Courses and Requirements

The goal of the Art History Department is to equip students with a critical understanding of the historical and theoretical concerns that have shaped the production, circulation, and reception of art, visual culture, and architecture over time and around the world.

Beginning with the Class of 2022, a concentration in art history consists of a minimum of ten courses: nine art history courses and at least one course in studio art. The nine art history courses must include: two 100-level courses; four 200-level courses; ARTH-330; an additional 300-level course; and a 400-level seminar to be taken during the senior year.

A minor in art history consists of any five courses in art history.

The Senior Project in art history includes an extensive research project completed in the context of a 400-level seminar and its oral presentation before the Department.

Students concentrating in art history will satisfy the Social, Structural, and Institutional Hierarchies (SSIH) requirement by completing any one of the following courses: ARTH-120; ARTH-145; ARTH-152; ARTH-207; ARTH-231; ARTH-240; ARTH-287; ARTH-295; ARTH-320; ARTH-330

Honors in art history will be awarded on the basis of a cumulative average of 3.7 (90) or above in coursework toward the concentration and distinguished achievement on the Senior Project.

100 A World of Art (History).
This course is an introduction to the pre-modern visual cultures of the world. We will focus on themes of identity, mobility, sacrality, and embodiment throughout different historical periods and across cultures. Exploration of these themes will reveal how images, objects, and monuments were made, experienced, and used in relation to social, political, and religious beliefs. Students will also gain a basic understanding of visual vocabulary and literacy.  (Social, Structural, and Institutional Hierarchies.) Maximum enrollment, Standard Course (40). Menon and Tillery.

101 Introduction to Art History.
Introduction to Art History pursues three objectives: 1) to provide a historical and contextual understanding of the production, reception, and circulation of art since 1450; 2) to introduce students to the discipline of art history and the various methods and approaches that scholars use to interrogate the significance of works of art; and 3) to begin to develop students’ visual literacy so they may navigate their own visual environment from a critically informed perspective. Maximum enrollment, Standard Course (40). Jarosi.

108 The Divine Body: Sculpture in South and Southeast Asia.
This class involves the study of the formless divine and the corporeal nature of the body in South and Southeast Asian art. We will examine representations of the Buddha, the Jina, gods and goddesses, queens and kings, and an array of apotropaic motifs in sacred art and architecture from India, Sri Lanka, Cambodia, and Indonesia. Case studies are chosen from a period spanning over two thousand years, beginning with the third century BCE and ending with portrayals of the divine in contemporary art. (Writing-intensive.) (Same as ASNST-108.) Maximum enrollment, Standard Course (40). Menon.

110 Ways of Seeing: Vision, Technology, Media.
This course provides students with a historical and theoretical foundation for understanding how contemporary visual media informs, persuades, and shapes our experience. Our starting points will often be the types of images that surround us today: social media news feeds and advertisements, infographics, selfies, stock photos, and CAPTCHA tests. Students will engage with foundational texts in visual and media studies and develop tools to critically analyze, discuss, and write about the images that come to us through physical and virtual networks. (Same as CNMS-110, DARTS-110.) Maximum enrollment, Standard Course (40). Bair.

120 Introduction to the History and Theory of Film.
A general introduction to the wide world of cinema and cinema studies, focusing on crucial films from many cinematic traditions. Topics include the evolution of film from earlier forms of motion picture, the articulation and exploitation of a narrative language for cinema, the development of typical commercial genres, and the appearance of a variety of forms of critical cinema. Focuses on basic film terminology, with the cinematic apparatus and ongoing theoretical conversation about cinema and its audience. (Same as CNMS-120, LIT-120.) Maximum enrollment, Standard Course (40). MacDonald.

125 Sacred Art of South Asia.
An introduction to the sacred art and architecture of South Asia. We will examine the development of aniconic and iconic representations of the divine, the emergence and evolution of sacred architecture, and continuities and transformations in art and in architectural style, spanning two millennia and across religions. Students will gain an understanding of the historical patronage, artistic agency, and diverse material expression of religion throughout the region. Maximum enrollment, Standard Course (40). Menon.

