503. Section 01: Independent Study Art History
Index: 21262
by arrangement with professor
This course is an independent study a chosen professor on an agreed topic.A summary of the topic must be submitted to the graduate office and must be signed by both the professor and the student.
THIS COURSE IS NOT FOR Ph.D. QUALIFYING EXAM STUDY - see section 02.
503. Section 02: Independent Study Art History (Qual Exam Section)
Index: 23924
by arrangement - Special Permission required
This section is reserved exclusively for Qualifying Examination study.
If you entered the graduate program
With a Master’s register for three (3) credits.
Without a Master’s register for six (6) credits.
509. African Art & Architecture
Index: 36797
Tues 9:50-12:30/VH001, Brett-Smith
Focus
This course will provide an overview of the arts of subsaharan Africa. It will begin with a review of the methodologies used in studying African art, and then move to the arts of the Guinea coast and progress, culture by culture, from northwest to southeast along the west coast of Africa. It will not attempt to cover the arts of North or Eastern Africa.
My lectures on each culture and its arts will focus on the theme of gender and the common African view of men and women as necessarily separate, but complementary. It will examine how this viewpoint affects both the making and the use of art objects, and will attempt to suggest some reasons why male artists focus on three dimensional sculpture, and female artists work with media that can be perceived as two dimensional design systems: scarification, textiles, and geometric patterns on pottery. It will also examine how traditional beliefs about gender affected the self perceptions and lives of both male and female artists.
Structure
Our seminar meeting will be divided into two halves. For the first half I will give a general lecture on the arts of the geographic region we are covering. We will then take a ten minute break. In the second half of each session two of you will present a ten minute summary highlighting the problems you have found with an article you have been assigned to read. I will expect that everyone will have read the article in addition to doing the textbook reading. After the short presentation, we will discuss the problems raised in the presentation. Because we cannot investigate the art of every African culture in depth, the readings will focus on significant methodological problems.
Paper
The course will require one 10 to 15 page paper on some African topic of interest to you. You will be asked to give a 20 minute presentation on your research topic at the end of the course. These talks will be firmly limited to 20 minutes. I will expect that you go over your outline for your paper with me during office hours and that you keep me informed of your progress with your topic. Approximately 90 percent of your grade will depend on your paper.
Required Texts
The following are required reading:
Visona, Monica, Poynor, Robin, Cole, Herbert M., Harris, Michael D., A History of Art in Africa, Prentice Hall, 2000.
Ben Okri, The Famished Road (London: Jonathan Cape, 1991).
Laye, Camara, The Dark Child, trans. James Kirkup and Ernest Jones (New York: Farrar, Strouse and Giroux,1954).
Originally published in French as L’Enfant noir, Paris: Plon, 1953.
Steiner, Chris, African Art in Transit (Cambridge University Press, 1994).
Gibbal, Jean-Marie, Genii of the River Niger. Trans. Beth G. Raps. Chicago: University of Chicago Press, 1994.
530. Global Cultural Heritage
Index: 37516
M 4:30-7:30, Art Library Seminar, Harvey
This course addresses major and timely issues in regard to the preservation of cultural property, specifically the monuments, sites, artifacts and works of art that are our worldwide cultural heritage. While the built environment is a primary focus, its aim is to place specific historic preservation issues within the broader practical and theoretical framework of cultural heritage conservation and preservation worldwide. The material is multidisciplinary and transcultural in nature. Major goals are to expand the students’ preservation experience by giving it an international dimension, and to make students aware of the global intellectual and practical network available to those who pursue careers in this field. The issues addressed hold as much interest for the future historic preservationist, architect, archaeologist, anthropologist, museologist, historian, art historian, sociologist, political economist, and criminologist, as for the future lawyer.
563. CURATORIAL TRAINING
Index: 23827
Mon 4:00 – 6:40 VH001, Prof. Kushner
by Arrangement - Special permission required
History, philosophy, organizational structures, and operations of the museum as a socio-cultural institution.
590. Internship in Historic Preservation
Index: 26905
Prerequisites: n/a
by arrangement - Special Permission required, staff
The Internship in Historic Preservation is the fifth of five required courses for the Certificate in Historic Preservation. This supervised internship is restricted to students enrolled in the certificate program.
593. Studies in CHAPS
Index: 37499
Mon 9:50-12:30, VH001, Hasinoff
Cultures on Display: Museums, Heritage and Representation
Through the study of art, ethnographic and social history exhibitions, this course introduces a series of discussions about the representation of culture in museums and the politics of cultural heritage. We focus on contemporary global examples of exhibitions drawn from literature in anthropology, archaeology, and museum studies, which trace the museum as a vital site for the expression of national, group and individual identities, and as a unique place of performance and consumption. We look at a range of issues from the diverse and often conflicting perspectives of museum practitioners, critics and audiences. Through weekly readings and structured conversations we probe the decisions involved in how museums and exhibits are designed, what messages they convey, and what makes them effective. We also consider some of the limitations of museums, and how they can become sites of controversy. Attention is given to developing a critical awareness of the politics of exhibiting culture, and to reviewing exhibitions.
