Spring 2020

ART 102 D
ART 102ARC 102

An Introduction to the History of Architecture

Basile Baudez

A survey of architectural history in the west, from ancient Egypt to 20th-century America, that includes comparative material from around the world. This course stresses a critical approach to architecture through the analysis of context, expressive content, function, structure, style, building technology, and theory. Discussion will focus on key monuments and readings that have shaped the history of architecture.

LA
MW 11:00 am–11:50 am
ART 202 S20
ART 202HLS 202/CLA 200

Greek Art and Archaeology

Nathan Arrington

What is Greek art, and why has it captivated the imagination of artists, thinkers, and travelers for centuries? We will survey the major monuments, objects, and archaeological sites in order to critically examine its seminal place in the western tradition. Diverse types of material evidence will inform an intellectual journey leading from the very first Greek cities to the luxurious art of Hellenistic kings. Lectures are organized chronologically and thematically, and precepts offer the unique experience of hands-on interaction with objects in the art museum's collection.

HA
MW 9:00 am–9:50 am
ART 214 E
ART 214

Contemporary Art: 1950 - 2000

Irene V. Small

A critical study of the major movements, paradigms, and documents of postwar art--abstract-expressionist, pop, minimalist, conceptual, process and performance, site-specific, etc. Special attention to crucial figures (e.g., Jackson Pollock, Andy Warhol, Felix-Gonzalez-Torres) and problems (e.g., "the neo-avant-garde", popular culture, feminist theory, political controversies, "postmodernism").

LA
TTh 11:00 am–11:50 am
ART 220 S20
ART 220LAS 230

Modern and Contemporary Latin American Art

Irene V. Small
Cecilia Fajardo-Hill

This course focuses on key issues of 20th and 21st c. Latin American art. A thematic survey and general methodological introduction, we will treat emblematic works and movements, from Mexican muralism and Indigenism to experiments with abstraction, pop, conceptualism, and performance. Questions discussed include: What is Latin American art? What is modernism in Latin America? What is the legacy of colonialism? How do Latin American artists engage transnational networks of solidarity under conditions of repression? How can postcolonial, decolonial, and feminist theory illuminate the art and criticism produced in and about Latin America?

SA
TTh 10:00 am–10:50 am
ART 228 S20
ART 228HLS/MED/HUM 228

Art and Power in the Middle Ages

Charlie Barber

In twelve weeks this course will examine major art works from the period ca. 300-1200 CE. Presenting works from Europe and the Middle East, and working with the Princeton collections in precept, the course will introduce students to the art of Catholicism and Orthodoxy, Judaism and Islam; the great courts of the Eastern- and Holy Roman Empires, and the roving Vikings, Celts and Visigoths. Students will not only be invited to consider how art can represent and shape notions of sacred and secular power, but will also come to understand how the work of 'art' in this period is itself powerful and, sometimes, dangerous.

LA
MW 10:00 am–10:50 am
ART 326 S20
ART 326

How Was It Made and Who Made It?

Thomas DaCosta Kaufmann

This class is an extensive introduction to the materials and techniques of art through the ages. It will involve direct study of works of art in the museum introducing each week a different kind of object and problem drawn from Princeton's extensive collections. Museum staff will help teach classes every week. Students will learn not only how works of art are made, but how intense study of objects can lead to knowledge about them and about the past, and how we can tell who made them. Copies, fakes, and replicas will all be considered. Works of art from a wide variety of times and places will be considered.

LA
MW 11:00 am–12:20 pm
ART 375 S20
AAS 341ART 375

Enter the New Negro: Black Atlantic Aesthetics

Anna Arabindan-Kesson

Born in the late 1800s, the New Negro movement demanded political equality, desegregation, and an end to lynching, while also launching new forms of international Black cultural expression. The visionary modernity of its artists not only reimagined the history of the black diaspora by developing new artistic languages through travel, music, religion and poetry, but also shaped modernism as a whole in the 20th century. Incorporating field trips and sessions in the Princeton University Art Museum, this course explores Afro-modern forms of artistic expression from the late 19th-century into the mid-20th century.

LA
M 7:30 pm–10:20 pm
Early Spring.001
ART 356EAS 367

Landscape and the Visual Arts in China (Tenth Century to the Twentieth Century)

Cheng-hua Wang

This course focuses on the genre of landscape in Chinese painting, prints, and photography from the tenth century to modern times. Landscape was the most revered genre of painting in pre-modern China; it has shaped most of the discourses on art in later Chinese history and still features prominently in contemporary artistic creation and theory. This course examines the issues associated with landscape art, including the tradition and global relevance of ink landscape painting, the relationship of painting with prints and photography, travel and mapping as landscape themes, and the associations among landscape, place, and territory.

