Archived: 2021-2022 Undergraduate Course Listings

• PROFESSOR: Maxime Valsamas
• DESCRIPTION: This course is a broad survey of architecture, metalwork, painting, printmaking, sculpture, and other art forms from prehistory to the Renaissance. We will pay particular attention to the cultural, religious, and political contexts for art’s production, the role of the artist, and the ever- changing relationship of art to society. Important consideration will also be given to the techniques and styles used in different cultural periods and how meaning is created in diverse modes of visual expression. This course will place emphasis on the visual analysis of works of art, enabling students to develop the foundational skills to undertake further studies in art history and to navigate today’s increasingly image-saturated world.
• METHOD OF EVALUATION: Attendance and participation in weekly discussions 15%, Midterm exam 25%, Visual analysis paper 25%, Final exam 35%
• READINGS: TBA

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• PROFESSOR: Alessandra Mariani
• DESCRIPTION: This course features the development of the built environment from the Renaissance to the present. Primarily focused on culturally significant Western architecture, it includes some references to Nonwestern buildings. Buildings and key architectural projects will be considered in relation to their cultural, social, political, and economic contexts. They will be analyzed through the concepts that gave them their form, their materiality, and their function. Students will gain an understanding of the language of architecture and its evolution, through a diversity of programs and typologies, as well as the technology that made them possible. The course will explore the following themes: the architecture of faith and power, image and representation, the architecture of reason and autonomy, the role of architecture, the geometrization of space, mechanization and rationalism, resistance movements, form to function, globalization and formal experimentation, interdisciplinarity and critical spatial practice.
• METHOD OF EVALUATION: Biweekly short exercises, discussion forum participation, a short essay, a final assignment. Full details TBA
• READINGS: TBA

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• PROFESSOR: Morgan Currie
• DESCRIPTION: Raphael Sanzio is one of the best-known names associated with the art of the Italian Renaissance, and as much as any one individual, established the foundations for Western classicism over the following centuries. However, even this profound influence sells short the singular combination of continual innovation and technical acumen that defined his regrettably short career. This course will examine the work of Raphael within its social, historical, and ideological contexts, with a particular focus on its place in the development of a theoretical notion of artistic ideality at the time and subsequently. Attention will also be paid to the historiography of the Renaissance period; how changing assumptions shaped the critical understanding of art, and the role of Raphael within that process. These themes will be presented in the context of an in-depth examination of Raphael’s painting and architecture, and selected works by his key influences and contemporaries.
• METHOD OF EVALUATION: This is a split-level course meaning students can enroll at either the 3000 or 4000 level. Only one enrolment is possible. Students at the 3000 level will be evaluated on the basis of a midterm and final exam 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 pages for the research experience and two short response pieces during the term.
• READINGS: There is no assigned textbook for the course. Weekly readings will be posted on the class Brightspace page.

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PROFESSOR: Morgan Currie
DESCRIPTION: Raphael Sanzio is one of the best-known names associated with the art of the Italian Renaissance, and as much as any one individual, established the foundations for Western classicism over the following centuries. However, even this profound influence sells short the singular combination of continual innovation and technical acumen that defined his regrettably short career. This course will examine the work of Raphael within its social, historical, and ideological contexts, with a particular focus on its place in the development of a theoretical notion of artistic ideality at the time and subsequently. Attention will also be paid to the historiography of the Renaissance period; how changing assumptions shaped the critical understanding of art, and the role of Raphael within that process. These themes will be presented in the context of an in-depth examination of Raphael’s painting and architecture, and selected works by his key influences and contemporaries.
METHOD OF EVALUATION: This is a split-level course meaning students can enroll at either the 3000 or 4000 level. Only one enrolment is possible. Students at the 3000 level will be evaluated on the basis of a midterm and final exam 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 pages for the research experience and two short response pieces during the term.
READINGS: There is no assigned textbook for the course. Weekly readings will be posted on the class Brightspace page.
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• 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.
• METHOD OF EVALUATION: Analysis paper 25%, Tutorial and Weekly Discussions 15%, Midterm test 25%, Final Exam 35%
• READINGS: Marilyn Stokstad and Michael Cothren, Art History (6th Edition), 2017

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• PROFESSOR: Morgan Currie
• DESCRIPTION: This course is a broad survey of the theoretical and practical developments in Western art and its changing relationship to society from the Renaissance to the present. Major ideas, artists, and works will be introduced and analyzed. 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.
• METHOD OF EVALUATION: Analysis paper 25%, Tutorial and Weekly Discussions 15%, Midterm test 25%, Final Exam 35%
• READINGS: Marilyn Stokstad and Michael Cothren, Art History (6th Edition), 2017