130 Introduction to Visual Studies.
Our world is saturated by images, from the screens that surround us to retinal projection, yet most of us struggle to interpret what we see. We are immersed in visual technologies that shape our behavior, from computer games to AR, yet few of us know how such technologies are created. The course introduces students to a critical examination of images both by tracing current visual technologies to their historical origins and by working with emerging technologies to produce such applied examples as: logo design, digital mapping, and 3-D modeling within the context of a Digital Studio component. (Proseminar.) (Same as CNMS-130.) Maximum enrollment, Proseminar (16). James Bloom.

147 'Art into Industry': German Bauhaus 1919-1933.
Investigation of the Bauhaus from its origins in WWI to its 1933 shutdown by the Nazis. Examination of the relationship between art and technology, along with the social and political implications of modern design. Topics include the Bauhaus’ interdisciplinary and experimental approach, its position within larger intellectual debates of early twentieth-century Germany, and its impact on modern art and design across the world. Conducted in English; no German required. (Same as GERMN-147.) Maximum enrollment, Standard Course (40). Schweiger.

152 Intersections in Global Art.
In this course we will look closely at 25 objects (roughly one per day) that embody significant intersections among different cultures and/or periods. The objects range from medieval textiles to contemporary mixed-media assemblages. We will be learning about how to look at works of art and how to effectively express our thoughts about them in spoken and written words. Several in-class sessions will be at the Wellin Museum and Burke Special Collections to guide our object-based study. (Writing-intensive.) (Proseminar). Open to first- and second-year students only. Maximum enrollment, 16. Tillery.  (Writing-intensive.) (Proseminar.) Open to first- and second-year students only. Maximum enrollment, Proseminar (16). Tillery.

153 Architecture and Politics.
An introduction to the study of architecture and the ways in which it creates, reinforces, or disrupts political, socioeconomic, and religious hierarchies. Topics include nationalism, colonialism, destruction, exclusion, and discipline. Major assignments in this speaking-intensive seminar include substantial case study presentations, campus architecture tour, and a willingness to engage in mock-debates on controversial issues. (Speaking-Intensive.) (Proseminar.) Maximum enrollment, Proseminar (16). Lo.

156 Architecture in History.
This introductory course is both a survey and a thematic approach to learning about the built environment from prehistory to the 18th century. Students will gain historical and contextual understanding of architecture and urbanism, theories and historiographical approaches to the study of the built environment, and develop visual literacy of formal and aesthetic expressions. Emphasis is on global exchange and connections across time and geography. Not open to seniors. Maximum enrollment, Standard Course (40). Lo.

160 Photography Changes Everything.
An interdisciplinary survey of the history of photography from its invention in the 19th century to the present day. We will explore photography not only as an art form, but as a medium that shapes knowledge, affects social relations, and influences visual culture at large. Students will learn about the technologies and social practices that have made photography ubiquitous, working with a range of photographic objects firsthand. Topics include family and vernacular photography; imperial photo albums; ethnographic portraits; photojournalism and the paparazzi; crime, war and surveillance photographs; advertising and fashion; digital filters; and the digital photograph as data. (Same as DARTS-160.) Maximum enrollment, Standard Course (40). Bair.

201 Artifact, Testament, and Monument: Asian Art Histories.
An introduction to the rich art histories of Asia from the prehistoric period to the present, with an emphasis on the arts of China, Japan, Korea, India, Sri Lanka, Cambodia, and Indonesia. With the study of select objects, paintings, sculptures, monuments, and associated social, religious, and political milieus, students will be introduced to major styles and traditions in the history of art across Asia and will engage with critical themes in the interpretation of Asian art histories. (Speaking-Intensive.) (Same as ASNST-201.) Maximum enrollment, Speaking-Intensive (20). Menon.

