History of the discipline, methodological orientations, and the conceptual and technical framework for art-historical research. Required of all M.A. candidates in Art History during first year of study.
First half of a survey of art history from prehistoric times to the 20th century. Chronological and systematic approach; either a basis for more detailed study of individual periods in upper-level art history courses, or a solid general foundation for a heightened appreciation of the heritage of art. More professionally oriented than ART-HIST 115. Background for upper-level art history courses; required of majors. (Gen.Ed. AT, DG)
This course examines chronologically and thematically the unfolding of painting, architecture, sculpture and other artistic media from antiquity to the early 16th century in a global framework. Students will learn to analyze works of art visually and understand them within their cultural, religious, social, ideological, and economic contexts. Among the themes and ideas to be considered in lectures and honors discussions: art, politics, religion, and patronage; relationships between gender, sexuality, and art; cultural interactions and transformations in multicultural artistic productions; artistic identity and originality; art and cultural patrimony. Honors readings, methodological case studies, discussions, assignments, and museum visits will give students the opportunity to engage closely with and critically evaluate different modes of art historical interpretation and identify the viewpoints and interests that motivate varying accounts of art and artistic practices. (Gen. Ed. AT, DG)
The discipline of art history and the tools of visual analysis it employs. Focus on issues such as Classicism, "primitive" art, realism, and modernity, presented in roughly chronological order. Discussion of these issues in relation to contemporary visual culture. (Gen.Ed. AT, DG)
Course projects which give practice in different types of art historical writing (catalogue entry, book or exhibition review, interpretative essay, technical report) combined with in-class exercises in the writing of analytical and explanatory prose. Topic focuses from semester to semester on a period, culture and/or individual artist. Required of all art history majors in their junior year. (Planned for Fall)
We will explore potential career paths with guest speakers from museums, libraries, archives, galleries, auction houses, and more. The course is designated to help majors begin to plan art history careers through coursework, internships, and other work experiences.

The period of the Anthropocene, when humans became the major force in changing climate and environment, is often described as an universal concept, one that describes the conditions for humanity’s predicament at the present moment.  Yet, as many scholars have demonstrated, the human activities that shaped the Anthropocene varied by culture and geography, histories and traditions.  The impact of planetary crisis, and the responsibility for mitigating the impact of climate change, is also unevenly distributed around the globe. Nowhere is this problem of the unevenness of climate justice more apparent than in Asia, which comprises more than two-thirds of the world’s population.

In this seminar, we read recent writing in eco-art history and ecocriticism in order to explore the idea of the Anthropocene from the perspective of Asia.  How do artists in East Asia conceive of the relationship between humans and nature, person and environment?  How have cultures and artists in China, Korea, Japan, and India visualized nature, ecology, and the environment?  How can we re-read the traditions and texts of landscape without defaulting to essentialized ideas of indigeneity or erasing their histories?  How have the relationships between matter and life changed the making of religious sites and icons?  And finally, how do we understand the trajectory between premodern engagements with the earth and contemporary making of eco art today?