INTRODUCTION TO ART HISTORY I
The first half of the Introduction to Art History explores premodern art and architecture around the world, from cave paintings to Song dynasty landscapes and Renaissance sculpture. Lectures and discussion sections are organized around themes, including nature and naturalism, death and the afterlife, ornament and abstraction, gender and sexuality, colonialism and conversion, and ritual and divinity. Visits to museums across New York are also an integral component to the course.
- MW 2:40 p.m.-3:55 p.m.
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Instructor:
Gregory Bryda
CULPA: 7
h-index: 1
Info
- 4 points
DRAWING STUDIO
This course will explore drawing as an open-ended way of working and thinking that serves as a foundation for all other forms of visual art. The class is primarily a workshop, augmented by slides lectures and videos, homework assignments and field trips. Throughout the semester, students will discuss their work individually with the instructor and as a group. Starting with figure drawing and moving on to process work and mapping and diagrams, we will investigate drawing as a practice involving diverse forms of visual culture.
- W 2:10 p.m.-6 p.m.
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Instructor:
Annabel M Daou
Info - 3 points
Contemporary Latin American Art
Contemp Latin American Ar
Focusing on South America, this course examines contemporary art produced in the region known as Latin America and its diasporas, roughly since mid-1940s to the present. The first half of the class attends to two tendencies of the 1940s–1970s, abstraction and conceptualism, lionized through a slew of acclaimed group and solo exhibitions organized across the hemisphere in the last twenty years. We will analyze these two tendencies in the distinct social, political, and economic contexts of their emergence in various “centers” of the continent paying special attention to the ideologies of modernization, progress, and economic development; political upheavals including violent dictatorships and other crises; artists’ relationship to Western European and U.S. cultural centers, and transnational circulation networks; and the role of art institutions. To this end, we will pay special attention to how these trends have been historicized to date, and to what ends. The second half of the class will examine practices since the mid-1970s to the present in a comparative perspective: one, through the lens of identity politics and, two, analyzing the dynamics of the increased global dissemination of works from Latin America and by Latin-American descendants. Several visits to art institutions in NYC will be required as a part of the course.
- TR 4:10 p.m.-5:25 p.m.
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Instructor:
Dorota Biczel
Info - 3 points
SUPERVISED PROJ PHOTOGRAPHY
In this course, you will conduct independent projects in photography in a structured setting under faculty supervision. You are responsible for arranging for your photographic equipment in consultation with the instructor.
This course will afford you a framework in which to intensively develop a coherent body of photographs, critique this work with your classmates, and correlate your goals with recent issues in contemporary photography.
Students are required to enroll in an additional fifteen contact hours of instruction at the International Center for Photography. Courses range from one-day workshops to full-semester courses.
Permission of instructor only. The class will be limited to 20 students.
- M 11 a.m.-12:50 p.m.
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Instructor:
John Miller
CULPA: 2 Info - 3 points
INDEPENDENT STUDY
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Instructor:
Joan Snitzer
CULPA: 4 Info -
Instructor:
Elizabeth Hutchinson
CULPA: 9 Info -
Instructor:
Gregory Bryda
CULPA: 7
h-index: 1
Info
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Instructor:
John Miller
CULPA: 2 Info - 1-4 points
ADVANCED SENIOR STUDIO I
Prerequisites: Enrollment limited to 15 students. Permission of the instructor. An interpretive study of the theoretical and critical issues in visual art. Projects that are modeled after major movements in contemporary art will be executed in the studio. Each student develops an original body of artwork and participates in group discussions of the assigned readings. For further info visit:
https://arthistory.barnard.edu/senior-thesis-project-art-history-and-visual-arts-majors
- M 2:10 p.m.-6 p.m.
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Instructor:
Irena Haiduk
Info - 4 points
CLOTHING
Human beings create second, social, skins for themselves. Across history and around the world, everyone designs interfaces between their bodies and the world around them. From pre-historic ornaments to global industry, clothing has been a crucial feature of people’s survival, desires, and identity. This course studies theories of clothing from the perspectives of art history, anthropology, psychology, economics, sociology, design, and sustainability. Issues to be studied include gender roles, craft traditions, global textile trade, royal sumptuary law, the history of European fashion, dissident or disruptive styles, blockbuster museum costume exhibitions, and the environmental consequences of what we wear today. Required 1 hour a week TA led section to be arranged.
- TR 2:40 p.m.-3:55 p.m.
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Instructor:
Anne Higonnet
CULPA: 31 Wikipedia Info - 4 points
Medieval Science, Craft and Art
Medieval Science, Craft &
This undergraduate seminar investigates the history of science through the study of artworks and monuments and the materials and techniques of their manufacture. Because the course’s method hinges on the marriage of theory and practice, in addition to discussions in the seminar room, several sessions will take the form of workshops with artisans and conservators (e.g. stonemasons, illuminators, gardeners), or “laboratory meetings” where students will conduct their own hands-on experiments with materials as part of Professor Pamela Smith’s
Making and Knowing
Project. Topics to be explored include but are not limited to: metallurgy and cosmogeny, paint pigments and pharmacology, microarchitecture and agriculture, masonry and geology, manuscripts and husbandry, and gynecology and Mariology.
