Summer 2022

MAYMESTER in NYC

ARHI 4970/6970

Art History Field Study

Geha 

Dodd students touring art museum in NYC

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THRU SESSION

ARHI 2300E: Art History I

Abbe | CRN 59756 | Thru Session 

No prerequisite + Open to all UGA students 

Throne room of Nebuchadnezzar II, Babylon. Glazed terracotta brick, c. 570 BCE. H. 46 ft. Berlin, Pergamon Museum

This course examines the rich and diverse traditions of art and visual culture from the Paleolithic period (75,000 BCE/BC) to the European Renaissance (1560 CE/AD). It will examine important and innovative key works of sculpture, architecture, painting, and the portable arts from the ancient Near East and Egypt, Greek and Roman antiquity, Byzantium and the Islamic and Medieval worlds, and the Italian and Northern Renaissance. Students will engage with lectures, readings, and online discussions. The direct, first-hand material examination of artworks in regional collections is encouraged. This course aims to offer students the ability to quickly develop skills in the perception, comprehension, and interpretation of visual art forms across diverse historical and cultural eras. Critical methodological issues, new important archaeological discoveries, and current debates are highlighted.  

ARHI 2400E: Art History II

Andrew | CRN 63121 | Thru Session 

No prerequisite + Open to all UGA students 

Edouard Manet, Bar at the Folies Bergère, 1882

This course is a selective survey of major works of European and American painting and sculpture from the 17^th through 20^th centuries. No survey course taught in the space of a semester could ever be comprehensive, nor could any approach be understood as the definitive survey of the discipline of art history. In this survey, we will not only study major works of art and written texts of Western art, but we will interrogate how they contribute to and shape a particular story of Western culture and its predominantly white, male, Judeo-Christian world view. Through lectures, discussion, and readings, students will be introduced to the interplay of history, interpretation, and reception, as well as to a range of methods and intellectual structures foundational to the study of Western art history. In particular, students will develop skills for finding and explaining meaning in works of art as we examine the influence of artistic and cultural movements, the context of historical events, and the dominant socio-political ideologies regarding empires, nations, race, and gender in the in the modern era. Most important, the course aims to foster in students the ability to recognize art as historical evidence, both visual and material, and to translate its significance into verbal expression, both oral and written. 

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Please note: The ability for all summer course to run is dependent upon meeting a minimum number of enrolled students. While the School of Art will make every effort to offer these courses to our students, being listed above does not guarantee that the course will run for the summer term.

 

Fall 2022

ARHI 2300

Art History I

Klima | CRN 25733

Klima | CRN 25735

Winged Victory (Nike) of Samothrace (detail), from Samothrace, Greece, 220–150 BCE. Marble, height 18 ft. 3 in. (5.56 m). Musée du Louvre, Paris.

This course will introduce students to visual culture (sculpture, architecture, painting) from Prehistoric times to the Late Medieval Periods. Our object-based inquiry will focus on key examples and ask; who made them and why? How were they made? Which function did they serve and what did they mean? Through formal analysis and cultural comparison, we will examine art within its cultural context in order to think critically about visual expression, human creativity, and diversity throughout history. In addition to online quizzes and essay exams, students will be asked to engage with historic art traditions beyond the classroom.

ARHI 2311H

Art History Honors

Klima | CRN 25738

The Great Mosque at Djenne, Inland Niger Delta, Mali, founded c. 1300, restored 1907. Adobe.

This course will introduce students to visual culture from Prehistoric times to the European Renaissance with an emphasis on architecture. The built environment will serve as a framework for exploration of the diverse visual arts and traditions before 1600 through a selection of monuments from early cave paintings, antiquity (Egypt, Near East, Greece, and Rome), Byzantium, medieval and renaissance Europe, Africa, and Asia. In addition to exploring sculpture, painting, and other art objects, students will build an understanding of the technologies, materials, spatial designs, and décor of historic buildings in order to consider the functions and meaning of these monuments within their cultural contexts. Students will be asked to think critically about visual culture and construct an understanding of architecture in the global context.

