Courses Fall/Winter 2014-15
“Course Summaries” will be listed below as they become available – simply click on the course title to view the course summary information. Special Topics courses may vary from year to year.
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
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[slideme title=” *** IMPORTANT NOTICE ABOUT COURSE NUMBER CHANGES ***”]
Art History and History and Theory of Architecture Students:
Please note that this year some course numbers have changed.
- ARTH 2608 is now ARTH 1201
- ARTH 3305 is now ARTH 2310
- ARTH 3609 is now ARTH 2610
- If you started your program prior to 2014/15, then your program requirements on your audit will continue to reflect the old course numbers, which are no longer available. In order to fulfil specific course requirements not yet complete, take the required course at its new number, and your audit will be adjusted to reflect the new course coding before you graduate.
- Please note that, for year-level requirements (courses required at 1000-, 2000-, and 3000-level) the courses will be counted at the year level of their coding in the year that you have taken them. In other words, if you took ARTH 2608 last year, it will count as a 2000-level course, but if you take it as 1201 this year, it will count as a 1000-level course.
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[slideme title=”ARTH 1100A Art and Society: Prehistory to the Renaissance – Fall term”]
- Instructor: Stéphane Roy
- This course offers a survey of Western and non-Western art – painting, sculpture, architecture – from prehistory to the Renaissance. Given this broad chronological span, the course will inevitably be selective in its choice of topics and images. It aims to provide students with the basic notions for recognizing and understanding artefacts and art production from the major periods encompassed within this course. Through lectures and readings, students will acquire the necessary knowledge and develop skills enabling them to perform formal and contextual analyses of various works of art, from the earliest manifestation of human creativity up to medieval times. Textbook TBD.
- Evaluation
- Short assignment (20%)
- Midterm test (30%)
- Final Exam (35%)
- Tutorial participation (15%)
- Course format: One 2-hour lecture and one 1-hour tutorial each week
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[slideme title=”ARTH 1101A Art and Society: Renaissance to the Present – Winter term”]
- Instructor: Sheena Ellison
- 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 how these works respond to and reflect on the cultures of which they are a product. Students will develop their art historical skills by engaging, analyzing, interpreting and criticizing artworks, while taking advantage of the wonderful artistic resources available in the National Capital Region.
- Textbook TBD.
- Tentative evaluation format:
- Midterm Test (20%)
- Research Paper (30%)
- Final Exam (35%)
- Tutorial participation (15%)
- Course format: One 2-hour lecture and one 1-hour tutorial each week.
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[slideme title=”ARTH 1105B Art as Visual Communication – Winter term”]
Instructor: Morgan Currie
This class introduces and explores a number of themes pertaining to the notion of art as a form of visual communication through a wide range of works from various periods and contexts.. Topics include:
- the emergence and development of art as a distinct category of cultural production, or what “art” means
- the basic elements of art (ie. line, shape, colour, texture) and principles of pictorial organization
- artists’ materials and techniques, and issues pertaining to style
- methods of interpreting the visual arts
- ways that different media create meaning
- neuroesthetics and visual communication
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[slideme title=”ARTH 1200A History & Theory of Architecture 1: Prehistory to 1600 – Fall term”]
- Instructor: Peter Coffman
- This course introduces key monuments and themes of Western architecture from prehistory to about 1600. 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.
- Format: 2 lecture hours, 1 tutorial hour per week.
- Evaluation: quiz (5%), participation and attendance in tutorial (10%), midterm (25%), essay (30%), exam (30%).
- Course text: Michael Fazio, Marian Moffett, and Lawrence Wodehouse, Buildings Across Time: An Introduction to World Architecture, 4th edition (Boston: McGraw-Hill, 2014).
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[slideme title=”ARTH 1201A History & Theory of Architecture 2: 1600 to the present – Winter term”]
- Instructor: Michael Windover
- History and Theory of Architecture 2: 1600 to the present (precludes additional credit for ARTH 2608)
- This course introduces key monuments and themes of Western architecture from about 1600 to the present. This period witnessed great architectural innovation and variation, from the dynamism of Baroque to austere Neo-classicism, from the scholarly Neo-Gothic to the seemingly anti-historicist architecture of the Modern Movement. We will investigate how religious, political, social, economic, and cultural events and ideas affected the production of architecture.
