This team-taught course introduces students to the History of Art as a global and interdisciplinary field. Led by a selection of professors from the department, in collaboration with staff and faculty of the Herbert F. Johnson Museum of Art, its primary aim is to familiarize students with the most significant geographical areas, epochs and works of art, as well as with methods employed in their study and analysis. The course will be organized around a changing selection of themes central to the history of art. The theme for fall 2024 is Materiality. Considering how artists and artisans from antiquity to the present have mobilized a broad range of materials and processes to create works of art, we will explore the intimate relationship between makers, matter, and meaning.

Full details for ARTH 1100 - Art Histories: An Introduction

Full details for ARTH 2255 - Ecocriticism and Visual Culture

This course offers an introduction to the diverse global encounters and exchanges that shaped early modern European art and material culture, c.1400-1650. The course will be structured around nine European imperial and/or cosmopolitan centres and their connections between one another, and with the Ottoman Empire, Asia, Africa, and the Americas. We will explore how global commerce influenced material and artistic consumption, and the ways in which early modern slavery was part and parcel of Europe's art world. Special focus discussions will deepen students' knowledge of artistic materials and media and the ways in which global connections impacted the making of early modern art. Students will gain a broad understanding of early modern art and practices of making, the historical contexts in which art objects were produced, and their social and cultural uses. Students will become familiar with the language and approaches of art history and material culture studies, as well as with key methodologies including globalized, decolonial, critical race, and gender theories.

Full details for ARTH 2400 - Introduction to Early Modern Art: Cosmopolitanism and Empire

Provides a lecture survey of the history of photography over a course of two centuries. Starting with its invention in the 1830s, covers the subject topically and chronologically. During the nineteenth century, focus is on technical developments and on the complex relations that situate photography in relation to painting, portraiture, urban life, war, anthropology and ethnology, exploration and travel, and science and industry. Over the course of the twentieth century, photography is enriched by new developments: its use as a modernist and experimental art form, in social documentary and photojournalism, in propaganda, in advertising and fashion. In recent decades, photography has assumed a centrality in the practice of conceptual postmodern art, and is currently undergoing a major transformation in the age of digital media.

Full details for ARTH 2500 - Introduction to the History of Photography

This course offers a broad introduction to some of the artistic practices that have come to be known as modern in Europe and the United States. Beginning with the upheavals of the French Revolution and carrying through to the turmoil of two world wars, we will survey the role of both fine art and visual culture in a period of great political, social, and technological change. The very definition of art was revolutionized in this moment, as an emphasis on materials and experiments with new media like photography and cinema took precedence over the production of highly-skilled masterpieces. Particular attention will be given to exchanges between western representation and that of other cultures. Topics covered include revolutionary propaganda; romantic unreason; caricature and political critique; the changing pace of the modern city; architecture in the machine age; the place of women in modernity; and the impact of new technology on spectatorship. Students should leave the course with increased familiarity with key art movements in the modern era and the skills to analyze and appreciate art and visual culture from any period.

Full details for ARTH 2600 - Introduction to Modern Western Art: Materials, Media, and the End of Masterpieces

These seminars offer an introduction to the humanities by exploring historical, cultural, social, and political themes. Students will explore themes in critical dialogue with a range of texts and media drawn from the arts, humanities, and/or humanistic social sciences. Guest speakers, including Cornell faculty and Society for the Humanities Fellows, will present from different disciplines and points of view. Students will make field trips to relevant local sites and visit Cornell special collections and archives. Students enrolled in these seminars will have the opportunity to participate in additional programming related to the annual focus theme of Cornell's Society for the Humanities and the Humanities Scholars Program for undergraduate humanities research.

Full details for ARTH 2750 - Introduction to Humanities

Introduction and training in dendrochronology (tree-ring dating) and its applications in archaeology, art history, climate and environment through lab work and participation in ongoing research projects using ancient to modern wood samples from around the world. Supervised reading and laboratory/project work. Possibilities exists for summer fieldwork in the Mediterranean, Mexico, and New York State.

Full details for ARTH 3250 - Introduction to Dendrochronology

This course introduces students to the arts of the ancient Americas from circa 2000 BC to the Spanish invasions of the 15th and 16th centuries. The term pre-Columbian refers to the span of time during which indigenous cultures flourished before Christopher Columbus’ voyage of 1492. This course covers the arts of indigenous Mesoamerica (Mexico, Guatemala, Belize, and Honduras), the Caribbean (Cuba, Puerto Rico, Dominican Republic, and the Greater and Lesser Antilles), and Andean South America (Ecuador, Peru, Bolivia, and Chile). Students will become familiar with the history, archaeology, and visual arts of the earliest cultures that populated these regions up through the Inca, Aztec, and Maya cultures that encountered the Spaniards. This course also explores the legacies of pre-Columbian cultures among contemporary Chicana/o/x and Latina/o/x artists in the United States.

