INTRODUCTION TO ART HISTORY II
The second part of the Introduction to Art History goes from about 1400 to 2015, circles the world, and includes all media. It is organized around one theme for each lecture, and approximately 100 works of art. Visits to New York museums and discussions sections are crucial parts of the course.
- MW 2:40 p.m.-3:55 p.m.
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Instructor:
Dorota Biczel
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.
- R 2:10 p.m.-6 p.m.
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Instructor:
Jozefina Chetko
Info - 3 points
PAINTING II
A continuation of painting I - III, open to all skill levels. Students will further develop techniques to communicate individual and collective ideas in painting. This course will focus on individual and collaborative projects designed to explore the fundamental principles of image making. Students acquire a working knowledge of traditional studio skills and related concepts in contemporary art through class critiques, discussion, and individual meetings with the professor. Reading materials will provide historical and philosophical background to the class assignments. Class projects will range from traditional to experimental and multi-media. Image collections will be discussed in class with an awareness of contemporary image production.
- W 2:10 p.m.-6 p.m.
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Instructor:
Joan Snitzer
CULPA: 4 Info - 3 points
PAINTING IV
A continuation of painting I - III, open to all skill levels. Students will further develop techniques to communicate individual and collective ideas in painting. This course will focus on individual and collaborative projects designed to explore the fundamental principles of image making. Students acquire a working knowledge of traditional studio skills and related concepts in contemporary art through class critiques, discussion, and individual meetings with the professor. Reading materials will provide historical and philosophical background to the class assignments. Class projects will range from traditional to experimental and multi-media. Image collections will be discussed in class with an awareness of contemporary image production.
- W 2:10 p.m.-6 p.m.
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Instructor:
Joan Snitzer
CULPA: 4 Info - 3 points
SYNTHESIS: MIXED MEDIA STUDIO
- T 2:10 p.m.-6 p.m.
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Instructor:
Jozefina Chetko
Info - 3 points
APOCALYPSE
This lecture course explores how art and architecture responded to changing attitudes toward death, the afterlife, and the end of the world over the course of the European Middle Ages, from early Christian Rome to the dawn of the Protestant Reformation in Germany. Medieval illustrations of the Book of Revelation in New York collections will play a central role in discussions of plague, rapture, and “eschatology”—or concerns over the fate of the soul at the end of time. We will analyze the visual culture associated with ordinary people preparing for their own death and the deaths of loved ones, saints and Biblical figures whose triumph in death served as exemplars for the living, and institutional and individual anxieties over humankind’s destiny on Judgment Day. Artworks under consideration will encompass various media and contexts, including monumental architecture and architectural relief sculpture, tomb sculpture, wall painting, manuscript painting, reliquaries, and altarpieces. The course satisfies the major requirement's historical period of 400-1400. Note course requires 1 hour weekly TA discussion sections to be arranged.
- MW 4:10 p.m.-5:25 p.m.
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Instructor:
Gregory Bryda
CULPA: 7
h-index: 1
Info
- 4 points
SUPERVISED PROJ PHOTOGRAPHY
SUPERVISED PHOTO PROJECTS
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 4:10 p.m.-6 p.m.
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Instructor:
John Miller
CULPA: 2 Info - 4 points
IMAGERY AND FORM IN THE ARTS
Operation of imagery and form in dance, music, theater, visual arts and writing; students are expected to do original work in one of these arts. Concepts in contemporary art will be explored.
- M 4 p.m.-5 p.m.
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Instructor:
Jozefina Chetko
Info - 4 points
ADVANCED SENIOR STUDIO II
Advanced Senior Studio II is a critique class that serves as a forum for senior Visual Arts majors to develop and complete one-semester studio theses. The priorities are producing a coherent body of studio work and understanding this work in terms of critical discourse. The class will comprise group critiques and small group meetings with the instructor. Field trips and visiting artist lectures will augment our critiques. Please visit:
https://arthistory.barnard.edu/senior-thesis-project-art-history-and-visual-arts-majors
- T 2:10 p.m.-6 p.m.
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Instructor:
John Miller
CULPA: 2 Info - 4 points
INTRO HISTORY OF PHOTOGRAPHY
This course will survey selected social, cultural and aesthetic or technical developments in the history of photography, from the emergence of the medium in the 1820s and 30s through to the present day. Rather than attempt comprehensively to review every aspect of photography and its legacies in the nineteenth, twentieth and twenty-first centuries, the course will instead trace significant developments through a series of case studies. Some of the latter will focus on individuals, genres or movements, and others on various discourses of the photographic image. Particular attention will be placed on methodological and theoretical concerns pertaining to the medium.
- TR 2:40 p.m.-3:55 p.m.
