Courses & Special Topics 2010-2011

“Course Summaries” will be listed below as they become available. Special Topics courses may vary from year to year. Click on the “+” sign on the right to expand the course summary information.

Please note:

the time and location of courses is published in the Public Class Schedule
official Course Descriptions are available in the Undergraduate and Graduate Calendars
the official Course Outline will be distributed at the first class of the term

[slideme title=”Arts One – First-Year Seminars”]

1. FYSM 1509 Section P: Instructor Jose Sanchez (Film Studies)
Arts One Cluster: Gender and Sexualities Studies

2. FYSM 1509 Section Q: Instructor Aboubakar Sanogo (Film Studies)
Arts One Cluster: Human Rights

3. FYSM 1509 Section R: Instructor Alexis Luko (Music)
Arts One Cluster: Popular Culture and Society

For complete details about the Arts One courses, please visit: Arts One Clusters page

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[slideme title=”ARTH 1100A: Art and Society: Prehistory to the Renaissance – Fall term”]

Instructor: Laura Marchiori

Text: M. Stokstad, M. Cothren, Art History, 4th ed. Upper Saddle River, NJ: Prentice-Hall, 2010. Anne D’Alleva’s Look! The Fundamentals of Art History, 3rd ed. Upper Saddle River, NJ: Prentice-Hall, 2010.

Instructor’s statement: This course is a survey of western painting, sculpture and architecture from Prehistory to the Renaissance. Its aim is to introduce students to some of the major monuments, issues and themes in the history of western art and architecture. Through lectures, tutorials, readings, and research, students will develop different ways of interpreting and viewing works of art in their historical and social contexts.

Evaluation: Midterm (20%), Essay (30%), Tutorial participation (15%) and Final Exam (35%)

Lecture format: lecture two hours a week, tutorial one hour a week

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[slideme title=”ARTH 1105A: Art as Visual Communication – Fall term”]

Introduction to Visual Theory

Instructor: Randy Innes
Text: TBA

Statement: A comparative and critical approach to the analysis of art and visual culture. While we will address a variety of media from diverse historical and regional locations including painting, photography, film, television, video, advertising and more, special attention will be directed towards the unique treatment of the work of art in culture.

Evaluations: students are evaluated on participation, and written and exam work

Lecture Format: two 1.5 hr meetings per week

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[slideme title=”ARTH 1200A: Introduction to Architectural History – Fall term”]
Instructor: Peter Coffman

Required Text: Marvin Trachtenberg and Isabelle Hyman, Architecture: from Prehistory to Postmodernity, second edition, 2002.

Description: This course is an introduction to the major monuments and themes of Western architecture from Classical Antiquity to the end of the Renaissance. It will also include reference to monuments of the Middle East and Asia. Formal and technological developments will be explored through a variety of building types including sacred, military, commercial and domestic. In all cases, the goal will be to situate the monuments on a broad cultural and historical landscape, connecting them to the ideas, events and circumstances that originally gave them meaning.

Evaluation: Mid-term test (20%), Visual Analysis (30%), Tutorial attendance and participation (15%), Final Exam (35%).

Format: One two-hour lecture and one tutorial per week.

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[slideme title=”ARTH 2002A: Canadian Historical Art – Fall term”]

Instructor: Angela Carr

The format of the course will be chronological with thematic discussion of issues such as contact between the First peoples and European explorers, traders and settlers, the role of contemporary theory in re-evaluating 19^th century classifications of knowledge, and the impact of contemporary critiques upon canonical interpretations. Selected examples of photography, graphic, decorative and folk arts will also be included, together with references to modern and contemporary works. Discussion will focus on how historical narratives structure knowledge in ways that reflect society and values. Attitudes toward the cultural production of women, First Nations, and minorities will be considered, as will the privileging of certain types of artistic production and the manner in which art, artists, patrons, and scholarly discourses have shaped the Canadian cultural reality.

