Archived: 2020-2021 Undergraduate Course Listings

• PROFESSOR: Morgan Currie
• DESCRIPTION: This course is a broad historical survey of different artistic traditions from prehistory to the Renaissance that explores how works of art were produced, and the roles that they played in their societies. Principle theories of art from the ancient and medieval worlds will also be introduced. Students will gain the ability to recognize images from a wide range of times and places, and their relationships with the societies and cultures where they originated. Course activities develop basic formal and contextual analysis skills that are valuable in today’s image-saturated world.
• METHOD OF EVALUATION: Cumulative Written Assignment: 45% (3 components worth 15% each); Final Exam: 20%; Class tests and quizzes: 25%; Tutorial: 10%
• READINGS: The class textbook is Marilyn Stokstad & Michael W. Cothren, Art History, 6th ed., vol. 1: Pearson, 2018.

• PROFESSOR: Sheena Ellison
• DESCRIPTION: This course offers a survey of Western art from the Renaissance to the present. Students will gain familiarity with a selection of canonical artists, artworks and movements from the history of art. Our study of specific artworks will help students to understand the interplay between art and society, forming an understanding of how these works respond to and reflect on the cultures that produced them. Students will develop their art historical skills by engaging, analyzing, interpreting and criticizing artworks.
• METHOD OF EVALUATION: TBD
• READINGS: Stokstad and Cothren, Art History, 6th edition (Revel)

• PROFESSOR: Amy Bruce
• DESCRIPTION: This course analyses the ways in which art and visual culture make meaning. We will examine methods for interpreting art, including pictorial construction, organization and the various conditions under which art is created and given significance. Art is surveyed throughout different historical periods in order to both discuss and illustrate topics from lectures and assigned readings.
• METHOD OF EVALUATION: Formal analysis: 15%; Public art assignment: 20%; Curation assignment: 20%; Weekly quizzes/participation: 20%; Final assignment: 25%
• READINGS: This course does not have an assigned textbook but there will be articles assigned to certain classes. It is mandatory to complete these readings prior to class as they illuminate topics addressed in lectures. Assigned readings are testable on weekly quizzes and assignments.

• PROFESSOR: Peter Coffman
• DESCRIPTION: This survey of Western architecture to approximately 1500 is a wide-ranging exploration of how architecture has served human needs. It serves as a foundation for subsequent courses in art, architecture and architectural history, and can also be a stand-alone exploration of history viewed through the lens of the built environment. It roams from Neolithic tombs to Greek and Roman temples to medieval castles to Islamic palaces to Renaissance churches and palazzi – with a great deal in between. In all cases, the buildings will be analyzed on a broad cultural and historical landscape, connecting them to the ideas, events and circumstances that originally gave them meaning.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

PROFESSOR: Gül Kale

DESCRIPTION: This course will examine global architectural history and theory from 1500 to the present. It explores the architectural and urban history of diverse regions such as Europe, India, Africa, the Americas, the Middle East, China, and Japan through key buildings and infrastructure. The course will lay the framework for understanding the fabrication, perception, and experience of the built environment and artifacts by different communities. Some of the themes include: architecture and ritualistic space; imperial cities and buildings; politics of architecture; the public role of the architect; architectural technologies; architectural design processes; gardens and landscape design; housing and spatial justice; and architecture and urban modernization. Architectural ideas that shaped the built environment, as well as were shaped by specific cultural, social, political, and scientific contexts will be discussed through examining selected architectural concepts and works. The course will integrate various modes of interdisciplinary knowledge from the arts, humanities, sciences, and technology and disseminate them as the means of historical inquiry and critical and creative thinking on global architectural history and theory.

METHOD OF EVALUATION: The evaluation process: quiz, participation in tutorials, midterm, assignments, and final exam.

