Undergraduate Program Chair: Rebecca Zorach, CWAC 75,

702-6590, rezorach@uchicago.edu

Department Secretary: Lisa Blair, CWAC 166, 702-0278, arthistory@uchicago.edu

Web: humanities.uchicago.edu/depts/art/

Program of Study

Art history is a branch of humanistic learning concerned with the study of the visual arts in their historical context. Individual works are analyzed for the styles, materials, and techniques of their design and manufacture; for their meanings to their makers, patrons, users, and current audiences; and for their relation to the periods and places in which they were created and experienced. An informed appreciation of each work is developed, and the proper historical position of each piece is examined. From the study of single works, the art historian moves to the analysis and interpretation of artistic careers, group movements and schools, currents of artistic theory, patrons, practice and reception of works of art, and their cultural contexts. The study of our heritage in the visual arts thus provides a singular perspective for the study of social, cultural, and intellectual history; currently it represents an expanding frontier in humanistic inquiry.

Courses for Nonmajors. Introduction to Art (ARTH 10100) develops basic skills in the analysis and critical enjoyment of a wide range of visual materials. Issues and problems in the making, exhibition, and understanding of images and objects are explored through classroom discussion of key works, critical reading of fundamental texts, visits to local museums, and writing. Survey Courses (ARTH 14000 through 16999) discuss major monuments of world art and architecture in the context of broad chronological and geographic categories and in relation to broad questions concerning the role art plays in individual, societal, and institutional settings. ARTH 14000 through 14999 address Western art in Antiquity, the Middle Ages, and the Renaissance. ARTH 15000 through 15999 address Western art from the early modern period to the present day. ARTH 16000 through 16999 address the art of Africa, Asia, Latin America, and/or the Middle East. Art in Context courses (ARTH 17000 through 18999) introduce students to a well-defined issue, topic, or period of art in depth; and, at the same time, these courses explore issues of creativity, communication, and value in a series of concrete case studies. Any of these 10000-level courses is an appropriate choice to meet the general education requirement in the dramatic, musical, and visual arts. None presupposes prior training in art.

Students who have taken at least one course in art history or studio art, or who have equivalent nonacademic experience, may elect to take an advanced lecture course, numbered from 20100 to 28999. The prerequisite is consent of instructor or any 10000-level course in art history or visual arts. The 20000-level art history courses investigate the arts of specific periods and places from a variety of perspectives. Some courses embrace large bodies of material defined by national culture; others follow developments in style, iconography, and patronage as they affect works in selected media.

The role of the individual artist in the creation and development of major movements is frequently examined; and we also examine its complement, the growth of cultural systems and their expression in the visual arts.

Program Requirements

The B.A. in art history is intended to furnish students with a broad knowledge of Western and non-Western art; and it also provides an opportunity for the complementary, intensive study of an area of special interest. It is recommended for students who wish to develop their abilities of visual analysis and criticism; to acquire some sense of the major developments in the arts from ancient times to the present; and to understand the visual arts as aspects of social, cultural, and intellectual history. So conceived, the study of art is an element of a general, liberal arts education; the skills of analytical thinking, logical argument, and clear verbal expression necessary to the program are basic to most fields. The program in art history prepares interested students for advanced study at the graduate level and, eventually, for work in academic, museum, and gallery settings.

General Requirements for Art History Majors

(1) Students register for an approved drama, music, or COVA course to meet the general education requirement in the dramatic, musical, and visual arts; art history majors may not use art history courses to meet general education requirements.

(2) Students register for a total of four Survey Courses (see definition under Courses for Nonmajors above): one course at the 14000 level, one course at the 15000 level, one course at the 16000 level, and a fourth Survey Course of the student's choosing.

(3) Art history majors take the department's two undergraduate seminars. In Winter Quarter of their third year, they register for the Junior Seminar (ARTH 29600). Students who wish to study abroad during that quarter meet with the Undergraduate Program Chair to work out an alternative program of study no later than the beginning of their third year. In Autumn Quarter of their fourth year, they register for the B.A. paper writing seminar (ARTH 29800) (see following section).

(4) Students in art history write at least two research papers that are ten to fifteen pages in length before starting their fourth year, typically in the context of 20000-level courses in art history. Alternatives include 40000-level graduate seminars, reading courses, or, more rarely, art-in-context courses. It is the student's responsibility to initiate arrangements with an instructor and obtain his or her signature on an approval form when the paper is completed. Approval forms are available on the art history Web site at http://humanities.uchicago.edu/depts/art/undergrad_program/.

