Art, Art History and Visual Studies (ARTHIST)

Professor Van Miegroet, Chair (115B East Duke Building); Associate Professor Weisenfeld, Director of Graduate Studies (102 East Duke); Professors Antliff, Bruzelius, Leighten, McWilliam, Powell, Stiles, Wharton; Associate Professors Abe and Dillon; Assistant Professor Gabara and Galletti; Professor Emeritus Markman; Adjunct Professor Rorschach; Adjunct Associate Professor Schroth; Adjunct Assistant Professor Schroder

The Department of Art, Art History and Visual Studies offers graduate work leading to the PhD degree in art history. The doctoral program in the history of art is competitive with the leading art history programs in the country. We are committed to full and equal funding of our students during their time in residence at Duke. Admission to the program is limited to between four and six new students per year.

The PhD program in the history of art is integrally connected with many interdisciplinary, theoretical, and international initiatives in the humanities at Duke. The doctoral program is distinguished by its flexibility and cross-disciplinarity. It requires a thorough grounding in the form and meaning of objects and sites, as well as in their theoretical and historical contexts. Course work has been designed to prepare students for careers in art and architectural criticism, research and teaching in the academy, museum, and art gallery. Faculty in the program are expert in a broad range of areas of art history, as well as in a variety of media, from architecture, sculpture and painting to video and cybernetics.

Concurrent with their work toward a PhD, students may satisfy the requirements for a certificate of museology.

Students are required to demonstrate their ability to read those languages necessary to their research fields as determined by their faculty advisors; exams must be passed in at least two foreign languages before taking the preliminary examinations.

For further information on the PhD Program, prospective applicants may look at the Department's Web site: http://www.duke.edu/web/art/, or write to the director of graduate studies.

The department also participates in a program with the Law School leading to a joint JD/MA degree. The Guidelines for Graduate Students in the Doctoral Program in Art History and the Guidelines for Graduate Students in the JD/MA Program fully describe these and additional requirements and the detailed steps in the student's graduate career.

201S. Topics in Greek Art. Specific aspects of the art or architecture in the Greek world from the late Geometric to the Hellenistic periods. Subject varies from year to year. Consent of instructor required. Instructor: Staff. 3 units. C-L: Classical Studies 220S

236S. Topics in Romanesque and Gothic Art and Architecture. Analysis of an individual topic. Subject varies from year to year. Consent of instructor required. Instructor: Bruzelius. 3 units. C-L: Medieval and Renaissance Studies 237S

241. History of Netherlandish Art and Visual Culture in a European Context. A contextual study of visual culture in the Greater Netherlands and its underlying historical and socioeconomic assumptions from the late medieval to early modern period, through immediate contact with urban cultures, such as Amsterdam, Leiden, Utrecht, Brussels, Ghent, Bruges, and Antwerp. Includes daily visits to major museums, buildings, and sites; hands-on research in various collections; discussion sessions with leading scholars in the field; and a critical introduction to various research strategies. (Taught in the Netherlands.) Not open to students who have taken Art History 158-159. Course credit contingent upon completion of Art History 242. Instructor: Van Miegroet. 3 units. C-L: Medieval and Renaissance Studies 241, Visual Studies 210

242. History of Netherlandish Art and Visual Culture in a European Context. Second half of Art History 241-242; required for credit for 241. (Taught in the Netherlands.) Not open to students who have taken Art History 158-159. Instructor: Van Miegroet. 3 units. C-L: Medieval and Renaissance Studies 242, Visual Studies 211

243S. Topics in Netherlandish and German Art. Specific problems in northern Renaissance or baroque art such as the Antwerp workshops of the sixteenth century or a critical introduction to major artists such as Van Eyck, Bosch, Dürer, and Rubens. An analytical approach to their lives, methods, atelier procedures and followers; drawings and connoisseurship problems; cultural, literary, social, and economic context; documentary and scientific research strategies. Subject varies from year to year. Consent of instructor required. Instructor: Van Miegroet. 3 units. C-L: Medieval and Renaissance Studies 243S

