Summer Sessions | Courses | Art History and Archaeology

Art History and Archaeology

The courses on this page reflect Summer 2018 offerings. 

Courses
Expand All
0s and 1s: Digital and Computational Approaches to the Study of Medieval Art and Architect
AHIS S3219D 4 points.

In his Universal History of Numbers, Georges Ifrah recounted that he undertook his monumental study of numbers because a pupil once asked him “Where ‘Numbers’ Come From”. This course, 0s and 1s, considers the epilogue of the history of numbers: “Where did ‘Numbers’ bring us.” Today, the study of the art historian is flooded with an endless stream of visual, numerical, and electronic data. Computers and mobile devices offer sophisticated renderings of remote objects of art, spaces, and architecture. Digital technologies provide unprecedented means of analysis and research.  At the same time, however, new technologies bear on the overall direction art and architectural research is taking. This course investigates pros and cons of the new digital methods for art and architectural history. In this course, students will have the opportunity to learn the difference between observing art and architecture through digital media and direct contact with physical objects during museum visits at the Cloisters and the Metropolitan Museum of Art. Through the analysis of new methods for studying art and architecture from Europe and the Mediterranean in the Middle Ages, this course aims at introducing students to computational and digital art history. 

Course
Number
Section/Call
Number
Times/Location Instructor Points Enrollment
AHIS 3219 001/74157 Tu Th 1:00p - 4:10p
930 SCHERMERHORN HALL
Stefaan Van Liefferinge 4 Open
American Art in the Global Context of the "Long" Nineteenth Century
AHIS S3442D 4 points.

Through an examination of painting, sculpture, decorative arts, photography and the visual culture of the United States from 1750 to 1914, the course will explore how American artists responded to and operated within the wider world. Addressing themes shared in common across national boundaries, the class will consider how American art participated in the revolutions and reforms of the "long" nineteenth century, ranging from Romanticism to Modernism. The period witnessed the emergence of new technologies for creating, using, and circulating images and objects, the expansion and transformation of exhibition and viewing practices, and the rise of new artistic institutions, as well as the metamorphosis of the United States from its colonial origins to that of a world power, including the profound changes that occurred during the Civil War. The class will investigate how American art engaged with international movements while constructing national identity during a period of radical transformation both at home and abroad. In addition to lectures/discussions in the classroom, field trips to the Metropolitan Museum (the American Wing, Nineteenth Century Wing, Galleries of Modem and Contemporary Art, and the Photography Study Collection), the Museum of Modem Art and the Whitney Museum of Art, represent a vital aspect of the course. One of the important questions raised in the class is the recent reinterpretation of American art's interaction with international movements in museum installations and scholarship, moving away from an isolationist approach to one that engages with global influence and awareness. Readings will draw not only from primarily sources, but also from many of the publications of the Terra Foundation, whose exhibitions and research programs work to encourage an understanding and exploration of American Art from a global context.

Course
Number
Section/Call
Number
Times/Location Instructor Points Enrollment
AHIS 3442 001/71246 Tu Th 1:00p - 4:10p
832 SCHERMERHORN HALL
Page Knox 4 Open
Arts of China, Japan, and Korea
AHUM S2604D 3 points.

Introduces distinctive aesthetic traditions of China, Japan, and Korea--their similarities and differences--through an examination of the visual significance of selected works of painting, sculpture, architecture, and other arts in relation to the history, culture, and religions of East Asia. Partially fulfills Global Core Requirement. 

Course
Number
Section/Call
Number
Times/Location Instructor Points Enrollment
AHUM 2604 001/99691 M W 9:00a - 12:10p
934 SCHERMERHORN HALL
Xiaohan Du 3 Limited Availability
Donatello to Degas: Dance and the Early Modern Artist
AHIS S3306D 3 points.

From an interdisciplinary point of view, this course investigates the representation of dance in Early Modern art.  Using case studies of canonical works by artists such as Donatello, Botticelli, Raphael, Bruegel, Poussin, and Degas, we will examine images that exhibit both explicit and implicit depictions of dance.  From this point of departure, we will ask why the performing arts exert such a force upon how we experience and interpret a wide range of figures and figural compositions.  More specific questions will arise in relationship to the following themes: the impact of Antiquity, the simultaneous rise of art and dance theory, the representation of music and time, parallels between composition and choreography, the concept of grace, dance and religion, the depiction of violence, and the modern viewers informative eye.  Ultimately, the class aims to nurture a productive exchange between students from different departments, as well as foster the potential for pushing interdisciplinary study to its limits.  Lectures, discussions, and readings will be complemented by trips to museums, libraries, and performances.

Course
Number
Section/Call
Number
Times/Location Instructor Points Enrollment
AHIS 3306 001/16659 Tu Th 5:30p - 8:40p
832 SCHERMERHORN HALL
Olivia Powell 3 Open
Fun City: The Architecture of New York’s Entertainment, Leisure, and Culture Industry
AHIS S3409D 4 points.