A research paper should address a topic chosen by the student in consultation with the instructor. The student should include an analysis of his or her research of existing scholarship and other relevant source materials. The paper should also draw on that scholarship and evidence to shape and support a thesis or argument of the student's own devising. Formal analyses of works of art and analytic papers on materials assembled for a class by the instructor do not qualify. However, students may ask the instructor to allow a substitution of a research paper or they may write a research paper in addition to basic course requirements.

(5) Students develop a special field of interest (see below).

(6) Within this field, students write a senior paper (see below).

(7) Students may apply to transfer up to four courses in art history to fulfill their major requirements. Preference will be given to courses that fall into the survey course category or, in the case of students in Track II, into the category of special field courses taken in disciplines/departments outside art history. Approval is required from the Director of Undergraduate Studies, who will review each course individually. Students requesting major credit for courses taken at another institution or in a study abroad program should give the Director of Undergraduate Studies a written request including the title, the course description, and the name and location of the institution. Students are encouraged to submit a request and obtain an answer before taking the course. NOTE: The Office of the Dean of Students in the College must approve the transfer of all courses taken at institutions other than those in which students are enrolled as part of University of Chicago sponsored study programs abroad. More information is available at the following Web site: http://www.college.uchicago.edu/academics/transfer_credit.shtml.

Recommendations for Art History Majors

(1) Students are encouraged to take graduate seminars after first obtaining the permission of the instructor. (These seminars are also open to nonmajors with the same proviso.)

(2) Students are urged to also pursue upper-level language courses. If a language course is relevant to a student's special field, the student may petition the Undergraduate Program Chair to count it toward electives.

(3) Those planning to continue their study of art history at the graduate level are advised to achieve language competency equal to at least two years of college study in French or German, or in Italian for those with primary interest in the art of Italy.

Two Tracks. In structuring their programs, students may choose one of two orientations ("tracks"): one offering a broad coverage of the history of art, and the other offering a close cross-disciplinary study of a specific area or topic.

Track I. In addition to the four Survey Courses, the Junior Seminar (ARTH 29600), and the B.A. paper writing seminar (Senior Seminar [ARTH 29800]), Track I students take six upper-level courses within the department. Occasionally, Art in Context Courses (see definition under Courses for Nonmajors above) may be substituted for upper-level courses with prior approval of the Undergraduate Program Chair. Within the six departmental courses, students must develop a special field consisting of three courses with a relevance to one another that is clearly established. The field may be defined by chronological period, medium, national culture, genre, methodological concerns, or a suitable combination. Because they reflect the interests of individual students, such fields range widely in topic, approach, and scope. Reading courses with art history faculty may be used to pursue specific questions within a field. Students are encouraged to distribute the remaining three departmental courses widely throughout Western and non-Western art; and students are required to take at least one course in Western art before 1400, one course in Western art after 1400, and one course in non-Western art.

Track II. In addition to the four Survey Courses, the Junior Seminar, and the B.A. Seminar, Track II students take six courses: three upper-level courses inside and two courses outside the art history department that make up the special field, plus one additional upper-level course in art history, the subject of which is the student's choice. In order to encourage breadth of expertise, the elective course may not be in the student's special field. Occasionally, Art in Context Courses (see definition under Courses for Nonmajors above) may be substituted for upper-level courses with prior approval of the Undergraduate Program Chair.

The Special Field. The special field may take many different forms. It may be civilization defined by chronological period, nation-state, cultural institution, or a suitable combination. Extradepartmental courses in history and literature are particularly relevant to such a program. Another special field might be conceptual in character (e.g., art and the history of science, urban history, geography) and draw upon a variety of extradepartmental courses in the Humanities Collegiate Division and the Social Sciences Collegiate Division. A field could combine historical, critical, and theoretical perspectives (e.g., visual arts in the twentieth century) and include courses in art history, drama, music, film, and popular culture. Finally, art history and studio courses (e.g., COVA) may be combined in special fields exploring their interrelations (e.g., abstraction and conceptualism in modern art). The topic for the senior paper normally develops from the special field and allows for further study of the area through independent research and writing.

Whether a student is following Track I or Track II, the proposal for the special field, in the form of a written petition, must be received by the Undergraduate Program Chair and approved by a faculty committee no later than the end of a student's third year. Students should consult the art history Web site and the Undergraduate Program Chair for guidelines on the department's organization and preparation of the proposal. It is strongly recommended that students complete at least two courses in their special field by the end of their third year.

Undergraduate Seminars and the Senior Paper. The Junior Seminar (ARTH 29600) is designed to introduce the methods of art historical research. It also requires students to develop a senior paper topic and identify potential faculty advisers. Students who wish to study abroad during Winter Quarter of their third year must meet with the Undergraduate Program Chair no later than the beginning of their third year to work out an alternative program of study.

