Spring 2016 Courses

Undergraduate Courses

Graduate Courses

Undergraduate Courses

ARTH200 Art and Society in Ancient and Medieval Europe to the Mediterranean (Professor Martinez)
MW 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 Hargrove)
TuTh 11-11:50 + 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.

ARTH290 Art and Society in Asia (Professor Kuo)
MW 10-10:50 + section (ASY 2203)
A comparative, interrelational study of the different visual arts and material cultures produced by societies in Asia. An examination of the historical traditions and forms in political, social, and religious contexts.

ARTH303 Roman Art and Archaeology (Professor Gensheimer)
TuTh 11-12:15 (ASY 3211)
At the height of its power, the Roman Empire stretched from Britain to Morocco and from Spain to Syria.  Rome itself, initially a small and unimportant town, grew into a major megalopolis that not only ruled its vast empire but set the pattern for a sophisticated urban style of living for over one thousand years.  This class will explore the architectural remains of ancient Rome, both within the city and throughout the breadth of its Empire.  Grandiose Roman architecture ­ temples, fora, triumphal arches, theaters, and baths, among other examples ­ along with the quotidian building blocks of the Empire ­ bridges, aqueducts, and roads ­ will be evaluated.  Emphasis is placed on studying Roman art and architecture within historical, political, social, and religious contexts and changes. Questions of patronage (imperial, elite, middle and lower classes) and function (public, domestic, and funerary) will also be considered.

ARTH330 Seventeenth-Century European Art (Professor Colantuono)
TuTh 9:30-10:45 (ASY 3215)
Painting, sculpture and architecture concentrating on Italy, Spain, France, and England.

ARTH346 Nineteenth-Century European Art from 1850 (Professor Hargrove)
TuTh 2-3:15 (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 Mansbach)
TuTh 12:30-1:45 (ASY 3215)
Prerequisite: ARTH201
Painting, sculpture, and architecture in Europe and America from the late nineteenth century to the end of World War II.

ARTH359R Film as Art; 1970s Film: Heroes in UnHeroic Times (Professor Metcalf)
W 3-6 (HBK 0302J)
During the 1970s a group of largely young filmmakers, educated in film school, inspired by the Nouvelle Vague and Neo-Realism, freed by the newly introduced ratings system and funded by studios pursuing the Easy Rider/Bonnie and Clyde audience, created films that interrogated American culture, the form and the values of American film. By the end of the decade, the mass-audience entertainment film embodied in the films of George Lucas and Steven Spielberg had largely driven these films out of the marketplace. Since Spielbergian entertainment style continues to dominate American film-making, we will focus our attention on the more transitory product of the era.


 ARTH382 Art of Japan before 1500 (Professor Suzuki)
TuTh 11-12:15 (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.
Junior standing or higher.

ARTH389A Special Topics in Art History and Archaeology: The Art of Drawing: A Left and Right Brain Experience (Professor Bland)
W 2-4:30 (ASY 3215)
This course examines Old and Modern Master Drawings, theories of drawing and drawing practice. Lectures will discuss Dr. Betty Edward's theory of a verbal, analytical Left Brain and a visual, perceptual Right Brain. As practice, students will learn to make the mental shift from left, analytical brain to right, visual brain. Class exercises are based on Betty Edward's text, Drawing on the Right Side of the Brain. No prior drawing experience is necessary.


ARTH 389F Special Topics in Art History and Archaeology: Classical Mythology in Renaissance Art, 1400-1700 (Professor Georgievska-Shine)
TuTh 9:30-10:45 (ASY 3211)
One of the most fascinating aspects of the “rebirth” of antiquity during the early modern period was the renewed interest in Greek and Roman mythology. Painters and poets found the stories of “pagan” divinities such as Zeus and Venus endlessly fascinating, especially when they behaved in surprisingly human ways. This upper division course the diverse interpretations of these narratives in the visual arts of Europe between 1400 and 1700.