Evaluation:
Attendance 10%
1 mid-term test (1.25 hour) 30%
1 essay (2500 words) 30%
1 final exam 30%

Format: Lecture (3 hours)

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[slideme title=”ARTH 2006A: Arts of the First Peoples: The Southwest, the West Coast and the Arctic – Fall term”]

“2010 DRAFT OUTLINE ONLY”

Instructor: Allan J. Ryan
Office: 1202 Dunton Tower, 520-2600 ext. 4035
Email: allan_ryan@carleton.ca
Website: www.trickstershift./com

This course presents a selective survey of pre-contact, historic and contemporary arts of the Aboriginal peoples of the Northwest Coast, the Southwest and the Arctic regions of North America. The goal of the course is to develop a familiarity with the richness of Native American artforms in their regional diversity and temporal depth, from time immemorial to the present day, in a wide range of media including painting, sculpture, architecture, pottery, textiles and jewelery. The role art plays in expressions of political power, group identity, cosmological belief and presentation of the individual self will be explored. Throughout the course, specific attention will be paid to the impact of colonialism, gender, touristic commodification of artistic styles, and on the creation of “art” as a special category of cultural production.

Required texts:
Berlo, Janet and Ruth B. Phillips, Native North American Art, Oxford/New York: Oxford University Press, 1998
Whiteford, Andrew Hunter, North American Indian Arts, A Golden Guide, St. Martin’s Press, 1990

Additional weekly readings will be placed on reserve for photocopying in the Art History Resource Room (4^th floor, St. Pat’s). Slides will be placed on reserve in the slide viewing room.

Grading: Assignment / Percentage of term mark
CMC Museum Assignment / 15%
Midterm Exam / 35%
CUAG assignment / 15%
Final Exam / 35%

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[slideme title=”ARTH 2007A: Asian Art – Winter term”]

Instructor: Anke Kausch

This course is an introduction to the arts and architecture of China, Japan, Korea, Central Asia and the Indian subcontinent. It surveys religious, pictorial and decorative arts of the region from the Neolithic to the present and explores the intercultural exchange of ideas, materials and techniques throughout Asia. Examining key monuments and works of art of different regions, periods, media and styles, the course aims to provide students with a fundamental understanding of Asian art, its iconography, and the social, religious and historical circumstances it was created in.

Evaluation: TBA

Format: lecture, three hours a week

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[slideme title=”ARTH 2008A: Inuit Art – Fall term”]

Instructor: Heather Igloliorte

Text: Hessel, Ingo. Inuit Art: An Introduction. Toronto: Douglas and McIntyre, 1998).

Instructor’s Statement: This course will present a survey of pre-contact Arctic art (pre-1800), post-contact (pre-1950), early modern (post-1950), and contemporary visual arts of Canadian Inuit, with reference to related cultural groups in Alaska, Siberia, and Greenland. The aim of this course is to introduce students to the richness and diversity of Inuit art forms in a wide range of media including sculpture, works on paper, textiles, and video and film.

Evaluation: There will be a mid-term and final exam, as well as one short take home essay.

Lecture format: Once a week, 3 hour lecture class

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[slideme title=”ARTH 2300A: Italian Renaissance Art – Fall Term”]

Instructor: Allison Sherman

Format: Lecture, 3 hours

This course will examine Renaissance art in Italy from its origins in the late 13th and early 14th centuries, through the major artistic developments of the 15th and 16th centuries in Florence, Rome, Venice and several Italian courts. Key monuments of painting, sculpture, and architecture will be examined against the backdrop of the religious, social and political history of Renaissance Italy.

Required text: Frederick Hartt and David G. Wilkins, History of Italian Renaissance Art. Painting, Sculpture, Architecture, Prentice Hall, 2010, Seventh Edition.

Evaluation:
Midterm Test: 30%
National Gallery of Canada Written Assignment: 30%
Final Exam: 40%

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[slideme title=”ARTH 2502A: European Art from 1750-1900 – Fall term”]

Professor Mitchell Frank

Textbook: Petra ten-Doesschate Chu, Nineteenth-Century European Art

This course surveys mostly painting, but also architecture and sculpture in Europe from the Enlightenment until the end of the nineteenth century. We will approach the art of this period chronologically as well as geographically. The course will begin with the Rococo and Neoclassical periods and then move on to Realism, Impressionism, and Post-Impressionism. The focus will be on artistic developments in France, Germany, and England. Through lectures, readings, and research, we will develop different ways of interpreting and viewing the art of this period in its historical and social contexts.