By the end of their third year, it is the student's responsibility to find a member of the faculty who agrees to act as the faculty research adviser for the senior paper. The research paper or project used to meet this requirement may not be used to meet the B.A. paper requirement in another major.

The Senior Seminar (ARTH 29800) is a workshop course designed to assist students in writing and researching their senior papers. Students typically take the seminar in Autumn Quarter before graduating in Spring Quarter; students graduating in Autumn or Winter Quarter should take the course in the previous academic year. In the closing sessions of the seminar, students present their work-in-progress for the senior paper. They continue their research on the paper during the following quarters, meeting at intervals with their faculty research adviser. Students may elect to take Preparation for the Senior Paper (ARTH 29900) in Autumn or Winter Quarter to afford additional time for research or writing. A polished draft of the paper is due by Friday of ninth week of the quarter preceding graduation; the final version is due Monday of second week of the quarter of graduation. Both are to be submitted in duplicate: one copy to the research adviser and the second to the Undergraduate Program Chair. Because individual projects vary, no specific requirements for the senior paper have been set. Essays range in length from twenty to forty pages, but there is no minimum or maximum.

Summary of Requirements

General                    introductory drama, music, or COVA course

Education

Track I                      4      Survey Courses: one in each of the 14000s, 15000s, and 16000s series; and one of the student's choice

                                  3      upper-level ARTH courses in special field

                                  3      upper-level ARTH courses (one course each in Western art before 1400, Western art after 1400, and non-Western art)

                                  1      ARTH 29600 (Junior Seminar)

                                  1      ARTH 29800 (Senior Seminar)

                                __      senior paper

                                12

Track II                    4      Survey Courses: one in each of the 14000s, 15000s, and 16000s series; and one of the student's choice

                                  5      upper-level courses in special field (three departmental and two extradepartmental)

                                  1      upper-level ARTH elective (not special field)

1      ARTH 29600 (Junior Seminar)

                                  1      ARTH 29800 (Senior Seminar)

                                __      senior paper

                                12

Advising. Art history majors should see the Undergraduate Program Chair no less than once a year for consultation and guidance in planning a special field, in selecting courses, and in choosing a topic for the senior paper, as well as for help with any academic problems within the major. When choosing courses, students should refer to the worksheet available on the art history Web site (click on "Undergraduate Program"); this form helps each student and the Undergraduate Program Chair monitor the student's progress in the program.

Grading. Art history majors must receive quality grades in art history courses taken for the major, with one exception: Preparation for the Senior Paper (ARTH 29900) is open for P/F grading with consent of instructor. Art history courses elected beyond program requirements may be taken for Pass grades with consent of instructor. Students taking art history courses to meet the general education requirement in the dramatic, musical, and visual arts must receive quality grades. Nonmajors may select the P/F option with consent of instructor if they are taking an art history class that is not satisfying a general education requirement. A Pass grade is given only for work of C- quality or higher.

Honors. Students who complete their course work and their senior papers with great distinction are considered for graduation with special honors. Candidates must have a GPA of at least 3.0 overall and 3.3 in art history. Nominations for honors are made by the faculty in the program through the Undergraduate Program Chair to the master of the Humanities Collegiate Division.

Fellowships and Prizes. The department offers a limited number of Visiting Committee Travel Fellowships to fund travel related to research on the B.A. paper during the summer between a student's third and fourth years. Applications must be submitted to the Undergraduate Program Chair by Friday of the first week of Spring Quarter. The department also awards a Feitler Prize for Outstanding Undergraduate Work to the best B.A. paper written in the department each year. The prize is awarded by the middle of Spring Quarter.

Minor Program in Art History

The minor in Art History requires a total of seven courses: three survey courses (one from the 14000 series, one from the 15000 series, and one from the 16000 series), and four courses at the 20000 level or above. With the permission of the undergraduate program chair, students may substitute up to two art-in-context courses (17000 and 18000 series) for 20000-level courses. Students also write one research paper of about ten to fifteen pages on a topic chosen with and guided by the instructor, by individual arrangement at the start of one of the 20000 level courses. As one of their 20000-level courses, minors may elect to take the junior seminar (ARTH 29600) with the majors; if they do, they will research and write an essay on the existing scholarship on a topic of their choice instead of preparing a B.A. paper proposal. Students with a minor in Art History may use Art History courses to meet general education requirements.

Students who elect the minor program in Art History must meet with the director of undergraduate studies before the end of Spring Quarter of their third year to declare their intention to complete the minor. Students choose courses in consultation with the director of undergraduate studies. The director's approval for the minor program should be submitted to a student's College adviser by the deadline above on a form obtained from the adviser.

