Introduction to the History of Architect

INTR HISTORY ARCHITECTURE

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.

• TR 2:40 p.m.-3:55 p.m.
• Instructor: Michael J Waters
  CULPA: 5 h-index: 3 Info
• 4 points

INTRO TO ARCHITECTURE-DISC

Required discussion section for AHIS UN1007

• W 12:10 p.m.-1 p.m.
• W 1:10 p.m.-2 p.m.
• W 2:10 p.m.-3 p.m.
• W 3:10 p.m.-4 p.m.
• R 10:10 a.m.-11 a.m.
• R 11:10 a.m.-noon
• Instructor: Yassin Oulad Daoud
  Info
• 0 points

TWENTIETH CENTURY ART

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.

• TR 4:10 p.m.-5:25 p.m.
• Instructor: Alexander Alberro
  CULPA: 12 h-index: 17 Info
• 4 points

TWENTIETH CENTURY ART-DISC

Required discussion section for UN2405 Twentieth Century Art.

• T 10:10 a.m.-11 a.m.
• T 1:10 p.m.-2 p.m.
• T 3:10 p.m.-4 p.m.
• W 9:10 a.m.-10 a.m.
• W 3:10 p.m.-4 p.m.
• W 4:10 p.m.-5 p.m.
• R 9:10 a.m.-10 a.m.
• R 1:10 p.m.-2 p.m.
• R 2:10 p.m.-3 p.m.
• R 3:10 p.m.-4 p.m.
• Instructor: Yuma Terada
  Info
• Instructor: Rhea C Stark
  Info
• Instructor: Yuma Terada
  Info
• Instructor: Rhea C Stark
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• Instructor: Yasmine Yakuppur
  Info
• 0 points

History Painting and Its Afterlives

History Painting & Afterl

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.

• TR 4:10 p.m.-5:25 p.m.
• Instructor: Jonathan K Crary
  CULPA: 11 Wikipedia Info
• 3 points

ARTS OF CHINA, JAPAN AND KOREA

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.

• TR 11:40 a.m.-12:55 p.m.
• MW 11:40 a.m.-12:55 p.m.
• Instructor: Yeongik Seo
  Info
• Instructor: Yi-Bang Li
  Info
• 3 points

Introduction to East Asian Art: China, J

Intro to East Asian Art

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.

• MW 2:40 p.m.-3:55 p.m.
• Instructor: Matthew P McKelway
  CULPA: 6 Info
• 4 points

Intro to East Asian Art Disc. Section

Intro East Asian Art Disc

Required discussion section for students enrolled in AHIS UN2622

• W 4:30 p.m.-5:20 p.m.
• W 5:30 p.m.-6:20 p.m.
• R 10:10 a.m.-11 a.m.
• R 11:10 a.m.-noon
• Instructor: Misaki Sanui
  Info
• 0 points

INTRO LIT/METHODS OF ART HIST

Required course for department majors. Not open to Barnard or Continuing Education students. Students must receive instructors permission. Introduction to different methodological approaches to the study of art and visual culture. Majors are encouraged to take the colloquium during their junior year.

• M 2:10 p.m.-4 p.m.
• R 2:10 p.m.-4 p.m.
• Instructor: Avinoam Shalem
  CULPA: 4 Wikipedia Info
• Instructor: Meredith Gamer
  CULPA: 1 Info
• 4 points

SENIOR THESIS

Prerequisites: the departments permission. Required for all thesis writers.

• M 2:10 p.m.-4 p.m.
• Instructor: Barry G Bergdoll
  CULPA: 1 Info
• 3 points

Medieval and Renaissance Venice

Medieval & Renaiss Venice

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.

• T 4:10 p.m.-6 p.m.
• 4 points

WOMEN PAINTERS IN EUROPE

• R 10:10 a.m.-noon
• Instructor: Michael Cole
  CULPA: 4 Wikipedia Info
• 4 points

NINETEENTH-CENTURY CRITICISM

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.

