Architecture, History and Theory

AHIS UN1007 Introduction to the History of Architecture. 4.00 points.

This course is required for architectural history and theory majors, but is also open to students interested in a general introduction to the history of architecture, considered on a global scale. Architecture is analyzed through in-depth case studies of key works of sacred, secular, public, and domestic architecture from both the Western canon and cultures of the ancient Americas and of the Hindu, Buddhist, and Islamic faiths. The time frame ranges from ancient Mesopotamia to the modern era. Discussion section is required

AHIS UN2405 TWENTIETH CENTURY ART. 4.00 points.

The course will examine a variety of figures, movements, and practices within the entire range of 20th-century art—from Expressionism to Abstract Expressionism, Constructivism to Pop Art, Surrealism to Minimalism, and beyond–situating them within the social, political, economic, and historical contexts in which they arose. The history of these artistic developments will be traced through the development and mutual interaction of two predominant strains of artistic culture: the modernist and the avant-garde, examining in particular their confrontation with and development of the particular vicissitudes of the century’s ongoing modernization. Discussion section complement class lectures. Course is a prerequisite for certain upper-level art history courses

AHIS UN2415 History Painting and Its Afterlives. 3.00 points.

This course will study the problematic persistence of history painting as a cultural practice in nineteenth century Europe, well after its intellectual and aesthetic justifications had become obsolete. Nonetheless, academic prescriptions and expectations endured in diluted or fragmentary form. We will examine the transformations of this once privileged category and look at how the representation of exemplary deeds and action becomes increasingly problematic in the context of social modernization and the many global challenges to Eurocentrism. Selected topics explore how image making was shaped by new models of historical and geological time, by the invention of national traditions, and by the emergence of new publics and visual technologies. The relocation of historical imagery from earlier elite milieus into mass culture forms of early cinema and popular illustration will also be addressed

AHUM UN2604 ARTS OF CHINA, JAPAN AND KOREA. 3.00 points.

CC/GS/SEAS: Partial Fulfillment of Global Core Requirement

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

AHIS UN2622 Introduction to East Asian Art: China, Japan, and Korea. 4.00 points.

This lecture course, with two weekly lectures and additional section meetings, surveys the broad outlines of the artistic traditions of China, Korea, and Japan, introducing key concepts, such as multiplicity, impermanence, and transmediality, through a diversity of forms of visual expression in painting, sculpture, bronze, ceramics, lacquer, and architecture. The weekly lectures and discussions will explore interregional relations and influence in order to discover not only the features that make each geographical tradition distinct, but also closely interconnected. Among the key themes to be examined are the archaeology of ancient East Asia, the development of Buddhist art, the arts of landscape and narrative painting, woodblock prints, and finally East Asia after modernity

AHIS GU4027 Architecture in Western Europe 1066-1399. 3.00 points.

This course explores architecture in Western Europe during the Middle Ages. The time frame starts with the conquest of England in 1066 and ends with the appointment of Gothic experts in 1399 to advise on the construction of Milan Cathedral towards the end of the Middle Ages. The first historical event coincides with the creation of architecture of a bewildering scale while the second reflects the end of building without architectural treatises or architectural theory - in a modern sense. The course will also introduce students to new digital technologies such as laser scanning and photogrammetry for the study of medieval architecture. No preliminary knowledge of medieval history or architectural history is needed, and no knowledge of digital technologies or specific computer skills is expected. The monuments selected belong to a period that starts when architecture moved away from Roman antique models and ends just before the re-adoption of Classical standards in the Renaissance. In this course the originality of medieval architecture, its relationship with earlier and later monuments, and the dramatic effort involved in its creation will be discussed. Major themes of medieval society such as pilgrimages, crusades, piety, the cult of relics, and the social and intellectual context of the Middle Ages are also part of this lecture. In the first weeks, important concepts of medieval society and its architecture will be presented in combination with a number of new technologies recently adopted in the field. These introductory classes will offer the foundations needed to understand artistic and architectural developments in the Middle Ages. While the course will focus on architecture, different media are included when they provide valuable information on the artistic and cultural context to which buildings belong. New technologies serve as a basis for a critical discussion about the changes in method introduced by new media and technologies in the field of architectural history

AHIS GU4093 Sacred Space in South Asia. 3.00 points.

