Fall 2020 Courses

Undergraduate Courses

Fall 2020

An Introduction to the History of Art: Meanings in the Visual Arts
Introduction to the histories of art and the practice of art history. You will encounter a range of arts (including painting, sculpture, architecture, photography, prints) and artistic practices from diverse historical periods, regions, and cultures. Faculty members of the Department of Art and Archaeology lecture in their fields of expertise; precepts balance discussion of particular works, readings, and student projects. In Fall 2020, coursework is designed to encourage students' work with the methods and questions of art history to explore their local environments. We pay particular attention this year to the various definitions of "art."
Instructors: Beatrice Ellen Kitzinger
Neoclassicism through Impressionism
A broad study of European painting and sculpture from the French revolution to 1900 with special attention to social, political, and cultural shifts. Lectures explore a range of themes including art and revolution, imperial conquest, the rise of landscape painting, the politics of the nude, the birth of "modernism" and the avant-garde. Emphasis on major figures including David, Canova, Goya, Vigée-Lebrun, Turner, Courbet, Manet, Monet, Degas, Rodin, van Gogh and Cézanne.
Instructors: Bridget A. Alsdorf
Contemporary Art: 1950 - 2000
A survey of postwar art from an international perspective, focusing on the major artistic movements in their historical contexts, including the Second World War, the Cold War, decolonization, the civil rights movement, feminism, globalization, and economic boom and recession. Lectures explore several themes including art's relationship to popular culture, the mass media, consumer society, historical memory, and political and social activism. Throughout, we account for the startling formal metamorphoses of art itself, as it is transformed from traditional painting and sculpture into new forms that challenged the very nature and limits of art.
Instructors: AnnMarie Perl
The Arts of Japan
ART 217 surveys the arts of Japan from the pre-historic period through the present day. Painting, sculpture, and architecture form the core of study, though we will also examine the critical role of other mediums, including lacquer and ceramics, and consider the broader cultural and historical contexts in which art was made. Our topics include the ongoing tension in Japanese art between the foreign and the indigenous, the role of ritual in Japan's visual arts, the re-uses of the past, the changing loci of patronage, and the formats and materials of Japanese art. The course takes full advantage of the museum to study original works of art.
Instructors: Andrew Mark Watsky
Introduction to African Art
An introduction to African art and architecture from prehistory to the 20th century. Beginning with Paleolithic rock art of northern and southern Africa, we will cover ancient Nubia and Meroe; Neolithic cultures such as Nok, Djenne and Ife; African kingdoms, including Benin, Asante, Bamun, Kongo, Kuba, Great Zimbabwe, and the Zulu; Christian Ethiopia and the Islamic Swahili coast; and other societies, such as the Sherbro, Igbo, and the Maasai. By combining Africa's cultural history and developments in artistic forms we establish a long historical view of the stunning diversity of the continent's indigenous arts and architecture.
Instructors: Chika O. Okeke-Agulu
Rage against the Machine: Art and Politics in America
From drawings by Europeans of indigenous people in the Americas to the Black Lives Matter Arts+Culture project, art and politics in America go hand in hand. This course considers intersections of art and politics in the United States from the revolutionary era to the present, examining how artists have engaged the political sphere to express critique, accommodation, dissent, resistance, and rage. Particular focus will be on racial politics and art and activism now, in the midst of anti-racist protests and the resurgence of white supremacy, and students will track and analyze the ongoing role of art in politics as the semester unfolds.
Instructors: Rachael Ziady DeLue
Masters and Movements of 20th-Century Photography
By focusing on six major figures, this course examines the ways that photography was transformed from a poor stepchild of the fine arts to a staple of museum exhibitions. Students will consider such topics as the impact of abstraction on photography; the interactions between art photography and the new print and cinematic mass media; and development of photographic collections and criticism. The careers of Stieglitz, Moholy-Nagy, Weston, Walker Evans, Robert Frank, and Cindy Sherman will form springboards for broader discussions of photography's critical importance for twentieth-century thinking about the real and the imaginary.
Instructors: Anne McCauley
Olmec Art
This course surveys Olmec and related material culture spanning roughly 2000-500 B.C., including architecture and monumental sculpture, ceramic vessels and figurines, and exquisite small-scale sculpture in jade and other precious materials. Of central theoretical importance is the question of how we understand and interpret art from a distant past, especially without the aid of contemporaneous written records. We will focus on original works of art, including works in the Princeton University Art Museum and in regional collections. Issues of authenticity, quality, and provenance related to these works will also be considered.
