Courses Fall/Winter 2015-16

The 2016-17 course info will be available soon! Please check back in the early June!

“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

[slideme title=”ARTH 1100 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 1101 Art and Society: Renaissance to the Present – Winter term”]

Instructor: Brian Foss
This course surveys the painting, sculpture and architecture of Europe and the Americas from the beginnings of the Italian Renaissance (c.1300) to the present. It identifies and examines key artworks that helped define the places and periods in which they were produced, and that were influential for later artists and societies. Through lectures, tutorials, readings and research, students will develop different ways of viewing, understanding and interpreting these works of art in terms of their historical, social and aesthetic contexts, and will gain an understanding of the chronological and thematic development of the art and architecture of the past 700 years.
One two-hour lecture and one one-hour tutorial each week.
Textbook: Stokstad & Cothren’s “Art History”

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[slideme title=”ARTH 1105 Art as Visual Communication – Winter term”]

Instructor: Morgan Currie
Art is a term that is very familiar, but tricky to define in simple terms. This class explores how the modern notion of “art” came into being, and the different ways that it can function as a form of visual communication.
Topics include:
- The development of the visual arts and the expectations for artists and viewers that came with this.
- Basic characteristics of the visual arts, including the elements of art (ie. line, shape, colour, texture), principles of pictorial organization, materials and techniques, issues pertaining to style and the different conditions under which art can be thought of as meaningful.
- Different ways of understanding how visual communication works, including sign systems, the relationship between images and texts, art and emotion, the involvement of the viewer, and the role of neuroscience in understanding response.
A wide range of works from various periods and contexts will be considered.

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[slideme title=”ARTH 1200 Introduction to Architectural History – 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 1201 History and Theory of Architecture 2: 1600 to present – Winter term”]

(precludes additional credit for ARTH 2608)
Instructor: Michael Windover
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, 4^th edition (Boston: McGraw-Hill, 2014).

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[slideme title=”ARTH 2002 Canadian Historical Art – Winter term”]

Instructor: Katie Cholette
Course Description: This course will cover historical Canadian art from early French settlement through to the end of the Second World War. We will be studying canonical works of art with a focus on the Euro-American tradition of painting and sculpture. Some of the important issues that will be examined are colonialism, nationalism, regionalism, women artists, representations of First Nations, amateur and professional artists, patronage, and the role of the artist in society. The course will also include several field trips and films.
Evaluation:
- 1 short written assignment (exhibition review) 10%
- Mid-term exam 30%
- 1 written assignment (imaginary exhibition) 30%
- Final exam 30%
Course Text: Dennis Reid. A Concise History of Canadian Painting, third edition, Oxford University Press Canada, 2012 (other relevant books will be put on reserve at the MacOdrum Library).

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[slideme title=”ARTH 2003 Canadian Twentieth-Century and Contemporary Art – Fall term”]

Instructor: Stacy Ernst
Description: This course will address art made in Canada from the late 1890s to the present. The loosely chronological organization will survey artworks to highlight pertinent themes and movements such as nationalism, regionalism, sovereignty, colonization, decolonization, modernism, and postmodernism, as well as the role of arts institutions in supporting artistic development. By the end of the course students will be familiar with iconic Canadian artworks and significant artists working in a variety of media. Also, they will be able to situate these works within social, political, and artistic contexts.
Textbook: 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.
Format: Once a week for a three-hour period. Classes will consist of either a lecture, field trip, or artist talk.
Evaluation (provisional): Attendance and participation, midterm test, essay proposal, research essay, final exam

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[slideme title=”ARTH 2005 Arts of the First Peoples: The Woodlands, the Plains and the Subarctic – Fall term”]