Full details for ARTH 3566 - Art and Architecture of the Pre-Columbian Americas

The arts of Southeast Asia are studied in their social context, since in traditional societies creative processes are often mapped on the sequence of events that compose human lives. We will be looking particularly at the gendered ways in which bodies are mapped on the land, and how these various framings are often reflected in the unique relationships that emerge between works of art and textual sources. The South Asian epics of the Ramayana (Story of Rama) and the Mahabharata will be explored during the semester as infinitely renewable sources of inspiration. Special emphasis will be devoted to localized encounters in Indonesia, Cambodia, Burma/Myanmar, Vietnam, and Thailand. (SC)

Full details for ARTH 3850 - The Arts of Southeast Asia

Works of art have always engendered political, social, and cultural meanings. This seminar presents an introduction to the methods used by art historians and the objects and ideas that constitute the historiography of their discipline. If art history was once understood as the study of the development of style in European art, over the past century its practitioners have attempted to embrace a global perspective and to address issues of class, ethnicity, nationality, sexual orientation, and gender. Readings will focus on historically situating methods and the implications of their cross-cultural application. They will be discussed in the framework of institutions, apparatuses and practices that have shaped the field, identifying how these have contributed to systemic mechanisms of hegemony and exclusion. Papers will encourage students to put methods into practice, realizing in the process that subject matter is not an isolated choice to which methods are applied, but something that profoundly affects the approach that the researcher brings to the writing and conceptualizing and doing of art history.

Full details for ARTH 4101 - Proseminar: Introduction to Methods

The colonial period in Latin America (circa 1521-1820s) witnessed the formation of one of the most diverse societies in the world. Labor regimes, religious activities, marriage alliances, and commercial contacts engendered by the Spanish colonial enterprise brought Spaniards, Africans, and Indigenous peoples into dynamic contact. This cross-fertilization of cultures resulted in the construction of new cultural categories and colonial identities whose reverberations continue to be felt into the present day. This course explores the role that visual culture played in the articulation of identity in Latin America. For the purposes of this seminar, identity can be loosely defined as the overlapping allegiances to which one ascribes, whether racial, cultural, gendered, religious, or community-based. The visual culture of colonial Latin America can reveal multitudes on the construction of self and community across temporal and geographical contexts. We will explore a variety of colonial Latin American objects and images, including paintings, textiles, and material culture. Our discussions of images will be guided by readings on hybridity, coloniality, cross-cultural exchange, and the early modern Atlantic world.

Full details for ARTH 4160 - Topics in Colonial Encounters

What is authenticity and why does it matter? Connoisseurship-the expertise required to make discerning judgments-involves assessments of quality,authenticity, historical and cultural significance, and many other issues. This course focuses on connoisseurship in the fine arts, archaeology, and ethnography in both academic contexts and the art world. Emphasis is on developing a nuanced understanding of authentication, at the core of the art market and an important determinant of relevant data for academic art historians and archaeologists. Topics include the role of authenticity in assigning value; looting and faking in relation to antiquities markets; technical analysis and forgery detection.

Full details for ARTH 4231 - Fakes and the Authentic: Connoisseurship, Value, and Judgement

Topic: Writing Through the Forest in Search of Trees. Hello, Humanities Student! Are you a plotter or a pantser? Not sure? Come and join us to find out, and to gain valuable insight into what kind of a writer you are, and how to manage that writer most effectively and productively. This theme-centered methods seminar, through a communal focus on trees, woods, glens, and copses in the pre-modern world, will hone in on the most indispensable tool in the humanist's belt: writing. From the generation of ideas, to their organization into an outline (or a blueprint, or whatever euphemism we, as a group or as individuals, decide to apply to the initial, tangled pile of yarn) to the first draft. Followed by frank and constructive criticism of the initial draft as a group and in pairs, and then on to the part that all students-really, all humanists?okay, all writers-find to be the greatest struggle: Your paper has some good ideas, but it really needs a rewrite. Now what do you do? As we write, and rewrite, we will also read widely. In addition to primary sources, scholarly articles and essays, we will include criticism, personal essay, theory, excerpts from fiction, and more, in an effort to open students' writing up to a myriad of possibilities for persuasive and compelling written communication.

Full details for ARTH 4310 - Methods in Medieval

“Staffage” is a term in the history of landscape painting. It refers to little figures who populate the scene, invariably dwarfed by their surroundings. The few critics who noticed them assigned them various roles: to illustrate “the benefits which nature affords to creatures living in the region” (Goethe, 1800); or, alternatively, “to lend the landscape its specific poetic character” (Fernow, 1806). From landscape, staffage migrated into archaeological documentation and architectural illustration. Here, tiny figures gain additional roles: to convey the scale of the monuments depicted, and the societies that inhabit them. Our study of staffage alternates between close looking at a wide range of pictures, and readings from the historical and theoretical literatures on the aesthetics and politics of landscape painting.

