Title Instructor Location Time All taxonomy terms Description Section Description Cross Listings Fulfills Registration Notes Syllabus Syllabus URL Course Syllabus URL
ARTH 100-301 FRESHMAN SEMINAR: The Afterlife of Things (Arts @ Penn) OUSTERHOUT, ROBERT CANCELED Topic varies. Spring 2016: This course will explore a series of essential yet overlooked moments in the history of the post-1960 American avant-garde that expand our conception of art, objecthood, and arts institutions. In particular, we will revisit three artworks that were never completed by the artists during their lifetimes--Dennis Oppenheim's unfinished work "Protection," Lebbeus Woods' "Tales from the Tectonic Forest," and Kryzsztof Wodiczko's "City Hall Tower Illumination"--all of which raise fundamental questions concerning authorship, preservation, and cultural responsibility. In addition to studying these works, the students will be invited to interact with artists, estates, scholars, curators, educators and historians to research how these past artworks might be curatorially restaged and installed at Slought and Penn in late Spring 2016. Through their participation, the students will give these works new social, cultural and political resonance and help grant the works a further or secondary life.

    FOR FRESHMEN ONLY; FRESHMAN SEMINAR; FRESHMAN SEMINAR

    ARTH 101-001 PREHISTORY - RENAISSANCE: INTRO TO WESTERN ART OUSTERHOUT, ROBERT ANNENBERG SCHOOL 111 MW 1100AM-1200PM This is a double introduction: to looking at the visual arts; and, to the ancient and medieval cities and empires of three continents - ancient Egypt, the Middle East and Iran, the Minoan and Mycenaean Bronze Age, the Greek and Roman Mediterranean, and the early Islamic, early Byzantine and western Medieval world. Using images, contemporary texts, and art in our city, we examine the changing forms of art, architecture and landscape architecture, and the roles of visual culture for political, social and religious activity.
      Arts & Letters Sector (all classes)

      SECTION ACTIVITY CO-REQUISITE REQUIRED; CROSS CULTURAL ANALYSIS; ARTS & LETTERS SECTOR; CROSS-CULTURAL ANALYSIS

      ARTH 101-601 Introduction to Western Art & Civilization: Prehistory to Renaissance MEIBERG, LINDA MEYERSON HALL B6 TR 0530PM-0700PM This is a double introduction: to looking at the visual arts; and, to the ancient and medieval cities and empires of three continents - ancient Egypt, the Middle East and Iran, the Minoan and Mycenaean Bronze Age, the Greek and Roman Mediterranean, and the early Islamic, early Byzantine and western Medieval world. Using images, contemporary texts, and art in our city, we examine the changing forms of art, architecture and landscape architecture, and the roles of visual culture for political, social and religious activity.
        Arts & Letters Sector (all classes)

        CROSS CULTURAL ANALYSIS; ARTS & LETTERS SECTOR; CROSS-CULTURAL ANALYSIS

        ARTH 104-401 INTRO TO ART IN S. ASIA MEISTER, MICHAEL JAFFE BUILDING B17 TR 1200PM-0130PM This course is a survey of sculpture, painting and architecture in the Indian sub-continent from 2300 B.C., touching on the present. It attempts to explore the role of tradition in the broader history of art in India, but not to see India as 'traditional' or unchanging. The Indian sub-continent is the source for multi-cultural civilizations that have lasted and evolved for several thousand years. Its art is as rich and complex as that of Europe and diverse. This course introduces the full range of artistic production in India in relation to the multiple strands that have made the cultural fabric of the sub-continent so rich and long lasting.
        • SAST200401
        • SAST500401
        • VLST234401
        Arts & Letters Sector (all classes)

        ARTS & LETTERS SECTOR

        ARTH 106-001 ARCHITECT AND HISTORY HASELBERGER, LOTHAR STITELER HALL B26 MWF 0100PM-0200PM Human experience is shaped by the built environment. This course introduces students to the interrelated fields of architecture, art history, and engineering and explores great architectural monuments from the ancient to the modern period, from India across the Mediterranean and Europe to the US. The focus will be on understanding these works in their structure and function, both as products of individual ingenuity and reflections of Zeitgeist. Questioning these monuments from a present-day perspective across the cultures will be an important ingredient, as will be podium discussions, guest lectures, excursions, and all kinds of visualizations, from digital walk-throughs to practical design exercises. Regularly taught in fall term, this course fulfills Sector IV, Humanities and Social Science, and it satisfies History of Art 100-level course requirements. There is only ONE recitation in this course, attached directly to Friday's class at 2-3 p.m., in order to provide sufficient time for practica and field trips.
          Hum & Soc Sci Sector (new curriculum only)