ARHI 3022

Art and Architecture of Byzantium

Kirin | CRN 50226

The Holy Virgin and Christ Child with their earthly ancestors, gold background mosaic in one of the domes in the church of the Monastery of Chora in Constantinople, early 14th. c.

The Byzantine Empire is one of the most important civilizations of the Late Antique and Medieval periods. This course examines the art and architecture of the Byzantium through archaeological evidence and written sources. We will study the imperial, religious, social and cultural aspects of the empire between the 4th and 15th centuries. Also, we will focus on some case studies to see how Byzantium’s political and religious life was emulated by other contemporary cultures, such as Venice, Norman Sicily and Kievan Rus’. Throughout the semester we will consider different aspects of the Byzantine heritage’s perception in the era of Modernity. In the eyes and minds of nineteenth-century artists and intellectuals, Byzantium emerged as a link with the ancient Greek and Roman visual traditions, as well as a precursor of Modern art.

ARHI 3100

Arts of Asia

Morrissey | CRN 50228

This course will examine a representative survey of the major artistic and architectural achievements from ancient and medieval South Asia (India, Pakistan, Nepal, Sri Lanka) and Southeast Asia (Thailand, Cambodia, Indonesia, Myanmar). Although regional distinctiveness and diversity will be emphasized, a comparative approach will be employed in order to observe, analyze and understand potential commonalities between the various intellectual, social, religious and historical experiences of cultures and communities across these regions of Asia. Topics for this course include: the origins of material culture in South Asia in the Indus Valley, the development of Buddhist, Hindu and Islamic visual cultures in India and the transmission of Indian religious traditions to Southeast Asia and their influence on the production of material culture there. Monuments to be considered will include, but are not limited to: the art of the urban centers of the Indus Valley, the Buddhist stupas at Sanchi, the Buddhist rock-cut monasteries of Ajanta, the Hindu temples at Khajuraho and Mammalapuram, early Islamic Architecture of the Indian subcontinent, the Hindu and Buddhist temples of Cambodia at Angkor, the Buddhist pagodas of Myanmar in Yangon, Mandalay and Pagan, and the Buddhist heritage of Java at Borobudur.

ARHI 3530

Modern Photography

Simon | CRN 53249

Paul Strand, Wall Street, 1916

This course attempts an overview of the development of modernist “art” photography from its beginnings in “pictorialism” through its absorption of cubist aesthetics, theories of abstraction, surrealist principles and mystical beliefs.  It will explore as well the revolutionary redefinition of documentary photography, the transformation of street photography and the appearance of avant-garde film in the 1920s-30s.  Rather than offer a superficial survey, this course will focus on the seminal American figures in the formation of modernist photography and key European photographers who profoundly influenced their work and the development of twentieth century modernism.  Arranged around a selected group of major figures (Atget to Arbus), the course will be essentially monographic but with an awareness that many of these photographers overlap chronologically and artistically.  The intersection between photography and the other modern arts will also be considered as we come to terms with what was understood as a modernist photographic aesthetic from the late 19th through the mid-20th centuries.  Students will learn to distinguish individual photographic styles and to understand how photography conveys profound meanings through the use of light, imagery, focus, cropping, and other techniques. Comparative art historical analyses of photographers will be an important component of this course as will the historical, social & political contexts of modernist photography—students will be expected to relate photographers and their work to the broader historical events of their creation.  There will be two tests and one cumulative final exam. Readings will be available on ELC.