245S. Art and Markets. Cross-disciplinary art history-visual culture-economics seminar. Analytical and applied historical exploration of cultural production and local art markets, and their emergence throughout Europe, Asia, and the Americas. Criteria for valuation of imagery or what makes art as a commodity desirable or fashionable. Visual taste formation, consumer behavior, and the role of art dealers as cross-cultural negotiants. Consent of instructor required. Instructor: Van Miegroet. 3 units. C-L: Medieval and Renaissance Studies 245S, Economics 244S, Visual Studies 252AS

247S. Topics in Italian Renaissance Art. Topics in art and/or architecture from c. 1300 to c. 1600. Subject varies from year to year. Consent of instructor required. Instructor: Staff. 3 units. C-L: Medieval and Renaissance Studies 248S

255S. Museum Theory and Practice. Museum theory and the operation of museums, especially art museums, and how the gap between theory and practice is negotiated in the real world setting. Issues involving collecting practices, exhibition practices, and didactic techniques, as well as legal and ethical issues. Taught in the Nasher Museum. Instructor: Rorschach. 3 units.

256S. Inventing the Museum: Collecting and Cultural Discourses of the Nineteenth Century. 3 units. C-L: see German 286S; also C-L: History 286AS, Romance Studies 286S

265S. Topics in Nineteenth-Century Art. Focus on a major artist, movement, or trend in nineteenth-century art. Subject varies from year to year. Consent of instructor required. Instructorr: Antliff, Leighten, or McWilliam. 3 units.

270S. Topics in African Art. Specific problems of iconography, style, connoisseurship, or a particular art tradition in African art. Subject varies from year to year. Consent of instructor required. Instructor: Powell. 3 units. C-L: African and African American Studies 270S

274S. Topics in Japanese Art. Problems and issues in a specific period or genre of Japanese art. Specific focus varies from year to year. Consent of instructor required. Instructor: Weisenfeld. 3 units.

283S. Topics in Modern Art. Selected themes in modern art before 1945, with emphasis on major movements or masters. Subject varies from year to year. Consent of instructor required. Instructor: Antliff, Leighten, or Stiles. 3 units.

284AS. Caricature and Popular Journalism in England 1760-1850. Social and political caricature from the accession of George III to the early Victorian era. Caricature and party politics; satires of fashionable society; reactions to the American War of Independence, the French Revolution and the Napoleonic Wars. Caricature, radical journalism and the reform movement; the emergence of comic journalism. Instructor: McWilliam. 3 units.

285S. Information Archeology: Studies in the Nature of Information and Artifact in the Digital Environment. 3 units. C-L: see Information Science and Information Studies 260S

290S. Visual Culture and Animal Studies. The visual culture constructed around animals, including images of animals from prehistoric to contemporary representations, the role of visualization in animal rights and survival, animals as human totems and stuffed toys, portrayals of animal consciousness and debates about speciesism, in the analysis of the cultural objectification and societal subjectification of animals. Instructor: Stiles. 3 units.

296S. Methodology of Art History. Various theoretical perspectives that have shaped different disciplinary perspectives and practices in art history. Introduction to particular types of methodologies (i.e. Marxism, feminism, race and gender, psychoanalysis, post-colonial theory, and deconstruction) as fields of inquiry through which the study of the visual arts and culture have been practiced. Historiography of the last two decades in art history; selected contemporary debates. Instructor: Staff. 3 units.

297S. Topics in Art since 1945. Historical and critical principles applied to present-day artists and/or movements in all media since World War II. Consent of instructor required. Instructor: Stiles. 3 units.

301. Museum Studies. Introduction to the organization and functions of the museum in preparation for the presentation of a student-organized exhibition. Most of the semester spent in independent study researching scholarly, critical essays for the catalog. Instructor: Museum Staff. 3 units.

302. Museum Studies. Completion of research and preparation of the catalog. Students actively participate in catalog design and production, and will be responsible for planning and installing the exhibition as well as interpreting it to the public through lectures and tours. Instructor: Museum Staff. 3 units.