READINGS: TBA

PROFESSOR: Stacy Ernst

DESCRIPTION: Art making in Canada is intertwined with its changing social and political realities, as such this course will emphasize the way artists have made and remade the space north of the 49th parallel from 1900 to the present. How have artists working in Canada used their art to address issues such as nationalism, sovereignty, colonization, decolonization, modernism, and postmodernism? In what ways have they mobilized their art to address difficult issues? At the end of the course, students will be familiar with the diverse breadth of art made in Canada, across a wide variety of media. They will be able to visually analyze and critique artworks in their respective socio-political contexts and understand how these artworks challenge, complicate and enrich the story of Canada.

METHOD OF EVALUATION: TBD

READINGS: Anne Whitelaw, Brian Foss, and Sandra Paikowsky, eds., The Visual Arts in Canada: The Twentieth Century (Oxford and New York: Oxford University Press, 2010). Additional required readings will be made available through the class CU Learn page.

• PROFESSOR: Sheena Ellison
• DESCRIPTION: This course provides an introduction to the visual arts of the Indigenous peoples of the Woodlands, Plains, and Subarctic regions of North America. Using a post-colonial lens, we will consider selected examples of creative production from time immemorial to the present. Students will become familiar with the plurality of styles, techniques, materials, and subject matter of First Nations and Metis art from the region, and be able to identify specific techniques and styles of artmaking, key artists, and important issues by geographic region and culture.
• METHOD OF EVALUATION: TBD
• READINGS: TBD

• PROFESSOR: Victoria Nolte
• DESCRIPTION: This course surveys roughly 5,000 years of artistic production in Asia, focusing on how artworks function in different ways. Students will examine artworks produced for a variety of contexts and purposes, such as for religious rituals, the imperial courts, global and domestic markets, and the state.
• METHOD OF EVALUATION: Class discussion, essay, midterm assignment, and final exam.
• READINGS: Dorinda Neave, Lara Blachard, and Marika Sardar, *Asian Art*, Pearson, 2015. Additional readings on CuLearn.

• PROFESSOR: Stéphane Roy
• DESCRIPTION: A core course that focuses on the techniques, materials, and institutions of art history through lectures and (virtual) workshops on subjects like research and writing, the materials of art, and professional skills.
• METHOD OF EVALUATION: Three reaction papers (3 x 20%); Assignment (25%); Participation (15%)
• READINGS: TBD

• PROFESSOR: Birgit Hopfener
• DESCRIPTION: The course provides an introduction to Chinese art history and its historical and cultural contexts. Based on close examinations of art objects and their respective cultural, historical, religious, and socio-political contexts of production, the seminar introduces ritual bronzes, the tomb of the first Emperor Qin Shi Huangdi, Buddhist art, calligraphy, ink painting, garden culture, and ceramics as central research subjects in Chinese art history.
• METHOD OF EVALUATION: Active participation in online and live discussions, quizzes, short writing, and video assignments on objects.
• READINGS: Readings will be announced in the syllabus and will all be made available on cuLearn.

• PROFESSOR: Morgan Currie
• DESCRIPTION: This course is a historical overview of the principal trends and ideas in Islamic art and architecture from the time of the Prophet Muhammed to the end of the fifteenth century. It begins with the establishment of Islam in the world of late antiquity in the seventh century and the specific demands that the new religion placed on visual culture. The material is rich and varied, including monumental mosques and palaces, delicate miniatures, fine metal and glasswork, textile and calligraphic arts, and sculpture.
• METHOD OF EVALUATION: Written Assignments: 45% (3 in total); Final Exam: 30%; Class tests and exercises: 25%
• READINGS: Readings consist of weekly articles that are available on the course cuLearn site. There is no textbook for this class.

• PROFESSOR: Peter Coffman
• DESCRIPTION: This course is a survey of the major monuments of medieval architecture and art from approximately the fourth to the fifteenth centuries. The course will be anchored in the study of architecture, which has with some justification been called “the mother of all [medieval] arts.” We will also look at small parish churches and secular buildings ranging from royal castles to middle-class houses.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

• PROFESSOR: Randi Klebanoff
• DESCRIPTION: This course is a selective survey of Italian Renaissance painting, sculpture, and architecture from the late thirteenth to the mid-sixteenth century. We will approach the Renaissance from a number of viewpoints, acquiring the skills and terms of reference to enable us to meaningfully interpret the histories communicated in paint, stone, brick, and bronze.
• METHOD OF EVALUATION: Online assignments, tests TBD
• READINGS: Open source online resources and class readings

