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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 undergraduate 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 by WEDNESDAY, NOVEMBER 19, 2003, at 5:00
P.M. without exception. Please note that the application for
AHIS W3939: Berlin Live, is due on November 17, 2003. Please
submit applications to 826 Schermerhorn by 5:00 p.m.
There is no application form. Instead,
applicants must compose a short statement (1-2 paragraphs)
explaining their interest
in and preparation (past coursework if any) for the seminar.
Address the statement to the instructor (Dear Prof. xxxx.)
Include: name, social security number, school, Major/Concentration(s),
year, email address. An individual application is required
for each seminar to which you apply. Please drop off seminar
applications to 826 SCHERMERHORN by the deadline.
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, Part II of II [Barnard
lecture]
Anne Higonnet
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.
(AHIS V3250) Roman Art and Architecture [lecture]
Natalie Kampen
The architecture, sculpture, and painting
of ancient Rome from the 2nd century B.C.
to the end of the Empire in the West.
(AHIS W3140) Early Christian and Byzantine Art [lecture]
Holger Klein
Survey of early Christian and Byzantine art from its origins in the eastern provinces
of the late Roman Empire through the fall of Constantinople in 1453.
View web site.
(AHIS V3437) Italian Renaissance Painting, 16th Century [lecture]
David Rosand
Style and significance of painting in Italy, with attention to the social, political,
and religious contexts of artistic production as well as to the critical concepts
of High Renaissance and mannerism. Emphasis on major figures in Florence, Rome,
and Venice, especially Leonardo da Vinci, Michelangelo, Raphael, Giorgione, and
Titian.
(AHIS W4443) Baroque
and Rococo Architecture [graduate
lecture]
Hilary Ballon
Open to undergraduates. Survey of the architecture, theory, city planning, and
landscape design in relation to political and cultural developments across Europe
from 1600 to 1750. Topics include the rise of capital cities (Paris, London,
Amsterdam, St. Petersburg); the impact of war on the built environment; court
culture, chateaux and palaces; the debates of Ancients and Moderns; and the work
of Wren, Hawksmoor, Mansart, Le Notre, Borromini, Bernini, Neumann, and Dietzenhoffers.
(AHIS W3650) 20th Century Art [lecture]
Benjamin
Buchloh
Major developments in 20th-century art, with emphasis on modernist and avant-garde
practices and their relevance for art up to the present. Discussion Section Required.
(BC 3675) Feminism and Postmodernism In the Visual
Arts [Barnard
lecture]
Rosalyn Deutsche
Prerequisites: Course in 20th century art history. Examines art and criticism
of the 1970s and 1980s that were informed by feminist and postmodern ideas about
visual representation. Places this art in relation to other aesthetic phenomena,
such as modernism, minimalism, institution-critical art, and earlier feminist
interventions in art.
(AHIS W3939) Berlin Live: German Art and Culture from Romanticism
to Expressionism [Travel Seminar]
Cordula Grewe
This course offers an introduction to German art of the nineteenth and early
twentieth centuries, combining an exploration of major trends and their cultural
context with in-depth analyses of key artists and art movements, such as Romanticism
(Friedrich, Runge, and the Nazarenes), Realism (Leibl, Menzel, Liebermann), Impressionism
and Post-Impressionism (Liebermann and the Berlin Secession) and German Expressionism
(Blaue Reiter, Brücke).
The discussion of specific artworks will focus on the rich and extensive collections
in Berlin, which the class will study first hand during an excursion over spring
break.
APPLICATION REQUIRED.
For more information about
the course and the application
procedure go
to http://www.columbia.edu/cu/arthistory/html/dept_travel.html
(BC 3952) Art and Mass, Popular, Everyday Culture [Barnard
seminar]
Rosalyn Deutsche
Examines the interaction between the art of the 19th and 20th centuries and
mass, popular and “everyday” culture. Places the art mass culture
interaction within the rise of bourgeois society, the invention of modern democracy
and changing social relations of class, gender, sexuality, and race. Examines
major critical texts that theorize the interaction.