• M 4:10 p.m.-6 p.m.
• Instructor: Jonathan K Crary
  CULPA: 11 Wikipedia Info
• 4 points

AIDS Is Contemporary

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.

• T 2:10 p.m.-4 p.m.
• Instructor: Julia Bryan-Wilson
  Wikipedia Info
• 4 points

The Harlem Renaissance & Black Modernism

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.

• W 4:10 p.m.-6 p.m.
• Instructor: David Sledge
  Info
• 4 points

Architecture in Western Europe 1066-1399

Medieval Arch. 1066-1399

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.

• MW 11:40 a.m.-12:55 p.m.
• Instructor: Stefaan Van Liefferinge
  Info
• 3 points

Sacred Space in South Asia

“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.

• MW 10:10 a.m.-11:25 a.m.
• Instructor: Subhashini Kaligotla
  Info
• 3 points

The Roman Art of Engineering: Traditions

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.

• MW 4:10 p.m.-5:25 p.m.
• 3 points

Connecting Histories: Roman Conquests an

Roman Conquests & Coinage

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).

• F 2:10 p.m.-4 p.m.
• Instructor: Lucia Francesca Carbone
  CULPA: 1 Info
• 4 points

Picturing a New World: Illustrated Manus

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.

• M 12:10 p.m.-2 p.m.
• Instructor: Lisa Trever
  CULPA: 2 Info
• 4 points

FOUCAULT AND THE ARTS

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.

• W 4:10 p.m.-6 p.m.
• Instructor: John Rajchman
  Wikipedia Info
• 4 points

Architecture, Labor, Industry, and the (

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.

• T 12:10 p.m.-2 p.m.
• Instructor: Claire A Zimmerman
  Info
• 4 points

CRITICAL COLLOQUIUM

The structure of the colloquium combines reading and analysis of texts by major theorists and critics. Each week discussions focus on key terms and analytical lenses in the history of art and art criticism. The course is designed to allow for guest presentations on particular issues by critics and writers, just as it draws on the expertise and participation of Columbia faculty. The aim is to develop students critical thinking and for them to learn directly from leading practitioners writing about modern and contemporary art. In addition to department faculty, writers for Artforum, Grey Room, Parkett, Texte zur Kunst, and October, among other venues, regularly participate in the colloquium.

• R 12:10 p.m.-2 p.m.
• Instructor: Janet L Kraynak
  Info
• 4 points

MA METHODS: COLLOQUIUM

• R 12:10 p.m.-2 p.m.
• Instructor: Frederique Baumgartner
  CULPA: 3 Info
• 4 points

POSTWAR AMERICAN ART

With the advent of Abstract-Expressionism, Pop Art, and Minimalism, the center of the avant-garde shifted from Europe to New York; then, in what is sometimes identified as Marshall Plan Modernism, the New York school was exported to Pari, sponsored by the International Section of The Museum of Modern Art, and the USIS.

• W 2:10 p.m.-4 p.m.
• Instructor: Rosalind Krauss
  CULPA: 10 Wikipedia Info
• 3 points

The Painting of Early Mod. Life in Japan

Genre Painting in Japan

What is genre painting in Japan? This question is the basis for a lecture course intended as an in-depth investigation of paintings produced ca. 1525–1650 that offer ostensibly straightforward representations of urban life in unification-era Japan. “Genre paintings” (
fūzokuga
) would not be defined as a modern category until the late 19th century, but a corpus of works produced by a diverse group of painters during a 125-year span nevertheless coalesces in their shared interest in such universal human experiences as work, faith, and play, and stand distinct from other categories of painting, such as imagined Chinese-style landscape, religious icons, or works depicting literary themes.
Fūzokuga
were also valorized and were the subject of theorization and reproduction after their 17th century heyday, particularly in their generative role for images of the “floating world,” ukiyo-e. The lectures will be shaped around one or two major examples each week, and will be supplemented by viewings at the Metropolitan Museum of Art and other regional museums.

