Title Instructor Location Time All taxonomy terms Description Section Description Cross Listings Fulfills Registration Notes Syllabus Syllabus URL Course Syllabus URL
ARTH 100-301 ARTS@PENN: BUILDING PHILADELPHIA BROWNLEE, DAVID COLLEGE HALL 311A TR 0300PM-0430PM 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.

    FRESHMAN SEMINAR; FRESHMAN SEMINAR

    ARTH 100-402 FRESHMAN SEMINAR: BLACK AND GREY LEVY, AARON TR 1030AM-1200PM 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.
    • ENGL016402

    FRESHMAN SEMINAR; CONTACT DEPT or INSTRUCTOR FOR CLASSRM INFO; FRESHMAN SEMINAR

    ARTH 102-401 RENAISSANCE-CONTEMPORARY SHAW, GWENDOLYN
    KIM, DAVID
    COLLEGE HALL 200 TR 1200PM-0130PM This course is an introduction to the visual arts including painting, sculpture, print culture, and new media such as photography, film, performance and installation art in Europe and the United States from 1400 to the present. It offers a broad historical overview of the key movements and artists of the period, as well as an investigation into the crucial themes and contexts that mark visual art production after the middle ages. Such themes include the secularization of art; the (gendered) role of the artist in society; the sites of art production and consumption such as the artist's studio, the royal courts and the art exhibition; the materials of art; the import of technology and science to art's making, content and distribution; the rise of art criticism; and the socio-political contexts of patronage and audience; among others.
    • VLST232401
    Arts & Letters Sector (all classes)

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

    ARTH 102-601 RENAISSANCE-CONTEMPORARY GOLD, SUSANNA FISHER-BENNETT HALL 141 M 0500PM-0800PM This course is an introduction to the visual arts including painting, sculpture, print culture, and new media such as photography, film, performance and installation art in Europe and the United States from 1400 to the present. It offers a broad historical overview of the key movements and artists of the period, as well as an investigation into the crucial themes and contexts that mark visual art production after the middle ages. Such themes include the secularization of art; the (gendered) role of the artist in society; the sites of art production and consumption such as the artist's studio, the royal courts and the art exhibition; the materials of art; the import of technology and science to art's making, content and distribution; the rise of art criticism; and the socio-political contexts of patronage and audience; among others.
      Arts & Letters Sector (all classes)

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

      ARTH 103-401 ART & CIV IN EAST ASIA DAVIS, JULIE FISHER-BENNETT HALL 401 MW 1200PM-0100PM Introduction to major artistic traditions of China and Japan and to the methodological practices of art history. Attention given to key cultural concepts and ways of looking, in such topics as: concepts of the afterlife and its representation; Buddhist arts and iconography; painting styles and subjects; and more broadly at the transmission of styles and cultural practices across East Asia. Serves as an introduction to upper level lecture courses in East Asian art history cultures. If size of class permits, certain sessions will be held in the Penn Museum or the Philadelphia Museum of Art.
      • EALC013401
      • VLST233401
      Arts & Letters Sector (all classes)

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

      ARTH 105-601 WONDERS O/T ANCIENT WRLD JUDAS, BETH FISHER-BENNETT HALL 323 W 0530PM-0830PM This course presents a comparative overview of the ancient civilizations around the world. It is designed as a gateway course for the many specialized courses available at Penn. Its focus is two fold: first, the various forms that ancient cultures have developed are explored and compared and second, the types of disciplines that study these courses are examined. The course has a number of guest lecturers, as well as visits to museums and libraries to examine original documents. This course meets the requirement for the Ancient Studies Minor.
        ARTH 107-401 INTRO TO FILM THEORY PINAR, EKIN FISHER-BENNETT HALL 401 TR 1030AM-1200PM This course offers students an introduction to the major texts in film theory across the 20th and 21st centuries. The course gives students an opportunity to read these central texts closely, to understand the range of historical contexts in which film theories are developed, to explore the relationship between film theory and the major film movements, to grapple with the points of contention that have emerged among theorists, and finally to consider: what is the status of film theory today? This course is required for all Cinema Studies majors, but is open to all students, and no prior knowledge of film theory is assumed. Requirements: Close reading of all assigned texts; attendance and participation in section discussions; 1 midterm exam; 1 take-home final exam.
        • CINE103401
        • ENGL095401
        ARTH 108-601 WORLD FILM HIST TO 1945 MAZAJ, META ANNENBERG SCHOOL 111 T 0430PM-0730PM 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.
        • CINE101601
        • COML123601
        • ENGL091601
        Arts & Letters Sector (all classes)