Instructor: Allan J. Ryan, New Sun Chair in Aboriginal Art and Culture
allan.ryan@carleton.ca, www.trickstershift.com
Course Description: This course presents a selective survey of pre-contact, historic, and contemporary arts of the Indigenous peoples of the Southeast, Eastern Woodlands, Great Plains and Prairies and the Subarctic regions of North America. The aim of the course is to develop a familiarity with the richness of First Peoples art forms in their regional diversity and temporal depth from time immemorial to the present. A wide range of traditional media and materials will be examined, from sculpture, architecture, birchbark and hide painting to basketry, quillwork and beadwork. The role that art has played in expressions of cosmological beliefs, political power, group identity, and/or presentation of the individual self will also be explored. Specific attention will be paid to the impact on the arts of colonization, gender, and touristic commodification of indigenous culture. Cultural continuity expressed and maintained through the arts will be an ongoing theme, as will the foregrounding of Aboriginal “fine arts” production in these regions over the last four decades, with a particular emphasis on Canadian First Nations artists, and expressions of cultural resistance and survivance.
Required texts: (available at Haven Books, corner of Sunnyside and Seneca):
- Berlo, Janet Catherine and Ruth B. Phillips, Native North American Art, 2nd Edition, (Oxford/New York: Oxford University Press, 2015)
- Andrew Hunter Whiteford, North American Indian Arts. Golden/St. Martin’s Press.
Readings and images viewed in class will be made available electronically on the course website. Additional readings, videos and DVDs will be placed on reserve in the MacOdrum Library.
Tentative Grading breakdown:
- (Assignment / Percentage of term mark)
- Short report on visit to the Canadian Museum of History / 15%
- Two short reports on attendance at two public Aboriginal events / 10%
- Midterm exam / 30%
- Library research assignment / 15%
- Final exam / 30%

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

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

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[slideme title=”ARTH 2009 Art Live: Art History Workshop – Fall term”]

Instructor: Stéphane Roy
A core course that focuses on hands-on experience of the techniques, materials and institutions of art history through lectures and workshops on subjects such as art historical research and writing, the materials of art, professional skills and site visits to art institutions. Restricted to Honours Art History Majors.
Evaluation (tentative)

Three reaction papers (3 x 20%)
Assignment (25%)
Participation (15%)

Course format: 3-hour weekly lectures/field trips

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[slideme title=”ARTH 2202 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 2300 Italian Renaissance Art – Winter term”]

Instructor: Morgan Currie
The Italian Renaissance is a period of dramatic change in art and society. Renewed interest in human accomplishment and ancient culture laid the foundation for the emergence of the modern world. The visual arts grew in prestige, as creators such as Brunelleschi, Leonardo da Vinci, Michelangelo and Titian transformed the notion of the artist from a skilled craftsman to a revered genius. This course examines the art and architecture of Renaissance Italy on formal, technical and theoretical grounds, and in relation to the social, religious and cultural context.

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[slideme title=”ARTH 2502 European Art of the 19th Century – Fall term”]

Instructor: Mitchell Frank
This course surveys mostly painting, but also architecture and sculpture in Europe from the French Revolution until the end of the nineteenth century. We will approach theart of this period chronologically as well as geographically. The course will begin with the Rococo and Neoclassical periods and then move on to Realism, Impressionism, and Post-Impressionism. The focus will be on artistic developments in France, Germany, and England. Through lectures, readings, and research, we will develop different ways of interpreting and viewing the art of this period in its historical and social contexts.
Evaluation: To be announced, but will likely include in-class assignments, essay, mid-term exam and final exam
Textbook: Petra ten-Doesscahte, Nineteenth-Century Art, 3rd ed. (Upper Saddle River, NJ: Pearson/Prentice-Hall, 2012).
Class Format: 2 classes a week of 1.5 hours each

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[slideme title=”ARTH 2600 Modern European Art 1900-1945 – Winter term”]

Instructor:
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[slideme title=”ARTH 2601 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) and regular reading in addition to text.
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 2610 Twentieth-Century Architecture – Winter term”]

Instructor: Michael Windover
(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 final exam.
Required Text: Harry Francis Mallgrave and Christina Contandriopoulos, eds., Architectural Theory, Volume II, An Anthology from 1871-2005 (Malden, MA: Blackwell Publishing, 2008).
Suggested Text: William J. R. Curtis, Modern Architecture Since 1900, 3^rd ed. (London and New York: Phaidon Press, 1996)
Other readings will be available through the electronic reserves system (ARES) at the library.

