Spring 2016 Course Book

History of Art For more information about any course offered next semester, or to schedule a

class please consult Buckeye Link.

Courses by Instructor

Andrews, Judy History of Art 4815 Modern & Contemporary Chinese Art

History of Art 5815 The Lyric Journey: Chinese Painting of the Tang & Song Periods

Florman, Lisa History of Art 2002 History of Western Art II: The Renaissance to the Present

Fullerton, Mark History of Art 2001 (Online) History of Western Art I: The Ancient and Medieval Worlds

History of Art 2001 (Honors) History of Western Art I: The Ancient and Medieval Worlds

Haeger, Barbara History of Art 2001 History of Art 4541

History of Western Art I: The Ancient and Medieval Worlds 17th-Century Art of Italy & Spain: Images of Faith, Power, And Artistic Virtuosity

Levin, Erica

History of Art 3901 History of Art 8901

World Cinema Today Modern Social Imaginaries and the Cinematic Image

Mathison, Christina History of Art 2003 The Art and Visual Culture of East Asia

History of Art 4005 An Introduction To Artistic Media And Techniques

Paulsen, Kris History of Art 2901 Introduction to World Cinema

History of Art 4010 An Introduction To The Methods And Theories Of Art History

Shelton, Andy

History of Art 4016

Senior Research Seminar: Portraiture

Whittington, Karl History of Art 4421 History of Art 8401

Medieval Art Medieval Art as Argument

History of Art 2001

History of Western Art I: The Ancient and Medieval Worlds Professor Barbara Haeger Haeger.1@osu.edu

Call#1932

Mondays and Wednesdays 9:10-10:05 Recitation: Thursdays or Fridays 9:10-10:05

This course examines the history of Western Art (architecture, painting and sculpture) from the third millennium BCE through the fifteenth century CE. Rather than a complete “survey” of that period, the course will concentrate its attention on a select group of representative monuments. We will examine not only the monuments themselves, but also the historical context in which they were produced in order to explore their purpose and the way that they functioned. There will be a strong emphasis on visual analysis and understanding how visual forms convey meaning and relate to the viewer. Our goal is to impart not only a body of knowledge but also a set of critical tools, which you should be able to apply to even material not specifically covered in this course. Prereq: Not open to students with credit for 201 or 210. GE VPA , Historical study and Diversity Global studies course.

History of Art 2001

(Online) History of Western Art I: Ancient and Medieval Worlds Professor Mark Fullerton Fullerton.1@osu.edu

Call #33151 This course examines the history of Western Art (architecture, painting and sculpture) from the third millennium BCE through the fifteenth century CE. Rather than a complete “survey” of that period, the course will concentrate its attention on a select group of representative monuments. We will examine not only the monuments themselves, but also the historical context in which they were produced in order to explore their purpose and the way that they functioned. There will be a strong emphasis on visual analysis and understanding how visual forms convey meaning and relate to the viewer. Our goal is to impart not only a body of knowledge but also a set of critical tools, which you should be able to apply to even material not specifically covered in this course. Prereq: Not open to students with credit for 201 or 210. GE VPA, Historical study and Diversity Global studies course.

History of Art 2001 Night

History of Western Art I: The Ancient and Medieval Worlds

Call#19241

Tuesdays and Thursdays 5:30-6:50p

This course examines the history of Western Art (architecture, painting and sculpture) from the third millennium BCE through the fifteenth century CE. Rather than a complete “survey” of that period, the course will concentrate its attention on a select group of representative monuments. We will examine not only the monuments themselves, but also the historical context in which they were produced in order to explore their purpose and the way that they functioned. There will be a strong emphasis on visual analysis and understanding how visual forms convey meaning and relate to the viewer. Our goal is to impart not only a body of knowledge but also a set of critical tools, which you should be able to apply to even material not specifically covered in this course. Prereq: Not open to students with credit for 201 or 210. GE VPA , Historical study and Diversity Global studies course.

History of Art 2001 Honors

History of Western Art I: The Ancient and Medieval Worlds

Professor Mark Fullerton

Fullerton.1@osu.edu Call#32387

Wednesdays and Fridays 12:45-2:05

This course examines the history of Western Art from the third millennium BCE through the fifteenth century CE. It concentrates on a select group of monuments and the historical and cultural contexts in which they were produced. Prereq: Not open to students with credit for 201 or 210. GE VPA , Historical study and Diversity Global studies course.

