Spring 2013 Courses

Undergraduate Courses

Graduate Courses


Undergraduate Courses

ARTH200 Art and Society in Ancient and Medieval Europe to the
Mediterranean (Professor Venit)
TuTh 11-11:50 + section (ASY 2203)

ARTH201 Art and Society in the West from the Renaissance to the Present (Professor Colantuono)
MW 9-9:50 + section (ASY 2203)

ARTH 255 Art and Society in the Modern American World (Professor McEwen)
TuTh 9:30-10:20 + section (ASY 2203)

ARTH275 Art and Society in Africa (Professor Hill)
MW 11-11:50 + section (ASY 2203)

ARTH290 Art and Society in Asia (Professor Suzuki)
MW 10-10:50 + section (ASY 2203)

ARTH302 Greek Art and Archaeology (Professor Venit)
TuTh 12:30-1:45 (ASY 3215)

ARTH320 Fourteenth and Fifteenth-Century Northern European Art (Professor Martinez)
TuTh 12:30-1:45 (3211)

ARTH335 Seventeenth-Century Art in the Netherlands (Professor Wheelock)
M 3-5:30 (3211)

ARTH350 Twentieth-Century Art to 1945 (Professor Mansbach)
TuTh 9:30-10:45 (ASY 3211)

ARTH351 Art Since 1945 (Professor Metcalf)
TuTh 2-3:15 (ASY 3211)

ARTH359A Film as Art: Documentary and the Visual Construction of Reality (Professor Metcalf)
W 3-6:30 (ASY 3211)

ARTH360 History of American Art to 1876 (Professor Ater)
TuTh 2-3:15 (ASY 3215)

ARTH361 American Art Since 1876 (Professor Naeem)
TuTh 9:30-10:45 (ASY 3215)

ARTH383 Art of Japan after 1500 (Professor Volk)
TuTh 11-12:15 (ASY 3215)

ARTH386 Experiential Learning
permission of department and junior standing required

ARTH488D Colloquium in Art History: Remembrance and 19th-Century American Sculpture (Professor Ater)
TuTh 11-12:15 (ASY 3217)
Permission of the instructor required.
With a focus on Civil War memorials, this course examines neoclassical and Beaux-Arts sculpture of the nineteenth century in the United States. All students are required to write a research paper, and to propose and design a monument/memorial for McKeldin Mall based on some aspect of the university's history. H488D Colloquium in Art History: E 1925

ARTH488G Colloquium in Art History: Colloquium in Art History; Utopia in Modern Art (Professor Mansbach)
TuTh 2-3:15 (ASY 3217)

ARTH489B Special Topics in Art History: Corporate Visual Culture Since 1950 (Professor Shannon)
TuTh 11-12:15 (ASY 3211)
This course involves students in identifying the dominant visual styles of national and global corporations since World War II, and, especially, in seeking to understand the content or meanings of those styles.  To some degree, then, the course is a history of recent corporate design, but emphasis throughout is on producing critical relationships to that history: the course asks students to identify the fantasies or myths in corporate design and the historical reasons for the viability of these myths.  What styles have been persuasive in what places and times, and why?  In turn, what mindsets or beliefs or assumptions are fueled or enabled by these designs?  How have the streamlining, globalization and homogenization of corporate style shaped life around the world since World War II?  (Corporate style is not only visual; it also has particular aural, textual, tactile, and even olfactory characteristics.  While these qualities are not the explicit subject of most of our reading, students are encouraged to consider them.)

ARTH489M Special Topics in Art History: Myth in Renaissance and Baroque Art (Professor Georgievska-Shine)
M 3-5:30 (ASY 3215)

ARTH496 Methods of Art History and Archaeology (Professor Georgievska-Shine)
W 3-5:30 (ASY 3215)
Prerequisite: Permission of ARHU-Art History & Archaeology department. Restriction: Must be in Art History program.
Methods of research and criticism applied to typical art-historical/ archaeological problems, familiarizing the student with bibliography and other research tools. Introduction to the historiography of art history and archaeology, surveying the principal theories, encouraging methodological debates within the discipline. Course for majors who intend to go on to graduate school.

ARTH498 (PermReq) Directed Studies in Art History I. Individual Instruction Course
TBD

ARTH499 (PermReq) Honors Thesis. Individual Instruction Course
TBD

Graduate Courses

ARTH 738: Seminar in Seventeenth-Century Southern European Art
The Art of Spectacle: Power, Politics and Religion in Baroque Europe
Professor Anthony Colantuono
Monday 12:00-2:40 p.m.
ASY 4304
Public spectacle was a major technology of political and religious control in early modern Europe.  Proceeding from a critique of Situationist and post-Situationist theories of spectacle, this course seeks to develop new approaches to the visual and ephemeral material cultures of public processions, festivities and ceremonies that helped to articulate the structure of seventeenth-century urban society.  The course considers the evidence of paintings, prints, books, music, dance, costume and ephemeral apparati, as well as modern attempts to reconstruct Baroque spectacle in film and other media.  Students will develop original research in their chosen area of interest.  Readings include the work of John Moore, Maurizio Fagiolo dell'Arco, Louise Rice, Roy Strong, André Lascombes and others.