Evaluation:

Mid-Term Test 20%
Four Reaction Papers 8%
Essay Outline and Bibliography 5%
Essay 32%
Final Exam 35%

Total 100%

Class Format: 2 lectures a week of 1.5 hours each

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[slideme title=”ARTH 2601A: History and Theory of Photography – Winter term”]

Instructor: Robert Evans

Instructor’s Statement: This course will examine the history of photography from its beginnings in the nineteenth century to contemporary practice considering both the production of photographs and the various roles photography plays in society. A wide breadth of photography will be considered including artistic, institutional, vernacular, and photojournalism. Secondly, the course will introduce students to theoretical approaches to the medium and the literature of photography.

Evaluation: Based on two writing assignments, mid-term, and final exam.

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[slideme title=”ARTH 3005A: American Architecture – Winter term”]

Instructor: Angela Carr

A selected overview of American architecture from pre-history to the present, this course explores scholarly critiques in the field of architectural history and seeks to develop study and research skills in the field of architectural history.

Evaluation:
Attendance 10%
Mid-Term Test 30%
Essay 30%
Final Examination 30%

Format: Lecture (3 hours)

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[slideme title=”ARTH 3101A: Studies in Greek and Roman Art and Archaeology – Fall term”]

Cross-listed with CLCV 3305 / RELI 3731

Greece in the Bronze Age

Instructor: Susan Downie

Topic for fall 2010: This course will focus on the three cultures that arose in Greece during the Bronze Age. Emphasis will be placed on archaeological discoveries as evidence for the earliest history of the Aegean area, and as background to later Greek culture, but written records will also be addressed. We will discuss architecture, pottery, painting, jewellery and other minor arts.

Text: Donald Preziosi and Louise Hitchcock, Aegean Art and Architecture (Oxford: 1999).

Requirements:

Essay Lecture (Oct. 5) minus 5% penalty if not present
Midterm Test (entire class Oct. 21) 20%
Research Bibliography (due in class Nov. 4) 20%
Research Essay (due in class Nov. 25) 35%
Final Exam (2 hours, exam period Dec. 2010) 25%

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[slideme title=”ARTH 3106A: History and Methods of Art History – Fall and Winter terms”]

Professors Mitchell Frank (fall semester) and Jill Carrick (winter semester)

Readings: Coursepack

This course will explore art history’s history and methods, its practices and problematics. During the first part of this course we will examine the historical and theoretical foundations of art history from the Renaissance through its development as an academic discipline in the nineteenth century, up to the 1960s. The principal methods and practices of the history of art, including artistic biography, theories of form and style, content and iconography, connoisseurship and description that have formed the traditional tools of our discipline will be discussed, focussing on such major figures as Vasari, Winckelmann, Wölfflin, Panofsky, Morelli, and others. The second part of the course will deal with some of the challenges to the traditional methods and definitions of the discipline in the twentieth- and twenty-first century, including Marxism, semiotics, feminism, and the expanding notions of the canon, of history and art itself.

Evaluation:

Facilitation panels 20%
Course journals 30%
Participation 10%
Fall Term Test 20%
Winter Term Test 20%

Total 100%

Class Format:

1 class of 3 hours per week

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[slideme title=”ARTH 3506A: Themes and Issues in Early Modern Art – Winter term”]

Instructor: Roger Mesley

The topic is Religion and the Occult in Art c. 1848-1914. Covers Christianity, Theosophy, Alchemy, Spiritualism, Rosicrucianism, Freemasonry, Satanism, etc.

Evaluated by a test, an exam and an essay.

Totally analog.

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[slideme title=”ARTH 3507A: The Artist in Context – Winter term”]

Instructor: Roger Mesley

The topic is Vincent Van Gogh’s life and art. Surveys his Dutch Period, then examines intensively his four years in France.

Evaluated by tests and a choice between an essay and an exam.

Totally analog.

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[slideme title=”ARTH 3600A: Modern Art from c. 1945 to c. 1980 – Winter term”]

Instructor: Jill Carrick

This course presents a survey of modern art from 1945 to the present. Emphasis is placed on the relationship of the visual arts to key historical events, political agendas, and intellectual movements. Topics examined include 1950s Abstract Expressionism, 1960s Pop Art, Minimalism, Performance Art, and Postmodernism.