Courses in the minor (1) may not be double counted with the student's major(s) or with other minors; and (2) may not be counted toward general education requirements. If students have already taken one of the survey courses to fulfill the general education requirement, they may substitute an additional 20000 course to complete their seven-course program. Courses in the minor must be taken for quality grades, and more than half of the requirements for the minor must be met by registering for courses bearing University of Chicago course numbers.

The following group of courses would comprise a minor in Art History:

Sample Minor Program

ARTH 140000-14999
(e.g., The Ancient World, The Medieval World, or Renaissance Art)

ARTH 150000-15999
(e.g., Nineteenth-Century Art or Twentieth-Century Art)

ARTH 160000-16999 (e.g., Art of Asia: China or Arts of Japan)

ARTH 200000 series (e.g., 28804: American Art Since 1960;
27304: Photography, Modernism, Esthetics;
28300: Chinese Scroll Painting;
22204: Smiles and Tears: Figuring Medieval Emotion; or
26504: Revolution and Twentieth-Century Mexican Culture)

Faculty

C. Cohen, J. Elsner, D. English, T. Gunning, N. Harris, R. Heller, E. Helsinger,
J. Levin, W. J. T. Mitchell, R. Neer, R. Nelson, J. Purtle, J. Snyder, B. Stafford,
K. Taylor, H. Thomsen, Y. Tsivian, M. Ward, H. Wu, R. Zorach

Courses: Art History (arth)

10100. Introduction to Art. Students must attend first class to confirm enrollment. For nonmajors, this course meets the general education requirement in the dramatic, musical, and visual arts. This course seeks to develop skills in perception, comprehension, and appreciation when dealing with a variety of visual art forms. It encourages the close analysis of visual materials, explores the range of questions and methods appropriate to the explication of a given work of art, and examines the intellectual structures basic to the systematic study of art. Most important, the course encourages the understanding of art as a visual language and aims to foster in students the ability to translate this understanding into verbal expression, both oral and written. Examples draw on local collections. Autumn, Winter, Spring.

14000 through 16999. Art Surveys. May be taken in sequence or individually. Students must attend first class to confirm enrollment. For nonmajors, any ARTH 14000 through 16999 course meets the general education requirement in the dramatic, musical, and visual arts. The major monuments and masterpieces of world painting, sculpture, and architecture are studied as examples of humankind's achievements in the visual arts. Individual objects are analyzed in detail and interpreted in light of society's varied needs. While changes in form, style, and function are emphasized, an attempt is also made to understand the development of unique and continuous traditions of visual imagery throughout world civilization. Courses focus on broad regional and chronological categories.

14100. The Ancient World: Greek Art. R. Neer. Autumn.

14400. Renaissance Art. Not open to students who have taken ARTH 15100 for credit. This course is a selective survey of the major monuments, personalities, and issues in the Western tradition from 1400 to 1600. We critically examine the origins and value of grouping by styles (e.g., Late Gothic, Early Renaissance, High Renaissance, Mannerism). Our focus is the changing social context for the practice of art and the evolving nature of artistic creativity. Biweekly discussion sections required. C. Cohen. Winter.

14600. Baroque Europe: From the Council of Trent to the French Revolution. This course surveys the arts and culture of Europe in the period sometimes known as the Baroque. The history of art from 1563 to 1789 is full of famous names: Caravaggio, Bernini, Gentileschi, Velázquez, Rubens, Rembrandt, Vermeer, Poussin, and Chardin. Through the lens of their works and those of others, we examine a range of issues in the relation of art and society: the rise of genre and realism; gender and sexuality; science and the observation of nature; the notion of the master artist, the organization of the workshop, and the rise of art academies; print culture, decorative arts, and "low" vs. "high" styles; religion, colonial endeavors, war, and political absolutism. R. Zorach. Autumn.

15500. Nineteenth-Century Art: Revival and Invention. Since shortly before the French Revolution, the conviction of leading artists and critics in Europe and North America was that art and society were intertwined and that both needed reform and reinvention. This course tracks this reformatory impulse as it is manifested and contested from the 1760s to the 1890s through a review of selected works by artists (e.g., Jacques Louis David, Caspar David Friedrich, Claude Monet, Paul Gauguin, Vincent van Gogh, Edvard Munch); buildings (e.g., the British Museum in London, Marshall Field's department store in Chicago); and graphic materials (e.g., cartoons of the French Revolution, advertising posters of Henri de Toulouse-Lautrec). Attendance at weekly discussion sections is required. M. Ward. Spring.

15600. Twentieth-Century Art: Modernity to Post-Modernity. During the twentieth century, the visual arts underwent a series of revolutionary transformations. What conditions made for this unprecedented, dramatic, and exciting development? What and who make up a Cubist collage, an abstract image, a Dada photomontage, a Pop Art combine, a Minimalist object, or an art performance? We view a selection of works by artists ranging from Pablo Picasso and Wassily Kandinsky to Andy Warhol and Cindy Sherman. M. Ward. Spring. Not offered 2005-06; will be offered 2006-07.

