Spring 2015 Courses

Undergraduate Courses

Graduate Courses


Undergraduate Courses

ARTH200 Art and Society in Ancient and Medieval Europe to the Mediterranean (Professor Martinez)
TuTh 11-11:50 + section (ASY 2203)
Examines the material culture and visual expressions of Mediterranean and European societies from early times until ca. 1300 CE, emphasizing the political, social, and religious context of the works studied, the relationships of the works to the societies that created them, and the interrelationship of these societies.

ARTH201 Art and Society in the West from the Renaissance to the Present (Professor Mansbach)
MW 9-9:50 + section (ASY 2203)
Examines representative European and American works of art from the later Middle Ages to the present, highlighting the dynamic exchange between artistic and cultural traditions both within periods and across time.

ARTH221 Color: Art, Science, and Culture (Professor Ater)
TuTh 9:30-10:20 + section (ASY 2203)
An interdisciplinary exploration of the intersections of art, science, and culture. Using research on human vision, neurobiology, and cognitive psychology, examines how vision works, why we see color, and how we respond to color. Investigates the cultural significance of color: how artists across time and cultures have had access to and used color; how cultures have created specific language to describe color; and how cultures have imbued color with profane, sacred, and/or symbolic meanings.

ARTH250 Art and Society in the Ancient American World (Professor Bland)
MW 10-10:50 + section (ASY 2203)
Surveys major arts and architecture of the pre-Columbian world, including Mesoamerican and Andean cultures from the earliest known civilizations through European contact and conquest. Acquaints students with the monumental architecture, urban planning, painting, sculpture, and portable arts of the ancient Americas.

ARTH303 Roman Art and Archaeology (Professor Gensheimer)
TuTh 2-3:15 (ASY 3215)
Sites and monuments of painting, sculpture, architecture, and the minor arts from the earliest times through the third century A.D. with emphasis on the Italian peninsula from the Etruscan period through that of Imperial Rome.

ARTH305 Archaeological Methods and Practice (Professor Hambrecht)
MW 12-1:15 (SKN 1115)
Prerequisite: ANTH240, ARTH200, or CLAS180. Credit only granted for: ANTH305, ARTH305, or CLAS305. Formerly: ARTH489.
A team-taught, interdisciplinary course discussing theories, methods, and ethical issues in the practice of archaeology.

ARTH346 Nineteenth-Century European Art from 1850 (Professor Hargrove)
TuTh 11-12:15 (ASY 3215)
Major trends from Realism and Impressionism to Symbolism, exploring the historical context, in which concepts of gender, class, and race are integral to the transformation of Western art.

ARTH350 Twentieth-Century Art to 1945 (Professor Metcalf)
TuTh 3:30-4:45 (ASY 3211)
Prerequisite: ARTH201
Painting, sculpture, and architecture in Europe and America from the late nineteenth century to the end of World War II.

ARTH359O Film as Art: Shakespeare on Film (Professor Metcalf)
W 3:30-7 (HBK Room J)
This is not a course on Shakespeare.
It is a course on what filmmakers do with Shakespeare and what filming does to Shakespeare's plays. Several different thematic approaches to specific filmed versions of plays will be used to consider how the language of film "holds up a mirror" to the language of the plays. Film versions of Hamlet, MacBeth, and The Tempest will be central to the class although other plays/films will be included. Previous study of the original plays is not required, although it couldn't hurt.

ARTH361 American Art Since 1876 (Professor Ater)
TuTh 12:30-1:45 (ASY 3211)
Painting, sculpture, architecture, and the decorative arts in North America after 1876.

ARTH372 Modern Latin American Art to 1945 (Professor McEwen)
TuTh 9:30-10:45 (ASY 3211)
Recommended: ARTH371. Restriction: Must not have completed ARTH389L during the following semester; Fall 2010, Fall 2011, or Fall 2012. Credit only granted for: ARTH372 or (ARTH389L in Fall 2010, Fall 2011, or Fall 2012). Formerly: ARTH389L in Fall semesters of 2010, 2011, 2012 only.
Painting and sculpture in Latin America, with an emphasis on avant-garde movements in Mexico City, Havana, Buenos Aires, Sao Paulo, and Rio de Janeiro.