Evaluation:

1. Reading summaries                  (10%)
2. Take-home assignment             (20%)
3. Class participation and facilitations (20%)
4. Research proposal                      (5%)
5. Research essay               (45%)

Course format: 3 hour weekly seminar

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[slideme title=”ARTH 3609A: Twentieth-Century Architecture – Fall term”]

Instructor: Katie Cholette

Required Texts:
William J.R. Curtis. Modern Architecture Since 1900. Third Edition. London: Phaidon, 1996
and
Ulrich Conrads, ed. Programs and Manifestoes on 20^th-century Architecture. Cambridge, Mass: MIT Press, 1976.

Instructor’s Statement: This course examines architectural developments through the course of the twentieth-century, with an emphasis on the formation and subsequent critique of the Modern Movement. Major architectural movements and styles, important architects, and significant buildings and projects will be studied in the broad historical, social, political, and ideological context of the century.

Evaluation: 1 mid-term examination (30%), 1 essay (35%), 1 final examination (35%)

Lecture format: lecture 3 hours per week

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[slideme title=”ARTH 3809A: Topics in Art History and Theory – Fall term”]

Art and its Markets in Early Modern Europe (1600-1800)

Instructor: Stéphane Roy

This course will examine the complex and multiple interactions between the making and marketing of art in Europe, from 1600 to 1800. Among issues to be addressed are: the artist’s status and the role of patrons/collectors; the demand for art; exhibition spaces and cultural topography; artistic and commercial networks.

Evaluation

1. Short review of selected readings (20%)
2. Mid-term test (20%)
3. Paper (50%)
4. Attendance (10%)

Course format: 3-hour weekly meeting

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[slideme title=”ARTH 3809B: Topics in Art History and Theory – Winter term”]

The Sublime in Art and Theory

Instructor: Randy Innes
Text: TBA

Statement:

This course will pursue three principle objectives. 1) we will begin by locating the sublime in the context of the aesthetic theories of the eighteenth and early nineteenth centuries; 2) we will survey the role of the sublime in visual art, from romanticism, to modernism and post-modernism, and to contemporary works; 3) we will consider the contemporary relevance of the sublime in relation to discussions of the limits of representation and knowledge, terror, technology, disaster, and more. The approach is comparative and critical, and diverse backgrounds and interests are welcome.

Lecture Format: one 3 hr meeting per week

Evaluation: students are evaluated on attendance, participation, presentation, and one short and one long essay.

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[slideme title=”ARTH 4000A: Topics in Historical Canadian Art – Fall term”]

Instructor: Angela Carr

This term ARTH 4000A will study the Canadian cityscape, from the mercantile era of the mid-eighteenth century to the late capitalism of the twentieth and twenty-first centuries. Cityscapes have attracted less attention in the Canadian historical canon than wilderness landscapes. The question is why and what can we learn from this? In particular we will examine art, cartography, photography, and architectural drawing in relation to urban history and other relevant considerations. This course proposes that art not only responds to its own history of precedents, but encodes ways of seeing the world. Art, therefore, documents, mythologizes, classifies and suggests multiple meanings.

Evaluation:
Attendance 10%
Summary of Reading 15%
Abstract 15%
Class Presentation 30%
Final Paper 30%

Format: Seminar (3 hours)

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[slideme title=”ARTH 4005A: Topics in Contemporary Aboriginal Art – Winter term”]

Serious Play in Canadian Aboriginal Art: 1980 to Present

Instructor: Allan Ryan

The last three decades have witnessed an unprecedented flowering of indigenous arts throughout the world, especially in North America. Whatever the mode of expression, be it drawing, painting, sculpture, photography, film, theatre, music or literature, a number of distinct yet related themes can be identified. This course will examine four broad themes (and several sub-themes) as expressed in the works and words of contemporary Aboriginal artists, with a primary focus on Canadian First Nations visual artists – among them, Gerald McMaster, Carl Beam,Shelley Niro, Edward Poitras, Rebecca Belmore, Jane Ash Poitras, Lawrence Paul Yuxweluptun, Ron Noganosh and Bill Powless. And more recently, Greg Hill, Jeff Thomas, Rosalie Favell, Brian Jungen, Riel Benn and Kent Monkman.