        ARTS & LETTERS SECTOR

        ARTH 109-401 WORLD FILM HIST '45-PRES CONSOLATI, CLAUDIA FISHER-BENNETT HALL 401 MW 0200PM-0330PM 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 219-601 AFRICAN ARCHITECTURE CLAUDIA COHEN HALL 203 TR 0430PM-0600PM Spring 2015: This course investigates critical issues in Africa's rich architecture and urban history. You will learn about major pre-colonial African cities in the sub-Saharan area, as well as about Western colonial city planning and traditional culture. Coming to terms with decolonization and contemporary Africa we will look at the built, unbuilt, and written work of architects, designers, and city planners, such as Rex Martienssen and Amancio Pancho Guedes. Particular attention will be given to the social and political role of traditional architecture in expressing and shaping ideas about the environment, technology, and identity. The theme will be explored in a series of lectures, readings, discussions, and assignments where architectural history, literature, and anthropology will be interwoven to provide the basis for further interdisciplinary forays into African architecture.
        • AFRC219601
        • AFRC619601
        • ARTH619601
        ARTH 221-401 GREEK VASE PAINTING BROWNLEE, ANN JAFFE BUILDING B17 TR 0130PM-0300PM Spring 2015: Painted vases constitute the most important and comprehensive collection of visual evidence that survives from ancient Greece. In this course, we will examine the development of Greek vase-painting from the 10th to the 5th century BC, with particular emphasis on the pottery of the Archaic and Classical periods that was produced in the cities of Athens and Corinth. An object-based learning course, this class will focus on the close study of Greek vases in the collection of the University of Pennsylvania Museum, and a number of class sessions will meet in the Museum. Several guest lecturers will discuss the conservation and ancient repair of Greek vases and the ceramic analysis of Greek pottery. We will also learn about the making of ceramics in a session in the Addams Hall pottery studio. Some background in art history or classical studies is helpful but not required.
        • AAMW621401
        • ARTH621401

        OBJECTS-BASED LEARNING COURSE

        ARTH 233-401 EAST MED ARCHITECTURE OUSTERHOUT, ROBERT JAFFE BUILDING B17 TR 0900AM-1030AM This lecture course examines major architectural developments in the eastern Mediterranean between the 4th and 14th centuries CE. The focus is on the Byzantine Empire, with its capital at Constantinople. Lectures also devoted to related developments in the Caucasus (Armenia and Georgia), early Russia, the Balkans (Bulgaria and Serbia), Sicily and under the Normans, the Crusader states. Parallel developments in early Islamic architecture are used for comparative purposes. The course examines evidence for religious and secular buildings, as well as urbanism and settlement patterns.
        • AAMW633401
        • ARTH633401
        ARTH 268-601 DEATH AND THE CITY: ANTIQUITY TO MODRN PHILA PICKETT, JORDAN CANCELED Spring 2015: This class explores death in the space of the city, from antiquity to modern Philadelphia. How have attitudes toward death and its architecture changed across time and cultures? How do cemeteries and places of death, mourning, and memorial contribute to the formation of social identity? The proposed course will consist of class and fieldwork components. In class, students will learn to critically engage with essential scholarship on the history and architecture of death, as they encounter iconic cemeteries from antiquity to the present. In fieldwork exercises, students will explore Philadelphia s cemeteries and develop familiarity with basic skills in architectural documentation, 3D drawing, and digital mapping in the study of individual graves, family plots, and mausolea. A series of projects and book reviews completed over the course of the semester will stand in lieu of a final exam or paper.
          ARTH 275-401 REVOLUTION TO REALISM GREWE, CORDULA ARTS, RSRCH & CULTR - 3601 LO 208 MW 0100PM-0200PM This course surveys the major trends in European art of the tumultuous decades stretching from French Revolution of 1789 to the rise of realism in the mid-nineteenth century. Starting with Jacques-Louis David's revolutionary history paintings, we study Napoleonic representations of empire, Goya's imagery of violence, romantic representations of madness and desire, Friedrich's nationalist landscapes, as well as the politicized realism of Courbet. Some of the themes that are addressed include: the revolutionary hero, the birth of the public museum, the anxious masculinity of romanticism, the rise of industry and bourgeois culture, the beginnings of photography, the quest for national identity and, not least, the origins of the modernist painting. Throughout, we recover the original radicalism of art's formal and conceptual innovations at times of political and social crisis. We focus on the history of French painting, but include sculpture, photography, visual culture and the development of the modern city, in England, Germany and Spain.
          • ARTH675401