- 2 lecture hours, 1 tutorial hour per week
- Evaluation will consist of: quiz (5%), participation and attendance in tutorial (10%), research project (25%), midterm (25%), exam (35%)
- Course text: Michael Fazio, Marian Moffett, and Lawrence Wodehouse, Buildings Across Time: An Introduction to World Architecture, 4th edition (Boston: McGraw-Hill, 2014).
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[slideme title=”ARTH 2002B Canadian Historical Art – Winter 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, therole of contemporary theory in re-evaluating 19th 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 – Fall term”]
- Art of the First Peoples: The Northwest Coast, the Southwest and the Arctic
- Instructor: Allan Ryan
- Course Description: 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, jewellery, graffiti, tattoos and even cartoons. 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 the creation of “art” as a special category of cultural production.
- Required texts: (available at Haven Books, corner of Sunnyside and Seneca):
- Berlo, Janet Catherine and Ruth B. Phillips, Native North American Art (Oxford/New York: Oxford University Press, 1998)
- Andrew Hunter Whiteford, North American Indian Arts. Golden/St. Martin’s Press.
- Most images viewed in class will be made available electronically. Additional readings, videos and DVDs will be placed on reserve in the Audio Visual Resource Centre and/or the McOdrum Library.
- Tentative Grading breakdown:
- Short report on Canadian Museum of Civilization visit 15%
- Two short reports on attendance at two public Aboriginal events 10%
- Midterm exam 30%
- Gallery research assignment 15%
- Final exam 30%
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[slideme title=”ARTH 2007A Asian Art – Winter term*** note term change”]
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.
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[slideme title=”ARTH 2102A Greek Art and Archaeology clw/CLCV 2303A – Fall term”]
- Instructor: Susan Downie
- Content: This course covers the art and architecture of ancient Greece from the Bronze Age to the Hellenistic period (roughly 3000 to 200 BC). Painting, sculpture, minor arts, public and private architecture will be covered. Special focus is given to marble and bronze sculpture, pictorial vase painting, and the development of the Greek temple form, all characteristic features of ancient Greek culture. Artifacts and archaeology are also integrated into the history and evolving culture of Greece.
- Text and resources: required textbook = John G. Pedley, Greek Art and Archaeology, 5th ed. 2012.
images for review before tests and exams will be posted online - Evaluation: midterm, research project, final exam (normally weighted 30%, 30% 40% of final grade)
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[slideme title=”ARTH 2202A Medieval Architecture and Art – Winter term”]
- Instructor: Peter Coffman
- Format: Lecture (three hours per week).
- 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 central role in the course, we will also look at small parish churches and secular buildings ranging from castles to middleclass 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.
- Evaluation: Project proposal (5%), Mid-term (30%), Essay/design assignment (35%), final exam (30%).
- Course text: Marilyn Stokstad and Michael W. Cothren, Art History: Medieval Art (with MyArtsLab), Upper Saddle River, NJ: Prentice-Hall, 2014, Fifth edition.
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[slideme title=”ARTH 2310B Architecture of Early Modern Europe – Winter term”]
- Instructor: Michael Windover
- Architecture of Early Modern Europe [1400-1750] (precludes additional credit for ARTH 3305)
- This course examines architecture of the early modern era (from Renaissance to Rococo). We will consider a number of key themes in relation to the creation of designed environments including: the idea of “the early modern,” the use and understanding of the classical tradition, the notion and importance of translation, the status of the architect, the role of patrons (religious and secular), spatial politics, affect and the built environment, religion and architecture, and the role of new technologies (e.g., the printing press) and innovations in this period
- 3 lecture hours per week
- Evaluation will consist of participation, research project, midterm, and final exam.
- Course text: TBA
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[slideme title=”ARTH 2405B European Art of 17th Century – Winter term”]
Instructor:
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[slideme title=”ARTH 2510A Architecture of the 18th & 19th Century – Fall term”]
- Instructor: Peter Coffman
- Format: Lecture (three hours per week).
- The eighteenth and nineteenth centuries were a time of enormous intellectual and creative activity, social upheaval, and technological innovation. The architecture of the period both reflected and informed its turbulent and fascinating era. This course will explore the styles, building types, key monuments and intellectual frameworks of architecture ranging from the most florid Baroque to the strictest Neo-Classicism through revived medievalism and the restless experimentation with new forms, materials, and building types that characterized this era.
- Evaluation: Project proposal (5%), Mid-term (30%), Essay/design assignment (35%), final exam (30%).