          SECTION ACTIVITY CO-REQUISITE REQUIRED; HUMANITIES & SOCIAL SCIENCE SECTOR; SENIOR ASSOCIATES

          ARTH 108-401 WORLD FILM HIST TO 1945 MAZAJ, META FISHER-BENNETT HALL 401 TR 1030AM-1200PM This course surveys the history of world film from cinema's precursors to 1945. We will develop methods for analyzing film while examining the growth of film as an art, an industry, a technology, and a political instrument. Topics include the emergence of film technology and early film audiences, the rise of narrative film and birth of Hollywood, national film industries and movements, African-American independent film, the emergence of the genre film (the western, film noir, and romantic comedies), ethnographic and documentary film, animated films, censorship, the MPPDA and Hays Code, and the introduction of sound. We will conclude with the transformation of several film industries into propaganda tools during World War II (including the Nazi, Soviet, and US film industries). In addition to contemporary theories that investigate the development of cinema and visual culture during the first half of the 20th century, we will read key texts that contributed to the emergence of film theory. There are no prerequisites. Students are required to attend screenings or watch films on their own.
          • CINE101401
          • COML123401
          • ENGL091401
          Arts & Letters Sector (all classes)

          ARTS & LETTERS SECTOR

          ARTH 109-401 WORLD FILM HIST '45-PRES CORRIGAN, TIMOTHY FISHER-BENNETT HALL 401 TR 0900AM-1030AM Focusing on movies made after 1945, this course allows students to learn and to sharpen methods, terminologies, and tools needed for the critical analysis of film. Beginning with the cinematic revolution signaled by the Italian Neo-Realism (of Rossellini and De Sica), we will follow the evolution of postwar cinema through the French New Wave (of Godard, Resnais, and Varda), American movies of the 1950s and 1960s (including the New Hollywood cinema of Coppola and Scorsese), and the various other new wave movements of the 1960s, 1970s and 1980s (such as the New German Cinema). We will then selectively examine some of the most important films of the last two decades, including those of U.S. independent film movement and movies from Iran, China, and elsewhere in an expanding global cinema culture. There will be precise attention paid to formal and stylistic techniques in editing, mise-en-scene, and sound, as well as to the narrative, non-narrative, and generic organizations of film. At the same time, those formal features will be closely linked to historical and cultural distinctions and changes, ranging from the Paramount Decision of 1948 to the digital convergences that are defining screen culture today. There are no perquisites. Requirements will include readings in film history and film analysis, an analytical essay, a research paper, a final exam, and active participation. Fulfills the Arts and Letters Sector (All Classes).
          • CINE102401
          • ENGL092401
          Arts & Letters Sector (all classes)

          ARTS & LETTERS SECTOR

          ARTH 141-401 POLICY,MUSEUMS&CUL HERIT LEVENTHAL, RICHARD UNIVERSITY MUSEUM 345 TR 1030AM-1200PM This course will focus upon and examine the ethics of international heritage and the role that Museums play in the preservation of identity and cultural heritage. The mission of this course will be to inform and educate students about the role of Museums within the 21st century. What is the role and position of antiquities and important cultural objects in Museums? How should Museums acquire these objects and when should they be returned to countries and cultural groups? Examples from current issues will be included in the reading and discussions along with objects and issues within the Penn Museum.
          • ANTH141401
          ARTH 210-601 SILK ROAD/EARLY GLOBALIZ WU, XIN CANCELED This undergraduate course considers the history of the ancient world through the lens of the so-called Silk Routes, which linked the entire Old World in the antiquity. The course examines--with a focus on cultural interactions-- trade, religion, art, and technology, as well as other means through which the West encountered the East and based on which early globalizations formed and dissolved during the course of four thousand years (from the third millennium BCE to the Mongol period in the thirteenth to fourteenth centuries CE). It also tackles such questions as the myths shrouding the Silk Routes and the mystification of certain places and people in both the East and the West and how they came into being. Over the course of the semester, students will have a chance to work with the objects from the collection of the Penn Museum.
            ARTH 213-401 ARTS OF JAPAN DAVIS, JULIE JAFFE BUILDING B17 TR 1030AM-1200PM This course introduces the major artistic traditions of Japan, from the Neolithic period to the present, and teaches the fundamental methods of the discipline of art history. Special attention will be given to the places of Shinto, the impact of Buddhism, and their related architectures and sculptures; the principles of narrative illustration; the changing roles of aristocratic, monastic, shogunal and merchant patronage; the formation of the concept of the artist over time; and the transformation of tradition in the modern age.
            • ARTH613401
            • EALC157401
            • EALC557401

            CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS

            ARTH 214-401 ARTS OF CHINA STEINHARDT, NANCY WILLIAMS HALL 723 MW 1100AM-1200PM The goals of this course are to introduce the major artistic traditions of China, from the Neolithic period to the present and to teach the fundamental methods of the discipline of art history. Our approaches will be chronological, considering how the arts developed in and through history, and thematic, discussing how art and architecture were used for philosophical, religious and material ends. Topics of study will include; Shang bronzes: Han concepts of the afterlife; the impact of Buddhism; patronage and painting; the landscape tradition; the concept of the literatus; architecture and garden design; the "modern" and 20th-century artistic practices; among others.
            • ARTH614401
            • EALC127401
            • EALC527401

            SECTION ACTIVITY CO-REQUISITE REQUIRED; CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS

            ARTH 227-401 Introduction to Mediterranean Archaeology TARTARON, THOMAS CLAUDIA COHEN HALL 337 MW 1100AM-1200PM Many of the world's great ancient civilizations flourished on the shores of the Mediterranean Sea: the Egyptians, the Minoans and Mycenaeans, the Greeks and Romans, just to name a few. In this course, we focus on the ways that archaeologists recover and interpret the material traces of the past, working alongside natural scientists, historians and art historians, epigraphers and philologists, and many others.
            • ANTH111401
            • CLST111401
            History & Tradition Sector (all classes)