Full details for ARTH 4361 - Staffage: Figures for Scale, 1500-1850

This seminar analyzes the contours of early modern Europe's material landscape and the ways in which global exchanges and technological advancements impacted material production and consumption. Working within an interdisciplinary framework, we will explore the dynamic material, global, and social dimensions of objects, and the meanings that different materials could generate in art production. Each week we will investigate an early modern art material - from ivory, to amber, shells, and pearls - and its use and/or representation in a range of artworks. Students will learn to think materially; they will be introduced to multiple techniques of production, harvesting, and fashioning of materials, and will consider the broader social, economic, political, and environmental factors that shaped material culture.

Full details for ARTH 4465 - Early Modern Materialities, 1400-1700

This interdisciplinary seminar explores the problem that blackness poses for representation, with a particular focus on black women’s aporic positionality in this problem. Dominant discourses of representation pose it as a mode of making present what is physically absent through conceptual, aesthetic, and political means—a process and framework that produces a shared form of subjectivity and its attendant commons. Given histories of slavery and racial violence, how does blackness’s excluded but constitutive positionality challenge this alleged commonality? Further, how does black feminist theory’s positing of black women as endlessly productive, hole-like vestibule for modern subjective form problematize representation? We will utilize analysis of black feminist and critical theoretical texts and artworks to interrogate the ways that black women illuminate black gender as a problem for representation.

Full details for ARTH 4510 - Blackness, Gender and Representation

Satisfies Tutorial Requirement. The history of photography as an art has been mostly on the page, not on the wall. This course refocuses the standard museum and gallery history of photography back to the book. Significantly, it takes advantage, through field trips, of the proximity of Cornell to the George Eastman House in Rochester, whose library houses the most important photobooks from around the world, including the best creations from Russia, Japan, and the United States. Students will learn the basics of photographic printing, book construction, the role of the photobook in the rise of the artist's book in the twentieth century, as well as advanced skills in analysis of the photographic picture and sequencing. Major themes will include the scientific photobook of the nineteenth century, the documentary photobook of the 1930s, the propaganda photobook of the communist era, the postwar photobooks of Japan, the personal/domestic turn of the 1970s, and the present state of the photobook in the digital era.

Full details for ARTH 4545 - The Photobook

How can a small sculpture produce monumental effects? Recent shifts in metal-detecting and excavation practices have transformed our understanding of the scope of figural art after the Roman empire's collapse; the field is newly flooded with evidence of toys, puppets, and other tiny bodies. Working across the disciplines of anthropology, archaeology, art history, philosophy, and gender studies, this course investigates how figurines shaped space, ritual, and concepts of personhood in the early medieval world.

Full details for ARTH 4706 - The Poetics of Embodiment: Figurines in the Early Middle Ages

This seminar provides a higher-level general introduction to, and survey of, contemporary theories, methods, and approaches in the archaeology of the Mediterranean world. Rather than focusing on a specific geographical sub-region or chronological period, this course examines and critically assesses the practice and distinctive character of Mediterranean archaeology more broadly.

Full details for ARTH 4754 - Themes in Mediterranean Archaeology

China, a cultural giant of East Asia, made a passive entrance into modernity. With the advent of Western and American colonialism and imperialism, coupled with recent successes in westernization by the Japanese, Chinese artists had to redefine their roles as well as their visions. This turmoil bore witness to a vibrant beginning in modern Chinese art. Interactions between the Chinese themselves, and Chinese interactions with foreigners in the major cities of Shanghai and Beijing, fostered new directions in Chinese art and helped shape western visions of Chinese art history. Issues covered include: Chinese debates on western influence--their theoretical foundations and rationales; New visions for the future of Chinese art in the late 19th and early 20th centuries; Pluralistic approaches and arguments on Chinese identity in the modern era; Collecting art and the vision of history; The identity of traditional literati painters in the modern era-their roles, artworks, and deeds; Foreigners in China-the formation of major European collections of Chinese art, and the formation of Chinese art history in the West. (SC)

Full details for ARTH 4816 - Modern Chinese Art

Individual investigation and discussion of special topics not covered in the regular course offerings, by arrangement with a member of the department.

Full details for ARTH 4991 - Independent Study

A course for senior Art History majors working on honors theses, with selected reading, research projects, etc., under the supervision of a member of the History of Art faculty.

Full details for ARTH 4998 - Honors Work I

Individual investigation and discussion of special topics not covered in the regular course offerings, by arrangement with a member of the department.

Full details for ARTH 5991 - Supervised Reading

Individual investigation and discussion of special topics not covered in the regular course offerings, by arrangement with a member of the department.

Full details for ARTH 5993 - Supervised Study

This graduate seminar introduces a range of research methods in art history and visual studies. We will read and discuss a series of texts related to the history and current practice of the discipline of art history. In addition, each week, a member of the faculty will visit the seminar to discuss their own research practice. This course is required of all first-year Ph.D. students in History of Art, and is open to graduate students from other fields.