- Course text: Barry Bergdoll, European Architecture 1750-1890; primary document readings as assigned and posted on Ares.
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[slideme title=”ARTH 2600A Modern European Art: 1900-1945 – Winter term”]
- Instructor: Roger Mesley
- By means of slide lectures, I present selected major movements and individuals of the 1900-1945 period.
- Specifically, we study Fauvism, Die Brucke Expressionism, Early Picasso and Cubism, Futurism, Orphism (Kupka and Delaunay), Marc and The Blue Rider, Mondrian, Duchamp, Picabia and Dada, Dali and Surrealism.
- Evaluation is by means of a midterm test and a final examination (40/60).
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[slideme title=”ARTH 2601A History and Theory of Photography – Fall term”]
- Instructor: Carol Payne
- From the announcement of its invention in the 1830s to the rise of Facebook, photography has become a phenomenally popular and influential visual form. This course looks at the history and cultural meanings of photography. We will explore photographs as works of art, tools of scientific investigation, reportage, and personal mementos through lectures, discussions and assignments. As part of the course, we will also visit the National Gallery of Canada’s renowned Photographs Collection and draw on other photography exhibitions and special events in the National Capital Region.
- Assignments: 2 short papers on the Visual and Historical Analysis of Photography (total about 10 pages)
- Exams: Midterm and Final
- Texts: Mary Warner Marien, Photography: A Cultural History, latest edition. (Upper Saddle River, New Jersey: Prentice Hall).
- Additional articles posted on the cuLearn site.
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[slideme title=”ARTH 2610A Twentieth-Century Architecture – Fall term”]
- Instructor: Michael Windover
- Twentieth-Century Architecture (precludes additional credit for ARTH 3609 or ARCH 3009)
- This course explores how architects, builders, designers, patrons, and users responded to changing conditions of modernity—the social, economic, cultural, and political factors affecting life in the twentieth century. In particular we will discuss ideas and projects related to the notion of “modern architecture” (or “modern architectures”), how the “Modern Movement” was conceptualized, and how and why it was critiqued. Among the themes explored will be architecture as a representation of modern ideas, the impact of modernization on architecture and the urban fabric, the politics of built (and virtual) forms, and the place of history in modernity.
- 3 lecture hours per week
- Evaluation will consist of participation, writing assignments, midterm, and exam.
- Texts: TBA
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[slideme title=”ARTH 3000B Themes in Canadian Art – Winter term”]
- Instructor: Sheena Ellison
- This course will focus on the history of landscape art in Canada, considering landscape broadly as a theme, rather than exclusively as a genre of painting. Students will gain experience interpreting theoretical scholarship on landscape as well as social and political histories relating to land politics, while learning to apply these types of documents to the context of Canadian art. Furthermore, students will consider ideas such as nationalism, regionalism, colonialism, revisionism, borderlands, nature, urbanization site-specificity and performativity in their relation Canadian landscape art.
- Readings will be made available though a coursepack.
- Tentative evaluation format:
- Reader reaction papers
- Midterm project proposal and annotated bibliography
- Discussion facilitation
- Final research essay
- Class attendance and participation
- Course format: Weekly 3-hour classes will be divided into a slide lecture and a student-facilitated discussion
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[slideme title=”ARTH 3002B Canadian Architecture clw/ARCH 4002B – Winter term”]
Instructor: Debanne, Marie Janine
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[slideme title=”ARTH 3005A American Architecture – Fall 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 todevelop 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 3105A Studies in Roman Art clw/CLCV 3307A; RELI 3733A Fall-term”]
- Instructor: Janet Tulloch
- Special Topic: Visual Propaganda in the 1st century – late BC-early AD (Art, Architecture, and “Propaganda” in the Reign of the Julio-Claudian Emperors)
- According to some scholars of antiquity, it was the Roman emperor Augustus who, in the Latin world at least, perfected the sway and display of visual messaging. Backed by the emperor’s legions and ample financial resources, imperial-sponsored public art and architecture was so skilful in its subject matter and deployment, that, according to Paul Zanker, it actually began a new mythology of Rome for its citizens and citizen-wannabes, and a new ritual of power for the principate (Zanker, 1988: 4). The broad dissemination of imperial sculpture, arches, reliefs, altars, temples, fora and new administrative buildings throughout the empire not only created a favorable overall impression of Rome on most ancient viewers but also generated a high point in Roman culture now known as the Augustan Age. This course will examine the issue of “visual propaganda” and its influence on viewers by examining its use by the Julio-Claudian emperors.
