Title Instructor Location Time All taxonomy terms Description Section Description Cross Listings Fulfills Registration Notes Syllabus Syllabus URL Course Syllabus URL
ARTH 100-401 Spiegel-Wilks Seminar: On the Eccentric Edges of Art LEVY, AARON FURNESS BUILDING DSR TR 1200PM-0130PM Topic varies. Fall 2016 Spiegel-Wilks Seminar in Contemporary Art: A city is more than just a collection of places. It is a living archive of stories, memories and histories. Whose stories do we hear? Whose stories should we preserve? Are all stories equal? In this course, students will be introduced to a variety of unique historical sites and civic institutions that make visible anew Philadelphia and its cultural history. From the first classroom of the university, which was located at the American Philosophical Society, to the Johnson House Underground Railroad Station and House Museum on Germantown Avenue, this course will highlight the social life of the city, approaching the city itself as a living museum. What can the artworks, objects and institutions we experience each week teach us about the society in which we live? To answer this question, we will meet with artists, archivists, curators and scholars who will illuminate for us the social life of their collections. Through this course, students will be introduced to the study of the history of art. Our discussions will focus on changing aesthetics, the cultural politics of collecting, aspects of display and contextualization, the institution of the museum, and the increasingly blurred boundaries between ethnography, anthropology, and art history.
  • ENGL016401

FOR FRESHMEN ONLY; FRESHMAN SEMINAR; FRESHMAN SEMINAR

ARTH 102-401 RENAISSANCE-CONTEMPORARY: Introduction to Western Art, 1400-Present KIM, DAVID
DOMBROWSKI, ANDRE
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 BOURLA, LISA JAFFE BUILDING B17 T 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 107-401 INTRO TO FILM THEORY MAZAJ, META FISHER-BENNETT HALL 401 TR 1200PM-0130PM As a complex cultural product, television lends itself to a variety of critical approaches that build-on, parallel, or depart from film studies. This introductory course in television studies begins with an overview of the medium's history and explores how technical and industrial changes correspond to developing conventions of genre, programming, and aesthetics. Along the way, we analyze key concepts and theoretical debates that shaped the field. In particular, we will focus on approaches to textual analysis in combination with industry research, and critical engagements with the political, social and cultural dimensions of television as popular culture.
    • CINE103401
    • ENGL095401
    ARTH 108-601 WORLD FILM HIST TO 1945 CORTEZ, CESAR 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 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 218-601 EGYPTIAN ART JUDAS, BETH JAFFE BUILDING 113 W 0530PM-0830PM The class is an introductory course to the art of Ancient Egypt from the Pre-Dynastic Period through to the end of the New Kingdom. We will look at and discuss architecture, sculpture, and painting. Egypt also had a strong tradition in the minor arts (such as jewelry making, stone vessels, amulets, etc), which is often neglected. As art and religion were intertwined in Egypt, the culture and religion will be discussed in relation to the art and architecture. The class will explore questions in regards to stylistic and iconographic changes through the millennia, and will set the monuments and objects within their proper historical context. The class will visit the Egyptian Collection at the University of Pennsylvania Museum.
      ARTH 226-401 HELL & ROM ART/ARTIFACT KUTTNER, ANN JAFFE BUILDING B17 TR 1030AM-1200PM This course surveys the political, religious and domestic arts, patronage and display in Rome's Mediterranean, from the 2nd c. BCE to Constantine's 4th-c. Christianized empire. Our subjects are images and decorated objects in their cultural, political and socio-economic contexts (painting, mosaic, sculpture, luxury and mass-produced arts in many media). We start with the Hellenistic cosmopolitan culture of the Greek kingdoms and their neighbors, and late Etruscan and Republican Italy; next we map Imperial Roman art as developed around the capital city Rome, as well as in the provinces of the vast empire.
      • AAMW626401
      • ARTH626401
      • CLST221401
      ARTH 232-401 BYZANTINE ART & ARCH OUSTERHOUT, ROBERT JAFFE BUILDING 113 TR 0900AM-1030AM This course surveys the arts of Byzantium from the fall of Rome to the fall of Constantinople in 1453. Study of major monuments, including icons, mosaics, architecture, and ivories provide us with an overview of this rich artistic culture. We pay special attention to the role of the Orthodox Church and liturgy in the production and reception of art works. Weekly recitation sections focus on selected major issues, such as the relationship of art to the Holy, the uses and abuses of Iconoclasm, and imperial patronage. The course also grapples with the Empire's relationship to other cultures by looking at the impact of the Christian Crusades and Moslem invasions - as well as Byzantium's crucial impact on European art (e.g., in Sicily, Spain).
      • AAMW632401
      • ARTH632401
      ARTH 275-401 REVOLUTION TO REALISM GREWE, CORDULA COLLEGE HALL 200 MW 0330PM-0500PM 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 HAGAN, CAROL JAFFE BUILDING B17 MW 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; CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS

      ARTH 284-401 WITNESSING THE HOLOCAUST: Witnessing, Remembering, and Writing the Holocaust WEISSBERG, LILIANE MCNEIL BUILDING 285 TR 1030AM-1200PM What is a witness? What do the witnesses of the Shoah see, hear, experience? And how will they remember things, whether they are victims, perpetrators or bystanders? How are their memories translated into survivors' accounts: reports, fiction, art, and even music or architecture? And what does this teach us about human survival, and about the transmission of experiences to the next generation? The course will ask these questions by studying literature on memory and trauma, as well as novels, poetry, and non-fiction accounts of the Holocaust. We will also look at art work created by survivors or their children, and listen to video testimonies. Among the authors and artists discussed will be work by Primo Levi, Paul Celan, Jean Am¿ry, Christian Boltanski, Daniel Libeskind. The course is supported by the USC Shoah Foundation Visual History Archive.
      • COML243401
      • ENGL261401
      • GRMN236401
      • JWST243401
      • PSYS236401
      ARTH 289-401 TOPICS FILM STUDIES: FILM FESTIVALS MAZAJ, META FISHER-BENNETT HALL 201 TR 0300PM-0430PM 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 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
      • GSWS294401
      • VLST236401

      SECTION ACTIVITY CO-REQUISITE REQUIRED

      ARTH 297-601 ART/CONTEMPORARY SOCIETY LEVY, AARON JAFFE BUILDING 104 T 0430PM-0730PM How do you perform freedom? Is it something you have, or is it something you aspire towards and struggle to achieve? What role does art play in this process? This course will explore how artists in the 21st century have constructed newly creative and critical spaces of freedom through art, and how art functions as a mechanism for reflecting on contemporary identity and society. We will be attentive to how our understanding of freedom can change over time, and what happens when our personal and collective definitions come into conflict with others. Emphasis will be given in the syllabus to visual and performance art from the 1960s era to the present. Each week we will engage artists that explore the possibility of freedom in different ways, including William Pope.L, Kara Walker, Glenn Ligon, Ai Weiwei, Krzysztof Wodiczko, Allan Sekula, Laura Poitras, Laura Kurgan, and Fazal Sheikh. In learning about these artists, we will also engage the extensive digital archives of Slought (slought.org), a cultural organization located on campus. Finally, in conjunction with a Spring 2016 exhibition at Slought of the work of photographer Fazal Sheikh, we will engage the artist in conversation about the themes explored in the course. Course requirements also include weekly participation in a discussion forum, two papers, and occasional attendance at cultural events on campus.
      • ARTH697601
      • ENGL266601
      ARTH 298-050 HISTORY OF ART 2

        STUDY ABROAD

        ARTH 298-051 ISLAMIC ART AND ARCHITECTURE

          STUDY ABROAD

          ARTH 298-052 ARTISTIC CHARMS OF CHINESE TRADITIONAL CULTURE

            RECIPROCAL EXCHANGE PROGRAM

            ARTH 299-401 RADICAL ARTS: LITERATURE, VISUAL ARTS, THEATER AND CINEMA IN THE AMERICAS STERNAD PONCE DE LEON, JENNIFER FISHER-BENNETT HALL 231 TR 0130PM-0300PM This course examines the visual culture of Latin America before and after the culture of Latin America before and after the conquest up to the eighteenth centy. It first explores Mesoamerican and South American art and architecture, focusing on the Olmec, Mayan, Aztec, Incan and Tupinamba. The the class studies the way in which the colonial culture of the Americas developed in the early modern period throught an analysis of works in various media including codices, painting, featherwork, sculpture, architecture and print. Historical political and religious contexts will be explored in relationship to art production. Some themes for the course include hybridity, cross-cultural interaction, conversion and propaganda.
            • CINE073401
            • COML073401
            • ENGL073401
            • LALS073401
            • THAR073401