History of Art 2002 History of Western Art II: The Renaissance to the Present Professor Lisa Florman Florman.4@osu.edu Call #19242

Mondays and Wednesdays 10:20-11:15

Recitation: Thursdays or Fridays 10:20-11:15 This course examines the art of Europe and the United States from about 1400 to the present, with an emphasis on developments in painting. Rather than a complete “survey” of the period, the course will concentrate on a select group of representative works that shaped—and were shaped by—western social, political, economic, and intellectual history. There will be a strong emphasis, too, on questions of analysis and interpretation—including, in some cases, the changing history of the works’ reception. The goal is to impart not only a body of knowledge but also a set of critical tools that will enable you to think about art and images at large, that is, beyond the specific things actually covered in the course. Prereq: Not open to students with credit for 202 or 212. GE VPA , Historical study and Diversity Global studies course.

History of Art 2002 Night History of Western Art II: Renaissance to Present (Night) Call #19251 Tuesdays and Thursdays 5:30-6:50

This course examines the art of the United States and Europe from about 1500 to the present, with an emphasis on painting. It will concentrate on a select group of representative works that shaped—and were shaped by— developments in western social, political, and intellectual history and that participated in individual and community identity formation. There will be a strong emphasis on questions of analysis and interpretation, as the goal is to impart not only a body of knowledge but also a set of critical tools that you should be able to apply to a wide range of material not specifically covered in the course. Prereq: Not open to students with credit for 202 or 212. GE VPA and Historical study and Diversity Global studies course.

History of Art 2003 Art of Asia Christina Burke Mathison Mathison.5@osu.edu

Call #19252 Mondays and Wednesdays 11:30-12:25

Recitation: Thursdays or Fridays 11:30-12:25

This course introduces students to the major media and techniques used by artists in Asia. We will examine in-depth the practical aspects of the production of sculptures, paintings, prints, drawings, mandalas, and other media. This emphasis on technique will be balanced by discussions of the ways that a work’s materiality shapes and activates its meaning. Prereq: Not open to students with credit for 213. GE VPA, Historical Studies and Diversity Global studies course

History of Art 2301

Classical Archeology

Call #19262

Tuesdays and Thursdays 12:45-2:05

This course is concerned with the study of the Classical past through its material remains. The term "Classical" here refers to the major civilizations of the ancient Mediterranean region: Egypt, the Aegean Bronze Age, Greece, and Rome. This course will consider the history of the discipline, the techniques of archaeological fieldwork, and the major archaeological discoveries and controversies that have taken place over time. Through a select group of sites and monuments students will learn about important developments within the field, especially in cases where archaeology has provided evidence that challenges preconceived notions of the ancient Mediterranean world. GE VPA and Diversity Global studies course

History of Art 2901

Introduction to World Cinema Professor Kris Paulsen Paulsen.20@osu.edu

Call #19255

Tuesdays and Thursdays 9:35-10:55 This course will introduce students to the principal films, directors, and movements of World Cinema from the beginning of the twentieth century to the present day. Emphasis will be on helping students acquire and develop the requisite skills for analyzing the formal and stylistic aspects of

specific films, and on helping students understand those films in their social and historical contexts. Prereq: Not open to students with credit for 260. GE VPA and Diversity Global studies course

History of Art 2901 Night

Introduction to World Cinema (Night) Call #19256 Tuesdays and Thursdays 5:30-6:50

This course will introduce students to the principal films, directors, and movements of World Cinema from the beginning of the twentieth century to the present day. Emphasis will be on helping students acquire and develop the requisite skills for analyzing the formal and stylistic aspects of specific films, and on helping students understand those films in their social and historical contexts. Prereq: Not open to students with credit for 260. GE VPA and Diversity Global studies course.

History of Art 3521 Renaissance Art

Call #32388

Wednesdays and Fridays 12:45-2:05

This course offers a panoramic introduction to the greatest artists and masterpieces of the Italian Renaissance from its beginnings in Florence through its triumph in Rome and Venice. After setting the stage with a brief overview of the art of the Late Gothic period in Italy, lectures will trace the nature of the revolutionary changes that transformed painting and sculpture in the 15th century and 16th centuries. One major purpose of the course will be to clarify the special characteristics of Renaissance art that continue to have their place with art and artists even today. GE VPA and Diversity Global studies course

History of Art 3901 World Cinema Today Professor Erica Levin Levin.1996@osu.edu

Call #19257

Tuesdays and Thursdays 2:20pm-3:40pm

In 1930, film theorist Béla Balázs remarked that it was impossible to speak of “the people of the world,” but if that day were ever to arrive; film would be there “ready and waiting to provide the universal spirit with its corresponding technique of expression.” Today technology has altered the world, making it feel both smaller and infinitely expanded at the same time. Does film still hold the promise of universal expression under these conditions? If not, what does it promise now? What do film’s “techniques of expression” correspond to in our contemporary world? In this course, we will look carefully at cinematic form and the socio-political conditions that shape film production across the globe today. At the same time we will also examine the ideas and fantasies that animate “world cinema” as a label for certain kinds of films. Why do some critics and theorists embrace this term while others find it inadequate, something in need of qualification or replacement? What corrections and critiques have these writers offered? How do their observations challenge assumptions about the way film makes the world available to each of us as viewers? Prereq: Not open to students with credit for 350. GE VPA course.