LA
MW 1:30 pm–2:50 pm
ART362S20
ART 362GSS 340

Fashion Photography, 1890 to the Present: Sex, Lies, and the Construction of Desire 

Anne McCauley

This historical survey considers why photographs of models wearing the latest clothes replaced drawn illustrations starting in the late nineteenth century and how the styles and content of fashion photographs reflect changing camera, lighting, and printing technologies; the structure of the garments themselves; national ideals of beauty and gender presentation; and the economics of publishing and advertising. Topics also include the studio as theatrical space; fashion photography in the developing and non-Western worlds; and the recent expansion of the ethnicities, ages, body types, and gender identities of models in fashion spreads.

HA
MW 7:30 pm–08:50 pm
ART363S20
ART 363

Italian Renaissance and Baroque Art at the Princeton University Art Museum

Veronica White

This course examines paintings, sculptures, prints, drawings, and decorative arts in Italy, from the early 15th to late 17th centuries. Through different thematic units, such as The Bubonic Plague and the Visual Arts and Studies of Expression and the Invention of Caricature, we will consider contributions of major artists, while also focusing on the function and cultural context of different types of objects. Classes will be held at the PU Art Museum, with behind-the-scenes access to works of art in storage and a close consideration of materials, techniques, and questions of display and interpretation.

LA
TTh 11:00 am–12:20 pm
ART367S20
ART 367MED 367

Migration, Myth and the Making of Spain: Art & Architecture in Medieval Iberia

Pamela Patton

The medieval history of the land now called Spain and its Muslim, Christian, and Jewish inhabitants is often oversimplified, whether as a model of cultural tolerance, a precursor to colonialism, or a justification of modern antagonisms. This course examines the history of the Iberian Peninsula through the visual traditions of the medieval peoples whose cultures laid the foundations of modern Spain. Highlighting such key issues as the interplay of foreign and local traditions, the expression of religious and ethnic identity, and the reuse of artistic forms and objects, it pursues a more forthright understanding of the Iberian past.

HA
MW 11:00 am–12:20 pm
ART 393 S18
ART 393SLA 393 / AMS 392 / RES 393

Getting the Picture: Photojournalism in the U.S. and Russia

Katherine A. Bussard
Katherine M.H. Reischl

Just as the Internet does today, the picture press of the last century defined global visual knowledge of the world. The pictures gracing the pages of magazines and newspapers were often heavily edited, presented in carefully devised sequences, and printed alongside text. The picture press was as expansive as it was appealing, as informative as it was propagandistic, regularly delivered to newsstands and doorsteps for the everyday consumer of news, goods, celebrity, and politics. Through firsthand visual analysis of the picture presses of both the U.S. and Russia, this course will consider the ongoing meaning and power of images.

LA
TTh 11:00 am–12:20 pm
ART 401
ART 401

Introduction to Archaeology

Nathan Arrington

An introduction to the history, methodologies, and theories of archaeology. The seminar discusses topics and problems drawn from a wide range of cultures and periods. Issues include trade and exchange; the origins of agriculture; cognitive archaeology (the study of the mind); biblical archaeology (the use of texts); artifacts in their cultural contexts; and the politics of the past. Emphasis on what constitutes archaeological evidence, how it may be used, and how archaeologists think.

EC
W 1:30 pm–4:20 pm
ART 412 S17
ART 412CLA / HLS 412

Attic Vase-Painting: Style, Subject and Social Context

Michael Padgett

Painted pottery constitutes the largest surviving body of ancient Greek pictorial imagery and provides an important window on Greek society. This class offers an overview of Greek pottery ca.750-450 BC, with an emphasis on the style and iconography of Athenian black-figure and red-figure vases. Students will handle and learn from actual vases in a context of guided discussions and shared insights, in the process acquiring a knowledge of different fabrics and regional schools, as well as an understanding of production techniques, evolutions in style, and the role of painted pottery in Greek society.

LA
M 1:30 pm–4:20 pm
Art 430 Barber
ART 430MED / HLS 430

Seminar. Medieval Art: Enchanted Landscapes: Nature, the Sacred and the Erotic

Charlie Barber

This course investigates the intertwining of art and nature in the Eastern Roman Empire. Ecocriticism, art, literature, philosophy, and theology will be called upon. Students will consider the correlation of art and the environment; will learn to work between text and image; will work with a range of visual media and literary genres; and will think through the recurrence of ideas in the history of the Eastern Roman Empire; and will consider the role of art outside of major urban centers. Sacredness, spirituality, artifice, and the erotic will be key themes in this course. A class trip to Sicily is planned for the Spring Recess.