(AHIS W3996) The Columbia Seminar at Dia:Chelsea: "Installation
Art": Genre? Strategy? [seminar]
Lynne Cooke
The course will look at various attitudes, theories towards, concepts of what
Installation art might be; whether indeed it is a genre or an art-form as some
have claimed or whether it is more simply a way of working or a description of
certain material aspects of a work of art. Most of the teaching will be done
in situ in classes in Dia's galleries and elsewhere, and it will begin with artists
working in the sixties, such as Jo Baer and Dan Flavin, Walter De Maria etc and
conclude with a younger generation including Jorge Pardo. Taught at Dia:Chelsea,
(535 West 22nd Street betw. 10th & 11th Ave's).
Note: Prerequisite: Course in 20th century art,
or equivalent.
Note: This is course is NOT open to graduate students.
APPLICATION REQUIRED. See top of the page for
instructions
(AHIS W4567)
Russian Art 1860-1910: Shaping the Modern Sensibility
from Realism through the Silver Age
Elizabeth Valkenier
An interdisciplinary course positioning art in its societal context. It treats
the emergence of realism and modernism not only in terms of formal, aesthetic
innovations, but also in the matrix of changing society, patronage systems, economic
development, and national identities.
Note: Open
to undergraduates.
(AHIS G4640) German Art in European Context, 1760-1920
[graduate lecture]
Cordula Grewe
Open to undergraduates. The class will examine the development of German
painting and sculpture from the rise of Neoclassicism to the formation of Expressionism.
It focuses on the tension, on the one hand, between a developing nationalist
sensibility and the concomitant search for a national style, and, on the other
hand, German art's intense engagement with the international art context. Given
the particularities of German history, the question of periphery and center assumed
a crucial role in the making of the German art world. Focusing on this problematic
will not only allow to examine the love-hate relationship of Germans and their
art, and the culture of France and England, but also shed light on the role of
the Austrian-Hungarian empire, East Prussia, or Poland in the creation of German
(artistic) identity. Periphery and center will also be key concepts for thinking
about another vital issue of the period: religion. In an age characterized by
burgeoning confessionalism and the rise of an anti-semitism now grounded in racist
theories, religion served as an arbiter for inclusion and exclusion, and was
thus inseparably intertwined with the debates about German national identity.
Note: Open to undergraduates.
(AHIS W4850) Collecting [graduate
lecture]
Anne Higonnet
Open to undergraduates. This
course studies the nearly universal human phenomenon of collecting.
We will begin by gauging the range and basic structures of
the phenomenon, looking at collections ranging from sock
monkeys through anatomical waxes to ukiyo-e cards. These
examples will enable us to compare and contrast theories
of collecting, of which the most important will be psychological
and anthropological. Moving from these general theories to
the historically particular, we will next turn to the history
of high-end collecting, Renaissance curiosity cabinets, and
the origins of museum. The history of the art museum will
then be studied in some detail, through both analysis of
art museum types – principally
national or municipal, private, monographic, and geographic – and through
case studies of personal collections. Finally, the course will address art-work
about collecting. Lectures, readings, and discussion sections will be reinforced
by multiple visits to New York City museums.
Note: Open to undergraduates.
(BC 3645) Introduction to Islamic
Architecture
Kishwar Rizvi
This class is an introduction to the architecture of the
Islamic world, from the advent of Islam in 632 CE until the
modern era. Encompassing regions of Asia, Africa, and Europe
primarily, the course explores themes such as commemoration,
pilgrimage and imperialism, in order to initiate an understanding
of the diversity and richness of Islamic architectural culture.
(AHIS C3990) The Literature of Modern Architecture
[seminar]
Barry Bergdoll
Readings in major theoretical statements of modern architecture from the mid-18th
century to the present with particular attention to the context of the production
of the texts, to the forms and strategies of architectural writing, and to
issues of reception and critical fortune. Authors to be studied include Laugier,
Pugin, Ruskin, Viollet-le-Duc, Le Corbusier, and Rem Koolhaas. Prerequisite:
a survey course in modern architectural history and the instructor’s
permission.