            CROSS CULTURAL ANALYSIS; HISTORY & TRADITION SECTOR; CROSS-CULTURAL ANALYSIS

            ARTH 230-401 THE MATERIAL WORLD IN ARCHAEOLOGICAL SCIENCE BOILEAU, MARIE-CLAUDE
            DIBBLE, HAROLD
            UNIVERSITY MUSEUM 190 TR 1030AM-1200PM By focusing on the scientific analysis of inorganic archaeological materials, this course will explore processes of creation in the past. ANTH 221 will take place in the new Center for the Analysis of Archaeological Materials (CAAM) and will be team taught in three modules: analysis of lithics, analysis of ceramics and analysis of metals. Each module will combine laboratory and classroom exercises to give students hands-on experience with archaeological materials. We will examine how the transformation of materials into objects provides key information about past human behaviors and the socio-economic contexts of production, distribution, exchange and use. Discussion topics will include invention and adoption of new technologies, change and innovation, use of fire, and craft specialization.
            • ANTH221401
            • ANTH521401
            • CLST244401
            • NELC284401
            • NELC584401

            CONTACT DEPT or INSTRUCTOR FOR CLASSRM INFO

            ARTH 237-401 BERLIN: HIST POL CULTURE WEISSBERG, LILIANE STITELER HALL B21 TR 1030AM-1200PM What do you know about Berlin's history, architecture, culture, and political life? The present course will offer a survey of the history of Prussia, beginning with the seventeenth century, and the unification of the small towns of Berlin and koelln to establish a new capital for this country. It will tell the story of Berlin's rising political prominence in the eighteenth century, its transformation into an industrial city in the late nineteenth century, its rise to metropolis in the early twentieth century, its history during the Third Reich, and the post-war cold war period. The course will conclude its historical survey with a consideration of Berlin's position as a capital in reunified Germany. The historical survey will be supplemented by a study of Berlin's urban structre, its significant architecture from the eighteenth century (i.e. Schinkel) to the nineteenth (new worker's housing, garden suburbs) and twentieth centuries (Bauhaus, Speer designs, postwar rebuilding, GDR housing projects, post-unification building boom). In addition, we wil ready literary texts about the city, and consider the visual art and music created in and about Berlin. Indeed, Berlin will be a specific example to explore German history and cultural life of the last 300 years. The course will be interdisciplinary with the fields of German Studies, history, history of art, and urban studies. It is also designed as a preparation for undergraduage students who are considering spending a junior semester with the Penn Abroad Program in Berlin.
            • COML237401
            • GRMN237401
            • HIST237401
            • URBS237401
            Hum & Soc Sci Sector (new curriculum only)

            SECTION ACTIVITY CO-REQUISITE REQUIRED; HUMANITIES & SOCIAL SCIENCE SECTOR

            ARTH 240-401 MEDIEVAL ART JUNG, TANYA JAFFE BUILDING 113 TR 0300PM-0430PM An introductory survey, this course investigates painting, sculpture, and the "minor arts" of the Middle Ages. Students become familiar with selected major monuments of the Late Antique, Byzantine, Carolingian, Romanesque, and Gothic periods, as well as primary textual sources. Analysis of works emphasizes the cultural context, the thematic content, and the function of objects. Discussions focus especially on several key themes: the aesthetic status of art and the theological role of images; the revival of classical models and visual modes; social rituals such as pilgrimage and crusading; the cult of the Virgin and the status of women in art; and, more generally, the ideology of visual culture across the political and urban landscapes.
            • AAMW640401
            • ARTH640401

            CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS

            ARTH 254-401 GLOBAL RENAISSANCE/BAROQ KIM, DAVID JAFFE BUILDING 104 TR 0900AM-1030AM An introduction to transcultural encounters within and beyond early modern Europe, 1450-1600. Topics include: the theory and historiography of global art; artistic relations between Venice, the Byzantine and Ottoman Empires, and islands in the Eastern Mediterranean; Portugal's overseas mercantile network in Africa and Asia; and the Baroque in Latin America, with emphasis upon Brazil. Our discussions focus on these paradigmatic case studies so as to question the language and terms we use to characterize confrontations between native and foreign, the self and the other.
            • ARTH654401
            ARTH 260-401 JEWISH ART SILVER, LARRY JAFFE BUILDING B17 MWF 1000AM-1100AM Jewish Art provides a survey of art made by and for Jews from antiquity to the present. It will begin with ancient synagogues and their decoration, followed by medieval manuscripts. After a discussion of early modern representation of Jews in Germany and Holland (esp. Rembrandt), it focuses most intently on the past two centuries in Europe, American, and finally Israel and on painting and sculpture as Jewish artists began to pursue artistic careers in the wider culture. No prerequisites or Jewish background assumed.
            • ARTH660401
            • JWST266401
            ARTH 274-601 FACING AMERICA SANDERS, SOPHIE JAFFE BUILDING B17 T 0430PM-0730PM This course explores the visual history of race in the United States as both self-fashioning and cultural mythology by examining the ways that conceptions of Native American, Latino, and Asian identity, alongside ideas of Blackness and Whiteness, have combined to create the various cultural ideologies of class, gender, and sexuality that remain evident in historical visual and material culture. We also investigate the ways that these creations have subsequently helped to launch new visual entertainments, including museum spectacles, blackface minstrelsy, and early film, from the colonial period through the 1940s.