16100. Art of Asia: China. (=CHIN 16100, EALC 16100) This course is an introduction to the arts of China focusing on the bronze vessels of the Shang and Zhou dynasties, the Chinese appropriation of the Buddha image, and the evolution of landscape and figure painting traditions. We consider objects in contexts (from the archaeological sites from which they were unearthed to the material culture that surrounded them) to reconstruct the functions and the meanings of objects, and to better understand Chinese culture through the objects it produced. H. Wu. Winter.

16505. Asian Monuments: Geography and Culture. This course is an introduction to the artistic production of Asia, focusing on major monuments of India, China, and Japan, as well as those of Southeast Asia and Korea, from prehistory to the present. Despite its chronological and geographical breadth, this course examines a limited number of monuments of architecture, sculpture, and painting, drawn from various historical and cultural contexts to explore the problem of whether or not there is such a thing as Asian art, and if so, what it is. Topics include the development of technology and the rise of civilization in India and China; the evolution of the Buddha image in India and China; the emergence of cosmological monuments in Southeast Asia; the cross-fertilization of landscape painting in Persia, Mughal India, China, and Japan; and, the confrontation of indigenous art forms of Asia with the West at the turn of the twentieth century. The course is based on discussion, not lectures; we emphasize close reading of period texts and close examination of works in local collections. J. Purtle. Spring.

17000 through 18999. Art in Context. Students must attend first class to confirm enrollment. For nonmajors, any ARTH 17000 through 18999 course meets the general education requirement in the dramatic, musical, and visual arts. Courses in this series investigate basic methods of art historical analysis and apply them to significant works of art studied within definite contexts. Works of art are placed in their intellectual, historical, cultural, or more purely artistic settings in an effort to indicate the origins of their specific achievements. An informed appreciation of the particular solutions offered by single works and the careers of individual artists emerges from the detailed study of classic problems within Western and non-Western art.

17400. The University of Chicago Campus. An introduction to architecture and planning, this course examines the changes in thinking about the University campus from its origins in the 1890s to the present. The course develops skill in analyzing architectural and urban form in order to interpret: how the University images itself in masonry, metal and lawn; how it works with architects; whether buildings have effected or affected social and intellectual programs or values; the effects of campus plans and siting of individual buildings; the impact of technological change, and of notions of historical memory and progressive change. Many sessions are "on site," looking at buildings; we also look at archival documents that illuminate why and how they were designed. K. Taylor. Spring.

18000. Photography and Film. This course serves as an introduction to the history of art by concentrating on some fundamental issues in the history of photography and film and covers both still photography and film. The central theme concerns the way in which photographs and films have been understood and valued during the past 164 years. We begin with some of the earliest views about what photographs are and then take a look at some attempts to make photographs worthy of being called works of art. We then review some early and recent theoretical statements about film as art in conjunction with viewing some motion pictures. The aim of the course is to familiarize students with the history of photography and film using some of the critical tools we have for understanding art. J. Snyder. Winter.

18305. New Art in Chicago Museums. This course introduces the close consideration of real works of art, practices and approaches to the art of our time, and methods of art history. Sites to be visited include the David and Alfred Smart Museum of Art and the Renaissance Society (both on campus), the Art Institute of Chicago, the Museum of Contemporary Art, the Museum of Contemporary Photography, and Gallery 400 at the University of Illinois at Chicago. Frequent visits to museums required. D. English. Spring.

18705. From Steppe to City: Arts of the Mongols in China, 1279 to 1368. This course is an exploration of the arts and visual culture of the Mongols, and of those they conquered in China, from 1279 to 1368. Topics include urbanization of nomadic Mongol visual culture; internationalization of the Buddha image under Mongol patronage across Asia; commercialization and export of ceramics throughout maritime Asia (and the world) under Mongol administration; development of a distinctive mode of ink painting as a Chinese response to Mongol rule; localized confrontation of disparate visual cultures within the expansive Mongol empires of Eurasia; and Chinese and Mongol participation in a global, medieval world. There is a special emphasis on reading sources of the period in translation, including Marco Polo's The Travels. J. Purtle. Autumn.

18803. Woodblock Prints of Japan. This introductory course on woodblock prints in Japanese culture from the medieval period to the present includes discussion of a variety of objects (e.g., Buddhist amulets, early modern paper currency designs), in addition to the better-known works of artists such as Kitagawa Utamaro and Katsushika Hokusai. Topics include production techniques, function, distribution, the close connection between words and images, the question of a canon and the so-called high and low arts, the study of material culture of prints, the body in the erotic arts, and the question of how foreign cultures were received. H. Thomsen. Spring.