ARTH 389G Special Topics in Art History and Archaeology: Film Between the World Wars: Constructivism, Expressionism, Surrealism (Professor Metcalf)
TuTh 12:30-1:45 (ASY 3211)
This course examines what happened when artists began playing with the four-dimensional qualities of film, seeing what happened when static art was translated to moving images on the screen.  From the formal exercises of Constructivists, through the retro German films of Expressionism, Cubism and Dada, through to the art movement most suited for the films (according to the artists who made them), Surrealism.



ARTH488G Colloquium in Art History; Utopia in Modern Art (Professor Mansbach)
TuTh 9:30-10:45 (ASY 3217)

ARTH488M Colloquium in Art History: Mexican Muralism: Nation, Race, Revolution (Professor McEwen)
TuTh 11-12:15 (ASY 3217)
A survey of Mexico’s mural movement, this course examines the work of “Los Tres Grandes”—Diego Rivero, David Alfaro Siqueiros, and José Clemente Orozco—and their contemporaries in Mexico and the United States between approximately 1920 and 1960.  Their work will be studied in the context of Mexico’s Revolution and period discourse on state modernization, national identity, and Pan-American politics.  We will also consider parallel expressions of Mexican modernity, including photography and film, and the role of women artists, including Frida Kahlo and María Izquierdo.


ARTH488R Colloquium: Aging and Creativity: Older Artists in Our Community (Professor Kuo)
M 12-2:40 p.m. (ASY 4304)
Alex Katz, White Roses 4, 2012A special course-exhibition supported by a grant from the Foxworth Creative Enterprise  Initiative at the University of Maryland, is intended to engage students in shaping and organizing an art exhibition devoted to  arts created by people over the age of 65 in our community. Contact Professor Jason Kuo at jck@umd.edu for further information.

The exhibition will be held in April-May 2016, at the Brentwood Arts Exchange in the Gateway Art Center (only a few miles south of the campus and easily accessible through the Route 1 Ride bus service), part of  the Maryland-National Capital Park and Planning Commission (M-NCPPC).

This course is a hands-on course in which students not only read articles and books and study art history, but will also incorporate the disciplines of art history, gerontology, and museum studies into one educational venture for students as well as older artists in our community. The Iona Gallery at the Iona Senior Services in Washington, DC and ART CART: Saving the Legacy (a project of the Research Center for Arts and Culture, an affiliate of The Actors Fund in NYC)  will provide community resources.

In the proposed course, students will meet and interview selected older artists in our community and help these artists to document their life and art. By the end of the course, students in the proposed course will learn about:

  1. conducting academic research on creativity and aging, and late-in-life art styles, and the thought processes and stimuli behind them;
  2. understanding the role of community-based cultural programs in promoting the general health, mental health, and social activities of older persons through on-site visits and interviews with these people who continue to create works of art;
  3. applying scholarship  to real-world issues through the creation of an art exhibition in a community-based art space; exercising analytical and critical skills in selecting specific works of art created by aging artists in our community; designing the exhibition space to bring out the expressive qualities of selected works of art; organizing public programs (such as lectures and tours) to engage the community with the exhibition on view at the Brentwood Arts Exchange;
  4. communicating and documenting the learning experiences through the publication of exhibition catalog, brochures, and wall labels.

 ARTH489K Special Topics in Art History: Art and the Museum World (Professor Georgievska-Shine)
F 2-4:30 (ASY 3217)
Learn about ways in which you can use your fine arts and art history background in a variety of contexts – from museums and galleries to governmental and non-governmental art organizations. Our weekly meetings will address various professional paths including curatorial work, collection management and preservation, installation, and educational and outreach programs that promote a more meaningful relationship between museums and their audiences.

Some sessions will take place on campus, but most of them will be held in museums and other art institutions. Many of them will involve conversations with professionals and/or guided tours.
This course is open to students from variety of backgrounds including, but not limited to studio arts and art history, journalism, architecture, classics, computer science, government and politics, or business and communications.