              CULTURAL DIVERSITY IN US; CULTURAL DIVERSITY IN THE US

              ARTH 276-401 IMPRESSIONISM DOMBROWSKI, ANDRE STITELER HALL B21 MW 0200PM-0300PM Impressionism opened the pictorial field to light, perception, science, modernity, bourgeoise leisure and famously the material qualities of paint itself. This course will survey the movement's major contexts and proponents--Manet, Monet, Morisot, Cezanne, Gauguin, Van Gogh, Rodin--from its origins in the 1860's to its demise in the 1890's, as well as its subsequent adaptions throughout the world until World War I. Particular attention is paid to the artists' critical reception and the historical conditions which allowed one nation, France, to claim the emergence of early Modernism so firmly for itself. The course also analyzes the effects of the rapidly changing social and cultural fabric of Paris, and its affects on artistic developments. We also look outside of France's borders to Germany and Britain.
              • ARTH676401

              SECTION ACTIVITY CO-REQUISITE REQUIRED; CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS

              ARTH 278-401 AMERICAN ART LEJA, MICHAEL TOWNE BUILDING 319 TR 0130PM-0300PM This course surveys the most important and interesting art produced in the United States (or by American artists living abroad) up through the 1950s. This period encompasses the history of both early and modern art in the U.S., from its first appearances to its rise to prominence and institutionalization. While tracking this history, the course examines art's relation to historical processes of modernization (industrialization, the development of transportation and communications, the spread of corporate organization in business, urbanization, technological development, the rise of mass media and mass markets, etc.) and to the economic polarization, social fragmentation, political conflict, and the cultural changes these developments entailed. In these circumstances, art is drawn simultaneously toward truth and fraud, realism and artifice, science and spirituality, commodification and ephemerality, nationalism and cosmopolitanism, individualism and collectivity, the past and the future, professionalization and popularity, celebrating modern life and criticizing it.
              • ARTH678401

              SECTION ACTIVITY CO-REQUISITE REQUIRED; CULTURAL DIVERSITY IN US; CULTURAL DIVERSITY IN THE US

              ARTH 286-401 MDRN ART:PICASSO-POLLOCK POGGI, CHRISTINE JAFFE BUILDING B17 MWF 1200PM-0100PM Early twentieth-century art in Europe is marked by a number of exciting transformations. This period witnessed the rise of abstraction in painting and sculpture, as well as the inventions of collage, photomontage, constructed sculpture, the ready made and found object, and performance art. Encounters with the arts of Africa, Oceania and other traditions unfamiliar in the West spurred innovations in media, technique, and subject matter. Artists began to respond to the challenge of photography, to organize themselves into movements, and in some cases, to challenge the norms of art through "anti-art." A new gallery system replaced traditional forms of exhibiting and selling art, and artists took on new roles as publicists, manifesto writers, and exhibition organizers. This course examines these developments, with attention to formal innovations as well as cultural and political contexts.
              • ARTH686401

              SECTION ACTIVITY CO-REQUISITE REQUIRED

              ARTH 289-401 TOPICS FILM STUDIES: AMERICAN INDEPENDENTS MAZAJ, META FISHER-BENNETT HALL 201 TR 0130PM-0300PM This course is an exploration of multiple forces that explain the growth, global spread and institutionalization of international film festivals. The global boom in film industry has resulted in an incredible proliferation of film festivals taking place all around the world, and festivals have become one of the biggest growth industries. A dizzying convergence site of cinephilia, media spectacle, business agendas and geopolitical purposes, film festivals offer a fruitful ground on which to investigate the contemporary global cinema network. Film festivals will be approached as a site where numerous lines of the world cinema map come together, from culture and commerce, experimentation and entertainment, political interests and global business patterns. To analyze the network of film festivals, we will address a wide range of issues, including historical and geopolitical forces that shape the development of festivals, festivals as an alternative marketplace, festivals as a media event, programming/agenda setting, prizes, cinephilia, and city marketing. Individual case studies of international film festivals-Cannes, Berlin, Venice, Rotterdam, Karlovy Vary, Toronto, Sundance among others-will enable us to address all these diverse issues but also to establish a theoretical framework with which to approach the study of film festivals. For students planning to attend the Penn-in-Cannes program, this course provides an excellent foundation that will prepare you for the on-site experience of the King of all festivals.
              • CINE202401
              • COML292401
              • ENGL292401
              ARTH 296-601 Introduction to Contemporary Art: 1945-Present PINAR, EKIN WILLIAMS HALL 202 R 0500PM-0800PM Many people experience the art of our time as bewildering, shocking, too ordinary (my kid could do that), too intellectual (elitist), or simply not as art. Yet what makes this art engaging is that it raises the question of what art is or can be, employs a range of new materials and technologies, and addresses previously excluded audiences. It invades non-art spaces, blurs the boundaries between text and image, document and performance, asks questions about institutional frames (the museum, gallery, and art journal), and generates new forms of criticism. Much of the "canon" of what counts as important is still in flux, especially for the last twenty years. And the stage is no longer centered only on the United States and Europe, but is becoming increasingly global. The course will introduce students to the major movements and artists of the post-war period, with emphasis on social and historical context, critical debates, new media, and the changing role of the spectator/participant.
                ARTH 300-301 UNDERGRAD METHODS SEM: Undergraduate Methods Seminar POGGI, CHRISTINE JAFFE BUILDING 104 T 0300PM-0600PM Topic varies.