303. Critical Approaches to Exhibitions and Museums. The historical context and critical analysis of exhibition theory and practices from curiosity cabinets to ethnological museums to postmodern spectacles with special attention to the development of the fine art museum as a distinctive site of visual display and consumption. Instructor: Abe. 3 units.

340. Goya and David: Enlightenment and Unreason. A comparative study exploring the artists' contrasting responses to contemporary currents in art, philosophy and politics; examination of Goya and David as historiographical subjects; exploration and critique of biographical strategies in art history. Instructor: McWilliam. 3 units.

341. Nationalism and Visual Culture Since 1789. Theories of nationalism, national identity and nationhood; cultural expression as a medium for nationalism; historical study of nationalist theories from Taine to the present day. Art history and national essentialism. National myths and the representation of heroes; the representation of the military; national enemies and subject peoples. National symbols and popular culture; the invention of national traditions; historicism and the visual construction of collective identities. Regionalism, folk art and the cult of the land; the representation of place in conceptions of nationhood. Nostalgia, from "Merrie England" to the Wild West. Nations covered include Britain, France, Germany & America. Instructor: McWilliam. 3 units.

350. Topics in Japanese Art. Problems and issues in a specific period or genre of Japanese Art. Specific focus varies from year to year. Consent of instructor required. Instructor: Weisenfeld. 3 units.

355. Death and Burial in the Middle Ages: The Impact on Architecture and Sculpture. Course will study attitudes towards the dead body and the fate of the soul in the middle ages, and the impact of changing approaches to burial on architecture and planning in the medieval city. Instructor: Bruzelius. 3 units.

362. Theatricality in Art: Staging Public Life in the Classical World. The idea that life is a stage was a pervasive one in antiquity and reflects the importance of the theater as a cultural and civic institution. Exploration of the concept of theatricality and its effects on art and life in Hellenistic and Roman worlds. Topics include public funerals, festival processions, the statesman as actor, costumes, masking, and portraiture, and the popularity of theatrical imagery in domestic decoration. Exploration of the influence of and resistance to the Greek theater and theatricality in Roman politics and culture. Consent of instructor required. Instructor: Dillon. 3 units.

363. Imagery of Empire: Roman Historical Reliefs. Genre of sculpture that emerged in late Republic as major vehicle for visual transmission of imperial ideology. Representing the emperor engaged in a variety of activities, these images helped to construct and communicate the power and grandeur of the Roman Empire to its citizens. In examining a broad range of Roman historical reliefs, course considers how sculptured styles and narrative strategies were used to represent imperial histories and explores the range of messages these images conveyed. Also considers issues of center versus periphery and the visual dynamics of 'Romanization.' Consent of instructor required. Instructor: Dillon. 3 units.

364. Primitivism, Art, and Culture. Seminar studies issues of primitivism in western culture, considering attitudes towards race and gender. Particular attention to the function of primitivism within modernist discourse-especially as regards such major figures as Gauguin, Matisse, and Picasso; and critical evaluations of the concept of primitivism in the fields of anthropology, literary criticism, cultural geography, and social history. Consent of instructor required. Instructor: Leighten. 3 units.

365. Italian Futurism. Seminar investigates the development of the futurist movement from its beginnings in 1909 through the 1920s. Studies the art of futurist painters Umberto Boccioni, Carlo Carr, and Gino Severini in tandem with that of literary figures such as F. T. Marinetti, Ardengo Soffici, and Giovanni Papini. Special attention given to interdisciplinary debates over the role of futurism in the pre- and postwar development of fascism in Italy, as well as the relation of futurism to other European movements. Consent of instructor required. Instructor: Antliff. 3 units.

366. British Modernism in the Early Twentieth Century. A seminar focusing on the development of modernism in England, from the creation of a British fauvist movement in 1910 to the advent of vorticism during World War I. Topics include Roger Fry and the Omega Workshops, J. D. Fergusson and the British fauvists, the vorticism of Wyndham Lewis, Jacob Epstein and Henri Gaudier-Brzeska, and the criticism of vorticists T. E. Hulme and Ezra Pound. These movements studied in the light of political ideology, literary theory, and gender studies. Consent of instructor required. Instructor: Antliff. 3 units.