The following courses do not meet the general education requirement in the dramatic, musical, and visual arts.

20000. Introduction to Film Analysis. (=CMST 10100, COVA 25400, ENGL 10800, ISHU 20000) This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles. Autumn, Spring.

22804. Utopias. (=BPRO 2530, ENGL 25302, HUMA 25350, ISHU 25350) PQ: Third- or fourth-year standing. We live in a post-utopian world—so some people would argue, especially after the fall of the Berlin Wall in 1989. But what does it mean to say that the end of one experiment in reorganizing human relations toward the good life equals the end of all such experimentation? This course surveys significant moments in utopian practice, choosing case studies from among Plato's Republic, Sir Thomas More's Utopia, national experiments, utopian communities, socialism, technophily, new social movements, radical conservatism, and fundamentalisms. We focus on literature and art, including music, painting, architecture and urbanism, and film and digital media. L. Berlant, R. Zorach. Spring. Not offered 2005-06; will be offered 2006-07.

23505/33505. Contemporary African Art. PQ: Any 10000-level ARTH or COVA course, or consent of instructor. Prior knowledge of African art not required. This course examines contemporary African art from the 1950s to today. The era of political independence and after marks a period of significant transformation in African visual culture. Diverse media to be considered include painting, photography, installation, site-specific work, video, and performance art. Production of these works in and outside of Africa is viewed in light of local movements and global dialogues. Students review major exhibitions of contemporary African art in Europe and the United States, as well as international art fairs such as the Johannesburg Biennales. J. Levin. Winter.

23605/33605. Kings of Africa. PQ: Any 10000-level ARTH or COVA course, or consent of instructor. This course introduces the art and architecture of eight African kingdoms. The role of courtly arts in the political, economic, social, and religious life of these kingdoms is explored. For instance, how did a Yoruba beaded crown, an Asante golden stool, and a Kongolese ivory tusk serve to legitimate rule? Students study palace architecture, royal regalia, insignia of office, masquerade performances, enthronement ceremonies, and portraits of kings and queens. Individual rulers are highlighted, with emphasis on their roles as patrons and artist-kings. The artistic legacies of these kingdoms in both Africa and the Americas are addressed. J. Levin. Autumn.

23905. Arts of the Tea Ceremony. (=JAPN 23905) PQ: Any 10000-level ARTH or COVA course, or consent of instructor. This course examines the key development of this greatly influential ceremony over time, from the introduction of tea to Japan and through its development through key figures such as Sen Rikyu, Furuta Oribe, and Kobori Enshu. The texts and the objects of the tea ceremony are examined, and we view actual tea-related objects in local collections. Topics include the political uses of the tea ceremony, the spread of competing forms of orthodoxy, the influence on the pictorial arts, the iemoto patronage system, the incorporation of foreign art objects into the ceremony, and present uses of the tea ceremony. H. Thomsen. Winter.

25205. Cinema and the First Avant-Garde, 1890 to 1933. (=CMST 25201/45201, COVA 25201) PQ: CMST 10100 and 28500, or consent of instructor. This course explores the manner in which a number of movements (as well as the concept of the avant-garde more generally) have related to the cinema, both in practice and theory. Movements considered are Symbolism, Futurism (Italian and Russian), Dada, Constructivism, Surrealism, and De Stil. The Cineclub movement and magazines dedicated to the film and the avant-garde are also studied. Readings include manifestos and documents from the various movements, as well as historical studies. Texts by Poggioli and Burger are also read. We show films by Bauer, Lang, Wiene, Bragaglia, Eisenstein, Ivens, Richter, Ruttmann, Vertov, Dulac, Epstein, and others. T. Gunning. Winter.

25900/35900. Theories of Media. (=CMST 27800/37800, COVA 25400, ENGL 12800/32800, ISHU 21800, MAPH 34300) PQ: Any 10000-level ARTH or COVA course, or consent of instructor. This course explores the concept of media and mediation in very broad terms, looking not only at modern technical media and mass media but also at the very idea of a medium as a means of communication, a set of institutional practices, and a habitat" in which images proliferate and take on a "life of their own." Readings include classic texts (e.g., Plato's Allegory of the Cave and Cratylus, Aristotle's Poetics); and modern texts (e.g., Marshall McLuhan's Understanding Media, Regis Debray's Mediology, Friedrich Kittler's Gramaphone, Film, Typewriter). W. J. T. Mitchell. Winter.

26305/36305. American Landscapes, 1926 to 1964. (=HIST 27100/37100) This course treats changes in the natural and human-made environment, focusing on the settings American designers, builders, architects, and their clients developed for work, housing, education, recreation, worship, and travel. Lectures attempt to relate specific physical changes to social values, aesthetic theories, technological skills, and social structure. N. Harris. Autumn.