                  PERMISSION NEEDED FROM INSTRUCTOR

                  ARTH 301-401 UNDERGRADUATE SEMINAR: THE SEDUCTION OF POWER LEVY, AARON FISHER-BENNETT HALL 201 MW 0330PM-0500PM Topic varies.
                  • CINE263401
                  • ENGL263401
                  ARTH 313-301 TOPICS IN E. ASIAN ART: Contemporary Art in East Asia & The World (Venice) DAVIS, JULIE MEYERSON HALL B5 T 0130PM-0430PM Topic varies.

                    PERMISSION NEEDED FROM INSTRUCTOR

                    ARTH 317-402 GREAT MONUMENTS OF INDIA SOHONI, PUSHKAR CANCELED C.U. in India is a hybrid, domestic/overseas course series which provides students with the opportunity to have an applied learning and cultural experience in India. The 2-CU course requires: 1) 15 classroom hours at Penn in the Fall term 2) A 12-Day trip to India with the instructor during the winter break to visit key sites and conduct original research (sites vary) 3) 15 classroom hours at Penn in the Spring term and 4) A research paper, due at the end of the spring term. Course enrollment is restricted to students admitted to the program. For more information, and the program application, go to http://sites.sas.upenn.edu/cuinindia
                    • SAST217402
                    • SAST517402