205 Visual Culture of the Medieval World.
This course surveys the art and architecture of Europe during the Middle Ages from ca. 500-1400. We will focus on key artworks and monuments made and built in Europe from the Visigoths and Vikings to the Valois court, as well as examine cross-cultural interactions across religious and political boundaries in medieval Africa, the Arctic, and the Mediterranean. Students will develop an awareness of the production, function, and social context of medieval visual culture through the close study of architecture, manuscript, metalwork, mosaic, painting, sculpture, and textile. Despite our historical distance from the Middle Ages, we will also consider how medieval imagery remains relevant to our current visual world.   (Same as MDRST-205.) Maximum enrollment, Standard Course (40). Tillery.

207 Documentary Photography & Digital Media.
A course for students interested in working with digital collections of photographs and learning digital research methods. A critical examination of how photographers have tried to shed light on social injustices and promote systemic change from the 19th century to the present day. We will unpack the ethics, aesthetics and uses of documentary images, looking at the relationship of governments, the press, the police, archives, and museums to photography. We will ask how the practice of representation intersects with biases and power dynamics around class, race, ethnicity, gender, nationality, and sexuality.  (Social, Structural, and Institutional Hierarchies.) (Speaking-Intensive.) (Same as DARTS-207.) Maximum enrollment, Speaking-Intensive (20). Bair.

219 Painting in South Asia.
This course explores the history of painting in South Asia from prehistory to the present. We will examine a range of painting traditions, including the murals of rock-cut Buddhist shelters and Hindu temples, narrative paintings in sacred texts, the art of storytelling in miniature manuscripts and royal court painting, and painting in the colonial and postcolonial periods. Students will learn to identify, analyze, and historically situate paintings from diverse regions, and of styles, schools, and spaces, both secular and sacred. (Writing-intensive.) (Same as ASNST-219.) Maximum enrollment, Writing-Intensive (18). Menon.

221 Sites of Divine Encounter.
How did Christians, Jews, and others in antiquity imagine God/gods were active in their lives? What is the relationship between space and this divine-human encounter? This site-based class will consider these questions through attention to ancient texts and material culture, studying divine-human interaction at sites where it was thought to occur and the practices that facilitated it. We will explore, for example, a sacred tree in Athens, healing sanctuaries in Asia Minor, ancient city acropoleis, the earliest Christian churches, and underground temples to chthonic gods. (Same as CLASC-221, RELST-221.) Maximum enrollment, Standard Course (40). Sarah Griffis.

223 City Senses: Urbanism Beyond Visual Spectacle.
Architecture and urbanism provide multisensory experiences of space that don’t necessarily privilege visual perception. This course explores alternative approaches to design and an understanding of the built environment through explorations of all the senses. We will read philosophical ideologies from different disciplines and the history and historiography of the senses across time and place. Through the identification of non-visual sensory markers (e.g. sounds of bells, smells of food, feelings of light and shade) found on campus, we will create a digital exhibition of interactive maps. (Proseminar.) Maximum enrollment, Proseminar (16). Lo.

225 Mass Media and the Jewish Experience.
Jews’ relationship to mass media has long been stereotyped and misunderstood. This course raises questions about race, ethnicity, and modern media by exploring the intersecting developments in mass media – including publishing, photography, film, and television – with Jewish history in Europe and the United States. How and why did media industries offer Jews social mobility? How do different media enable assimilation, passing, or stereotyping? How and when have Jews used visual media to assert their identity, including by aligning with other minorities and outsiders? Topics include print culture in Eastern Europe; the Yiddish avant-garde; Jewish Hollywood; Zionist aesthetics; photojournalism and the Holocaust; and Jewish photographers in the Civil Rights Movement.  (Social, Structural, and Institutional Hierarchies.) (Same as CNMS-225,RELST-225.) Maximum enrollment, Seminar (12). Bair.

231 Art & Feminism.
This course examines the ways feminist ideas have challenged us to re-think art & art history, both past & present, particularly with respect to feminism’s mandate to consider race, class, sexuality, and other aspects of social location alongside the interrogation of gender. Thematic concerns include the institutions & structural conditions within which marginalized artists have worked and continue to work; the challenges of representation & self-representation that black/queer/female artists encounter; and the innovative forms of feminist art & activism that have shaped culture more broadly (Same as WMGST-231.) Maximum enrollment, Standard Course (40). Jarosi.

