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Autumn 2014 Course book of

For more information about any course offered next semester, or to schedule a class please consult Buckeye Link – State’s Online Academic Center.

Courses by Instructor

Andrews, Judy History of Art 4815 Modern and Contemporary

History of Art 8811 Studies in Chinese Art: The Exhibition in Modern

Florman, Lisa History of Art 5001 Transfigurations of (and in) Twentieth-Century Art

Fullerton, Mark History of Art 2001H History of Western Art I: The Ancient & Medieval Worlds (Honors)

History of Art 5312/Classics Art and of

Fullerton, Monica History of Art 2001 History of Western Art I: The Ancient and Medieval Worlds

Gluibizzi, Amanda History of Art 4016 Imaging Information (Senior Seminar)

Haeger, Barbara History of Art 2002H History of Western Art II: The to the Present History of Art 4510 Northern

Hamann, Byron History of Art 6001 Conceptual Bases of

Huntington, John History of Art 5711 Art of I

Kleinbub, Christian History of Art 3521 Princes and Painters: The Art of the Italian Renaissance

History of Art 5521 Renaissance in Central : The of

Kunimoto, Namiko History of Art 4001 Seminar in History of Art

Latorre, Guisela History of Art 3603 Introduction to Modern and Contemporary Latin American Art and Culture

Mathison, Christina History of Art 2003 Art of Asia

History of Art 6015 Practicum for Graduate Teaching Associates in the History of Art

Paulsen, Kris History of Art 4640 Since 1945

History of Art 8901 Cinema Studies: Interface

Whittington, Karl History of Art 8001 Studies in Art Theory and Criticism: Pictoriality: How Work

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

Monica Fullerton [email protected]

Call#19831

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

This course examines the history of Western Art (, painting and ) from the third millennium BCE through the 14th century CE. Rather than a complete “survey” of that period, the course will concentrate its attention on a select group of representative monuments.

Prereq: Not open to students with credit for 201 or 210. GE VPA and historical and diversity global studies course.

History of Western Art 2001H: The Ancient & Medieval Worlds (Honors)

Professor Mark Fullerton [email protected]

Call # 19838

Wednesdays and Fridays 11:10-12:30

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: Honors standing, or by permission of dept or instructor. Not open to students with credit for 201 or 211H. GE VPA or historical study and diversity global studies course.

History of Art 2001 Night

History of Western Art I: Ancient and Medieval Worlds (Night)

Call #25462

Tuesdays and Thursdays 5:30-6:50

This course examines the history of Western Art (architecture, painting and sculpture) from the third millennium BCE through the 14th century CE. Rather than a complete “survey” of that period, the course will concentrate its attention on a select group of representative monuments.

Prereq: Not open to students with credit for 201 or 210. GE VPA and historical study and diversity global studies course.

History of Art 2002

History of Western Art II: The Renaissance to the Present

Call #19839

Mondays and Wednesdays 10:20-11:15 Recitation: Thursdays or Fridays 10:20-11:15

This course examines the art of the 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 2002 Honors

History of Western Art II: The Renaissance to Present (Honors)

Professor Barbara Haeger [email protected]

Call #33774

Wednesdays and Fridays 12:40-2:05

This course examines the way that works of art both participate in the discourses of their times (e.g. shaping values, constructing identities, promoting beliefs, giving visual form to new concepts etc.) and define themselves by exploring new modes of representation in dialogue with the art of the past. The focus will be on significant works that shaped—and were shaped by—western social, political, economic, and intellectual history. 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. There will be considerable emphasis on questions of analysis and interpretation and in exploring both the means by which the object engages the beholder in extended viewing and the way that visual forms can be deployed to structure the viewer’s experience and elicit particular responses.

Prereq: Not open to students with credit for 202 or 212. GE VPA and historical study and diversity global studies course.

History of Art 2002 Night

History of Western Art II: Renaissance to Present (Night)

Call #25463

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 [email protected]

Call #19846

Mondays and Wednesdays 10:20-11:15 Recitation: Thursdays or Fridays 10:20-11:15

This course offers an introduction to the in Asia, from the through today. The course examines in particular the relationship between cultural production and changing notions of authority in Asia in a comparative historical perspective. Case studies will be drawn from India, China and Japan. Issues examined include: religion and early state formation; courtly culture and monumentality; the development of urban ; the age of empire; art and modernization.

Prereq: Not open to students with credit for 213. GE VPA and diversity global studies course.

History of Art 2901

Introduction to World Cinema

Call #19849

Tuesdays and Thursdays 9:35-10:55

This course will introduce students to the principal , 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 #19850

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

Princes and Painters: The Art of the Italian Renaissance

Professor Christian Kleinbub [email protected]

Call #27981

Tuesdays and Thursdays 11:10-12:30

This course offers a panoramic introduction to the greatest and masterpieces of the Italian Renaissance from its beginnings in 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.

