Summer 2017

Summer Sessions 2017

SESSION ONE: 5/33 – 7/7/2017



(CAC, TTH 6:00-10:00pm, VH104, Chakalova, Index 01885)
This course can be used to fulfill the HST and AHp areas of the Core -

Survey of the major monuments and trends in the history of painting, sculpture, and architecture from Pre-history through the Middle Ages.

107. NON-WESTERN ART – 01:082:107:B6

(CAC, MW 6:00-10:00PM, VH104, Punj, Index 05007)

This course can be used to fulfill the HST and AHp areas of the Core -


This course will serve as an introduction to the art of the non-western world including South and Southeast Asia, China and Japan, Africa, Native America and Oceania. We will conduct a survey of visual traditions of these regions including art, sculpture, architecture, painting, ceramics and book cultures, from the pre-historic till the early modern phase. Artistic production in these regions will be studied in the context of geographical, historical, political, socio-economic and cultural conditionsLectures and discussion will focus on developing an understanding of the art of various cultures as it evolved over time, while evaluating the role of historical changes on artistic expression and technique. This course will enable students to identify and relate specific works of art and architecture to their stylistic, historical, and social contexts. Students will also be able to articulate the cultural, religious and philosophical significance of works of art and architecture across various regions and comprehend the influence of artistic interactions and cross-cultural exchanges. There is no prerequisite for this course.


214. RENAISSANCE ART IN EUROPE – 01:082:214:B1

(CAC, MW, 1:00-5:00pm, VH104, Albinsky, Index 05009)

This course can be used to fulfill the HST and AHp areas of the Core.

The class explores the art and architecture made in Europe between 1300 and 1600 in the context of cultural, religious, social, and political change. Examining artworks from north and south of the Alps, the course emphasizes artistic and cultural exchange between Flanders, Germany, the Netherlands, Italy, and Spain. However, it also examines personal, regional, and period differences in the masterpieces produced by artists as varied as Jan van Eyck, Albrecht Dürer, Hieronymus Bosch, Michelangelo, Titian, and El Greco. Topics include the emergence of humanism and its relationship to antiquity; the changing roles of artists and patrons; the representation of identity, whether collective or individual; the impact of artistic and technical innovations; the proliferation of genres; and the impact of the Protestant and Catholic Reformations. Class attendance and participation, a midterm, and a short paper are required.

There is no prerequisite for this course.


291. TOPICS – ART & WAR: A SURVEY– 01:082:291:B6
(CAC, TTH 1:00-5:00pm, VH104, DePinto, Index 05013)

Often thought of as two disparate entities, this course intends to prove that the relationship between art & war deserves further consideration. This course will examine how conflict serves as a cultural catalyst for the creation, reappropriation, defacement, and/or destruction of visual material culture as well as seek to identify the underlying themes and motivations behind these acts. The visual material in this course is not bound by chronology, geography, or media. Examples will be drawn from antiquity through the 21st century worldwide with particular emphasis on using anachronisms to further our understanding of how material culture functions in the context of conflict. This course will combine traditional classroom lectures with on-site discussions – at least one trip to a museum in NYC is required.

Topics will include (but are not limited to): the Roman Triumph; artistic production during the time of revolutions; nationalism and propaganda during WWI & WWII; Nazi looting & Degenerate art; Soviet Nonconformist art; and the current challenges posed by the ongoing conflict in the Middle East. We will use primary sources, secondary documents, news articles, and video footage to explore these issues. Each student will have the opportunity to present a case study of their choice as a final project."


(CAC, MW 6:00-10:00pm, VH001, Paulsen, Index #03713)

This course highlights the artistic traditions of Northern and Western Europe from

antiquity through the middle ages, examining the art and architecture of what is now

Germany, France, Spain, England, and Ireland, and the ways in which they interacted

with the more widely-known cultures of Greece and Rome.



SESSION THREE: 7/10 – 8/16/2017

(CAC, TTH 6:00-10:00pm, VH104, Bartolome-Thai, Index 00001)


This course presents an introductory overview of the history of global art from the 14th century to the present, with an emphasis on art from Western Europe and the United States. It covers works in a wide array of media, such as painting, sculpture, architecture, prints, photography, performance, and the moving image. Emphasizing significant stylistic movements in Europe and the Americas, this class lays the groundwork for more advanced art history courses by introducing visual analysis and other interpretative tools of art historical research. Students will also learn how the visual products of a culture relate to historical circumstances, societal values, and shifting personal and collective identities. The skills developed in this course provide important tools for navigating and interpreting media and visual representation in the twenty-first century.

This course is also designed as a hybrid course where some meetings will take place online.

