| source Indiana University Bloomington (X) |
level |
department Fine Arts (X) |
This team-taught survey course will examine the history of the visual arts in the Western world form Ancient Egypt (ca. 3000 BC) to the end of the Gothic era in Europe (ca. 1400 AD). The course will focus primarily on developments in the Âmajor arts of architecture, sculpture and painting, although other media, such as ceramics, jewelry and small-scale metal work, and textiles will also be addressed. In lecture and discussion sections, we will approach the individual works of art with two specific goals in mind: 1). To understand the works of art in terms of their formal structure, artistic innovations, and stylistic development 2). To situate the works into their specific historical and cultural contexts in order to understand better how different societies lived and perceived the world around them.
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This course will provide students with a basic introduction to major styles, artists, and themes from the later fourteenth century to roughly the present. Of particular importance will be: new media and their socio-cultural effects, the rise of artistic self-consciousness, and the role of the image in social and political processes. Honors Section 3:35-4:25p 28693 Wednesdays - Hutton Honors College
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From masks as tall as people to figures bristling with nails, African art presents an exciting visual diversity. This course surveys the major themes and art traditions of sub-Saharan Africa, examining materials, styles, functions, meanings and the contexts in which art is used. It also provides considerable cultural background and makes extensive use of our outstanding collections in the IU Art Museum. The focus is on traditional arts, but contemporary art is also discussed. Requirements: readings, map quiz, 3 non-cumulative exams, 2 short papers. This course requires a discussion section
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This course is an introductory survey of classical art and archaeology from the Bronze Age in Greece to the height of the Roman Empire. The course is divided into three parts: Pre-classical Greece, ancient Greece and ancient Rome. The readings and course lectures will combine the study of the major monuments of classical art with an examination of archaeological methods and practices, both past and present. We will both examine the objectives of archaeological research and discuss how archaeologists interpret and reconstruct the past from excavated artifacts. We will also explore the works of art within their broader historical and social contexts, with a focus on the relationship between art and religion, politics, social identity and status, trade and the economy, and everyday life. Contemporary issues in archaeology, including questions of authenticity, the repatriation and the impact of the illegal trade in antiquities, and modern reconstructions of the past in art and film will also be addressed.
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An historical survey of Japanese art in the context of culture, society, and politics. We will study the arts of Buddhism; ink painting and other arts associated with the Zen sect; the created landscape, in painting and garden design; historical narratives, and scenes of ordinary life. Credit given for only one of A262 or A362. S&H, CSA.
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In their juxtaposition of words and images, comics have fashioned one of the most sophisticated narrative languages in the history of visual art; this course will explore the formation of that language in all its complexity, from Rodolphe Töpffer's first experiments in the form of the 1830s to the most recent developments in alternative and art comics. We will study the evolution of comic-strip and comic-book graphic styles, and place the development of the comics in its social context. Special focuses of the course will be the development of comic strips in late nineteenth and early twentieth-century America; the birth of the comic book in the 1930s and the concept of the superhero; and the rise of underground and alternative graphic culture. Throughout the course, constant attention will be paid to the interplay and mutual influence between comics and "high art," such as Winsor McCay's Art Nouveau styles, Saul Steinberg and William Steig's connections to Picasso and Klee, Jack Kirby's relation to Pop Art, and the rise of gallery comics. Above class carries A&H distribution