History of Art 3603

Introduction to Modern and Contemporary Latin American Art and Culture Professor Guisela Latorre [email protected]

Call #26787

Wednesdays and Fridays 3:55-5:15

This course will provide students with an overview of the major trends and movements of Latin American art and culture from the late 19th to the 21st centuries. Rather than a chronological march through Latin American art history, this class will offer students an interdisciplinary investigation into a series of issues pertaining to in the continent. Some of these themes will include the colonial legacy, the role of the arts in nation building, the incorporation and/or rejection of European avant-garde visual languages, the articulation of gender and sexuality in the arts, among many others.

History of Art 3901 Night

World Cinema Today (Night)

Call #19852

Tuesdays and Thursdays 5:30-6:50 pm

An introduction to the art of international cinema today, including its forms and varied content.

Prereq: Soph standing, or permission of instructor. Not open to students with credit for 350. GE VPA course.

History of Art 4001

Writing Seminar in History of Art: Envisioning in the Nation: Modern and Contemporary Art in Asia

Professor Namiko Kunimoto [email protected]

Call #19853

Wednesdays and Fridays 11:10-12:30

This course will teach art history majors how to write about art in a clear and compelling manner. Students will also improve their ability to critically engage with texts and do in-depth visual analysis. Through our readings, discussion, and careful looking at images, students will consider the ways the state has been represented, reacted against, and questioned in Asian and North American art. How did events such as the Pacific War impact the and how did representation in turn inform competing ideologies of nationhood and gender? How has affected artistic practice? While addressing these issues we will examine various works of modern and contemporary art, including , installation, , painting, and .

Prereq: History of Art Major. Not open to students with credit for 415.

History of Art 4016

Imaging Information (Senior Seminar)

Professor Amanda Gluibizzi [email protected]

Call # 33280

Tuesdays and Thursdays 11:10-12:30

If it is true that we live in an age of images, it is also true that those images are trying to tell us something. The “narratives” of contemporary images are, more and more often, information. Information visualization, the “communication of abstract data through the use of… visual interfaces” (Keim, 2006), graphically elucidates information that would otherwise be difficult to comprehend. This class proposes to examine the techniques of information visualization through close examination of images as well as historical and theoretical readings in art, design, and media topics. During the course of the semester we will ask: What is this image trying to tell me? Is it doing a good job? Am I persuaded? And what if I disagree?

Prereq: History of Art major, or permission of instructor. History of Art 4510

Northern Renaissance Art

Professor Barbara Haeger [email protected]

Call #32419

Tuesdays and Thursdays 9:35-10:55

This course employs primarily paintings and prints in order to explore the of between about 1380 and 1585. Some works will be examined in great detail in order to consider the kinds of very effective visual strategies they employed to engage the viewer and fulfill particular functions; others will be considered primarily as exemplifying types of responses to and engagement with a rapidly changing world. In all cases, the purpose will be to explore the ways that images are constructed to convey meaning and affect the viewer and to consider how they participate in shaping religious, social, and cultural values and/or constructing individual and community identity.

History of Art 4640

Contemporary Art Since 1945

Professor Kris Paulsen [email protected]

Call #32421

Tuesdays and Thursdays 2:20-3:40

Medium and Media: This course examines a defining trend of the art of the past sixty years: its abandonment of the time-honored media of painting and sculpture in favor of photography, the performing body, installations in space, earthworks, , the computer, political activism, verbal texts, or even the absence of all of the above. The course will provide a survey of movements since 1945, such as Abstract , , , Pop, , Performance, Video and . We will track the movement away from specialization and the autonomous toward the tactical use of many (and multiple) media. The artwork is now often temporary, site specific, and/or conceptual; it may exist only as documentation of an expired event or as an immaterial object on the internet, if it takes permanent form at all. How and why did this change come about? Our efforts will go towards understanding the emergence and purposes of the new media, not as ends in themselves, but with an eye to grasping how such works aim to produce meaning.

Prereq: 2002 (202), or permission of instructor. Not open to students with credit for 541.

History of Art 4815

Modern and Contemporary Chinese Art

Professor Julia Andrews [email protected]

Call #27984

Wednesdays and Fridays 9:35-10:55

This course will explore major developments in Chinese art from 1850 to the present, with particular concern for the intersection of modernity and tradition in the twentieth century.

History of Art 5001

Transfigurations of (and in) Twentieth-Century Art

Professor Lisa Florman [email protected]

Call #33134-G and 33135-U

Tuesdays and Thursdays 3:55-5:15

Pablo Picasso, Nu au fauteuil noir, 1932 Oil on canvas 63 1/2 x 51 in. 161.3 x 129.5 cm © 2014 Estate of / Artists Rights Society (ARS), New York

Offered in conjunction with the fall’s 25th anniversary exhibition at the Wexner Center for the Arts, Transfigurations: Modern Masters from the Wexner Family Collection, this course will focus on the three artists most prominently featured in the show—Pablo Picasso, , and Jean Dubuffet—as well as on the history of their exhibition and reception in the twentieth century. Class will be conducted as much as possible in the Wexner Center galleries; and students will be asked to attend the symposium organized around the show. In lieu of a final exam, the principal assignment for the course will be a substantial, catalogue-type essay on one of the works in the exhibition, which everyone will be asked to present publicly to their fellow students and other interested members of the Wexner community. History of Art 5312

Art and Archaeology of Classical Greece

Professor Mark Fullerton [email protected]

Call #33285-G and 33287-U

Tuesdays and Thursdays 12:45-2:05

This course will explore the art history, archaeology, and of during the Classical period (c. 480-300 B.C.) Students will be encouraged both to consider the wide range of disciplines that contribute to the field of Classical Archaeology, including such sources of evidence as material remains, inscriptions, and literature, and to apply the methodologies of art history, archaeology, , history and philology.

