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Winter Academic Term 2002 Course Guide

Note: You must establish a session for Winter Academic Term 2002 on wolverineaccess.umich.edu in order to use the link "Check Times, Location, and Availability". Once your session is established, the links will function.

Courses in History of Art


This page was created at 5:23 PM on Fri, Mar 22, 2002.

Winter Academic Term, 2002 (January 7 - April 26)

Open courses in History of Art
(*Not real-time Information. Review the "Data current as of: " statement at the bottom of hyperlinked page)

Wolverine Access Subject listing for HISTART

Winter Academic Term '02 Time Schedule for History of Art.


History of Art 101, 102, 103 and 108, while covering different areas, are all considered equivalent introductions to the discipline of art history. These four introductory survey courses consider not only art objects as aesthetic experiences but also the interactions among art, the artist, and society. The lecture and discussion sections explore the connections between the style and content of works of art and the historical, social, religious, and intellectual phenomena of the time. Attention also is given to the creative act and to the problems of vision and perception which both the artist and his/her public must face.

Although it would be logical to move from History of Art 101 to History of Art 102, this is not required. One course in European/American art (101 or 102) and one course in Asian or African art (103 or 108) serve as a satisfactory introduction to the history of art for non-concentrators (concentrators should see the department's handbook for more information on requirements). The introductory courses are directed toward students interested in the general history of culture and are especially valuable cognates for students in the fields of history, philosophy, literature, and musicology as well as the creative arts.

Course requirements and texts vary with individual instructors, but an effort is always made to introduce students to works of art in the collections of the university as well as in the museums of Detroit and Toledo. Photographic material is available for study in the Image Study Gallery, G026 Tisch Hall. Examinations usually include short essays and slides which are to be identified, compared, and discussed.


HISTART 102. Western Art from the End of the Middle Ages to the Present.

Instructor(s): R Ward Bissell (bissellw@umich.edu)

Prerequisites & Distribution: No credit granted to those who have completed Hist. of Art 104 and 105, or 150. Two credits granted to those who have completed one of Hist. of Art 104 or 105. (4). (HU).

Credits: (4).

Course Homepage: No homepage submitted.

This course is a survey of topics in European and American Art from the late 14th century to the present, as well as an introduction to techniques of art history. It will examine institutions such as patronage and the art market, the changing roles of artists in society, and the changing functions of art. Weekly discussion sections will be devoted to building skills in visual analysis and critical reading of art-historical literature. Requirements: informed participation in section meetings, regular reading assignments, two short papers, midterm and a final examination. There are no prerequisites for this course.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

HISTART 103. Arts of Asia.

Section 001.

Instructor(s): Frank Chance (fchance@umich.edu)

Prerequisites & Distribution: (4). (HU).

Credits: (4).

Course Homepage: No homepage submitted.

This course will take a topical approach to the arts of India, China, and Japan rather than attempt a broad survey. Lectures will focus on conceptual units that range across geographical and historical categories. The course is divided into five topic areas based on medium: Ceramics and Metalwork, Architecture, Sculpture, Painting, and Prints; within each, we will consider a variety of themes, subjects, and genres such as narrative painting, devotional sculpture, funerary art, landscape, and popular subjects. There will be ample opportunity for exploring the basics of comparative art history. Apart from section participation, course work will include three short papers, quizzes, and a final examination. The course presumes no previous exposure to the arts of Asia. All are welcome.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

HISTART 113 / ARTDES 113. Introduction to the Visual Arts.

Section 001.

Instructor(s): Michael R Kapetan (nbva@umich.edu)

Prerequisites & Distribution: This course is for non-art majors only. (3). (Excl).

Credits: (3; 2 in the half-term).

Course Homepage: http://www.mikekapetan.com/teacher/art113.htm

No Description Provided.

Check Times, Location, and Availability


HISTART 194. First Year Seminar.

Section 001 Modernism/Modernity: Art and Culture in Paris, 1848-1900.

Instructor(s): Howard Lay (hglay@umich.edu)

Prerequisites & Distribution: Only first-year students, including those with sophomore standing, may pre-register for First-Year Seminars. All others need permission of instructor. (3). (HU). May be elected twice for credit.

First-Year Seminar

Credits: (3).

Course Homepage: No homepage submitted.