233 Fantastic Beasts and the Indian Ocean World.
Premodern illustrations of the Indian Ocean World archive the vivid imaginings of early artists and unregulated mapmakers. We will examine how the vastness of the Indian Ocean and the enigma of life on faraway shores manifested in maps and illustrations. In addition to representations of the toothy fish, dragons, and beaked monsters of the seas, we will study the portrayal of otherness in visual narratives of the Indian Ocean World. We will also discuss the role of religion in the creation of these images, and consider the significance of their perception, reception, and circulation. (Writing-intensive.) Maximum enrollment, Writing-Intensive (18). Menon.

235 Artists' Writings.
Why do visual artists write? What purposes do their writings serve? The course considers these questions in both historical and current artistic contexts. Beginning with early twentieth-century manifestos and extending to artists’ statements, correspondence, and interviews, it examines the vast literature in which artists have discussed their intentions and values and have elaborated, theorized, and contextualized their own work. It also considers language-based conceptual art, where text is presented as the "art object," and experimental forms of artists’ writings that resist categorization. (Writing-intensive.) Maximum enrollment, Writing-Intensive (18).

236 The Visual Culture of Modernity.
This course explores modernity as a revolution in vision and representation. Students will learn about a range of visual media and experiences that emerged between 1850 and 1930, including photography, posters, panoramas, electric lighting, world fairs, and cinema. We will also consider the evolution of painting in light of the larger political, economic, and technological changes of modernity. Our focus will be on Europe and North America in a global context, particularly as we consider how the international circulation of ideas and people resulted in uniquely modern ways of understanding and visualizing the world. (Same as CNMS-236 HIST 236.) Maximum enrollment, 20. Nadya Bair.

237 The Visual Culture of Modernity at War.
An examination of art and media from the rise of fascism in the 1920s and the outbreak of World War II in 1939 to postwar reconstruction and the entrenchment of the Cold War in the 1950s. We will study a range of visual material – including film, newsreels, photographs, paintings, illustrations, and comics – not simply as representations of war, but as the cultural fronts on which an unprecedented global conflict unfolded. Students will learn about the evolution of artistic practice and popular culture in Allied and Axis nations, and consider how visual media worked as propaganda, news, and entertainment. (Social, Structural, and Institutional Hierarchies.) (Same as CNMS-237 HIST-237.) Maximum enrollment, 20. Nadya Bair.

238 Installation Art.
What, exactly, defines installation art? This course investigates the historical, cultural, and disciplinary circumstances through which what we now call "installation art" came to be one of the defining media of late-twentieth and twenty-first century artistic production. Maximum enrollment, Standard Course (40). Jarosi.

245 Arts of India.
This course is a broad introductory survey to the art and architecture of the Indian subcontinent. We will begin our study with the material culture of the Indus Valley Civilization in the third millennium BCE and proceed chronologically to the present day. We will examine religious and secular works of art and architecture, and the art histories of royal courts, colonial, postcolonial, and contemporary India. Maximum enrollment, Standard Course (40).

246 Collecting India.
This seminar examines the collection, use, interpretation, and display of India’s history and material culture in American and European museums. Students will be introduced to the art historical and cultural significance of a wide variety of objects in museum collections and engage with the related issues of 'aesthetic colonialism', value, authenticity, and repatriation. Discussions will draw on a range of museum case studies, scholarship on the colonial imaginary and the politics of collecting practices, and current curatorial perspectives. (Same as ASNST-246.) Maximum enrollment, Seminar (12). Menon.

266 Art of the Islamic World.
Begins with the emergence of Islam in the 7th century and continues to the present. Emphasis will be on how early Islamic art and architecture drew on Classical, Sassanian, and Byzantine forms; the development of Islamic art in response to the religion’s spread into Asia, Africa, and Europe; comparisons of sacred and secular space; developments in art and architecture associated with various dynasties (Umayyad, Abbasid, Fatimid, Ottoman, and Mughal, among others); and perceptions of religious outsiders within Islamic culture as well as perceptions of Islam by religious outsiders Maximum enrollment, Standard Course (40).

