Log in to post comments Summer 2021 NEWLY ADDED SUMMER COURSES ARHI 3010: Medieval Art and Architecture Short Session 1 Klima | CRN 67555 Eve, Former North Portal, Church of St. Lazarus Autun, France, c. 1120-32 This course will explore visual arts and architecture of the Western Middle Ages including manuscripts, textiles, metal work, ivories, sculpture, paintings, and church building from the 4th through the 14th centuries within a wide geographic region ranging from the Middle East to the British Isles. This period marks the genesis of Christianity and our study will closely follow the advancement of the Western Christian church and focus on the varies ways visual culture became an essential method of communicating and expressing Christian ideology. As much as possible we will discuss patronage, materials, techniques and function of medieval art and architecture as well as the roles of artists and masons who created and built these works. We will always consider works and sites withing their sacred, social, economic, intellectual, and political contexts, and introduce important themes of medieval art such as the development pilgrimage and monasticism, art of the Crusades, Gothic cathedrals and urbanism, scholasticism, and mysticism. ARHI 6920: Topics In Modern Art Artists' Writing Maymester Geha | Undergrads: CRN 67552 | Grads: CRN 67553 This intensive engagement with visual art and the written word asks students to understand, apply, evaluate, and critique ways in which language and art intersect. In doing so, we seek to improve scholarly skills, including analytical precision and writing clarity, and help better understand our contributions to the discipline of art and art history within intellectual traditions. ARHI 2300E: Art History I Thru Session Abbe | CRN 59756 Byzantine gold mosaic, San Vitale, Ravenna, Italy, AD 526-547 The first half of a year-long survey of the history of art, this course examines the rich and diverse traditions of art from the Paleolithic period (75,000 BCE/BC) to the Renaissance (1560 CE/AD). This lecture class focuses on key monuments of sculpture, architecture, and painting from the Ancient Near East, ancient Egypt Classical Antiquity, Byzantium, the Islamic and Medieval worlds, and the Northern and Italian Renaissance. As an electronic course, students listen to online lectures, read the textbook and other readings, and are tested online. Students are encouraged to engage in the direct, first-hand examination of artworks in regional collections for extra credit. The aim is 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, recent important archaeological discoveries, and on-going debates are highlighted. ARHI 2400E: Art History II Thru Session van Linden | CRN 63121 The second half of the survey of the history of art, this course examines art from around 1600 CE to the contemporary moment. This lecture class focuses on key images, objects, buildings, and ideas from our past and present global world. The aim is 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, recent insights, and on-going debates are highlighted. ARHI 4520 / 6520: Spirituality in Modern Art Thru Session Simon | Undergrads: CRN 65087 | Grads: CRN 65088 The development of abstract art in the late nineteenth and twentieth centuries has been intrinsically linked to the desire for a metaphysical language -- for an art that would address the most profound spiritual yearnings and inward revelations of the modern individual. Indeed, a number of modern western artists sought an art that would transcend merely material or aesthetic concerns, often by turning to non-western artistic and religious traditions, and in the process they created a radically abstract art. In 1912 Wassily Kandinsky called for a new epoch of art, one that would rise out of the "nightmare of materialism" to directly improve and refine the human soul -- "to send light into the darkness of men's hearts." His text, Concerning the Spiritual in Art, influenced generations of twentieth-century artists to invest abstract form with inner meaning. Our aim in this course will be to understand the spiritual quest Kandinsky and other artists took as they liberated the means of visual representation and artistic invention. We will examine how in their creation of a new epoch of spiritual art such artists turned to tribal ethnology, esotericism and the occult, classical and so-called "primitive" mythologies, transcendental and existential philosophies, Freudian and Jungian psychologies. Many artists could be examined but THIS IS NOT A SURVEY COURSE. Instead, we will focus on seven visual artists, including one filmmaker, who represent the many creative individuals who explored the question of spirituality and