ARTH382 Art of Japan before 1500 (Professor Suzuki)
TuTh 9:30-10:45 (ASY 3215)
Credit only granted for: ARTH382 or ARTH384. Formerly: ARTH384.
Thematically-focused topics in painting, sculpture, architecture and decorative arts of early and medieval Japan, from 5000 BC to 1500 AD.

ARTH386 Experiential Learning
Prerequisite: Permission of ARHU-Art History & Archaeology department. Restriction: Junior standing or higher.

ARTH389K Special Topics in Art History and Archaeology: Contemporary Chinese Cinema (Professor Kuo)
TuTh 11-12:15 (HBK 0302J)
Also offered as FILM329K. Credit will be granted for ARTH389K or FILM329K

ARTH465 The Landscape in Modern and Contemporary Art (Professor Shannon)
TuTh 11-12:15 (ASY 3211)
In this course, we will consider artistic representations of space and place since about 1850.  It is a class not on landscape architecture but rather on the ways in which artists have understood and tried to make sense of modern and postmodern cities, suburbs, and rural areas.  Emphasis is on European and especially North American painting and photography, but we will also consider work in other media such as film, popular music, and earthworks.  Throughout, we will focus in particular on the ways in which landscape has been marshaled as social and political force—as a support for group identities, as a frame for changing values and psychologies, etc.  The course comprises five units: Some Ways of Thinking about Landscape, The Rise of the Modernist Landscape, The American West, Postwar Cities and Suburbs, and Contemporary Globalization.

ARTH488F Colloquium in Art History: Paris and Global Culture in the Nineteenth Century (Professor Hargrove)
TuTh 2-3:15 (ASY 3217)
This colloquium will explore the dynamic cultural exchanges that intersected in Paris as the world was transformed by travel and technology in the 19th century. While the first emerges in the variety of art and artifacts that came to Paris from other parts of the world, artists from around the globe soon followed, pouring into France to learn from and experience Paris, which came to be called the Art Capital of the World. At the same time French artists left the metropole to explore the cultural differences they would encounter in other parts of the globe. We will examine trends, objects, and individual artist’s experiences from Vivant Denon to Matisse in the global context.
Class consists of lectures, discussions of reading assignments, visits to museums, and your oral reports. Weekly readings are mandatory for discussion. Each participant will choose an article for which s/he will be the discussion leader on a rotating basis. In the final weeks of the class, each student will present an oral report on the topic of your choosing. Instead of a final exam, you will write a 10-page research paper based on your report – guidelines to be distributed separately. Success in this course is based on your engagement with the readings and discussions as well as your research presentation/paper.

ARTH488L Colloquium in Art History: Twentieth-Century Latin American Art: Practicum at The Art Gallery (Professor McEwen)
TuTh 12:30-1:45 (ASY 3217)
Students will be introduced to curatorial practices and some digital tools used in art history through their work on an exhibition of modern Latin American art, drawn from the Art Museum of the Americas, that will open in March 2015 at The Art Gallery on campus.

ARTH488P Colloquium in Art History: Living in the Shadow of Vesuvius: Pompeii, Herculaneum and Stabiae (Professor Gensheimer)
TuTh 11-12:15 (ASY 3217)
When Mt. Vesuvius erupted in 79 CE, Roman cities along the Bay of Naples, such as Pompeii and Herculaneum, were completely buried by volcanic debris.  Elite retreats for leisure, such as the villas at Oplontis and Stabiae, were also destroyed.  This course will rediscover the lost cities and ancient monuments on the Bay of Naples ¬ the temples, theaters, baths, streets, and many houses ‹ to understand the infrastructure and daily life of these ancient cities and spaces.  Surveys of area archaeological sites will help to contextualize these monuments within their regional and cultural landscape.  Material and information will also be drawn from UMD's excavations at Stabiae.

