Confirm course times, discussion section times, and call numbers
on the Directory
of Classes.
All Columbia seminars (with “AHIS” prefix) require an application. Columbia seminar applications are due on April 22nd, 5:00PM in 826 Schermerhorn Hall. The application form can be found here.
If you are interested in a Barnard seminar, please attend the first day of class. Please compose a brief statement (1-2 paragraphs) explaining your interest in and preparation (e.g., past coursework) 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.
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(BC1001) Introduction to Art History
K. Moxey
First in two-term series; 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.
(BC3340) Intro to Islamic Art
K. Rizvi
Description tba
(BC3642) North American Art and Culture
E. Hutchinson
Examines North American painting, sculpture, photography, graphic art and decorative arts from the colonial period until World War I. Artists discussed include West, Copley, Cole, Spencer, Powers, Aragon, Duncanson, Church, Homer, Eakins, MacNeill, Whistler, Cassatt, Moran, Tanner, and Muybridge.
(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.
(AHIS V3080) Pre-Columbian Art and Architecture
E. Pasztory
Survey of the pre-Hispanic art of Mesoamerica, Central America, and the Andean region from the earliest times to the Spanish conquest.
(AHIS W3200) Medieval Millennium
S. Murray
Students are invited to construct the Middle Ages around a sequence of objects in the Metropolitan Museum of Art. These precious relics of a distant past, now made available as digital images on a Web site, invite interaction and response: they become objects of desire.
(AHIS V3248) 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.).
(AHUM V3340) Arts of China, Japan, and Korea
D. Delbanco
S. Larrive-Bass
A. Tunstall
Introduces distinctive aesthetic traditions of China, Japan, and Korea--their similarities and differences--through an examination of the visual significance of selected works of painting, sculpture, architecture, and other arts in relation to the history, culture, and religions of East Asia.
(AHUM V3342) Masterpieces of Indian Art and Architecture
V. Dehejia
Introduction to 2000 years of art on the Indian subcontinent. The course covers the early art of Buddhism, rock-cut architecture of the Buddhists and Hindus, the development of the Hindu temple, Mughal and Rajput painting and architecture, art of the colonial period, and the emergence of the Modern.
(AHIS V3400) Italian Renaissance Painting: 15 th Century
J. Beck
Origins and development of Renaissance painting: humanism and religion. 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.
(AHIS W3600) Nineteenth-Century Art
A. Higonnet
Studies European visual arts of the 19th century. Covers a century of rapid stylistic, political and technological changes beginning with the radical changes of the Enlightenment and ending with the glamorous portraits of the Belle Epoque. Considers careers and works of individual artists, formal innovation, the invention of new media, materials, institutional structures, and ideological functions.
(AHIS C3643) The American City: Urban Forms and Social Patterns
H. Ballon
This survey of urbanism from the colonial period to the present day highlights the physical form of New York, Chicago, Washington D.C., Los Angeles, and Las Vegas; the impact of the railroad and automobile on patterns of settlement; zoning and skyscrapers; suburbanization; slums and urban renewal; edge cities; urban planners and critics including Daniel Burnham, Frank Lloyd Wright, Lewis Mumford, Jane Jacobs and the New Urbanists; and contemporary debates about land use.
(AHIS G4073) African Art, Architecture and Ideas
S. Vogel
An introduction to the arts of Sub-Saharan Africa focused mainly on the rich traditions of Western and Central Africa in social context. This survey includes art in many media and of all periods from the Neolithic to the present, concentrating on the 20th century. The course will address the tension between the object as conceptualized and experienced in African cultures, and the masterpiece as object of admiration and study in Western culture .
(AHIS G4368) Gothic Sculpture
S. Murray
A review of tombs, portals, choir screens and free0standing sculpture of teh Gothic period will lead to the discussion of issues concerning devotional practices, liturgy; attitudes to the body; death and transcendence as well as the more traditional concerns with style and iconography.
(AHIS G4480) Art in the Age of the Reformation
K. Moxey
Artistic production in Germany and the Netherlands in the 16th century and the transformation of the social function of art as a consequence of the development of reformed theories of art and the introduction of humanist culture: Albrecht Dürer, Hans Baldung Grien, Hans Holbein the Younger, Albrecht Altdorfer, Quentin Massys, Lucas van Leyden, Jan Gossaert, Jan van Hemessen, and Pieter Aertsen.