367. Cubism and Cultural Politics. Seminar studies the cubist movement in pre-World War I Paris, considering art theory and production within the matrix of cultural politics and current critical debates in the field. Focus on significant figures including Georges Braque, Robert and Sonia Delaunay, Marcel Duchamp, Raymond Duchamp-Villon, Albert Gleizes, Juan Gris, Marie Laurenein, Henri Le Fauconnier, Fernand Lèger, Jean Metzinger, Pablo Picasso, and others. Consent of instructor required. Instructor: Antliff or Leighten. 3 units.

368. Anarchism and Modernist Art. Studies the anarchist theories of Proudhon, Bakunin, Kropotkin, Reclus, Stimer, and others as they relate to the art of Courbet, Seurat, Signac, Pissarro, Cèzanne, Kupka, Kandinsky, Picasso, Severini, and other artists involved in anarchist discourse. Attention paid to current interest in anarchism as an alternative to various forms of Marxism within contemporary theoretical debate. Consent of instructor required. Instructor: Antliff or Leighten. 3 units.

369. Modernism and Cultural Politics. Issues of politics and art of the modernist period in Europe, focusing on movements significantly involved with and influenced by political thought and activism-from anarchism and Marxism to nationalism, neocatholicism, royalism, and fascism-and/or subject to recent politicized art historical interpretation. Topics may include the neo-impressionism; symbolism; catalanisme and the early Picasso; fauvism; primitivism, cubism; futurism; purism; the Bauhaus; deStijl; Russian avant-gardism; dada; and surrealism. Consent of instructor required. Instructor: Leighten. 3 units.

370. Art of the Courts in Thirteenth- and Fourteenth-Century Europe. Examination of the major courts of Europe in France, England, Germany, and Italy to study the development of court culture and the relationships and exchanges between the different courts through marriage alliances, exchanges of presents, and shifts in taste and style. Focus on the courts of Louis IX in France, Henry III and Edward II in England, and the court of Naples from 1266 onwards. Topics include patterns of spirituality, family relationships, and the role of women and books. Instructor: Bruzelius. 3 units.

371. Art and Culture in the Angevin Kingdom of Naples. A seminar on the importation of French culture to Italy after the conquest of Charles of Anjou in 1266. Focus on the shift within the Kingdom of Naples from models and styles derived from northern Europe to a focus on the environment of Rome, Tuscany, and the Mediterranean basin by the end of the thirteenth century. Topics include patterns of patronage, the production of books and manuscripts, the construction of civic and religious monuments, tomb sculpture, and city planning. Instructor: Bruzelius. 3 units.

372. Western Monasticism and Its Buildings. The development of monastic planning and space within the western tradition. The concept of the cloister and its position, the disposition of utilitarian buildings, and the relationships between decoration (painting, sculpture) and spiritual life; the rejection of the enclosed monastic life as a result of the founding of the mendicant orders. The monastic life and its spaces for men were reinforced for women with new types of regulations on barriers, grills, and access to the lay public and the sacraments, a process that for the Middle Ages culminates with the bull Pericoloso of Boniface VIII in 1297. Instructor: Bruzelius. 3 units.

373. The Paris Salon; Artists, Critics, and Institutions 1815-1900. Approaches the major exhibition of contemporary French painting and sculpture from multiple perspectives, highlighting involvement of successive political regimes in regulating the artistic economy. Analysis of artists' relationship with-and attempts to modify-the Salon structure, the emergence of alternative exhibiting venues, and the growth of the commercial art market. Particular emphasis on contemporary critical responses to artworks, viewed in the light of wider changes in journalism and the literary market place. Crucial texts and controversies over particular works will be examined in depth. The implications of reception theory for art history will be explored. Instructor: McWilliam. 3 units.