- W 10:10 a.m.-noon
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Instructor:
Gregory Bryda
CULPA: 7
h-index: 1
Info
- 4 points
Gender & Sexuality Contemp Art of Americ
sex gen contempt art amer
This seminar examines the changing conceptualizations and theorizations of gender and sex in the contemporary artistic practices of the Americas. Crucial to the constitution of both individual and collective identity, for contemporary artists gender and sexuality have become primary sites to rethink and reinvent the paradigms of self-expression, creativity, and artmaking, and to challenge and contest the (social) body politics at large. We will explore these practices through the prism of the evolution of the notions of gender and sex in a broad range of disciplines during the key historical moments such as the emergence of second-wave feminism and gay rights’ movement, critique of “mainstream” feminism by the feminists of color, AIDS crisis, and rise of postmodernist and queer theories, among others. We will pay special attention to the intersections of gender and sexuality with race and class, particularly germane in context of the ideologies of progress and development, and the shifts in capitalism during the last fifty years. Finally, we will probe how the notions of gender and sex have been deployed to reconsider and problematize the established art historical canons.
Weekly reading responses and leading class discussion on the readings will guide you in crafting a research paper proposal and its development (in consultation with the instructor). Artists participating in the seminar are invited to contextualize their own practice through a similar project and an accompanying research-based statement.
- W 2:10 p.m.-4 p.m.
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Instructor:
Dorota Biczel
Info - 4 points
Cinematic Migrations
Desire for cinema perhaps existed before its creation. The variety of ways this longing has been addressed in the past and present open ongoing possibilities to explore, and form the basis of inquiry in this seminar/production workshop. With the desire and dreams of potential also came words, statements, essays, radical aspirations, and manifestos. Via a combination of immersive viewing and analysis, readings, and encounters with time-based works, including the seminar participants’ productions,
Cinematic Migrations
will investigate declarations and questions, for example: “An invention without a Future,” and “What became of 21st century cinema?”
The course explores migrations of cinematic ideas, contexts, formats, and histories in relation to varied contexts through a multifaceted look at cinema's transmutations, its emergence on local and national levels, as well as global migrations. The course also examines the transformation caused by online video, television, spatial installations, performances, dance, and many formats and portable devices, as well as the theory and context of film's categorization, dissemination, and analysis. Presentations, screenings, readings, guests, and experimental transdisciplinary projects broaden the perception of present cinema. As this course engages what can be made and what has been made, the study of the essay film, as an incredibly porous and agile form, will recur as a node to consider regarding forms of thinking and production. Screenings may be subject to change to accommodate the material and the modules. The studio seminar will encompass screenings and discussions.
- R 12:10 p.m.-4 p.m.
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Instructor:
Ren E Green
Info - 4 points
BUOYANCY
“Be like a duck. Calm on the surface, but always paddling like the dickens underneath.”,Michael Caine , We do not live our own desires. Pressing ourselves into heavy molds not made for our bodies compresses us, tears our skin, and bruises our features. It is hard to breathe. We sink. Weight harbors the downward pull. It attaches itself in many ways but there are countless ways to set it down, to be free. This takes practice and skill. The common task of this visual arts seminar is to distinguish ourselves from the weight we carry. Through a variety or reading, writing, and making activities we shall seek out and contact levity: that gravity that changes our bodies, make us light of touch, aerates and propels us toward the state of buoyancy. Not for the faint of heart.
- T 2:10 p.m.-5 p.m.
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Instructor:
Irena Haiduk
Info - 4 points
SENIOR RESEARCH SEMINAR
Prerequisites: Course open to Barnard Art History majors only. Independent research for the senior thesis. Students develop and write their senior thesis in consultation with an individual faculty adviser in art history and participate in group meetings scheduled throughout the senior year.
- T 6:10 p.m.-8 p.m.
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Instructor:
Rosalyn Deutsche
CULPA: 11
Info
- 3 points
ART CRITICISM
This course is a seminar on contemporary art criticism written by artists in the post war period. Such criticism differs from academic criticism because it construes art production less as a discrete object of study than as a point of engagement. It also differs from journalistic criticism because it is less obliged to report art market activity and more concerned with polemics. Art /Criticism I will trace the course of these developments by examining the art and writing of one artist each week. These will include Brian ODoherty/Patrick Ireland, Allan Kaprow, Robert Morris, Yvonne Rainer, Robert Smithson, Art - Language, Dan Graham, Adrian Piper, Mary Kelly, Martha Rosler, Judith Barry and Andrea Fraser. We will consider theoretical and practical implications of each artists oeuvre.
- T 11 a.m.-12:50 p.m.
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Instructor:
John Miller
CULPA: 2 Info - 4 points
METHODS & THEORIES OF ART HIST
Prerequisites: Barnard Art History Major Requirement. Enrollment limited only to Barnard Art History majors. Introduction to critical writings that have shaped histories of art, including texts on iconography and iconology, the psychology of perception, psychoanalysis, social history, feminism and gender studies, structuralism, semiotics, and post-structuralism.
- T 2:10 p.m.-4 p.m.
- W 2:10 p.m.-4 p.m.
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Instructor:
Jonathan Reynolds
CULPA: 10
Info
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Instructor:
Elizabeth Hutchinson
CULPA: 9 Info - 4 points
CURATORIAL POSTNS 1969-PRES
Contemporary exhibitions studied through a selection of great shows from roughly 1969 to the present that defined a generation. This course will not offer practical training in curating; rather it will concentrate on the historical context of exhibitions, the theoretical basis for their argument, the criteria for the choice in artists and their work, and exhibitions internal/external reception.
- R 10:10 a.m.-noon
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Instructor:
Valerie Smith
Info - 4 points