• PROFESSOR: Gül Kale
• DESCRIPTION: This course is an examination of architecture from the late medieval period to the 18th century with a focus on the European and Islamic worlds and their cross-cultural interactions. The exploration of theoretical ideas, art and architectural practices, socio-cultural foundations of arts will open the ground to understand architectural making and thinking in historical contexts. Architecture’s role in culture, religion, politics, and urban transformations in cities such as Florence, Paris, Istanbul, and Isfahan will be explored. The course will draw on the literary, material, and visual cultures of the period along with buildings and infrastructure. A focus on the notion of architecture as a socio-cultural phenomenon that was constantly in contact with diverse cultures, other forms of knowledge, and lived experiences will offer an interdisciplinary, critical, and cross-cultural learning experience that evaluates the history and theory of architecture in a global context.
• METHOD OF EVALUATION: The evaluation process: quizzes, forum participations, group presentations, midterm, research paper, final exam
• READINGS: TBD

• PROFESSOR: Amy Wallace
• DESCRIPTION: This course presents a thematic survey of European art in the 17th and 18th centuries from the Baroque era to the end of the French Revolution. Students will be introduced to major artists, artworks, and issues central to the relationship between art and society during this period. Painting, sculpture, graphic art, and architecture will be examined in relation to wider social, political, and intellectual movements. Issues of social class, gender, and race as they intersect with art produced in the 17th and 18th centuries will be explored.
• METHOD OF EVALUATION: TBD
• READINGS: TBD

• PROFESSOR: Jill Carrick
• DESCRIPTION: This course explores the great visual breakthroughs of early 20th century European modern art. Through focus on movements such as Cubism, Futurism, Russian Constructivism, Dada, and Surrealism, the class investigates what one historian perceptively described as the “demolition of the received visual order”. How did modern art re-imagine the world? What were modernism and the avant-garde? How did artists picture desire and sexuality, political change and social contestation, and the dramatic technological transformations of their century?
• METHOD OF EVALUATION: Assessment details to be announced at beginning of semester.
• READINGS: Arnason, H. H. and Elizabeth C. Mansfield. *History of Modern Art: Painting, Sculpture, Architecture, Photography*. 7th edition. By Prentice Hall, 2012.

• PROFESSOR: Shannon Perry
• DESCRIPTION: ARTH 2601 is an introduction to the history of photography in its many guises. Within the larger historical contexts of society and culture, it surveys key technological developments, social expectations, and cultural applications, from experimentation in optics and chemistry in the late eighteenth century to the digital technologies of the present. The course will examine the rapid spread of photography from France, England, and the United States to other parts of the world, and the role of photography in the increasingly visual culture of the nineteenth century, including the pictorial press and international exhibitions.
• METHOD OF EVALUATION: Written work (55%) / mid-term and final exam (45%) – option of replacing final exam (25%) with essay
• READINGS: Mary Warner Marien *Cultural History of Photography* (Pearson, 4th edition: 2013) and weekly readings posted in cuLearn.

• PROFESSOR: Dustin Valen
• DESCRIPTION: This course surveys global urban and architectural culture from the late nineteenth century to the present, with a particular focus on encounters between the western and non-western world. The course uses cities and buildings to study broader cultural, economic, and technological shifts, as well as the unevenness of these changes around the world. What processes have guided the transformation of cities and buildings during the past century? How have architects and planners responded to these changes? And how have non-specialists and other actors contributed to the democratization of city building? Students will gain a broad-based understanding of urban and architectural modernity through an introduction to the work of a select number of architects, planners, and activists. Lectures highlight how the transnational flow of ideas, people, and capital has changed the global built environment, including the multi-directional nature of exchanges between the so-called developing and developed worlds.
• METHOD OF EVALUATION: Written assignments, midterm exam, final exam
• READINGS: Readings will be announced in the syllabus and posted on cuLearn

• PROFESSOR: Peter Coffman and Michael Windover
• DESCRIPTION: This is a course about looking at and writing about architecture. Through a series of online exercises and discussions, as well as independent activities, students will develop skills and methods for interpreting and analyzing the built environment. The course asks some fundamental questions: how do we experience architecture? What can we learn from looking at and thinking about the built environment? How do writers analyze and interpret architecture for different audiences?
• METHOD OF EVALUATION: TBA, but will include written and visually-oriented activities.
• READINGS: Required texts will be posted through the library’s digital reserves service ARES.

