Andrea Yglesias, Development Officer
212-992-5812 |
City Planning and Urban Design in the 19th and 20th Centuries
Jean-Louis Cohen
Monday 12:30PM-2:30PM, Lecture
The course is devoted to the study of the methods of urban composition designed and used since 1750 in Europe, the Americas and some colonized countries. Specific cities are considered in the process of their emergence, extension or remodeling, from London to Vienna, Berlin, Paris and New York. Forms conceived or produced are related to the critical discourses emerging in response to the Industrial Revolution.
Before the Mughals: New Perspectives on Indo-Islamic Art and Architecture
Barry Flood
Monday 3:00PM-5:00PM, Colloquium
Auditors must have permission from the instructor before registering for this course.
Long seen as the epitome of Indo-Islamic cultural production, Mughal art has been consistently celebrated for its ability to synthesize the formal and aesthetic qualities of Indic and Islamic material culture, in contrast to the more ‘hybrid’ and less plentiful material from earlier periods.
The Multiple Lives of the Work of Art
Philippe de Montebello
Tuesday 10:00AM-12:00PM, Lecture
In this course, the purposes, processes, and ethics of such fundamental tasks as acquisitions, conservation, and interpretation in art museums are examined with particular attention to how the work of art is perceived in its many different guises and contexts. Some museum visits by students may be required.
Greek Art and Architecture II: The Classical Period
Clemente Marconi
Tuesday 3:00PM-5:00PM, Lecture
This course is an introduction to the urbanism, architecture, and visual arts of the Greek world during the Early Classical (480-450), High Classical (450-400) and Late Classical (400-300) periods. While providing a solid background in the art and architecture of this period, this course explores critical questions about the very nature of Classical Art: the status of the artist and of the architect; the conditions and the context for artistic production; patronage; the relation between art and society; the nature of mimesis and the response by the public.
Chinese Art, Western Categories: “Chinese Painting” and the Category of Medium
Jonathan Hay
Wednesday 10:00AM-12:00PM, Colloquium
Please note that this is a special conditions class. To register please contact Andrea Yglesias at andrea.yglesias@nyu.edu or 212-992-5812.
Since the second quarter of the twentieth century, art historians have been engaged in writing a history of Chinese painting. The questions to be explored in this colloquium are a) whether something called Chinese painting ever existed, b) if so, to what degree it corresponds to the Chinese painting of which we have been writing a history, c) how to describe any practices in China that upon closer examination do not fit the Western category of painting as a medium, and d) what is the usefulness of the theoretical concept of medium for the practice of art history today?
Northern Art as Experience, 1400-1550
Colin Eisler
Wednesday 10:00AM-12:00PM, Lecture
Exploration of major Netherlandish, French, Swiss and German artists’ contribution to the Transalpine visual achievements from later medieval concerns to times of Italian Renaissance input and Protestantism’s rise.
Before and After the Mongol Invasions: The Near East in the 13th to 15th Centuries
Priscilla Soucek
Wednesday 12:30PM-2:30PM, Lecture
This course will examine the artistic and architectural traditions of Iraq, Iran, and Central Asia during the period from 1200 to 1500. It will consider the development of architecture as well as the portable arts that include manuscripts, metalwork and ceramics.
Autonomy and Dependence, Artist or Artisan? The Extraordinary Community of Deir el Medineh
David O’Connor
Wednesday 3:00PM-5:00PM, Lecture
Over the millennia, Egypt produced enormous amounts of art -sculpture; reliefs and paintings on temple, palace and tomb chapel walls; and architecture which referenced landscape and cosmos in form. Aesthetic and technological qualities varied greatly, but much of the art and architecture reached levels applauded by art historians. Yet, who were the artists who visualized and executed these countless works of art, and to what degree were they autonomous creators and to what degree responsive to the expectations and superior knowledge of patrons, both individual and institutional? When styles changed, who were the prime movers, artists or patrons? Recommended reading; Morris Biebrier; The Tomb-builders of the Pharaohs (1982).
Photography and Facticity
Robert Slifkin
Thursday 12:30PM-2:30PM, Lecture
As a visual technology predicated on a physical and instantaneous encounter with a depicted subject, the practice of photography is often considered to contain an inherent objectivity unavailable in many other modes of visual representation. This course will survey the various ways in which this rhetoric of impartiality and immediacy has been marshaled throughout the history of the medium as a means to invest certain images, whether manifestly documentary or more purely aesthetic, with a degree of referential certitude and/or formal, philosophical, and expressive objectivity.
Contemporary Women Artists
Linda Nochlin
Thursday 3:00PM-5:00PM, Colloquium
Auditors must have permission from the instructor before registering for this course.
We look at the work of a select group of living women artists, in a variety of media, discuss their work, their position in the contemporary art world, and, if possible, visit their studios and/or exhibitions of their work. Among the artists considered might be: Cecily Brown, Kathleen Gilje, Joan Jonas, Martha Rossler, Deborah Kass, Kara Walker, and many others, some less well known.
Rome North of the Alps
Güenter Kopcke
Friday 10:00am-12:00pm, Lecture
The course envisions Caesar’s Gaul returning into Europe by way of a prolonged Roman occupation, and then by a Church instrumentalizing the might of Germanic usurpers. The course has three parts: the first covers Celtic Mediterranean forays, ‘heroic’ art, and progressive oppidum civilization. The second focuses on Rome’s colonial administration, stressing Roman civic identity Roman law, and connectedness, if not integration, beyond tribal bonds, worldwide. The third covers the transformation of Franks into Merovingians, allowing the Church, instructed by Rome, to chart a new imperial path. Although a turning point is reached with Clovis’ baptism at Reims in AD 496, it is Gregory of Tours (d. AD 594) and Pope Gregory the Great (d. AD 604) whose lives and writings provide the outer frame.