Instructors: Bryan R. Just
American Museums: History, Theory, and Practice
Museums are places where material artifacts from the manmade and natural world are preserved, shown, studied, classified, and refashioned into narratives about our past, amusements for our leisure hours, and models for our future. Why did these institutions appear and what do they say about our values and selective/collective memories? Through readings, field trips, meetings with museum staff, and practical exercise, students will explore the history of American museums (art, ethnographic, natural history, material culture) and the challenges that they confront in an increasingly multi-cultural and digital age.
Instructors: Anne McCauley
Art and Power in China
With a highly developed system of aesthetics, Chinese art is not what meets the eye. In China, artworks have represented and also shaped sociocultural values, religious practices and political authority throughout the ages. With an emphasis on the persuasive, and even subversive, power of art related to imperial and modern Chinese politics, this course reflects upon how art has worked in changing historical contexts and for serving political, religious and social agents in Chinese history. It covers a wide range of artifacts and artworks.
Instructors: Cheng-hua Wang
Arts of the Islamic World
This course surveys the art and architecture of the Islamic world from the 7th to the 16th centuries. It examines the form and function of architecture and works of art as well as the social, historical and cultural contexts, patterns of use, and evolving meanings attributed to art by the users. Themes include the creation of a distinctive visual culture in the emerging Islamic polity; urban contexts; archaeological sites; key architectural types such as the mosque, madrasa, caravanserai, and mausoleum; portable objects and the arts of the book; self-representation; cultural exchange along trade and pilgrimage routes.
Instructors: Patricia Blessing
Junior Seminar
The Junior Seminar is an introduction to the myriad subjects, methods, and strategies of art history. The course examines the different kinds of evidence and methodological tools that have been used to identify, explain, and contextualize works of art as well as other kinds of objects, artifacts, and cultural phenomena. In other words, this seminar considers what art historians do, and how and why they do it. In addition, majors will learn how to use resources such as the library and the museum, and how to undertake substantive written research projects. Students begin their Junior Independent Work in this seminar.
Instructors: Nathan Todd Arrington
Art and Architecture in New Spain (Mexico) 1521-1821
The course will examine the historiography and history of architecture and visual arts of New Spain during the three centuries of Spanish rule. It will not be a survey in a traditional sense, but rather an examination in depth of a series of works/problems in Mexican art and architecture of the colonial (viceregal) period from the 16th to the early 19th centuries.
Master Drawings
An introduction to the study of drawings taught entirely from original works of art. Intensive use will be made of the Princeton University Art Museum, with trips to an auction house, dealer, and museums in Washington, D.C. and New York City. Of interest to all planning a career in the arts, collecting, or training their powers of visual analysis. For 2020 the focus will be Central European (German, Austrian, etc.) drawings from the late eighteenth to the early twentieth century.
Instructors: Thomas DaCosta Kaufmann
Global Exchange in Art and Architecture
The course will explore globalization in art and architecture c. 1500-1800, when the process of world-wide circulation began. It will investigate interchanges among Europeans, Africans, Asians, and Americans, their impact, and resistance to them.
Instructors: Thomas DaCosta Kaufmann
Topics in the History of Photography: Inventing Photography
Just as initially there was no one process that was identified as what we call "photography" today, there was no one moment of "invention" or clear idea of what making pictures with light might accomplish. At a time when it is fashionable to speak of the "death of photography," this seminar returns to the earliest experiments with light, silver salts, and cameras between 1789 and 1848 in order to reconsider what photography was, why it embodied the ideals of "modernity," and how it can be located within practices ranging from drawing, printmaking, magic, optical amusements, art, chemistry, and industrial production.
Instructors: Anne McCauley
The Vikings: History and Archaeology
Who were the Vikings, at home or abroad? How did their raiding and settlement change the history of the British Isles and western Europe? This course will study the political, cultural, and economic impact that Norse expansion and raiding had on early medieval Europe. It will also look at the changes in Scandinavia that inspired and resulted from this expansion. Sources will include contemporary texts, sagas and epic poetry, material culture, and archaeological excavations.
