Undergraduate ARHI courses spring & summer 2017




ARHI 2300 Art History I: Cave Painting to Michelangelo [3 time-sections available]

ARHI 2400 Art History II: Baroque to Modern  [1 time-section available]

*ARHI2411H: Honors Art History II: Baroque to Modern 
[for Honors or by POD request]
Luxenberg TR 12:30–1:45pm
This course provides an overview of predominantly Western art production circa 1600 to the later 20th century. It will examine a range of monuments, artists, traditions, innovations, and ideas, and lead students to understand the formal and cultural significance of artworks in their historical context. The skills that students develop in this course to look at, think, read, and write about works of art will be useful tools that they can be applied to other studies and future careers. The limited class size is especially conducive to conversations, museum or exhibition visits, and non-exam assignments.


ARHI 3004: Roman Art & Architecture (AREA 1)  
Abbe MWF 10:10–11am
Sculpture, architecture, and wall painting of ancient Rome and the lands governed by Rome from the beginning of the Iron Age (1000 BC) to the reign of Constantine (AD 330) in its historical, social, and cultural context. Critical methodological issues, recent important archaeological discoveries, and on-going debates are highlighted.

ARHI 3100:  Asian Art and Architecture (AREA 1)
Morrissey MWF 2:30–3:20pm
Survey of the historical development of material culture in South, Southeast, Central, and East Asia. The primary focus of this course is an examination of the art and architecture associated with the major religious traditions of Asia, including Hinduism, Buddhism, Islam, Daoism, Confucianism, and Shinto.

ARHI 3020: Renaissance Art (AREA 2)
Zuraw TR 11am–12:15pm
The subject of this course is the history of art in Italy from ca. 1400 until 1575 or from Ghiberti to Giambologna. The course will be roughly chronological and will address questions of style, technique, function, and patronage as well as meaning. We will consider painting, sculpture, and architecture, paying attention to new developments and new media in each century. Issues to be addressed will include literary texts on and by artists, materials and workshop production, cities—their political and artistic differences, courts and court artists, exchanges with the North, and the rise of domestic arts. We will also consider the earliest women patrons and artists, Vasari’s biographies, as well as the paragone debate and the creation of the Academy.

ARHI 3020: Art and Architecture of Russia (AREA 3)
Kirin TR 12:30–1:45pm
Considering the art and architecture of Russia from the eleventh through the twentieth century; four major themes will be: Christianization of Kievan Rus'; Moscow as the Third Rome; the westernization of the Russian Empire; the reinvention of the Russian past during the nineteenth century and early twentieth century.

ARHI 3041: Introduction to African American Art (AREA 4)
Harris TR 2pm–3:15pm
Shawnya L. Harris, Curator of African American and African Diasporic Art at the Georgia Museum of Art
An introduction to the history of African-American art and visual culture from the colonial era to the present.

ARHI 3080: Contemporary Art (AREA 4)
Geha TR 9:30–10:45am 
Examination of a series of significant examples of art and architecture, primarily in the United States and Europe, from 1960 to the present. Works of painting, sculpture, photography, video, and electronic media as well as architecture and urban design will be studied as evidence of important trends.


ARHI 4600 (WIP) Topics in Ancient Art: Rome & Africa: Art & Archaeology of the Severan Age (AREA 1)
Abbe MWF 12:20–1:10 (POM) 
The course examines the art and archaeology of the Roman empire during the Severan Dynasty (AD 193-235). This critical period of fundamental changes in the life and culture of the ancient Mediterranean world has often been interpreted as the transition from Classical Antiquity to Late Antiquity. This course reexamines the visual culture of this era by contrasting two centers of production and display: Rome, the empire’s capital, and, North Africa, the origin of the dynasty’s founder, Septimius Severus. Through comparison, this course seeks to explore (and give proper voice to) some of the culturally diverse visual languages of the Roman imperial world. Particular points of focus include: imperial portraiture, both in sculpture and on coinage, the urban topography and architecture of Rome and the prosperous cities of the North Africa, and differences in religious architecture and funerary practice in this period. Recent findings, reinterpretations, and on-going debates will be highlighted. This course will include examination of the archaeological process and finds of the UGA excavations at Carthage (Tunisia) and the direct examination and study of a Roman-Egyptian painted funerary portrait.

ARHI 4150 (WIP): Art and Religion of Classical India (AREA 1) 
Morrissey MWF 11:15am–12:05pm
Survey of the history of Indian art and religious thought from the Indus Valley Civilization to the medieval period. The origins and major developments within Hinduism and Buddhism will be explored, with a specific emphasis on how they impacted the production of Indian art and architecture.

ARHI 4910: Topics in Renaissance & Baroque: Venetian Art of the Renaissance (AREA 2) 
Zuraw TR 2pm–3:15 (POM) 
The subject of this course is the history of art in fifteenth and sixteenth-century Venice. The course will focus on the painting, sculpture, and architecture produced in and around Venice, including besides the major artists of the city (Giovanni Bellini, Giorgione, Titian, Tintoretto, etc.), others who profoundly influenced developments in the city (Donatello, Mantegna, Dürer, Antonello da Messina, Sansovino, etc.). Its approach emphasizes the historical, social, intellectual, and political circumstances of artistic production and reception in Venice and her territories. Regular, short writing assignments are the preferred method of assessment.  The goal of the class is both to become familiar with the 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 4550: Art 1940-1968: Abstract Expressionism at the Georgia Museum of Art (AREA 4)
Gillespie TR 3:30-4:45pm (POM)
Sarah Kate Gillespie, Curator of American Art at the Georgia Museum of Art
This course will revolve around an upcoming exhibition at the Georgia Museum on Abstract Expressionist art. Students’ research projects will investigate the objects on view in the show including works by Archile Gorky, Hans Hoffman and Jackson Pollock and other New York School artists.  

ARHI 4920/6920: Topics in Modern Art: Core Concepts: A Critical Theory Primer 
Wallace and Dodd Chair, Paul Pfeiffer
This cross-listed, seminar-style course is designed to introduce students to key concepts within the field of critical theory chosen for their relevance to the visual arts. Topics to be considered include: the gaze, perspective, mediation, distraction, and fetishism, among others. Topics will be explicated with reference to seminal readings and artworks, and a heavy emphasis will be placed on class discussion.

ARHI 4800: Capstone Senior Seminar on Modern Art & Medium (AREA 4)
Andrew  W 2:30–5:30 (POD)
This capstone seminar for senior majors will explore the confluent ideas of Modernism, Modernity, Medium, and Media 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 and avant-gardism through 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 as the means of communication, we will examine correspondences across the disciplines at the time of the historical avant-garde and the development of modernist abstraction. The course readings will be organized as much as possible around three recurrent debates within modernist historiography:  1) Social Purpose—the role of art and the artist amid questions of social elitism and popular culture; 2) Artistic Practice—the rejection of traditional art practices in favor of expanded definitions of authenticity and the art object; 3) Medium—conceived as means to an end or as material support. Through these perspectives, we will attempt to come to terms with the impact of modernism as an art historical category.



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 of fifty plus photographers with only an image or two by each, 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 beginning with the French documentarian Eugene Atget and continuing to the art of Walker Evans, Cartier-Bresson, and Diane 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. The role of film on modernist photographers will also be considered. 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. Three in-class tests. 

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 six 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: Gauguin, Kandinsky, Malevich, Brancusi, Klee, Ingmar Bergman. Test and Visual Essay Project. Lots of reading from artists’ writings.