Independent reading course. A full course.

Fall and spring semesters. The Department.

(Offered as ARHA 328) This course is a continuing investigation of the skills and questions introduced in ARHA 218. An emphasis will be placed on defining, locating and pursuing independent work; this will be accomplished through a series of weekly demonstrations, assignments and a final independent project. Student work will be discussed and evaluated in group and individual critiques.

Under what conditions can we make our best work? What does our best work look like and how is that assessment made? And how can we access our best selves to do so?  This course interrogates the dynamics of the visual arts studio: the opportunities, conditions, and pressures that shape our behavior there. By creating a supportive community via online conferencing with both synchronous and asynchronous elements, and photographic sharing of projects/assignments — perhaps a new kind of studio? — we encourage risk and reach towards a studio practice that is yet unknown to us.

(Offered as ARHA 284, EUST 284, and SWAG 206)  This introductory discussion-based course will examine how prevailing ideas about women and gender shaped visual imagery in Europe from the Renaissance to the Enlightenment, and how these images, in turn, presented surprisingly varied pictures of women and their domains. Artists vividly expressed the paradoxical power that women possessed even more than language could.

This course explores art produced since 1920 in Latin America. From the state-sponsored murals of post-revolutionary Mexico to the "Constructive Universalism” of Joaquín Torres-García in Uruguay, how did artists align themselves with and distinguish themselves from movements and ideas circulating in Europe and the United States? When and why did U.S. institutions such as the Museum of Modern Art begin to collect, exhibit, and theorize art from Latin America?

Woodcut is a dynamic form of printmaking. It has been instrumental in communication since the invention of paper in 105 C.E. and is a relief technique with a broad array of possibilities. Students will learn various methods to cut and print wood blocks, and assignments will include multiple block printing, hand-colored prints, collage, and cut paper. All prints will be handprinted using spoons, barens and the palm the hand. Assignments will be critiqued regularly, and critical analysis of prints' conceptual and technical concerns will be discussed.

(Offered as ARHA 241, ARCH 241, and EUST 241)  Michelangelo, a defining genius of the Italian Renaissance, emerged from a rich cultural environment that forever changed how we think of art. Artists of the Renaissance developed an original visual language from the legacy of the ancient world, while also examining nature, their environment, and encounters with other worlds to the East and West. Their art revealed a profound engagement with philosophical attitudes toward the body and the spirit, as well as with ideals of pious devotion and civic virtue.

(Offered as ARHA 240, ARCH 240 and SWAG 240) This course begins with an examination of gendered, architectural spaces and how and why they were structured for women in the 19th century in both Britain and America. Looking at primary and secondary sources, students will gain insight into societal norms and how they conditioned architecture generally associated with women, such as houses, asylums, and early women’s colleges.

(Offered as ARHA 235 and FAMS 410)  This Integrated Practices course blends production components and theories regarding the interview, oral histories, direct address and on camera dialogues, in non-fiction video production, in order to explore and respond to the ways in which social issues such as racism, economic inequality, homophobia, transphobia, sexism, bullying, hate speech and hate crimes, disability, incarceration, to name a few, affect us.

(Offered as ARHA 221 and FAMS 221) For January 2021.  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 regular online screenings, the class will consist of daily Zoom sessions led by the professor, including lectures on filmmaking techniques, film discussions, and critiques of footage and various cuts.