Course Requirements:

1)       Mandatory class attendance

2)       Mandatory viewing of lectures and participation in online discussions

3)       One short paper

4) One museum visit

5)       In-person midterm and final quiz

This course is certified as part of the SAS Core Curriculum and fulfills the following Areas of Inquiry: Arts and Humanities (AHp) and Social and Historical Analysis (HST)



(CAC, TTH 6:00-10:00pm, VH001, Levinsohn, Index 05008)

This course will offer an overview of major figures, movements, and debates in the development of the visual arts since 1960 in the United States. We will not examine contemporary American art in isolation, but in the context of concurrent changes in technology, politics, media, society, urban space, and mass culture. Special attention will be paid to the articulation of issues of gender, sexuality, ethnicity, and race. As well, we will highlight the many significant artists and artworks originating from or inspired by the state of New Jersey.

Readings will largely consist of primary texts – interviews, artists’ writings, and contemporary criticism – although we will read a smaller number of scholarly articles.  Artists discussed in depth will include Andy Warhol, Dan Graham, Eva Hesse, Robert Smithson, Richard Serra, Bruce Nauman, Ana Mendieta, Cindy Sherman, Jean-Michel Basquiat, David Wojnarowicz, Felix Gonzalez-Torres, Mike Kelley, Zoe Leonard, and Kara Walker. Course requirements include: attendance and active participation in class discussions; two short papers; and completion of short answer-format in-class writing assignments. We will also schedule at least one visit to a local museum or gallery space. There are no prerequisites for this course.


252. EAST ASIAN ART 01:082:252:H6

(CAC, MW, 6:00-9:40pm, VH104, Bower, Index 05012

This course is intended to introduce and familiarize the student with the material culture of China and Japan, with brief mention of that of Korea. The focus is art dating from 10,000 BCE to 1900 CE, paying attention to the development of   media, subjects, styles and techniques within the cultural context of East Asia. This is primarily a lecture class, but student input is always encouraged. Class handouts will be distributed in class and posted also online via the Sakai Online Learning System as will also Powerpoint context and key images for review and study. Grading will be based on quizzes and examinations which may include a take-home component; these will be detailed in the Final Syllabus. Class Attendance and Participation as well as Improvement in Performance will also be taken into account in determining the Final Grade. No prerequisite for this Summer Course. One Required textbook (will be ordered through the Rutgers University Barnes & Noble Bookstore) Asian Art by Dorinda Neave and others (2014, Prentice Hall; Pearson-Education)


293. TOPICS – The Visual Culture of Public Health: Visualizing Disease Prevention from Cholera to Ebola– 01:082:293:H6

(CAC, MW 1:00-4:40pm, VH104, Pierce, Index 05042)

From posters and billboards to flyers and films, public health institutions of the past two hundred years have primarily relied on visual materials to protect the general public from disease. Scientists and physicians often frame these visuals as transparent illustrations of facts, as objective, and as more accessible and legible media for communication with the general public. This course proposes that we take these visual materials seriously, subjecting them to critical, close looking and analysis. Centering our investigation on epidemics and public health responses from the nineteenth century to the present, we will explore why the visual became such a powerful medium for transforming scientific knowledge into messages easily comprehended by the public. We will also examine how the authority of science and medicine filter into perceptions of public health propaganda and artistic responses to it. Particular attention will be paid to understanding the ways the visual culture of public health structures relationships between geography, gender, sexuality, race, disease, and health.

Course requirements include active participation in class discussions, a midterm, and a short paper.


294. TOPICS – Gods and Goddesses in Ancient Greek and Roman Art- 01:082:294:H6

(CAC, MW 6:00-9:40pm, VH001, Porstner, Index 05043)

This course examines the iconography and cultural significance of major as well as selected minor deities of the Greco-Roman world from the Greek Archaic period (7th-6th centuries BCE) through the reign of the Roman Emperor Constantine (337 CE) with the legalization of Christianity.

The major gods and goddesses of ancient Greece and Rome not only possessed human forms, but they exhibited very "human" traits such emotions (love/desire, jealousy/ anger, sadness/ despair, etc.), consumed food and drink (ambrosia and nectar), and although they were undying, they could be wounded and bleed (a substance called ichor instead of blood). Producing images of the gods in painting and sculpture led to the development of idealization, a foundation Western Art would be based upon, to emphasize the perfection and undying aspects of the divine. The legacy of these beings that appear "human" but go beyond the capabilities of a regular person are still part of our everyday lives in the form of superheroes inhabiting comic books, movies, and video games.

This course examines the iconography and cultural significance (mythology, cultic practices, athletic and religious festivals, etc.) of the major and selected minor pagan deities of ancient Greece and Rome, culminating in the spread of Judaism and Christianity during the later Roman Empire.

Course requirements include mandatory attendance and in-class discussions of readings, a midterm, and a 5-7 page paper based upon an image of a god or goddess in the Metropolitan Museum of Art or Princeton University Art Museum. No previous experience in Art History is required, although having already taken AH105 is suggested.