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

ARTH499 (PermReq) Honors Thesis. Individual Instruction Course

Graduate Courses

ARTH 689B: Selected Topics in Art History: Monsters and the Supernatural in Global Visual Culture
Professor Yui Suzuki
Tuesday 3:00-5:40 p.m.
ASY 4304

Supernatural beings and people’s fascinations for them exist in every culture. Yet, every society imagines these creatures in different ways, revealing both universal and culturally specific concerns for making sense of mysterious, frightening, and unexplainable phenomena. Ghosts, demons and monsters are very much part of popular beliefs, religious rituals, devotional practices and entertainment, touching our deepest fears, curiosities, and imagination. Thus, the study of monsters and supernatural beings can be relevant analytical tools in fields such as art history, history, media studies, anthropology and literature. We will examine the multifarious role of ghosts, demons and monsters from all parts of the world and different time periods.  The first part addresses various theoretical and multidisciplinary approaches to the concept of the “monster” with specific focus on the art of the supernatural. We will then examine how these images can serve as various symbols, such as the liminal, the Other, as well as change and transformation.

In addition to studying monsters and their artistic depictions as mechanisms by which we might understand certain aspects of a culture and society (as well as more universal ideas of selfhood and human nature), ARTH 689 will emphasize the scholarship of teaching and learning, rather than straightforward research. In lieu of a traditional research paper, participants (with guidance from the instructor) will develop a 15-week undergraduate course (200-level or 300 level). This course will therefore focus on pedagogical issues in addition to the course theme, “Monsters and the Supernatural in Global Visual Culture”. The final project will involve each participant (including the instructor) producing a detailed course syllabus and lesson plans. Each student will be responsible for creating 2-3 Powerpoint lectures on topics of their choice in consultation with the instructor.

ARTH738D: Seminar in Seventeenth-Century Southern European Art; Caravaggio: From Baroque Painting to Modern Myth
Professor Anthony Colantuono
Tuesday 12:00-2:40 p.m.
ASY 4304
In this seminar we'll explore many aspects of the seventeenth-century painter Michelangelo Merisi da Caravaggio. Following a survey of major attributional and interpretative problems concerning Caravaggio's works, an overview of recent bibliography in all languages, and an up-to-date overview of the artist's biography, a series of readings and discussions will investigate such vexed questions as the relationship between the artist's psychological state/criminal behavior and his controversial stylistic/iconographic innovations; his personal relationships with patrons, friends and enemies; his representation in early biographical and theoretical writing; his spiritual, intellectual and philosophical context and outlook; his relationship to the phenomenon of international "Caravaggism"; his representation in modern art-historical biography, creative writing and film; his attraction for modern artists from Courbet to Frank Stella.  Readings (in English except where a student's command of foreign language may allow) will include works by Lorenzo Pericolo, Michael Fried, Cees de Bondt, Todd Olson, David Stone, Genevieve Warwick, John Varriano, Andrea Bayer, Helen Langdon and others.

ARTH 739C: Seminar in Seventeenth-Century Northern European Art: Vermeer and Dutch Genre Painting
Professor Arthur Wheelock
Monday 3:00-5:40 p.m.
ASY 4304
This course will examine the nature of Vermeer's art with a special emphasis on his relations to other genre painters of that time, including Gerard ter Borch, Gerrit Dou, and Gabriel Metsu. This seminar will try to determine how much these artists altered their style, subject matter, techniques, etc. in response to the innovations of the others.

This subject will be the focus of a major exhibition in a few years, and hence the course will also examine issues related to exhibition planning.

ARTH 759F: Seminar in Twentieth-Century Art: Minor Modernisms
Professor Joshua Shannon
Thursday 12:00-2:40 p.m.
ASY 4304

This graduate seminar will consider non-avant-garde forms of modernism. On the one hand, we will study fine art objects that reiterated once avant-garde forms—for example, the (then) widely successful abstract paintings and sculptures of the 1970s. On the other, we will consider vernacular forms that adopted modernist vocabularies and techniques, including the decorative arts, product design, fashion, advertising, illustration, graphic design, pop music, and Hollywood film. The course will also directly consider the status and meaning of relevant terms such as “the avant-garde,” “the minor,” and “popular culture.” Of particular interest throughout will be an investigation into when and how certain vocabularies of modernism gained mainstream redibility and could be used widely in quotidian and public contexts.One area of focus, therefore, will be the adoption of modernism for civic architectural projects such as schools, post offices, public housing, and jails.