This course considers key issues in the history of modernist painting from the Revolution of 1848 to the end of the 19th century. This is the period during which Bohemia and the avant-garde (as concepts and as active constellation of artists, critics, dealers and patrons) developed their characteristic strategies and behavioral patterns: an apparent insistence on innovation, originality, and individuality; a contentious involvement with tradition; a critical relationship with both institutional and commercial culture; and a somewhat strained allegiance with radical politics and alternative subcultures. It is also the period that witnessed a thorough-going reassessment of the language of visual representation, and a parallel concern with the possibilities and limitations of the medium of painting; hence the rapid succession of avant-garde "movements," from Realism and Impressionism to Syntheticism and Neo-Impressionism.

The course aims to examine a succession of notorious modernist strategies, including (among other phenomena) the negativity of Manet's Parisian imagery, Courbet's presumed populism, and Neo-Impressionism's pseudo-positivist critique of modernity. Readings and discussions are designed to consider the correlations between a wide variety of modernist projects.

  • How, for example, might we construct a theoretical model that accounts simultaneously for Toulouse-Lautrec's cynical immersion in the world of cut-rate entertainment and Seurat's "scientific" renderings of the same subjects?
  • What version of modernist history can make sense of painting's claims to "high" culture and its active engagement with both "modern life" and political radicalism?
  • What is the state of "representation" in an art that attempts to dispense with traditional formal and narrative conventions?

These are difficult questions, and there are no clear-cut answers. Our objective in asking them is to recapture, over the course of the academic term, some sense of their complexity, and of the argumentative climate in which modernist strategies were conceived and employed.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

HISTART 212 / ARCH 212. Understanding Architecture.

Section 001.

Instructor(s): Robert L Fishman (fishmanr@umich.edu)

Prerequisites & Distribution: Not open to students enrolled in Architecture. (3). (Excl).

Credits: (3).

Course Homepage: https://coursetools.ummu.umich.edu/2002/winter/arch/212/001.nsf

This three-credit course is the principal introductory survey course in architecture. Using historical and contemporary examples, it examines the architect's role in society and the role of architecture and urban design in shaping the built environment. Upon completion of the course the student is expected to be able

  • to identify and distinguish buildings constructed in different times, places, and societies;
  • to discuss how architecture is and has been viewed and interpreted by various individuals and cultures;
  • to analyze urban forms and spaces in relation to the buildings which make them up and the people who use them; and
  • to develop and describe a personal attitude toward an understanding of the man-made environment.

The format consists of two one-hour lectures per week. Several design-related exercises requiring the student to experience, analyze, interpret, and report on aspects of the built environment will be required. The course is enhanced by weekly recitation sections. Recitation sections focus on improving the student's ability to venture into and sustain architectural discourse.

Required Reading:

  • Le Corbusier. Towards A New Architecture.
  • David Macaulay. City: A Story of Roman Planning and Construction.
  • David Macaulay. Cathedral: The Story of its Construction.
  • Carol Willis. Form Follows Finance: Skyscrapers and Skylines in New York and Chicago.
  • Course pack.

The books can be purchased at Shaman Drum Bookstore, State Street, Ann Arbor . The course pack must be purchased at the Art and Architecture Copy Center, 2nd Floor, Art and Architecture Building, North Campus.

Assignments: A midterm examination, a final examination, a brief essay and a term project will be required for all students.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

HISTART 222 / CLARCH 222. Introduction to Roman Archaeology.

Section 001.

Instructor(s): Susan E Alcock (salcock@umich.edu)

Prerequisites & Distribution: (4). (HU).

Credits: (4; 3 in the half-term).

Course Homepage: http://www.umich.edu/~ipcaa/222/

See Classical Archaeology 222.001.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1, 4

HISTART 230 / AMCULT 230. Art and Life in 19th-Century America.

Section 001.

Instructor(s): Rebecca Zurier (rzurier@umich.edu)

Prerequisites & Distribution: (3). (HU).

Credits: (3).

Course Homepage: No homepage submitted.

This course asks what the study of art history and American history can tell us about each other through a survey of art, architecture, and material culture produced during the 19th century. This complex period saw the transformation of the United States from rural to an industrial urban nation; a Civil War that divided the country, Westward expansion that enlarged it, and waves of immigration and border movement that changed its population; the rise of a middle class, and the emergence of women into public and professional life. American artists and architects sought to rival their European contemporaries and eventually produced distinctive works that responded to national trends. Through lectures, discussion, and visits to see original works of art in museums and libraries, along with readings in primary-source documents and recent critical interpretations, we will examine developments in the fine arts and the impact of historical change on the material and popular culture of everyday life in America.

Among the topics to be investigated are: the role in art in creating an image of America as "nature's nation"; machine-made art and machines as art; the west as viewed from the painter's easel, the photographer's lens, and the frontier homestead; the interaction of Native American artists, Anglo settlers, and the tourist trade; the creation of Civil War monuments; parlors and the ideology of the Victorian home; mass-produced images and the dissemination of art for middle-class taste; the brooding psychology in the Gilded-Age paintings of Eakins, Homer, and Cassatt.