280 Economic Histories of the Arts.
Economic Histories of the Arts explores the implications of considering art through the lens of economic history. It shifts the focus to looking at art as a commodity, rather than the product of individual creative expression – as things that are bought and traded, sold and re-sold. The course pursues these topics both historically and thematically: examining modes of production; art markets and valuation; and the roles of artists, patrons, dealers, and collectors from the fifteenth century to the present. (Speaking-Intensive.) Maximum enrollment, Speaking-Intensive (20).

284 Northern Renaissance Art.
This course explores the distinctive ways in which art was crafted and consumed in northern Europe during the age of Renaissance and Reformation. We will examine paintings and prints, propaganda and princely splendor, and carved altarpieces and ceremonial armor against the backdrop of both city and court, while considering issues of religious function, social use, and the economic history of the arts. The course also fosters a critical awareness of the methods of art history by drawing attention to scholarship on Northern art that has, in many ways, laid the foundations for modernity. (Same as MDRST-284.) Maximum enrollment, Standard Course (40).

287 Art & Social Change.
Art & Social Change explores the history of artistic production as political activism. From the early efforts of painters, sculptors, and photographers in the nineteenth century to more recent developments in experimental media, artists have offered not only social critique but also attempted direct political intervention. Whether addressed to issues of race, class, gender, globalization, or ecological precarity, this course grapples with art’s ability to affect social change. (Proseminar.) Maximum enrollment, Proseminar (16).

290 Facing Reality: A History of Documentary Cinema.
The history of cinema as representation and interpretation of "reality," focusing on nonfiction film and video from a variety of periods and geographic locales. Emphasis on the ways in which nonfiction films can subvert viewers'' conventional expectations and their personal security. Forms to be discussed include the city symphony, ethnographic documentary, propaganda, nature film, direct cinema, cinéma vérité, the compilation film and personal documentary. (Same as CNMS-290, LIT-290.) Maximum enrollment, Standard Course (40). MacDonald.

291 American Film Comedy: Classic and Modern.
An exploration and analysis of major contributions to the history of American film comedy, from its origins in slapstick to the flowering of silent physical comedy in the 1910s and 20s (performer/directors Charlie Chaplin, Buster Keaton, Harold Lloyd); to the sophisticated comedy that dominated the early decades of sound (directors Ernst Lubitsch, George Cukor, Howard Hawks, Billy Wilder); to attempts in the 1960s and 70s to rethink comedy by commercial directors and independent filmmakers working "underground" (George Kuchar, John Waters); to recent work that has built on this tradition. (Same as CNMS-291.) Maximum enrollment, Standard Course (40).

292 Modern Architecture.
This course surveys architecture from late-nineteenth to mid-twentieth centuries. We will interrogate the idea of ‘modernity’ and its dissemination through analyses of global projects and their associated theoretical concepts. The emphasis will be on the impact of historical forces such as industrialization, colonialism, nationalism, capitalism, and globalization on aesthetic and formal developments. We will also address persistent concerns in architectural history: excessive focus on male designers and Western exemplars, the impact on race and gender, and the exploitation of the environment. Maximum enrollment, Standard Course (40). Lo.

295 History of Performance Art.
History of Performance Art investigates the international developments in performance art after 1950. It considers the experimental strategies and ideological aims of visual artists who used their bodies as the primary vehicle of expression, information, communication, and social change. Performance art has had the distinction of being the most censored art form, a highly significant social fact that draws attention to its particularly disruptive aesthetic codes and materials – emphasizing presentation over representation; human bodies over inanimate objects; and temporality over spatiality. (Social, Structural, and Institutional Hierarchies.) (Proseminar.) Maximum enrollment, Proseminar (16). Jarosi.