- Required Texts: There are two main texts for this course. The first is Paul Zanker’s The Power of Images in the Age of Augustus (1988), now a classic in the field. We update this text with The Cambridge Companion to the Age of Augustus (2005) online version (2007) edited by renown Roman historian, Karl Galinsky. Some of Galinsky’s earlier insights into Roman image-making from Augustan Culture: An Interpretive Introduction (1996) will be available to you through ARES, the Carleton library online reserve desk along with articles by other authors.
- Student Evaluation:
- Written response to the film: BBC: How Art Made the World [3of5] “The Art of Persuasion” narrated by Nigel Spivey. (15%)
- Midterm – In Class (25%)
- Online Presentation (30%)
- Final Exam (30%) –TBA
- Please note: “Visual Propaganda in the 1st century late BC-early AD” is a hybrid course which draws on knowledge in the areas of art history, ancient religions, and classical literature. Because it is a cross-disciplinary course, it will not look or feel like a dedicated course in any one of these disciplines.
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[slideme title=”ARTH 3106A History of Methods of Art History – Fall and Winter terms”]
- Fall term Instructor: Randi Klebanoff
- Winter term Instructor: Carol Payne
- This course will explore art history’s history and methods, its practices and problematics. During the first term we will begin with an examination of the historical and theoretical foundations of art history. The second term of the course will continue with some of the challenges to the traditional methods and definitions of the discipline in the twentieth and twenty-first century.
- EVALUATION: facilitation panels (4 required: averaged) 20%; course journal/reading response (4 collections, averaged) 40%; participation* 10%; Fall term test 15%; Winter term test 15%.
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[slideme title=”ARTH 3107A History & Method of Architectural History – Fall term”]
- Instructor: Angela Carr
- This course will study of the methodologies and research approaches employed by architectural historians. Beginning with the foundations of architectural history in Renaissance humanism, the readings will follow the development of the discipline through modernism to more recent critical approaches dealing with gender and race as well as the current emphasis on inter-disciplinary study and the vernacular.
- EVALUATION: Over the term students will be expected to summarize and present to the class two readings from the Course Outline (20% each). You will also be asked to prepare a journal with 2-page summaries from each of at least seven weeks of classes to synthesize your thinking over the course of the term (25%). Attendance (10%) Final examination (25%).
- Prerequisite(s): third-year Honours standing or higher in History and Theory of Architecture, or permission of the Discipline.
- Seminar three hours a week
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[slideme title=”ARTH 3400A History of Printmaking – Fall term”]
- Instructor: Stéphane Roy
- This course will provide a survey of the various printmaking techniques used from the 15th to the 21st century (woodcut, etching, lithography, linocut, etc.) through the work of their practitioners. In order to give a better sense of the medium’s materiality and to develop elements of basic connoisseurship (identification, technical processes, scholarly conventions), teaching and discussions will be conducted – whenever possible – from actual objects, drawn mainly from Carleton University Art Gallery’s collections, as well as from other institutions in the Capital Region. By the end of this course, students will have a better understanding of this important yet overlooked art form.
- Evaluation
- Two reaction papers (2 x 15%)
- Research statement (20%)
- Term paper (40%)
- Class participation (10%)
- Course format: 3-hour weekly lectures
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[slideme title=”ARTH 3505A French Impressionism: Art, Leisure & Society – Winter term”]
- Instructor: Roger Mesley
- This course deals with the following French Impressionist artists: Manet, Monet, Degas, Caillebotte, Seurat and Cezanne.
- The format is slide lectures.
- Evaluation consists of a midterm test (40%) and a final examination (60%).
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[slideme title=”ARTH 3600B Modern Art from c.1945-c. 1980 – Winter term”]
- Instructor: Katie Cholette
- This course examines selected works of international post-WWII art from Abstract Expressionism to the emergence of post-modernism, with an emphasis on Europe and the United States. We will be looking at important examples of painting, sculpture, photography and architecture in their historical and social contexts, as well as in relation to theoretical and technological developments.
- Course objectives: The aim of the course is to expand students’ familiarity with the issues and debates surrounding mid- to late-20th century works of art and architecture. Exams are structured to ensure that students develop a visual vocabulary of objects as well as an understanding of main aspects of the various artistic movements. The assignments are designed to help students develop and refine their analytical abilities and visual sensibilities and improve their research and writing skills.