ARTH489F Special Topics in Art History: Photography and Art History (Professor Grossman)
TuTh 3:30-4:45 (ASY 3217)
This course examines critical debates surrounding the place of photography in the field of art history. We will study this issue from a global historical perspective while considering the importance of social and institutional contexts within which related discourses have developed. Students will develop a critical language for analyzing photographs, taking advantage of the exhibition, Man Ray – Human Equations: A Journey from Mathematics to Shakespeare, at The Phillips Collection to examine what distinguishes this medium from others. The course will provide unique opportunities for a behind-the-scenes look with the curator at how these issues relate to current museum practices.

ARTH489K Special Topics in Art History: Art HIstory and the Museum World (Professor Georgievska-Shine)
F 2-4:30 (ASY 3211)
This course is open to all students interested in the museum world and museum work.
Our weekly sessions – both in College Park and at various museums in the Washington area – shall focus on various modes of applying art historical knowledge in the museum environment including, but not limited to curatorial work, preservation and building of collections, display of works of art, and educational programs that promote a more meaningful relationship between museums and their audiences.

ARTH498 (PermReq) Directed Studies in Art History I. Individual Instruction Course
Contact department for information to register for this course

ARTH499 (PermReq) Honors Thesis. Individual Instruction Course
Contact department for information to register for this course

Graduate Courses

ARTH 738C Seminar in Seventeenth-Century Southern European Art: Figuring the Body in Early Modern European Art
Professor Anthony Colantuono
Tuesday 12:00-2:40 p.m.
ASY 4304
The topic of 'figuration' is central to the art-theoretical literature of early modern Europe, addressing the question: how can the artist transform an incorporeal idea into an image perceptible to the visual sense?  The image of the body is a specialized area of figuration, encompassing extensive theoretical literatures on topics such as proportion, anatomy, costume, physiognomics, pathognomics, portraiture and self-portraiture, and the decorum of age, gender and gesture.  Following a brief overview of these fundamental issues, this seminar will explore readings the extensive secondary art-historical literature in search of new approaches, with the aim of developing original research in an oral and written seminar paper.  Readings will include selected primary theoretical texts in English translation, as well as art-historical studies by Jennifer Montagu, Sandra Cheng, Will Fisher, Sharon Fermor, Walter Stephens and others.

ARTH 739B Seminar in Seventeenth-Century Northern European Art: Peter Paul Rubens (at Home and Abroad)
Professor Arthur Wheelock
Monday 3:00-5:40 p.m.
ASY 4304
Peter Paul Rubens’ artistic career was focused in Antwerp, where he asserted himself as the preeminent master in the Southern Netherlands.  He was greatly admired for the fluidity of his brush, the power of his religious imagery, and the intellectual underpinnings of his allegorical and mythological creations. His fame, however, was no less in Italy, Spain, France, Germany, Holland and England, as patrons throughout Europe sought to enrich their churches, courts, and private collections with masterpieces by his hand.  Timed to coincide with a small Rubens exhibition at the National Gallery of Art, this seminar will explore the fascinating and multi-faceted career of this remarkable individual.  It will also assess the broad impact his art had on his Flemish and Dutch contemporaries.

ARTH 759B Seminar in Twentieth-Century Art: Photorealism
Professor Joshua Shannon
Thursday 3:00-5:40 p.m.
ASY 4304
Little studied by art historians, photorealist painting, drawing, and Printmaking enjoyed a period of some commercial and popular success around 1970. This seminar offers an intensive investigation of this unusual movement, with the conviction that a fresh look will allow the art to shed light on several important topics, including the functions of photography and especially the strange qualities, in recent human experience, of the real.  In addition to primary and secondary literature on the artists, we will read some theories and histories of realism. Above all, we will simply try to make sense of these photo-based works of shop windows, automobiles, gardens, and families.

ARTH 759C Seminar in Twentieth-Century Art: Futurisms
Professor Steven Mansbach
Monday 12:00-2:40 p.m.
ASY 4304
This seminar will investigate the many visual versions, social aspects, and philosophical dimensions of the futurisms that were created throughout Europe (and beyond) from the end of the 19th century through the 1940s.  Although best known through F.T. Marinetti's codification and promotion, futurism had equally dynamic and inventive advocates elsewhere.  The rich range of these futurist iterations will constitute the core of the seminar.

