in Western art as well..
(AHISG8162) The Body in the Ancient
Near East
Z. Bahrani
The seminar will investigate images of the body within the context of a
general semiotics of the body in Near Eastern antiquity.
(AHISG8267) Art of the Augustan Age
R. Brilliant
A thematic and critical investigation of how it came about that in two generations an Imperial art was created, combining Late Republican elements that were ostensibly "traditional" and evocative of political power and wealth, together with the adoption of value-laden models, derived from Greek Classical, Hellenistic, and Neo-Classical sources, newly synthesized and subjected to the interpetatio romana.
(AHIS G8438) Raphael
J. Beck
A study of the easel paintings and altarpieces together with
connected drawings.
(AHISG8699) Roland Barthes
R. Krauss
Emphasizing one of the last courses Barthes gave at the Collège
de France —Le Neutre—the seminar with trace Barthes's
commitment to this figure throughout his work, from Writing
Degree Zero to S/Z. Besides a thorough study
of Barthes's own work, the seminar will pursue the literature
of structural linguistics in texts by Saussure, Genette,
and Greimas.
(AHIS G8693
) Documentary/Verité: Contemporary Art and the Crisis of the Human
O. Enwesor
Recent years have witnessed an increasing rise of the documentary form in contemporary art: in painting, video, film, and photography. A number of attributes designate the concern of such art, be it work which either explicitly references or draws from everyday life; addresses a certain political realism concerning the very nature of the human condition; engages with social issues and representations of violence and violation; examines the spectacle of the abject often associated with photojournalism; or work attuned to questions of historical memory. This turn towards the documentary has also precipitated its own profound disavowal and critical disengagement - a development that may be called an anti-ocularcentrism, a hole in vision - from the relationship of the documentary form (especially photography, film and video) to art, thereby leading to the crisis of its meaning in contemporary art and its discourses. However, if followed carefully, another more profound crisis attends this disavowal and disengagement: the crisis of the discourse of human rights. This seminar through readings of key authors such as Margalit, Mamdani, Agamben, Adorno, Levinas, Sontag, Arendt, Kristeva, Storr, Jay, etc., along with artists such as Sekula, Richter, Sivan, Akerman, Jaar, Golub, Rosler, Stopforth, etc. and documentary films and photography will attempt to grapple with the normative issues surrounding the documentary and its place in work destined for the museum and gallery space.
(AHISG8990) MA Colloquium
J. Rajchman
Required course for all first-year M.A. students in the Department, who will be automatically registered for this course by the department.
(AHISG8995) Curatorial Foundations:
How Exhibitions and Collections are Formed (Whitney Seminar for MA
Curatorial Students)
S. Wolf
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. Curatorial Foundation will provide students with first-hand experience in building an institutional collection and developing exhibition ideas. It will offer basic training in professional practice, covering a range of topics, from what supplies to bring to a museum study room visit, to ethical considerations with patron relations.
(AHISG9901) MA Curatorial Thesis Colloquium
S. Vogel
Required course for all second-year M.A. Curatorial students in the
Department. Students are responsible for their own registration.
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