(AHIS G4569) Eighteenth-Century Architecture
V. Di Palma
Description tba
(AHIS G4601) Origins of Modern Visual Culture
J. Crary
Major developments in the emergence of modern visual culture in Europe and North America, 1750-1900. Topics include the panorama, diorama, photography, painting, world's fairs, early cinema; issues in technology, urbanization and consumer society.
(AHIS G4661) Twentieth-Century Russian Art
C. Kiaer
What happens to Western paradigms of politics and the avant-garde, realism and abstraction, modernism and postmodernism, and the art of resistant subcultures, in the Russian "East" and in the Soviet reconfiguration of artistic freedom, the art market, commodity culture and modernity itself? Examines 19th-century realist traditions, primitivism, cubism, suprematism, constructivism, photography, socialist realism, underground art, and late- and post-Soviet postmodernism.
Columbia University undergraduate seminars require an application, which are due on April 22 nd , 2005 5:00 PM in 826 Schermerhorn Hall. The application can be found here.
(BC3949) The Art of Witness: Memorials and Historical Trauma
R. Deutsche
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.
(AHIS W3870) Rome and Florence: A Tale of Two Cities: Architecture and urban strategies in the Renaissance.
F. Benelli
Rome and Florence have been the two centers where the humanism and the study of antiquity started and developed. The seminar will explore differences and similarities produced in architecture and urban strategies by a different kind of patronage: the papacy in Rome and the Medici family in Florence.
(AHIS W3895) Major's Colloquium: The Literature and Methods of Art History
Z. Bahrani
C. Kiaer
Students must sign-up in 826 Schermerhorn. Introduction to different methodological approaches to the study of art and visual culture. Majors are encouraged to take the colloquium during their junior year.
(AHIS W3904) Aztec Art and Sacrfice
E. Pasztory
This seminar explores the issues of art and sacrfice in the Aztec empire from the points of view of the sixteenth century and modern times.
(AHIS W3913) Arts of Pilgrimage in the Middle Ages
A. Bouché
This seminar will examine the phenomenon of pilgrimage in Western Europe and the Holy Land, from early Christian times through the thirteenth century, through texts and artifacts associated with specific saints' cults and pilgrimage sites.
(AHCL C3922) Themes In the Art & Literature of the Renaissance: Myths of Love
D. Rosand
R. Hanning
Prerequisites: Huma C1002 and W1121 and at least one course in either literature or art history focused on the Renaissance, early modern, or medieval period. 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. Artists include: Botticelli, Giorgione, Titian, Raphael, Correggio, Michelangelo, Carracci, Rubens, Poussin.
(AHIS W3944) Art and Performance in 19 th Century Europe
D. Harkett
This course explores how the notion of "performance" can help us conceptualize aspects of nineteenth-century visual culture. Part of our investigation will involve examining how artists and critics claimed theater, music, and dance as models for the visual arts. Additionally, we will consider the implications of recent theories of performance for an understanding of artmaking and viewing as social practices.
(AHIS C3948) Nineteenth-Century Criticism
J. Crary
Selected readings in nineteenth-century philosophy, literature and art criticism with emphasis on problems of modernity and aesthetic experience. Texts include work by Diderot, Kant, Coleridge, Hegel, Emerson, Flaubert, Ruskin, Baudelaire, and Nietzsche.
(AHIS W3948) The Houses of Pompeii: Decoration, Spaces, and Social Life
F. de Angelis
The seminar is centered on the domestic contexts of Pompeii, and will examine the relationship between the use of rooms and their decoration, using them as sources for coeval social life and mentality. Its main aim is to give a basic knowledge of the "Roman house" and to stimulate reflection about the issues its study currently entails.
(AHIS BC3968) Art Criticism
J. Miller
Description tba
(AHIS G4073) African Art, Architecture and Ideas
S. Vogel
An introduction to the arts of Sub-Saharan Africa focused mainly on the rich traditions of Western and Central Africa in social context. This survey includes art in many media and of all periods from the Neolithic to the present, concentrating on the 20th century. The course will address the tension between the object as conceptualized and experienced in African cultures, and the masterpiece as object of admiration and study in Western culture.
(AHIS G4368) Gothic Sculpture
S. Murray
The portals, tombs and other sculpture of the twelfth and thirteenth centuries created a new kind of "virtual reality" We will explore the themes, styles and contexts of Gothic sculpture with special emphasis upon reception and performance.