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• PROFESSOR: Amy Bruce
• DESCRIPTION: This course examines the ways in which art is considered a form of visual communication. By approaching art as a distinct category of visual production, this course moves from discussions on the basic elements of art (eg. line, shape, colour, form) to different interpretative frameworks that have been applied to art in order to understand how art makes meaning. This course is not a conventional art historical survey, but rather an introduction to art as a cultural concept. A wide range of artworks from various periods and historical contexts will be examined in order to illuminate rich and diverse topics such as aesthetics, feminism, and global art.
• METHOD OF EVALUATION: Formal analysis assignment: 25%, Mini research assignment: 25%, Final assignment: 35%, Weekly activities (10 total): 15%
• READINGS: The course does not have a textbook or course pack. Readings will be provided in an online collection through the library, free of charge.

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• 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 lays a foundation for subsequent courses in 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. Lectures will be delivered asynchronously online.
• METHOD OF EVALUATION: Short weekly exercises, discussion forum participation, occasional short quizzes, a short essay and final assignment. Full details TBA.
• READINGS: TBA

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• 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; women in architecture; the public role of the architect; architectural technologies; architectural design processes; gardens and landscape design; architecture and colonialism;  architecture 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: TBD
• READINGS: TBD

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• PROFESSOR: Stacy A. 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 a diverse breadth of art made in Canada, across a wide variety of media. They will be able to visually analyze and critique art works in their respective socio-political contexts.
• METHOD OF EVALUATION: mid-term test, short essay proposal, essay, and final exam. Full details TBC.
• 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 Brightspace page. Full details TBC.

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• PROFESSOR: Victoria Nolte
• DESCRIPTION: This course surveys roughly 5,000 years of artistic production in Asia, examining the functions of visual/material cultures and built environments in interconnected regional contexts in South and East Asia. Students will learn about artworks produced for a number of specific purposes, such as for religious rituals and ceremony, for the imperial courts, global and domestic markets, the museum, and the state. Throughout the course we will discuss traditional practices such as ritual bronzes, religious sculpture, ceramics, calligraphy, ink painting, miniature painting, and architecture. In the final weeks of the course we will examine transformations that have shaped global encounters with Asian art, including the development of modernisms in Asia. The aim of the course is to both familiarize students with histories of art and culture in Asia as well as to complicate how we have conventionally studied these histories. A key aspect of this course will be to examine Asian art practices as critical engagements with religion and cultural belief systems, dynastic power, history, identity, modernity, nationalism, and contemporaneity.
• METHOD OF EVALUATION: Class discussion, research essay, and final exam
• READINGS: TBA

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• 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 such as art historical research and writing, the materials of art, professional skills and discussions with professionals. Restricted to Honours Art History Majors. Course format: 3-hour weekly lectures.
• METHOD OF EVALUATION: Three reaction papers (3 x 20%); Assignment (25%); Participation (15%)
• READINGS: TBD

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• 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. We will study forms, topics, materials, techniques and iconographies of Chinese art and visual culture in relation to certain worldviews such as ancestral cult, Confucianism, Daoism, and Buddhism.
• METHOD OF EVALUATION: TBD
• READINGS: TBD

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• PROFESSOR: Ming Tiampo
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• 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.” While the great cathedrals and abbeys unavoidably (and rightly) play a large role in the course, we will also look at small parish churches and secular buildings ranging from royal castles to middle-class houses. While exploring the architecture, we will look at closely related arts such as sculpture, mosaic and stained glass, as well as media such as metalwork and illuminated manuscripts. Lectures will be delivered asynchronously through recorded videos, with occasional expert ‘guest lectures’ in the form of podcasts. These will be combined with regular in-person meetings for discussion and interaction.
• METHOD OF EVALUATION: Short weekly exercises, class participation, occasional short quizzes, final essay or design assignment. Full details TBA
• READINGS: TBA

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• PROFESSOR: Randi Klebanoff
• DESCRIPTION: A survey of select painting, sculpture, and architecture in the Italian Renaissance from late 13^th to mid-16^thcentury.  Looking thematically, we will explore developments in Renaissance art from differing perspectives, learn skills of visual analysis and discuss ways art and architecture of the Renaissance reveal worldviews different from our own.
• METHOD OF EVALUATION: TBA
• READINGS: Various

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• 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: TBD
• READINGS: The evaluation process: forum participations, group discussions, midterm, research paper, final exam

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• PROFESSOR: Amy Wallace
• DESCRIPTION: This course presents a survey of European art in the 19th century from the end of the French Revolution to the turn of the 20th century. Students will be introduced to major artists, movements, and issues central to the relationship between art and modernity 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 19th century will be explored.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• 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: TBA
• READINGS: Arnason, H. H. and Elizabeth C. Mansfield. History of Modern Art: Painting, Sculpture, Architecture, Photography. 7th edition. By Prentice Hall, 2012.