374. Jerusalem. Seminar assesses the contribution of Jerusalem's buildings to its contentiousness from Biblical to modern times. Particular sites (Me'a She'rim, the Dome of the Rock, the Holy Sepulchre, the Kotel or Wailing Wall, the souk, the Israeli Supreme Court, the Museum of the Seam, the Fence, etc.) considered in the context of the urban history of the city from the time of Jesus through Arab, Crusader, Turkish and British rule to contemporary Israeli control. How these places act upon the religious imagination and how they affect the ideological positions of their users (and their abusers) discussed on the basis of photographs, archaeological reports, news reports, novels, sacred texts and diaries. Instructor: Wharton. 3 units.

376. Through a Glass Diasporally: Photography, Film, and Video. This seminar examines photographic, cinematic, and other mass media images of people of African descent as a means of exploring questions that have recently been asked about racial and cultural identities in the ''black Atlantic,'' the ''burden'' of racial representations; and art produced during this era of ''mechanical reproduction.'' Focus on images of blacks as seen in ethnographic, documentary, and fine art photography; silent and sound film; and broadcast television and video art, past and present, by both black and nonblack artists, along with assorted critical writings about mass media images of blacks. Instructor: Powell. 3 units.

377. Performing Gender/Exhibiting Race. Studying the intersections of race and gender in art since 1945 invites a host of visual subjects and methodological strategies. This seminar examines works by artists like Barkely Hendricks, David Hammons, Adrian Piper, Jean-Michel Basquist, Faith Ringgold, and Kara Walker, and traces the theorizing of gender and race through historical documents and contemporary writings. Instructor: Powell. 3 units.

378. Outsiders and Insiders. An exploration of the phenomenon in Europe and the Americas during the nineteenth and twentieth centuries, when critics began to differentiate between art from learned, civilized communities and art from an uneducated, barbaric population. From the Beaux-Arts and Völkerkunde, to the debates surrounding primitivism, modernism, and popular culture. An examination of the idea of an art hierarchy and other concepts of artistic outsiders and insiders from a variety of positions, taking into account nationality, class, literacy, economics, race, and gender in the categorization and evaluation of art. Instructor: Powell. 3 units.

379. Fascism East and West: The Visual Culture of Japan, Germany, and Italy. Through a close analysis of cultural production and aesthetics, this course examines the relationship between the politics of fascism and its symbolic practices; how forms of rituals, myths, and images played a crucial role in the formation of the fascist regime's self-identity, and the formation of the national fascist subject. Materials include painting, sculpture, architecture, photography, graphic design, mass media, film, and forms of public spectacle and pageantry. Instructor: Weisenfeld. 3 units.

380. Art and Markets. New research that negotiates various possibilities in reuniting ideas, theories, and reception codes, different from those we currently identify. Various scenarios generated will focus on unexpected interplays between images and audiences within their local, timely, and particular socioeconomic frame. Instructor: De Marchi and Van Miegroet. 3 units.

381. Destinations. Consideration of architectures of play, escape, and healing. History and physical form of sites from antiquity to the present (for example, the Roman and Byzantine spa at Hieropolis, the pilgrimage shrine at Lourdes; Disney World) studied through primary sources and theoretical texts. Instructor: Wharton. 3 units. C-L: Religion 381

382. Art and Commodity. Exploration of relations between unique objects (relic, monument, art work) and evolving markets in the West from late antiquity to the present. Economic and theoretical texts (e.g. Aquinas, Adam Smith, Mauss, Appadurai) as well as historical and art historical works (e.g. Schapiro, Greenberg, Belting, Mitchell) will provide the ground for both formal and social understanding of particular works of art. The course will focus on Jerusalem and its representations in the West. Instructor: Wharton. 3 units.

383. Art and Text. This seminar concerns ekphrasis, the problem of using verbal representation to describe visual representation. Study of the interrelation between artists' theoretical writings and visual productions. Students may work on art and texts in all traditional and experimental visual art media, as well as in photography, video, film, and electronic multimedia. Instructor: Stiles. 3 units.

384. Art and Memory. Art can be a form for the remembrance, construction, recapitulation, and visualization of memory. This seminar considers theories of memory, cognition, and perception, traumatic memory, dissociation, and recovered memory, flashbulb memory, as well as eidetic and other anomalous forms of memory as they are displayed in all traditional and experimental visual art media, including photography, video, film, and electronic multimedia. Instructor: Stiles. 3 units.