• PROFESSOR: Gül Kale
• DESCRIPTION: This course will examine the history of architectural representation from the late medieval period up to the 19th century with a focus on the Mediterranean world and the Middle East. It will center on representational practices in architecture and culture that became vehicles for the circulation and transformation of ideas, cultures, peoples, and artifacts beyond borders and at contact zones. Some of the themes include: architecture and drawing, the uses of models, pattern making in arts, architectural books, travel accounts, city views, mapping the world, and orientalist images. The historical techniques of representation used in artistic making and thinking will be explored along with their agency in the production of discourses on cultures and the notion of globalization. The course will introduce students to critically examine and understand the representation, dissemination, and distortion of architectural cultures and knowledge through books, drawings, images, and objects.
• METHOD OF EVALUATION: The evaluation process: forum participations, assignments, group presentations, midterm, research paper, final exam.
• READINGS: TBD

• PROFESSOR: Birgit Hopfener
• DESCRIPTION: The seminar offers an introduction to contemporary Chinese art and art history since the beginning of the reform period in 1979. It focuses on the art historical, socio-political, and infrastructural conditions under which art has been produced in the People’s Republic of China and exhibited in China and beyond. To develop an understanding of major transitions in the intellectual and artistic realms in China, the course surveys central figures, movements, and issues of Chinese contemporary art. We will examine a range of topics, such as the legacy of socialist realism, avant-garde discourses, re-inventions of traditions, critical engagements with and cultural translations of Western art and art history, practices of critical historiographies of Chinese art, gender and politics of the body, socially engaged art discourses, effects of the art market, the development of a professional infrastructure for contemporary art in China by private initiators, and the impact of official cultural policy since the beginning of the “Museum Age” in the year 2000.
• METHOD OF EVALUATION: Reading responses, active participation in class discussions, oral presentation, scaffolded final essay.
• READINGS: Readings will be announced in the syllabus and will all be made available on cuLearn.

• PROFESSOR: Michael Windover
• DESCRIPTION: This course probes some fundamental questions about Art and Architectural historiography. Where did the disciplines come from and how have the practices of historians of art and architecture changed over time? Through close reading and discussion of texts, we will consider effective strategies in writing art and architectural history.
• METHOD OF EVALUATION: TBA, but will include written assignments and participatory activities.
• READINGS: Required texts will be posted through the library’s digital reserves service ARES.

• PROFESSOR: Michael Windover
• DESCRIPTION: This course focuses on the methods and historiography of Architectural History. Who writes Architectural History and why? How has architectural history’s methodology changed over time? Through a combination of close, critical reading and class activities, this course trains students how to use some research methods and provides opportunities to put them into action.
• METHOD OF EVALUATION: TBA, but will include written assignments and participatory activities.
• READINGS: Required texts will be posted through the library’s digital reserves service ARES.

• PROFESSOR: Randi Klebanoff
• DESCRIPTION: In this seminar we will engage with a number of theories and methodologies that have shaped directions in art history from the twentieth century until today. Centred around thoughtful analysis and discussion of shared readings, emphasis will also be given to the active cultivation of skills of research, writing and presentation of art historical work.
• METHOD OF EVALUATION: TBD. Likely a combination of reading responses, course journals, discussion participation and assignments.
• READINGS: None.