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[slideme title=”ARTH 2710 Experiencing Architecture – Fall term”]

Instructors: Prof. P. Coffman and Prof. M. Windover
Description: This is a course about looking at and writing about architecture. Through a series of site visits and a variety of in-class exercises, students will develop skills and methods for interpreting and analysing the built environment. Given the hands-on nature of the course, participation in field trips and classroom activities is mandatory.
Evaluation: Short written assignments, quizzes, photo essay, course journal
Required Text: Sylvan Barnet, A Short Guide to Writing About Art

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[slideme title=”ARTH 3005 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 to develop study and research skills in the field of architectural history.
Evaluation:
1. Attendance 10%
2. Mid-Term Test 30%
3. Essay 30%
4. Final Examination 30%
Format: Lecture (3 hours)

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

Instructor: Mitchell Frank
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 3107 History and Methods 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 3400 History of Printmaking – Winter 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 3507 The Artist in Context – Winter term”]

Instructor: Roger Mesley
Topic: Vincent Van Gogh

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[slideme title=”ARTH 3600 Art Since 1945 – Fall term”]

Instructor: Jill Carrick
This course examines modern art from 1945 to the present. It emphasizes the relationship of the visual arts to key historical events, politics, and other cultural phenomena. The course moves chronologically from American and European postwar art (e.g. Abstract Expressionism and Pop Art) to minimalism, performance art, postmodernism, and recent contemporary art.
Evaluation includes reading summaries, take-home assignment, class participation and facilitation, and a research essay.

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[slideme title=”ARTH 3705 Exhibition course (Monet) – Winter term”]

Instructor: Sheena Ellison
This course will focus on the National Gallery’s upcoming exhibition Monet: A Bridge to Modernity. The course will familiarize students with Monet’s oeuvre and aims to develop the tools and skills to critically examine the narrative presented through the exhibition. Weekly topics will include: museum and exhibition theory, the modern artist, the Impressionist movement, urbanization and the modern city, among others.
Some classes will be held at the National Gallery.
Readings will be made available electronically.
Tentative evaluation:
- Reading log
- Midterm assignment
- Presentation/discussion leading
- Attendance and participation
- Take-home exam

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[slideme title=”ARTH 3710 Architecture and Empire – Winter term”]

Instructors: Prof. P. Coffman and Prof. M. Windover
Description: Empires often leave substantial traces on the built environment. This course examines some of these traces and how imperial ideology was made manifest through architectural production. Through a series of lectures and classroom activities, we will look at the architectural impact of empires from Ancient Rome to the twentieth century.
Evaluation: Participation, midterm, group presentations, research project, final exam
Texts: TBA

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[slideme title=”ARTH 4005 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: Dr. Allan J. Ryan, New Sun Chair in Aboriginal Art and Culture
Contact: allan.ryan@carleton.ca; www.trickstershift.com
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 15th Annual New Sun Conference on Aboriginal Arts, Saturday, February 27. Check out the conference archive – and especially the feedback – on the trickstershift.com website. This is not like other conferences!
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 and on the course website.
Course Evaluation:
1. 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)
2. A 5-6 page personal reflection on the presentations at the New Sun Conference on Aboriginal Arts. (15% of term grade.). See HYPERLINK “http://www.trickstershift.com” www.trickstershift.com for more details on the annual conference.
3. 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.
4. Class participation: everyone is expected to contribute to class discussions (10% of term mark).
* Students taking the class for graduate credit will be expected to produce longer assignments.

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

Renaissance Cities
Instructor: Randi Klebanoff
This seminar is a research-intensive working group on the dynamics of Renaissance cities. We will be looking at Renaissance cities from the perspectives of urbanism, civic self-fashioning, and the creation of social, political, commercial, gendered and imagined spaces, While architecture and public sculpture will be important players, our readings will be chosen predominantly for the larger issues they introduce rather than for their focus on single monuments. Students will be encouraged to pursue their own research interests, be it architecture, art, urbanism or life in Renaissance cities.