abstraction throughout the modern period. Each student will supplement these artists with their own artist to research who will be their guide as we journey through the spiritual in modern art. Wassily Kandinsky, Painting with White Border (Moscow), 1913 Our intellectual journey will begin with the fin de siécle's experimentation with abstraction, tribal mythologies, and esotericism as epitomized in the art of Paul Gauguin. From our extensive examination of Gauguin’s art we will then investigate not only Kandinsky's radical, spiritual abstraction by examining its origins in Siberian shamanism, Russian icons and folk art, Theosophy, and Secessionist art BUT ALSO the surprising avant-garde abstract spirituality of Hilma af Klint who ventured into abstraction years before Kandinsky. Af Klint will provide a clear example of an artist employing Theosophy, Spiritism, and Abstraction in large imposing works that were alas not exhibited during her lifetime! After an extended study of Kandinsky's art and theories and Af Klint’s innovations, we will turn to Kasimir Malevich, Constantin Brancusi, and Paul Klee, and the importance of occultism, Nietzsche, musical correspondences, Asian and tribal arts, Rumanian folk culture, Buddhism, and the politics of the two World Wars on their art. The filmmaker Ingmar Bergman will be studied with a required viewing of The Seventh Seal and then we will meet for a special discussion of its imagery for this extraordinary film will serve as a summation of the themes of the entire course. A planned excursion to Atlanta during a Saturday in mid July will lead us to see an extraordinary private collection of modern and contemporary art that holds 15 paintings by Kandinsky! Although this is not a course for the intellectually faint of heart, most students find their thinking expanded and their studio art or art history knowledge transformed. Papers and Visual Essay Project will be the required assignments instead of tests and a final. Readings focus on artists’ writings and interpretation of their art as well as related philosophers. Fall 2021 View the course offerings in Athena for times and dates ARHI 2300: Art History I TR | Zuraw | CRN 25733 ARHI 2300: Art History I MWF | TBD | CRN 25735 ARHI 2311H: Art History I Honors Kirin | CRN 25738 ARHI 2400: Art History II TBD | CRN 25755 ARHI 3022: Art & Architecture of Byzantium Kirin | CRN 50226 Medallion with the Bust of Christ, ca. 1100, gold and enamel, The Metropolitan Museum of Art, NYC The Byzantine Empire (4th – 15th c. CE) created one of the most important civilizations of the Late Antique and Medieval periods. This course examines art and architecture through archaeological evidence and written sources to consider imperial, religious, and social issues manifested in Byzantine visual culture. Also, we will focus on some case studies to see how the Byzantium's political ideology and arts were emulated in Venice, Norman Sicily and Kievian Rus. Byzantine culture preserved and delivered to early modern Europe a substantial part of the intellectual tradition of ancient Greece. Furthermore, in the late 19th and early 20th century Byzantine art was viewed as a precursor of modernism ARHI 3530: Modernist Photograph Simon | CRN 50497 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 3054: 18th Century European Art Luxenberg | CRN 46390 Jean-Honoré Fragonard, The Swing, ca. 1767 Examination of the artistic production in Europe during 1700-1800, along with the rise of the art academy, the public art exhibition, and art criticism. The major styles or movements - Rococo, Neoclassicism, Romanticism - are studied as well as the new pictorial concepts of the picturesque and sublime. ARHI 3065: Modern Art Andrew | CRN 42518 Aleksandr Rodchenko, Books – In All Fields of Knowledge, 1925 “Modernity is the transient, the fleeting, the contingent; it is one half of art, the other being the eternal and the immovable.” – The Painter of Modern Life, Charles Baudelaire, 1863. This course will address the visual arts from the first half of the 20th century (roughly 1880-1940). We will cover artists, works and critical debates surrounding the historical avant-garde in Europe and the Soviet Union. With close analysis of individual works of art, we will engage with the conversation surrounding avant-gardism, modernism and modernity, and definitions of realism, abstraction, and the nature of the art object. Critical readings and lectures 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 the issues of originality, identity, utopian visions, and alienation will help us to define artistic production during this dynamic period. This course will introduce students to skills useful for discovering formal and historical meaning in Modern art. In particular, through the visual evidence in individual works of art, we will learn to identify the influence of artistic and cultural movements, of contextual historical events, and of the dominant political and social ideologies regarding nation, race, and gender in the in the early 20th century. 