“Sacred” space in the Indian subcontinent was at the epicenter of human experience. This course presents Buddhist, Hindu, Islamic, and Jain spaces and the variety of ways in which people experienced them. Moving from the monumental stone pillars of the early centuries BCE to nineteenth century colonial India, we learn how the organization and imagery of these spaces supported devotional activity and piety. We discuss too how temples, monasteries, tombs, and shrines supported the pursuit of pleasure, amusement, sociability, and other worldly interests. We also explore the symbiotic relationship between Indic religions and kingship, and the complex ways in which politics and court culture shaped sacred environments. The course concludes with European representations of South Asia’s religions and religious places

AHCE W4149 The Roman Art of Engineering: Traditions of Planning, Construction, and Innovation. 3.00 points.

Interdisciplinary study of ancient Roman engineering and architecture in a course co-created between Arts ＆ Sciences and Engineering. Construction principles, techniques, and materials: walls, columns, arches, vaults, domes. Iconic Roman buildings (Colosseum, Pantheon, Trajan’s Column) and infrastructure (roads, bridges, aqueducts, baths, harbors, city walls). Project organization. Roman engineering and society: machines and human labor; engineers, architects, and the army; environmental impact. Comparisons with current practice as well as cross-cultural comparisons with other pre-modern societies across the globe. A Columbia Cross-Disciplinary Course

AHIS UN3239 Medieval and Renaissance Venice. 4.00 points.

This undergraduate travel seminar investigates the architecture, urbanism, and visual culture of Venice from its origins in the early medieval period to the sixteenth century, with particular focus on major religious and civic monuments. While San Marco and the adjacent Palazzo Ducale will be a core concern, Venetian monuments large and small will receive attention. Further emphasis will be placed on saintly relics as markers of cultural and religious identity, the invention and visual manifestation of cult traditions, and changes in Venice’s sacred topography as a result of its expansions on the mainland and in the Eastern Mediterranean

AHIS UN3313 Women Painters in Europe, 1500-1750. 4 points.

Not offered during 2023-2024 academic year.

Histories of European Renaissance and Baroque art once narrated a story involving almost only male actors: it was men who made the period's paintings and sculptures, men who purchased them, and men who left their views on art for posterity. That characterization of the field is no longer quite so true, and one of the most significant changes in the field is that female painters now feature in every survey of the period. The aim of this course is to look comparatively at the painterly works produced by women across the early modern period and at the way those pictures have been treated in the scholarly literature from the last several decades.

AHIS UN3413 NINETEENTH-CENTURY CRITICISM. 4.00 points.

Prerequisites: junior or senior standing, and the instructor's permission.
This course examines a diverse selection of social and aesthetic responses to the impacts of modernization and industrialization in nineteenth-century Europe. Using works of art criticism, fiction, poetry, and social critique, the seminar will trace the emergence of new understandings of collective and individual experience and their relation to cultural and historical transformations. Readings are drawn from Friedrich Schiller's Letters On Aesthetic Education, Mary Shelley's The Last Man, Thomas Carlyle's "Signs of the Time," poetry and prose by Charles Baudelaire, John Ruskin's writings on art and political economy, Flora Tristan's travel journals, J.-K. Huysmans's Against Nature, essays of Walter Pater, Nietzsche's Birth of Tragedy and other texts

AHIS UN3466 AIDS Is Contemporary. 4.00 points.