Instructors: Janet Elizabeth Kay
Proseminar in the History of Art
A proseminar that examines the conceptual foundations of art history as a modern discipline and explores questions and methods vital to the discipline today.
Instructors: Brigid Doherty
The Graduate Seminar
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.
Instructors: Andrew Mark Watsky
Masculinity & Modern Art
In this seminar we examine representations of masculinity in modern European and American art, exploring how the complexity of gender appears in art and its reception. How did masculinity contribute to artists' formal and conceptual concerns, from revolutionary France to postwar New York? Topics include the masculine body, artistic brotherhoods, homoeroticism, historical trauma, the gendered dynamics of the studio, the politics of virility, and psychoanalytic approaches to art history. Readings open onto broader issues of gender, sexuality, and aesthetics, and bring feminist and queer critical approaches to the table.
Instructors: Bridget A. Alsdorf
Seminar in Medieval Art: Viewpoints on Medieval Sculpture
The seminar engages a suite of new books on medieval sculpture that particularly address the relationship of plastic works to their viewers, and the role of sculpture in spaces shaped both by multiple media and by ephemeral performance. We read the latest work in concert with landmark studies in the format of a research workshop: each 4-week unit requires participants to prepare a research agenda, present initial findings, and submit a short paper. Students contribute to the course bibliography. In lieu of a single final paper, participants are encouraged to compile a portfolio of the short critical essays with a general introduction.
Instructors: Beatrice Ellen Kitzinger
The Color of Monochrome Sculpture
This seminar examines the illusionistic effects that Baroque sculptors of marble, bronze and clay employed to rival the deceptiveness of painting. By studying sculptural ensembles by Bernini and his contemporaries in contrast to the works of earlier sculptors like Michelangelo and against paintings in the tradition of Titian, we explore the value and limits of painterly models for making and viewing sculpture. Our investigation also considers the limits of comparisons to painting and studies the strategies sculptors adopted to undermine illusionism and to assert an autonomous sculptural paradigm.
Instructors: Carolina Mangone
Seminar in Central European Art
The Prague Court of Rudolf II (1576-1612) has gained recognition as one of the most important sites in the history of European cultural history. This seminar considers the voluminous literature and related exhibitions on Rudolfine Prague since c. 1970. Topics include the relationship of art and collecting to politics, religion, science, the occult and the wider world.
Instructors: Thomas DaCosta Kaufmann
Seminar in 19th-Century Art: Manet and the Methods of Art History
Seminar focuses on the art of Édouard Manet, often hailed as the originator of modernist painting, and on the range of methodological perspectives brought to bear on his work, from Marxist to psychoanalytic, formalist to feminist, and beyond. We investigate those different approaches and their relationship to each other, as well as their adequacy and inadequacy to the art they try to understand. Repeated and close looking at Manet's paintings are at the heart of the seminar. Course includes guest speakers and class trips to museums.
Instructors: Bridget A. Alsdorf
Seminar in Modernist Art and Theory: Modernism and Socialism
This seminar explores various connections between modernist art and socialist politics from the 1848 revolutions to the present. How were these links forged, and why were they broken? What (if anything) can we deduce about the relationship between vanguard aesthetics and politics then and now?
Instructors: Hal Foster
State of the Field: Historiography of Chinese Painting
The course focuses on the intellectual stock of the field of Chinese painting. It offers an opportunity to rethink the topics and issues that important studies in the field have addressed. The goal of the seminar is to guide the Ph.D. students on how to tackle these topics and issues raised by previous scholarship.
Instructors: Cheng-hua Wang
Seminar in Japanese Art and Archaeology: Appropriation and the Arts in Pre-Meiji Japan
Appropriation - of style, iconography, and actual objects - contributed substantially to shaping the arts of Japan. Japanese artists borrowed from China and Korea, from the West, and from within Japan itself. Whether the thing borrowed was a mode of depiction or an object, the appropriation was an active engagement with the source and a response to it that involved conceptual transformation. A range of examples are studied, including ink painting, chanoyu (tea ceremony), and Floating World prints, exploring appropriation as impediment or stimulus to innovation, assertion of cultural dominance, and mediation of the past.