ARHI 3065

Modern Art

Andrew | CRN 53248

This course will address the visual arts from the first half of the 20^th century (roughly 1880-1940). We will cover artists, works, and critical debates in the art of Europe and the Soviet Union. With close analysis of individual works of art, we will visually engage the conversation surrounding the avant-garde, modernism and modernity, and definitions of realism, abstraction, and the nature of the art object. Students will learn skills useful for discovering meaning in works of art. Through critical readings and lectures we will explore the influences of new technologies, popular culture, politics, war and genocide, as well as the changing roles of institutions of art making and marketing, and the emergence of new audiences for art. These contexts–along with issues of originality, identity, utopias, and alienation–will help us to define artistic production during this dynamic period. No survey course taught in the space of a semester can ever be comprehensive, definitive, or fully inclusive of history. This survey deals primarily with texts and works of art by European and American producers. In each case, however, we will also interrogate how these build and reinforce a particular story of Western culture and creativity, and its predominant world views. Through lectures, discussion, and readings, students will be introduced to the interplay of history, interpretation, and reception, as well as to a range of methods and intellectual structures foundational to the study of Western art history. In particular, students will develop skills for finding and explaining meaning in works of art as we examine the influence of artistic and cultural movements, the context of historical events, and the dominant socio-political ideologies regarding empires, nations, race, and gender in the in the modern era. Most important, the course aims to foster in students the ability to recognize art as visual and material evidence, and to translate this into verbal expression.

ARHI 3035

Northern Ren and Baroque

Zuraw | CRN 53247 

The subject of this course is the history of art in northern Europe between ca. 1500 and 1700. Although exact dates vary according to location, by general agreement the sixteenth and seventeenth centuries in the North are associated with the periods known as the Renaissance and the Baroque. In this class, after a brief introduction addressing fifteenth-century developments in the Netherlands, we will consider the arts of painting, sculpture, and architecture in Germany, Flanders, the Netherlands and, to some extent, England. Beginning in Germany we will commence with a consideration--both formally and contextually--of Dürer and his contemporaries. Special attention will be paid to the print medium and to the development of new genres including landscapes and still life painting. We will also consider the internationalization of art, artists, and life in northern Europe in this period including the tragic impact of early colonial expansion in Asia, Africa, and south America. Returning to Europe, we will end with a discussion of the bourgeois art of the Netherlands in the seventeenth century, as exemplified in the work of Rembrandt and Vermeer.

 

ARHI 4050/6050

Icons Byzantium

Kirin | Undergrads: CRN 53250 | Grads: CRN 53251

Christ the Pantoctator (“Ruler of the Universe”), encaustic painting on wood, Monastery of St. Catherine on Mount Sinai, Egypt, late 6th c.

The Byzantine Empire is one of the most important civilizations of the Late Antique and Medieval periods. This course examines the art and architecture of the Byzantium through archaeological evidence and written sources. We will study the imperial, religious, social and cultural aspects of the empire between the 4th and 15th centuries. Also, we will focus on some case studies to see how Byzantium’s political and religious life was emulated by other contemporary cultures, such as Venice, Norman Sicily and Kievan Rus’. Throughout the semester we will consider different aspects of the Byzantine heritage’s perception in the era of Modernity. In the eyes and minds of nineteenth-century artists and intellectuals, Byzantium emerged as a link with the ancient Greek and Roman visual traditions, as well as a precursor of Modern art.

ARHI 4910/6910

Special Topics: Ren Baroque Venice

Zuraw | Undergrads: CRN 53601 | Grads: CRN 53604

Carpaccio, Hunting on the Lagoon, Getty, ca. 1490-95

This course concerns the history of art in fifteenth and sixteenth-century Venice. It will focus on the painting, sculpture, architecture, and other media, including printing and book arts produced in and around Venice. Major artists who worked in the city as well as others who profoundly influenced its development will be discussed. The approach emphasizes the historical, social, intellectual, and artistic circumstances of visual production and reception in Venice and her territories. Venice, because it was a major port and at the cross-roads of some many cultures, is also an ideal place from where to consider ethnic, religious, and racial diversity; these themes will play an important part in our consideration of Renaissance Venice. Students will be expected to submit various. Kinds of written work, present orally, and do other activities in lieu of exams. The goal of the class is both to become familiar with the history, development, and significance of Venetian Renaissance art and to be able to transform this information into coherent arguments about one city’s art and history.