Full details for ARTH 6000 - Graduate Research Methods in Art History

Some of the most powerful approaches to visual practices have come from outside or from the peripheries of the institution of art history and criticism. This seminar will analyze the interactions between academically sanctioned disciplines (such as iconography and connoisseurship) and innovations coming from philosophy, psychoanalysis, historiography, sociology, literary theory, mass media criticism, feminism, and Marxism. We will try especially to develop: (1) a general theory of "visual ideology" (the gender, social, racial, and class determinations on the production, consumption, and appropriation of visual artifacts under modern and postmodern conditions); and (2) contemporary theoretical practices that articulate these determinations. Examples will be drawn from the history of oil painting, architecture, city planning, photography, film, and other mass media.

Full details for ARTH 6060 - Visual Ideology

Works of art have always engendered political, social, and cultural meanings. This seminar presents an introduction to the methods used by art historians and the objects and ideas that constitute the historiography of their discipline. If art history was once understood as the study of the development of style in European art, over the past century its practitioners have attempted to embrace a global perspective and to address issues of class, ethnicity, nationality, sexual orientation, and gender. Readings will focus on historically situating methods and the implications of their cross-cultural application. They will be discussed in the framework of institutions, apparatuses and practices that have shaped the field, identifying how these have contributed to systemic mechanisms of hegemony and exclusion. Papers will encourage students to put methods into practice, realizing in the process that subject matter is not an isolated choice to which methods are applied, but something that profoundly affects the approach that the researcher brings to the writing and conceptualizing and doing of art history.

Full details for ARTH 6101 - Proseminar: Introduction to Methods

The colonial period in Latin America (circa 1521-1820s) witnessed the formation of one of the most diverse societies in the world. Labor regimes, religious activities, marriage alliances, and commercial contacts engendered by the Spanish colonial enterprise brought Spaniards, Africans, and Indigenous peoples into dynamic contact. This cross-fertilization of cultures resulted in the construction of new cultural categories and colonial identities whose reverberations continue to be felt into the present day. This seminar explores the role that visual culture played in the articulation of identity in Latin America. For the purposes of this seminar, identity can be loosely defined as the overlapping allegiances to which one ascribes, whether racial, cultural, gendered, religious, or community-based. The visual culture of colonial Latin America can reveal multitudes on the construction of self and community across temporal and geographical contexts. We will explore a variety of colonial Latin American objects and images, including paintings, textiles, and material culture. Our discussions of images will be guided by readings on hybridity, coloniality, cross-cultural exchange, and the early modern Atlantic world.

Full details for ARTH 6160 - Topics in Colonial Encounters

Topic: Writing Through the Forest in Search of Trees. Hello, Humanities Student! Are you a plotter or a pantser? Not sure? Come and join us to find out, and to gain valuable insight into what kind of a writer you are, and how to manage that writer most effectively and productively. This theme-centered methods seminar, through a communal focus on trees, woods, glens, and copses in the pre-modern world, will hone in on the most indispensable tool in the humanist's belt: writing. From the generation of ideas, to their organization into an outline (or a blueprint, or whatever euphemism we, as a group or as individuals, decide to apply to the initial, tangled pile of yarn) to the first draft. Followed by frank and constructive criticism of the initial draft as a group and in pairs, and then on to the part that all students-really, all humanists?okay, all writers-find to be the greatest struggle: Your paper has some good ideas, but it really needs a rewrite. Now what do you do? As we write, and rewrite, we will also read widely. In addition to primary sources, scholarly articles and essays, we will include criticism, personal essay, theory, excerpts from fiction, and more, in an effort to open students' writing up to a myriad of possibilities for persuasive and compelling written communication.

Full details for ARTH 6310 - Methods in Medieval

“Staffage” is a term in the history of landscape painting. It refers to little figures who populate the scene, invariably dwarfed by their surroundings. The few critics who noticed them assigned them various roles: to illustrate “the benefits which nature affords to creatures living in the region” (Goethe, 1800); or, alternatively, “to lend the landscape its specific poetic character” (Fernow, 1806). From landscape, staffage migrated into archaeological documentation and architectural illustration. Here, tiny figures gain additional roles: to convey the scale of the monuments depicted, and the societies that inhabit them. Our study of staffage alternates between close looking at a wide range of pictures, and readings from the historical and theoretical literature on the aesthetics and politics of landscape painting.

Full details for ARTH 6361 - Staffage: Figures for Scale, 1500-1850

This seminar analyzes the contours of early modern Europe's material landscape and the ways in which global exchanges and technological advancements impacted material production and consumption. Working within an interdisciplinary framework, we will explore the dynamic material, global, and social dimensions of objects, and the meanings that different materials could generate in art production. Each week we will investigate an early modern art material - from ivory, to amber, shells, and pearls - and its use and/or representation in a range of artworks. Students will learn to think materially; they will be introduced to multiple techniques of production, harvesting, and fashioning of materials, and will consider the broader social, economic, political, and environmental factors that shaped material culture.