• T 4:10 p.m.-6 p.m.
• Instructor: Matthew P McKelway
  CULPA: 6 Info
• 3 points

PROSEM-INTRO-STUDY OF ART HIST

Required course for first-year PhD Students in the Art History Department.

• R 12:10 p.m.-2 p.m.
• Instructor: Branden W Joseph
  CULPA: 9 Wikipedia Info
• 4 points

Assyrian Art

The seminar will study Assyrian art and architecture of the ninth through the seventh centuries BC, with attention to the primary works of art and monuments, as well as Assyrian art practices, ancient concepts of aesthetics and image ontologies. In the first weeks of the seminar we will also study the history of the reception and collecting of Assyrian art and antiquities in nineteenth century Europe, and more generally, the relationship of European imperialism and the rise of modern scientific archaeology. The main focus of the seminar will be on the ancient works of art and architecture within their own historical context. A reading knowledge of German and French is expected. Permission of the instructor is required. Applications can be submitted to the Department of Art History.

• T 4:10 p.m.-6 p.m.
• Instructor: Zainab Bahrani
  CULPA: 11 Wikipedia Info
• 4 points

THE FRAGMENT

• W 2:10 p.m.-4 p.m.
• Instructor: Eleonora Pistis
  Info
• 4 points

From Grotesque to Caricature

“Can we wonder that we find it hard to decide whether the grotesques are meant as jokes or as monsters?” asked Ernst Gombrich of Leonardo’s drawings. The question underscores the polysemy of the term grotesque, which is now used to denote the many forms and representations of ridiculous ugliness, ranging from physical and physiognomic deformation to Mikhail Bakthin's aesthetic principle of the "corporeal and material low". In the Renaissance, the grotesque was still closely linked to its recent etymology, which referred to the fanciful, extravagant decorations that defied the laws of nature and were discovered in the “grottoes” of Nero's Domus Aurea towards the end of the fifteenth century. The seminar will explore the comic and creative principles of these different categories of the grotesque in the early modern period and investigate how they contributed to the official birth of caricature with the Carracci. Students will be responsible for the summary and introduction of the seminar’s weekly readings for discussion. They will have the opportunity to explore New York’s drawings and prints collections and to participate in the conception of a small ephemeral exhibition.

• R 4:10 p.m.-6 p.m.
• Instructor: Diane Bodart
  CULPA: 3 Info
• 4 points

Topics in Early Modern Sculpture

This seminar will examine some of the distinctive questions that emerge around sculpture as a medium in the period from ca. 1400-1700. Discussions will focus on the conception of individual objects, on relevant art theory from the period, and on major contributions to the modern literature. Although much of the course material will be Italian, participants are welcome to pursue research projects on any connected tradition.

• R 2:10 p.m.-4 p.m.
• Instructor: Michael Cole
  CULPA: 4 Wikipedia Info
• 4 points

The Museum as History: Modern to Decolon

This course analyzes the museum as a historical institution and its evolving role. Beginning with the founding of the “modern” (i.e. public) art museum in 17th and 18th century Europe, it traces the expansion of “encyclopedic” museum from Europe to North America, its Enlightenment roots and role in Empire building; the rise of progressive reform movements in early 20th century; the influence of modernist aesthetics, as well as political movements––from Black power to Indigenous self-determination––that led to the creation of alternative institutions. The rise of globalization and recent calls for decolonization are examined as challenges to museums of the Global North, and relations with Global South. Addressing the museum as discourse, issues such as nationalism, colonialism, restitution, cultural heritage, capitalism, and digitization will figure in readings and discussion.

Applications from Ph.D./M.A. students in Art history, including in the Consortium and related CU programs are encouraged; background in art history required.

• W 12:10 p.m.-2 p.m.
• Instructor: Janet L Kraynak
  Info
• 4 points

INTRO TO COMPARATIVE MEDIA

Comparative media is an emergent approach intended to draw upon and interrupt canonical ideas in film and media theory. It adopts a comparative approach to media as machines and aesthetic practices by examining contemporary media in relation to the introduction of earlier technologies. The class also extends our focus beyond the U.S. and Europe by examining other cultural locations of media innovation and appropriation. In doing so, it decenters normative assumptions about media and media theory while introducing students to a range of media practices past and present.