ARHI 4150/6150

Indian Art and Religions

Morrissey | Undergrads: CRN 53252 | Grads: CRN 53253

ARHI 4570/6570

Modern Art and Dance

Andrew | Undergrads: CRN 53254 | Grads: CRN 53255

The history of 20th -century art cannot be told without addressing the concerns of the body, of movement, space, the ephemeral, and the performative. Yet early-20th century histories of art seldom venture far from the material and formal confines of ‘medium.’ The aim of this course is to open a dialogue between avant-garde painting and sculpture of the early-20th century and the movement-arts of dance, music and film. By considering modern art's ties to media that involve the body and its multiple senses, we will question key theories in the history of modernism, from the formalist trajectory of medium-specificity to the suggestion of formlessness or anti-medium, widening the scope of the art “object” and its formal analysis. Attempts to understand human experience of the art object have been supported in the last century by concepts of empathy, synesthesia, kinesthesia, somaesthetics and embodiment. We will read a range of these philosophical and critical frameworks for art and its reception as we examine correspondences across the disciplines at the time of the historical avant-garde and the development of modernist abstraction. By intersecting with the fields of Dance Studies and Philosophy in particular, this course will also ask students to grapple with the stakes of disciplinary boundaries in higher education. The course aims to give students an introduction to advanced seminar formats by demanding both critical discussion of assigned readings and a large-scale interpretive research paper.  The intensive readings assigned are designed to help students identify and begin to work with the parameters, stakes and methods of critical thinking in the evolving practice of interdisciplinary scholarship. 

ARHI 4920/6920

Black Representation and the Politics of Cultural Identity

Harris | Undergrads: CRN 53256 | Grads: CRN 53267

Kehinde Wiley; Amy Sherald, Michelle LaVaughn Robinson Obama, 2018, Oil on linen, National Portrait Gallery, Smithsonian Institution.

This new course will focus on a variety of themes and visual strategies used by Black artists to celebrate, correct, negotiate and even complicate notions of a uniform cultural identity. Although not an exhaustive account of issues central to this discussion, the course will examine some of the more salient aesthetic debates among artists related to race and representation in such as themes of social uplift following Emancipation, as well as social protest and civil rights in the 20th and early 21st century. Using examples from a variety of media, we will consider how the politics of exclusion and misrepresentation impacted Black artists to both build and depart from a collective visual response to lived experiences.

ARHI 8700

Greek and Roman Painting and Sculpture: Materiality, Color, Artistic Process, and Aesthetic Viewing 

Abbe | CRN 53258

Wall painting from Villa Farnesina (Cubiculum B), c. late first century BCE. Museo Nazionale Romano, Rome.

This seminar, fully titled “Greek and Roman Painting and Sculpture: Materiality, Color, Artistic Process, and Aesthetic Viewing”, offers a critical (re)introduction to the interrelated arts of painting and sculpture in the Greek and Roman worlds from c. 280 BCE to the “long” second century CE. Important historical, stylistic, and material developments will be critically reexamined and assessed with an emphasis on so-called “Ideal” representations (that is, images of the gods and cultural heroes). Close rereadings of Pliny’s Natural History and increased broader cultural and philosophical understandings of the intersections between art, materials, and natural cosmological matter in antiquity allow us to reframe the often-assumed aesthetic priorities of Greek and Roman viewers. We gain important new insights from the ancient display of artistic “collections” of art and the diverse contexts of “museums” in antiquity. This course seeks to expand traditional notions of ancient connoisseurship by bridging such concerns with the direct technical understanding and appreciation of Greek and Roman art as a material crafted object. Emphasis will be paid to the diverse surface effects of different materials and how artistic processes in painting and sculpture were made visibly manifest and “legible” to contemporary eyes. Students will be encouraged to creatively explore different kinds of visual analysis and reception of recontextualized painting and statuary in light of different forms of textual and archaeological evidence, and to do so by apply different methodologies in art historical research with an emphasis on innovative trends in the most recent scholarship. 