                    CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS

                    ARTH 321-301 TOPICS IN GREEK/ROM ART: Ancient Art in the Modern Museum BROWNLEE, ANN JAFFE BUILDING 104 W 0330PM-0630PM Topic varies. Fall 2015: We will survey the great 19th century European and American collections of classical art, both public and private. We will consider the provenance and display of these collections, as well as the collectors, both institutions and individuals. This will form the background to our consideration of the formation of the classical collection in the University of Pennsylvania Museum. Much of this material comes from archaeological excavations, but we will consider the many collections, formed in the late 19th century and often by prominent Philadelphians, which were given to the Museum. This is an object-based learning course, and the Museum's classical collection will serve as an important resource, as will the documentation preserved in both the Museum's Archives and in archival repositories throughout the city.
                      ARTH 368-301 TOPICS IN 18TH CENT ART: Rococo and Its Aftermath, 1715-2015 GREWE, CORDULA JAFFE BUILDING B17 R 0300PM-0600PM Topic varies. Fall 2015: Think the Palace of Versailles, brocade, lavishly flowing embellishments, shell-like and watery forms and endless sinuous curves, towering hair-dos, and sensuous pastel portraits. The Rococo is back, in art, art history, and popular culture. Yet it has lost nothing of its vexing nature. For two centuries now, critics have struggled to define Rococo and often found themselves in complete contradiction, either altogether denying its status as a style or claiming that it is not merely an ornamental style, but a style capable of suffusing all spheres of art. At the same time, its reputation has suffered from the powerful critique of its Enlightenment detractors, like the French critic and figurehead of the Enlightenment Denis Diderot, who huffed in 1771 with an eye on Francois Boucher, that its success rested alone on "the libertinage, the brilliancy, the pompons, the bosoms and bottoms" that proliferated in Rococo canvases. This class will examine the rise and revival of the Rococo idiom from an international perspective and will also focus on issues of media/design, patronage and gender, new modes of display and the formation of modern museum culture, and last but not least, transnational patterns of circulation. The class will also discuss the revival that the Rococo has experienced from the 19th century to the present.
                        ARTH 387-401 TOPICS IN ANIMATION: CONTEMPORARY ISSUES IN AMERICAN ANIMATION SIMENSKY, LINDA JAFFE BUILDING B17 M 0430PM-0730PM This topic course explores multiple and different aspects of Animation. Specific course topics vary from year to year. See the Cinema Studies website at <http://cinemastudies.sas.upenn.edu/> for a description of the current offerings. Fall 2015: This course will look at American animation as an art form, a technology and an industry. We will explore the ways in which artistic, technical, historical, and cultural conditions shape the development of animation and in turn, how animation impacts viewers. Topics will include trends in animation and their relation to contemporary popular culture, issues of art versus commerce in the creation of cartoons, the intersection of animation and politics, and shifts in style and technique throughout the years. We will look at the figures in animation who have shaped the art form and continue to influence it, the rise in animation's popularity, and current-day applications of animated imagery. Case studies will include Pixar, Walt Disney, UPA, television cartoons, stop motion animation, and the movie, "Who Framed Roger Rabbit".
                        • CINE320401
                        • ENGL302401
                        ARTH 501-301 CURATORIAL SEMINAR: The Pennsylvania Academy and the Expanding Audience for Art LEJA, MICHAEL JAFFE BUILDING 104 F 1100AM-0200PM Curatorial seminars expose students to the complexity of studying and working with objects in the context of public display. With the guidance of faculty and museum professionals, students learn what it means to curate an exhibition, create catalogues and gallery text, and/or develop programming for exhibitions of art and visual/material culture. Fall 2015: The outcome of this seminar will be an exhibition of works of art drawn from the exceptional collection of the Pennsylvania Academy of Fine Arts, one of the earliest art institutions in the country; the exhibition will be displayed on Penn's campus at the Arthur Ross Gallery during the spring of 2016. We will study the history of PAFA, both as museum and as art school, focusing on the long 19th century, when the faculty and students included some of the most important artists in the country. Many of these artists--such as Rembrandt Peale, Thomas Sully, Christian Schussele, John Sartain, Alice Barber Stephens, William Glackens, Violet Oakley, John Sloan, and Maxfield Parrish, to name a few--were influential in expanding the audience for art by adapting fine art traditions to new media, venues, and formats capable of wide appeal and distribution. The work of the seminar will be to identify a group of works that can effectively tell this story in a small exhibition and also to develop appropriate display strategies, wall labels, publicity materials, and catalogue entries. Students will be responsible for conducting original research using the PAFA collections and relevant archives and for preparing educational and publicity materials for the exhibition. A significant portion of our meetings with be held at the Pennsylvania Academy. Spring 2015: Practiced in almost all ancient cultures, magic offered ways of managing or understanding the present, controlling supernatural agencies, and seeing the future. The objects and images associated with magical practices are rich and varied and are well represented in the University of Pennsylvania Museum. The aim of the seminar is to prepare an exhibit on magic and divination, working with the archaeological collections of the UPM, specifically the Ancient Near Eastern, Egyptian, and Mediterranean sections. It will include objects such as amulets, curse tablets, incantation bowls, and magical papyri, as well as images representing magical practices. Participating students will select and research objects and prepare wall texts for the exhibit.
                          ARTH 503-640 Is there another New Art History? Case Studies in Digital Art History PASTORE, CHRISTOPHER 3440 MARKET STREET 1ST-A W 0600PM-0840PM Topic varies.
                            ARTH 519-640 The African City: Architecture, Art, and Tradition CANCELED This seminar investigates critical issues in Africa's rich urban centers. Architecture, city planning, spatial framing, popular culture, and new art markets will be analyzed. You will learn about major middle ages African cities, as well as about Western colonial city planning in the continent. You will look at the process of decolonization in Africa and discuss the development of contemporary urban centers in the continent. Particular attention will be given to the role of traditional architecture and art in expressing and shaping ideas about space and identity in the African city. These themes will be explored in a series of lectures, readings, discussions, and assignments where architectural history, art, literature, anthropology, photography, and the analysis of documentary films will be interwoven to provide the basis for further interdisciplinary forays into the African city.
                              ARTH 520-401 TOPICS IN AEG BRONZE AGE: MINOAN RELIGION SHANK, ELIZABETH FURNESS BUILDING DSR R 0130PM-0430PM Topic varies. Fall 2015: Minoan Religion is one of the most evocative topics in the study of the Aegean Bronze Age. In this class we will examine what art can tell us about religion in a prehistoric culture. Minoan art and architecture will be studied with several questions in mind: 1) In what ways do the Minoan palaces function as religious centers? 2) How does Minoan Religion change with the rise and fall of the palaces on Crete? 3) What can iconographically rich scenes from wall paintings, carved seals and stone vessels, and gold signet rings tell us about religious activities? We will also study theories that have been proposed about the ritual action of the Minoans, a people known for their artistic excellence and ambiguous images. Students will write a short paper on a specific artifact from the Aegean Bronze Age. This paper will be presented to the class. We will have class discussions of assigned readings, and a research paper will be turned in at the end of the semester.
                              • AAMW520401
                              ARTH 560-402 TOPICS IN AESTHETICS: WALTER BENJAMIN WEISSBERG, LILIANE VAN PELT LIBRARY 626 T 0300PM-0500PM
                              • COML582402
                              • GRMN580402
                              • JWST582402
                              • PHIL480402
                              ARTH 565-301 TOPICS IN N BAROQUE ART: RUBENS AND MYTHOLOGY SILVER, LARRY JAFFE BUILDING 113 W 0330PM-0630PM Topic varies. Fall 2015: Built around an exhibition at the Philadelphia Museum of Art, focused on the "Prometheus" by Peter Paul Rubens, this seminar will investigate the range of painted and sculpted works on Greco-Roman myths in European art and will also investigate the career of Peter Paul Rubens, particularly concerning myths.