Instructors: Andrew Mark Watsky
Introduction to Islamic Art History
No description available
Instructors: Patricia Blessing
Senior Departmental Exam
No Description Available
Senior Thesis
No Description Available

Undergraduate Courses

Fall 2020

An Introduction to the History of Art: Meanings in the Visual Arts
Introduction to the histories of art and the practice of art history. You will encounter a range of arts (including painting, sculpture, architecture, photography, prints) and artistic practices from diverse historical periods, regions, and cultures. Faculty members of the Department of Art and Archaeology lecture in their fields of expertise; precepts balance discussion of particular works, readings, and student projects. In Fall 2020, coursework is designed to encourage students' work with the methods and questions of art history to explore their local environments. We pay particular attention this year to the various definitions of "art."
Instructors: Beatrice Ellen Kitzinger
Neoclassicism through Impressionism
A broad study of European painting and sculpture from the French revolution to 1900 with special attention to social, political, and cultural shifts. Lectures explore a range of themes including art and revolution, imperial conquest, the rise of landscape painting, the politics of the nude, the birth of "modernism" and the avant-garde. Emphasis on major figures including David, Canova, Goya, Vigée-Lebrun, Turner, Courbet, Manet, Monet, Degas, Rodin, van Gogh and Cézanne.
Instructors: Bridget A. Alsdorf
Contemporary Art: 1950 - 2000
A survey of postwar art from an international perspective, focusing on the major artistic movements in their historical contexts, including the Second World War, the Cold War, decolonization, the civil rights movement, feminism, globalization, and economic boom and recession. Lectures explore several themes including art's relationship to popular culture, the mass media, consumer society, historical memory, and political and social activism. Throughout, we account for the startling formal metamorphoses of art itself, as it is transformed from traditional painting and sculpture into new forms that challenged the very nature and limits of art.
Instructors: AnnMarie Perl
The Arts of Japan
ART 217 surveys the arts of Japan from the pre-historic period through the present day. Painting, sculpture, and architecture form the core of study, though we will also examine the critical role of other mediums, including lacquer and ceramics, and consider the broader cultural and historical contexts in which art was made. Our topics include the ongoing tension in Japanese art between the foreign and the indigenous, the role of ritual in Japan's visual arts, the re-uses of the past, the changing loci of patronage, and the formats and materials of Japanese art. The course takes full advantage of the museum to study original works of art.
Instructors: Andrew Mark Watsky
Introduction to African Art
An introduction to African art and architecture from prehistory to the 20th century. Beginning with Paleolithic rock art of northern and southern Africa, we will cover ancient Nubia and Meroe; Neolithic cultures such as Nok, Djenne and Ife; African kingdoms, including Benin, Asante, Bamun, Kongo, Kuba, Great Zimbabwe, and the Zulu; Christian Ethiopia and the Islamic Swahili coast; and other societies, such as the Sherbro, Igbo, and the Maasai. By combining Africa's cultural history and developments in artistic forms we establish a long historical view of the stunning diversity of the continent's indigenous arts and architecture.
Instructors: Chika O. Okeke-Agulu
Rage against the Machine: Art and Politics in America
From drawings by Europeans of indigenous people in the Americas to the Black Lives Matter Arts+Culture project, art and politics in America go hand in hand. This course considers intersections of art and politics in the United States from the revolutionary era to the present, examining how artists have engaged the political sphere to express critique, accommodation, dissent, resistance, and rage. Particular focus will be on racial politics and art and activism now, in the midst of anti-racist protests and the resurgence of white supremacy, and students will track and analyze the ongoing role of art in politics as the semester unfolds.
Instructors: Rachael Ziady DeLue
Masters and Movements of 20th-Century Photography
By focusing on six major figures, this course examines the ways that photography was transformed from a poor stepchild of the fine arts to a staple of museum exhibitions. Students will consider such topics as the impact of abstraction on photography; the interactions between art photography and the new print and cinematic mass media; and development of photographic collections and criticism. The careers of Stieglitz, Moholy-Nagy, Weston, Walker Evans, Robert Frank, and Cindy Sherman will form springboards for broader discussions of photography's critical importance for twentieth-century thinking about the real and the imaginary.
Instructors: Anne McCauley
Olmec Art
This course surveys Olmec and related material culture spanning roughly 2000-500 B.C., including architecture and monumental sculpture, ceramic vessels and figurines, and exquisite small-scale sculpture in jade and other precious materials. Of central theoretical importance is the question of how we understand and interpret art from a distant past, especially without the aid of contemporaneous written records. We will focus on original works of art, including works in the Princeton University Art Museum and in regional collections. Issues of authenticity, quality, and provenance related to these works will also be considered.