ARHI 8990

American Art Thomas Cole

Simon | CRN 53259

When Thomas Cole shocked the American cultural community by dying suddenly at the young age of 47 of pleurisy, it was clear to all that the nation had lost one of its foremost painters and cultural leaders. Then, as today, Cole was credited with being the founder of landscape painting in the United States, and after the term was created in the 1880s, the “father of the Hudson River School,” although the term was one of derision, no such actual School existed, and Cole only had one true student, Frederic Edwin Church. Born in Lancashire, England, an industrialized area, Cole with his parents and sisters immigrated to the United States in 1818, settling in Steubenville, Ohio, and then moving to Philadelphia, and later, New York, most famously settling in the Catskill Mountains with his wife and children. Largely self-taught, Cole was not only a painter but also an essayist and story writer, a poet, and an architect. He is rightly viewed today as an early environmentalist along with his dear friend the poet and newspaper editor, William Cullen Bryant.  

This seminar will be an examination of the career, writings, influence, legacy, and most of all, a detailed examination of the extraordinary paintings of an artist who sought “a higher sort of landscape painting, for as he wrote, “The subject of art should be pure and lofty…an impressive lesson taught, an important scene illustrated– a moral, religious or poetic effect be produced on the mind.” We will explore how Cole, so engaged with the political, social, economic, scientific, religious, and cultural concerns of his day, epitomized a Romanticist sensibility in his combining of a study of place with allegorical meanings. We will examine how specific terrains like the Catskills, Niagara Falls, White Mountains, Adirondacks, and Maine coast intersected with his growing concerns about environmental degradation, his awareness of and depiction of Native Americans, his anthropomorphic tropes, and his use of landscape and the history of art to make grand allegorical statements like The Course of Empire and The Voyage of Life. Cole’s travels to and engagement with England, Paris, and especially Italy, provides opportunities for those interested in European art to see Transatlantic influences. Students will research a topic related to Thomas Cole and/or his legacy, present to the class, and write a research paper. Readings will consist of Cole’s own writings as well as past and recent scholarship, including ground-breaking exhibitions on Cole’s art. 

GRSC 7770

Graduate Teaching Seminar

Abbe | CRN 53260

Classroom lecture in Art History, School of Art.

This course provides new graduate student TAs with knowledge of pedagogical practices and approaches, as well as relevant UGA policies and available campus resources.

 

Preview of Spring 2023 Courses

ARHI 2400     

Introduction to Art History II

Hobson | CRN 

ARHI 2400     

Introduction to Art History II

Andrew | CRN 

ARHI 2411H  

Introduction to Art History II H

Andrew | CRN

ARHI 3010     

Medieval Art and Architecture

Klima | CRN

ARHI 3020     

Ren Art

Zuraw | CRN

ARHI 3050     

American Art

Simon | CRN

ARHI 4080/6080     

Roman Sculpture

Abbe | CRN

ARHI 4290/6290     

Ren Baroque Sculpture

Zuraw | CRN

ARHI 4160/6160     

Buddhist Visual Worlds

Morrissey | CRN

ARHI 4440/6440     

Modernism Stieglitz 

Simon | CRN    

ARHI 4920/6920     

American Art: Object Lessons 

Richmond-Moll | CRN

ARHI 4960R   

Senior Seminar

Geha | CRN    

ARHI 6930 

Special Topics in Modern Art

Geha | CRN 

ARHI 8440     

Byzantine Seminar

Kirin | CRN 

ARHI 8950     

Contemporary Seminar

Wallace | CRN 

GRSC 7850     

Teaching Art History

Andrew | CRN