Check Times, Location, and Availability Cost: 3 Waitlist Code: No Data Given.

HISTART 251 / MEMS 251. Italian Renaissance Art, II.

Section 001.

Instructor(s): Megan L Holmes (holmesml@umich.edu)

Prerequisites & Distribution: (4). (HU).

Credits: (4).

Course Homepage: No homepage submitted.

In this course we will study Italian art from circa 1480 to 1570. This period is traditionally known as the "High Renaissance," and usually begins with the maturity of Leonardo da Vinci and ends with the death of Michelangelo. We will follow the careers of major masters like Botticelli, Leonardo, Raphael, Titian, and Michelangelo. We also will explore the urban centers Venice, Florence, Rome where these masters, and many others not as well known, produced their works in response to the demands of patrons and institutions. We will study key works of art, sites of production, techniques, patrons, practitioners, and publics. We will be interested in gender and social rank, and will visit the exhibition at the University of Michigan Museum of Art "Gender, Power and Representation." Transformations in artistic practices and representational forms will be related to specific social, political, economic, and cultural conditions. We will also consider primary sources, and pay close attention to how art historians selectively consider the fragmentary material and textual remains from the period and incorporate them into a "story of art." There will be weekly section meetings, a midterm and final exam, and a short paper.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

HISTART 272. 20th-Century Art: Modernism, The Avant Garde, The Aftermath.

Section 001.

Instructor(s): Maria E Gough (mgough@umich.edu)

Prerequisites & Distribution: (4). (HU).

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

An exploration of the work of major 20th-century European and American artists, focusing on two fundamental issues in particular: first, the manifold ways in which modern and avant-garde artists have interrogated the nature of signification itself (i.e., how form produces meaning); and, second, the avant-garde's controversial relationship to revolutionary politics. This streamlined survey course is specifically designed to assist you in developing the vocabulary, and the analytical and visual tools that, are essential in order to come to grips with the great diversity of works and critical debates that constitute the history of 20th-century art.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

HISTART 376. Dada and Surrealism.

Section 001 Meets with RC Humanities 333.003.

Instructor(s): Matthew Biro (mbiro@umich.edu)

Prerequisites & Distribution: Upperclass standing. (3). (Excl).

Credits: (3).

Course Homepage: No homepage submitted.

This course examines the international movements of dada and surrealism within the context of European culture and history between 1916 and 1939. These artistic movements, which were influenced by the formal experiments of early twentieth-century art and literature, redirected the formal radicalism of their artistic predecessors in new directions; namely, toward:

  1. bridging the gap between art and life;
  2. defining and criticizing the modern world; and
  3. suggesting new forms of individual and collective subjectivity commensurate with modern life.

This course will explore these developments in depth and link dada with surrealist art to parallel tendencies in literature and film.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

HISTART 382 / ACABS 382 / ANTHRCUL 381. Introduction to Egyptian Archaeology.

Section 001 Meets with ACABS 686.001.

Instructor(s): Janet E Richards (jerichar@umich.edu)

Prerequisites & Distribution: Upperclass standing. (4). (HU).

Foreign Lit

Credits: (4; 3 in the half-term).

Course Homepage: No homepage submitted.

See Ancient Civilizations and Biblical Studies 382.001.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

HISTART 387(487) / CHIN 360 / ASIAN 360 / RCHUMS 375 / PHIL 360. The Arts and Letters of China.

Section 001.

Instructor(s): Shuen-Fu Lin (lsf@umich.edu)

Prerequisites & Distribution: Upperclass standing. (4). (HU).

Credits: (4).

Course Homepage: https://coursetools.ummu.umich.edu/2002/winter/asian/360/001.nsf

See Chinese 360.001.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

HISTART 390. Japan's "Floating World".

Section 001 Worlds of the Japanese Printmaker.

Instructor(s): Frank Chance (fchance@umich.edu)

Prerequisites & Distribution: Upperclass standing. (3). (Excl).

Credits: (3).

Course Homepage: No homepage submitted.

This course looks deeply at the culture of Japan as expressed through woodblock prints, and the historical and social contexts in which printmaking flourished. We will undertake a chronological survey of printmaking in Japan, from its introduction to the twentieth century. We will explore the ukiyo or "floating world" of merchants, courtesans, entertainers, and artisans; this cultural milieu was steeped in pleasure, driven by monetary economy, and controlled by militant political forces, yet produced and supported prints of enduring beauty and social significance. We also will explore printmaking institutions, styles, regulations, and motivations. Course work will include three short papers, quizzes, and a final examination. Previous experience with the history of art, Japanese studies, or printmaking will be helpful. All are welcome.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

HISTART 393. Junior Proseminar.