          SECTION ACTIVITY CO-REQUISITE REQUIRED

          ARTH 281-401 MODERN ARCH:1900-PRESENT BROWNLEE, DAVID JAFFE BUILDING B17 MWF 1100AM-1200PM The architecture of Europe and America from the late nineteenth century until the present is the central subject of this course, but some time is also devoted to Latin American and Asian architecture and to the important issues of modern city planning. Topics discussed include the Arts and Crafts movement, Art Nouveau, Expressionism, Art Deco, the International Style, and Post-modernism. The debate over the role of technology in modern life and art, the search for a universal language of architectural communication, and the insistent demand that architecture serve human society are themes that are traced throughout the course. Among the important figures to be considered are Frank Lloyd Wright, Walter Gropius, Le Corbusier, Louis Kahn, Robert Venturi, and Denise Scott Brown. The course includes weekly discussion sessions and several excursions to view architecture in Philadelphia.
          • ARTH681401

          SECTION ACTIVITY CO-REQUISITE REQUIRED

          ARTH 288-601 MODERN DESIGN MARCUS, GEORGE MEYERSON HALL B4 T 0530PM-0830PM This survey of modern utilitarian and decorative objects spans the century, from the Arts and Crafts Movement to the present, from the rise of Modernism to its rejection in Post-Modernism, from Tiffany glass and tubular-metal furniture to the Sony Walkman. Its overall approach focuses on the aesthetics of designed objects and on the designers who created them, but the course also investigates such related topics as industrialization, technology, ergonomics, and environmental, postindustrial, and universal design. Among the major international figures whose graphics, textiles, furniture, and other products will be studied are William Morris, Frank Lloyd Wright, Josef Hoffmann, Le Corbusier and Charlotte Perriand, Mies van der Rohe, Alvar Aalto, Raymond Loewy, Charles and Ray Eames, Isamu Noguchi, Eero Saarinen, Paul Rand, Jack Lenor Larsen, Ettore Sottsass,Jr., Robert Venturi, Frank Gehry, and Philippe Starck.
            ARTH 289-401 TOPICS IN FILM STUDIES: FILM FESTIVALS MAZAJ, META FISHER-BENNETT HALL 401 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
            • ENGL292401
            ARTH 292-401 TPCS DIGITAL/NEW MEDIA: DOCUMENT(ARY), DATABASE, AND ARCHIVES FOR THE FUTURE MUKHERJEE, RAHUL FISHER-BENNETT HALL 24 MW 0200PM-0330PM Topic varies. Spring 2015: Documents are written texts, evidence, inscriptions, and much more. Documentary films have been used to tell stories, share experiences, spread propaganda, resist exploitation, invoke memories, and much more. How can we think of information and meaning in relation to the shared histories of document and documentary? Database management systems based on digital technologies have technically transformed ways of classifying, storing, and aggregating data, but have they really changed our experiences of mediating with our past, present, and future? Issues of agency, memory, representation, performativity, interactivity, and posthumanism are entangled in discussions of databases and archives and our engagement with them. In this course we will relate and juxtapose readings connecting documents, documentaries, and archives. We will read media and cultural theorists such as Lisa Gitelman, Akira Lippit, and Wendy Chun alongside novelists like Franz Kafka and Ismail Kadare. Assignments include one assigned/selected report from field visits to libraries and museums, one reading presentation and blogging assignment, and a final paper or practice-based art project.
            • CINE278401
            • ENGL278401
            ARTH 293-403 TOPICS CULTURAL STUDIES: BLACKNESS ACROSS MEDIA BRAR, DHANVEER FISHER-BENNETT HALL 407 MW 0330PM-0500PM This topic course explores aspects of Film Cultural Studies intensively. 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.
            • AFRC296403
            • CINE295403
            • COML295403
            • ENGL295403
            ARTH 294-401 ART NOW SILVERMAN, KAJA STITELER HALL B26 MW 1000AM-1100AM One of the most striking features of today's art world is the conspicuous place occupied in it by the photographic image. Large-scale color photographs and time-based installations in projections are everywhere. Looking back, we can see that much of the art making of the past 60 years has also been defined by this medium, regardless of the form it takes. Photographic images have inspired countless paintings, appeared in combines and installations, morphed into sculptures, drawings and performances, and served both as the object and the vehicle of institutional critique. They are also an increasinglyimportant exhibition site: where most of us go to see earthworks, happenings and body-art. This course is a three-part exploration of our photographic present.
            • ARTH694401
            • VLST236401

