(Offered as ARHA 154, ARCH 154, and ASLC 154) This introductory course surveys the architecture, painting, sculpture, textiles, and other arts of South Asia—including India, Afghanistan, Bangladesh, Nepal, Pakistan, Afghanistan, and Sri Lanka—from 2300 B.C. to the present.

(Offered as ARHA 148 and ASLC 148) A survey of the history of Japanese art from neolithic times to the present. Topics will include Buddhist art and its ritual context, the aristocratic arts of the Heian court, monochromatic ink painting and the arts related to the Zen sect, the prints and paintings of the Floating World and contemporary artists and designers such as Ando Tadao and Miyake Issey. The class will focus on the ways Japan adopts and adapts foreign cultural traditions. There will be field trips to look at works in museums and private collections in the region.

(Offered as ARHA 141 and ARCH 141) What is architecture? From the built to the unbuilt to the imaginary, this course is an examination of different forms of architectural expression. Throughout history, buildings have directed human activity, shaping social interactions, symbolizing political power, and influencing multiple kinds of artistic expression. Yet, as we will explore, the word “architecture” implies more than structures and the built environment.

In this introductory course we will explore over four hundred years of British art and design. Global interest in British art and design endures, as seen in the phenomena of period dramas like Bridgerton and the spread of Arts & Crafts patterns for interior decor. But what were the historical contexts that gave rise to these styles, and how do we understand, or perhaps misunderstand, these histories in the present?

(Offered as ARHA 135, ARCH 135, and EUST 135) This course, a gateway class for the study of art history, introduces the ways that artists and architects imaginatively invented visual language to interpret the world for contemporary patrons, viewers, and citizens in early modern Europe. Painters, printmakers, sculptors and architects in Italy, France, Spain, Germany and the Netherlands created new ways of seeing empirical phenomena and interpreting them, by means of both ancient and new principles of art, science and philosophy and through powerful engagement with the senses.

(Offered as ARHA 135, ARCH 135, and EUST 135) This course, a gateway class for the study of art history, introduces the ways that artists and architects imaginatively invented visual language to interpret the world for contemporary patrons, viewers, and citizens in early modern Europe. Painters, printmakers, sculptors and architects in Italy, France, Spain, Germany and the Netherlands created new ways of seeing empirical phenomena and interpreting them, by means of both ancient and new principles of art, science and philosophy and through powerful engagement with the senses.

(Offered as ARHA 135, ARCH 135, and EUST 135) This course, a gateway class for the study of art history, introduces the ways that artists and architects imaginatively invented visual language to interpret the world for contemporary patrons, viewers, and citizens in early modern Europe. Painters, printmakers, sculptors and architects in Italy, France, Spain, Germany and the Netherlands created new ways of seeing empirical phenomena and interpreting them, by means of both ancient and new principles of art, science and philosophy and through powerful engagement with the senses.

This introductory studio course explores artistic expression with the camera through the creation, editing, and printing of digital photographs. Students will develop a digital workflow—covering manual digital camera operation, post-production with Adobe software, and inkjet printing—while developing a personal visual syntax and body of work. The course is structured by technical demonstrations, critical discussions of artworks, films, and texts, as well as regular critiques of student work.

This course proposes an art history of weather from the vantage point of our climate crisis. Weather is omnipresent, uncontrollable, and ever-changing, qualities that make it difficult to represent. Yet diverse observers have long attempted to picture weather, from painters creating aesthetic effects, to meteorologists seeking accurate forecasts, to activists pursuing political change. In this course, we will consider how and to what ends weather has been given visual form.

(Offered as ARHA 117 and FAMS 222) This introductory course is designed for students with no prior experience in video production. The aim is both technical and creative. We will begin with the literal foundation of the moving image—the frame—before moving through shot and scene construction, lighting, sound-image concepts, and final edit. In addition to instruction in production equipment and facilities, the course will also explore cinematic form and structure through weekly readings, screenings and discussion.