• PROFESSOR: Jill Carrick
• DESCRIPTION: This course explores contemporary art in the global context from 1945 to the present. The 20th and 21st centuries have seen the rise of an extraordinary range of innovations in the visual arts. How have artists reimagined the role and language of art in response to dramatically shifting cultural conditions? Topics examined include movements such as Abstract Expressionism, Pop Art and Postmodernism, and practices such as object art, performance art, and installations.
• METHOD OF EVALUATION: TBD
• READINGS: TBD

• PROFESSOR: Morgan Currie
• DESCRIPTION: Italian Baroque architecture is dynamic and energetic, using fluid interactive forms to engage viewers on an emotional level. Theoretically, it takes the architectural principles established in the Renaissance and stretches the geometry and classicism into an unprecedented rhetorical appeal to the senses. Lines curve and flow, boundaries blur, walls dematerialize, and spaces become theatrical displays in an all-out effort to create a sense of wonder. This course will use the eccentric visionary of the Baroque, Francesco Borromini, as an entry into the history and theory of this captivating period and its place in the history and theory of architecture. The work of major contemporary architects including Carlo Maderno, Gianlorenzo Bernini, Pietro da Cortona, Baldassarre Longhena, and Guarino Guarini will also be covered.
• METHOD OF EVALUATION: This is a split-level course meaning students can enroll at the 3000 or 4000 level. Students at the 3000 level will be evaluated on the basis of a midterm, final exam and class exercises as well as a term paper of approximately eight pages. 4000 level students will not sit the tests but will write a seminar-type paper of approximately sixteen to twenty pages for the research experience and some short response exercises during the term.
• READINGS: Readings consist of weekly articles that are available on the course cuLearn site. There is no textbook for this class.

• PROFESSOR: Sophia Harrison Holmes
• DESCRIPTION: What role can art play in the development of global citizenship for the twenty-first century, permeated as it is by the multivalent condition of precarity? Through the lens of critical cosmopolitanism, this course considers contemporary artists as powerful agents of cosmopolitan ethics. Focusing on emerging and established contemporary artists working across the mediums of installation, sculpture, painting, animation, film, photography, and performance, we will take a thematic approach in investigating the multiple “visible and invisible contexts” that recent works of art illuminate. Issues to be explored relate to intellectual, cultural, and political practices such as envisioning worlds, enacting solidarities, or resisting oppression; to regimes of power, such as imperialism, national sovereignty, and global capitalism; and to the current global crises of mass migration, climate change, and the coronavirus pandemic.
• METHOD OF EVALUATION: Combination of critical reflection exercises and research assignments of varying lengths, to be delivered in traditional and new formats tailored to the digital environment.
• READINGS: All readings will be made available via Ares or URL (no textbook required).

• PROFESSOR: Morgan Currie
• DESCRIPTION: The seventeenth century in Rome was a period of social and religious turmoil and tremendous artistic creativity. Artists explored the power of visual rhetoric to overwhelm viewers in the service of a self-absorbed aristocracy and a Church defined paradoxically by both worldly corruption and intense mystical faith. No figure epitomized this landscape like Gianlorenzo Bernini, a sculptor, architect, playwright, theatre designer, and occasional painter who dominated the Roman art world for nearly seven decades. This course will use Bernini’s life and work as a lens to explore the relationships between art, society, and authority in this turbulent time. Major contemporary artists including Caravaggio and Annibale Carracci, Pietro da Cortona, Alessandro Algardi, and Nicolas Poussin will also be examined.
• METHOD OF EVALUATION: This is a split-level course meaning students can enroll at the 3000 or 4000 level. Students at the 3000 level will be evaluated on the basis of a midterm, final exam and class exercises as well as a term paper of approximately eight pages. 4000 level students will not sit the tests but will write a seminar-type paper of approximately sixteen to twenty pages for the research experience and some short response exercises during the term.
• READINGS: Readings consist of weekly articles that are available on the course cuLearn site. There is no textbook for this class.