                                UNDERGRADUATES NEED PERMISSION

                                ARTH 578-301 TPCS IN 19TH C AMER ART: American Decorative Arts from 1650 to 1900 BARQUIST, DAVID R 0300PM-0600PM Topic varies. Fall 2015: This course will provide a survey of media traditionally grouped under the category of decorative arts furniture, silver, ceramics, glass made in the United States from the beginnings of European settlement to the end of the nineteenth century. The class format will be part lecture and part discussion, the latter centered on close examination of objects from the collection of the Philadelphia Museum of Art. When possible, the discussion will focus on objects made in Pennsylvania and especially Philadelphia, emphasizing the city and region's central role over three centuries of American art history. Different methodologies of approaching object study will also be explored. No prior knowledge of the subject is expected.

                                  CONTACT DEPT or INSTRUCTOR FOR CLASSRM INFO

                                  ARTH 613-401 ARTS OF JAPAN DAVIS, JULIE JAFFE BUILDING B17 TR 1030AM-1200PM This course introduces the major artistic traditions of Japan, from the Neolithic period to the present, and teaches the fundamental methods of the discipline of art history. Special attention will be given to the places of Shinto, the impact of Buddhism, and their related architectures and sculptures; the principles of narrative illustration; the changing roles of aristocratic, monastic, shogunal and merchant patronage; the formation of the concept of the artist over time; and the transformation of tradition in the modern age.
                                  • ARTH213401
                                  • EALC157401
                                  • EALC557401

                                  CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS

                                  ARTH 614-401 ARTS OF CHINA STEINHARDT, NANCY WILLIAMS HALL 723 MW 1100AM-1200PM The goals of this course are to introduce the major artistic traditions of China, from the Neolithic period to the present and to teach the fundamental methods of the discipline of art history. Our approaches will be chronological, considering how the arts developed in and through history, and thematic, discussing how art and architecture were used for philosophical, religious and material ends. Topics of study will include: Shang bronzes: Han concepts of the afterlife; the impact of Buddhism; patronage and painting; the landscape tradition; the concept of the literatus; architecture and garden design; the "modern" and 20th-century artistic practices; among others.
                                  • ARTH214401
                                  • EALC127401
                                  • EALC527401

                                  SECTION ACTIVITY CO-REQUISITE REQUIRED; CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS

                                  ARTH 640-401 MEDIEVAL ART JUNG, TANYA JAFFE BUILDING 113 TR 0300PM-0430PM An introductory survey, this course investigates painting, sculpture, and the "minor arts" of the Middle Ages. Students become familiar with selected major monuments of the Late Antique, Byzantine, Carolingian, Romanesque, and Gothic periods, as well as primary textual sources. Analysis of works emphasizes the cultural context, the thematic content, and the function of objects. Discussions focus especially on several key themes: the aesthetic status of art and the theological role of images; the revival of classical models and visual modes; social rituals such as pilgrimage and crusading; the cult of the Virgin and the status of women in art; and, more generally, the ideology of visual culture across the political and urban landscapes.
                                  • AAMW640401
                                  • ARTH240401

                                  CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS

                                  ARTH 654-401 GLOBAL RENAISSANCE/BAROQ KIM, DAVID JAFFE BUILDING 104 TR 0900AM-1030AM An introduction to transcultural encounters within and beyond early modern Europe, 1450-1600. Topics include: the theory and historiography of global art; artistic relations between Venice, the Byzantine and Ottoman Empires, and islands in the Eastern Mediterranean; Portugal's overseas mercantile network in Africa and Asia; and the Baroque in Latin America, with emphasis upon Brazil. Our discussions focus on these paradigmatic case studies so as to question the language and terms we use to characterize confrontations between native and foreign, the self and the other.
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                                  ARTH 660-401 JEWISH ART SILVER, LARRY JAFFE BUILDING B17 MWF 1000AM-1100AM Jewish Art provides a survey of art made by and for Jews from antiquity to the present. It will begin with ancient synagogues and their decoration, followed by medieval manuscripts. After a discussion of early modern representation of Jews in Germany and Holland (esp. Rembrandt), it focuses most intently on the past two centuries in Europe, American, and finally Israel and on painting and sculpture as Jewish artists began to pursue artistic careers in the wider culture. No prerequisites or Jewish background assumed.
                                  • ARTH260401
                                  • JWST266401
                                  ARTH 676-401 IMPRESSIONISM DOMBROWSKI, ANDRE STITELER HALL B21 MW 0200PM-0300PM Impressionism opened the pictorial field to light, perception, science, modernity, bourgeoise leisure and famously the material qualities of paint itself. This course will survey the movement's major contexts and proponents--Manet, Monet, Morisot, Cezanne, Gauguin, Van Gogh, Rodin--from its origins in the 1860's to its demise in the 1890's, as well as its subsequent adaptions throughout the world until World War I. Particular attention is paid to the artists' critical reception and the historical conditions which allowed one nation, France, to claim the emergence of early Modernism so firmly for itself. The course also analyzes the effects of the rapidly changing social and cultural fabric of Paris, and its affects on artistic developments. We also look outside of France's borders to Germany and Britain.
                                  • ARTH276401