History of Art 3901 Night World Cinema Today (Night)

Call #19261

Mondays and Wednesdays 5:30-6:50

In 1930, film theorist Béla Balázs remarked that it was impossible to speak of “the people of the world,” but if that day were ever to arrive, film would be there “ready and waiting to provide the universal spirit with its corresponding technique of expression.” Today technology has altered the world, making it feel both smaller and infinitely expanded at the same time. Does film still hold the promise of universal expression under these conditions? If not, what does it promise now? What do film’s “techniques of expression” correspond to in our contemporary world? In this course, we will look carefully at cinematic form and the socio-political conditions that shape film production across the globe today. At the same time we will also examine the ideas and fantasies that animate “world cinema” as a label for certain kinds of films. Why do some critics and theorists embrace this term while others find it inadequate, something in need of qualification or replacement? What corrections and critiques have these writers offered? How do their observations challenge assumptions about the way film makes the world available to each of us as viewers?

Prereq: Not open to students with credit for 350. GE VPA course.

History of Art 4005 An Introduction to Artistic Media and Techniques Christina Burke Mathison Mathison.5@osu.edu Call #32389

Tuesdays and Thursdays 2:20-3:40 This course introduces students to the major media and techniques used by artists throughout history. We will examine in-depth the practical aspects of the production of sculptures, paintings, prints, mosaics, manuscripts, drawings, textiles, metalwork, and other media. This emphasis on technique will be balanced by discussions of the ways that a work’s materiality shapes and activates its meaning.

History of Art 4010 An Introduction to the Methods and Theories of Art History

Professor Kris Paulsen Paulsen.20@osu.edu

Call #19259

Wednesdays and Fridays 11:10-12:30

History of Art 4010 offers a selective overview of the fundamental methods and theoretical foundations of art historical investigation from the establishment of art history as an academic discipline in the early 20th-century to the present day. Theories and methods covered will include: Formalism, Iconography, Marxism, Feminism, Psychoanalysis, Phenomenology, Semiotics, Post-Structuralism, and Post-Colonialism. The course, which is reading intensive, is required of all history of art majors and is open to other interested students with the permission of the instructor.

History of Art 4016 Senior Research Seminar: Portraiture Andrew Shelton Shelton.85@osu.edu

Call #27803

Tuesdays and Thursdays 3:55-5:15

This course will investigate the history and theory of European portraiture from the time of its re-emergence as an independent genre in the 15th century until the end of the 19th century. A seminar designed to perfect the research and writing skills of advanced majors in History of Art, this course is reading and writing intensive. Initial classroom meetings will be focused on the discussion of key theoretical and art historical texts, in which every student will be required to participate. The final sessions will be devoted to individual student presentations on a single portrait. These presentations will then form the foundation for a research paper due at the end of the term.

History of Art 4421 Medieval Art Professor Karl Whittington Whittington.78@osu.edu

Call #32390 Tuesdays and Thursdays 12:45-2:05

Introduction to the art and architecture of medieval Europe, ca. 400-1400 CE. Themes to be explored include the production and decoration of medieval manuscripts, religious and secular architecture, liturgical arts and ritual, art and politics, iconoclasm, gender and identity, and pilgrimage. GE VPA and Diversity Global studies course

History of Art 4541 17th-Century Art of Italy & Spain: Images of Faith, Power, And Artistic Virtuosity Professor Barbara Haeger Haeger.1@osu.edu

Call #32391

Tuesdays and Thursdays 11:10-12:30

This course focuses on the major artists, monuments, and functions of visual images and architecture in Italy and Spain between 1590 and 1700. The material has been organized to explore the role of art in communicating the authority of powerful institutions and individuals, propagating religious beliefs, and stimulating piety and devotion. We will also examine issues of artistic theory and practice and the particular contributions of individual artists (e.g. Caravaggio, Bernini, Velázquez) and their followers.

History of Art 4620

20th-Century European Art Call #32392

Wednesday and Fridays 9:35-10:55

The twentieth century witnessed numerous, often quite heated debates about the nature of art and its role in society. This course will take up those debates in its discussion of the major movements of the twentieth century across Europe and the United States—movements including fauvism, German expressionism, Cubism, Futurism, abstraction, Dada, Surrealism, Abstract Expressionism, and other more recent developments. The emphasis will be on helping students acquire and develop the requisite skills for analysis of the formal and stylistic aspects of specific works of art and on helping them to understand those works in their social and historical contexts.

