Fall 2018 Courses

Course - Section Title Days Time Location
ARHS 500 - 01 Methods & Approaches to AH - - W - - - - 1730 - 2030 OEC 203

Days of Week:

- - W - - - -

Time of Day:

1730 - 2030

Location:

OEC 203

Course Registration Number:

40408 (View in ClassFinder)

Credit Hours:

Instructor:

Craig D. Eliason

This class will begin with a consideration of the beginnings and definition of art history and then move on to a survey of different methods or approaches, considering a new method each week beginning with stylistic/formal analysis and moving on to methods that consider meaning and context. Common readings will consist of historiographical overviews, theoretical explanations, and practical applications of each method; students will present summaries and critiques on selected additional readings for class discussion. Students will be asked to write a synopsis of each method defining its goal, basic process, terminology, and evidence. In addition, they will write short essays that will apply some of the methods in assigned projects drawing from a range of historical and geographic periods. We will also spend several nights discussing the role of ethics in art history. Unlike other graduate seminars that produce an in-depth research paper, this class will produce a portfolio of shorter writings that focus on processes. The course will also be held jointly with ARTH 211 (undergraduate majors and minors).

Schedule Details

Location Time Day(s)
ARHS 530 - 01 Chinese Objects and Craft - T - - - - - 1730 - 2030 OEC 311

Days of Week:

- T - - - - -

Time of Day:

1730 - 2030

Location:

OEC 311

Course Registration Number:

41528 (View in ClassFinder)

Credit Hours:

Instructor:

Elizabeth J. Kindall

This course will consider Chinese objects generally excluded from Chinese and Western art-historical narratives of "fine art" that focus on calligraphy, painting, sculpture, and bronze vessels. The object types under examination will encompass imperial, scholar, and merchant family collectables including ceramics, jewelry, silks, and tapestry, paper sculpture and prints, stone and marble items, wood carving, and silver and gold utensils. We will examine not only the objects and art-historical narratives surrounding them, but also various current methodologies museum professionals, social historians, and material culture historians are applying to their study. The issues and methodologies we address in relation to these objects will include production and technique; surface aesthetics; craft and craft history; folk art; commerce, colonialism, and consumption; museology; private and public collecting practices; Orientalism and self-Orientalism; the local and the global lives of objects; the miniature; the economic history of luxury objects in global perspective; and cultural encounters, artistic exchange, and hybridity.

Schedule Details

Location Time Day(s)
ARHS 540 - 01 Sacred in Unexpected Places M - - - - - - 1730 - 2030 OEC 414

Days of Week:

M - - - - - -

Time of Day:

1730 - 2030

Location:

OEC 414

Course Registration Number:

42644 (View in ClassFinder)

Credit Hours:

Instructor:

Victoria M. Young

Typically, we think of sacred space as that found in churches, mosques, synagogues, temples, etc. This seminar will explore notions of the sacred in unexpected locations, as we consider how the secular world intertwines with the profane. Through an examination of selected works from various regions, traditions, and cultures, this course will consider the manner in which users make space sacred beyond that of the established Christian, Muslim, and Jewish religions. Topics to be considered will come from the following: chapels in war museums and other war-related sites; memorials; nature, landscapes and gardens; shopping centers; Disney; sporting events; civil religion and the landscape of Washington, D.C.; museums and exhibitions on religion; material religion; facillties for the homeless and elderly; domesticity; the Burning Man festival; non-traditional religions including Mormonism, Christian Sciences, Theosophy, Zen Buddhism, etc.; and megachurches, pilgrimage, and tourism.

Schedule Details

Location Time Day(s)
ARHS 571 - 01 Museum Studies: Collections - - - R - - - 1730 - 2030 OEC 414

Days of Week:

- - - R - - -

Time of Day:

1730 - 2030

Location:

OEC 414

Course Registration Number:

42645 (View in ClassFinder)

Credit Hours:

Instructor:

Jayme Yahr

How do collections define museums? This course provides students with the tools to investigate the role of museums in creating national identity and cultural constructions. Students will explore the work of curators, registrars, conservationists, collections managers, and visual resource managers in the museum world. Additionally, the practical knowledge gained in the course will be interwoven with discussions of collecting theory and museum controversies. From ethics, looting, and contested provenance to NAGPRA, institutional critique, and social experiments gone wrong, this course will critique the "museum as temple" through the lens of collections. Museum Studies: Collections, Curation and Controversy will include opportunities for dialogue with museum professionals, hands-on projects, and field trips to apply museum studies theory to the visitor experience.