• M 12:10 p.m.-2 p.m.
• 4 points

Post-Columbian: Ancient Latin America in

In this graduate seminar we will examine the histories of modern and contemporary artists’ engagements with the forms, media, techniques, and imagery of “Pre-Columbian” or “Pre-Hispanic” (that is, ancient to early modern) indigenous art traditions of what is now Latin America. We will proceed roughly diachronically and by medium as we move from nineteenth-century re-imaginings of Inca, Aztec, and Maya pasts for nationalistic, imperialistic, and popular purposes, through modernist appropriations, later Chicano and Chicana movements, and to contemporary re-inventions of Pre-Columbian art as new forms of Latin American and Latinx expression, commentary, and critique. We will consider the ways artists have used forms of the past in a range of political, social, and aesthetic contexts, and ask what agency iconic forms of the past may have exerted, and continue to exert, on the present. Readings on modern episodes in this “Post-Columbian” history will be paired with scholarship on ancient art and visual culture, as we also entwine understandings of early artworks with later histories and with profiles of living artists.

• W 10:10 a.m.-noon
• Instructor: Lisa Trever
  CULPA: 2 Info
• 4 points

Cities of Knowledge: Orientalizing Manha

'Orientalizing' Manhattan

In this course, graduate students from different disciplines will explore the ‘Orient’ in Manhattan. The course involves the active search for and analysis of Manhattan's urban space to survey its ‘Oriental’ buildings, monuments, parks, public inscriptions, and even ephemeral, everyday spaces that carry the sense of the ‘Orient’ to the city. Cities are physical places, yet, they are also assemblages of different layers of time, and geographies. These layers are designed to create communal identities and evoke recollections of past memories. Focus will be put on the written history of these spaces by searching in archives (in the City of New York) and digging out written and oral information about the histories of the formation of these spaces and their interactions with their surroundings.

The course will cover many monuments, like the famous obelisk in Central Park or the lessknown Jordanian column in Flushing Meadows Park in Queens; public buildings like Central Synagogue on Lexington, the Islamic Cultural Center on Upper East Side Mosque, or Olana State Historic Site in Hudson, NY; but also, the inner decorations of restaurants, bars (the Carlyle Bar) and even oriental Halal shops, as well as ephemeral spaces like international fairs, and Cairene grill boots.

Traditionally, Islamic art and Islamic architecture have been studied separately within art history and architecture history disciplines. The purpose of this course is, in the first place, to bridge the gap between the two disciplines while working across theories of visual culture and critically revisiting urban studies. A further aspect evolves the discourse about architectural ornament as part of the entire approach to ornament as an ‘Oriental’ trope. Thus, canonical discussions about Orientalism will form part of the course’s readings and will contribute to understanding how the architectural ornament of Manhattan forms identities. The course will introduce and discuss theoretical issues concerning urban architecture and ‘Orientalism’ and the making of the image of ‘Others’ in NYC public spaces. It will also provide a historical survey of these spaces and aim to create a novel comprehensive map for ‘Orientalized’ New York.

• T 2:10 p.m.-4 p.m.
• 4 points

Early Indian Afterlives

This seminar combines close looking and reading with writing imaginatively. With the help of an array of textual and visual material we explore how early South Asians thought about death, dying, and the afterlife. Students will be encouraged to react to these primary sources in order to develop their writing muscles and incorporate a range of ekphrastic stances into their writing. You have the option to write weekly creative texts for which prompts will be given or produce a critical reading response. Final projects can be either a research paper or a longer creative work such as a literary essay, poem sequence, short story, film, or mixed media project. Topics of discussion include the moment of death and the kinds of death valorized by various social groups, rituals of mourning and remembrance, the iconography of death, conceptions of afterworlds and their inhabitants, the afterlives of objects and persons, and such Indic concepts as rebirth, karma, samadhi, and nirvana. We will read literary, political, religious, and art-historical texts, and consider Buddhist, Hindu, and Jaina perspectives as well as contemporary prose and poetry. Visual examples run the gamut: memorial buildings, relics and reliquaries, prints capturing the rewards and punishments of the afterlife, mandalas and cosmological maps, and the striking portrayals of the god of death and ghosts and ghouls on temple walls, paintings, and textiles.