Full details for ARTH 6465 - Early Modern Materialities, 1400-1700

This interdisciplinary seminar explores the problem that blackness poses for representation, with a particular focus on black women’s aporic positionality in this problem. Dominant discourses of representation pose it as a mode of making present what is physically absent through conceptual, aesthetic, and political means—a process and framework that produces a shared form of subjectivity and its attendant commons. Given histories of slavery and racial violence, how does blackness’s excluded but constitutive positionality challenge this alleged commonality? Further, how does black feminist theory’s positing of black women as endlessly productive, hole-like vestibule for modern subjective form problematize representation? We will utilize analysis of black feminist and critical theoretical texts and artworks to interrogate the ways that black women illuminate black gender as a problem for representation.

Full details for ARTH 6511 - Blackness, Gender and Representation

Topic 2024: Tutorial. The history of photography as an art has been mostly on the page, not on the wall. This course refocuses the standard museum and gallery history of photography back to the book. Significantly, it takes advantage, through field trips, of the proximity of Cornell to the George Eastman House in Rochester, whose library houses the most important photobooks from around the world, including the best creations from Russia, Japan, and the United States. Students will learn the basics of photographic printing, book construction, the role of the photobook in the rise of the artist's book in the twentieth century, as well as advanced skills in analysis of the photographic picture and sequencing. Major themes will include the scientific photobook of the nineteenth century, the documentary photobook of the 1930s, the propaganda photobook of the communist era, the postwar photobooks of Japan, the personal/domestic turn of the 1970s, and the present state of the photobook in the digital era.

Full details for ARTH 6545 - The Photobook

This course introduces students to the arts of the ancient Americas from circa 2000 BC to the Spanish invasions of the 15th and 16th centuries. The term pre-Columbian refers to the span of time during which indigenous cultures flourished before Christopher Columbus’ voyage of 1492. This course covers the arts of indigenous Mesoamerica (Mexico, Guatemala, Belize, and Honduras), the Caribbean (Cuba, Puerto Rico, Dominican Republic, and the Greater and Lesser Antilles), and Andean South America (Ecuador, Peru, Bolivia, and Chile). Students will become familiar with the history, archaeology, and visual arts of the earliest cultures that populated these regions up through the Inca, Aztec, and Maya cultures that encountered the Spaniards. This course also explores the legacies of pre-Columbian cultures among contemporary Chicana/o/x and Latina/o/x artists in the United States.

Full details for ARTH 6566 - Art and Architecture of the Pre-Columbian Americas

How can a small sculpture produce monumental effects? Recent shifts in metal-detecting and excavation practices have transformed our understanding of the scope of figural art after the Roman empire's collapse; the field is newly flooded with evidence of toys, puppets, and other tiny bodies. Working across the disciplines of anthropology, archaeology, art history, philosophy, and gender studies, this course investigates how figurines shaped space, ritual, and concepts of personhood in the early medieval world.

Full details for ARTH 6706 - The Poetics of Embodiment: Figurines in the Early Middle Ages

This seminar provides a higher-level general introduction to, and survey of, contemporary theories, methods, and approaches in the archaeology of the Mediterranean world. Rather than focusing on a specific geographical sub-region or chronological period, this course examines and critically assesses the practice and distinctive character of Mediterranean archaeology more broadly.

Full details for ARTH 6754 - Themes in Mediterranean Archaeology

China, a cultural giant of East Asia, made a passive entrance into modernity. With the advent of Western and American colonialism and imperialism, coupled with recent successes in westernization by the Japanese, Chinese artists had to redefine their roles as well as their visions. This turmoil bore witness to a vibrant beginning in modern Chinese art. Interactions between the Chinese themselves, and Chinese interactions with foreigners in the major cities of Shanghai and Beijing, fostered new directions in Chinese art and helped shape western visions of Chinese art history. Issues covered include: Chinese debates on western influence--their theoretical foundations and rationales; New visions for the future of Chinese art in the late 19th and early 20th centuries; Pluralistic approaches and arguments on Chinese identity in the modern era; Collecting art and the vision of history; The identity of traditional literati painters in the modern era-their roles, artworks, and deeds; Foreigners in China-the formation of major European collections of Chinese art, and the formation of Chinese art history in the West. (SC)

Full details for ARTH 6816 - Modern Chinese Art

The arts of Southeast Asia are studied in their social context, since in traditional societies creative processes are often mapped on the sequence of events that compose human lives. We will be looking particularly at the gendered ways in which bodies are mapped on the land, and how these various framings are often reflected in the unique relationships that emerge between works of art and textual sources. The South Asian epics of the Ramayana (Story of Rama) and the Mahabharata will be explored during the semester as infinitely renewable sources of inspiration. Special emphasis will be devoted to localized encounters in Indonesia, Cambodia, Burma/Myanmar, Vietnam, and Thailand.

Full details for ARTH 6850 - The Arts of Southeast Asia

This course offers a systematic in-depth study of Hegel’s Aesthetics, one of the towering monuments in the development of the discipline. In addition to Hegel’s voluminous lectures, we will also consider more recent reactions to and critiques of it. Taught in English.