This seminar examines two intertwined propositions. One is the undisputable fact that the global HIV/AIDS pandemic is ongoing and that the disease continues to shape the way artists and activists grapple with public health, national policy, and medical injustice. The other is my own polemic-in-formation, which is that the eruption of AIDS in the 1980s was the threshold event that inaugurated what is now understood to be “the contemporary” within the art world. Rather than periodize the start of “the contemporary” with the 1989 fall of the Berlin Wall, as has become conventional, we will investigate how the AIDS crisis precipitated a sudden urgency that more decisively marks this transition, in particular around the promiscuous inclusion of non-fine art forms such as demonstration posters, zines, and handmade quilts. We will read foundational texts on HIV/AIDS organizing and look at interventions with graphic design, wheat-pasting, ashes action protests, body maps, embroidery, performance-based die-ins, voguing, film/video, and photography. We will consider: the inextricability of queer grief, anger, love, and loss; lesbian care; the trap of visibility; spirituality and death; activist exhaustion; the role played by artists of color within ACT-UP; and dis/affinities across the US, Latin America, and South Africa. Our investigations will be bookended by two critical exhibitions, Witness: Against Our Vanishing (Artists Space, 1989) and Exposé-es (Palais de Tokyo, 2023). Authors and artists/collectives include: Aziz Cuchar, Bambanani Women’s Group, Felicano Centurion, Douglas Crimp, Ben Cuevas, Felix Gonzalez-Torres, Darrel Ellis, fierce pussy, Elisabeth Lebovici, José Leonilson, Nicolas Moufarrege, Marlon Riggs, Matthew Wong, and the Visual AIDS archive. We will conclude with feminist, queer, and collaborative artistic work made during the (also ongoing) Covid-19 pandemic. In small groups, students will lead discussions of our texts and the final project will be a collectively curated virtual exhibition

AHIS UN3471 The Harlem Renaissance ＆ Black Modernism. 4.00 points.

The Harlem Renaissance marks a pivotal era in art history, where Black artists, writers, and intellectuals redefined cultural and artistic expression. This course, "The Harlem Renaissance ＆ Black Modernism," explores the dynamic factors that fueled this vibrant period, including the aftermath of the Reconstruction era, the Great Migration, and the influential contributions of key artists and thinkers. Throughout the course, we will examine the diverse artistic practices that emerged not only in Harlem but across broader networks in both the US and abroad, underscoring the movement's widespread impact. By situating the Harlem Renaissance within its broader contexts – such as histories of Black queer and feminist thought and transatlantic modernism — we will gain a deeper understanding of its lasting significance. Through weekly readings, discussions, and site visits, students will engage with the multifaceted legacy of the Harlem Renaissance and of Black modernist art more generally, analyzing their influence on contemporary discussions of art and culture. By the end of the course, students will have a comprehensive grasp of how this cultural renaissance shaped and continues to influence artistic production in ongoing ways

AHIS GU4574 Picturing a New World: Illustrated Manuscripts in Early Colonial Mexico and Peru. 4 points.

In this research seminar we will delve into the texts and images of four remarkable illustrated manuscripts created during the first century of the Spanish colonization of Mexico and Peru. Created by various agents—Spanish friars and indigenous authors and artists—these four bodies of work constitute some of the earliest and most important historical sources on the pre-Hispanic world of what is now Latin America, its history, and its traditions. But beyond their service as chronicles or ethnographies, these manuscripts can be examined as contested sites for the colonial negotiation of identity, culture, politics, and faith.

Our corpus includes the Mercedarian friar Martín de Murúa’s ca. 1590 and 1613 manuscripts on the history of the Incas and Peru, the native Andean author and artist Felipe Guaman Poma de Ayala’s 1615 “New Chronicle and Good Government,” addressed to King Philip III in protest of Spanish colonial conditions in Peru, and the bilingual “Florentine Codex” compiled in Mexico in the 1570s by Nahua scribes and painters under the supervision of the Franciscan friar Bernardino de Sahagún.

This bridge seminar is open to undergraduate and graduate students.

Enrollment is by application. Spanish reading ability is highly recommended.

AHIS GU4646 FOUCAULT AND THE ARTS. 4.00 points.

Michel Foucault was a great historian and critic who helped change the ways research and criticism are done today – a new ‘archivist’. At the same time, he was a philosopher. His research and criticism formed part of an attempt to work out a new picture of what it is to think, and think critically, in relation to Knowledge, Power, and Processes of Subjectivization. What was this picture of thought? How did the arts, in particular the visual arts, figure in it? How might they in turn give a new image of Foucault’s kind of critical thinking for us today? In this course, we explore these questions, in the company of Deleuze, Agamben, Rancière and others thinkers and in relation to questions of media, document and archive in the current ‘regime of information’. The Seminar is open to students in all disciplines concerned with these issues

AHIS GU4746 Architecture, Labor, Industry, and the (long) “American Century”. 4.00 points.