• PROFESSOR: Daniel Millette
• DESCRIPTION: In spite of several hundred years of difficult challenges that include culturally destructive colonial strategies, many Indigenous communities are experiencing a period of self-actualized revitalization whereby “culture” is openly celebrated and outwardly presented. This is apparent through art, language and tradition, all manifested through a number of community facets, including the topic of this course: Architectural Design on Indigenous lands. Many traditional tenets related to architectural design are shared by First Nations; respect for the land, for instance, is common to all indigenous peoples, as are consideration for environmental consequences, traditional land-use planning, and architectural design features such as cultural representations through tectonic assemblies that tell a story and contain mnemonics related to the culture from which it emanates. Indeed, and in sharp contrast to John May’s assertion that “traditional vernacular architecture is disappearing”, a surge of Indigenous-initiated environmental design initiatives has emerged in what is now Canada, much of it as unique planning schemas or architectural typologies brought about by new, or renewed needs. This is design that derives from beyond place and program; it stems directly from cultural consequences. Through lectures, directed readings and student presentations, this course will be focused on two fronts: A close examination of present-day architecture – traditional and contemporary, and a critical look at the colonial impacts on Indigenous environmental design.
• METHOD OF EVALUATION: TBD
• READINGS: TBD

• PROFESSOR: Carmen Robertson
• DESCRIPTION: This seminar will facilitate an in-depth examination how Indigenous artists have formulated a politicized discourse of resistance through their artistic expressions in order to prompt transformative and decolonizing healing within communities. This course will include readings, analysis of diverse forms of art, and critical analysis of art exhibitions and includes a final research paper and oral presentation. Divided into six major themes, including Visual Sovereignty; Land; Indigenous Epistemologies; Traditions; Political Resistance, the course will involve synchronous online delivery.
• METHOD OF EVALUATION: TBD
• READINGS: Stephanie Nohelani Teves, Andrea Smith and Michelle H. Raheja (eds)., Native Studies Keywords (Phoenix: University of Arizona Press, 2015).

• PROFESSOR: Birgit Hopfener
• DESCRIPTION: This course will provide a critical introduction to discourses, socio-political contexts, histories, scholars, institutions, concepts, and methodological approaches of Global Art History since the beginning of “Weltkunstgeschichte” (world art history) discourses in 20th century Europe until today’s discourses of World Art Studies, Post-colonial Art History, Global Art History, Transnational Art and Transcultural Art History. Among others, we will study and compare the meaning of figures such as cultural influence, diffusion, transfer, circulation, exchange, contact, migration, entanglement, interaction, negotiation. We will study and examine descriptive and analytical concepts of cultural contact such as hybridity, creolization, metissage, appropriation, reconfiguration, and resonance, and will study methodological approaches such as discourse analysis, cultural translation and relational comparison. The course will be an intensive reading course.
• METHOD OF EVALUATION: Reading responses, active participation in class discussions, oral presentation, scaffolded final essay.
• READINGS: Readings will be announced in the syllabus and will all be made available on cuLearn.

• PROFESSOR: Gül Kale
• DESCRIPTION: This course will focus on the link between architecture, art, science, and knowledge with a special emphasis on the Ottoman Empire and its interactions with the wider Islamic and the Mediterranean worlds from the late medieval period to the late eighteenth century. The course will examine how diverse Islamic societies produced and reacted to artifacts that had a transforming effect on places and people. The literary, material, and visual cultures of the period will be examined to understand the built environment and material culture in practical, philosophical, religious, and political contexts. Some themes include: orientalist discourses on the arts of the Islamic world, the notion of globalisation in Islamic art and architectural history, architectural poems, sacred geography, sound and architecture, surveying and hydraulic works, the uses of practical geometry, material culture and society, and multisensory experiences. The course will develop the necessary historical perspective and critical understanding of the Islamic world for students. It aims at strengthening how students explore and analyze architecture and artwork in a cross-cultural context from an interdisciplinary perspective. The course comprises a series of lectures, readings, and discussions of selected primary and secondary sources.
• METHOD OF EVALUATION: The evaluation process: presentation of readings, participation in discussions, research papers.
• READINGS: TBD