Full details for ARTH 6920 - Hegel’s Aesthetics: On the Ideal, History, and System of the Arts

This course is an introductory design studio. The primary course objective is to introduce principles of visual literacy as it pertains to two-dimensional and three-dimensional issues in design at all scales. Concepts about representation, expression, composition, color, form, light, structure, and function will be explored through project based learning. The emphasis will be on learning explicit compositional concepts, visualization skills, and media techniques as well as implicit design sensitivities to serve the student throughout the rest of his or her DEA experience and beyond.

Full details for VISST 1101 - Visual Literacy and Design Studio

This colloquium presents students with diverse approaches at the art-science interface used to interest, educate and motivate people to consider, address and solve environmental and sustainability challenges. It consists of a series of lectures given by experts, people with different expertise and perspectives who are addressing a variety of environmental and sustainability problems with regard to humanistic concern.

Full details for VISST 2002 - Environment and Sustainability Colloquium

This colloquium presents students with diverse approaches at the art-science interface used to interest, educate and motivate people to consider, address and solve environmental and sustainability challenges. It consists of a series of lectures by experts with different perspectives addressing a variety of environmental and sustainability problems with regard to humanistic concern. The small group discussion session allows in-depth engagement with the art-science interface. Building on the possibilities shared by our expert visitors, students in the discussion section will develop their own approach to addressing environmental issues. We will analyze how the ways in which information is shared is as significant as the information itself, and consider artistic and scientific perspectives as mutually beneficial tools for exploring and communicating our relationship to the environment.

Full details for VISST 2012 - Discussions of Environment and Sustainability

In this introductory course, participants will study the economic and technological history of the television industry, with a particular emphasis on its manifestations in the United States and the United Kingdom; the changing shape of the medium of television over time and in ever-wider global contexts; the social meanings, political stakes, and ideological effects of the medium; and the major methodological tools and critical concepts used in the interpretation of the medium, including Marxist, feminist, queer, and postcolonial approaches. Two to three hours of television viewing per week will be accompanied by short, sometimes dense readings, as well as written exercises.

Full details for VISST 2160 - Television

Provides a lecture survey of the history of photography over a course of two centuries. Starting with its invention in the 1830s, covers the subject topically and chronologically. During the nineteenth century, focus is on technical developments and on the complex relations that situate photography in relation to painting, portraiture, urban life, war, anthropology and ethnology, exploration and travel, and science and industry. Over the course of the twentieth century, photography is enriched by new developments: its use as a modernist and experimental art form, in social documentary and photojournalism, in propaganda, in advertising and fashion. In recent decades, photography has assumed a centrality in the practice of conceptual postmodern art, and is currently undergoing a major transformation in the age of digital media.

Full details for VISST 2500 - Introduction to the History of Photography

Students compose and present short studies that are discussed and reworked. Problems are defined and explored through class improvisations. Informal showing at end of semester. Includes informal showing of work. Weekly assignments in basic elements of choreography.

Full details for VISST 2511 - Dance Composition

Contemporary World Cinema offers an introduction to some of the most acclaimed international films of the 21st century. We will consider narrative, documentary, animation, and experimental films from multiple national and transnational contexts. We will examine both dominant and alternative forms of storytelling, how funding institutions, festivals, and awards shape the global circulation of films, how genres get transformed internationally, and how films intervene in how we think about specific social issues and political contexts. Specific films and case studies may vary from year to year.

Full details for VISST 2512 - Contemporary World Cinema

This course offers an introduction to the diverse global encounters and exchanges that shaped early modern European art and material culture, c.1400-1650. The course will be structured around nine European imperial and/or cosmopolitan centres and their connections between one another, and with the Ottoman Empire, Asia, Africa, and the Americas. We will explore how global commerce influenced material and artistic consumption, and the ways in which early modern slavery was part and parcel of Europe's art world. Special focus discussions will deepen students' knowledge of artistic materials and media and the ways in which global connections impacted the making of early modern art. Students will gain a broad understanding of early modern art and practices of making, the historical contexts in which art objects were produced, and their social and cultural uses. Students will become familiar with the language and approaches of art history and material culture studies, as well as with key methodologies including globalized, decolonial, critical race, and gender theories.

Full details for VISST 2645 - Introduction to Early Modern Art: Cosmopolitanism and Empire

This course raises profound theoretical questions about embodiment, agency, power, and race in virtual spaces. How do digital identities in their intersection with something called race, interact with physical bodies and material conditions? What are the possibilities and limitations of digital technologies in creating emancipatory futures for raced life? In tackling these questions, the interdisciplinary course explores key dimensions of digital feminism, including activism and advocacy, community building, critique of digital culture, criticism of techno-capitalism, call for inclusive design, artistic and cultural productions.