ARTH 759: Seminar in Twentieth-Century Art
Modernism and the Desert
Professor Joshua Shannon
Tuesday 3-5:40 p.m.
ASY 4304
In this course, we will consider modernism’s long and intense interest in the landscape of the desert.  Why, we will ask, were so many modernist artists drawn to work about and in the desert?  In what ways did the aims of modernism seem to fit landscapes of heat, sun, and rock?  We will consider art since about 1920, with an emphasis on the United States and on the years around 1968, when the desert played an especially prominent role in avant-garde circles.  In addition to studying painting, photography, and earthworks, we will also consider the complicated and evolving meanings of the desert in culture more broadly, as in fiction, magazine photography, and Western films.

ARTH768: Seminar in Latin American Art and Archaeology
American Abstractions: Art and the Cold War
Professor Abby McEwen
Tuesday 12:00-2:40 p.m.
ASY 4304
In his famous Life magazine essay of 1941, Henry R. Luce forecast an "American Century," declaring the United States "the most powerful and vital nation in the world" and, no less, the world's "intellectual, scientific and artistic capital."  American exceptionalism -- "America as the powerhouse of the ideals of Freedom and Justice" -- carried strong internationalist overtones on the eve of the country's entrance into the Second World War.  The politics of Cold War culture would bring intense pressures to bear on American self-identity, and Latin America represented a particularly fraught ideological theater in the period 1945-75.  American cultural imperialism reverberated from Havana to Caracas and São Paulo and, in a significant way, shaped both the reception and the promotion of abstract art across the hemisphere.

This seminar considers the different visual and ideological modalities of abstraction in play across the Americas during the years of the Cold War.  Alongside a review of the literature around Abstract Expressionism, we will examine the contemporary emergence of "Latin American" art -- "el nuevo arte nuestro" -- and the political currency of Pan-Americanism.  The rise of gestural and geometric abstraction across the Americas is considered through a series of targeted case studies, some of which will be drawn from the collection of the Art Museum of the Americas, Organization of American States.  Students will have the opportunity to conduct archival research on works in the museum's collection, and their checklist entries will be published in the catalogue for the exhibition Constellations: Constructivism, Internationalism, and the Inter-American Avant-Garde, which will open at the Fred Jones Jr. Museum of Art, University of Oklahoma, in October 2013.

ARTH769 Selected Topics in Art History
Contemporary Art of Africa: 1970 to Present
Professor Shannen Hill
Monday 3-5:40 pm
ASY 4304
At their birth, African nations envisioned local utopias that combined modernity with nativism (or anti-primitivism) to build cohesion within their newly formed post-colony. Artists of the mid twentieth century often embraced an aesthetic that celebrated ethnic customs even as it erased ethnic divisions in the name of the nation. Since others insisted that liberation included freedom of creative expression, tensions arose in how the post-colony was best represented. Our course begins with these histories to establish contexts for what follows: a study of studio art made since 1970. Impacted by local and global politics, newly disillusioned artists of Africa shed their utopic visions for tough critiques of these forces. Thus the study of contemporary African art is one of political stance. Through multiple forms and frames, artists in this course take up such topics as economies of trade, climate change, archiving memory, ethnic and religious tensions, Cold War geopolitics, or race/difference and its attendant expectations. They also creatively combat borders drawn around them, institutional (e.g. education, public collecting), commercial and personal.

ARTH779 Seminar in Japanese Art
Revivals: Continuity and Change in the Japanese Visual Arts (Sections 1 & 2)
Professors Yui Suzuki (Section 1) and Alicia Volk (Section 2)
Thursday 3-5:40p.m.
ASY 4304
The long history of Japanese art has been repeatedly shaped by artistic revivals and marked by the purposeful remaking, reframing, reinventing, reconstructing and recreating of artistic modes and motifs of times past. This class examines various manifestations of this phenomenon, considering how notions of time, identity, history, memory and tradition (among others) have been understood and conceptualized at different moments in early modern and modern Japanese art, as well as within the discipline of Japanese art history and its scholarship. We will study modes and strategies of artistic emulation, adaptation, and appropriation while we seek to understand the construction of classical pasts and their contemporary relevance to artists and audiences of the Tosa School, the Rinpa School, ukiyo-e, nihonga and other movements in Japanese art.