296 Global Contemporary Art.
Global Contemporary Art surveys the expanding definitions, contexts, and forms of art in the late twentieth and early twenty-first centuries, paying particular attention to the significance of artistic agency, artists’ writings, globalization, the art market, and political engagement and social transformation. Maximum enrollment, Standard Course (40). Jarosi.

301 Avant Garde: Cinema as Theory and Critique.
A history of alternatives to commercial movies, focusing on surrealist and dadaist film, visual music, psychodrama, direct cinema, the film society movement, personal cinema, the New American Cinema, structuralism, Queer cinema, feminist cinema, minor cinema, recycled cinema and devotional cinema. While conventional entertainment films use the novel, the short story and the stage drama as their primary instigations, experimental and avant-garde films are analogous to music, poetry, painting, sculpture and collage. Not open to first-year students. (Same as CNMS-301, LIT-301.) Maximum enrollment, Standard Course (40). MacDonald.

302 Architecture and the Environment.
This course examines architecture’s historical relationship with the environment by engaging with broad Anthropocene questions. We will trace changing conceptions of "nature" through the study of the co-production of architecture and the environment, and the ways in which designers continually reconceive the human-nature relationship. Topics include colonial land management, materiality, infrastructure and resource extraction (eg. Erie Canal, dams, solar farms), waste, architecture of logistics (eg. Walmart and Amazon), eco-cities and sustainable urbanism, and landscapes of food production. (Same as ENVST-302.) Maximum enrollment, Standard Course (40). Lo.

303 Architecture and Race.
This course explores the intersections of race, racial theory, and architecture from the eighteenth century to the present. We will focus primarily on the construction of race in the material, discursive, and experiential aspects of the built environment by deconstructing the canon from within. Topics include racialized spatial practices such as designing, zoning, extracting, occupying, and memorializing. Students will connect theory and history to present-day social problems through a digital final project that analyzes the relationship between architecture and race in the Utica area. (Social, Structural, and Institutional Hierarchies.) Restricted to Juniors and Seniors Maximum enrollment, Seminar (12). Lo.

314 Digital Approaches to Print Media.
How can digital tools help us understand print visual culture? This research lab-style seminar integrates humanistic inquiry with a collaborative research and project design process integral to STEM fields. Students will read cutting edge work on illustrated magazines including Life, Vogue, and National Geographic and explore digital humanities projects that offer new ways to explore histories of print media. Students will learn about the possibilities and limits of digital tools such as mapping, network visualizations, and text mining, and design their own projects utilizing digitized collections of illustrated magazines. (Proseminar.) Prerequisite, A 200-level course in Art History, History, or Cinema & Media Studies, or permission of the instructor. (Same as DARTS-314 CNMS-314.) Maximum enrollment, Proseminar (16). Bair.

316 African Americans in American Cinema.
Exploration of the history of cinema produced by African Americans and the representation of African Americans in cinema. Topics include early cinema, D.W. Griffith’s Birth of a Nation; Oscar Micheaux and the "race films" of the 1920s-1940s; early jazz films; Richard Wright’s Native Son as novel and films; radical 1960s-1970s experiments by William Greaves, Melvin Van Peebles, and the "LA Rebellion"; Daughters of the Dust; Spike Lee, and Marlon Riggs. Course hosts visits by accomplished filmmakers and scholars. (Social, Structural, and Institutional Hierarchies.) (Same as CNMS-316.) Maximum enrollment, Standard Course (40). Scott MacDonald.

320 Race and Racism in the Middle Ages.
How can we learn from the pre-modern past to make sense of our current world? This writing-intensive course critically studies the structures and operations of exclusion in the Middle Ages through art and visual culture. Students will develop awareness of the historical instances of discrimination based on race, ethnicity, sexuality, gender, and beliefs in the medieval world. The aims of the course itself are antiracist: we will foster time for thought and self-reflection, generate ideas for implementation, and learn from our readings and writings as well as from each other. (Writing-intensive.) (Social, Structural, and Institutional Hierarchies.) Open to juniors and seniors only. Maximum enrollment, Seminar (12). Tillery.