The four thematic areas are: 1) The (Re)-Creation of Images of Identity, 2) The Subversion of Institutional Representation, 3) The Subversion of Political Power, 4) The Affirmation of a Global Presence. A fifth and overarching theme is the manner in which these cultural concerns are often expressed, that is, through a distinctly Native American “trickster sensibility”, a sense of play characterized by frequent teasing, outrageous punning, ironic juxtaposition, serious reference and considerable compassion.

Course format: lectures, guest speakers, videos, seminar discussion, class presentations.

Texts:

Ryan, Allan J. The Trickster Shift: Humour and Irony in Contemporary Native Art, UBC Press and the University of Washington Press, 1999.

Taylor, Drew Hayden. Me Funny, HarperCollins, 2006.

Supplementary readings will be placed on reserve in the Art History Reading Room.

Evaluation (tentative):

1) Research paper/project related to any of the course themes. (25% of term grade)

2) 15 minute class presentation on key elements of research paper (15% of term grade)

3) Final comparative paper based on guest presentations, films, readings and special events. (35% of term grade)

4) Brief reflection on the November CUAG exhibition of play and humour in Inuit art (15%)

Class participation (10% of term grade).

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[slideme title=”ARTH 4305A: Topics in Renaissance Art – Fall term”]

also listed as ARTH 5113F: Perspectives in Pre-Modernity

Immateriality and Renaissance Naturalism

Instructor: Randi Klebanoff

Producers of Christian art are charged with the embodiment of a great deal of “out of the body” experiences: divinity, heaven, life after the end of the material world. In the medieval period high degrees of abstraction carried the charge of the supranatural. What happened in the fifteenth and sixteenth centuries when artists pursued sophisticated strategies of naturalism? The rise of naturalism in the Christian art of this period is frequently related to the rise of affective devotion, usually allied to the devotional style of the Franciscans and its rapid spread through lay, urban populations. The creation of consistent space, palpable bodies and effective narrative in religious art served a devotion that called on the individual to empathize and participate in sacred narratives. Studies of more mystical trends in which theological ‘truths’ are articulated have clustered around Florentine Neoplatonism or the devotional practices of communities of monks and nuns. In this course, we will expand the field and attempt to mark out alternative spaces in Renaissance naturalism in which immateriality can materialize.

We will have a special focus on art works that signal the immateriality of the supernatural structurally, that is, through the very idioms of naturalism. What I expect will emerge out of this examination is the extent to which artists of this period were what one might call “practical theologians”. What I mean by this is, while iconography in the strict sense was predominantly driven by patrons, the articulation of the spiritual meanings in paint, stone and bronze, that is, in the physical stuff of the world, was the artists’ professional domain. This kind of research and thesis are not well developed in the scholarly literature. In this seminar we will be reading works of modern scholarship as well as primary theological sources while looking at a variety of images to see how artists manifested theological realities of corporality and incorporeality in the period of the Renaissance.

Weekly topics

(subject to revisions)

September 13 Introduction
September 20 Framing the question: Theology, art, naturalism and mystery
September 27 Dissemblance and Figuration
October 4 Sight: embodied and inspirited.
October 11 No class
October 18 Time.
October 25 Space: God enters the Room
November 1 Rupture and Transfiguration
November 8 The liminal body of Christ
November 15 Research Presentations
November 22 Research Presentations
November 29 Research Presentations
December 6 Altdorfer’s supranatural nature

Evaluation

Reading Journal 20%
Participation 20%
Research presentation 10%
Term paper 50%

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[slideme title=”ARTH 4600A: Feminist and/or Gender Issues in Art – Fall term”]

Instructor: Cindy Stelmackowich

The objective of this seminar is to examine some of the major writings and artworks by artists and art historians concerned with gender in order to analyze the inter-relationship between art, power and politics. This seminar will be divided into thematic sections: the course readings are drawn from art history, medicine/science studies, new media studies, feminist philosophy, as well as feminist, queer and transgender cultural theory. It will focus on specific themes; feminisms and the writing of art’s histories, the body and embodiment, masquerade and abjection, the male “gaze,” feminist, “post-feminist,” queer and transgendered aesthetics, gender and the visual culture of medical science, and feminist critiques of mass media and popular culture.