Instructors: Bryan R. Just
American Museums: History, Theory, and Practice
Museums are places where material artifacts from the manmade and natural world are preserved, shown, studied, classified, and refashioned into narratives about our past, amusements for our leisure hours, and models for our future. Why did these institutions appear and what do they say about our values and selective/collective memories? Through readings, field trips, meetings with museum staff, and practical exercise, students will explore the history of American museums (art, ethnographic, natural history, material culture) and the challenges that they confront in an increasingly multi-cultural and digital age.
Instructors: Anne McCauley
Art and Power in China
With a highly developed system of aesthetics, Chinese art is not what meets the eye. In China, artworks have represented and also shaped sociocultural values, religious practices and political authority throughout the ages. With an emphasis on the persuasive, and even subversive, power of art related to imperial and modern Chinese politics, this course reflects upon how art has worked in changing historical contexts and for serving political, religious and social agents in Chinese history. It covers a wide range of artifacts and artworks.
Instructors: Cheng-hua Wang
Arts of the Islamic World
This course surveys the art and architecture of the Islamic world from the 7th to the 16th centuries. It examines the form and function of architecture and works of art as well as the social, historical and cultural contexts, patterns of use, and evolving meanings attributed to art by the users. Themes include the creation of a distinctive visual culture in the emerging Islamic polity; urban contexts; archaeological sites; key architectural types such as the mosque, madrasa, caravanserai, and mausoleum; portable objects and the arts of the book; self-representation; cultural exchange along trade and pilgrimage routes.
Instructors: Patricia Blessing
Junior Seminar
The Junior Seminar is an introduction to the myriad subjects, methods, and strategies of art history. The course examines the different kinds of evidence and methodological tools that have been used to identify, explain, and contextualize works of art as well as other kinds of objects, artifacts, and cultural phenomena. In other words, this seminar considers what art historians do, and how and why they do it. In addition, majors will learn how to use resources such as the library and the museum, and how to undertake substantive written research projects. Students begin their Junior Independent Work in this seminar.
Instructors: Nathan Todd Arrington
Art and Architecture in New Spain (Mexico) 1521-1821
The course will examine the historiography and history of architecture and visual arts of New Spain during the three centuries of Spanish rule. It will not be a survey in a traditional sense, but rather an examination in depth of a series of works/problems in Mexican art and architecture of the colonial (viceregal) period from the 16th to the early 19th centuries.
Master Drawings
An introduction to the study of drawings taught entirely from original works of art. Intensive use will be made of the Princeton University Art Museum, with trips to an auction house, dealer, and museums in Washington, D.C. and New York City. Of interest to all planning a career in the arts, collecting, or training their powers of visual analysis. For 2020 the focus will be Central European (German, Austrian, etc.) drawings from the late eighteenth to the early twentieth century.
Instructors: Thomas DaCosta Kaufmann
Global Exchange in Art and Architecture
The course will explore globalization in art and architecture c. 1500-1800, when the process of world-wide circulation began. It will investigate interchanges among Europeans, Africans, Asians, and Americans, their impact, and resistance to them.
Instructors: Thomas DaCosta Kaufmann
Topics in the History of Photography: Inventing Photography
Just as initially there was no one process that was identified as what we call "photography" today, there was no one moment of "invention" or clear idea of what making pictures with light might accomplish. At a time when it is fashionable to speak of the "death of photography," this seminar returns to the earliest experiments with light, silver salts, and cameras between 1789 and 1848 in order to reconsider what photography was, why it embodied the ideals of "modernity," and how it can be located within practices ranging from drawing, printmaking, magic, optical amusements, art, chemistry, and industrial production.
Instructors: Anne McCauley
The Vikings: History and Archaeology
Who were the Vikings, at home or abroad? How did their raiding and settlement change the history of the British Isles and western Europe? This course will study the political, cultural, and economic impact that Norse expansion and raiding had on early medieval Europe. It will also look at the changes in Scandinavia that inspired and resulted from this expansion. Sources will include contemporary texts, sagas and epic poetry, material culture, and archaeological excavations.