ARTH 779B Seminar in Japanese Art: Artistic Relations Between Japan and the United States
Professor Alicia Volk
Thursday 12:00-2:40 p.m.
ASY 4304
Art and art history are unavoidably conditioned by geopolitics, perhaps most obviously when it comes to the relationship between “Western” and “non-Western” art. As art history has moved away from its customary privileging of the national and begun to articulate new models for understanding culturally diverse relationships (as encapsulated, for example, in such notions as cosmopolitanism, transnationalism, and globalism), it has also begun to re-conceptualize the dynamics at work when people, objects or ideas that are understood as culturally distinct come into contact, and of its own disciplinary role in shaping such dynamics. This course takes as its object of analysis what has surely been one of the more complex intercultural relationships in modern art: that between Japan and the United States, both up-and-coming nations that were removed from Europe’s authoritative artistic centers in the 19th and early 20th centuries, but whose artistic destinies dramatically diverged in the post-World War II decades. In an extended consideration of the problems and potentials of past and present conceptual models for understanding the interplay between “Western” and “non-Western” art, we will examine various modes and products of artistic intercourse over a series of discrete moments of contact, beginning with the “opening” of Japan by American black ships in the 1850s, through World War II, the Allied Occupation of Japan, and the Cold War and after. To the extent possible, the course will include field trips to area institutions, collections and related events.

ARTH 789B Selected Topics in Art HIstory: critical Curatorial Practices and Online Exhibition: The Poet-Painter Lo Ch'Ing
Professor Jason Kuo
Tuesday 3:00-5:40 p.m.
ASY 4304
Lo Ch’ing is one of China’s foremost contemporary poet-painters. His poetry has been translated into English, Italian, French, German, Spanish, Russian, Hebrew, Dutch, Swedish, Japanese, and Korean. His paintings have been exhibited and collected in many countries.

The course begins with some theoretical issues in contemporary curatorial practices in the age of digital media through an examination of such controversial exhibitions as Magiciens de la Terre (1989), Contemporary Art in Asia: Traditions/Tensions (1996), Documenta 11 (2002), Turns in Tropics: Artist-Curator (within the 7th Gwangju Biennale, 2008), Intense Proximity (La Triennale, 2012), and The Encyclopaedic Palace (55th Venice Biennale, 2013). Issues may include the challenges specific to curating across multiple artists, media, time periods; curators as artists and auteurs; artists as curators; collaboration between curators and artists; curatorial practices in the global context. Readings will be drawn from the writings by scholars, curators, and critics such as Okwui Enwezor, Wu Hung, Hou Hanru, Pierre Bourdieu, Melissa Chiu, Sarah Thorton, Terry Smith, Hans Ulrich Obrist, Paul Gladston, Geeta Kapur, Robert Storr, Hans Belting, Joan Kee, Pauline Yao and others.

This seminar offers students a unique opportunity: to explore the work of a living Chinese artist and interview him, in English, while preparing an exhibition concept centered on his work. Students taking this course will grapple with, and come to understand, how selective borrowing from both tradition and foreign cultures enables contemporary Chinese artists to sustain their practice.

A semester-long exhibition project takes the place of the standard seminar term paper, and its introduction early in the semester allows students time to become familiar with tools and technology, such as SketchUp and Omeka, with which they will bring to a high finish their exhibition concept. Support from staff in the Michelle Smith Collaboratory, offered in class in the early weeks of the semester and on a consulting basis going forward, will ensure all participants in the seminar a degree of confidence and mastery as they manage the work of curator in a virtual sphere. This exhibition project calls on each student 1) to formulate with clarity an idea for an exhibition; 2) to analyze and evaluate art and its display in a thoughtful and meaningful way; 3) to integrate images, texts and sounds in exhibition design; 4) and to design exhibitions for spaces that are real (physical) or virtual (online or modeled).

The course will be enriched by guest presentations from curators or directors at art museums and galleries in the Washington and Baltimore area. Students will have the opportunity to publish their exhibition online and their essays or catalog entries in the catalog for the proposed exhibition.