(AHIS W4480) Art in the Age of Reformation
K. Moxey
Artistic production in Germany and the Netherlands in the 16th century and the transformation of the social function of art as a consequence of the development of reformed theories of art and the introduction of humanist culture: Albrecht Dürer, Hans Baldung Grien, Hans Holbein the Younger, Albrecht Altdorfer, Quentin Massys, Lucas van Leyden, Jan Gossaert, Jan van Hemessen, and Pieter Aertsen.
(AHIS G4569) 18th Century Architecture
V. Di Palma
This course examines developments and controversies in 18th-century European architecture, urbanism, and landscape design. Topics to be investigated include: the Grand Tour and the vogue for ruins; the development of institutions like prisons, hospitals, and academies; concepts of nature and sensibility; the search for origins; the development of the domestic realm; popular spectacles, urban fetes, and the rise of the public sphere.
(AHIS G4601) Origins of Modern Visual Culture
J. Crary
Open to junior and senior undergraduates and all students enrolled in a graduate degree program; discussion sections required for all undergraduate students. Major developments in the emergence of modern visual culture in Europe and North America, 1750-1900. Topics include the panorama, diorama, photography, painting, world's fairs, early cinema; issues in technology, urbanization and consumer society.
(AHIS W4661) 20th Century Russian Art
C. Kiaer
In conjunction with the exhibition of Russian Art at the Guggenheim Museum. What happens to Western paradigms of politics and the avant-garde, realism and abstraction, modernism and postmodernism, and the art of resistant subcultures, in the Russian "East" and in the Soviet reconfiguration of artistic freedom, the art market, commodity culture and modernity itself? Examines 19th-century realist traditions, primitivism, cubism, suprematism, constructivism, photography, socialist realism, underground art, and late- and post-Soviet postmodernism.
(AHIS G6117) Early Chinese Calligraphy
R. Harrist
Graduate students only. The history of calligraphy from earliest times
through the Song dynasty, with special emphasis on the interaction of
the state and the innovations of individual calligraphers.
(AHIS G6150) The Genesis of Buddhist Art In India, Pakistan, and Afghanistan
V. Dehejia
Graduate students only. The course is related to the emergence of art related to Buddhism, commencing with emperor Asoka's (3rd century B.C.E.) rock and pillar edicts erected from Kandahar in Afghanistan to Amaravati in South India. Focus on the vibrantly carved stupa complexes constructed and decorated between the 1st century B.C.E. and the 5th century C.E., the many cave monastery complexes, with their rich sculpted and painted decoration, and the image of the Buddha.
(AHIS G6265x) Roman Art I: Etruscan & Republican Art and Architecture
F. de Angelis
The development of Etruscan art from the Villanovan period to Romanization, and its influence on the art of central Italy. Art and architecture in Rome from the beginnings to the end of the Republican period.
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All graduate seminars require an application. Applications
are due by AUGUST 1, 2005, 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.
(AHIS G8252) Greek Temples
C. Marconi
Application form required by August 1, 2005.
This Seminar is about Greek temples from the Archaic to the Hellenistic period. It explores their evolution in terms of structure, technology, and design. It investigates issues of patronage, financing, and administration. And finally it explores their meaning and function.
(AHIS G8276x) Roman Sarcophagi
R. Brilliant
Application form required by August 1, 2005.
"If Death be not Final": Sepulchral Ambitions
(AHIS G8442x) Leonardo Da Vinci
J. Beck
Application form required by August 1, 2005.
Description tba
(AHIS G8472) Bosch and Bruegel
D. Freedberg
Application form required by August 1, 2005.
An examination of the works of Hieronymus Bosch and Pieter Bruegel the Elder in their historical and art historical contexts.
(AHIS G8542) The Battle over Modernity: Art and Culture in the Wilhelmine Empire, 1871-1919
C. Grewe
Application form required by August 1, 2005.
The class investigates art and culture in Germany between German unification in 1871 and World War I. Exploring major artistic trends – from academic history painting, the Berlin Secession and Impressionism to Symbolism and Expressionism – the course will map out the tensions between official art policy advanced by Emperor Wilhelm II, the budding modernist avant-gardes, and the collecting habits of both official state museums and private collectors. In our examination of Wilhelmine culture we will consider factors such as the role of urbanization and mass culture, new technologies, the capitalist market system, the academy, the increasing number of women artists, the rise of anti-Semitism, the conflict between Protestantism and Catholicism, and the intersection between nationalism, art, and art criticism.