329 Art of Devotion: Visual and Material Culture of Islam.
What is the relationship between aesthetics, material culture, and religious experience? In this course we explore this question by examining the aesthetic traditions of Islam, focusing on how Muslims have used literature, visual art, musical performance, and architecture as modes of religious expression and creativity. Through studying aesthetics and devotion in the Islamic tradition, we will reflect on questions of cultural appropriation and reuse, politics of representation, and the global circulation of objects, peoples, and capital. (Writing-intensive.) Prerequisite, one 200-level course in Asian Studies, History, or Religious Studies. (Same as ASNST-329, HIST-329, RELST-329.) Maximum enrollment, Seminar (12). Usman Hamid.

330 Theory and Methods in Art History.
What is art history as a discipline? What do art historians do? How do they go about doing it? Theories & Methods of Art History introduces students to various art historical and interdisciplinary theoretical perspectives and methodological approaches that have shaped the understanding, interpretation, and production of visual art. Course materials consist of primary texts, secondary or applied texts, and artists’ texts. Students are thus exposed to theories & methods in their original formulation, in their art historical or practical application, as well as in their adaptation by an artist.   (Writing-intensive.) Prerequisite, one 200-level course in art history. Maximum enrollment, Writing-Intensive (18). The Faculty.

348 The Art and Architecture of Buddhism.
This speaking-intensive seminar examines the rich and diverse art and architectural history of Buddhism, from its rise and development in South Asia to its sharing and transformation across East Asia and Southeast Asia. Case studies will be selected from the third century BCE through to the present day. Students will be required to present a research study on a Buddhist work of art or architecture that reaches beyond the “canon.”  (Speaking-Intensive.) Maximum enrollment, Speaking-Intensive (20). Menon.

353 Representing Trauma in the Visual Arts.
How have conceptualizations of trauma evolved since 1945? What are the therapeutic and social consequences of representing trauma? How has visual art advanced our understanding of traumatic subjectivity, experience, and memory? This interdisciplinary course follows a historical trajectory from the most profound of collective traumas, the Holocaust, to the refinement of clinical definitions of trauma following the Vietnam War, to the advent of trauma studies in the 1990s, to the recent "pictorial turn" in scholarship on trauma as a means to examine the dynamics of trauma & its representation. Prerequisite, One 300-level course in the humanities or social sciences. Maximum enrollment, Seminar (12). Jarosi.

365 Major Figures in Cinema.
Focus on crucial contributors to the wide world of cinema. The work of one, two, or three particular filmmakers, each from a different sector of the geography of cinema, will be examined in detail. Prerequisite, ARTH/CNMS/CPLIT 120; or ARTH/CNMS/CPLIT 290; or ARTH/CNMS/CPLIT 301; or permission of the instructor. (Same as CNMS-365.) Maximum enrollment, Standard Course (40). MacDonald.

375 Seminar: Religion, Art and Visual Culture.
What do the visual arts tell us about religions in ways that written texts alone cannot? How do religious practices actually train religious people to see? Such questions will begin our examination of various media (including painting, calligraphy, architecture, film, and comics) in conjunction with various religious traditions (Christianity, Islam, Judaism, Hinduism, Buddhism). Prerequisite, one course in either art history or religious studies. Required weekend field trip to New York City. (Same as RELST-375.) Maximum enrollment, Seminar (12). Rodriguez-Plate.

493 Senior Seminar in Art History.
Examination of selected topics in Art History culminating in the Senior Project. Topics vary according to interests of students. Includes the development of the Senior Project, from topic selection and bibliography development to reviews of research skills and conceptual and theoretical frameworks resulting in a final essay or project formally presented before the Department. Open to senior concentrators only, or by consent of the instructor. (Writing-intensive.) Prerequisite, Four courses in Art History. Maximum enrollment, Seminar (12). The Faculty.

(from the Hamilton Course Catalogue)


Department Name

Art History Department

Office Location
198 College Hill Road
Clinton, NY 13323

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