Section 001 Neo-Impressionism. (Honors).

Instructor(s): Howard G Lay (hglay@umich.edu)

Prerequisites & Distribution: Concentration in history of art and upperclass standing. (3). (Excl).

Credits: (3).

Course Homepage: No homepage submitted.

No Description Provided.

Check Times, Location, and Availability


HISTART 394. Special Topics.

Section 001 Contemporary Artists of Color in England, Mid-1950s to the Present. Meets with RC Core 334.001

Instructor(s): Jacqueline R Francis (jrfranci@umich.edu)

Prerequisites & Distribution: Upperclass standing. (3). (Excl). May be elected for credit more than once.

Credits: (3).

Course Homepage: No homepage submitted.

This course tracks the burst of cultural production by contemporary, African Diaspora artists trained and based in England from the mid-1950s to the present. The art under our scrutiny will be Modernist painting and sculpture, and post-Modernist installations, performances and film. We also will examine the furor generated by controversial exhibitions in which Black British artists' work was prominently featured, namely, "The Other Story" (London, 1989) and "Sensation" (Brooklyn, 1999). The academic term's readings include art histories and criticism, as well as the social and intellectual texts that influenced these artists: cultural nationalism, post-colonial critiques, British cultural studies, anti-racist coalition politics, and post-identity hybridity.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

HISTART 394. Special Topics.

Section 002 Art and the Black Death in Italy: 1347-1577.

Instructor(s): Megan L Holmes (holmesml@umich.edu)

Prerequisites & Distribution: Upperclass standing. (3). (Excl). May be elected for credit more than once.

Credits: (3).

Course Homepage: No homepage submitted.

Late in the year 1347 an epidemic that was later to become known as the "Black Death" first appeared in Italy. Over the next year and a half, it swept through Europe, moving from east to west, killing around a third of the population. Following this first incidence of the plague, there were recurring bouts in most Italian cities every twenty years or so, each lasting up to two years, and peaking during the summer months. Art historians, like their counterparts in other disciplines, have long been interested in the effects of these devastating visitations. While most accept that the plague had an impact upon the visual arts, there is disagreement over just what form this impact took. There are, in fact, very few works of art that treat the plague in a very direct manner. There was no genre within the visual arts during the Early Modern period for the direct reportage of current events and there were also limited possibilities for the articulation of personal experience. Visual imagery did, however, play a role in the social practices and public rituals organized in response to the plague. Painted banners were carried in religious processions; altarpieces, chapel decorations, and funerary monuments were commissioned by the heirs of plague victims; prints were issued that displayed plague-saints with accompanying prayers. Some have argued that there where also changes in the manner in which traditional subjects like the Last Judgment, scenes of death and the human body were represented in the aftermath of the plague.

In this course we will attempt to answer a question that is relevant to the study of culture in any period: How do human experiences particularly those associated with extraordinary and epochal events manifest themselves within cultural forms? Each week we will consider a different aspect of the plague. The Monday class will be a lecture and the Wednesday class a student-led discussion about the assigned readings and specific works of art. There will be a midterm exam, a final exam, and a paper/project.

Check Times, Location, and Availability Cost: 1 Waitlist Code: No Data Given.

HISTART 394. Special Topics.

Section 003 Order and Chaos in 18th-Century European Art.

Instructor(s): James C Steward (jsteward@umich.edu)

Prerequisites & Distribution: Upperclass standing. (3). (Excl). May be elected for credit more than once.

Credits: (3).

Course Homepage: No homepage submitted.

This seminar will use order and chaos as two organizing principles for an exploration of eighteenth-century European art. Drawing on primary texts (both critical and literary), the course will focus on a number of key figures in European art (Hogarth, Reynolds, Gainsborough, Chardin, David, Tiepolo, Goya) in an attempt to understand better their relationship to fundamental Enlightenment discourses concerning the ordering of knowledge and society. The eighteenth century is a critical period in the art of Europe, incorporating the roots of the modern movement and the ordering of disciplines that continues to define the academy and the museum today.

Readings will help to build a societal context for the examination of works of art, and allow the student to explore differences in literary and visual expression as means for describing order or chaos. Students will gain an understanding of the fundamental forces at work in eighteenth-century European culture, with examples drawn from England, France, Italy, and Spain, and will be able to place individual artists against broad historical and artistic developments. The emphasis on order and chaos will serve to elucidate the overlapping concerns of less useful traditional rubrics such as "Neoclassicism" and "Romanticism."