            SECTION ACTIVITY CO-REQUISITE REQUIRED

            ARTH 298-050 ART AND POLITICS IN ITALY FROM THE MIDDLE AGES TO THE RENAISSANCE

              STUDY ABROAD

              ARTH 298-051 PRINCIPLES OF ASIAN ART

                STUDY ABROAD

                ARTH 298-052 HISTORY OF PHOTOGRAPHY

                  STUDY ABROAD

                  ARTH 298-053 MUSEUM AND GALLERIES AS CREATIVE ENTREPRENEURS

                    STUDY ABROAD

                    ARTH 312-401 INDIAN SCULPTURE: ICON AND NARRATIVE MEISTER, MICHAEL CANCELED Topic Varies. Spring 2015: Using resources of the Philadelphia Museum of Art's exceptional collection, this workshop will explore India's remarkable traditions of sculpture produced for singular narrative and iconic ends.

                      OBJECTS-BASED LEARNING COURSE

                      ARTH 388-301 SPEIGEL-WILKS SEMINAR IN CONTEMPORARY ART: ICA SHAW, GWENDOLYN W 0200PM-0500PM Topic varies.

                        CONTACT DEPT or INSTRUCTOR FOR CLASSRM INFO; PERMISSION NEEDED FROM INSTRUCTOR

                        ARTH 389-401 TOPICS FILM STUDIES: TRANSNATIONAL CINEMA MAZAJ, META FISHER-BENNETT HALL 201 TR 1030AM-1200PM This topic course explores aspects of Cinema Studies intensively. 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.
                        • CINE392401
                        • ENGL392401

                        BENJAMIN FRANKLIN SEMINARS; BENJAMIN FRANKLIN SEMINAR

                        ARTH 427-401 ROMAN SCULPTURE KUTTNER, ANN JAFFE BUILDING B17 TR 1030AM-1200PM Survey of the Republican origins and Imperial development of Roman sculpture - free-standing, relief, and architectural - from ca. 150 BC to 350 AD. We concentrate on sculpture in the capital city and on court and state arts, emphasizing commemorative public sculpture and Roman habits of decorative display; genres examined include relief, portraits, sarcophagi, luxury and minor arts(gems, metalwork, coinage). We evaluate the choice and evolution of styles with reference to the functions of sculptural representation in Roman culture and society.
                        • AAMW427401
                        • CLST427401
                        ARTH 435-401 MDVL ISLAMIC ART & ARCH HOLOD, RENATA JAFFE BUILDING B17 TR 1200PM-0130PM An introduction to the major architectural monuments and trends, as well as to the best-known objects of the medieval (seventh-to fourteenth-century) Islamic world. Attention is paid to such themes as the continuity of late antique themes, architecture as symbol of community and power, the importance of textiles and primacy of writing. Suitable for students of literature, history, anthropology as well as art history.
                        • AAMW435401
                        • COML415401
                        • NELC489401
                        ARTH 501-401 CURATORIAL SEMINAR: MAGIC IN THE MUSEUM FRAME, GRANT
                        OUSTERHOUT, ROBERT
                        TR 1030AM-1200PM 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.
                        • AAMW509401
                        • NELC501401