Schedule Details

Location Time Day(s)

J-Term 2019 Courses

Course - Section Title Days Time Location

Spring 2019 Courses

Course - Section Title Days Time Location
ARHS 510 - 01 Identity in Greek & Roman Art - - W - - - - 1730 - 2030 OEC 414

Days of Week:

- - W - - - -

Time of Day:

1730 - 2030

Location:

OEC 414

Course Registration Number:

22274 (View in ClassFinder)

Credit Hours:

Instructor:

Vanessa A. Rousseau

Echoes of Greek and Roman art have been used to shape and frame Western art and culture for centuries. In this course, we will examine how ancient Greeks and Romans used images to reflect personal and cultural ideologies and how those images were borrowed, appropriated, used and abused, in later periods. We will consider how iconographic and stylistic choices were deployed to convey or reify meaning at the time of production, as well as how the meaning of those objects might have been reinterpreted, or influenced the art of later eras. We will look at the legacy of antiquity especially in the context of the 18th-19th century birth of archaeology and building of European collections and how they influenced modern notions of the Antique and Western art. The vagaries and issues surrounding the contemporary market in antiquities will also be explored.

Schedule Details

Location Time Day(s)
ARHS 536 - 01 Imaging the Other M - - - - - - 1730 - 2030 OEC 414

Days of Week:

M - - - - - -

Time of Day:

1730 - 2030

Location:

OEC 414

Course Registration Number:

21689 (View in ClassFinder)

Credit Hours:

Instructor:

William L. Barnes

Not long after Europeans stumbled across the Americas, a whole new genre of visual culture was born: representations of new lands and new peoples. Early European imagery was dominated by graphic works catering to audience fascination with the new, the bizarre, and things of prurient interest. The story of these images and their makers is fraught with issues of exoticism and justifying colonial subjugation of indigenous peoples. Despite this, many of these Othering images remain foundational to commonplace depiction of indigenous Americans to this day. There is also a large body of visual works wherein indigenous Americans tried to incorporate Europeans and others into their own extant traditions and created representations of themselves and their cultures for the new European audience, using both traditional means and the new Western visual idiom. This seminar will critically reassess this body of work as well as looking into the history of those who sought out and collected such imagery through time.

Schedule Details

Location Time Day(s)
ARHS 545 - 01 Documentary Photography - T - - - - - 1730 - 2030 OEC 414

Days of Week:

- T - - - - -

Time of Day:

1730 - 2030

Location:

OEC 414

Course Registration Number:

22273 (View in ClassFinder)

Credit Hours:

Instructor:

Heather M. Shirey

From Civil War battlefields to Tiananmen Square. Inside factories and living rooms. Mountain peaks, city streets, wars, and birthday parties. Public lives and private moments around the world. Since the invention of photography in 1839, photographers around the world have documented people, places, and moments, allowing us to transcend our own experiences through the photograph. This course examines the development of documentary photography over the course of time and space/place, addressing broad questions such as: What is the purpose of documentary photography and how has it changed over time? What is meant by documentary photography, photo-journalism, and photography as art? What is the relationship of photography to notions of "truth"? What ethical issues are at play in the production and consumption of documentary photography? What drives photographers to document the world? Can documentary photographs lead to change in society? We will read key theoretical texts as well as current scholarship on the topic. Other specific topics to explore include photography and the built environment, women documentarians working in a male-dominated field, war photography, photography and racial and social justice, documentary film and its relation to photography, documenting the landscape, and museums/galleries & the acceptance of photography as an art form. While this course is conceived from an art historical perspective, students will be required to experiment with designing and producing their own documentary project (no special equipment required). Photographers to be studied include well-known documentary photographers such as Bernice Adams, Walker Evans, Louis Hine, Dorothea Lange, Mary Ellen Mark, Gordon Parks, W. Eugene Smith, Edward Steichen, Henri Cartier-Bresson, Robert Frank, Jacob Riis, and Ansel Adams, as well as many other photographers working globally, from 1839 to the present.

Schedule Details

Location Time Day(s)

Independent Study

Past topics have included:

  • Modern Art On Trial
  • Minnesota Architecture
  • Edward Curtis
  • Harlem Renaissance
  • Russian Photography
  • Contemporary Mosaic Art
  • Art of Darwinism
  • Kew Gardens Pagoda
  • Islamic Painting
  • Islamic Architecture
  • Women in Aztec Society
  • Frank Lloyd Wright