595. Curatorial Internship I
Index: 21263
by arrangement - Special Permission required, Prof. Marter
596. Curatorial Internship II
Index: 21264
by arrangement - Special Permission required, Prof. Marter
599. Curatorial Internship III
Index: 24726
by arrangement - Special Permission required, Prof. Marter
601. SPECIAL TOPICS
Index: 27318
W 4:00-6:40/VH001, Weigert
603. Advanced Topics CHAPS
Index: 37500
Thurs 4:30-7:30, VH001, Mills
Architectural Preservation: Philosophy and Practice
The course will explore the fundamentals of architectural preservation through a coordinated program of class discussion, fieldwork, documentation, and case studies. Students will study the sources, methods, and standards that inform preservation practice, and will apply their theoretical knowledge in real world, hands on situations. Working both individually and in groups, students will gain familiarity with the range of architectural styles, materials, and construction methods that comprise New Jersey’s physical heritage. Case studies will illuminate the preservation issues and approaches that are inherent in preservation projects in New Jersey and the nation. New Brunswick’s local neighborhoods and the Rutgers campus will serve as a laboratory for teaching skills in the assessment of historic structures. Course discussion will tie these issues and methods to the broader, global preservation movement.
622. Problems in Medieval Art
Index: 32690
TUESDAY 4:00-6:40/VH001, Prof. Kahlaoui
A “city of Islam” or cities of Muslims?
This course will try to approach the issue of the identity/ies of the urban structures in the Islamic World. Using the state of the art scholarship the course would focus on the major studies that shaped this field. At the beginning the study of architectural structures in Islamic settings was directed at individual buildings. When the first attempts of studying the urban fabrics were made the main issue was the pre-requisite of assigning an “essential” identity usually describing such fabrics as “The Islamic City”. Therefore the debate in this field was from the start focused the generic issue of whether or not any urban fabric in the Islamic World would be defined from the point of view of a supposed generic cultural identity somehow related to “Islam”. In the process the city as a “living organism” (not a static form) dependent and influential on a wide variety of relationships (social, economic, and cultural) was undermined. In the same sense this field tended to emphasize Early Islamic examples (7th-10th centuries) at the expense of the later evolving structures, which seems to have deepened the current contrast between the modern cities and their “historical” parts.
Readings: The majority of the readings of this course will be selected from the new and highly acclaimed “The City in the Islamic World” (2 volumes, 2008; one of the editors of the book, Prof. Renata Holod, will speak in Campus this Fall on the issues of our seminar; her talk will be considered as one of the readings). But other earlier readings will be used as well. Most readings will be available in the Art Library’s Reserve or on sakai.
Requirements will include written and oral reports on the readings and a written research paper in addition to a 20 minutes presentation of the topic you chose for your research paper. The possible topics of the research paper could include the more specific topics following the general topics under which the readings are categorized. The deadline of the weekly written reports (5 pages) is Tuesday night. The deadline for choosing a research topic is October 15. The written an oral reports (including participation in class and the 20 minutes presentation) count for %50 of you grade. The paper counts for the other %50. The size of the research paper should be around 15 pages (excluding images and bibliography). Graduate students will have to write a longer research paper (30 pages) with a more thorough bibliographic research.
636. TITIAN
Index: 36775
Tues 1:00-3:40/VH001, Paul
Titian is the central figure in sixteenth-century Venetian art. In his long career he redefined virtually every aspect of Venetian painting including history painting, portraiture, the altarpiece, and ducal votive paintings. Together with Giorgione, he also invented the pastoral and introduced a new, much more open brushwork. This seminar will consider all these aspects within their historical context, discuss Titian’s style in relation to contemporary art theory, and investigate his self-fashioning as the Republic’s “Prince of Painters.” In addition, a main concern will be artistic rivalry, especially Titian’s paragone with Michelangelo.
Requirements will include several short oral reports on specified readings and the object of the student’s research, as well as a written research paper.
642. Problems in Baroque Architecture
Index: 34404
Wednesday 1:00-3:40, Marder
Classical Architecture: Writings from Antiquity through the Baroque.
This course will attempt to give students a sense of the writings of Vitruvius, Alberti, Francesco di Giorgio, Raphael, Serlio, Palladio, Vignola, and others. We will read the treatises as primary sources and study the art historical literature about the authors. In addition, we will evaluate the writings against the evidence of contemporary buildings from antiquity through the baroque era. The course will be conducted as a colloquium and depend on discussion of assigned readings each week. These assignments will be drawn from the treatises and from the literature on them. An oral paper of about 40 minutes’ length and a written paper of about 20 pages will be required. For those interested in purchasing some of the primary texts, a bibliography follows.
Architectural Theory Bibliography
Essential Sources (Selected)
Vitruvius, Ten Books on Architecture, Ingrid Rowland translation, 1999
Alberti, On the Art of Building in Ten books, translated by Joseph Rykwert, Neil Leach, and Robert Tavernor, 1988
Sebastiano Serlio, Sebastiano Serlio on Architecture translated by Vaughan Hart and Peter Hicks, 1996-c2001.