Full details for VISST 2723 - Digital Feminism and Race

This course combines hands-on instruction in gamelan, Indonesia's most prominent form of traditional music, and the academic study of the broader range of music found in contemporary Indonesia, including Western-oriented and hybrid popular forms. Students thus engage with music directly, and use it as a lens to examine the myriad social and cultural forces that shape it, and that are shaped by it. No previous knowledge of musical notation or performance experience necessary. (SC)

Full details for VISST 2744 - Gamelan in Indonesian History and Cultures

These seminars offer an introduction to the humanities by exploring historical, cultural, social, and political themes. Students will explore themes in critical dialogue with a range of texts and media drawn from the arts, humanities, and/or humanistic social sciences. Guest speakers, including Cornell faculty and Society for the Humanities Fellows, will present from different disciplines and points of view. Students will make field trips to relevant local sites and visit Cornell special collections and archives. Students enrolled in these seminars will have the opportunity to participate in additional programming related to the annual focus theme of Cornell's Society for the Humanities and the Humanities Scholars Program for undergraduate humanities research.

Full details for VISST 2750 - Introduction to Humanities

Today, the legacy of the Middle Ages can be found everywhere, from the game of chess to Game of Thrones, the parliament to the university, the Crusades to the Vikings, the nostalgia for tradition to the very concept of modernity. This course explores the function of the medieval past through the lens of modern visual culture, as part of an emerging field known as “Medievalism.” Along with readings of classic theories of Medievalism (Huizinga, Balázs, Panofsky, Bazin, McLuhan, Eco), screenings will put auteur films (Dreyer’s Passion of Joan of Arc, Bergman’s Seventh Seal, Kurosawa’s Ran) in dialogue with popular culture (from Monthy Python to A Knight’s Tale) in order to raise the question of a Global Middle Ages. Taught in English.

Full details for VISST 3545 - Imagining the Middle Ages: Films, Games, and Media

What is a comic? How might comics attend to complex historical, social, and political topics? How do comics facilitate a coming to terms with the past or function as an activist medium—spurring on political and cultural shifts? Given this great variety of comics from Germanophone locales this course engages with comics as a key literary form and one that provides a deep engagement with histories, cultures, activisms, and representations thereof. Our readings will include queer/trans comics and zines, early text/image works preceding the comic form, and webcomics on decolonization projects and fantastical places. We will also read comics scholarship and historical texts that will provide a solid foundation from which to approach these literary works. As a way of immersing ourselves into the world of comics, each student will create their own comic over the course of our class—building upon the formal components we locate in class texts. (Drawing skills are not required! Come as you are.) As comics have their own medium-specific vocabulary for visual and textual analysis, we will also spend time building the skills and vocabulary necessary for analyzing the comics we read. Taught in English.

Full details for VISST 3555 - Comics as a Medium

This course introduces students to the arts of the ancient Americas from circa 2000 BC to the Spanish invasions of the 15th and 16th centuries. The term pre-Columbian refers to the span of time during which indigenous cultures flourished before Christopher Columbus’ voyage of 1492. This course covers the arts of indigenous Mesoamerica (Mexico, Guatemala, Belize, and Honduras), the Caribbean (Cuba, Puerto Rico, Dominican Republic, and the Greater and Lesser Antilles), and Andean South America (Ecuador, Peru, Bolivia, and Chile). Students will become familiar with the history, archaeology, and visual arts of the earliest cultures that populated these regions up through the Inca, Aztec, and Maya cultures that encountered the Spaniards. This course also explores the legacies of pre-Columbian cultures among contemporary Chicana/o/x and Latina/o/x artists in the United States.

Full details for VISST 3566 - Art and Architecture of the Pre-Columbian Americas

The arts of Southeast Asia are studied in their social context, since in traditional societies creative processes are often mapped on the sequence of events that compose human lives. We will be looking particularly at the gendered ways in which bodies are mapped on the land, and how these various framings are often reflected in the unique relationships that emerge between works of art and textual sources. The South Asian epics of the Ramayana (Story of Rama) and the Mahabharata will be explored during the semester as infinitely renewable sources of inspiration. Special emphasis will be devoted to localized encounters in Indonesia, Cambodia, Burma/Myanmar, Vietnam, and Thailand. (SC)

Full details for VISST 3696 - The Arts of Southeast Asia

Focused, practical exercises teach the student fundamental staging techniques that bring written text to theatrical life. A core objective is to increase the student's awareness of why and how certain stage events communicate effectively to an audience. Each student directs a number of exercises as well as a short scene.

Full details for VISST 3798 - Fundamentals of Directing I

Anchoring the East and West coasts, New York and Los Angeles have been celebrated and excoriated in films. On the edge literally and metaphorically, these cities seem to be about competing visions of urban form, culture, and modernity. The iconic forms of New York (tenements and skyscrapers) and of Los Angeles (highways and suburban homes) have fascinated film makers from the nineteenth century to the present day. We will both evoke and complicate the contrasts between New York and Los Angeles by mapping the intersections of each city with cinema. We explore how the urban experience gives rise to particular cinematic forms and how cinematic styles are translated or not into urban design.

