|
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 December 1, 2006, 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 Field requirements AT THE SAME TIME . For example, AHIS W4155: The Art and Archaeology of Ancient Mesopotamia can fulfill either 'Ancient' or 'non-Western' but never both . CHECK to see which requirement the courses below fulfill here.
Please note that 4000 level lectures are "introductory graduate courses" and are open to advanced undergraduate and all graduate students, and a limited amount of registered auditors from the School of Continuing Education, if the instructor permits auditors
|
(AHIS BC 1002) Introduction to the History of Art II
A. Higonnet
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.
(AHIS V3250) Roman Art & Architecture
F. de Angelis
The architecture, sculpture, and painting of ancient Rome from the 2nd century B.C. to the end of the Empire in the West.
(AHUMV3340) Art in China, Japan, and Korea
D. Delbanco Discussion section required.
C. Foxwell
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. Major Cultures Requirement: East Asian Civilization List B.
(AHUM V3342) Masterpieces of Indian Art & Architecture
D. Khera
Y. Sharma
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 W3437) Italian Renaissance Painting II: 16th Century
D. 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 W3645) 20th Century Architecture & City Planning
V. DiPalma
Major movements, figures, and theoretical positions in European and American architecture since 1890. Attention to the influential urban proposals of Wright, Le Corbusier, Hilbesheimer, CIAM, Archigram, the Metabolists, and Venturi & Scott Brown.
(AHIS W3650) 20th Century Art
B. Joseph
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.
(AHIS BC3673) History of Photography
J. Mansoor
Focuses on the intersection of photography with traditional artistic practices in the 19th century, on the mass cultural functions of photography in propaganda and advertising from the 1920s onwards, and on the emergence of photography as the central medium in the production of postwar avant-garde art practices.
(AHIS BC3675) Feminism & Postmodernism in the Visual Arts
R. 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.
Columbia University undergraduate seminars require an application, which are due on December 1, 2006 5:00 PM in 826 Schermerhorn Hall. The application form can be found here.
(AHIS W3895) Major’s Colloquium: the Literature and Methods of Art History
Z. Bahrani
D. Harkett
Schermerhorn Prerequisites: the department's permission. 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 W3820) The Idea of the Baroque
C. Heuer
Critical examination of topics in painting and architecture circa 1600-1700, with emphasis upon how ideas of excess, theatricality, spectacle, and the concepts of "baroque" and "mannerism" figure in the broader history of the discipline. Artists to be considered include: Velazquez, Bernini, Rubens, Rembrandt, Ruisdael, and Poussin, with readings from Descartes, Spinoza, Wölfflin, Riegl, Adorno, Shearman, and Deleuze, among others.
(AHIS W3845) The Grand Tour
V. DiPalma
This undergraduate seminar explores the origins and development of tourism by focusing on the eighteenth-century Grand Tour. The course will examine topics such as motion as a vehicle of aesthetic experience and the use of guidebooks and itineraries; the identification and codification of a canon of monuments and masterpieces; luxury, consumption, and the category of tourist art; copying, invention, and the role of the fragment; and the relationship between tourism, collecting, and the origin of museums.
(AHIS W3904) Aztec Art & Sacrifice
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 W3908) Topics in the Mediterranean Bronze Age: Palaces
J. Smith
This seminar that explores palace cultures of the Bronze Age Mediterranean world (Aegean, Anatolia, Syria-Palestine, Cyprus, and Egypt) in order to define what palaces are, how and by whom they were used, and what roles they played in the international world of the second millennium B.C. The course includes some comparative discussion of earlier palaces and possible palaces of the third millennium as well as later Iron Age and later palaces of the Near East and Greco-Roman world. During the course of the seminar, each student will research and present a palace in terms of the following topics: (1) palace origins, architecture, and landscape; (2) economy, storage, and record-keeping in and around palaces; (3) public ceremony and ritual in and around palaces; (4) private cult and ritual in and around palaces; and (5) élite residence in and around palaces.
(AHIS W3916) Renaissance Architecture in Venice between Rome & the East
F. Benelli
The seminar investigates Renaissance Architecture in Venice from the Codussi family to Palladio (second half of XV century to 1580) and the components of its language including those from Constantinople, Rome and Florence. Some attention will be paid on the role of the Venetian patriciate on the architecture of the city.
(AHIS W3921) Patronage & the Monuments of India
V. Dehejia
This is the department’s annual travel seminar. The course is to travel to India over Spring break with all travel costs paid for by the department.
Exploration of the multiple aspects of patronage in Indian culture -- religious, political, economic, and cultural. Case studies focused on specific monuments will be the subject of individual lectures.