- Course Format: Weekly three hour lectures; Field trip to the National Gallery of Canada (attendance mandatory)
- Evaluation: Written assignment #1 (Exhibition Review; 5%); In-class midterm (90 minutes; 30%); Written assignment #2 (Imaginary Exhibition; 35%); Final exam (90 minutes; 30%).
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[slideme title=”ARTH 3809A A Closer Look At Art and Visual Culture – Fall term”]
- A Closer Look at Art and Visual Culture: the Aesthetics of Decolonization in the Contemporary Canadian Context
- Instructor: Stacy Ernst
- In Canada, art has frequently been used as a means of visual colonization, a tool to cultivate a unifying nationalist discourse. This course will focus on art made in Canada after 1970 that sought to complicate these hegemonic notions of Canadian nationalism. Specifically, we will consider the role artists and art play in the process of decolonizing the Canadian nation-state. Potential questions we will tackle include: What does decolonization mean in Canada? Is there such a thing as an aesthetic of decolonization? If so, what might this aesthetic look like? What are the artistic and intellectual strategies of decolonization? How does the notion of responsibility – both settler and Indigenous – figure into a process of decolonization?
- We will consider issues of modernity, coloniality, postcoloniality, decolonization, nationalism, and sovereignty.
- Readings will be taken from art history, cultural theory, and, social history.
- We will follow a lecture/ seminar format. The first half of each class will consist of a lecture highlighting specific artists followed by a student led discussion based on the readings in the second half.
- Evaluation (provisional): participation in class discussion, reading responses, discussant assignment, essay proposal, research paper
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[slideme title=”ARTH 3809B A Closer Look At Art and Visual Culture – Winter term”]
- Instructor: TBA
- What is performance art? And why does it matter?
- Drawing on a range of historical and contemporary performance work, major exhibitions like Marina Abramović’s “The Artist is Present” at the MOMA (2010), and critical performance theory, this course investigates some of the predominant themes and issues that are important to performance art: the relationship between art and life, performance and the body, performance and politics, performance and the everyday, performance and performativity, duration, the live event, and performance documentation.
- Bringing together both performance art work and performance theory, this course will offer students the opportunity to become familiar with performance art and investigate some of the theoretical issues at stake in contemporary performance work.
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[slideme title=”ARTH 4000A Topics in Canadian Art – Fall term”]
- Topic: “O Canada: Canadian visual culture in the 1960s and 1970s”
- Instructor: Katie Cholette
- This seminar course will focus on the connections between nationalism and Canadian visual culture the 1970s and 1970s. Students will study visual and performance art, together with selected architectural monuments of the period. Themes to be examined are: cultural nationalism, the institutionalization of culture, the importance of Canada’s centennial celebrations, federal funding, anti-Americanism, regionalism, Quebec nationalism, aboriginal empowerment, and new forms of identity politics.
- Course format: Seminar three hours a week. Students will be expected to attend all classes, facilitate readings, participate in a field trip to the National Gallery of Canada, prepare a seminar presentation and submit several written assignments.
- Evaluation: Attendance/participation and facilitation of readings (20%); Gallery Presentation and Written Assignment # 1 (15%); Seminar Outline (5%); Seminar Presentation (30%); Written Assignment #2 (30%).
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[slideme title=”ARTH 4005A Topics in Contemporary Aboriginal Art – Winter term”]
- Creative Engagement with Aboriginal Self-Portraits: A Discourse on the Nature of Self-Representation
* Can be taken for graduate credit - Instructor: Allan Ryan
- Course description: This course will take as its primary referent, About Face: Self-Portraits by Native American, First Nations and Inuit Artists, catalogue to an exhibition of contemporary Aboriginal self-portraits co-curated by the instructor, and shown at the Wheelwright Museum of the American Indian in Santa Fe, New Mexico, in 2005-2006. Still the only exhibition of its kind, this body of work will be considered in light of the history of Native American self-representation, from its early focus on communal and socio-political identities to the emergence of more individualistic portrayals in the late 19th and early 20th century; and in light of the history of Western self-portraiture from the Renaissance period to the present. Interdisciplinary thinking is encouraged.