The course is designed to introduce students to a range of critical methodologies in the history of art, including Marxist readings and the social history of art, while paying special attention to the use of primary texts. At the same time, it will give students a sophisticated understanding of principal governing moments in the history of eighteenth-century European art.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

HISTART 394. Special Topics.

Section 004 Primitivism: A Modern Project.

Instructor(s): Jacqueline R Francis (jrfranci@umich.edu)

Prerequisites & Distribution: Upperclass standing. (3). (Excl). May be elected for credit more than once.

Credits: (3).

Course Homepage: No homepage submitted.

Primitivism has been a preoccupation of the modern artist and citizen in the West, and this course is an examination of how "the primitive" as a construction has been used in discussions about painting, sculpture, and graphic art from the eighteenth century to the present. Following the premise that "primitive" is best understood as a term that relies upon binary conceptions of high and low art, we'll consider its deployment across the social relations of gender, race, class, and ethnicity, and the historical grid of time and geography.

Check Times, Location, and Availability Cost: 1 Waitlist Code: No Data Given.

HISTART 394. Special Topics.

Section 005 17th-Century Art and Visual Culture: Art in the Courts of Baroque Europe. Meets with Art and Design 408.001.

Instructor(s): Sarah Cohen

Prerequisites & Distribution: Upperclass standing. (3). (Excl). May be elected for credit more than once.

Credits: (3).

Course Homepage: No homepage submitted.

This course examines the art and architecture produced in and around the courts of Europe in the seventeenth century, an era that saw unprecedented monarchical authority and display. Beginning in the papal court in Rome, we will then travel to Spain, France, and England, including a stop in the smaller courts of the Southern and Northern Netherlands. A particular focus of our examination will be the profound theatricality of much of this courtly art, with its focus upon ceremony and physical spectacle. Artists to be studied include: Caravaggio, Bernini, Rubens, Velázquez, Inigo Jones, and the numerous artists working in many media to build the palace and gardens of Versailles.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

HISTART 394. Special Topics.

Section 006 Sacred Art of the African Diaspora. Meets with CAAS 358.001.

Instructor(s): Dana Rush (danarush@umich.edu)

Prerequisites & Distribution: Upperclass standing. (3). (Excl). May be elected for credit more than once.

Credits: (3).

Course Homepage: No homepage submitted.

This course explores the sacred arts of Santería, Candomblé, and Vodou grounded in the many diverse aesthetic, philosophical, historical, political, and religious consciousnesses of peoples of African descent living in the Caribbean and the Americas. A short introduction to the major African visual and religious traditions that survived the trans-Atlantic slave trade and flourish to the present in the Caribbean and the Americas will be presented first to establish a comparative foundation for the course. Then, the course will focus on the centuries-strong preservation and ongoing transformations of African visual and religious cultures surviving in African diaspora communities from the period of the trans-Atlantic slave trade to the present. Diverse art forms ranging from sculpture and shrine arts to music and performance traditions will be examined. Classes will be part lecture, part discussion complemented by a range of movies and videos. Course requirements: weekly readings, one short writing assignment, two exams, and one research paper or project.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 5, Permission of Instructor

HISTART 403 / NRE 403. History of Human Interaction with the Land.

Section 001.

Instructor(s): Elizabeth A Brabec (ebrabec@umich.edu)

Prerequisites & Distribution: Upperclass standing. (3). (Excl).

Credits: (3).

Course Homepage: https://coursetools.ummu.umich.edu/2002/winter/nre/403/001.nsf

This course will survey the design and management of human settlements and their surrounding landscapes throughout history. The discussions will focus on man's interaction with the land as is evident in urban patterns, regional patterns of settlement, functional landscapes, and gardens and recreational landscapes, including those which were formally designed and those which emerged from vernacular influences. The range of examples and sites will be viewed within the context of the cultural, political, social and environmental forces which shaped them, and also their lingering effect on 20th century perceptions of nature and the landscape. The course will consist of slide-illustrated lectures by the instructor during which questions and discussion are encouraged. Grading will be in the form of a midterm, a final exam and written assignments.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 1

HISTART 405. Artists and Patrons.

Section 001 China in Comparative Perspective.

Instructor(s): Martin J Powers (mpow@umich.edu)

Prerequisites & Distribution: Upperclass standing, and HISTART 101. (3). (Excl). May be elected for credit more than once with permission of chair.

Credits: (3).

Course Homepage: No homepage submitted.