Evaluation:

Individual critical reading reports.
Research essay that is approximately 15 – 20 pages.
Seminar panel presentation based on essay research.

Course format: one lecture/seminar per week.

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[slideme title=”ARTH 4602 / 5500: Issues in the Theory and History of Photography – Winter term”]

Photography, Aboriginal Representation and Memory

Instructor: Carol Payne

This seminar will address the photographic representation of Aboriginal peoples by both exploring the history of such images and contemporary response. Through a series of case studies, we will look at how the camera has been used in the colonial encounter—both as a tool of subjugation and one of cultural reclamation. We will approach this topic by drawing on some of the rich collections in the National Capital Region and learning about contemporary Aboriginal approaches to photography. Assigned readings will be drawn from recent publications in Photo Studies, Memory Studies, Visual Anthropology and contemporary Aboriginal photo-based art, possibly including scholarship by Christopher Pinney, Deborah Poole, Elizabeth Edwards, Hulleah J. Tsinhnahjinnie and Linda Tuhiwai Smith.

This class includes both upper level undergraduates and graduate students. Extra sessions will be arranged for graduate students once class commences.

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[slideme title=”ARTH 4705A: Seminar: Selected Museum Exhibition – Winter term”]

Key 20th-century Exhibitions

Instructor: Diana Nemiroff, Adjunct professor and CUAG director

Art historian Bruce Altshuler affirms, “The study of exhibitions provides a fascinating route into art history. Here the social, political, and economic forces that shape artistic production and distribution come together, exerting their various pressures on artists, critics, collectors, dealers, institutional players, and the art-viewing public.”

If the first six decades of the 20th century, in which Modernism was ascendant, were marked by a succession of avant-garde movements and manifestos, the last forty years, which saw the advent of Postmodernism, could be characterized as a series of cultural openings – to women, to new media, to indigenous and diasporic artists. Through the study of selected exhibitions, including two Canadian examples, this course will consider some of the key aesthetic debates and the socio-cultural contexts that shaped the development of 20th-century art.

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[slideme title=”ARTH 4705B: Seminar: Selected Museum Exhibition – Winter term”]

Exhibiting African Textiles

Instructor: Catherine Hale

Drawing on an exhibition of African textiles that will be on display at the Carleton University Art Gallery from February-April 2011, this seminar will introduce students to a wide range of textile traditions from North, South, East, West and Central Africa. In addition to working first-hand with objects and developing an understanding of their creative technology and cultural significance, seminar participants will consider the unique challenges associated with presenting the objects of so-called non-Western cultures in a Western gallery setting. Topics to be explored include historical and contemporary museological practice and theory, issues of authenticity and cultural hybridity, the art-artifact dichotomy, and the roles of collectors, curators and communities in determining the character of collections and the ways material culture is exhibited.

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[slideme title=”ARTH 4809A: Topics in Art History – Fall term”]

French Postwar Art

Instructor: Jill Carrick

This course examines art in France from 1945 to the present, with particular emphasis on controversial works and political debates of the 1960s. Art groups examined include Nouveau Réalisme, Narrative Figuration, and the Situationist International. Themes addressed include the relationship of art to street activism, memory and trauma, and theories of the neo-avantgarde.

Evaluation:

1. Reading summaries (4) (12%)
2. Take-home assignment (18%)
3. Class participation and presentations (20%)
4. Research proposal (2%)
5. Research essay (48%)

Course format: 3 hour weekly seminar

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[slideme title=”ARTH 4809B: Topics in Art History – Winter term”]

Art and Politics in Europe and North America, 1750-1850

Instructor: Stéphane Roy

This course will explore the intersection of art and politics (broadly defined) in 18th- and 19th-century Europe and North America. Students will be invited to analyse a wide array of visual material (from history paintings to satirical prints) with a critical eye, and asked to reflect on and identify political underpinnings of visual productions.

