Courses in HISTORY OF ART (DIVISION 392)

Open to All Undergraduates; Not Open to Graduate Students.

150. Great Masters of European and American Painting. No credit granted to those who have completed or are enrolled in 102. (Excl).

In scope and approach not applicable as a history of art concentration prerequisite (and not to be elected by those who have taken or plan to take H.A. 102), this course is designed for those who, as part of a broad liberal education, wish to enhance their sensitivity to artistic expression. Concentrating upon eleven extraordinary creative personalities in the history of European painting (Giotto, Leonardo da Vinci, Michelangelo, Titian, El Greco, Caravaggio, Rubens, Rembrandt, Goya, Cézanne, and Picasso), and emphasizing themes particularly relevant to each of these artists, it seeks to suggest the vastness and profundity of their contribution to human understanding. A complete syllabus, the text (F. Hartt, A History of Painting, Sculpture, and Architecture, vol. II, ), directed optional reading, a small set of prints, and photo study facilities will complement the lectures, and students mill be evaluated by way of two exams a midterm and a final. (Bissell)

394. Special Topics. (Excl). May be elected for credit more than once.
Section 201 MYTHS OF AMERICA: The Cowboy, the Indian, and the West and their Photographic Construction.
The goal of the course is not to provide a historical overview of American photography, but rather highlight several modes of constructing 'America' through photographs in the period 1860- present. The ideological functions of landscape photography will be discussed in addition to the representation of the North America's indigenous peoples. The course will also examine the photographic construction of the Cowboy as a (racial) stereotypical identity. It would finally emphasize the recuperative projects that some Native American photographers have undertaken to disrupt the photographic orthodoxy that obscured their own cultural rites of passage. The course will follow a lecture and discussion format. The course requirements will be participation, a short response paper and a 10- 12 page research paper. Readings will include selections from: Susan Sontag's On Photography, John Tagg's The Burden of Representation, Wallace Stegner's The American West as Living Space, Leslie Marmon Silko's Storyteller, and Jean Baudrillard's America. (Campbell)

Section 202 The Idea/l of Public Art in the United States from 1776 to the Present. We are all familiar with the controversy that so often accompanies debates about public art in the Unites States today; the removal of Richard Serra's Tilted Arc from its downtown Manhattan site, the debates over the construction of the Vietnam War memorial, and the notoriety surrounding recent N.E.A. funding decisions are only a few such instances of this phenomenon. Historically, American painters and sculptors have eagerly sought patronage for works that claim to address "the public" as their primary audience. We may ask ourselves, however: "Who is the public for public art in the United States?" This course attempts to answer this and related questions ("Must public art challenge its audience?", "Is public space gendered?", etc.) through a more historical inquiry into the subject of public art than what is customarily provided by journalistic accounts. Lectures will survey representative works from the revolutionary period to the present day from Betsy Ross' flag to the AIDS Quilt in an effort to judge how ideas and ideals about public art have changed. (Cartwright)


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