                        OBJECTS-BASED LEARNING COURSE; CONTACT DEPT or INSTRUCTOR FOR CLASSRM INFO; PERMISSION NEEDED FROM INSTRUCTOR

                        ARTH 511-401 VISUALITY IN SOUTH ASIA CANCELED Topic varies. Spring 2015: Seeing and being seen, vocalizing and hearing, contribute to the construction of meaning in any society. Important as texts have been to South Asia's history, perceptions of the physical world dominate experience within South Asian cultures. This course will approach this perceptual world as expressed in art and methods frame art and perception as a source of knowledge.

                          OBJECTS-BASED LEARNING COURSE

                          ARTH 520-401 BRONZE AGE CULTS LUPACK, SUSAN FISHER-BENNETT HALL 140 R 0300PM-0600PM 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 525-401 TOPICS IN CLASSICAL ART: THE LATE ANTIQUE IMAGE KUTTNER, ANN JAFFE BUILDING 113 M 0200PM-0500PM Topics Varies. Spring 2016: Rome and its world became dense with monuments, artifacts, images, structures, spaces which addressed individual and collective concerns that we can call political. In private and public displays, these concerns included citizenship and class standing, public achievement and power, the construction of social memory, and the very nature of being Roman in a city, republic, empire. Of interest here also are the roles of women and of the empire's indigenous peoples. Such displays often engaged, too, with religion, in a providential understanding of historical event. Cases range from displays of high design, `art', to seemingly crude graphic communications; all shed light on Roman visual language, and its makers, patrons and spectators. Of especial interest to students in ArtH, AAMW, AncH, ClSt, RelSt, Anthro. No prior background in ancient Roman studies or art history/archaeology required. Open to advanced undergraduates with permission of the instructor.
                          • AAMW525401
                          • CLST521401
                          ARTH 550-301 TOPICS IN S. REN ART: TERRESTRIAL IMAGINATION KIM, DAVID JAFFE BUILDING 113 R 0130PM-0430PM Topic Varies. Spring 2015: What makes up a world? How do works of art exist in, conceive, and represent a place? How might the theory and practice of art shed light on our notions of the earth, ground, landscape, soil, and the environment? This seminar will ask the above questions with respect to works of art and art literature from the fourteenth to eighteenth centuries. Topics to be explored may include: theories of stone in the Renaissance, the environmental implications of excavation, the materials and materiality of earth and soil, stonecutting and mining, the aesthetic problem of weight, architecture on bodies of water, and the Lisbon Earthquake of 1755 and other geological disasters. Guests to the seminar from the University of Paris-IV and the University of Zurich will offer opportunities for students to discuss and present their ideas to extramural audiences. Upper level course.
                            ARTH 585-301 TOPICS IN 19TH CENT ART: IMAGE AND PLACE IN PHILA MILROY, ELIZABETH JAFFE BUILDING 104 R 0530PM-0830PM Topic Varies. Spring 2015: Birthplace of the nation, industrial metropolis-Philadelphia is the definitive American "place." This seminar will explore the visual history of the city as a symbolic site described and defined by painters, printmakers and photographers as well as politicians and capitalists and most importantly, its residents. How and why were certain sites selected and exploited within an evolving civic iconography? How did Philadelphia's visual culture influence approaches to placemaking? And how did artists navigate the increasingly complex political and social as well as aesthetic conflicts between myth and reality?
                              ARTH 595-640 CONTEMP ART/CLASSCL MYTH HIRSH, JENNIFER MEYERSON HALL B6 R 0530PM-0810PM Spring 2015: This course investigates the intersection of contemporary art and classical myth. Through a series of case studies, we will explore how contemporary artists and filmmakers across the globe have addressed, represented and modified classical narratives. In addition to considering the persistence of classical myth as a subject matter for artists working today, we will survey how myths have provided fertile, analytical tools for theorists in a range of disciplines (e.g., philosophy, psychoanalysis, and literary criticism) that have proven significant for art history. We will also look at the history of contemporary art exhibitions focused on this topic.
                                ARTH 619-601 AFRICAN ARCHITECTURE CLAUDIA COHEN HALL 203 TR 0430PM-0600PM Spring 2015: This course investigates critical issues in Africa's rich architecture and urban history. You will learn about major pre-colonial African cities in the sub-Saharan area, as well as about Western colonial city planning and traditional culture. Coming to terms with decolonization and contemporary Africa we will look at the built, unbuilt, and written work of architects, designers, and city planners, such as Rex Martienssen and Amancio Pancho Guedes. Particular attention will be given to the social and political role of traditional architecture in expressing and shaping ideas about the environment, technology, and identity. The theme will be explored in a series of lectures, readings, discussions, and assignments where architectural history, literature, and anthropology will be interwoven to provide the basis for further interdisciplinary forays into African architecture.
                                • AFRC219601
                                • AFRC619601
                                • ARTH219601