Full details for VISST 3812 - Edge Cities: Celluloid New York and Los Angeles

Works of art have always engendered political, social, and cultural meanings. This seminar presents an introduction to the methods used by art historians and the objects and ideas that constitute the historiography of their discipline. If art history was once understood as the study of the development of style in European art, over the past century its practitioners have attempted to embrace a global perspective and to address issues of class, ethnicity, nationality, sexual orientation, and gender. Readings will focus on historically situating methods and the implications of their cross-cultural application. They will be discussed in the framework of institutions, apparatuses and practices that have shaped the field, identifying how these have contributed to systemic mechanisms of hegemony and exclusion. Papers will encourage students to put methods into practice, realizing in the process that subject matter is not an isolated choice to which methods are applied, but something that profoundly affects the approach that the researcher brings to the writing and conceptualizing and doing of art history.

Full details for VISST 4101 - Proseminar: Introduction to Methods

The colonial period in Latin America (circa 1521-1820s) witnessed the formation of one of the most diverse societies in the world. Labor regimes, religious activities, marriage alliances, and commercial contacts engendered by the Spanish colonial enterprise brought Spaniards, Africans, and Indigenous peoples into dynamic contact. This cross-fertilization of cultures resulted in the construction of new cultural categories and colonial identities whose reverberations continue to be felt into the present day. This course explores the role that visual culture played in the articulation of identity in Latin America. For the purposes of this seminar, identity can be loosely defined as the overlapping allegiances to which one ascribes, whether racial, cultural, gendered, religious, or community-based. The visual culture of colonial Latin America can reveal multitudes on the construction of self and community across temporal and geographical contexts. We will explore a variety of colonial Latin American objects and images, including paintings, textiles, and material culture. Our discussions of images will be guided by readings on hybridity, coloniality, cross-cultural exchange, and the early modern Atlantic world.

Full details for VISST 4160 - Topics in Colonial Encounters

How do queer people make family? What cultural and artistic practices sustain queer bonds? To answer these questions, this course examines queer and trans kinship narratives across a range of genres, including literature, film, television, and critical theory. We will theorize kinship's relationship to cis-heteronormativity, capitalism, white supremacy, and colonialism, and debate whether queer and trans kinships can model new political forms.

Full details for VISST 4705 - How to Make Queer Kin: Sustaining Bonds in LGBTQ Culture

“Staffage” is a term in the history of landscape painting. It refers to little figures who populate the scene, invariably dwarfed by their surroundings. The few critics who noticed them assigned them various roles: to illustrate “the benefits which nature affords to creatures living in the region” (Goethe, 1800); or, alternatively, “to lend the landscape its specific poetic character” (Fernow, 1806). From landscape, staffage migrated into archaeological documentation and architectural illustration. Here, tiny figures gain additional roles: to convey the scale of the monuments depicted, and the societies that inhabit them. Our study of staffage alternates between close looking at a wide range of pictures, and readings from the historical and theoretical literatures on the aesthetics and politics of landscape painting.

Full details for VISST 4711 - Staffage: Figures for Scale, 1500-1850

An understanding of performance as object and lens, modality and method, is integral to scholarship and research across the humanities and social sciences. Charting the advent and defining principles of performance studies, this course explores the interdisciplinary history of the field, including its association with anthropology, visual studies, theater, gender studies, sociology, psychology, literature, philosophy, and critical race studies. This class examines performance as a means of creative expression, a mode of critical inquiry, and an avenue for public engagement. We will attend to both the practice of performance - as gesture, behavior, habit, event, artistic expression, and social drama - and the study of performance - through ethnographic observation, spectatorship, documentation, reproduction, analysis, and writing strategies. Through a study of research paradigms and key issues related to performance, we will explore not only what this highly contested term is and does, but when and how, for whom, and under what circumstances.

Full details for VISST 4835 - Performance Studies: Theories and Methods

How do queer people make family? What cultural and artistic practices sustain queer bonds? To answer these questions, this course examines queer and trans kinship narratives across a range of genres, including literature, film, television, and critical theory. We will theorize kinship's relationship to cis-heteronormativity, capitalism, white supremacy, and colonialism, and debate whether queer and trans kinships can model new political forms.

Full details for VISST 6705 - How to Make Queer Kin: Sustaining Bonds in LGBTQ Culture

“Staffage” is a term in the history of landscape painting. It refers to little figures who populate the scene, invariably dwarfed by their surroundings. The few critics who noticed them assigned them various roles: to illustrate “the benefits which nature affords to creatures living in the region” (Goethe, 1800); or, alternatively, “to lend the landscape its specific poetic character” (Fernow, 1806). From landscape, staffage migrated into archaeological documentation and architectural illustration. Here, tiny figures gain additional roles: to convey the scale of the monuments depicted, and the societies that inhabit them. Our study of staffage alternates between close looking at a wide range of pictures, and readings from the historical and theoretical literature on the aesthetics and politics of landscape painting.

Full details for VISST 6711 - Staffage: Figures for Scale, 1500-1850