- This course is more broadly about the construction of personal identity and its public presentation, and the implementation of indigenous pedagogical approaches to teaching and learning that privilege holistic and experiential learning, the construction of safe and sacred spaces, relationality, personal narratives, and writing from the heart. As such, a primary component of the course is the creation and presentation of a student self-portrait viewed in conversation with those of fellow classmates and Aboriginal artists discussed in the course.
Course format: lectures, guest speakers, videos, seminar discussion, class presentations, attendance at the 14th Annual New Sun Conference on Aboriginal Arts. - Required texts:
- Exhibition catalogue, About Face: Native American, First Nations, and Inuit Self-Portraits, Zena Pearlstone and Allan J. Ryan, curators. Santa Fe, New Mexico: Wheelwright Museum of the American Indian, 2006. Available from the instructor.
- The Truth About Stories: A Native Narrative, Thomas King, Anansi, 2003. Available from Haven Books (Seneca and Sunnyside)
- Supplementary resources (articles, books, DVDs and videos) will be placed on reserve in the MacOdrum Library or the Audio Video Resource Centre, and on the course website.
- Course Evaluation:
- Class presentation on one piece of work in the About Face exhibition, in the context of the curatorial essay, the artist’s other work, and ideas in at least one of the accompanying supplementary catalogue essays. (15% of term grade.) A one page summary of the main points in the presentation is to be provided to the rest of the class. An essay (9-10 pages) based on the presentation, along with a minimum of 10 illustrations, is to be submitted no more than two weeks after the presentation. (20% of term mark)
- A 5-6 page personal reflection on the presentations at the 14th Annual New Sun Conference on Aboriginal Arts. (15% of term grade.). See www.trickstershift.com for more details on the annual conference.
- Final assignment has two parts: 1) a student self portrait in any media (15%), and a 10-12 page reflective essay (25%) that discusses the various artists, exhibition self-portraits, readings, class presentations, videos and personal experiences that have informed the creation of the self-portrait. The self-portraits will be presented to the rest of the class during the last two classes.
- Class participation: everyone is expected to contribute to class discussions (10% of term mark).
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[slideme title=”ARTH 4008A Transnational Theory clw/ARTH 5218F – Fall term”]
- Instructor: Ming Tiampo
- International Abstraction
- This course investigates the production of abstraction as an international language of artistic expression in the so-called “Free World” during the Cold War.
- The course focuses on two exhibitions that open in the Fall term:
1) Inuit Prints: Japanese Inspiration: Early Printmaking in the Canadian Arctic (29 September-14 December), Carleton University Art Gallery, co-curated by Asato Ikeda, Ming Tiampo and Norman Vorano.
2) Jack Bush: A retrospective (14 November 2014-22 February 2015), National Gallery of Canada, co-organized by Marc Mayer and Sarah Stanners.
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[slideme title=”ARTH 4305B Topics in Renaissance Art clw/ARTH 5113W – Winter term”]
Instructor: Klebanoff, Randi
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[slideme title=”ARTH 4610A Topics in Modern Architecture or Design – Fall term”]
- Instructor: Michael Windover
- Art Deco in Context: Cosmopolitanism, Class, and Culture between the Wars
- This seminar examines aspects of the popular interwar mode of design known today under the moniker “Art Deco” (moderne, zigzag, streamline, and other terms were used at the time to cover the disparate production). Close engagement with scholarly texts, material objects, and sites will illuminate some of the social, political, economic, and cultural circumstances that led to the incorporation of the style into everyday environments around the globe. The course will explore design as manifested in a variety of ways, from architecture to industrial design, fashion and film to furniture.
- 3 seminar hours per week.
- Evaluation will consist of participation, presentations, and a research project.
- Texts: TBA
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[slideme title=”ARTH 4809A Topic in Art History & Criticism clw/ARTH 5115F – Fall term”]
- 1960s Art in France
- Instructor: Jill Carrick
- 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.
- Course Requirements: Active seminar participation, including weekly preparation for assigned readings, class facilitations, and a short presentation on end of semester research paper.
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[slideme title=”ARTH 4809B Topic in Art History & Criticism clw/ARTH 5218B – Winter term”]
- The Art of Curating
- 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 (30%) 2. Research/small exhibition project (40%) 3. Class presentation (15%) 4. Class participation (15%)
- Course format: 3-hour weekly seminars
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[slideme title=”ARTH 4809C Topic in Art History & Criticism – Winter term”]
- Instructor: Morgan Currie
- This course consists of a series of interrelated investigations around the theme of the development of Baroque visual culture over the seventeenth and early eighteenth centuries.