                                  CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS

                                  ARTH 678-401 AMERICAN ART LEJA, MICHAEL TOWNE BUILDING 319 TR 0130PM-0300PM This course surveys the most important and interesting art produced in the United States (or by American artists living abroad) up through the 1950s. This period encompasses the history of both early and modern art in the U.S., from its first appearances to its rise to prominence and institutionalization. While tracking this history, the course examines art's relation to historical processes of modernization (industrialization, the development of transportation and communications, the spread of corporate organization in business, urbanization, technological development, the rise of mass media and mass markets, etc.) and to the economic polarization, social fragmentation, political conflict, and the cultural changes these developments entailed. In these circumstances, art is drawn simultaneously toward truth and fraud, realism and artifice, science and spirituality, commodification and ephemerality, nationalism and cosmopolitanism, individualism and collectivity, the past and the future, professionalization and popularity, celebrating modern life and criticizing it.
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                                  CULTURAL DIVERSITY IN US; CULTURAL DIVERSITY IN THE US

                                  ARTH 686-401 MDRN ART:PICASSO-POLLOCK POGGI, CHRISTINE JAFFE BUILDING B17 MWF 1200PM-0100PM Early twentieth-century art in Europe is marked by a number of exciting transformations. This period witnessed the rise of abstraction in painting and sculpture, as well as the inventions of collage, photomontage, constructed sculpture, the ready made and found object, and performance art. Encounters with the arts of Africa, Oceania and other traditions unfamiliar in the West spurred innovations in media, technique, and subject matter. Artists began to respond to the challenge of photography, to organize themselves into movements, and in some cases, to challenge the norms of art through "anti-art." A new gallery system replaced traditional forms of exhibiting and selling art, and artists took on new roles as publicists, manifesto writers, and exhibition organizers. This course examines these developments, with attention to formal innovations as well as cultural and political contexts. This course requires permission from the instructor.
                                  • ARTH286401

                                  PERMISSION NEEDED FROM INSTRUCTOR

                                  ARTH 701-401 PROSEMINAR IN METHODS DOMBROWSKI, ANDRE JAFFE BUILDING 113 T 0500PM-0700PM The meanings we ascribe to art works of any culture or time period are a direct result of our own preoccupations and methods. This colloquium will give both a broad overview of contemporary debates in the history of art-including such issues as technologies of vision, feminism, gender and sexuality studies, globalism, the pictorial turn or material/vision culture-and locate these methods within art history's own intellectual history,as well as the history of aesthetics. The course will consist of wide-ranging weekly readings and discussion, and also clarify such key terms as iconography, formalism, connoisseurship, and the Frankfurt and Vienna Schools.
                                  • AAMW701401
                                  ARTH 729-401 TOP IN ROM ARCH/TOPOGRAP: PANTHEON & HAGIA SOPHIA HASELBERGER, LOTHAR
                                  OUSTERHOUT, ROBERT
                                  FISHER-BENNETT HALL 139 T 0130PM-0430PM Topic varies. Fall 2015: This seminar will investigate two ancient architectural masterpieces, the 2nd c. AD Pantheon in Rome and the 6th c. AD Hagia Sophia in Istanbul. The two monuments stand at the forefront of the architectural trends under Hadrian and Justinian respectively, and are best known for their unique designs and domes of unprecendented scale. The seminar will analyze issues of design, structure, aesthetics, and symbolism. No prerequisites; skills in digital visualization are welcome.
                                  • AAMW729401
                                  • CLST728401
                                  ARTH 750-301 TOPICS IN S. REN ART: The Stuff of Art: Renaissance Materiality KIM, DAVID JAFFE BUILDING 104 R 0300PM-0500PM Topic varies. Fall 2015: One of the most compelling developments in the field of art history has been the turn towards materiality. Drawing upon such diverse fields as material culture, anthropology, and the history of science and technology, materiality as an approach questions how certain substances--be they wood, metal, or glass--constitute the physical makeup of art works. Pushing beyond the distinction between mind and matter (which often manifests itself as mind over matter), materiality interrogates how the process, appearance and metaphorical associations of physical substances bear upon artistic selfhood, the constitution of viewership and the historically-contingent and ever-evolving meaning of art works. In short, materiality calls attention to the semantic potential conveyed by the stuff of art works, privileging it as much as those artists celebrated as geniuses who transcend the lowly sphere of the physical world. This course explores the use and representation of materials as well as the theories of those materials in the art and art theory of the early modern period. Issues to be discussed include the disavowal of material, material and the role of the senses, and material's capacity to evoke location, either proximate or distant.
                                    ARTH 796-401 THE AESTHETIC AND ETHICAL FORCE OF GESTURE BERSANI, LEO FISHER-BENNETT HALL 25 R 0500PM-0800PM Topic varies. Fall 2015: The language of gestures. How do gestures mean ? Ways in which gestural meanings differ from verbal meanings. Gestures as vehicles of lines of force. Distinction between the human subject as a personality and as an emitter of lines of force. Personality and lines of force as different registers of being. Ontological pathology of incomplete lines of force. Significance of this for psychoanalytic therapy and the representation of the human in literary fiction and in the visual arts. Among works studied: Deleuze, G.H. Mead, Bergson; Caravaggio, Robert Gober; Lawrence, "Women in Love", James, "The Awkward Age"; Kimberly Peirce, "Boys Don't Cry", Lars von Trier, "Meloncholia", Bruno Dumont, "Humanity"; Freud, Lacan film clip, C. Bollas.
                                    • CINE796401
                                    • ENGL778401