            CULTURAL DIVERSITY IN US; CULTURAL DIVERSITY IN THE US

            ARTH 334-401 TOPICS IN MEDIEVAL ARCH: Structural Daring and the Sublime in Pre-modern Architecture O'NEILL, RORY FISHER-BENNETT HALL 139 T 0130PM-0430PM Spring 2016: Many works of pre-modern architecture are daring, poised at the very edge of structural stability. Others are well-supported, but strive to give an illusion of precariousness or even of levitation. This seminar invites students to explore the sublime effects of precarious architecture through visual and literary representations, as well as simulation models that examine the dynamic behavior of ancient and medieval monuments. Discussion topics will include: the a priori and culturally specific aspects of daring architecture; the ancient and medieval sense of the sublime and aesthetics; environmental psychology; and strategies for reading architectural forms. Students will present two or three readings, participate in class discussions and write a research paper during the semester.
            • AAMW532401
            ARTH 351-301 TOP IN ERLY MOD/ART THRY: WRITING ABOUT ART KIM, DAVID JAFFE BUILDING 104 R 0300PM-0600PM Topic varies. Spring 2016: What does it mean to write about art? What are the historical origins of this undertaking? How does language mediate the intellectual, somatic, and cultural rapport between the viewing self and the physical object? As an initial response to these questions we will examine the writings of the Tuscan artist and critic Giorgio Vasari (1511-1574), the biographer of such renowned artists as Leonardo, Raphael, Donatello, and Michelangelo. In addition to considering works of art described in Vasari's accounts, we will pay close attention to his language and its relationship with other types of writing: saints lives, chronicles, legends, guidebooks, anecdotes, jokes, gossip, and sermons. Issues to be explored include: the process of craft and handwork, notions of genius and inspiration, and the relationship between the visual arts and natural environment.
              ARTH 362-401 TOPICS IN NORTH BAROQUE: REMBRANDT SILVER, LARRY JAFFE BUILDING 104 W 0200PM-0500PM Topic varies. Spring 2016: Undergraduate seminar focusing on all aspects of the life and works of Rembrandt van Rijn (1606-1669). Students will produce a research paper on any aspect of the artist's life and times, and course sessions will explore self-portraits, artistic development, specific painting types (figure studies, landscapes, portraits), case study individual works (the Paris Bathsheba and the Philadelphia Museum Head of Christ), mythologies, religious works, and the etchings of Rembrandt. Weekly discussions--one short analysis paper in addition to the term research paper.
              • DTCH262401