385. Art, Violence, and Taboo. Art provides an unparalleled liminal space for the presentation and representation of violence, destruction, sadism, masochism, and other breaches of moral code otherwise controlled and legislated against in civil society. This seminar considers theories and practices of violence and taboo, and students may work on this subject in all traditional and experimental visual art media, including photography, video, film, and electronic multimedia. Instructor: Stiles. 3 units.

386. Fascism, Art, and Ideology. A study of the cultural politics of European fascism, from its origins in the synthesis of nationalism and socialism before World War I, to its final eclipse in 1945. Analysis of art and architecture in Britain, France, Italy, and Germany in terms of contemporary debates over what constituted a fascist aesthetic. Consideration of the art and writing of the symbolists, futurists, vorticists, La Corbusier, German expressionists, and various German and Italian realists in light of theories of fascism. Instructor: Antliff. 3 units.

387. Art History and Representation. Seminar in the production of art history through various forms of representation, broadly construed, with special attention to issues of aesthetics, social context, historical location, and enunciative position. Consideration of practices of collecting, translation, display, and knowledge formation in order to explore the heterogeneous genealogy of art history. Instructor: Abe. 3 units.

389. Spatial Practices. Space, once a vacuum in which action took place, is now broadly acknowledged as a formidable matrix that shapes agency. From medieval refectories to Starbucks, from Jerusalem to Las Vegas, from mikvaot to hot spring spas, space produced for human use has in turn managed human performance. How space works--as reassuring or threatening, as ordering or disordering--is the subject of this seminar. By reading selected theoretical texts (e.g. Lefebvre, Habermas, Eliade, Zizek) and mapping specific historical landscapes, we will become more aware of the ways space has shaped history and informed the objects of our scholarly research. Instructor Wharton. 3 units.

391. Individual Research in Art History. Directed research and writing in areas unrepresented by regular course offerings. Consent of instructor required. Instructor: Staff. 3 units.

392. Individual Research in Art History. Directed research and writing in areas unrepresented by regular course offerings. Consent of instructor required. Instructor: Staff. 3 units.

393. Colloquium in the History of Art. Topics of interest to art historians in every field, including ''The Question of Originality,'' ''Implications of the Frame (or its absence), '' and ''Art and Economy: The Impact of the Market on Visual Production.'' Faculty and students participate in the forum. Consent of instructor required. Instructor: Staff. 3 units.

395. Topics in Art History. In-depth consideration of a specific art historical problem of a formal, historical, or conceptual nature. Consent of instructor required. Instructor: Staff. 3 units.

208S. Poverty and the Visual. Relationship between art, visual culture, and poverty from the 1950s to the present across cultures. Readings, research, visual analyses, and production assignments based on a broader understanding of poverty as a philosophical, economic, social, and cultural concept. Instructor: Lasch. 3 units.

200S. Theories of Visual Studies. Capstone seminar focusing on advanced visual studies theories, as well as individual senior projects undertaken as a written thesis or visual production. Consent of instructor required. Prerequisite: Art History 108. Not open to students who have previously taken this course as Art History 208S. Instructor: Abe or Stiles. 3 units.

201S. Wired! New Representational Technologies. Research and study in material culture and the visual arts expressed by using new visual technologies to record and communicate complex sets of visual and physical data from urban and/or archaeological sites. Introduces techniques for the presentation and interpretation of visual material through a series of interpretative and reconstructive technologies, including the development of web-pages (HTML/Dreamweaver), Photoshop, Illustrator, Google Sketch-up, Google Maps, and Flash. Uses two test cases, an archaeological site (Dillon), and an urban/architectural site (Bruzelius) to develop techniques of interpretation and representation. Consent of instructor required. Instructor: Brady, Bruzelius, Dillon, or Olson. 3 units.

205S. Representations of War in Greece and Rome. Considers how war was represented in ancient Greece and Rome and how Greek and Roman society used both war images and images of external enemies in their formulation of a collective identity, including pictorial representations, commemorative building programs, and ephemeral displays such as triumphs and spectacles as instruments in constructing their collective beliefs about themselves, their past, and future. Instructor: Dillon. 1 unit.