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

Photography & Memory
x-listed with ARTH 5500
Instructor: Carol Payne
This seminar will address the role that photography plays in conceptualizations of memory. We will draw on the rich body of literature on photography and memory as well as theory drawn from Memory Studies and Photo Studies. Along the way we will explore work by specific artists and writers as case studies including that by Roland Barthes, Christian Boltanski, Marianne Hirsch, Annette Kuhn, Martha Langford, Pierre Nora, W.G. Sebald, and Barbie Zelizer.
Assignments: weekly assigned reading; regular reader responses; research paper and seminar presentation
Graduate students will have extended assignments.

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[slideme title=”ARTH 4800 Topics in Architectural History – Fall term”]

Instructor: Michael Windover
“Thinking Inside the Box: Perspectives on Interiors”
This seminar examines recent scholarly discussion about interiors—interior design and role of the interior designer or decorator, theoretical considerations of interiority, and the socio-political place of interiors in modernity. What kinds of problems do interiors pose and how do they affect our understanding of modernity?
Evaluation will consist of participation, presentations, and a research project.
Texts: Seminar readings will be posted on ARES or cuLearn.

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

Topic: 1960s Art in France
x-listed with ARTH 5115
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 some 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.
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 Topics in Art History and Criticism – Winter term”]

x-listed with ARTH 5112
Instructor: Mitchell Frank
Topic: Weimar Art and Culture
Weimar Germany (1918-33) was a period of sharp conflicts and contrasts. In this course, we explore artistic movements, such as New Objectivity, Expressionist film, and theBauhaus, within political contexts established between the end of the WW I and the rise of Hitler to power.
Evaluation (subject to change):
1. Participation 10%
2. Short Writing Assignments 25%
3. Seminar Presentation 15%
4. Final Essay 50%
Readings: Coursepack of selected essays and book chapters.
Class Format: 1 class 3 hours per week

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

Topic: Art Brut!
Instructor: Jill Carrick
Art Brut (also known as ‘Outsider Art’) is a term coined by French artist Jean Dubuffet to designate art created by untrained, non-professional individuals working outside of ‘official’ art institutions, groups, standards and expectations.
This course examines new theoretical interpretations of Art Brut, and investigates the inclusion of Outsider Art in recent exhibitions such as the 2013 Venice Biennale. Classwork includes on-site visits to work with artworks and documents held in the Carleton University Art Gallery and National Gallery of Canada.
Evaluation (subject to change):
‏Small exhibition proposal   20%
‏Class participation and presentations    30%
‏Research essay proposal   5%
‏Research essay   45%

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[slideme title=”ARTH 5010 Art and Its Institutions – Fall and Winter terms”]

Co-taught by: Carol Payne and Jill Carrick
ARTH 5010 is a full-year course for incoming MA students in Art History. The course combines critical theory with practical skills, both aimed to provide students with a solid foundation for graduate study in Art History.
This full year course will be divided into quarters:
1 (instructor: Payne) Sept 4-Oct 9: research skills, developing a proposal
2 & 3 (instructor: Carrick) Oct 16-Dec 4 & Jan 8-Feb 12: critical theory
4 (instructor: Payne) Feb 26-April 8: writing skills, developing presentations
Assignments: regular response papers; research papers; research assignments

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[slideme title=”ARTH 5112 Topics in Historiography, Methods and Criticism – Winter term”]

(x-listed with ARTH 4809B)
Instructor: Mitchell Frank
Topic: Weimar Art and Culture
Weimar Germany (1918-33) was a period of sharp conflicts and contrasts. In this course, we explore artistic movements, such as New Objectivity, Expressionist film, and theBauhaus, within political contexts established between the end of the WW I and the rise of Hitler to power.
Evaluation (subject to change):
1. Participation 10%
2. Short Writing Assignments 25%
3. Seminar Presentation 15%
4. Final Essay 50%
Readings: Coursepack of selected essays and book chapters.
Class Format: 1 class 3 hours per week