              BENJAMIN FRANKLIN SEMINARS; BENJAMIN FRANKLIN SEMINAR

              ARTH 369-401 IMPROVISED CITIES IN THE MODERN WORLD GYGER, HELEN FISHER-BENNETT HALL 244 W 0200PM-0500PM Topic varies.
              • HIST233401
              • URBS233401
              ARTH 375-301 TOPICS IN 19TH C. ART: Manet's Paris in a Global Context DOMBROWSKI, ANDRE JAFFE BUILDING 104 W 0500PM-0800PM Topic varies. Spring 2016: This seminar will place Edouard Manet's influential paintings within the context of modern Paris, the French Empire and the city's increasingly global reputation in the late 19th century. We will study the most prominent Parisian sites associated with the rise of modernity as well as the global reach of the "myth" of modern Paris throughout the world, in Japan, the U.S., Latin America, the Middle East, among other destinations. The Eiffel Tower, shopping arcades, department stores (like the Bon Marche), boulevards, sewers, catacombs and world's fair grounds (including their artistic and popular representations) will be analyzed, as well as their global reception. We will study paintings by Manet, Monet and others, in order to get a better understanding of why the city of Paris is often named the birthplace of modernist art. Students are expected to have at least some background in art history, visual studies and French.
                ARTH 386-301 TOPICS IN 20TH CENT ART: ART OF THE 60'S AND 70'S POGGI, CHRISTINE JAFFE BUILDING 113 T 0130PM-0430PM Topic Varies.
                  ARTH 389-401 TOPICS FILM STUDIES: ENVIRONMENTAL MEDIA MUKHERJEE, RAHUL FISHER-BENNETT HALL 16 MW 0200PM-0330PM 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 393-601 HISTORY AND THEORY OF ANIMATION PINAR, EKIN FISHER-BENNETT HALL 141 MW 0430PM-0600PM Topic varies. Spring 2017: This course will examine key moments in the history of civil rights through a cinematic lens. Over the course of the semester, we will explore how filmmakers have depicted the lives, aspirations, and strategies of those who have struggled for equal rights; how different struggles have intersected with each other; what aesthetic strategies have been adopted to represent freedom and the denial of it; and how effective cinematic efforts to contribute to increased freedom have been as well as what criteria we use to evaluate success or failure in the first place. Each week, we will watch a film and read a series of texts that will be drawn from a variety of arenas, including histories of civil rights; civil rights pamphlets and speeches; filmmaker interviews; film and media theory; memoirs; and theories of race, gender and sexuality. Course requirements: mutual respect; completion of all readings and screenings; participation in class discussion; weekly online responses; a final project that can be a research paper, film, art project, or community-based initiative.
                  • CINE320601
                  ARTH 411-401 ART IN INDIA: Icons and Narrative in South Asian Sculpture MEISTER, MICHAEL JAFFE BUILDING B17 TR 0300PM-0430PM Spring 2016: We will examine Icons and Narratives in South Asian Sculpture. India's crafts of stone carving and bronze casting have produced one of the most distinct and accomplished sculptural traditions in the world. This workshop will look at two aspects of this history, the development of narrative sculpture and that of the religious 'icon' through specific case histories.
                  • SAST511401
                  ARTH 421-401 ARCHAEOLOGY OF ANATOLIA ROSE, CHARLES CLAUDIA COHEN HALL 392 TR 1030AM-1150AM This class is devoted to the archaeology and history of Anatolia (ancient Turkey) from the beginning of the Bronze Age (3000 BC) to the end of the Byzantine period (1453 AD). Emphasis will be placed on the great empires in Anatolia (Hittite, Phrygian, Lydian, Urartian, Persian, Roman, and Byzantine), and on the great cities (Troy, Sardis, Ephesus, Constantinople). The course is intended to complement the major exhibit on Gordion, the Phrygians, and Anatolian archaeology that will open at the Penn Museum in February of 2016 and run for 10 months.
                  • AAMW536401
                  • CLST336401
                  • NELC121401
                  • NELC521401
                  ARTH 433-401 THE PAST PRESERVED: CONSERVATION IN ARCHAEOLOGY GRANT, LYNN UNIVERSITY MUSEUM 190 TR 0300PM-0430PM This course explores the scientific conservation of cultural materials from archaeological contexts. It is intended to familiarize students with the basics of artifact conservation but is not intended to train them as conservators. The course will cover how various materials interact with their deposit environments; general techniques for on-site conservation triage and retrieval of delicate materials; what factors need to be considered in planning for artifact conservation; and related topics. Students should expect to gain a thorough understanding of the role of conservation in archaeology and how the two fields interact.
                  • ANTH435401
                  • CLST435401
                  • NELC486401

                  PERMISSION NEEDED FROM INSTRUCTOR

                  ARTH 515-401 TOPICS IN JAPANESE ART: Utamaro and his Contemporaries DAVIS, JULIE VAN PELT LIBRARY 627 T 0130PM-0430PM Topic varies. Spring 2016: In this seminar we will take a closer look at the prints, paintings, and illustrated books produced by one of ukiyo-e's most famous artists, Kitagawa Utamaro (1753?-1806), with special focus upon works to be included in an upcoming exhibition. We will begin by surveying the larger history of the pictures of the floating world (ukiyo-e) and pay close attention to Utamaro's teacher and his contemporaries. The status of the artist, the role of the publisher, networks of possible patrons, and Utamaro's legacy are among the key issues the seminar will address. Our analysis will further attend to the ways in which works by Utamaro and other ukiyo-e artists were evaluated and appreciated in late 19th-century France by such figures as Edmond de Goncourt, Hayashi Tadamashi, and Siegfried Bing, among others. Students will have the opportunity to study works in local and regional collections, including the Kislak Center, the Philadelphia Museum of Art, and the Freer/Sackler Galleries. Undergraduate students admitted by permission only.
                  • EALC535401