                                UNDERGRADUATES NEED PERMISSION

                                ARTH 621-401 GREEK VASE PAINTING BROWNLEE, ANN JAFFE BUILDING B17 TR 0130PM-0300PM Spring 2015: Painted vases constitute the most important and comprehensive collection of visual evidence that survives from ancient Greece. In this course, we will examine the development of Greek vase-painting from the 10th to the 5th century BC, with particular emphasis on the pottery of the Archaic and Classical periods that was produced in the cities of Athens and Corinth. An object-based learning course, this class will focus on the close study of Greek vases in the collection of the University of Pennsylvania Museum, and a number of class sessions will meet in the Museum. Several guest lecturers will discuss the conservation and ancient repair of Greek vases and the ceramic analysis of Greek pottery. We will also learn about the making of ceramics in a session in the Addams Hall pottery studio. Some background in art history or classical studies is helpful but not required.
                                • AAMW621401
                                • ARTH221401

                                OBJECTS-BASED LEARNING COURSE

                                ARTH 633-401 EAST MED ARCHITECTURE OUSTERHOUT, ROBERT JAFFE BUILDING B17 TR 0900AM-1030AM This lecture course examines major architectural developments in the eastern Mediterranean between the 4th and 14th centuries CE. The focus is on the Byzantine Empire, with its capital at Constantinople. Lectures also devoted to related developments in the Caucasus (Armenia and Georgia), early Russia, the Balkans (Bulgaria and Serbia), Sicily and under the Normans, the Crusader states. Parallel developments in early Islamic architecture are used for comparative purposes. The course examines evidence for religious and secular buildings, as well as urbanism and settlement patterns.
                                • AAMW633401
                                • ARTH233401
                                ARTH 675-401 REVOLUTION TO REALISM GREWE, CORDULA ARTS, RSRCH & CULTR - 3601 LO 208 MW 0100PM-0200PM This course surveys the major trends in European art of the tumultuous decades stretching from French Revolution of 1789 to the rise of realism in the mid-nineteenth century. Starting with Jacques-Louis David's revolutionary history paintings, we study Napoleonic representations of empire, Goya's imagery of violence, romantic representations of madness and desire, Friedrich's nationalist landscapes, as well as the politicized realism of Courbet. Some of the themes that are addressed include: the revolutionary hero, the birth of the public museum, the anxious masculinity of romanticism, the rise of industry and bourgeois culture, the beginnings of photography, the quest for national identity and, not least, the origins of the modernist painting. Throughout, we recover the original radicalism of art's formal and conceptual innovations at times of political and social crisis. We focus on the history of French painting, but include sculpture, photography, visual culture and the development of the modern city, in England, Germany and Spain.
                                • ARTH275401