History of Art 4815 Modern & Contemporary Chinese Art

Professor Julia Andrews Andrews.2@osu.edu

Call #32393

Tuesdays and Thursdays 9:35-10:55

This course will explore major developments in Chinese art from 1850 to the present, with particular interest in how artists defined themselves in the context of radical social and economic changes, periods of destructive warfare, and an increasingly international art world.

History of Art 5060 Alternative Histories Professor Byron Hamann Hamann.40@osu.edu

Call # 32397-U 32398- G

Wednesdays and Fridays 12:45- 2:05

How is the past remade in the present? What strategies and techniques have been developed by academic historians (in disciplines ranging from History to Anthropology and Archaeology to Art History) to imagine different pasts? How do these approaches overlap with the alternative histories created by filmmakers, novelists, musicians, and artists? Above all, how do historians both within and beyond the university deal with non-alphabetic traces of the past—sources that are visual, material, or sonic? How can “histories” be produced without alphabetic writing? In this course, we will explore these issues by reading and viewing a wide range of materials: paintings, tapestries, documentaries, museum exhibits, websites, musical recordings, steampunk novels, Mesoamerican hieroglyphs, and of course academic essays and books.

History of Art 5815 The Lyric Journey: Chinese Painting of the Tang & Song Periods Professor Julia Andrews Andrews.2@osu.edu

Call # 32395-U 32396- G

Tuesdays and Thursdays 2:20-3:40

This course will explore the conceptual and formal breakthroughs of the golden age of Chinese painting, the Tang and Song dynasties (618-1279), when artists sought to achieve the highest possible degree of empirical and philosophical accuracy in their depictions of nature and humankind. We will study the major works of art themselves, along with both current interpretive writings and those (in translation) from the artists’ own time. Why has this art been acclaimed as capturing universal truths? And why is painting of this period considered to have achieved such heights that all later Chinese art must be judged by its standards?

Graduate Seminars

History of Art 8401 Medieval Art as Argument

Professor Karl Whittington

Whittington.78@osu.edu Call #32384

Fridays 2:15-5:00

Works of medieval art – drawings, paintings, sculptures, reliquaries, buildings – were not only channels for sacred presence, explicators of biblical narratives, or vessels for beauty and contemplation; many were also carefully crafted to make arguments – to convince their viewers of a particular dogma, belief, understanding, or point of view. They were instruments of persuasion. In this seminar we will examine the question of how medieval works of art constructed these arguments, and how medieval viewers interpreted them. In doing so, we will be studying the intersection of the ideologies behind these arguments (ideologies of politics, power, gender, identity, religious belief, etc.) with the actual mechanisms of artistic communication (subject matter, format, composition, medium, etc.). How do form and content combine to create a persuasive image or object? How did medieval people themselves conceptualize things like argument, proof, and efficacy? Our case studies will range across Western Europe (from ca. 1000-1350), from expensive public works to popular devotional objects.

History of Art 8561

People & Things: Social History/Material Culture

Professor Byron Hamann Hamann.40@osu.edu

Call # 27807

Mondays 2:15-5:00

This course explores the interconnections of humans and material objects from a wide variety of disciplinary and theoretical perspectives. The course begins with a survey of approaches to materiality from different academic disciplines (art history, the history of the book, literary studies, and history), then considers a history of key texts on human-material relations in the Euroamerican tradition (Hegel, Marx, Appadurai, Gell, and Latour), and concludes with a series of readings on different material themes, as viewed from a variety of disciplines (circulation, clothing, immateriality). Since different kinds of objects and different kinds of human-object relations require their own perspectives, and illuminate different aspects of social life, the course does not seek to lay down a single theory of society and material culture, but rather considers a range of approaches from a number of different disciplines.

History of Art 8901

Modern Social Imaginaries and the Cinematic Image

Professor Erica Levin Levin.1996@osu.edu

Call # 32394

Wednesdays 2:15-5:00

This seminar looks at a wide range of moving image practices from across the history of cinema and 20th century art that raise questions about how the social takes form as a collective creation. Building upon theories of “the social imaginary” as elaborated by Cornelius Castoriadis, Charles Taylor, and others, this course asks how artists and filmmakers have mobilized the modes of address, narratives, and symbols that implicitly underwrite and make possible the common practices of social life. How do social imaginaries take on institutional coherence and significance? Where does cinema (particularly as explored through multi-screen projection, performance, and installation) intersect with these processes? What claims do such works make about cinema’s role in the constitution of public spaces, subjectivities, and spheres of exchange? With these questions in mind, we will look closely the appearance of the social as it has taken on various cinematic guises—mass ornament, unruly collective body, networked assemblage—in different global contexts and moments of political crisis.