26400/36400. History of Photography, 1800 to 1950. (=COVA 26300/36300, HIPS 25300) PQ: Any 10000-level ARTH or COVA course, or consent of instructor. This course studies in detail the invention of the photographic system as a confluence of art practice and technology. The aesthetic history of photography is traced from 1839 through the present. Special emphasis is placed on the critical writing of P. H. Emerson, Erwin Panofsky, Alfred Stieglitz, Lewis Mumford, Susan Sontag, and Michael Fried. J. Snyder. Winter.

26803/36803. Architectural Theory and Practice in the Enlightenment and the Nineteenth Century. This course examines major theoretical texts in juxtaposition to case studies of related buildings, seeking to resituate them historically and in terms of contemporary visual fields of reference and practical options. The major themes, which remain relevant today, are: (1) the relationship of construction to decoration (or body to clothing, as it was sometimes put); (2) the significance of existing buildings and their stylistic traditions (e.g., classical, Gothic) when examined simultaneously, for new design, or the value of history to design; (3) the remaking of aesthetic theory (e.g., the beautiful, sublime, and picturesque) for a mass audience; (4) the impact of a progressive concept of architect and building as socially reformative. K. Taylor. Spring.

26900/36900. Perspectives on Imaging. (=BIOS 02927, BPRO 27700, CMST 27300/37300, HIPS 24801) PQ: Third- or fourth-year standing. Taught by an imaging scientist and an art historian, this course explores scientific, artistic, and cultural aspects of imaging from the earliest attempts to enhance and capture visual stimuli through the emergence of virtual reality systems in the late twentieth century. Topics include the development of early optical instruments (e.g., microscopes, telescopes), the invention of linear perspective, the discovery of means to visualize the invisible within the body, and the recent emergence of new media. We also consider the problem of instrumentally mediated seeing in the arts and sciences and its social implications for our image-saturated contemporary world. B. Stafford, P. La Riviere. Autumn. Not offered 2005-06; will be offered 2006-07.

27304/37304. Photography, Modernism, Esthetics. (=COVA 25704/35704) PQ: Any 10000-level ARTH or COVA course, or consent of instructor. J. Snyder. Winter.

28102/38102. Body, Space, Desire: Feminist Theories of Visuality. (=COVA 25105/35105, GNDR 28102/38102) PQ: Any 10000-level ARTH or COVA course, or consent of instructor. This course examines the ambivalent status of visuality and the visual arts in feminist theory and attempts to reimagine their relationship through themes of body, space, and desire. We read works from several traditions, including French feminism and psychoanalysis, film theory, science and technology studies, black feminist theory and critical race studies, materialist feminism, queer theory, and contemporary art and art criticism. Case studies are drawn from art, film, and visual culture broadly defined; assignments include exercises in the confrontation and integration of theory with history and practice. R. Zorach. Spring.

28305/38305. Art and the Value of Being Disturbed. (=COVA 26305/36305) PQ: Any 10000-level ARTH or COVA course, or consent of instructor. Many subject matters and strategies that we now encounter regularly in art were considered stirring when they first appeared. This course surveys several consequential moments in the recent history of art during which art has stressed aesthetic and social norms. Topics include political realism, non-art/appropriation, pornography, institution critique, minimalism, conceptualism, body-based performance, sacrilege, and publicity. D. English. Winter.

28500/38500. History of International Cinema I: Silent Era. (=CMLT 22400/32400, CMST 28500/48500, COVA 26500, ENGL 29300/47800, MAPH 33600) This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. The aim of this course is to introduce students to what was singular about the art and craft of silent film. Its general outline is chronological. We also discuss main national schools and international trends of filmmaking. Y. Tsivian. Autumn.

28600/38600. History of International Cinema II: Sound Era to 1960. (=CMLT 22500/32500, CMST 28600/48600, COVA 26600, ENGL 29600/48900, MAPH 33700) PQ: Prior or current registration in CMST 10100 required; ARTH 28500/38500 strongly recommended. The center of this course is film style, from the classical scene breakdown to the introduction of deep focus, stylistic experimentation, and technical innovation (sound, wide screen, location shooting). The development of a film culture is also discussed. Texts include Thompson and Bordwell's Film History, An Introduction; and works by Bazin, Belton, Sitney, and Godard. Screenings include films by Hitchcock, Welles, Rossellini, Bresson, Ozu, Antonioni, and Renoir. Y. Tsivian. Winter.