From the industrial outposts up and down the eastern seaboard of the United States, across the Mississippi Delta, over the Great Lakes from Erie, Pennsylvania to Buffalo, Toronto, Detroit, and Chicago, over the western plains to Edmonton, Oklahoma City, Omaha, and from there to the technology centers of Vancouver, Seattle, and Silicon Valley, the sites of large-scale industry changed American society over two centuries. Just as gas flares mark subterranean oil deposits under the Texas plains, industrial buildings materialize complex networks of architecture, labor, and industry. They transform seemingly immaterial economic forces into concrete things through the labor of lots and lots of people. They are “fruiting bodies” that blossom from networks of money, labor, and natural resources, where human beings transform raw materials into consumer products. As industry moved across the North American continent, it took shape in buildings designed to optimize resources, improve manufacturing, and provide employment. From Amoskeag, New Hampshire to Silicon Valley, factories grew and changed in a continuous collective design process focused on throughput or flow. These buildings were also tied to urban development and large-scale housing; in studying industrial buildings, we also necessarily study cities, neighborhoods, and company towns. In addition, industrial buildings are meant to improve on the ones that came before them, and to give way to the optimizations of ones that come after. Factory design thus reflects a tangible belief in technical progress. Factories are embedded in society diachronically, across time, and synchronically, across space. They are not singularities; they are inherently relational buildings, like other forms of vernacular architecture. In classes that move chronologically through this terrain, we also focus on two questions: first, how has industrial architecture been situated within architectural history? Second, what happens when we study building design with the kind of heightened synchronic-diachronic awareness that industrial building demands? Industrial architecture is closely connected to capitalism. Studying it reveals architecture’s role in that social organization in a new light. We will survey and closely study buildings to address these and other questions

CLST GU4515 Connecting Histories: Roman Conquests and Coinage. 4.00 points.

Aimed at advanced undergraduate and graduate students, this course aims to introduce coinage and the study of coins as historical disciplines and to provide a survey of the production and use of coinage in the Roman world from the third century BCE to the 1st century CE, with specific emphasis on the Late Republican coinage and the local coinages issued in the early Roman provinces. Over the course of the second and first centuries BCE, Rome conquered most of the Mediterranean world in a whirlwind of military campaigns. However, despite the unrivaled military power achieved during the second and first centuries BCE, one of the most surprising factors in the development of Roman domination of the Mediterranean world is that the Romans conquered and ruled most of it without imposing their coinage on the conquered. Therefore, it becomes even more important to research how local coinages converged—at least partly—to create compatible monetary systems across the Roman Empire. The students will have direct access to the world-class numismatic collections at the American Numismatic Collection (over 300,000 Roman and Greek pieces) and to the Olcott collection of Roman coins housed in the RBML in Butler Library (over 4,000 Roman pieces)

AHIS UN1007 Introduction to the History of Architecture. 4.00 points.

This course is required for architectural history and theory majors, but is also open to students interested in a general introduction to the history of architecture, considered on a global scale. Architecture is analyzed through in-depth case studies of key works of sacred, secular, public, and domestic architecture from both the Western canon and cultures of the ancient Americas and of the Hindu, Buddhist, and Islamic faiths. The time frame ranges from ancient Mesopotamia to the modern era. Discussion section is required

AHIS UN2119 ROME BEYOND ROME. 4.00 points.

This course will approach the art of the Roman empire from two vantage points. In its first half, it will consider it from the inside. Through a regional survey of the art and architecture produced in the provinces of the Roman empire between the 2nd c. BCE and the 4th c. CE, it will focus on the mechanisms by which models emanating from Rome were received andadapted in local contexts (so-called “Romanization”), as well as on the creative responses that the provincials’ incorporation into the empire elicited. The second half of the course will consider the art of the Roman empire from the outside, i.e., from the perspective of its neighbors in the Middle East and in Africa, as well as its self-proclaimed successors andimitators. On the one hand, we will see how ancient states such as the kingdom of Meroë and the Parthian empire, or regions such as the Gandhara, interacted with the visual culture of Rome and its empire. On the other, we will explore the degree to which the classical roots of the modern colonial empires in Asia, Africa, and the Americas both managed and failed to shape the visual cultures that these empires developed. CC/GS/CE: Partial fulfillment of Global Core requirement

AHIS UN2305 RENAISSANCE IN IMPERIAL SPAIN. 3.00 points.