Evaluation

1. 1-2 page research proposal (15%)
2. Class presentation (20%)
3. Class participation (15%)
4. Final essay (50%)

Course format: 3-hour weekly seminar

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[slideme title=”ARTH 4809C: Topics in Art History – Winter term”]

Artistic Identity in the Nineteenth Century

ARTH 4809C: Topics in Art History – Winter term

Course Topic: Artistic Identity in the Nineteenth Century

Professor Mitchell Frank

In this course, we will examine nineteenth-century artists’ self-fashioning by studying their practices as well as their reception during their lifetime and afterwards. The course will begin with contemporary theoretical readings on artists’ role-playing and the changing status of the artist. We will then move to case studies, in which we apply these ideas to a variety of nineteenth-century artists.

Evaluation:

Participation 10%
Facilitation Panel 15%
Seminar Presentation 25%
Paper 50%

Total 100%

Class Format:

1 class 3 hours per week

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[slideme title=”ARTH 4809D: Topics in Art History/ 5218F: Museum Studies & Curatorial Practice – Fall term”]

Instructor: Stéphane Roy

In this seminar, students will be introduced to the visual object from a curatorial/museum perspective. They will learn to think critically about the practice of art history in academia and in the museum world. Students will be asked to develop their own small-scale exhibition proposal based on selected objects from Carleton University Art Gallery’s collection.

Evaluation

1. Comparative review of exhibitions (20%)
2. Research/small exhibition project (50%)
3. Class presentation (20%)
4. Class participation (10%)

Course format: 3-hour weekly seminar

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[slideme title=”ARTH 5010T: Art and its Institutions – Fall and Winter terms”]

Instructors:

Semester 1: Jill Carrick. Semester 2: Angela Carr.

COURSE DESCRIPTION: This course focusses on art, its institutions, and the discourses and debates that accompany it. The first semester examines key theoretical texts and concepts that influence current art-historical scholarship. The second semester focusses on the development of 1. primary research skills, and 2. practical and theoretical models for the writing of the MA thesis.

Semester 1

1. Short Assignment 10%
2. Class Participation 10%
3. Class Paper 30%

Semester 2 TBA

Course format: 3 hour weekly seminar

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[slideme title=”ARTH 5113F: Perspectives in Pre-Modernity – Fall term”]

also listed as ARTH 4305A: Topics in Renaissance Art

Immateriality and Renaissance Naturalism

Instructor: Randi Klebanoff

Weekly topics

(subject to revisions)

Evaluation

Reading Journal 20%
Participation 20%
Research presentation 10%
Term paper 50%

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[slideme title=”ARTH 5117W: Community/Identity – Winter term”]

Instructor: Brian Foss
Email Address: brian_foss@carleton.ca
Office Location: St Patrick’s Building, 423C
Phone: 613-520-3791
Office Hours: Mondays 12:00-14:00

Text, and/or Software: Weekly readings available from AVRC

This seminar explores key aspects of identity and self-definition in Canada by using the work of selected artists, art historians and theorists to probe notions of identity and the ways they have informed the history of Canadian art production and presentation. An important goal of the course is to identify intersections between the concept of a monolithic national identity, and the social and artistic forces that disrupt, undermine and complicate it. Special attention is given to such things as: the relationship between landscape and “Canadian-ness”; traditional and contemporary definitions of identity in the art of Quebec; the often uneasy relation of First Nations art to Canadian self-definition; and the ways in which identity issues have been proposed and promoted by Canadian art institutions, including museums and galleries.

Evaluation:

-Individual reports (approximately 6 pages each) on three assigned course readings. Each report is worth 15 marks.
-Essay: Approximately 20 pages (exclusive of endnotes, bibliography and illustrations).
-Oral presentation of essay research: Each member of the seminar will give one 20-minute oral presentation on her/his essay topic, followed by a question-and-answer period. 15 marks.

Course format: one lecture/seminar per week.

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[slideme title=”ARTH 5210F: Topics in Aboriginal Art – Fall term”]

Visual Culture, Translation, and Indigeneity in the Great Lakes

Instructor: Ruth Phillips

This seminar explores Indigenous arts of the Great Lakes region from the seventeenth through the early twentieth centuries as a site of intercultural exchange with missionaries, soldiers, settlers, tourists and others. We will consider these arts in terms of recent theories of materiality, visuality, agency, cultural translation, and indigenous knowledge. Another goal of the course is to develop skills and methods for studying historic Indigneous arts through direct analysis of materials, technologies and styles and through investigations of their social histories that involve research in archives, secondary literatures and sources of contemporary Indigenous knowledge.

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