This course is designed to help students understand artistic production in the context of human issues such as debates over the distribution of wealth, social privileges, or personal autonomy. In order to accomplish this we ask why a particular artifact looks the way it does: who made it? who acquired it? where was it placed and for what purpose? who decided what was acceptable and who, if anyone, challenged established styles of production? Specific topics include: royal patronage; monastic patronage; the evolution of an open market; the impact of art collecting and criticism on artistic style; competition between the court and the alternative markets; the evolution of an art "world"; the use of painting as a site for social and political debate. While the focus of class discussion will be the history of art production in China, readings in European art history will provide a comparative perspective. No previous knowledge of Chinese history is necessary. There will be a midterm quiz and a final paper. In addition, students will select a small portion of assigned readings for inclusion in an annotated bibliography. There is no textbook. Readings will be placed on reserve and or provided in course packs.

Check Times, Location, and Availability Cost: 1 Waitlist Code: No Data Given.

HISTART 420 / AMCULT 432. National Identity in American Art.

Section 001.

Instructor(s): Rebecca Zurier (rzurier@umich.edu)

Prerequisites & Distribution: Upperclass standing, and any prior coursework in history of art, American culture, or American history. (3). (Excl).

Upper-Level Writing

Credits: (3).

Course Homepage: No homepage submitted.

This lecture/discussion course will reconsider the old question of "What's American about American Art?" by asking "when and why have people cared what's American about American Art." We will focus on a series of artistic movements from Colonial portraiture to the reception of Abstract Impressionism during the Cold War which artists, critics, historians, or their public have claimed were uniquely American or expressed a unified national culture. By studying related issues in political, social, and cultural history (which often reveal a nation that was anything but unified), we will examine how Americans have sought to define a national identity through art. Students who have done prior work in any aspect of art history, American history, American literature, or American culture and who are willing to do some background reading to fill in the gaps in their knowledge are encouraged to participate. This course will include at least on field trip to view original works of art and architecture.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

HISTART 440 / CLARCH 440. Cities and Sanctuaries of Classical Greece.

Section 001 Urbanism in Mediterranean Architecture. Meets with Architecture 509.001.

Instructor(s): Lydia M Soo (lmsoo@umich.edu)

Prerequisites & Distribution: Upperclass standing, and a course in archaeology. (3). (Excl).

Credits: (3; 2 in the half-term).

Course Homepage: http://coursetools.ummu.umich.edu/2002/winter/clarch/440/001.nsf

This course will adopt an anthropological approach to urbanism and the links between ecological settings, natural characteristics of the site, and architecture. It provides both historical and political contexts and illustrates the hold that Athens and Alexandria have had on the imagination through an exploration of the visual and literary arts.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

HISTART 473. Twentieth-Century Architecture.

Section 001 Meets with Architecture 543.001.

Instructor(s): Anatole Senkevitch Jr (senkanat@umich.edu)

Prerequisites & Distribution: Upperclass standing, and HISTART 102. (3). (Excl).

Credits: (3).

Course Homepage: https://coursetools.ummu.umich.edu/2002/winter/arch/543/001.nsf

The course offers a critical examination of the transformations in architectural theory and practice from the late 19th through the 20th century, with emphasis on elucidating the leadership struggles for definition, meaning, and form in the architecture of this period. Also considered is the link between theory and practice; the relationship between conceptual and aesthetic as well as technical factors; and the cultural, economic, social, and political context out of which they evolved.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

HISTART 489. Special Topics in Art and Culture.

Section 001 Histories of Art and Histories of Nations. (3 credits). Meets with History 481.002.

Instructor(s): Thomas Willette (willette@umich.edu)

Prerequisites & Distribution: (2-3). (Excl). May be elected for a total of nine credits. May be elected more than once in the same academic term.

Credits: (2-3).

Course Homepage: No homepage submitted.

This course will be conducted as a seminar on the historiography of "national art" in early modern and modern Europe, with emphasis on Germany and Italy in the period 1450-1945. We will consider how discourses of nationhood were articulated in works of art, as well as in historical writings about art, long before the age of nationalism. The comparative approach will allow us to observe how concepts of national identity are formed locally in a process of comparison and contrast with the peoples of other lands, and how works of art have served to create, document, and justify the distinctions of "nationality." From the 16th century to the 20th century, histories of art and histories of nations were often informed by the same philosophical premises and cultural attitudes regarding national character, language, physiognomy and political institutions, as well as similar assumptions about the determining roles of race, geography, and climate. Our point of departure will be the Germania of Tacitus, in which the "barbarian" northern tribes and the "civilized" ancient Romans were defined and characterized in ways that would shape cultural stereotypes about both Germans and Italians for centuries. We will then focus on Humanist historiography (including works of Petrarch, Leonardo Bruni, Conrad Celtis, and Heinrich Bebel) and the articulation of national histories in terms of collective cultural achievements. In this way, works of art (as highly crafted material objects invested with intrinsic merit) became linked to essential national attributes codified by ancient authorities. At the same time, art became material evidence for both the legitimacy and the political virtues of the nation state (such as republican Florence or the German empire of Maximilian I). The political ideas of "Italy" and "Germany" developed in the 18th and 19th centuries along with beliefs about national styles and characteristic subject matter. Hence the dark forests of German painting and the sun-lit pastoral landscapes of Italian art. In the period of romantic nationalism Albrecht Dürer came to embody the soul of Germany, while Raphael represented the ideal of Italy.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