Prerequisites: Required discussion section AHIS UN2306
The course will survey Renaissance art in Hapsburg Spain, considered in the wide geographical context of the extended and dispersed dominions of the different crowns of the Spanish monarchy, which connected the Iberian Peninsula with Italy, Flanders and the New World. It will concern visual art in its various media, mainly painting, sculpture and architecture, but also tapestries, prints, armor, goldsmithery and ephemeral decoration, among others. Works of the main artists of the period will be introduced and analyzed, giving attention to the historical and cultural context of their production and reception. The course will particularly focus on the movement of artists, works and models within the Spanish Hapsburg territories, in order to understand to what extent visual arts contributed to shaping the political identity of this culturally composite empire

AHIS UN2400 Nineteenth-Century Art in Europe. 3.00 points.

How do you represent a revolution? What does it mean to picture the world as it “really” is? Who may be figured as a subject or citizen, and who not? Should art improve society, or critique it? Can it do both? These are some of the many questions that the artists of nineteenth-century Europe grappled with, and that we will explore together in this course. This was an era of rapid and dramatic political, economic, and cultural change, marked by wars at home and colonial expansion abroad; the rise of industrialization and urbanization; and the invention of myriad new technologies, from photography to the railway. The arts played an integral and complex role in all of these developments: they both shaped and were shaped by them. Lectures will address a variety media, from painting and sculpture to the graphic and decorative arts, across a range of geographic contexts, from Paris, London, Berlin, and Madrid to St. Petersburg, Cairo, Haiti, and New Zealand. Artists discussed will include Jacques-Louis David, Francisco Goya, Théodore Géricault, J.M.W. Turner, Adolph Menzel, Ilya Repin, Edouard Manet, Claude Monet, Mary Cassatt, James McNeill Whistler, C. F. Goldie, Victor Horta, and Paul Cézanne

AHIS UN2411 History of Photography. 3 points.

Few media have shaped the course of modernity more powerfully than photography. Law, science, journalism, criminology, urban planning, and entertainment are but a handful of the fields remade by the introduction of photography. More ambivalent has been photography's relationship to art. Once relegated to the margins, photographic practices now occupy the center of much artistic production. This course will not attempt a comprehensive survey of the medium. Rather, we will trace central developments through a series of case studies from photography's 19th century birth to its current, digital afterlife. We will cover seminal movements and figures as well as more obscure practices and discourses. Particular attention will be paid to the theoretical and methodological questions concerning the medium.

AHIS UN2500 ARTS OF AFRICA. 3.00 points.

CC/GS/SEAS: Partial Fulfillment of Global Core Requirement

Introduction to the arts of Africa, including masquerading, figural sculpture, reliquaries, power objects, textiles, painting, photography, and architecture. The course will establish a historical framework for study, but will also address how various African societies have responded to the process of modernity

AHUM UN2604 ARTS OF CHINA, JAPAN AND KOREA. 3.00 points.

CC/GS/SEAS: Partial Fulfillment of Global Core Requirement

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

AHIS UN2702 PRE-COLUMBIAN ART AND ARCHITECTURE. 3.00 points.

The Western Hemisphere was a setting for outstanding accomplishments in the visual arts for millennia before Europeans set foot in the so-called “New World.” This course explores the early indigenous artistic traditions of what is now Latin America, from early monuments of the formative periods (e.g. Olmec and Chavín), through acclaimed eras of aesthetic and technological achievement (e.g. Maya and Moche), to the later Inca and Aztec imperial periods. Our subject will encompass diverse genre including painting and sculpture, textiles and metalwork, architecture and performance. Attention will focus on the two cultural areas that traditionally have received the most attention from researchers: Mesoamerica (including what is today Mexico, Guatemala, Belize, El Salvador, and Honduras) and the Central Andes (including Ecuador, Peru, and Bolivia). We will also critically consider the drawing of those boundaries—both spatial and temporal—that have defined “Pre-Columbian” art history to date. More than a survey of periods, styles, and monuments, we will critically assess the varieties of evidence—archaeological, epigraphic, historical, ethnographic, and scientific—available for interpretations of ancient Latin American art and culture

AHIS GU4023 Medieval Art II: Castles, Cathedral, and Court. 4.00 points.