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• PROFESSOR: Shannon Perry
• DESCRIPTION: ARTH 2601 is an introduction to the history of photography. 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 work of major photographers in the arts and sciences – in the public and private sphere – will be explored, and their influence examined.
• METHOD OF EVALUATION: Combination of short written assignments, midterm and final exam or essay (in lieu of final exam)
• READINGS: A collection of online readings (free of charge); and (optional) course textbook, TBA

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• PROFESSOR: Dustin Vaen
• DESCRIPTION: This course surveys global urban and architectural culture from the late nineteenth century to the present. 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: TBA
• READINGS: TBA

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• PROFESSOR: Peter Coffman and Michael Windover
• DESCRIPTION: What does architecture look like, sound like, smell like? How do we best communicate our experience of the designed environment? These are some of the questions this course explores through a series of site visits, class activities and multimedia projects.
• METHOD OF EVALUATION: Students will be evaluated through participation in class and work on a wide variety of projects including descriptive and analytical writing, photography and podcasting.
• READINGS: Required texts will be posted through the library’s digital reserves service ARES.

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• PROFESSOR: Emily Putnam
• DESCRIPTION: This course surveys activist art in Canada from the mid-twentieth century to present with a particular focus on contemporary art (1980s to now). Using a blended delivery of asynchronous lectures and synchronous online discussions, students will gain a broad-based understanding of the visual culture that defines some of the most significant activist issues in Canada. The course uses activist art to study broader cultural, social, and political changes in Canada and encourages students to make connections between earlier periods of art activism and contemporary issues.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• 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: TBD
• READINGS: TBD

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• 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.

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• PROFESSOR: Michael Windover
• DESCRIPTION: How is architectural history done? What methods are used and how has the methodology of architectural history 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, participatory activities, and the creation of an online, multimedia project.
• READINGS: Required texts will be posted through the library’s digital reserves service ARES.

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• PROFESSOR: Jill Carrick
• DESCRIPTION: In this seminar we will engage with a number of theories and methodologies that have shaped directions in art history from the 20th 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: TBA
• READINGS: TBA

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• 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: TBA
• READINGS: David Hopkins: After Modern Art 1945-2000 (Oxford: Oxford University Press, 2018).

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• PROFESSOR: Morgan Currie
• DESCRIPTION: Caravaggio and Annibale Carracci are known for approaches to painting that contemporaries considered radically new and different, but perfectly suited to the changing ideas about art around 1600 in Italy.  Although very different stylistically and temperamentally, both painted with direct, emotional appeals to the viewer that foreshadowed the participatory rhetorical art associated with the Baroque. This course will examine the work of Caravaggio and Carracci within its social, historical, and ideological contexts, with a particular focus on their years in Rome, since this is where their activities most shaped the artistic culture. Attention will also be paid to the historiography of the Baroque period; how key assumptions shaped subsequent response, and what that tells us about the history of art.
• 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 and final exam 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 pages for the research experience and two short response pieces during the term.
• READINGS: There is no assigned textbook for the course. Weekly readings will be posted on the class Brightspace page.

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• PROFESSOR: Morgan Currie
• DESCRIPTION: Andrea Palladio emerged from the Venetian Renaissance to become one of the most influential architects in Western history. His synthesis of humanist architectural theory and ancient precedent was highly successful in his lifetime and became a foundation of subsequent waves of Neoclassical design. This course will closely examine Palladio’s designs, buildings, and theory, their connections to the larger historical and cultural context, and their influence on later architects.
• 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 and final exam 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 pages for the research experience and two short response pieces during the term.
• READINGS: There is no assigned textbook for the course. Weekly readings will be posted on the class Brightspace page.