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Instructor:
Alexander Alberro
CULPA: 12
h-index: 17
Info
- 4 points
Memory and Democracy in Latin American A
Latin American Art
This course examines the roles of various forms of artistic production in the ongoing struggles over historical memory and constitution (or reconstitution) of democracy in Latin America in the wake of brutal dictatorships and internal conflicts of the last 60 years, as well as the most recent authoritarian turns in the region. Through a country-based selections of case studies—from Mexico, through Brazil, Argentina, and Chile, to Peru and Colombia—we will examine practices that range from grassroots “artivism” and public-site interventions, through sanctioned and unsanctioned memorials and monuments, to official memory museums and “places of reconciliation.” We will consider how different artistic practices engage and mobilize different modes of memory—collective, official, public, counter, and living—and to what ends, and why. We will also think about
longue dureé
(that is, “long duration” as per the French historian Fernand Braudel) effects of the Spanish conquest, European colonialism, and elite nation-state formation, and their impacts on the contemporary battles over human rights, social justice, belonging, and citizenship. In addition to readings, class materials will include film, both documentary and fictional, providing an expanded insight into how different cultural forms shape and intervene into memory and history formation, and how those, in turn, constitute the imaginary and limits of “democracy.”
- W 2:10 p.m.-4 p.m.
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Instructor:
Dorota Biczel
Info - 4 points
Signals: Networks, Publics, and Performa
This visual arts seminar explores the pirating, transformation, and circulation of media from the 1960s to the present. It examines the ways that media artists question public participation, democratic commitment, and collective memory. During the 1960s in the United States and abroad, the promise of networked communication prompted a consideration of global connectivity that brought artists and artworks outside of the gallery into the public sphere. Artist, often activists, explored the dissemination of information, and they commandeered messaging. Many of these artists positioned their output against mainstream media, while other artists seized existing media streams with the aim, optimistically, to alter them. Case studies include Stan VanDerBeek, Dara Birnbaum, Black Audio Collective, Tiffany Sia, Sondra Perry, and CAMP. This course brings together seminar discussions, the practice of making, and the hosting of practitioners; it is designed to offer students an introduction to various aspects of media as it is crafted and curated within and without museum environments.
- R 12:10 p.m.-2 p.m.
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Instructor:
Janina P Marshall
Info - 4 points
Photo as Material: A Studio Lab in Inter
Contemporary practitioners of photography often treat photos as not just images to look at but materials to manipulate. They create objects that echo the basic elements of the medium—light and lens—and use altered or expired photo paper. They assemble physical albums, fictional archives, and sculptural installations. They play with the circulation of images online, or share virtual experiences of spaces via printed images.
In this course, we will look projects from recent decades that examine and expand the parameters of photography, including works by Liz Deschenes, David Horvitz, Zoe Leonard, Allison Rossiter, Stephanie Syjuco, and Wolfgang Tillmans. Via writing exercises, material experiments, and generative prompts, students will create their own research-informed projects that push photography beyond the screen or frame and into the material world.
- M 10:10 a.m.-2 p.m.
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Instructor:
Mira Dayal
Info - 3 points
British Portraits: Identity, Empire, and
Brit Portraits Id Empire
This course explores the making, cultural significance, and display of British portraiture from the end of the seventeenth to the early nineteenth century. It explores how portraits engaged with questions of class, race, gender, and empire during an era of rapid historical and cultural transformation, as well as the subsequent collecting and exhibition of British portraits within the post-colonial context of American museums. Taught through a combination of seminar discussions and excursions to New York museums, this course is also designed to give students an introduction to various aspects of curatorial practice and to professional writing within a museum setting.
- M 10:10 a.m.-noon
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Instructor:
Adam S Eaker
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
JAPANESE PHOTOGRAPHY
This course will examine the history of Japanese photography from the middle of the 19th century to the present. The class will be organized both chronologically and thematically. Throughout its history, photography has been an especially powerful medium for addressing the most challenging issues facing Japanese society. Among the topics under discussion will be: tourist photography and the representation of women within that genre in the late 19th century, the politics of propaganda photography, the construction of Japanese cultural identity through the representation of “tradition” in photography, and the interest in marginalized urban subcultures in the photography of the 1960s and 1970s. Although the course will be focused on Japan, the class will read from the literature on photography elsewhere in order to situate Japanese work within a broader context.
- R 10:10 a.m.-noon
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Instructor:
Jonathan Reynolds
CULPA: 10
Info
- 4 points
NATIVE AMERICAN ART
This course looks closely at objects and images produced by Native North Americans across history. Grounding our study in essays and guest lectures from Native scholars, we will investigate the significance of the works and how and to whom meaning is communicated. Beginning with an introduction that links aesthetics and worldview using the conventional organizing principle of the culture area, we quickly move on to case studies that take up key issues that persist for Native people living under settler colonialism today, including questions of sovereignty, self-expression, transformation and representation. Along the way, we will also tackle historiographic questions about how knowledge about Native art has been produced in universities and museums and how Indigenous people have worked to counter those discourses.
- TR 4:10 p.m.-5:25 p.m.
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Instructor:
Elizabeth Hutchinson
CULPA: 9 Info - 3 points