(AHIS G8686) Methods Seminar; Postmedium Condition
R. Krauss
Application form required by August 25, 2005
Installation art, the orthodoxy of contemporary production, is ballasted by the idea that the aesthetic medium - whether painting, sculpture, or drawing - is dead, absorbed in the multimedia condition of installation. The seminar examines 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 the "medium specificity." Texts, such as Derrida's The Law of Genre, are examined.
(AHIS G8705) Modern Islamic Architecture
K. Rizvi
Application form required by August 1, 2005.
This course studies the concepts that inform the making and reception of modern architecture, with a focus on the Middle East. In the Islamic world, new fundamentalisms and shifting religious trends have created an environment in which each country must renegotiate its past and reconsider its collective future. Whether through suppressing their Islamic roots, as in the case of Republican Turkey, or through reinventing them, as in the case of post-Revolution Iran, these countries constantly transform their national image. It is through public works, such as architecture and city planning, that they convey their political and religious ideology. This course will examine debates and theories of modern architectural production that have informed the discourse on Islamic architecture by situating cases of colonial and nationalist architecture in the context of their social and religious history.
(AHIS G8738) The Temporal Revolution: Natural History and Architectural Theory and Practice In the 19th Century
B. Bergdoll
Application form required by August 1, 2005.
An exploration of intersections between theories of classification, evolution, organic form, and development in the natural sciences (geology, biology, paleontology) and architecture. Key theoretical statements in architecture from J.N.L. Durand and Karl Friedrich Schinkel to John Ruskin, Léonce Reynaud, E.E. Viollet-le-Duc, and Gottfried Semper and Victor Horta. Focus on the exploration of ideas through architectural practice, notably in the designs of natural history museums and their installations.
(AHIS G8743x) Monument and Historical Consciousness
Z. Bahrani
Application form required by August 1, 2005.
The seminar will analyse the development of the public monument in Mesopotamia as a commemorative genre, and its relation to formulations of time, memory and history.
(AHIS G6009) Proseminar
D. Rosand
Required course for first-year PhD Students in the Art History Department
(AHIS G6010) MA Intro to Methods
R. Krauss
This course has been cancelled for Fall 2005.
(AHIS G8990) MA Colloquium
J. Rajchman
Required course for all first-year Modern Art M.A. students. The M.A.
Colloquium, taken in the first term by all M.A. in Modern Art students,
is designed to explore issues of historical and critical method by
focusing them through the lens of a particular area of concern within
the modernist field. These "lenses" will change from year to year, but
an example would be the rise of photography within modernism, with all
that it implies for the relationship between high art and mass culture
and all that it signals with regard to new media. Another such example
might be notions of "primitivism," which would lead to sessions ranging from postcolonial studies to contemporary art's use of ethnographic odels; or again, contemporary architecture studies and theories of urbanism. The structure of the colloquium combines reading and analysis
of major texts conducted by the major theorists and critics working in
the given subject area.
(AHIS G8995) WHITNEY MUSEUM SEMINAR FOR CURATORIAL TRACK M.A. STUDENTS
Instructor tba
Required course for first-year Modern Art/Curatorial Track M.A. students
(AHIS G9090) Dissertation Colloquium
J. Rajchman
Art History Department PhD Students only.
The Phd Dissertation Colloquium is intended as a workshop for the discussion and exchange of the topics, hypotheses and methodological procedures involved in the elaboration of the Phd thesis. Through presentation of their work, students learn to better identify and resolve problems and to develop skills in the exposition and argumentative defense of their work; at the same time, they get feedback and constructive criticism and acquaint themselves with a range of areas and topics in the field today. In addition to student presentations, the Colloquium will identify more general questions and topics, pursued either through a close examination of common readings or through the participation of invited speakers. Readings and speakers will be determined in function of the particular interests and preoccupations of the participating students.
Requirements: It is up to each student, in consultation with the Professor, to organize and present a significant portion of his or her work, whether a chapter, a detailed overview, or a particular issue. For students in earlier phases this presentation might assume a more exploratory form in which questions or problems are identified in relation to specific research hypotheses or strategies of argumentation. Each student will assign readings or materials appropriate for his or her presentation and all students must actively participate in the on-going discussion generated by the presentations and the readings. As with the actual thesis, evaluations will be made according to a Pass-Fail-Pass-with-Distinct scale.
Zainab Bahrani (spring 2006)
James Beck (spring 2006)
David Freedberg (spring 2006)
Natalie Kampen (fall 2005)
Holger Klein (fall 2005 - spring 2006)
Rosalind Krauss (spring 2006)
Joanna Smith (fall 2005)
Simon Schama (fall 2005)
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