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• PROFESSOR: Stephen Inglis
• DESCRIPTION: Introduction to architecture and design of  India with reference to Pakistan, Nepal, Bangladesh and Sri Lanka.  International influences of ideas, materials and techniques from pre-history to the 21st century will be studied. The course will explore major monuments and sites of different regions, periods and styles, from cave dwellings to current structures, with an emphasis on the religious, social and historical contexts of  production and use.
• METHOD OF EVALUATION: Short weekly responses to a key question and one end of term research paper
• READINGS: Free online readings will be assigned weekly… TBA

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• PROFESSOR: Birgit Hopfener
• DESCRIPTION: This reading intensive course will provide a critical introduction to discourses, socio-political contexts, historiographies, scholars, institutions, concepts, and methodological approaches of art history in the global context. We will study and compare the beginnings of “Weltkunstgeschichte” (world art history) discourses in 20th century German speaking art history and recent discourses such as World Art Studies, Post-colonial Art History, Global Art History, Transcultural Art History, Transnational and Decolonial Art History.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• 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

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• PROFESSOR: Dustin Valen
• DESCRIPTION: This seminar examines historical entanglements between architecture and climate and their contemporary forms by engaging issues of social and environmental justice related to climate change. The seminar challenges students to think past technical interpretations of climate in order to view climate as a locus for multidisciplinary practice and action.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• 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: Participation in class, a series of short class presentations, and final online exhibition.
• READINGS: This course focuses primarily on the assessment and use of primary documents, which will be provided by the instructors and the museum.

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• PROFESSOR: Trina Cooper-Bolam
• DESCRIPTION: An iconoclastic reaction to the dearth of commemorative forms equal to the challenge of representing the Holocaust in post WWII Germany, the counter-monument or counter-memorial is a genre that has been subsequently and equally shaped by late 20^th-century transitional justice, decolonizing and Indigenizing processes in different parts of the world, bringing forth new commemorative landscapes and memorial practices, along with new public expectations. This brief survey of selected counter-monuments and counter-memorials investigates tendencies influencing contemporary monuments that reference traumatic histories with respect to their 1) form and expression, 2) function and performativity, 3) and the public expectations to which they are oriented and, relatedly, to the processes by which they are produced. Turning to Canada, and Truth and Reconciliation Commission calls to decolonize its memorial landscape, this survey is intended to provide international examples, drawn from diverse decolonizing and Indigenous contexts, to inform approaches Canada might take to commemorate its own difficult histories and their legacies.
• METHOD OF EVALUATION: TBA
• READINGS: TBA

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• PROFESSOR: Morgan Currie
• DESCRIPTION: Caravaggio and Annibale Carracci are known for approaches to painting that contemporaries considered radically new and different, but perfectly suited to the changing ideas about art around 1600 in Italy.  Although very different stylistically and temperamentally, both painted with direct, emotional appeals to the viewer that foreshadowed the participatory rhetorical art associated with the Baroque. This course will examine the work of Caravaggio and Carracci within its social, historical, and ideological contexts, with a particular focus on their years in Rome, since this is where their activities most shaped the artistic culture. Attention will also be paid to the historiography of the Baroque period; how key assumptions shaped subsequent response, and what that tells us about the history of art.
• 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 and final exam 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 pages for the research experience and two short response pieces during the term.
• READINGS: There is no assigned textbook for the course. Weekly readings will be posted on the class Brightspace page.

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• 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 contests 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: TBA

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• PROFESSOR: Morgan Currie
  DESCRIPTION: Andrea Palladio emerged from the Venetian Renaissance to become one of the most influential architects in Western history. His synthesis of humanist architectural theory and ancient precedent was highly successful in his lifetime and became a foundation of subsequent waves of Neoclassical design. This course will closely examine Palladio’s designs, buildings, and theory, their connections to the larger historical and cultural context, and their influence on later architects.
  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 and final exam 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 pages for the research experience and two short response pieces during the term.
  READINGS: There is no assigned textbook for the course. Weekly readings will be posted on the class Brightspace page.

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• PROFESSOR: Pansee Abou Elatta
• DESCRIPTION: From the origins of the Louvre to the upcoming Cleopatra film, Egypt and its history have been portrayed in countless complicated, contradictory, and politically-loaded ways. Using references as diverse as visual art, film, fashion, comics, video games, and architecture, this course will unpack contemporary and historical representations of Egypt, as well as the social structures that underly them. This course is intended as an introduction to social issues in contemporary visual culture rather than an in-depth survey of Egyptology, so no background in Egyptian history is required. Through this course, students will learn to: recognize the ways that Egyptological representations shape and are shaped by their historical, social, and political contexts; summarize and compare case studies and media exemplars through group discussions and written reflections, apply critical theory and historical knowledge to analyses of texts, artworks, and media, and evaluate and critique contemporary media representations of Ancient Egypt.
• METHOD OF EVALUATION: Grades will be based on class participation, seminar presentations, written responses, and a final research paper
• READINGS: Weekly readings and multimedia references will be posted online.

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