This advanced lecture course is intended for students with little or no background in medieval art of Latin (“Western”) Europe. It provides a comprehensive introduction to a period spanning roughly one millennium, from Pope Gregory the Great’s defense of art ca. 600 to rising antagonism against it on the eve of the Protestant Reformation. Themes under consideration include Christianity and colonialism, pilgrimage and the cult of saints, archaism versus Gothic modernism, the drama of the liturgy, somatic and affective piety, political ideology against “others,” the development of the winged altarpiece, and pre-Reformation iconophobia. We will survey many aspects of artistic production, from illuminated manuscripts, portable and monumental sculpture, stained glass, sumptuous metalworks, drawings, and reliquaries to the earliest examples of oil paintings and prints. While this course is conceived as a pendant to Medieval Art I: From Late Antiquity to the End of the Byzantine Empire (AHIS GU4021), each can be taken independently of one another. In addition to section meetings, museum visits to the Metropolitan Museum of Art, The Cloisters, and The Morgan Library are a required component to the course. Students must register for a mandatory discussion section

AHIS GU4064 Arts of the Silk Road. 3.00 points.

The term “Silk Road,” coined by German geographers in the nineteenth century, denotes a network of ancient inland routes that traversed between East Asia and the Mediterranean. This course, by focusing on the arts of the Silk Road, introduces cultural and religious exchanges among various regions in Asia, spanning a time period from the sixth century BCE—marked by the establishment of the Achaemenid Empire—to the thirteenth century CE, which saw the rise of the Mongol Empire. The course is organized into three sections: arts of empires, arts of kingdoms, and arts of migrants. Students will examine monuments, objects, and artworks originating from major Asian civilizations and religions, utilizing a comparative and historical perspective. Through this exploration, they will be equipped to understand ancient Asian history as a process of continuous interaction and interconnection between diverse peoples and cultures—a process that precursors globalization in the contemporary age

AHIS GU4082 Islam In the Making: An Art and Architectural History. 3.00 points.

This lecture course offers an overview of Islamic history through its art and architecture. It spans fifteen centuries and three continents: Africa, Asia, and Europe. Organized chronologically, each session of this course will examine one Muslim city at a particular period of time. Starting with Mecca in the 6th century and ending with the urban and architectural expansions of the same city today. Damascus, Baghdad, Samarra, Kairouan, Cordoba, Bukhara, Cairo, Konya, Istanbul, Algiers, Touba and others will be examined and a critical depiction of urban and architectural monuments, influential artistic schools, and notable artworks that were produced in and around each of these urban centers will be offered. Each session is a snapshot of a city at a specific period of time with a clear emphasis on the broader intellectual, economic, ecological and political contexts surrounding the production of art and architecture in the Muslim world. Turning away from a classical dynastic reading of Islamic arts, this course centers the role theological debates, Sufi mysticism, legal innovations, economic exchanges and migration of people, ideas and technologies played in the birth and developments of a Muslim aesthetic tradition

AHIS UN3101 The Public Monument in Antiquity. 4.00 points.

This seminar will focus on the invention of the public monument as a commemorative genre, and the related concepts of time, memory and history in the ancient Near East (west Asia), Egypt, and Greece. Public monuments will be studies in conjunction with ancient texts (in translation) as well as historical criticism, archaeological and art historical theories. The seminar considers ancient monuments in relation to, and in the context of, modern concepts of monuments, history and heritage and the debates surrounding them. The seminar also introduces these methodologies and debates to students

AHIS UN3322 Bruegel’s Comic World: Everyday Life in 16th-Century Netherlandish Art. 4.00 points.

We are told, in one of the earliest accounts of the life and work of the Netherlandish artist Pieter Bruegel the Elder (1525–1569), that his prints and paintings elicited laughter. From his visualizations of carnival celebrations and children's games to peasant weddings to riotous hellscapes, the comic Bruegel makes his viewers, both in the late sixteenth century and today, question whether any of it should be taken seriously. This advanced undergraduate seminar examines Bruegel's innovative comic practice and the social context of laughter and humor in the era of the Dutch Revolt, a time fraught with social, political, and religious strife. We will explore the reception of Bruegel's work in his time, in particular the possibilities of both entertainment and didacticism for viewers. Our studies of pictorial humor in Bruegel's oeuvre will include broader investigations of the secularization of the image in the Reformation context, iconoclasm, the vernacular artistic mode, print culture in early modern Europe, humanism, global expansion and trade, the relationship between pictorial and literary humor, and the functions of satire in visual art. A field trip to the Metropolitan Museum of Art will allow us to encounter Bruegel's images in person

AHIS UN3444 REFLEXIVITY IN ART ＆ FILM. 4.00 points.