APPLICATION REQUIRED. See top of the page for instructions
(AHUM V3201) The Arts of China [lecture]
Robert Harrist
Introduction to the arts of China—ceramics, bronzes, sculpture,
and painting—from the time of the earliest farming
cultures (ca. 5000 B.C.) through the end of the traditional
period. Major Cultures Requirement: East Asian Civilization
List B.
(AHUM V3340) Art in China,
Japan, and Korea [lecture]
Instructor, Section 1: Guolong
Lai; Section 2: 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.
(BC 3651) Native American Art II
[Barnard lecture]
Elizabeth Hutchinson
Introduction to Native American art of the Plains, Southwest,
and California from the period of European contact to the present
and to issues of historiography. Surveys painted, woven, carved,
tailored, and architectural works. Focuses on understanding
the relationship between social organization and artistic expression,
and on cross-cultural discourses.
(AHIS W3906) The Colonial View of Aztec
and Inca Art [seminar]
Esther
Pasztory & Diana
Fane
Aztec and Inca art and culture analyzed as seen through Spanish
and Native eyes in the context of an increasingly hybrid Colonial
world.
APPLICATION REQUIRED. See top of the page for instructions
(AHIS W3918) Ideas of Duality in
African Art [seminar]
Alisa LaGamma
Description to come.
APPLICATION REQUIRED. See
top of the page for instructions
(AHIS W4085) Andean Art and Architecture
[graduate lecture]
Esther Pasztory
Survey of the art of the Andes from earliest times until the
Spanish conquest. Emphasis on the nature of Andean tradition
and the relationship between art and society.
Note: Open to undergraduates.
(AHIS G4124) Arts of Cambodia [graduate lecture]
Martin Lerner
The figural sculpture of Cambodia is one of the world's
great sculptural traditions. Important not only for its distinctive
artistic vision realized at a very high aesthetic level,
it, along with corresponding architecture, is the art historical
legacy of a great civilization - the Khmers of Cambodia.
Most classes will meet at the Metropolitan Museum of Art.
Note: Open to undergraduates.
(AHIS G8805) Woman, Goddess, Power:
India's Images of the Feminine [seminar]
Vidya Dehejia
This seminar explores the visual representation of the female figure in the sculpture
and painting of Buddhist, Jain, and Hindu India across the centuries. It focuses
too on the portrayal of female divinity, and explores the relationship of the
invariably sensuous imagery with concepts of power.
This graduate seminar is open to undergraduate students.
APPLICATION REQUIRED. See top of the page for instructions
Note: Permission required. Sign-up
in 826 Schermerhorn Hall by Thursday, November 20, 2003,
5:00 P.M. The 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) Majors' Colloquium
Sarah McPhee
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 Wednesday, November 19, 2003, 5:00
P.M. Colloquium required of all CU Art History Majors.
(AHIS G4085) Andean Art and Architecture
Esther Pasztory
Survey of the art of the Andes from earliest times until the
Spanish conquest. Emphasis on the nature of Andean tradition
and the relationship between art and society.
(AHIS G4124) Arts of Cambodia
Martin Lerner
The figural sculpture of Cambodia is one of the world's
great sculptural traditions. Important not only for its distinctive
artistic vision realized at a very high aesthetic level, it,
along with corresponding architecture, is the art historical
legacy of a great civilization - the Khmers of Cambodia. Most
classes will meet at the Metropolitan Museum of Art.
(AHIS W4443) Baroque and Rococo Architecture
Hilary Ballon
Survey of the architecture, theory, city planning, and landscape
design in relation to political and cultural developments across
Europe from 1600 to 1750. Topics include the rise of capital
cities (Paris, London, Amsterdam, St. Petersburg); the impact
of war on the built environment; court culture, chateaux and
palaces; the debates of Ancients and Moderns; and the work
of Wren, Hawksmoor, Mansart, Le Notre, Borromini, Bernini,
Neumann, and Dietzenhoffers.