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This course examines the beginnings, development, and maturation of Islamic art and architecture around the world from the 7th to the 20th century. Beginning with a discussion of Islam, Muhammad, the QurÂan, and a definition of ÂIslamic art, we will discuss the roles and meanings of demarcating divine topography as visible in the KaÂba in Mecca and the Dome of the Rock in Jerusalem. The rapid spread of Islam to the east and west during the 9th- 11th centuries created a new vocabulary for Islamic art and architecture, fusing pre-existing Byzantine and Persian models with Islamic innovations. We will look at mosque and palace complexes in north Africa, southern Spain, as well as in Mesopotamia and Central Asia. During the Crusades, Islam came into close contact with Europe, resulting in fascinating hybrid objects and architecture that call into question the simplistic division of ÂEast and ÂWest. From the 15th to the 17th century, the three so-called gunpowder states of Anatolia (the Ottomans), Persia (the Safavids), and the Indian Subcontinent (the Mughals) created new concepts of empire, wealth, and administration in the imperial cities of Istanbul, Isfahan, and Agra. Finally, Colonialism and Orientalism will be examined, as well as the emergence of modern Islamic art. This course meets with FINA-A 527 Graduate section
Score: 11.943968 Details | Listing | Web page
This course examines the beginnings, development, and maturation of Islamic art and architecture around the world from the 7th to the 20th century. Beginning with a discussion of Islam, Muhammad, the QurÂan, and a definition of ÂIslamic art, we will discuss the roles and meanings of demarcating divine topography as visible in the KaÂba in Mecca and the Dome of the Rock in Jerusalem. The rapid spread of Islam to the east and west during the 9th- 11th centuries created a new vocabulary for Islamic art and architecture, fusing pre-existing Byzantine and Persian models with Islamic innovations. We will look at mosque and palace complexes in north Africa, southern Spain, as well as in Mesopotamia and Central Asia. During the Crusades, Islam came into close contact with Europe, resulting in fascinating hybrid objects and architecture that call into question the simplistic division of ÂEast and ÂWest. From the 15th to the 17th century, the three so-called gunpowder states of Anatolia (the Ottomans), Persia (the Safavids), and the Indian Subcontinent (the Mughals) created new concepts of empire, wealth, and administration in the imperial cities of Istanbul, Isfahan, and Agra. Finally, Colonialism and Orientalism will be examined, as well as the emergence of modern Islamic art.
Score: 11.943968 Details | Listing | Web page
This course covers the principal aspects of art in seventeenth-century southern Europe,with the main emphasis on Rome as the period's artistic hub. Among the topics covered will be: the anti-Mannerist reaction; realism in the work of Caravaggio and his followers; the rise of the Baroque style of ceiling painting; Poussin's classicism; Claude and the ideal landscape; Bernini, theatricality and urbanism; and the capriccio in the work of Rosa and Castiglione. Particular attention will be paid to stylistic transformation in religious art and architecture as a result of the church's changing needs; to the different circles of patronage available for secular art; and to the influence of artistic theory on the evolution of the arts.
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Women have often been overlooked in the story of Western Art. Many of their works are lost or unknown, making it difficult to study their work. In recent years, scholars have worked to restore this lost chapter of our cultural heritage. We will look at some of the best known women artists, try to understand how their achievements fit in to the time and place that they worked, and examine some of the ethical, social, and political issues that arise as a result of this strange situation where a significant history has been suppressed. We will begin in the Middle Ages, but emphasis is on the 20th century. Undergraduates: grading will be based on 3 non-cumulative quizzes and a take-home final. Graduates: two additional 1 hour meetings, a 20-page research paper, and a take-home exam.
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Twentieth-century art encompasses a tremendous variety of artists and art media: paintings by Matisse and Picasso, large canvases dripped and poured by Jackson Pollock, found objects, Pop art, conceptual, performance, and installation art, to name only a few. Art produced by twentieth-century artists is sometimes beautiful but is frequently challenging, ugly, and urgent. The course will provide a sampling of artists and art movements from 1900 to the present. Course objectives are: (1) basic literacy in the names, terms, and movements associated with twentieth-century art, (2) an understanding of the major patterns, turning points, and questions that have shaped twentieth-century art, (3) an ability to make informed arguments about the pros and cons of various types of twentieth-century art, (4) experience in locating sources of information: books from the Fine Arts Library, electronic resources provided by the IU Libraries, and internet searches. 3 essay exams, occasional in-class writing assignments, and one 2-3 page paper.