A city that never sleeps is one in which people play as hard as they work. This course will focus on the buildings, parks, and other venues in New York constructed specifically for play and relaxation. Organized typologically, it will cover everything from parks, playgrounds, and Broadway theaters, to World's Fairs, hotels, and museums-- places in which the city's residents seek escape from the stress of their daily lives. In the classroom, in the archival collections of Avery Library and in numerous field trips around the city and the phot, we will analyze these structures and milieux from the perspective of architectural history and urban design, trace their origins and development from the founding of the city to the present and look at how they have helped cut across but also harden class lines. We will examine the formal differences between high-brow and popular venues, discuss the problems of private and public patronage, as well as the financial and social impact of the entertainment industry on the wellbeing of the city as a whole. Above all, we will explore the ways in which places of play, recreation and escape have shaped the identity of and created a distinct look for New York, which, despite the enormous revenue that the culture and entertainment industry generates, are often at odds with the city's reality.

Course
Number
Section/Call
Number
Times/Location Instructor Points Enrollment
AHIS 3409 001/75373 M W 1:00p - 4:10p
934 SCHERMERHORN HALL
Irina Oryshkevich 4 Open
Jackson Pollock and the NY School
AHIS S3426D 3 points.

Coming on the heels of the MoMA's blockbuster exhibit, this seminar will trace the rise and fall of Abstract Expressionism, from its pre-World War II precipitates in Europe (Surrealism) and in America (Regionalism), to the crucial moment when, as scholar Serge Guilbaut has argued, New York "stole" the idea of modern art, and finally, through the decade when Pop Art rendered Abstract Expressionism obsolete. Although special emphasis will be given to Jackson Pollock, whose persona and work reside at the literal and figurative center of the movement, we will also look closely at works by Mark Rothko, Clyfford Still, Willem DeKooning, Lee Krasner, Louise Bourgeois, Helen Frankenthaler, Eva Hesse, Robert Rauschenberg, Jasper Johns and Cy Twombly.  Class lectures and presentations will be supplemented with trips to New York's world-renowned museums.

Course
Number
Section/Call
Number
Times/Location Instructor Points Enrollment
AHIS 3426 001/66462 Tu Th 1:00p - 4:10p
934 SCHERMERHORN HALL
Kent Minturn 3 Open
Masterpieces of Western Art
HUMA S1121D 3 points.

Equivalent to HUMA C1121 and F1121. Not a historical survey but an analytical study of masterpieces, including originals available in the metropolitan area. The chief purpose is to acquaint students with the experience of a work of art. A series of topics in the development of Western art, selected to afford a sense of the range of expressive possibilities in painting, sculpture, and architecture, such as the Parthenon, the Gothic cathedral, and works of Michelangelo, Bruegel, Picasso, and others. Space is limited. Columbia University undergraduates who need this course for graduation are encouraged to register during early registration.

Course
Number
Section/Call
Number
Times/Location Instructor Points Enrollment
HUMA 1121 001/23134 Tu Th 9:00a - 12:10p
607 SCHERMERHORN HALL
Martina Mims 3 Limited Availability
HUMA 1121 002/72955 M W 9:00a - 12:10p
604 SCHERMERHORN HALL
Tiffany Floyd 3 Limited Availability
HUMA 1121 003/29613 M W 1:00p - 4:10p
604 SCHERMERHORN HALL
Adam Levine 3 Limited Availability
HUMA 1121 004/64043 Tu Th 1:00p - 4:10p
604 SCHERMERHORN HALL
Gillian Young 3 Closed
HUMA 1121 005/20702 M W 5:30p - 8:40p
607 SCHERMERHORN HALL
Anna Hetherington 3 Limited Availability
HUMA 1121 006/11790 Tu Th 5:30p - 8:40p
604 SCHERMERHORN HALL
Matthew Teti 3 Open
HUMA 1121 007/71739 Tu Th 5:30p - 8:40p
934 SCHERMERHORN HALL
Daniel Ralston 3 Limited Availability
HUMA 1121 009/27181 Tu Th 1:00p - 4:10p
607 SCHERMERHORN HALL
Diana Mellon 3 Limited Availability
Baroque Masters at the Met: Bernini, Velazquez, Rembrandt
AHIS S2314Q 3 points.

This course examines three masters of European Baroque art—Gianlorenzo Bernini (1598-1680), Diego Velázquez (1599-1660), and Rembrandt van Rijn (1606-1669)—artists who are all well represented in the permanent collection of the Metropolitan Museum of Art. Through classroom discussions and museum visits, we will examine Baroque art as part of a continuing and developing accumulation of forms and ideas throughout the 17th century, and consider the impact these artists had on their contemporaries and in ensuing centuries. Roughly half of the class sessions take place at the Metropolitan Museum, a luxury that allows for close, firsthand analysis of art, but it is not an art appreciation course. It is a history course concerned with a study of ideas, artists, and visual facts and their application to emerging art forms within their cultural-historical context. In addition to developing a critical eye, the class is intended to develop analytical thinking and communication skills as well as knowledge of the subject matter.