HISTART 489. Special Topics in Art and Culture.

Section 002 Primitivism: A Modern Project. (3 Credits).

Instructor(s): Jacqueline R Francis (jrfranci@umich.edu)

Prerequisites & Distribution: (2-3). (Excl). May be elected for a total of nine credits. May be elected more than once in the same academic term.

Credits: (2-3).

Course Homepage: No homepage submitted.

Primitivism has been a preoccupation of the modern artist and citizen in the West, and this course is an examination of how "the primitive" as a construction has been used in discussions about painting, sculpture, and graphic art from the eighteenth century to the present. Following the premise that "primitive" is best understood as a term that relies upon binary conceptions of high and low art, we'll consider its deployment across the social relations of gender, race, class, and ethnicity, and the historical grid of time and geography.

Check Times, Location, and Availability Cost: 1 Waitlist Code: No Data Given.

HISTART 489. Special Topics in Art and Culture.

Section 003 Portraiture in Ancient Egypt. (1 credit). Meets with Institute for the Humanities 411.001 and ACABS 593.001. Meets Jan 28, 30, and Feb 4, 6, 11, 13, 18, and 20, 2002. (Drop/Add deadline=February 1).

Instructor(s): Lorelei Corcoran

Prerequisites & Distribution: (2-3). (Excl). May be elected for a total of nine credits. May be elected more than once in the same academic term.

Mini/Short course

Credits: (2-3).

Course Homepage: No homepage submitted.

See Institute for the Humanities 411.001.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

HISTART 489. Special Topics in Art and Culture.

Section 004 Use and Reuse of the Past in Architecture: Antiquity-Medieval Period. (3 Credits).

Instructor(s): Alka A Patel (alkap@umich.edu)

Prerequisites & Distribution: (2-3). (Excl). May be elected for a total of nine credits. May be elected more than once in the same academic term.

Credits: (2-3).

Course Homepage: No homepage submitted.

The re-use of building materials has been documented throughout various regions of the globe and in many time periods. This practice encompassed the recycling of all that was useable, from small architectural fragments to portions of standing buildings. Moreover, it could be suggested that reuse of the past did not refer strictly to the physical remains of bygone eras, but included the conceptual remains of these eras as well. In light of the "global" practice of salvaging older material and putting it to good use, focus on a single region and time period would be artificially limiting. Thus, this course will examine the phenomenon of using remnant building materials from Antiquity through the medieval period, roughly spanning the 1st through 15th centuries C.E. The regions covered will extend from the Iberian peninsula eastward to the Indian subcontinent. Among the issues raised by this approach and addressed in the course are:

  1. How was recyclable material generated, through willful destruction and/or the dilapidation of buildings?
  2. What are the differences between "imitation" of architectural styles and practices, and "re-use" of building ideas and concepts?
  3. Are the present-day interpretations of this historical practice signs of domination over a vanquished foe, or emulation of a much admired past harmonious with how these buildings were viewed at the time of their construction?

The course will be conducted in seminar format, requiring weekly participation, one presentation, and a final paper.

Check Times, Location, and Availability Cost: 2 Waitlist Code: No Data Given.

HISTART 489. Special Topics in Art and Culture.

Section 005 The Fragment in Modern and Postmodern Culture. (3 Credits).

Instructor(s): Joseph C Grigely (jgrigely@umich.edu)

Prerequisites & Distribution: (2-3). (Excl). May be elected for a total of nine credits. May be elected more than once in the same academic term.

Credits: (2-3).

Course Homepage: No homepage submitted.