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, both oral and written. ARHI 3100: Asian Art & Architecture Morrissey | CRN 50228 Borobudur Temple, Java, Indonesia The Cultural and Artistic Heritage of South and Southeast Asia | This course will examine a representative survey of the major artistic and architectural productions from South (India, Pakistan, Nepal, Sri Lanka) and Southeast (Thailand, Cambodia, Indonesia, Myanmar) Asia. 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 Asia. Topics for this course include: the origins of material culture in South Asia in the Indus Valley, the development of Buddhist and Hindu 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, the Hindu temples of Cambodia at Angkor, the Buddhist pagodas of Myanmar in Yangon, Mandalay and Pagan. ARHI 4000 / 6000: Hellenistic Greek Art The Globalized Greek World: Art and Architecture of the Hellenistic Age 323-31 BC Abbe Undergrads: CRN 50234 | Grads: CRN 50362 Monumental mosaic depicting the annual flood of the Nile, Egypt and Aethiopia. 5.8 x 4.3 meters. From Praeneste, Museo Archeologico Nazionale di Palestrina, c. early first century BC This course examines the rich, cosmopolitan, and diverse visual arts of the Hellenistic Greek world from the death of Alexander the Great (323 BC) to the rise of the Roman Empire (31 BC). While focusing on the larger Eastern Mediterranean, the full, broad expanse of variation of this new multicultural world will be emphasized through critical studies of sculpture, architecture, wall painting, and the key and defining ‘decorative’ arts (gems, glass, jewelry, etc.). Particular attention will be paid to the reception of royal portraiture, baroque and genre sculpture, theatrical and scholarly tendencies in architecture, especially in Alexandria, the retrospective styles of the second century BC, and the influence of non-Greek and later Roman patronage. Important recent archaeological discoveries and new scholarship on this transformative era of Greek art will be emphasized. ARHI 4410 / 6410: Early American Art from Colonial Settlement through Antebellum America Simon Undergrads: CRN 50236 | Grads: CRN 50363 Raphaelle Peale, Venus Rising from the Sea: A Deception, 1822 The colonial settlers who ventured to the shores of what would become these United States brought with them a European heritage; yet they struggled to create their own unique culture. We will examine the effects of that cultural enterprise and how the major achievements of American art from its colonial beginnings through Jacksonian and Antebellum America participated in the more complex creation of an "American self"--of a system of values we now associate with American nationalism. We will take a cultural history approach in our explorations as we examine American artistic expression from Puritanism to Enlightenment to Romanticism. Although the course will focus on individual achievements primarily in painting (from colonial portraiture of the Limners, Smibert and Copley, to history painting of West, Peale, Allston and Quidor through the landscapes of Thomas Cole), a variety of artifacts including sculpture, prints, popular illustrations, critical reviews, and aesthetic treatises will be considered for their contribution to an understanding of early American culture and society. Through the visual image we will examine America's perpetual mythmaking, its sense of divine mission, preoccupation with morality, idealistic realism, shifting conceptions of nature, assimilation of European styles, and changing attitudes regarding the role of art in society. This will be a course exploring the history of ideas in America, not just the history of American art. Required reading will include Margaretta Lovell, Art in a Season of Revolution: Painters, Artisans and Patrons in Early America (U of Pennsylvania Press, 2005), selections from the primary document sourcebook, American Art to 1900: A Documentary History by Sarah Burns and John Davis (U of California P, 2009), numerous scholarly articles and book chapters. This will be a Writing Intensive Course in that students will have a writing coach (Ms. Tara Kraft, MA student in art history) to help them along in their essay assignments. A Visual Essay Project will substitute for a Final Exam and lengthy research paper—an exhibition will be envisioned by each student to synthesize the course material and will include examples of the students’ choice