• T 10:10 a.m.-noon
• Instructor: Subhashini Kaligotla
  Info
• 4 points

M.A. THESIS

• Instructor: Alexander Alberro
  CULPA: 12 h-index: 17 Info
• Instructor: Zainab Bahrani
  CULPA: 11 Wikipedia Info
• Instructor: Frederique Baumgartner
  CULPA: 3 Info
• Instructor: Barry G Bergdoll
  CULPA: 1 Info
• Instructor: Diane Bodart
  CULPA: 3 Info
• Instructor: Julia Bryan-Wilson
  Wikipedia Info
• Instructor: Gregory Bryda
  CULPA: 7 h-index: 1 Info
• Instructor: Zeynep Celik Alexander
  Info
• Instructor: Michael Cole
  CULPA: 4 Wikipedia Info
• Instructor: Jonathan K Crary
  CULPA: 11 Wikipedia Info
• Instructor: Francesco de Angelis
  CULPA: 10 Info
• Instructor: Dawn H Delbanco
  CULPA: 12 Info
• Instructor: Rosalyn Deutsche
  CULPA: 11 Info
• Instructor: Noam M Elcott
  CULPA: 6 h-index: 7 Info
• Instructor: Meredith Gamer
  CULPA: 1 Info
• Instructor: Anne Higonnet
  CULPA: 31 Wikipedia Info
• Instructor: Elizabeth Hutchinson
  CULPA: 9 Info
• Instructor: Kellie Jones
  CULPA: 3 Wikipedia Info
• Instructor: Branden W Joseph
  CULPA: 9 Wikipedia Info
• Instructor: Subhashini Kaligotla
  Info
• Instructor: Holger A Klein
  CULPA: 13 Info
• Instructor: Rosalind Krauss
  CULPA: 10 Wikipedia Info
• Instructor: Janet L Kraynak
  Info
• Instructor: Matthew P McKelway
  CULPA: 6 Info
• Instructor: Ioannis Mylonopoulos
  CULPA: 13 Info
• Instructor: Eleonora Pistis
  Info
• Instructor: John Rajchman
  Wikipedia Info
• Instructor: Jonathan Reynolds
  CULPA: 10 Info
• Instructor: Avinoam Shalem
  CULPA: 4 Wikipedia Info
• Instructor: Zoe S Strother
  CULPA: 10 Wikipedia Info
• Instructor: Lisa Trever
  CULPA: 2 Info
• Instructor: Michael J Waters
  CULPA: 5 h-index: 3 Info
• Instructor: Jin Xu
  Info
• 4 points

RESEARCH FOR ADVANCED STUDENTS

• Instructor: Alexander Alberro
  CULPA: 12 h-index: 17 Info
• Instructor: Zainab Bahrani
  CULPA: 11 Wikipedia Info
• Instructor: Barry G Bergdoll
  CULPA: 1 Info
• Instructor: Diane Bodart
  CULPA: 3 Info
• Instructor: Julia Bryan-Wilson
  Wikipedia Info
• Instructor: Gregory Bryda
  CULPA: 7 h-index: 1 Info
• Instructor: Zeynep Celik Alexander
  Info
• Instructor: Michael Cole
  CULPA: 4 Wikipedia Info
• Instructor: Jonathan K Crary
  CULPA: 11 Wikipedia Info
• Instructor: Francesco de Angelis
  CULPA: 10 Info
• Instructor: Rosalyn Deutsche
  CULPA: 11 Info
• Instructor: Noam M Elcott
  CULPA: 6 h-index: 7 Info
• 3 points