• PROFESSOR: Daniel Millette
• DESCRIPTION: The architectural landscape that comprises Indigenous communities persists within sets of traditional design practices that extend to the distant past, albeit not necessarily obvious to the outside viewer. In addition to traditional spaces that are actively and continuously being re-built within First Nation communities, new spaces of cultural interaction, places of healing, and buildings for traditional practice, among others, are being designed throughout the Indigenous landscape. At times designed by outside planners and architects, while in other instances designed by community members, the set of spaces remains undocumented and underappreciated. Thus when added to the vast ethnographical, archaeological and historical record, the whole makes for a rich corpus to understand culture within the broader Canadian planning and architectural sphere. Through directed readings set within several targeted themes, classroom discussions, and individual student research projects, this seminar course will focus on specific case studies that highlight “architecture as culture” and “culture as architecture” within First Nation communities across Canada.
• METHOD OF EVALUATION: TBD
• READINGS: TBD

• PROFESSORS: Michael Windover & Peter Coffman
• DESCRIPTION: How can we tell compelling stories about architecture online? This course addresses this question through an intensive engagement with artefacts from the Carleton Place and Beckwith Heritage Museum. Over the course of the term, students will work on producing an online exhibition about historical architecture of Carleton Place, Ontario. The students will work closely with both instructors and staff of the museum with the goal of producing an exhibition that will be integrated with the museum’s website.
• METHOD OF EVALUATION: TBA, but will include written assignments and participatory activities.
• READINGS: Required texts will be posted through the library’s digital reserves service ARES.

• PROFESSOR: Hilary Grant
• DESCRIPTION: Ever wonder what happens to all the buildings you study? What happens after they are built? What do buildings from the past mean to us today? In this course, you will learn the ways scholars have theorized the meaning and value of heritage as a social, cultural and political phenomenon. Through the analysis of real-world case studies, we will see how the role of heritage has been variously interpreted with an eye towards stimulating inclusive and ethical heritage practice. Welcome to critical heritage studies.
• METHOD OF EVALUATION: TBD
• READINGS: Journal articles and theory texts.

• PROFESSOR: Morgan Currie
• DESCRIPTION: Italian Baroque architecture is dynamic and energetic, using fluid interactive forms to engage viewers on an emotional level. Theoretically, it takes the architectural principles established in the Renaissance and stretches the geometry and classicism into an unprecedented rhetorical appeal to the senses. Lines curve and flow, boundaries blur, walls dematerialize, and spaces become theatrical displays in an all-out effort to create a sense of wonder. This course will use the eccentric visionary of the Baroque, Francesco Borromini, as an entry into the history and theory of this captivating period and its place in the history and theory of architecture. The work of major contemporary architects including Carlo Maderno, Gianlorenzo Bernini, Pietro da Cortona, Baldassarre Longhena, and Guarino Guarini will also be covered.
• METHOD OF EVALUATION: This is a split-level course meaning students can enroll at the 3000 or 4000 level. Students at the 3000 level will be evaluated on the basis of a midterm, final exam and class exercises as well as a term paper of approximately eight pages. 4000 level students will not sit the tests but will write a seminar-type paper of approximately sixteen to twenty pages for the research experience and some short response exercises during the term.
• READINGS: Readings consist of weekly articles that are available on the course cuLearn site. There is no textbook for this class.

• PROFESSOR: Jill Carrick
• DESCRIPTION: This course focuses on art produced in France during the swinging ‘Sixties’. Found-object art, performance work, painting and sound-poetry were just a few of the genres experimented with by artists keen to engage with the pressing issues of their time. Emphasis is placed on the social, historical, and artistic contexts of production of art in France, and on contemporary re-readings of its theoretical and historical significance. Key themes: Neo-Dada, Nouveau réalisme, Food Art, found-object art, art and politics, art and memory.
• METHOD OF EVALUATION: Active seminar participation, including weekly preparation for assigned readings, class facilitations, and a short presentation on end of semester research paper.
• READINGS: TBD