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Topics in East Asian Studies: Fine Art A 360/E351: Landscape and Nature in East Asian Art Starting with philosophical and intellectual ideas that have impacted the concepts of nature and landscape in China, Korea and Japan the course will deal with the origin, transformation and significance of landscape and nature in paintings and garden design from its first appearance as Âsetting to its development as an independent, highly regarded genre within the arts of East Asia. Diverse concepts of landscape and nature constitute important achievements of East Asian Art. Undergraduate section
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The starting point of the class will be Linda NochlinÂs now-classic essay ÂWhy Have There Been No Great Women Artists? (1971). Nochlin challenged art historians to examine the concepts around which art history has been structured, particularly the idea of genius, a conception that has invariably been gendered as male. Nochlin drew attention to the social and institutional conditions within which artists must operate and the limits these can place on women artists. In the wake of NochlinÂs pioneering work, feminist artists and art historians have continued to raise questions about the power structures of the art world and the mechanisms by which ideas of Âmasculinity and Âfemininity are sustained. Although much has changed since 1971, the concept of the Âgreat artist as male creative genius survives. What strategies and approaches have women artists employed to create space for themselves in an art world that despite changes still bears a considerable resemblance to the one Nochlin described over 30 years ago? Readings for the class will address the careers of individual artists who are mostly but not exclusively women, ranging from the late 19th century to the present: Mary Cassatt, Berthe Morisot, Suzanne Valadon, Georgia OÂKeeffe, Jackson Pollock, Eva Hesse, Judy Chicago, Robert Mapplethorpe, and others. Assignments will include short written critiques of individual readings, a 20-minute class presentation on a topic your choice, and a paper of 6 to 8 pages that reworks the presentation, utilizing class discussion and comments. Please note: this seminar has been designed for History of Art honors students, but some seats may be available for senior art history majors who are not in the honors program but wish to take part in a research seminar. If this applies to you, please send an expression of interest to Professor Janet Kennedy.
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This course will study the contributions of the visual arts to defining Roman identity through the examination of major forms and developmental trends in architecture, sculpture and painting. Emphasis will be on the interpretation of objects within their social and physical contexts. In order to facilitate close exposure to the objects and places studied, and multidimensional viewing the class is meeting in a classroom equipped with individual computer terminals. Readings will include both Roman literary sources and contemporary books on the topics. Written work will comprise periodic submissions of 4-5 page response papers and one blue-book examination. In addition graduate students will undertake a research project to be presented both in oral and written form. Images discussed in class, as well as other, supplementary images will be available on the Internet site (www.indiana.edu/~leach) for individual inspection in connection with the course readings. Undergraduate section This course meets with CLAS-C414
Score: 11.943968 Details | Listing | Web page
This course will study the contributions of the visual arts to defining Roman identity through the examination of major forms and developmental trends in architecture, sculpture and painting. Emphasis will be on the interpretation of objects within their social and physical contexts. In order to facilitate close exposure to the objects and places studied, and multidimensional viewing the class is meeting in a classroom equipped with individual computer terminals. Readings will include both Roman literary sources and contemporary books on the topics. Written work will comprise periodic submissions of 4-5 page response papers and one blue-book examination. In addition graduate students will undertake a research project to be presented both in oral and written form. Images discussed in class, as well as other, supplementary images will be available on the Internet site (www.indiana.edu/~leach) for individual inspection in connection with the course readings. Graduate Section This course meets with CLAS-C414
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The Turning Tide: The Renaissance Revolution, from Petrarch to Alberti and Giotto to Masaccio. This course will examine the primary sources in literature, philosophy and art theory which led Florence in the 14th and 15th century to initiate a new vision of the world and of man. It gave art and artists a central role in seeing and interpreting that vision.