This seminar will explore a range of individual works of Western art from the 16th century to late 20th century in which the tension between illusionism and reflexivity is foregrounded. It will focus on well-known paintings and films in which forms of realism and verisimilitude coexist with features that affirm the artificial or fictive nature of the work or which dramatize the material, social and ideological conditions of the work’s construction. Topics will include art by Durer, Holbein, Velazquez, Watteau, Courbet, Morisot, Vertov, Deren, Godard, Varda, Hitchcock and others. Readings will include texts by Auerbach, Gombrich, Brecht, Jameson, Barthes, Didi-Huberman, Bazin, Lukacs, Mulvey, and Daney

AHIS UN3454 Zines by Artists. 4.00 points.

Most often associated with the explosion of punk rock at the end of the 1970s, self-published booklets, fanzines, or simply ’zines actually arose first in the context of science fiction collectors in the 1930s. Beginning in the early 1970s (independently of, and before the advent of punk music), artists adopted and developed the format as a vehicle for visual expression, drawing from precedents in pop art, artists’ books, mimiographed literary magazines, historical avant-garde movements such as dada, and more contemporaneous developments in conceptual art and mail art. Overlooked in favor of artists’ books and artists’ magazines, on the one hand, and in favor of various types of music- or personal expression-based zines, on the other, the artist’s zine forms a rich and multifaceted genre spanning over five decades of practice. This course will examine the artist’s zine in the contexts of both art and music history, issues related to the expression and exploration of race, gender, and sexaulity, and the notions of networking and community building. Although distinct from the development of punk rock, artists’ zine practice has forged and maintains a close connection to it and to its evolution into Queercore, Riot Grrrl, and Afropunk, all of which are covered in the course readings

AHIS UN3461 Handicraft and Contemporary Art. 4.00 points.

This seminar examines the resurgence of craft within contemporary art and theory. In a time when much art is outsourced — or fabricated by large stables of assistants — what does it mean when artists return to traditional, and traditionally laborious, methods of handiwork such as knitting, jewelry making, or woodworking? Though our emphasis will be on recent art (including the Black feminist reclamation of quilts, an artist who makes pornographic embroidery, a cross-dressing ceramicist, queer fiber collectives, do-it-yourself Indigenous environmental interventions, and anti-capitalist craftivism), we will also examine important historical precedents. We will read formative theoretical texts regarding questions of process, materiality, skill, bodily effort, domestic labor, and alternative economies of production. Throughout, we will think through how craft is in dialogue with questions of race, nation-building, gendered work, and mass manufacturing. The seminar is centered around student-led discussion of our critical readings

AHIS UN3463 Pastel in 18th-Century Europe. 4.00 points.

This seminar focuses on the practice of pastel in eighteenth-century Europe. Known for its luminosity and fragility—two characteristics linked to its powdery essence—as well as for its practicality, pastel as an artistic medium reached an unprecedented popularity in the eighteenth century. While some painters used it on occasion (Jean-Siméon Chardin, Élisabeth Vigée Le Brun, John Singleton Copley, to name a few notable examples), others made it their medium of choice, including Rosalba Carriera, Jean-Étienne Liotard, and Maurice-Quentin de la Tour, three of the most sought-after artists of the period. This seminar will examine these dazzling works, many of them portraits but not exclusively, from different perspectives: technique, artists’ manuals, and trade in materials; makeup and the aesthetic discourse; vision and touch; color and the rendition of skin tones; the construction of artistic identity; art criticism; and the commission, collecting, and display of pastels. The seminar will include at least two museum trips, including one to the Frick Madison where the exhibition Nicolas Party and Rosalba Carriera is currently on view

AHIS UN3624 Narrative in Chinese Art. 4.00 points.