- We will examine how innovative artists adopted a fluid and expressive approach to sculpture and painting at a time when the art world was undergoing seismic changes. Topics to consider include impact of art theory on the reception (both contemporary and modern) of imagery, shifting patronage structures, the rise of academies, the relationships between rhetoric, illusionism, and poetic notions of imitation, and the very nature of the limits of art. This is an opportunity for students to analyze not only the visual culture of the period, but how critical and historical discourse shape the way it is understood. Artists to be considered include Annibale Carracci, Stefano Maderno, Gianlorenzo Bernini, Pietro da Cortona, Melchiorre Cafà, Pierre Puget and Pierre Le Gros II, among others.
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[slideme title=”ARTH 5010T Arts and Its Institutions – Fall and Winter terms”]
- Fall term Instructor: Jill Carrick
- Winter term Instructor: Carol Payne
- ARTH 5010 is a full-year course for incoming MA students in Art History.
- In the fall semester, students are introduced to a selection of key theoretical models and objects ofstudy in art history.
- In the winter semester, the emphasis is on developing primary and secondary research skills, writing ability, and knowledge of area resources for art historians.
- The course is thus designed to engage students with the theoretical and practical nature of writing art history.
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[slideme title=”ARTH 5112F Topics in Historiography, Methodology and Criticism clw/CLMD 6106F; ENGL 5900X; HIST 5906F – Fall term”]
Instructor: Phillips, Mark
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[slideme title=”ARTH 5113W Perspectives on Pre-Modernity clw/ARTH4305B – Winter term”]
Instructor: Klebanoff, Randi
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[slideme title=”ARTH 5115F Topics in Modern & Contemporary Art clw/ARTH4809A – Fall term”]
- 1960s Art in France
- Instructor: Jill Carrick
- 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.
- Course Requirements: Active seminar participation, including weekly preparation for assigned readings, class facilitations, and a short presentation on end of semester research paper.
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[slideme title=”ARTH 5210F Topics in Aboriginal Art clw/CLMD 6902A – Fall term”]
- Instructor: Ruth Phillips
- Multiple Modernities: Twentieth-Century Artistic Modernisms in Global Perspective
- This seminar explores the global engagements with artistic modernism pursued by artists outside the West during the twentieth century. Its comparative structure is intended to reveal both common patterns that inform world modernisms and unique features that reflect local experiences and negotiations of modernity. Readings will centre on the visual arts and on colonized and Indigenous societies in North America, Africa, India and the Pacific, but students may also choose to pursue individual research topics that involve other parts of the world.
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[slideme title=”ARTH 5218B Museum Studies & Curatorial Practice clw/ARTH 4809B – Winter-term”]
- The Art of Curating
- 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 (30%) 2. Research/small exhibition project (40%) 3. Class presentation (15%) 4. Class participation (15%)
- Course format: 3-hour weekly seminars
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[slideme title=”ARTH 5218F Museum Studies & Curatorial Practice clw/ARTH 4008A – Fall-term”]
- Instructor: Ming Tiampo
- International Abstraction
- This course investigates the production of abstraction as an international language of artistic expression in the so-called “Free World” during the Cold War.
- The course focuses on two exhibitions that open in the Fall term:
1) Inuit Prints: Japanese Inspiration: Early Printmaking in the Canadian Arctic (29 September-14 December), Carleton University Art Gallery, co-curated by Asato Ikeda, Ming Tiampo and Norman Vorano.
2) Jack Bush: A retrospective (14 November 2014-22 February 2015), National Gallery of Canada, co-organized by Marc Mayer and Sarah Stanners.
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[slideme title=”ARTH 5218W Museum Studies & Curatorial Practice clw/ANTH 5807W; CLMD 6104W; – Winter-term”]
Instructor Phillips, Ruth B.
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[slideme title=”ARTH 5777W Art Exhibition Studio – Winter term”]
- Instructor: Ming Tiampo
- Art Exhibition Studio is the core course for the concentration in Curatorial Studies, and is required for all students in this program. This course is a hands-on examination of art exhibition practices that includes site visits and workshops designed to help students develop curatorial skills and navigate the museum world. Although the course is a Winter term offering, students will be required to attend special lectures and events in the Fall term.
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