                                ARTH 681-401 MODERN ARCH:1900-PRESENT BROWNLEE, DAVID JAFFE BUILDING B17 MWF 1100AM-1200PM The architecture of Europe and America from the late nineteenth century until the present is the central subject of this course, but some time is also devoted to Latin American and Asian architecture and to the important issues of modern city planning. Topics discussed include the Arts and Crafts movement, Art Nouveau, Expressionism, Art Deco, the International Style, and Post-modernism. The debate over the role of technology in modern life and art, the search for a universal language of architectural communication, and the insistent demand that architecture serve human society are themes that are traced throughout the course. Among the important figures to be considered are Frank Lloyd Wright, Walter Gropius, Le Corbusier, Louis Kahn, Robert Venturi, and Denise Scott Brown. The course includes weekly discussion sessions and several excursions to view architecture in Philadelphia.
                                • ARTH281401
                                ARTH 694-401 ART NOW SILVERMAN, KAJA STITELER HALL B26 MW 1000AM-1100AM One of the most striking features of today's art world is the conspicuous place occupied in it by the photographic image. Large-scale color photographs and time-based installations in projections are everywhere. Looking back, we can see that much of the art makeing of the past 60 years has also been defined by this medium, regardless of the form it takes. Photographic images have inspired countless paintings, appeared in combines and installations, morphed into sculputres, drawings and performances, and served both as the object and the vehicle of institutional critique. They are also an increasingly important exhibition site: where most of us go to see earthworks, happings and body-art. This course is a three-part exploration of our photographic present.
                                • ARTH294401
                                • VLST236401
                                ARTH 714-301 TOPICS IN EAST ASIAN ART: CURSEM:REP PLCE IN PRNTS DAVIS, JULIE JAFFE BUILDING 113 W 0200PM-0400PM Curatorial Seminar Spring 2015: This course will be offered in association with the exhibition, Representing Place: Landscape and Imagination in Modern Japanese Prints, to be held at the Arthur Ross Gallery in spring 2015. The seminar proposes to expand our discussion of landscape as a larger theme in the visual arts, with examples drawn from Europe, America, East Asia, and other locations. We will further consider how some sites became known as famous places, and how that act is tied up to issues of local, regional and national identity and often implicated in the promotion of specific places. This course will feature the opportunity to study works in the PMA collection, travel to "famous sites" around Philadelphia, and participate in the final preparations and installation of the exhibition.
                                  ARTH 723-401 THE NEO-SUMERIAN PERIOD TINNEY, STEPHEN
                                  PITTMAN, HOLLY
                                  RISTVET, LAUREN
                                  JAFFE BUILDING 113 T 0300PM-0600PM Topic varies. Spring 2015: This team taught class will extend from the lead up to the Neo Sumerian Empire through the Empire and its collapse and reorganization of the political landscape of greater Mesopotamia. It will consider the imperial period internally and from the perspective of the northern and eastern neighbors. This class is an upper level graduate research seminar that will include art historical, anthropological and historical approaches. Class participation and a major research paper are required.
                                  • AAMW723401
                                  • ANTH723401
                                  • NELC740401