                  UNDERGRADUATES NEED PERMISSION

                  ARTH 521-401 ANCIENT MEDITERRANEAN: Textiles, Dress, and Bronze Age Interconnections SMITH, JOANNA VAN PELT LIBRARY 402 W 1200PM-0300PM Topic varies. Spring 2017: Antiquities from the island of Cyprus are at the heart of the history of ancient art in North America. Prominently, in the late nineteenth century, Luigi Palma di Cesnola s controversial Cypriot collection fascinated visitors to the Metropolitan Museum of Art. Over time Cypriot art was displaced by acquisitions from Greece, Italy, Egypt, and the Near East. Today, redisplays of Cypriot art from the monumental to the miniature emphasize the island s artistic interconnections with neighboring regions and the ingenuity of Cypriot imagery. This seminar examines exhibitions of ancient art from the Bronze Age to the Roman period through the lens of Cyprus as part of the planning for a new gallery in the Penn Museum. Penn Museum s excavations at Lapithos and Kourion on Cyprus are the main sources for its important and well-recorded collection. Students will explore approaches to the visual and contextual display of this material. Several sessions will be held in the Penn Museum. Open to advanced undergraduates by permission of the instructor.
                  • AAMW521401

                  UNDERGRADUATES NEED PERMISSION

                  ARTH 525-401 TOPICS IN GREEK/ROM ART: ROMAN POLITICAL ART KUTTNER, ANN JAFFE BUILDING 113 T 0430PM-0730PM Topics Varies. Spring 2017: In 312 when emperor Constantine can be said to have inaugurated a Christian empire, Roman visual culture was many centuries old, and foundational elements of Late Antique art already established. Between ca. 200 and 700 CE Greco-Roman art was transformed, to create the Medieval, Byzantine and Islamic visual traditions. From Trier and Ravenna to Antioch and Aphrodisias, rulers and subjects, elites and ordinary people, and even foreign conquerors cared to maintain Roman civilization. That cultural legacy included both a drive towards innovation and a passion for maintaining tradition (we will contest narratives of Late Antique art's 'decline'); meanwhile, from the 3rd c. onwards, Christianity challenged and changed many roles of Roman images. This proseminar's interdisciplinary approach ranges the broadest possible range of media and contexts for the decoration of sacred, Imperial, domestic, funerary and civic space with old and new forms and styles of artifacts and images, ranging from silver, ivory, coin and textile to monumental mosaics and statuary. In analyzing the forms of agency wielded by images, monuments and artifacts, we also look at the rich corpus of Late Antique texts on art, objects, space and viewership. We will also look outside the Late Roman empire's frontiers in time and space to cultures on its borders and the early Islamic, `barbarian' and Sasanian worlds. Open to advanced undergraduates by permission of the instructor. Of especial interest to students in ARTH, CLST, AAMW, ANCH, RELS. Prior experience with history of art and archeology or with the topic culture are not required.
                  • AAMW525401
                  • CLST521401

                  UNDERGRADUATES NEED PERMISSION

                  ARTH 538-401 TPCS IN ART OF ANDALUSIA: Cordoba: City, Mosque, Estates, Palace City HOLOD, RENATA JAFFE BUILDING 104 TR 1200PM-0130PM Spring 2016: This pro-seminar will investigate the nature of Cordoba as the capital of the Umayyad realm in Iberia. Topics discussed will include: city and its suburbs, villas as loci of cultural production, the role of the congregational mosque, the city vs. the palace city of Madina al-Zahra. Knowledge of Spanish and/or Arabic desirable, but not necessary.
                  • AAMW538401
                  ARTH 584-401 TOPICS IN CULTURAL HIST: MAKING AND MARKING TIME WEISSBERG, LILIANE FISHER-BENNETT HALL 231 T 0300PM-0500PM Topic for Spring 2016: Making and Marking Time. What is time? In the late 19th century, the questions of how to define time, how to slow down time, and, above all, how to accelerate movement have become focus of the work by many European philosophers who have tried to come to terms with what is now termed as the Industrial Revolution, and the idea of "progress." And can time be understood as something continuous, or is it fragmented, proceeding in fits and burst? Such contemplations on time have deeply influenced writers. Marcel Proust was a reader of Henri Bergson and translated his theories of time into a concept of memory. Thomas Mann has tried to navigate timelessness in a novel set on a "Magic Mountain." Virginia Woolf and James Joyce have pictured an entire universe in a single day (Mrs. Dalloway, Ulysses) while early 20th century Italian Futurists made the contemplation of time part of their manifestos. With them, and with expressionist writers in Germany or writers from the DADA movement there elsewhere in Europe, a reckoning with time would also influence their choice of genre and form, writerly practice, and technique. Parallel to these literary experimentation, pictures were set into motion in scholarly studies by Eadweard Muybridge and finally in the new medium film; Impressionist painters insisted on picturing fleeting moments, and composers experimented with temporal sequences. We may be able to understand a reconsideration of time as driving force for the modern movement, or simply "modernity." In this seminar, we will study a selection of literary texts of the late 19th century and the modernist movement, consider the philosophical background and changes in historiography, and integrate a consideration of the visual arts and music.
                  • COML537401
                  • ENGL563401
                  • GRMN541401
                  ARTH 593-401 TOPICS IN CINEMA & MEDIA: THE PLACE OF FILM AND MEDIA THEORY REDROBE, KAREN JAFFE BUILDING 113 W 0200PM-0500PM Spring 2016: Taking its title from a recent special issue in the journal Framework, this seminar will engage the where of film and media theory. At a moment when this discourse, often presumed to have roots in Anglo and Western European traditions, is purportedly undergoing a global turn, we will consider how some of film and media theory's key terms and preoccupations including realism, documentary, genre, identity, sound, spectatorship, nation, auteur, and screens are being inflected by expanded geographic, linguistic, aesthetic and cultural frames. We will grapple with some of the logistical challenges, motivations, resistances, and questions that scholars encounter as they attempt to shift film and media theory's borders; compare contemporary efforts to broaden the discourse's geographic horizon with earlier efforts to do the same; and consider what happens to the viewer's sense of space and place in different media environments. Course requirements: full participation in readings, screenings, discussion, and class presentations; 20-25 page research paper + annotated bibliography. Permission of instructor required for advanced undergraduates.
                  • CINE590401
                  • COML599401
                  • ENGL593401
                  • GSWS594401