Instructors: Janet Elizabeth Kay
Proseminar in the History of Art
A proseminar that examines the conceptual foundations of art history as a modern discipline and explores questions and methods vital to the discipline today.
Instructors: Brigid Doherty
The Graduate Seminar
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.
Instructors: Andrew Mark Watsky
Masculinity & Modern Art
In this seminar we examine representations of masculinity in modern European and American art, exploring how the complexity of gender appears in art and its reception. How did masculinity contribute to artists' formal and conceptual concerns, from revolutionary France to postwar New York? Topics include the masculine body, artistic brotherhoods, homoeroticism, historical trauma, the gendered dynamics of the studio, the politics of virility, and psychoanalytic approaches to art history. Readings open onto broader issues of gender, sexuality, and aesthetics, and bring feminist and queer critical approaches to the table.
Instructors: Bridget A. Alsdorf
Seminar in Medieval Art: Viewpoints on Medieval Sculpture
The seminar engages a suite of new books on medieval sculpture that particularly address the relationship of plastic works to their viewers, and the role of sculpture in spaces shaped both by multiple media and by ephemeral performance. We read the latest work in concert with landmark studies in the format of a research workshop: each 4-week unit requires participants to prepare a research agenda, present initial findings, and submit a short paper. Students contribute to the course bibliography. In lieu of a single final paper, participants are encouraged to compile a portfolio of the short critical essays with a general introduction.
Instructors: Beatrice Ellen Kitzinger
The Color of Monochrome Sculpture
This seminar examines the illusionistic effects that Baroque sculptors of marble, bronze and clay employed to rival the deceptiveness of painting. By studying sculptural ensembles by Bernini and his contemporaries in contrast to the works of earlier sculptors like Michelangelo and against paintings in the tradition of Titian, we explore the value and limits of painterly models for making and viewing sculpture. Our investigation also considers the limits of comparisons to painting and studies the strategies sculptors adopted to undermine illusionism and to assert an autonomous sculptural paradigm.
Instructors: Carolina Mangone
Seminar in Central European Art
The Prague Court of Rudolf II (1576-1612) has gained recognition as one of the most important sites in the history of European cultural history. This seminar considers the voluminous literature and related exhibitions on Rudolfine Prague since c. 1970. Topics include the relationship of art and collecting to politics, religion, science, the occult and the wider world.
Instructors: Thomas DaCosta Kaufmann
Seminar in 19th-Century Art: Manet and the Methods of Art History
Seminar focuses on the art of Édouard Manet, often hailed as the originator of modernist painting, and on the range of methodological perspectives brought to bear on his work, from Marxist to psychoanalytic, formalist to feminist, and beyond. We investigate those different approaches and their relationship to each other, as well as their adequacy and inadequacy to the art they try to understand. Repeated and close looking at Manet's paintings are at the heart of the seminar. Course includes guest speakers and class trips to museums.
Instructors: Bridget A. Alsdorf
Seminar in Modernist Art and Theory: Modernism and Socialism
This seminar explores various connections between modernist art and socialist politics from the 1848 revolutions to the present. How were these links forged, and why were they broken? What (if anything) can we deduce about the relationship between vanguard aesthetics and politics then and now?
Instructors: Hal Foster
State of the Field: Historiography of Chinese Painting
The course focuses on the intellectual stock of the field of Chinese painting. It offers an opportunity to rethink the topics and issues that important studies in the field have addressed. The goal of the seminar is to guide the Ph.D. students on how to tackle these topics and issues raised by previous scholarship.
Instructors: Cheng-hua Wang
Seminar in Japanese Art and Archaeology: Appropriation and the Arts in Pre-Meiji Japan
Appropriation - of style, iconography, and actual objects - contributed substantially to shaping the arts of Japan. Japanese artists borrowed from China and Korea, from the West, and from within Japan itself. Whether the thing borrowed was a mode of depiction or an object, the appropriation was an active engagement with the source and a response to it that involved conceptual transformation. A range of examples are studied, including ink painting, chanoyu (tea ceremony), and Floating World prints, exploring appropriation as impediment or stimulus to innovation, assertion of cultural dominance, and mediation of the past.
Instructors: Andrew Mark Watsky
Introduction to Islamic Art History
No description available
Instructors: Patricia Blessing
Senior Departmental Exam
No Description Available
Senior Thesis
No Description Available