(AHIS BC3031) Imagery & Form in the Arts
J. Snitzer
Attendance at first class mandatory. Instructor determines class roster on first day of class. No application required. Description to follow
(AHIS BC3947) Dada and Surrealism
J. Mansoor
Attendance at first class mandatory. Instructor determines class roster on first day of class. No application required. Description to follow
(AHIS W3962) Information: document, archive, map in modern and contemporary art
J. Rajchman
How do artists use information – document, archive, map? How are information-strategies involved in painting, photography, cinema, and the very 'sense' of images and the ways people think with them? How do they change ideas and spaces of 'art'? A number of political, scientific, and technological developments have helped revive such questions in contemporary art and in its relations with critical thought and curatorial practice. They have posed in new ways questions that go back to the transformations of the 60s, debates in 'modernist' art in Russia and elsewhere, as well as to theoretical questions about document and fiction, media and reality, and the involvement of art with publics, or its ethics and politics.
(AHIS W3982) The Shape of New York: Robert Moses and New York
H. Ballon
No figure had a greater impact on the physical transformation of New York than Robert Moses. Moses responded to pervasive urban issues, including the rise of the automobile, the urban exodus of the middle class, slums and blight, and Moses’s solutions were aligned with national trends and fueled by federal funding. This in-depth examination of Moses’s urban program from 1934 to 1965 will take advantage of three concurrent exhibitions on Moses at the Wallach Gallery, the Museum of the City of New York, and the Queens Museum during the spring semester; the exhibits are curated by Professor Ballon.
(AHIS BC3985) Introduction to Connoisseurship
M. Ainsworth
Description to come.
(AHIS G4650) Post-War Critical Theory
J. Rajchman
Description to come.
(AHIS W4155) Mesopotamian Art & Archaeology
Z. Bahrani
Introduction to the art and architecture of Mesopotamia beginning with the establishment of the first cities in the fourth millennium B.C.E. through the fall of Babylon to Alexander of Macedon in the fourth century B.C.E. Focus on the distinctive concepts and uses of art in the Assyro-Babylonian tradition.
(AHIS G4073) African Art, Architecture and Ideas
S. Vogel
An introduction to arts of Sub-Saharan Africa focused mainly on the rich traditions of Western and Central Africa in social context. Includes art in many media and of all periods from Neolithic to present, concentrating on the 20th century. We 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 G4385) Renaissance Architectural History & Theory
F. Benelli
A survey of Renaissance Architecture in Italy through its buildings and its theory, from Brunelleschi to Palladio and the influence to other European country.
(AHIS G4085) Andean Art & Architecture
E. 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 G4660) The Idea of the Modern Artist
D. Harkett
This course surveys conceptions of the artist that emerged in Europe between the late- eighteenth and early-twentieth centuries. Focusing on representations of the artist in paintings, prints, and literature, we will ask: What is the relationship between artistic identity and the conditions of modernity? Contexts we will consider include modern urban experience, popular culture, art institutions, constructions of gender, politics, and colonialism.
(AHIS G4600) Identities and Resistances in Contemporary Non-Western Architecture
B. Taylor
Junior & Senior Art History Majors and Art History and GSAPP Graduate Students only. Limited Enrollment.
The proposed course is a critical introduction to the issues and personalities that are shaping the built environment today in much of the postcolonial, non-Western world. It is a cultural approach to the architecture, urban planning and design produced in Asia, the Middle East, North Africa and certain countries of Latin America.
(AHIS W4657) Russian Art 1860-1910
E. Valkenier
Description to come.
(AHIS G4278) Family in Roman Art
N. Kampen
If necessary, preference is given to students working in Roman art history, Roman history and in Latin literary history. Knowledge in one of the following required: Latin, French, German, Italian. An introduction to the representation of family in Roman art, this lecture course uses a wide range of visual material from the Republican period through the late Empire as well as primary texts and the theories and methods of family historians.
(AHIS G6120) Copies, Replicas, and Allusions in Chinese Art
R. Harrist
Please note, this course will run from March 23- April 30, 2007.
An examination of how artists in China have copied, imitated, and alluded to earlier works of art. Topics include the role of tracings and rubbings in the transmission of calligraphy, copying in pedagogy and workshop practice, the tradition of fang or creative imitation in painting, and the use of allusions and appropriation in contemporary Chinese art.
back to top
All graduate seminars require an application. Applications are due by December 1, 2006, 5:00pm 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 online as a PDF or as a RTF (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 G8040) History of Architectural and Design Exhibitions at MOMA taught at MoMA
B. Bergdoll
Application form required by December 1, 2006. Held at MoMA.
From it's first seminal exhibition on the International Style curated by Henry-Russell Hitchcock and Philip Johnson in 1932 to the "Light Construction" and "Un-private House" exhibitions organized by Terence Riley in the 1990s, the Architecture & Design Department at MOMA has played an important role in defining architecture both for practicioners and a wider public. This course will examine the history of the department, of it's role in designing and conceiving exhibitions at every scale from photography displays to the houses built in the garden by Breuer and Ain, and of it's reception and influence. Students will work directly in MoMA's own archives to research seminal exhibitions. Guest speakers and gallery visits.
(AHIS G8550) Poussin
D. Freedberg
Application form required by December 1, 2006. The paintings of Poussin studied in their social and historical context, their place in the scientific and antiquarian culture of 17th-century Rome, and their stylistic independence.