This course is about fragments and fragmentation unfinished poems, architectural ruins, and eclectic editorial processes and how these fragments and processes of inquiry have evolved as defining aspects of modern and postmodern culture. The disciplinary framework is a broad one, and includes art, architecture, and scientific thought since the early nineteenth century. Specific topics include: Keats and the English Romantic Elgin; editorial eclecticism as exemplified in both contemporary editorial theory and the history of eugenic thought; Weekly World News, the horse with the human face, and the editing of bodies; collage, bricolage, and decollage; and visual narratives in contemporary drawing. Essentially, the course examines how various cultural narratives are constructed from fragments, and how the fragment itself has evolved as a narrative entity. Many of the questions posed in class will not have immediate or straightforward answers. Instead, the questions we ask and explore will function in such a way as to expose tensions, contradictions, ironies, and aporias.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

HISTART 534 / CLARCH 534. Ancient Painting.

Section 001 Ancient Monumental Painting.

Instructor(s): Elaine K Gazda (gazda@umich.edu)

Prerequisites & Distribution: Upperclass standing, HISTART 101, and either HISTART 221 or 222. (3). (Excl).

Credits: (3).

Course Homepage: No homepage submitted.

In the ancient civilizations of the greater Mediterranean region, large-scale paintings decorated the walls of palaces, houses, tombs and public buildings, often in celebration of their patrons' lives, achievements, and cultivated tastes. Especially prized were painted wood panels. Some were kept in special cabinets and shown only to special guests. Others, like Fayoum portraits, commemorated the deceased in life and accompanied them to the eternal world of the grave.

After a very brief introduction to the traditions of monumental painting developed by the ancient cultures of the Mediterranean world, this course will focus on the wall and panel paintings of the Roman era. Paintings from Rome, Pompeii, Herculaneum, and Ostia provide the core of visual material along with paintings from the Roman provinces. The course will pay special attention to the meaning of various subjects in light of their patrons' social concerns and contexts. These include (but are not limited to) images of gods and goddesses, heroes and heroines, mortal men and women, children and slaves; daily, religious, and political life; landscapes, gardens and still life. Class discussion will take account of a number of overarching problems in the study of Roman painting such as the derivation of Roman imagery from Greek models, the validity of the four Pompeian styles as a 'scientific' tool, and the reception of Roman paintings in modern times. Students will learn about the technical processes of Roman wall painting as well as the problems and methods of reconstruction and interpretation by studying actual fragments of Roman painting in special sessions at the Kelsey Museum.

Readings for twice weekly class discussions and lectures will be drawn from R. Ling, Roman Painting (1991) and a course pack. An in-class report and short (3-4 page) paper to be prepared during the first half of the term will be followed by a 10-page research paper in the second half. Midterm and final examinations will be based on slide attributions and essays.

Check Times, Location, and Availability Cost: 1 Waitlist Code: No Data Given.

HISTART 565. Early Modern Architecture in Italy, Austria, and Germany.

Section 001 Baroque Architecture. Meets with Architecture 528. Prerequisite: Arch 323 or permission of instructor.

Instructor(s): Lydia M Soo (lmsoo@umich.edu)

Prerequisites & Distribution: Upperclass standing. (3). (Excl).

Credits: (3).

Course Homepage: https://coursetools.ummu.umich.edu/2002/winter/arch/528/001.nsf

The course examines the architecture of the Baroque period: the buildings and cities of the late 16th to the mid-18th centuries in Italy, France, England, and Central Europe. They will be discussed in relationship to contemporary theoretical writings, addressing issues of function, structure, and beauty, as well as in relationship to the cultural context of the Baroque period, including philosophical, religious, political, economic, and environmental factors.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, Permission of Instructor

HISTART 575. Mass Media and the Visual Arts.

Section 001 Exhibition Prosthetics.

Instructor(s): Joseph C Grigely (jgrigely@umich.edu)

Prerequisites & Distribution: Upperclass standing, and HISTART 102 or 272. (3). (Excl).

Credits: (3).

Course Homepage: No homepage submitted.

This seminar explores the range of printed materials that serve a prosthetic function in relation to the making and exhibiting of art: catalogues, press releases, exhibition announcements, biographies, and even wall labels. During the course of the academic term we also will look closely at how various related 'professional' activities (which range from exhibition grant proposals to preparing portfolios to hanging out with artists and curators in bars) have a central, and not peripheral, role in relation to contemporary exhibition practices. While the course is experimental and practical, it also explores conceptual issues underpinning the relationship between curatorial and creative practice. The final project for the course will involve producing either a formal curatorial proposal or a virtual exhibition consisting of exhibition announcement, press release, catalogue dummy, and checklist of 'work'. The course is open to both graduate students interested in curating across many historical periods, as well as MFA students interested in the ways exhibitions create contexts for their work, and how they might participate in the construction of these contexts.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

Graduate Course Listings for HISTART.


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