                  UNDERGRADUATES NEED PERMISSION

                  ARTH 626-401 HELL & ROM ART/ARTIFACT KUTTNER, ANN JAFFE BUILDING B17 TR 1030AM-1200PM This course surveys the political, religious and domestic arts, patronage and display in Rome's Mediterranean, from the 2nd c. BCE to Constantine's 4th-c. Christianized empire. Our subjects are images and decorated objects in their cultural, political and socio-economic contexts (painting, mosaic, sculpture, luxury and mass-produced arts in many media). We start with the Hellenistic cosmopolitan culture of the Greek kingdoms and their neighbors, and late Etruscan and Republican Italy; next we map Imperial Roman art as developed around the capital city Rome, as well as in the provinces of the vast empire.
                  • AAMW626401
                  • ARTH226401
                  • CLST221401
                  ARTH 632-401 BYZANTINE ART & ARCH OUSTERHOUT, ROBERT JAFFE BUILDING 113 TR 0900AM-1030AM This course surveys the arts of Byzantium from the fall of Rome to the fall of Constantinople in 1453. Study of major monuments, including icons, mosaics, architecture, and ivories provide us with an overview of this rich artistic culture. We pay special attention to the role of the Orthodox Church and liturgy in the production and reception of art works. Weekly recitation sections focus on selected major issues, such as the relationship of art to the Holy, the uses and abuses of Iconoclasm, and imperial patronage. The course also grapples with the Empire's relationship to other cultures by looking at the impact of the Christian Crusades and Moslem invasions - as well as Byzantium's crucial impact on European art (e.g., in Sicily, Spain).
                  • AAMW632401
                  • ARTH232401
                  ARTH 675-401 REVOLUTION TO REALISM GREWE, CORDULA COLLEGE HALL 200 MW 0330PM-0500PM 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 HAGAN, CAROL JAFFE BUILDING B17 MW 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

                  CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS

                  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 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 increasingly important 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.
                  • ARTH294401
                  • GSWS294401
                  • VLST236401
                  ARTH 697-601 ART/CONTEMPORARY SOCIETY LEVY, AARON JAFFE BUILDING 104 T 0430PM-0730PM How do you perform freedom? Is it something you have, or is it something you aspire towards and struggle to achieve? What role does art play in this process? This course will explore how artists in the 21st century have constructed newly creative and critical spaces of freedom through art, and how art functions as a mechanism for reflecting on contemporary identity and society. We will be attentive to how our understanding of freedom can change over time, and what happens when our personal and collective definitions come into conflict with others. Emphasis will be given in the syllabus to visual and performance art from the 1960s era to the present. Each week we will engage artists that explore the possibility of freedom in different ways, including William Pope.L, Kara Walker, Glenn Ligon, Ai Weiwei, Krzysztof Wodiczko, Allan Sekula, Laura Poitras, Laura Kurgan, and Fazal Sheikh. In learning about these artists, we will also engage the extensive digital archives of Slought (slought.org), a cultural organization located on campus. Finally, in conjunction with a Spring 2016 exhibition at Slought of the work of photographer Fazal Sheikh, we will engage the artist in conversation about the themes explored in the course. Course requirements also include weekly participation in a discussion forum, two papers, and occasional attendance at cultural events on campus.
                  • ARTH297601
                  • ENGL266601