28700/38700. The Art of Confrontation: Chinese Visual Culture in the Twentieth and Twenty-First Centuries. (=CHIN 28700, EALC 38700) This course is a survey of Chinese visual culture of the twentieth century that is focused on the theme of confrontation. In the twentieth century, traditional modes of Chinese visual culture have confronted Western styles and techniques of visual expression, Modernism, competing political ideologies, developments in China's distant and recent history, disparate regional Chinese identities (i.e., China, Hong Kong, Taiwan), and technological change. This course explores these confrontations through a variety of media from traditional Chinese painting to film, as well as methodological approaches from formalism to post-colonial theory. One film screening per week required. J. Purtle. Spring.

28804. American Art Since 1960. (=COVA 26804) PQ: Any 10000-level ARTH or COVA course, or consent of instructor. This course charts activities along the major axes of visual arts production in the United States since 1960. In addition to the mainstream story, so-called "marginal" practices are considered, as are activities in key U.S. art centers other than New York City. D. English. Autumn.

28904. Antonioni's Films: Reality and Ambiguity. (=BPRO 26600, CMST 26801, HUMA 26600) PQ: Third- or fourth-year standing. In this in-depth study of several Antonioni films, our eye is on understanding his view of reality and the elements of ambiguity that pervade all of his films. Together, as a film scholar and physicist, we bring these aspects of his work together with his unique cinematic contributions. This course introduces this poet of the cinema and the relevance of Antonioni's themes to their own studies and their own lives. Y. Tsivian, B. Winstein. Winter. Not offered 2005-06; will be offered 2006-07.

29005/39005. Japanese Handscroll Paintings. (=JAPN 29005/39005) This course is a survey of Japanese handscroll paintings (emakimono or emaki) depicting war scenes, visions of hell, imperial ceremonies, illicit seductions, temple legends, ghost stories, and biographies of famous monks. The handscrolls range from early Buddhist works (e.g., Illustrated Sutra of Cause and Effect) to well-known works from the Heian period and to later medieval and early modern examples (e.g., twentieth-century variations and relations to popular genres such as anime). Incorporating close examination of the objects, we discuss issues such as religious and secular patronage, functions, cross-cultural influences, word-and-text relationships, treatment of space and time, and political satire. Storage visits to museums required. H. Thomsen. Spring.

29400/39400. Feminine Space in Chinese Art. (=CHIN 25105/35105) "Feminine space" denotes an architectural or pictorial space that is perceived, imagined, and represented as a woman. Unlike an isolated female portrait or an individual female symbol, a feminine space is a spatial entity: an artificial world composed of landscape, vegetation, architecture, atmosphere, climate, color, fragrance, light, and sound, as well as selected human occupants and their activities. This course traces the construction of this space in traditional Chinese art (from the second to the eighteenth centuries) and the social/political implications of this constructive process. H. Wu. Winter.

29600. Junior Seminar: Doing Art History. Required of third-year students majoring in art history; open to nonmajors with consent of instructor. The aim of this seminar is to deepen an understanding of art history as a discipline and of the range of analytic strategies art history affords to students beginning to plan their own B.A. papers or, in the case of minors, writing research papers in art history courses. Students read essays that have shaped and represent the discipline, and test their wider applicability and limitations. Through this process, they develop a keener sense of the kinds of questions that most interest them in the history and criticism of art and visual culture. Students develop a formal topic proposal in a brief essay, and write a final paper analyzing one or two works of relevant, significant scholarship for their topics. This seminar is followed by a workshop focusing on research and writing issues for fourth-year majors in Autumn Quarter, which is designed to help writers of B.A. papers advance their projects. K. Taylor. Winter.

29700. Reading Course. PQ: Consent of instructor and Undergraduate Program Chair. Students are required to submit the College Reading and Research Form. Must be taken for a quality grade. With adviser's approval, art history students may use this course to satisfy requirements for the major, a special field, or electives. This course is designed for students in art history or advanced nonmajors whose program requirements are best met by study under a faculty member's individual supervision. The subject, course of study, and requirements are arranged with the instructor. Autumn, Winter, Spring.

29800. Senior Seminar: Writing Workshop. Required of fourth-year students majoring in art history. This workshop is designed to assist students in researching and writing their senior papers, for which they have already developed a topic in the Junior Seminar. Weekly meetings target different aspects of the process; students benefit from the guidance of the workshop instructors but also are expected to consult with their individual faculty advisers. At the end of the course, students are expected to have completed a first draft of the senior paper and to make an oral presentation of the project for the seminar. Autumn.

29900. Preparation for the Senior Paper. PQ: Consent of instructor and Undergraduate Program Chair. Students are required to submit the College Reading and Research Form. May be taken P/F with consent of instructor. This course provides guided research on the topic of the senior paper. The program of study and schedule of meetings are to be arranged with the student's senior paper adviser. Autumn, Winter, Spring.