(AHIS W4567) Russian Art 1860-1910: Shaping the Modern Sensibility
from Realism through the Silver Age
Elizabeth Valkenier
An interdisciplinary course positioning art in its societal
context. It treats the emergence of realism and modernism not
only in terms of formal, aesthetic innovations, but also in
the matrix of changing society, patronage systems, economic
development, and national identities.
(AHIS G4640) German Art in European Context,
1760-1920
Cordula Grewe
Open to undergraduate students. The class will examine the
development of German painting and sculpture from the rise
of Neoclassicism to the formation of Expressionism. It focuses
on the tension, on the one hand, between a developing nationalist
sensibility and the concomitant search for a national style,
and, on the other hand, German art's intense engagement with
the international art context. Given the particularities of
German history, the question of periphery and center assumed
a crucial role in the making of the German art world. Focusing
on this problematic will not only allow to examine the love-hate
relationship of Germans and their art, and the culture of France
and England, but also shed light on the role of the Austrian-Hungarian
empire, East Prussia, or Poland in the creation of German (artistic)
identity. Periphery and center will also be key concepts for
thinking about another vital issue of the period: religion.
In an age characterized by burgeoning confessionalism and the
rise of an anti-semitism now grounded in racist theories, religion
served as an arbiter for inclusion and exclusion, and was thus
inseparably intertwined with the debates about German national
identity.
(AHIS W4850) Collecting
Anne Higonnet
This course studies the nearly
universal human phenomenon of collecting. We will begin by
gauging the range and basic structures of the phenomenon, looking
at collections ranging from sock monkeys through anatomical
waxes to ukiyo-e cards. These examples will enable us to compare
and contrast theories of collecting, of which the most important
will be psychological and anthropological. Moving from these
general theories to the historically particular, we will next
turn to the history of high-end collecting, Renaissance curiosity
cabinets, and the origins of museum. The history of the art
museum will then be studied in some detail, through both analysis
of art museum types – principally national or municipal,
private, monographic, and geographic – and through case
studies of personal collections. Finally, the course will address
art-work about collecting. Lectures, readings, and discussion
sections will be reinforced by multiple visits to New York
City museums.
(AHIS G6642) Modern Art and Tradition
Theodore Reff
The influence of older European art, as well as of oriental,
tribal, popular, and naive art, on the work of modern artists
from Cézanne to Mondrian.
back to top
All graduate seminars require an application. Applications
are due by FRIDAY, NOVEMBER 21, 2003, 2:00 P.M. without exception
(the Department office is closing early on November 21.)
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 W3906)
The Colonial View of Aztec and Inca Art
Esther Pasztory & Diana Fane
Open to graduate students. Prerequisites: application required.
Aztec and Inca art and culture analyzed as seen through Spanish
and Native eyes in the context of an increasingly hybrid Colonial
world.
Open to undergraduate
students.
Application required by Friday November 21, 2:00pm; see instructions above.
(AHIS G8073) Contemporary Art in Africa, Oceania and Native
America
Susan Kennedy Zeller
The course probes the social issues and aesthetics of the Indigenous
art produced today within these regions and as exports that
participate within a global art market. Using specific instances
of interaction, such as Australian Aboriginal acrylic paintings,
African political paintings, and Native American Northwest
Coast carvings, the influences of race, identity, politics,
society, religion, and economics will be explored. Some meetings
take place at the Brooklyn Museum of Art, New York Art Galleries,
and the African Art Museum.
Application required by Friday November 21, 2:00pm; see instructions above.
(AHIS G8108) Reading Imagery in Chinese
Painting of the Ming and Qing Period
Robert Harrist
This seminar will focus on works included in an exhibition
titled "The
Orchid Pavilion Gathering: Chinese Painting from the University
of Michigan Museum of Art," which will be shown at Columbia during the spring semester. Through
a series of close examinations of individual paintings, we will attempt to "crack" the
cultural and semiotic codes through which images, often in conjunction with
inscribed texts, generate meaning in pictorial art of the Ming and Qing periods.