• PROFESSOR: Morgan Currie
• DESCRIPTION: The seventeenth century in Rome was a period of social and religious turmoil and tremendous artistic creativity. Artists explored the power of visual rhetoric to overwhelm viewers in the service of a self-absorbed aristocracy and a Church defined paradoxically by both worldly corruption and intense mystical faith. No figure epitomized this landscape like Gianlorenzo Bernini, a sculptor, architect, playwright, theatre designer, and occasional painter who dominated the Roman art world for nearly seven decades. This course will use Bernini’s life and work as a lens to explore the relationships between art, society, and authority in this turbulent time. Major contemporary artists including Caravaggio and Annibale Carracci, Pietro da Cortona, Alessandro Algardi, and Nicolas Poussin will also be examined.
• METHOD OF EVALUATION: This is a split-level course meaning students can enroll at the 3000 or 4000 level. Students at the 3000 level will be evaluated on the basis of a midterm, final exam and class exercises as well as a term paper of approximately eight pages. 4000 level students will not sit the tests but will write a seminar-type paper of approximately sixteen to twenty pages for the research experience and some short response exercises during the term.
• READINGS: Readings consist of weekly articles that are available on the course cuLearn site. There is no textbook for this class.

• Professor: Morgan Currie
• Description: This course is a broad survey of different artistic traditions from prehistory to the Renaissance that explores how works of art were produced, and the roles that they played in their societies. Principle theories of art from the ancient and medieval worlds will also be introduced. Participants will gain the ability to recognize images from a wide range of times and places, and their relationships with the societies and cultures where they originated. Course activities develop basic visual analysis skills that are valuable in today’s image-saturated world.
• Evaluation: Analysis paper – 30% (4-6 page paper, double spaced with standard margins in 10-12 point font, analyzing an image of your choice); Post-Lecture Discussion Questions – 10%; Midterm test – 25%; Final Exam – 35%
• Text: TBA

• Professor: Hilary Grant
• Description: Look around you. Why does the space you’re in look the way it does? The only way to know is to turn to architectural history. Through architectural history, we can understand why windows are square and squat, long and lean, or non-existent. We can learn why walls are smooth or roughly hewn, why some buildings are grand and some modest, or why we developed the city square. Through architectural history, we see how what we believe shapes what we build, and how what we build shapes our lives. This course is the first of two architectural history survey courses offered by Carleton University and surveys monuments from prehistory to the Renaissance. We will swiftly cover over 20,000 years of architectural history in this course, so buckle up! The buildings around you will never look the same.
• Evaluation: Weekly Activities, Midterm, Final, Audio Assignment
• Textbooks: Michael Fazio, Marian Moffett, and Lawrence Wodehouse, Buildings Across Time: An Introduction to World Architecture, 5th edition (Boston: McGraw-Hill, 2019).

• Professor: Sheena Ellison
• Description: This course offers a survey of Western art from the Renaissance to the present. Students will gain familiarity with a selection of canonical artists, artworks, and movements from the history of art. Our study of specific artworks will help students to understand the interplay between art and society, forming an understanding of how these works respond to and reflect on the cultures that produced them. Students will develop their art historical skills by engaging, analyzing, interpreting, and criticizing artworks.
• Evaluation: (1) 3-part visual analysis, (2) Take-home final exam, (3) Participation in online discussion forum. Details TBD.
• Text: TBD
• Course format: Asynchronous online lectures, discussion forum, electronic assignments

• Professor: Hilary Grant
• Description: The only way to understand why any space looks the way it does is by turning to architectural history. Architectural history gives you the visual analytic skills to really look at the built environment, noticing the spaces we often take for granted and decoding their meaning. We get to study churches and schools, homes and courthouses, main streets and galleries, seats of government and buildings that don’t seem to have any purpose at all. We can learn why cities are dotted with parks, why so many of us live in suburbs or high rises, or how white walls came to be in almost every decorating magazine. This course is the second of two architectural history survey courses offered by Carleton University and surveys monuments from the Renaissance to the present. We will cover roughly 700 years of architectural history and discuss some of history’s greatest architectural luminaries. Get inspired by the buildings in your life.
• Evaluation: Weekly Activities, Midterm, Final, Paper Assignment
• Text: Michael Fazio, Marian Moffett, and Lawrence Wodehouse, Buildings Across Time: An Introduction to World Architecture, 5th edition (Boston: McGraw-Hill, 2019).