(Offered as ARHA 445 and FAMS 445.) This advanced production course surveys the outer limits of cinematic expression and provides an overview of creative 16mm film production. We will begin by making cameraless projects through drawing, painting and scratching directly onto the film strip before further exploring the fundamentals of 16mm technology, including camera, editing and hand-processing. While remaining aware of our creative choices, we will invite chance into our process and risk failure, as every experiment inevitably must.

(Offered as ARHA 361 and ASLC 361.)  A study of the major artistic traditions of the Korean peninsula and the cultural context that shaped them. Starting with the prehistoric period and continuing to the beginning of the twenty-first century, this seminar will focus in particular on the Buddhist architecture and sculpture of the Three Kingdoms and Unified Silla periods, Goguryeo celadons and Joseon Dynasty painting. It will conclude with an examination of Korean art during the Japanese colonial period and developments in contemporary art during the past three decades.

(Offered as BLST 315 [A] and ARHA 353.) Through a contrastive analysis of the religious and artistic modes of expression in three West African societies--the Asanti of the Guinea Coast, and the Yoruba and Igbo peoples of Nigeria--the course will explore the nature and logic of symbols in an African cultural context.

(Offered as ARHA 343 and FAMS 343) From the found-footage experiments of the avant-garde to the digital remixes of the networked age, artists have used pre-existing material to question the ideologies of dominant media, explore technological possibilities and play situationist pranks. With the advent of file-sharing platforms, streaming video and cheap DVDs, we live in an era dominated by what Hito Steyerl calls “the poor image” – low resolution, second- or third-generation images whose quality has been sacrificed for accessibility.

This course is an extension of intaglio and relief processes introduced in ARHA 213 with an introduction to lithography. Techniques involved will be drypoint, etching, engraving, aquatint, monoprints, monotypes, woodcut, linocut and stone lithography. Printmaking processes will include color printing, combining printmaking techniques and editioning. Combining concept with technique will be an integral element to the development of imagery. A final project of portfolio-making and a portfolio exchange of prints will be required.

This course offers students knowledgeable in the basic principles and skills of painting and drawing an opportunity to investigate personal directions in painting. Assignments will be collectively as well as individually directed. Discussions of the course work will assume the form of group as well as individual critiques. Two three-hour class meetings per week.

Requisite: ARHA 215 or consent of the instructor. Limited to 18 students. Spring semester.  Professor Sweeney.

A studio course that will emphasize compositional development by working from memory, imagination, other works of art and life. The use of a wide variety of media will be encouraged including, but not limited to, drawing, painting, printmaking and collage. Students will be required to create an independent body of work that explores an individual direction in pictorial construction. In addition to this independent project, course work will consist of slide lectures, individual and group critiques, in-class studio experiments and field trips.

(Offered as ARHA 281 and ASLC 281.)  This course examines artistic exchanges and encounters in the Islamic world during the early modern period. We will focus on the movement of artists, objects, and systems of knowledge between and beyond the Mamluk, Ottoman, Timurid, Safavid, and Mughal courts, placing special emphasis upon encounters with the arts of Europe and East Asia.

This course will look at globalization and contemporary art through the lens of border culture, a term that refers to the "deterritorialized" experience of people when they move or are displaced from their context or place of origin. Their experience of belonging and understanding of identity are affected by borders within the realms of language, gender, ideology, race, and genres of cultural production as well as geopolitical locations.

This course traces the different paths of painting, sculpture, and photography in the United States and, to a lesser extent in Western Europe, since World War II. Initially, most of these paths took shape in relation to a “crisis of modernism,” but increasingly, they have taken on a different vitality, drawing energy from a wide variety of postmodern and post-colonial subjects and debates: identity politics, transnationalism, diaspora, and more.

Limited to 25 students. Spring semester. Visiting Professor Lee.