Giacomo Barozzi da Vignola, Canon of the Five Orders of Architecture, translated by Branko Mitrovic, 1999
Andrea Palladio, The Four Books of Architecture, translated by Robert Tavernor and Richard Schofield, 1999
Secondary Literature (Selected)
Ackerman, James S., Origins, Imitation, Conventions, 2002
Hart, Vaughan with Peter Hicks editors, Paper Palaces: the Rise of the Renaissance Architectural Treatises, 1998
Kruft, Hanno-Walter. A History of Architectural Theory: from Vitruvius to the Present, 1994
Payne, Alina, The Architectural Treatise in the Italian Renaissance : Architectural Invention, Ornament, and Literary Culture, 1999
Thoenes, Christof, Architectural Theory from the Renaissance to the Present, 2003
Wiebenson, Dora, Architectural Theory and Practice from Alberti to Ledoux, 1983
658. Problems in Race & Representation
Index: 34405
Thurs 9:50-12:30/VH001, Sheehan
Race and Visual Theory
This graduate seminar will examine ideas about race articulated in critical theories of vision, visuality, and visual media from the nineteenth century to the present. Readings will encompass the fields of art, film, literary, and cultural criticism as well as postcolonial and critical race theory. Weekly themes will include: race science and the arts, Orientalism and visual culture, black feminist visual theory, diaspora and visual culture, the (in)visibility of blackness and whiteness, race and photographic theory, racial performances in contemporary art, race and new media.
698. Exhibition Seminar
Index: 31411
Friday 9:50-12:30/VH001, Puglisi
“Venetian Passion: Renaissance and Baroque Images of the Man of Sorrows in Venice”
This exhibition seminar will offer the chance for students to assist in the preparation of the catalogue for “Venetian Passion,” co-curated by Dr. Puglisi and Dr. Barcham and scheduled to open in February 2011 at the Museum of Biblical Art (MOBIA) in New York City. The “Man of Sorrows” does not appear in the gospels but is an image that visualizes the mystical paradox of Christ’s dual nature as man and god, and the belief in his redemptive sacrifice. Central to European art, the figure is usually depicted in Venetian art as a half-length Christ, standing miraculously upright in the tomb, with his head to one side and his hands over his stomach. The exhibition will trace the development and changing meanings of the Man of Sorrows in Venice and present a variety of works in diverse media dating primarily from the 14th to the 17th century: illuminated manuscripts, early tempera panels, Renaissance canvases, drawings and prints, sculptures, reliefs, liturgical objects, and related works from other Italian and northern European schools. Loans primarily will come from American institutions but several have been requested from Europe. Artists include Tino Da Camaino, Giovanni Bellini, Carlo Crivelli, Bartolommeo Viviarini, Il Moderno, Cristoforo Solari, Albrecht Dürer, Paolo Veronese, Leandro Bassano, Jacopo Tintoretto, Battista Franco, Palma il Giovane and Alessandro Turchi. Three modern works will also be presented to underscore the continued resonance of the theme in art into the present (Cézanne drawing, Manet lithograph, Bill Viola video). Students in the seminar will have the chance to conduct research and write entries on objects in the exhibition for the catalogue. Class visits will be scheduled to visit MOBIA, meet its staff and view the exhibition space and to area museums to study at first hand some of the works that will be in the show. Students will present their research in short oral reports. Knowledge of Italian is desirable but not required.
699. Non-Thesis Study
Index: 21265
by arrangement - Special Permission required
701. Research in Art History
Professor | Section | Index |
| Prof. Brett-Smith | B2 | 26145 | Prof. Flores | F1 | 34415 | Prof. St.Clair Harvey | H1 | 21267 | Prof. Howard | H2 | 30210 | Prof. Kahlaoui | K1 | 34416 | Prof. Kenfield | K2 | 21268 | Prof. Marder | M1 | 21269 | Prof. Marter | M2 | 21270 | Prof. McHam | M3 | 21271 | Prof. Paul | P1 | 30211 | Prof. Puglisi | P2 | 23735 | Prof. Sharp | S1 | 28497 | Prof. Sheehan | S2 | 34417 | Prof. Sidlauskas | S3 | 29275 | Prof. Thuno | T1 | 29276 | Prof. Weigert | W1 | 30212 | Prof. Yanni | Y1 | 26017 | Prof. Zervigon | Z1 | 29227 |
705. Research Proposal
Index: 24504
by arrangement - Special Permission required
If you entered the graduate program:
With a Master’s register for three (3) credits.
Without a Master’s register for six (6) credits.
800. MATRICULATION CONTINUED
Index: 21272
By permission of the Graduate Director
811. GRADUATE FELLOWSHIP
Index: 21273
If you are a fellowship recipient you must register for this course (zero credits).
Fellowship recipients must register for a minimum of 9 credits but no more than 16.
Dissertation fellowship students (ABD’s) may register for less than 12 credits.
866. GRADUATE ASSISTANTSHIP
Index: 21274
If you hold a graduate assistantship in the Zimmerli you must register for this as six “E” credits.
877. TEACHING ASSISTANTSHIP
Index: 21275
If you have been awarded a teaching assistantship, you must register for this as six “E” credits.
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