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[slideme title=”ARTH 5115 Topics in Modern and Contemporary Art – Fall term”]

Topic: 1960s Art in France
x-listed with ARTH 4809A
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 some 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.
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 5210 Topics in Aboriginal Art – Fall term”]

Indigenous Arts of the Great Lakes: Historic, Modern, and Contemporary
Cross-listed with CLMD 6902F
Instructor: Ruth Phillips
This seminar will examine the interrelationships of historical and contemporary visual arts made by Haudenosaunee, Anishinaabe, and Wendat First Nations of the Great Lakes region. We will examine the aesthetic, social, economic and political purposes served by artistic production as well as the (mis)fit of Western conventions of periodization, definitions of genre, and hierarchies of fine and applied arts in different historical periods
Evaluation: class participation and presentation and written research paper

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[slideme title=”ARTH 5218B Museum Studies and Curatorial Practice – Winter term”]

Museums and Difficult Histories
Cross-listed with ANTH 5807W and CLMD 6103W
Instructor: Ruth Phillips
This course will explore the growing prominence in world museology of museums that represent histories of oppression and genocide and contextualize them in terms of precedents set by museums that commemorate the Holocaust and the bombing of Hiroshima and Nagasaki. We will examine the mixture of memorialization, revisionist history, therapeutic impact and future-oriented social activism that inform such museums, as well as their relationship to the evolving discourse of human rights and theorizations in anthropology, trauma studies, art history, and other disciplines.
Evaluation: class participation and presentation and written research paper

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[slideme title=”ARTH 5218W Museum Studies and Curatorial Practice – Winter term”]

Issues in Transnationalism / Curatorial Practice: Decolonizing Centres
Cross-listed with CLMD 6102W
Instructor: Ming Tiampo
In recent years, cultural historians have made enormous strides generating a substantial body of scholarly and curatorial work that recovers multiple modernisms around the world, creating an accumulation of previously invisible narratives that can now be used to account for the geographic complexities of the 20th century. However, in order to truly rethink the Eurocentrism of 20th century, studies in literature, film, art history and music cannot remain additive, focusing their energies on historically-defined peripheries. They must also interrogate Modernism’s putative centres, demonstrating their fundamentally transcultural and multivalent characters. These centres– London, Paris, New York–the products of imperialism and colonialism, were sites of domination, but they also functioned as contact zones, enabling carefully negotiated cultural borrowings, interventions, responses, solidarities, rejections and debates. The tinderbox cultures produced at these centres have been coded as metropolitan, producing a discourse of the center as origin, disseminating its avant-garde culture to the periphery. This class, situated at the intersection between diaspora studies and area studies, proposes a critique and a methodological shift in the ways that cultural centres are historicized, and will focus on public forms of knowledge dissemination such as exhibitions, anthologies, and festivals.

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[slideme title=”ARTH 5500 Photography and its Institutions – Winter term”]

Photography & Memory
x-listed with ARTH 4602
Instructor: Carol Payne
This seminar will address the role that photography plays in conceptualizations of memory. We will draw on the rich body of literature on photography and memory as well as theory drawn from Memory Studies and Photo Studies. Along the way we will explore work by specific artists and writers as case studies including that by Roland Barthes, Christian Boltanski, Marianne Hirsch, Annette Kuhn, Martha Langford, Pierre Nora, W.G. Sebald, and Barbie Zelizer.
Assignments: weekly assigned reading; regular reader responses; research paper and seminar presentation
Graduate students will have extended assignments.

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[slideme title=”ARTH 5777 Art Exhibition Studio – Fall and Winter terms”]

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. The course is taught in collaboration with the National Gallery of Canada.
The course is worth .5 credits, and meets every other week in order to give students time enough to attend meetings at the National Gallery of Canada, and also to mature their curatorial projects.

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