By application only

LA
T 1:30–4:20 pm
ART 466 S20
ART 466SLA / ECS 466

The Crossroads of Invention: Art, Society, and Identity in East Central Europe (1500-1914)

Thomas DaCosta Kaufmann

The class will explore the role of art in negotiating cultural difference in the historical Commonwealth of Poland-Lithuania. A crossroad of several trade routes, the state fostered religious tolerance legislation with hardly any parallel on the continent. Simultaneously, such social framework was not immune to ongoing tensions long before the advent of 19th-century nationalisms. In order to explore what ideals and challenges the concept of 'commonwealth' entailed before and during the emergence of nation-states, each seminar will focus on a specific cross-cultural encounter, including the Dutch, the Ottoman Empire, the Caribbean, and Russia

By application only 

HA
Th 1:30 pm–4:20 pm
ARt 477 S20
ART 477FRE 477

After the Fall: Art and Politics in France Since 1940

AnnMarie Perl

Contrary to the notion that the Nazi defeat of 1940 marked the decline of art in France, this course examines how artists in France drew upon the legacies of the avant-garde with a renewed sense of commitment in order to express their wartime experiences, address themselves to the public, contest social norms and engage the political sphere. Through the study of aesthetic experiments across media and readings in existentialist, feminist and Marxist philosophy, artists' writings, art criticism and art history, we investigate how art was politicized by artists and their publics from the Nazi Occupation through the French riots of 2005.

LA
M 1:30 pm–4:20 pm
ART 501 F2016
ART 502D

The Graduate Seminar

Charlie Barber

This course is intended to ensure a continuing breadth of exposure to contemporary art-historical discourse and practices. It requires attendance and participation in the department lecture/seminar series. Students must take the course sequentially in each of their first four semesters and take the appropriate letter version of the course (A,B,C,or D) based on their semester of study. The course is taken in addition to the normal load of three courses per semester and is for first- and second-year graduate students only. Topics discussed cover all fields of Art History and address current questions and practices.

4:30 pm–6:00 pm
Art 513
ART 513CLA 518

Seminar in Roman Art: Historical Reliefs

Michael Koortbojian

The seminar focuses on Roman historical representations - an innovation of the Romans - and addresses not only the problem of their historical reference but, in many cases, their reconstruction from the fragmentary remains.

W 1:30 pm–4:20 pm
ART 540 S20
ART 540

Color and Technology in the Arts

Basile Baudez

Course addresses relationship between color and technology in the arts. It questions the proprieties of color materiality, nature of pigments and their usage. Quest for natural and synthetic colors emerging from laboratory research by alchemists and chemists. Hazardous scientific discoveries impacting the artistic field. Economic implications of color discovery and patenting. Color trends indicating social changes. Links between light and vision theory and applications in the arts. Recreation of artistic technology as a community self identification. Global exchange of color technology. Problems in conservation and display of colored objects.

W 1:30 pm–4:20 pm
ART 541 S20
ART 541

Seminar in Renaissance Art

Peter Parshall

During the Renaissance, printmaking emerged as a powerful and pervasive mode of artistic expression that redefined originality and transformed visual communication. Variously experimental, documentary, propagandistic, proto-scientific, and illustrational objects, prints were market-sensitive as well as aesthetically adventurous and often elitist in their content. Centered as much as possible on prints from the collection, this course considers material and technical issues as well as broader historical and interpretive topics. Artists include Schongauer, Dürer, Lucas van Leyden, Bruegel, Mantegna, and Raphael.

Th 10:00 am–12:50 pm
ART 565 S20
ART 565GER 564 / HUM 565

Seminar in Modernist Art and Theory: The Avant-Garde in a State of Emergency

Devin A. Fore
Hal Foster

In this seminar we investigate the interpenetration of aesthetics and politics in the interwar period, structuring our conversation around particular debates, such as the question of violence in Sorel and Marinetti, the problem of sovereignty in Schmitt and Benjamin, the polemics about modernism and realism around Lukacs, the base materialism of the Collège de Sociologie, the rise of factography in the USSR, and the return to dis/order in France and Italy.

T 1:30 pm–4:20 pm
ART567S20
ART 567MOD 567

Seminar in History of Photography: The Naked and the Nude in Photography

Anne McCauley

The undressed human form has been a major subject in Western art since the classical period, but presented particular challenges to photographers, who depicted "real" rather than idealized bodies. This course explores the practices of fine arts, pornographic, medical, and ethnographic representations of the body, with particular emphasis on artists' responses to nude photographs; photography's contribution to new "scientific" typologies of race, criminality, and health; and ongoing debates over censorship, pornographic, and privacy.

W 10:00 am–12:50 pm
ART 575 S20
ART 575EAS 571

Antiquarianism in Chinese Art

Cheng-hua Wang
Ya-hwei Hsu

Scholars have long recognized the importance of the theme of antiquarianism in Chinese art. However, recent scholarly interest in the issues associated with copying, replication and multiple temporalities in art provides new perspectives on and approaches to this old theme and greatly enriches related discussions on it. This seminar takes a new look at the recurring tendency of antiquarianism in Chinese art by engaging with four important mediums (painting, calligraphy, bronzes and ceramics) and their frequent incidents of transmediality.

Th 9:00 am–11:50 am