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Welcome aboard. We will discuss toys with a long history (e.g., the yo-yo), toys that entertain (exquisite tin objects as well as crass video games), toys that challenge (mechanical puzzles), and even toys that do not, in a material sense, exist (mathematical games and linguistic puzzles such as steganography). Late in life, they say, one's mind turns to the follies of youth. Even though we may characterize early years thus  as unstructured, carefree  prolonged consideration reveals that time to have been structured at virtually level. This is not to say children and young adults are entirely constrained. This is merely to suggest that at every turn they are presented with options that, in their way, open up and restrict opportunities. Historical study may therefore reveal to us how the instruments of something as simple as play actually define the world of their users. Even a cursory awareness of this should help. Given that, this course will example a variety of toys from various cultures and historical moments. At heart our project is less a narrative of toys and the material culture of play. Maybe it would instead best be described as a thematic study. Essentially that study is of the opportunities and expectations we encounter in our seemingly most idle moments. Suffice it to say, viewed thus play and its objects become freighted. Best to spend time on a few exemplary cases rather than aim for a comprehensive narrative. Even so, students in this class will gain much. Gains anticipated include a greater sense of early enculturation, norms and values inculcated in us from the get-go, and so forth. In essence, we will treat of the ethics and aesthetics of play. Nothing less will suffice. Undergraduate section
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In this course, we examine the historical circumstances that brought about the primacy of the literal in certain American art circles in the middle of the last century. Though in appearance the work of pop artists and minimalists seem to differ greatly, they shared a concern with involved viewer experience, so that life and art intersected and infiltrated one another in new and radical ways. Indeed, the relationship of pop to minimalism is complex and involved, so that the literalism of WarholÂs Brillo Boxes can be seen to anticipate the manufactured minimal cube, while the deadpan pop of Ruscha and Goode owe a debt to IrwinÂs cool school aesthetic. More broadly, we will investigate the relationships―both formal and theoretical―between literal art and mid-20th century American culture. Readings and assignments will emphasize primary sources, including artistÂs writings, contemporary reviews and catalogs. Required texts: Battcock, Gregory (editor). Minimal Art: A Critical Anthology. Berkeley: University of California Press, 1995 (1968). Madoff, Steven Henry (editor). Pop Art: A Critical History. Berkeley: University of California Press, 1997. Undergraduate student section - meets with FINA-A 540
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We will discuss toys with a long history (e.g., the yo-yo), toys with a short history (the Rubik's Cube), toys that entertain (exquisite tin objects as well as crass video games), toys that challenge (mechanical puzzles), and even toys that do not, at least in a loose sense, exist (mathematical games and verbal challenges). Apples and oranges, four for a penny. You're a good scholar to count so many. EÂ>O, down below, Father and Mother and Dirty Joe. Joe went out to sell his eggs, He met a man with painted legs. Painted legs and crooked toes, That's the way the money goes. NYMXYDOSNSCCOXDKPKCDXOFOBZBOFOXDCKPKDXOCCSNSODYXMYN IYEBOKVVIXOOMKRYLLIDBIIYIYCYBTEQQVSXQ KVCYBOKNDROPSBCDDGYMRKZDOBCYPTYRKXRESJSXQKCRYWYVENOXCQOYBQOCDOSXOBYXNS PPSMEVDIKXNLOBDBKXNBECCOVVSXZBKSCOYPSNVOXOCC Graduate students section/ meets with FINA-A 490
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This course examines the beginnings, development, and maturation of Islamic art and architecture around the world from the 7th to the 20th century. Beginning with a discussion of Islam, Muhammad, the QurÂan, and a definition of ÂIslamic art, we will discuss the roles and meanings of demarcating divine topography as visible in the KaÂba in Mecca and the Dome of the Rock in Jerusalem. The rapid spread of Islam to the east and west during the 9th- 11th centuries created a new vocabulary for Islamic art and architecture, fusing pre-existing Byzantine and Persian models with Islamic innovations. We will look at mosque and palace complexes in north Africa, southern Spain, as well as in Mesopotamia and Central Asia. During the Crusades, Islam came into close contact with Europe, resulting in fascinating hybrid objects and architecture that call into question the simplistic division of ÂEast and ÂWest. From the 15th to the 17th century, the three so-called gunpowder states of Anatolia (the Ottomans), Persia (the Safavids), and the Indian Subcontinent (the Mughals) created new concepts of empire, wealth, and administration in the imperial cities of Istanbul, Isfahan, and Agra. Finally, Colonialism and Orientalism will be examined, as well as the emergence of modern Islamic art.