                  UNDERGRADUATES NEED PERMISSION

                  ARTH 711-401 TOPICS IN INDIAN ART: South Asian Architecture: Practice and Symbolism MEISTER, MICHAEL JAFFE BUILDING 104 F 1200PM-0200PM Topic varies. Spring 2016: We will examine the practice and symbolism of South Asian Architecture with case studies of how to build and how to make buildings meaningful.
                  • SAST711401
                  ARTH 732-401 TOPIC IN BYZ ART & ARCH: Center and Periperhy: Constantinople and the Provinces OUSTERHOUT, ROBERT JAFFE BUILDING 113 R 0130PM-0430PM Topic varies. Spring 2016: The graduate seminar will investigate the dynamics of artistic exchange between Constantinople and its Byzantine provinces, as well as areas under its cultural influence. Both architecture and monumental art will be considered, focusing on the period of 6th-12th centuries. Students will produce two research papers: one addressing a Constantinopolitan monument; the second assessing artistic production in a region outside the Byzantine capital.
                  • AAMW732401
                  ARTH 761-401 TOPICS IN N. REN ART: Netherlandish Art - Northern Pictures in the Johnson Collection SILVER, LARRY
                  ATKINS, CHRISTOPHER
                  R 0130PM-0330PM Topic varies. Spring 2016: Curatorial emphasis for graduate students about the rich collections of the Johnson Collection in the Philadelphia Museum of Art. Students will work together with the Johnson Collection curator, Christopher Atkins, researching all aspects of selected works: painting history, condition, bibliography, theme, and significance for sample catalogue entries. Some of these works will eventually go on display a year later in a Johnson Collection Centennial exhibition at the PMA, so the possibility of a publication may accrue to invaluable "insider" museum experience.
                  • DTCH661401

                  CONTACT DEPT or INSTRUCTOR FOR CLASSRM INFO

                  ARTH 786-301 TOPICS IN 20TH C. ART: INTERNATIONAL POP ART BATTLE, ERICA
                  POGGI, CHRISTINE
                  JAFFE BUILDING 104 M 0200PM-0400PM Topic varies.

                    PERMISSION NEEDED FROM INSTRUCTOR

                    ARTH 794-401 TPCS IN CONTEMPORARY ART: Installations, Projections, Divagations SILVERMAN, KAJA JAFFE BUILDING 104 T 0130PM-0430PM Topic varies. Fall 2016: By 1842--three years after the official invention of photography--photographers had already begun hand-coloring their daguerreotypes, and a century and a half later Richter started smearing and spattering paint onto small photographs, and exhibiting them along with his abstract and figurative paintings. By the mid-1850's, many artists were also painting from photographs, sometimes by projecting them onto their canvases, and treating these projections as preparatory drawings. They called the resulting images "photo paintings." And although it became increasingly "disreputable" to work in this way as the century progressed, Eugene Delacroix, Gustave Courbet, Edouard Manet, Henri Fantin-Latour, Edgar Degas and Edouard Vuillard all made paintings that are in one way or another "photographic." Some of them also saw photography as the gateway to a new kind of figurative painting. Abstraction hardened the distinction between art and photography, and brought these medium-crossings to an end. However, photo painting resurfaced in the 1950s and 1960s, and although it initially seemed ironic, it has outlived the movements that made this reading possible. As we can now see, photo-painting is a far more complex and multi-faceted way of generating images than those generally associated with Pop, Institutional Critique and Appropriation. We will begin this seminar with the two most important practitioners of nineteenth century photo painting, Edouard Manet and Edgar Degas. We will then direct our attention to a group of twentieth and twenty-first century photo-painters: Richard Artschwager, Marlene Dumas, Richard Hamilton, Gerhard Richter, Wilhelm Sasnal, and Luc Tuymans.
                    • COML787401

                    PERMISSION NEEDED FROM INSTRUCTOR