                                  OBJECTS-BASED LEARNING COURSE

                                  ARTH 738-401 TPCS IN ISLAMIC ARCHAEOL: APRCHS TO ARCHL/ISLM PER HOLOD, RENATA WILLIAMS HALL 304 W 0400PM-0600PM Topic varies. Spring 2015: This seminar will trace the development of the field from one that was centered largely on the recovery of major monuments to one in which issues of daily life, demography, chronology, and the study of settlement patterns have come to play a major role. The seminar will review work in the major zones of the Islamic world: Central Asia, Iran, Iraq, Anatolia, Syria, Palestine, Egypt, North Africa I (Libya-Tunisia), North Africa II (Algeria-Morocco), Spain. Of special interest will be the study of landscape archaeology and settlement patterns.
                                  • AAMW738401
                                  • NELC731401
                                  ARTH 740-301 TOPICS IN MEDIEVAL ART: ALTARPIECE/ALTAR IMAGE MERBACK, MITCHELL JAFFE BUILDING 113 R 0500PM-0700PM Topic varies. Spring 2015: Among the functional genres shaping religious imagery in the Middle Ages and Renaissance, the altarpiece is arguably the most important, and many of the most famous panel paintings that hang today in museums originated as components of altarpieces. The altarpiece in the Latin church bridged the divide between clergy and laypeople, between cult and devotion, between public acclaim and private interests. Such altarpieces developed into extraordinarily dynamic vehicles for staging the religious image, akin to mural painting (in its potential for narrative elaboration), and manuscript illumination (in its potential for interchanging and juxtaposing imagery). As an umbrella for diverse research projects in both medieval and Renaissance art, this seminar affords an overview of the origins, development and articulation of the altarpiece as a functional and pictorial genre in European art, on both sides of the Alps. It also seeks to provide students with the materials and practical training--technical, scholarly, interpretative-- required to study altarpieces as visual, narrative, and material totalities.
                                    ARTH 775-301 TOP IN 19TH C. EUR ART: MONET / IMPRESSIONISM DOMBROWSKI, ANDRE JAFFE BUILDING 113 W 0500PM-0700PM Topic varies. Spring 2015: Despite the fact that one exhibition on Impressionism chases the next these days, the academic study of this crucial early modernist movement has slowed since the 1970s and 1980s, when new art historical paradigms (like feminism and the social history of art) were tested on Manet, Monet and their followers. This seminar seeks to understand this development but also countermand it by establishing an account of Impressionism that fits our current global, multimedia and multidisciplinary forms of humanistic thought. To this end, we will read those recent scholars who place Impressionism within new contexts that include the history of science and technology (visual perception, psychology, evolution, chemistry), political history and theory (republicanism, revolution, empire, nationalism), and consumer culture (fashion, capitalism). We will also go back to the movement s early critics (like Laforgue and Geffroy), in order to appreciate their strange metaphoric languages (which saw in Impressionism, for instance, the seeds of social upheaval or the most advanced eye in human evolution ) and make them newly useful for a 21st-century interpretation of Impressionism s true intellectual heft and radical aesthetics.
                                      ARTH 783-401 TPCS COMP ART HISTORY: MODERNISMS ACRS BORDERS PLATT, KEVIN
                                      POGGI, CHRISTINE
                                      VAN PELT LIBRARY 627 W 0200PM-0500PM Topic Varies. Spring 2015: A recent turn toward global and transnational paradigms is one of the few traits shared by modernist studies across multiple disciplines. Modernism Across Borders will take advantage of this commonality among diverse sites of inquiry, treating modernism as a transborder phenomenon while also probing the limitations and still-latent potential of such an approach. This experimental, interdisciplinary seminar will devote the first two hours of each three-hour class to discussion of readings in the study of modernism. The third hour will be devoted to a presentation and discussion of a work in progress a project either of a member of the course, or of a guest. Seminar discussions will be led by a number of Penn faculty. Conveners of the overall course are Christine Poggi and Kevin M. F. Platt. Students are encouraged to bring work in progress, either on the basis of past seminars or independent projects, to form the basis for their projects in this seminar.
                                      • COML683401
                                      • ENGL573401
                                      • SLAV683401

                                      UNDERGRADUATES NEED PERMISSION

                                      ARTH 794-401 TPCS IN CONTEMPORARY ART: PICTORIAL PHOTOGRAPHY SILVERMAN, KAJA JAFFE BUILDING 104 T 0130PM-0430PM Topic varies. Spring 2016: This course will be devoted to an international group of contemporary artists who make visual works that are time-based, like cinema, but that are exhibited in museums and galleries, instead of movie theaters: Chantal Akerman, Tacita Dean, Rineke Dijkstra, Jeremy Blake, Isaac Julien, Anri Sala, Pierre Huyghe, William Kentridge and Paul Chan. Some of these artists rely on digital cameras and computers, and others prefer 16mm film, but regardless which medium they use, they are having a transformative effect on the museum. They make work that cannot be hung on a wall or placed on a pedestal, that takes up space, as well as time, that has an auditory dimension, and that often mobilizes more than one medium. Most of the assigned works will be available to us only in a digital form, but I will be on the lookout for installations that we can visit. However, since few museum goers watch more that a few minutes of an installed work, which may be one or two hours long, it could be argued that the classroom is also a necessary and important exhibition site. We will think hard about the differences between these two ways of looking at time-based work, and what they mean for the work itself. (Limited to 16 students, by permission of the instructor.)
                                      • COML787401
                                      • ENGL790401

                                      PERMISSION NEEDED FROM INSTRUCTOR