History of Art 5521

Renaissance Painting in : The Arts of Rome

Professor Christian Kleinbub [email protected]

Call #27892-U and 27983-G

Tuesdays and Thursdays 2:20-3:40

Once the capital of an ancient world empire, Renaissance Rome was the seat of the popes, the beating heart of Western Christiandom. Its art would bear the imprint of this dual legacy. Not particularly blessed with native , Renaissance Rome nevertheless knew how to attract the best artists (Leonardo, , , Titian) who came not only on account of papal wealth but also because they wanted to work in the place where they could study the remains of Classical . Through their combined efforts and the ambitious of churchmen, these artists would create in Rome some of the most innovative artworks in Western art history. However, the result would be both wonderful and strange. Indeed, this course will address the real problems that arose in remaking a holy city of pilgrimage and piety into one overflowing with both ancient and based in form if not in spirit on the ruined glories of the city's pagan remains. In discovering what constituted the Roman Renaissance, this class will uncover something of the unlikely nature of the art that had its debut there, finally closer to the meaning of the term "Renaissance" not only in Rome but elsewhere, as well.

History of Art 5711

Art of India I

Professor John Huntington [email protected]

Call #33588-U 33587-G

Wednesdays and Fridays 3:55-5:15

An in-depth survey of the Neolithic and of India from the Harappan Civilization through the Gupta period. The emphasis will be on the origins and development of Buddhist Art.

History of Art 6001

Conceptual Bases of Art History

Professor Byron Hamann [email protected]

Call #19854

Mondays 2:15-5:00

This class is designed to introduce first year graduate students to foundational ideas concerning art and the discipline of art history. We will read canonic texts by art historians as well as influential in related fields, including philosophy and anthropology.

Graduate Seminars

History of Art 8001

Studies in Art Theory and Criticism: Pictoriality: How Paintings Work

Professor Karl Whittington [email protected]

Call #32425

Fridays 2:15-5:00

In this seminar, we aim to bracket many of the usual questions of the discipline of art history – social/historical context, authorship, ideology, etc. – in favor of a sustained examination of pictorial mechanics – of how paintings work. We might call the class “Visual Analysis for Graduate Students,” or perhaps “The Art of Description.” Through a sustained analysis of a small number of works, we will rethink the way that pictures reveal themselves to us, and talk about the way that we as art historians write about this experience. In each seminar meeting, we will look only at one painting, with examples ranging from the early through the modern period; there will be no details and no comparisons – no escape from the internal logic of the painting’s structure that we will be endeavoring to reveal. We will think about issues such as pictorial surface, space, figure, ground, composition, standpoint, illusion, ambiguity, and scale. These discussions will be illuminated by readings about these individual paintings as well as theoretical texts about description; pictoriality and visuality; and formalism and composition.

History of Art 8811

The Exhibition in Modern China

Professor Judy Andrews [email protected]

Call # 19857

Thursdays 2:15-5:00

This seminar will focus on the introduction and development of the public exhibition as venue for viewing and showing art in twentieth century China, as well as its function of introducing Chinese art to the international community. We will consider how this Western form of artistic display affected the practice of art, the development of art history, the marketing and collecting of art, and ideas about the function of art in modern Chinese culture and society. We will conclude with a brief look at how this story is still unfolding, with the construction of thousands of new museums and the biennial boom.

History of Art 8901

Cinema Studies: Interface Aesthetics

Professor Kris Paulsen [email protected]

Call #32424

Wednesdays 2:15-5:00

An “interface” is any boundary or surface dividing two systems. Interfaces join spaces and subjects. They are windows, doors, thresholds; they are simultaneously sites of connection and separation. They are “zones of indecision,” but also sites for action and intervention. They are all around us, yet, for the most part, they function invisibly. That is, until they stop working. Interfaces, Alexander Galloway explains, are surfaces that are not “things,” but “processes” and “effects.” The “unworkable interface,” then, does not disguise its functioning as a mediating surface (as a transparent portal such as a window does), rather it points to that very function by failing in crucial ways. Glitches, errors, broken connections, transgressed frames, mismatched gazes, audio delays, and other failures materialize systems that rely on invisibility and seamlessness. This class explores how artists have sought to materialize the interface by making it “unworkable.” This course will take up the aesthetic condition of the interface and problem of its “unworkablity” across the history of art, from antiquity to the present, with a special focus on contemporary attempts to materialize the interface through touch and haptic connection with mediating surfaces. Our discussion will media, from written texts, to painting, sculpture, photography, film, video, video games, and new media works.