Application required by Friday November 21, 2:00pm; see instructions above.
(AHIS G8222) Exhibiting Byzantium
Holger Klein
Description to come.
Application required by Friday November 21, 2:00pm; see instructions above.
(AHIS G8435) Veronese
David Rosand
Topics in the art of Paolo Veronese and the artistic culture
of Venice and the Veneto in the later sixteenth century.
Application required by Friday November 21, 2:00pm; see instructions above.
(AHIS G8540) Bernini
Sarah McPhee
Description to come.
Application required by Friday November 21, 2:00pm; see instructions above.
(AHIS G8567) Rembrandt
David Freedberg
Description to come.
Application required by Friday November 21, 2:00pm; see instructions above.
(AHIS G8625) Society and Visual Culture In Britain Since 1945
Simon Schama
An examination of (primarily) visual culture in Britain from
Hockney to Hirst, with emphasis on the relationship between
tradition and innovation in a post-imperial nation and the
place of spectacle in modern British life.
Application required by Friday November 21, 2:00pm; see instructions above.
(AHIS G8684) Modern Sculpture: Theory
and Criticism
Harry Cooper
In its celebration of painting, modernism has long accorded sculpture a secondary
role. This reading course investigates that prejudice while at the same time
attempting to redress it. Principal authors to be considered include Lessing,
Herder, Baudelaire, Hildebrand, Einstein, Stokes, Greenberg, Krauss, Bois, Wagner,
and Potts. Examination of theories of the experience of sculpture, its history,
and its relation to other genres will be rooted in careful consideration of individual
works.
Application required by Friday November 21, 2:00pm; see instructions above.
(AHIS G8730) The American 1870s
Elizabeth Hutchinson
Explores the visual culture of the 1870s in the United States
in relationship to both domestic and international developments
in aesthetics and visuality. Topics include artists Winslow
Homer, Thomas Eakins, Candace Wheeler and William Henry Jackson
and institutions including the Centennial Exhibition, the Metropolitan
Museum of Art and the Society of American artists as well as
an investigation of arts relationship to the historical events
of reconstruction and the Gilded Age.
Application required by Friday November 21, 2:00pm; see instructions above.
(AHIS G8805)
Woman, Goddess, Power: India's Images of the Feminine
Vidya Dehejia
This seminar explores the visual representation of the female figure in the sculpture
and painting of Buddhist, Jain, and Hindu India across the centuries. It focuses
too on the portrayal of female divinity, and explores the relationship of the
invariably sensuous imagery with concepts of power.
Application required by Friday November 21, 2:00pm; see instructions above.
(AHIS G8930) Picasso
Rosalind Krauss
A concentration
on problems related to the history and interpretation of
Cubism. Visiting lecturers such as Leo Steinberg will discuss
recent activity (the Matisse Picasso exhibition) and MOMA’s
deaccession of Houses at Horta de Ebro.
Application required by Friday November 21, 2:00pm; see instructions above.
(AHIS G8933) Topics in
Critical Theory
John Rajchman
A close examination of some key issues in critical thought concerning the subject,
language, vision, space, media, and the body, leading to the question: can there
be a new aesthetics today?
Application required by Friday November 21, 2:00pm; see instructions above.
(AHIS G8930) Critical Studies Colloquium
Rosalind Krauss
Required course for all first-year M.A. Critical Studies students.
(AHIS G8778) Prewar Art (The Metropolitan
Museum of Art)
Barbara Haksell
Required course for all first year M.A. Curatorial Studies
students.
Zainab Bahrani, James Beck, Richard Brilliant, Jonathan Crary, Christina
Kiaer, Clemente Marconi, Melissa McCormick, Robin Middleton, Keith Moxey, Stephen
Murray,
Joanna
Smith
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