Course
Number
Section/Call
Number
Times/Location Instructor Points Enrollment
AHIS 2314 001/19691 Tu Th 1:00p - 4:10p
832 SCHERMERHORN HALL
Lindsey Schneider 3 Limited Availability
Evaluating the Evidence of Authenticity
AHIS S3010Q 4 points.

    The adjudged authenticity of a work of art is fundamental in determining its value as a commodity on the art market or, for example, in property claim disputes or in issues of cultural property restitution.  Using case studies some straightforward and others extremely vexing--this course examines the many ways in which authenticity is measured through the use of provenance and art historical research, connoisseurship, and forensic resources.  From within the broader topics, finer issues will also be explored, among them, the hierarchy of attribution, condition and conservation, copies and reproductions, the period eye and the style of the marketplace.

Course
Number
Section/Call
Number
Times/Location Instructor Points Enrollment
AHIS 3010 001/13529 M W 1:00p - 4:10p
930 SCHERMERHORN HALL
Lynn Catterson 4 Open
Impressionism in New York
AHIS S3443Q 3 points.

This course will introduce students to the avant-garde movement of Impressionism by making extensive use of New York collections, particularly those of the Metropolitan Museum of Art. We will study Impressionist art and artists in relation to the aesthetic, social and political backdrop of late nineteenth-century France, with attention to the artistic climate in America and Great Britain. Central to the discussion will be the position of women artists, models and collectors during this transformative period. Topics will include: artistic institutions, training and practice; new attitudes toward urban and rural spaces and toward leisure and labor; gender, fashion and social identity; relationships among artists, dealers, critics and patrons; and exhibiting Impressionism in new contexts.

Course
Number
Section/Call
Number
Times/Location Instructor Points Enrollment
AHIS 3443 001/13780 Tu Th 1:00p - 4:10p
934 SCHERMERHORN HALL
Susan Sivard 3 Open
Masterpieces of Western Art
HUMA S1121Q 3 points.

Equivalent to HUMA C1121 and F1121. Not a historical survey but an analytical study of masterpieces, including originals available in the metropolitan area. The chief purpose is to acquaint students with the experience of a work of art. A series of topics in the development of Western art, selected to afford a sense of the range of expressive possibilities in painting, sculpture, and architecture, such as the Parthenon, the Gothic cathedral, and works of Michelangelo, Bruegel, Picasso, and others. Space is limited. Columbia University undergraduates who need this course for graduation are encouraged to register during early registration.

Course
Number
Section/Call
Number
Times/Location Instructor Points Enrollment
HUMA 1121 008/70523 M W 1:00p - 4:10p
604 SCHERMERHORN HALL
Adam Levine 3 Closed
HUMA 1121 010/28397 M W 1:00p - 4:10p
934 SCHERMERHORN HALL
Michael Waters 3 Open
HUMA 1121 011/62827 Tu Th 1:00p - 4:10p
604 SCHERMERHORN HALL
Elizabeth Gollnick 3 Open
HUMA 1121 012/19486 Tu Th 9:00a - 12:10p
604 SCHERMERHORN HALL
Denise Budd 3 Limited Availability
HUMA 1121 013/10574 M W 9:00a - 12:10p
930 SCHERMERHORN HALL
Brian van Oppen 3 Limited Availability
HUMA 1121 014/86530 Tu Th 5:30p - 8:40p
832 SCHERMERHORN HALL
Isabella Lores-Chavez 3 Open
HUMA 1121 015/60821 M W 5:30p - 8:40p
607 SCHERMERHORN HALL
Alvaro Luis Lima 3 Limited Availability
New York and the Death and Afterlife of Film
AHIS S3440Q 3 points.

This undergraduate seminar aims to demonstrate the discursive, technical and artistic significance of film to contemporary art practice. It introduces students to examples of recent scholarly work that considers early cinema, Hollywood production and twentieth-century analog film practice within the discourse of archives, the media dispositif, media archaeology, an aesthetics of obsolescence and that treats screens, film archives, film laboratories, cinemas and museums as privileged sites of artistic production. In addition to critical theory, the focus of the seminar is on contemporary artists who interrogate the artistic potential of film by incorporating the techniques, mechanisms, materials, sites and figural contents of film history in their work. Case studies include Jean-Luc Godard, Ken Jacobs, Tacita Dean, Harun Farocki and others.

Course
Number
Section/Call
Number
Times/Location Instructor Points Enrollment
AHIS 3440 001/91247 Tu Th 9:00a - 12:10p
934 SCHERMERHORN HALL
Eszter Polonyi 3 Open
Technology in Art and Visual Communication
AHIS OC4146 3 points.

From early optical instruments to Renaissance printing presses, from camera obscuras, floating on boats to portable paint tubes, from modern film cameras to laser sculptures, from computer robotics to 3D printing, technology continues to play a major role in art, and visual communication. It shapes both creative processes and production techniques in the making of visual culture and it affects and defines the status of the beholder of its manifold expressions. The course will investigate some of the milestones in the history of instruments and will take up contemporary technology to investigate the intertwined connection between man and machine in the creative world. 

Course
Number
Section/Call
Number
Times/Location Instructor Points Enrollment

Also of Interest