Score: 11.943968 Details | Listing | Web page
Women have often been overlooked in the story of Western Art. Many of their works are lost or unknown, making it difficult to study their work. In recent years, scholars have worked to restore this lost chapter of our cultural heritage. We will look at some of the best known women artists, try to understand how their achievements fit in to the time and place that they worked, and examine some of the ethical, social, and political issues that arise as a result of this strange situation where a significant history has been suppressed. We will begin in the Middle Ages, but emphasis is on the 20th century. Undergraduates: grading will be based on 3 non-cumulative quizzes and a take-home final. Graduates: two additional 1 hour meetings, a 20-page research paper, and a take-home exam. Graduate Section
Score: 11.943968 Details | Listing | Web page
In this course, we examine the historical circumstances that brought about the primacy of the literal in certain American art circles in the middle of the last century. Though in appearance the work of pop artists and minimalists seem to differ greatly, they shared a concern with involved viewer experience, so that life and art intersected and infiltrated one another in new and radical ways. Indeed, the relationship of pop to minimalism is complex and involved, so that the literalism of WarholÂs Brillo Boxes can be seen to anticipate the manufactured minimal cube, while the deadpan pop of Ruscha and Goode owe a debt to IrwinÂs cool school aesthetic. More broadly, we will investigate the relationships―both formal and theoretical―between literal art and mid-20th century American culture. Readings and assignments will emphasize primary sources, including artistÂs writings, contemporary reviews and catalogs. Required texts: Battcock, Gregory (editor). Minimal Art: A Critical Anthology. Berkeley: University of California Press, 1995 (1968). Madoff, Steven Henry (editor). Pop Art: A Critical History. Berkeley: University of California Press, 1997. Graduate student section - this course meets with FINA-A 490
Score: 11.943968 Details | Listing | Web page
Topics in East Asian Studies: Landscape and Nature in East Asian Art Starting with philosophical and intellectual ideas that have impacted the concepts of nature and landscape in China, Korea and Japan the course will deal with the origin, transformation and significance of landscape and nature in paintings and garden design from its first appearance as Âsetting to its development as an independent, highly regarded genre within the arts of East Asia. Diverse concepts of landscape and nature constitute important achievements of East Asian Art. Graduate student section - meets with FINA-A 360
Score: 11.943968 Details | Listing | Web page
This course is required for all entering MasterÂs students in Art History. Other interested graduate and undergraduate students require permission of the instructor before enrolling. This course is a general introduction to library research which includes an overview of indexing concepts relevant to the use of library catalogs, national bibliographies, library catalogs of major research institutions, and serial and dissertation indexes in the humanities. It includes a review of art historical and related bibliographies, indexing sources, museum and exhibition guides, art library catalogs in the U.S. and Europe, slide and photo archives collections, archival sources and art publishers and distributors. All major art historical references sources are covered. The goal of this course is to provide the student with the appropriate background necessary to conduct library research on art and related topics in an effective and efficient manner. The format of the course is through lectures. Assignments, Tests, Grades: Card catalog study questions; final assignment is development of a comprehensive bibliography on a topic of research relevant to the student. There are no exams and attendance is required.
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An investigation of the aesthetic language and devotional context of the early Christina icon from the emergence of a Christian representational tradition in the third century through to the declaration of Iconoclasm in the eighth century.
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