from the Georgia Museum of Art. ARHI 4916 / 6916: Topics in 18th & 19th Century Art Freemasonry in Georgia: Archival Research and Visual Symbols Luxenberg Undergrads: CRN 50239 | Grads: CRN 50364 This special topics course will provide students with opportunities to conduct archival research and build original interpretations on visual material related to Freemasonry, found in UGA’s Special Collections Libraries, and possibly on buildings and monuments on campus and in town. This course will be a hands-on, in-person course, with students discovering the joys (and frustrations) of archival investigation. Students will also work on conceiving and planning for a section of an exhibition with SCL materials. Masonic apron, probably Savannah, Sheftall Family Papers. Courtesy of Hargrett Rare Book and Manuscript Library/University of Georgia Libraries A secret fraternal organization, modern Freemasonry was a new and significant association in 18th-century England, and soon spread to British colonies and across the world. Freemasonry developed a complex written and visual symbolism, much of which derived from artistic and architectural practice and traditions of various periods and cultures that resulted in complex, syncretic meanings. Sometimes this symbolic language was only seen in the masonic lodge; other times it was made for public view; and in some public venues, it was to be legible to brethren while remaining “hidden” from the general public. Freemasonry came early to the colony of Georgia, but grew into a dominant American and international practice that continues today. For all of its admirable and lofty goals of fraternity, tolerance, rectitude, and benevolence, American masonic lodges also reflected their society’s values and struggled to extend its teachings and practices to all. ARHI 8580: Seminar in Renaissance Art Donatello and the Renaissance: From the Quattrocento to the 21st Century - Historiography Zuraw | CRN 50365 Donatello, David, ca. 1440 The seminar will focus on the life, career, and impact of the Florentine sculptor, Donato di Niccolò di Betto Bardi, better know today as Donatello. Born likely in 1386, he died in Florence in 1466. He worked in as many media as were available to sculptors at the time—from metal to marble to terra cotta, wood, paper, gesso, and stucco. Although it is Ghiberti who claimed to have made Florentine painters successful, it was Donatello, who set the path followed by the great artists of the succeeding generations—from Verrocchio and Leonardo to Michelangelo and Giorgione. In the last 100 years scholars have attempted to address issues of style, production, patronage, meaning, and context as it relates to his career and his reputation. This seminar will consider some of the same problems, through reading, discussions, oral presentations, and research projects. ARHI 8920: 20th Century Art Modernism, Medium, and Movement Andrew | CRN 50366 Alexandra Exter, Sandwich Man and Publicity Man marionettes, 1926 This advanced seminar will explore the confluent ideas of Modernism, Medium, and Movement with regard to artistic practice in the years of the historical avant-garde (roughly 1880-1940). We will examine the theories, actions and aesthetic practices of modernism key theoretical texts, manifestos and artistic case studies. By considering the idea of medium in modern art to connote not just the material support of painting and sculpture, but also the means of communication, we will examine correspondences across the disciplines. And in our focus on movement, we will engage with the political and aesthetic use of the seemingly anti-modernist categories of site, animation, bodily experience, and theatricality. Through these perspectives, we will attempt to come to terms with modernism as an art historical category. ARHI 8950 Seminar in Contemporary Art & Theory Art Since 1990 Isabelle Wallace | CRN 50367 Mika Rottenberg, Squeeze, 2010 This intensive, seminar-style course, focuses on art since 1990 and is organized around a variety of themes including: leisure and productivity, natural history and the anthropocene; narcissism and projection; networks and activism; telephones; disorientation; and ornament. Readings will be drawn from a wide range of disciplines and will put aesthetic concerns in dialogue with philosophy, psychoanalysis, and critical theory. This course is grounded in the conviction that interpretation is a teachable, refineable skill, and each week it will be our collective goal to form, defend, and critique interpretations of contemporary art. Our studies will culminate in 20 minute oral presentations, which will then form the basis for research papers on topics chosen by students in consultation with Professor Wallace.