(AHIS G8795) The Modernist City: Urban Renewal, Urban Design, 1950-70
H. Ballon
Application form required by December 1, 2006. The seminar will consider the vast effort to rebuild America’s cities in the post-war period, different approaches to urban renewal, signature projects involving SOM, I.M. Pei, and Mies van der Rohe, including the redevelopment of Southwest Washington; Lake Meadows, Chicago; Society Hill, Philadelphia; and the Gratiot area in Detroit; developers such as William Zeckendorf, Herbert Greenwald, James Scheuer, and Roger Stevens; the impact of redevelopment czars, most famously Robert Moses, Edward Logue, and Edmund Bacon; and the rise of citizen planning. The seminar is coordinated with the three-part exhibition Robert Moses and the Modern City.
(AHIS G8262) Greek Myth in Italy before the Empire: An Investigation in Cross-Cultural Relationships
F. De Angelis
Application form required by December 1, 2006. The course will investigate the diffusion of Greek mythological images in Etruria, Southern Italy, and Rome from the Archaic to the Late Republican period (ca. 630 to 30 BCE). Among the issues which we will address there are: Why were peoples like the Etruscans or the Romans so keen on using Greek myth, and why did they not develop (to the same extent, at least) a mythic imagery of their own? What changes did myth undergo in the process of diffusion from Greece to the indigenous cultures in Italy? How can we use the verbal, narrative dimension of mythological scenes to get information about societies for which we do not have written sources?
(AHIS G8625y) Society and Visual Culture In Britain Since 1945
S. Schama
An examination of (primarily) visual culture in Britain from Hockney to Hirst, with the emphasis on relationship between tradition and innovation in a post-imperial nation and the place of spectacle in modern British life.
(AHIS G8805) Woman, Goddess, Power: India's Images of the Feminine
V. Dehejia
Application form required by December 1, 2006. Application form required by December 1, 2006. Students who have not taken formal classes in this material will be expected to acquire a basic level of familiarity with it by reading Vidya Dehejia’s Indian Art (Phaidon Press). Explores the representation of the female figure in the artistic tradition of India, making use of literary extracts from the major texts of ancient India, as well as selected modern writings. While inter-disciplinary in approach, the emphasis is on the visual material. No attempt will be made to survey the material across the ages; rather the seminar will focus on specific periods and topics chosen because they present challenges to the viewer-reader. Emphasizing that there is no single over-arching way of presenting female imagery in India, nor indeed a single way of understanding or explaining it, each body of visual material will be placed within its specific socio-economic, historical, religious, and artistic milieu. In the first half of the semester, each class will consist of two sections. A class discussion in which all students will be expected to have read the material and participate, even though individual students may have been assigned the task of presenting prepared critiques, will be followed or preceded by a professorial presentation.
(AHIS G8379) Paris and the Medieval City
S. Murray
Application form required by December 1, 2006.
Exploring all aspects of cultural production; focusing especially upon Saint-Denis and Notre-Dame.
(AHIS G8466) Titian
D. Rosand
Application form required by December 1, 2006. Explores the dimensions of meaning in Titian's art. Address problems of interpretation of the work and figure of the artist. Among the issues considered are the readings of pictures; the Venetian contexts of artistic production: workshops, guilds, and patronage; and the phenomenology of painting and critical response.
(AHIS G8686) Methods Seminar: the Post-Medium Condition
R. Krauss
Application form required by December 1, 2006. 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 G8703) Islam and Contemporary Art
G. Lowry
Application form required by December 1, 2006. In the last decade a number of artists from predominantly Islamic countries have emerged as important figures on the contemporary scene. This course will examine the issues and ideas they address, while exploring the ways in which they deal with questions of modernity and identity, among other topics.
(AHIS G8835) Expanded Arts
B. Joseph
Application form required by December 1, 2006. This course examines the movement of “expanded arts” as they developed in the mid-1960s in the realm of happenings, Fluxus and “expanded cinema” the sixties and seventies. The course considers art/cinema hybrids, the notion of intermedia, and the associated methodological and theoretical challenges their investigation poses.
back to top
To be announced
back to top
(AHIS G8991) Curatorial Seminar: Women Artists at MoMA
D. Wye
Required course for first-year Modern Art/Curatorial Track M.A. students. For all other students an application form is required by December 1, 2006; only Art History Dept. Graduate Students may apply. Developed in conjunction with a major publication project which will survey the work of women artists in MoMA’s collections of painting & sculpture, drawings, prints & illustrated books, architecture & design, film & new media, and photography, this seminar is designed for students in the MA-Moda Curatorial program and open to other graduate students with permission of the instructor and the Director of MA programs. Sessions will take place at MoMA. In addition to taking up the issues of researching women artists, students receive instruction in object-based research, produce research dossiers, write practice catalogue entries, and make presentations. Instructors: Deborah Wye, Abby Aldrich Rockefeller Chief Curator of Prints & Illustrated Books (contact person); Susan Kismaric, Curator of Photography; Anne Umland, Curator of Painting & Sculpture.
back to top
James Beck (spring)
Jonathan Crary (spring)
Cordula Grewe (year)
Elizabeth Hutchinson (spring)
Kellie Jones (year)
back to top |