This course introduces pre-modern Chinese narrative arts, their visual storytelling techniques, and the interpretive questions they raise. What constitutes narrative art and what are its particularities in the East Asian context? How are certain narratives reproduced and translated, and understood in different geographic locales and time periods? We will study popular narratives from the 10th century to the early Qing dynasty, depicted in diverse mediums such as murals, handscrolls and hanging scrolls, ceramic pillows, painted fans, and printed books. The course will be organized thematically and address topics such the influence of Buddhist artistic and liturgical practices, representations of borderlands and the foreign, literati and popular culture, urban life, utopias, and depictions of labor, class, and gender. We will approach narrative from a variety of disciplines and perspectives, including social and cultural history, religious studies, environmental history, and gender studies

AHIS GU4721 Medieval Illumination in the Low Countries. 4.00 points.

The course 'Medieval Illumination in the Low Countries: Origins, Sources, Materials' aims to reflect on the place of illumination and the illuminated manuscript in the artistic profile and cultural, literary, political and religious life in the Low Countries and beyond. The development of illumination is closely linked to the cultural and economic situation of the Low Countries during more than eight centuries, but it is also deeply influenced by the intersection of contacts in European artistic, religious and intellectual contexts. The links between artistic networks in other media, the mobility of artists, models and materials are crucial to understanding the production of illuminated manuscripts and to framing them as fully representative of the dynamics of the cultural habitat of the Low Countries. The course will be illustrated with numerous examples and case studies of manuscripts in collections in Belgium and the Netherlands, as well as in collections in US and around the world. A special file rouge in the course will be devoted to recent research approaches in material culture and digital access of illuminated manuscripts. The course will be accompanied by PPP and a reading list to guide students ( scans and online resources will be provided). Courses will be held on campus, with several visits to the Manuscript and Rare Book Collection of the Butler Library and to the Manuscript Collections of the Morgan Library

AHIS GU4741 Art and Theory in a Global Context. 4.00 points.

What is “globalization”? How does it change the way we think about or show art today? What role does film and media play in it? How has critical theory itself assumed new forms in this configuration moving outside post-war Europe and America? How have these processes helped change with the very idea of ‘contemporary art’? What then might a transnational critical theory in art and in thinking look like today or in the 21st century? In this course we will examine this cluster of questions from a number of different angles, starting with new questions about borders, displacements, translations and minorities, and the ways they have cut across and figured in different regions, in Europe or America, as elsewhere. In the course of our investigations, we will look in particular at two areas in which these questions are being raised today -- in Asia and in Africa and its diasporas. The course is thus inter-disciplinary in nature and is open to students in different fields and areas where these issues are now being discussed

AHIS GU4745 Re/Building the American Dream. 4.00 points.

The term “American Dream” conjures images of white, middle-class or affluent families inhabiting single-family houses in the suburbs. But the population of the United States is – and always has been – characterized by considerable racial, ethnic, and gender diversity. Those varied populations have imagined, created, and altered domestic environments in ways that don’t fit the stereotypical vision of the “American Dream.” At the same time, the concepts of race, ethnicity, and gender themselves have shaped (for better and for worse) the buildings, landscapes, neighborhoods and cities in which US populations reside. From suburban ranch houses to Southwestern mission landscapes to urban public housing projects, domestic environments have been fundamentally shaped by racial, ethnic, and gendered ideologies that define who can live in what building, in which neighborhood, and in what domestic configurations. This course will explore how the concepts of race, gender, and ethnicity bear upon domestic spaces as well as how power relations embedded in designed environments have disparate impacts on people whether as individuals or in groups

AHIS GU4762 Art and Archaeology of Immigrants in Chinese History. 4.00 points.

This seminar examines the art and archaeology of immigrants and immigrant communities in pre-modern China. Since the beginning of China’s dynastic history around the first millennium BCE, people from surrounding regions and even further afield have consistently moved into the Chinese heartland. These groups include not only nomads from the Mongolian steppes and the Tibetan Plateau, but also merchants, missionaries, and Muslims arriving via the so-called “Silk Roads”—a network of land and sea routes connecting China to the rest of the Eurasian continent (India, Persia, Central Asia, etc.). In certain periods, descendants of the Chinese diaspora and refugees in frontier regions also played significant roles in Chinese history. This seminar focuses on the archaeological remains and artistic expressions of these immigrants, as well as their interactions with native Chinese art and culture. Topics covered range from painting, sculpture, and calligraphy to crafts and architecture