210. History of Netherlandish Art and Visual Culture in a European Context. A contextual study of visual culture in the Greater Netherlands and its underlying historical and socioeconomic assumptions from the late medieval to early modern period, through immediate contact with urban cultures, such as Amsterdam, Leiden, Utrecht, Brussels, Ghent, Bruges, and Antwerp. Includes daily visits to major museums, buildings, and sites; hands-on research in various collections; discussion sessions with leading scholars in the field; and a critical introduction to various research strategies. (Taught in the Netherlands.) Not open to students who have taken Art History 158-159. Course credit contingent upon completion of Art History 242. Instructor: Van Miegroet. 3 units. C-L: Art History 241, Medieval and Renaissance Studies 241

211. History of Netherlandish Art and Visual Culture in a European Context. Second half of Art History 241-242; required for credit for 241. (Taught in the Netherlands.) Not open to students who have taken Art History 158-159. Instructor: Van Miegroet. 3 units. C-L: Art History 242, Medieval and Renaissance Studies 242

215S. From Caricature to Comic Strip. History of caricature as a medium for political critique and social comment from the eighteenth century to the present, focusing on England, France, Germany, and the United States. Languages of graphic satire in the context of specific historical moments, from the War of Independence to the war in Iraq; history of popular journalism and the comic press; censorship and agitation for press freedom; growth of specialized juvenile graphic magazines and the development of the strip cartoon. Not open to students who have previously taken this course as Art History 221S. Instructor: McWilliam. 3 units.

220S. Harlem Renaissance. The art and culture that was produced by and about African Americans (largely in the western metropoles) during the period roughly between the two world wars. Chronological overview, a focus on individual figures, and study of the criticism and creative writings of this period. Other topics include black migrations to urban centers, performance-as-a-visual-paradigm, racial and cultural primitivism, and an alternative, African American stream of early twentieth century visual modernism. Not open to students who have previously taken this course as Art History 269S. Instructor: Powell. 3 units. C-L: African and African American Studies 269S

221S. Black Visual Theory. Approaches to studying and theorizing of African diasporal arts and black subjectivity, with a special emphasis on art historiography, iconology, and criticism, and a particular focus on slavery, emancipation, freedom, and cultural nationalism, as pertaining to peoples of African descent and as manifested in such visual forms as paintings, sculptures, graphics, and media arts from the early modern period to the present, as well as the political edicts, philosophical tracts, autobiographies, and theoretical writings of individuals similarly preoccupied with these ideas. Consent of instructor required. Instructor: Powell. 3 units. C-L: African and African American Studies 210S

225S. Latin American Modernism and Visual Culture. Early twentieth-century modernist movements in Spanish America, Brazil, and the Caribbean. Topics include: race, primitivism, and indigenism; gender; theory of the avant-garde; peripheral modernity; and nationalism, regionalism, and cosmopolitanism. Not open to students who have previously taken this course as Art History 287S. Instructor: Gabara. 3 units.

230S. Trauma in Art, Literature, Film, and Visual Culture. Theories of trauma applied to visual representations of violence, destruction, and pain in contemporary art, film, and literature, examining the topic through multiple subjects from the Holocaust, cults, gangs, racism, and sexual abuse to cultures of trauma. Theories of trauma examined from a variety of sources including clinical psychology, cultural and trauma studies, art, film, and literature, aiming to enable students to gain the visual acuity to identify, understand, and respond to traumatic images with empathy. Not open to students who have previously taken this course as Art History 295S. Instructor: Stiles. 3 units.

231S. Spatial Practices. How space works from medieval refectories to Starbucks, from Jerusalem to Las Vegas, from mikvaot to hot spring spas. Consideration of space through theoretical texts, including Lefebvre, Habermas, Eliade, Zizek, and mapped on specific historical landscapes. Consent of instructor required: preference given to students earning concentration in architecture. Not open to students who have previously taken this course as Art History 222S. Instructor: Wharton. 3 units.

235S. Poverty of the Visual. Interdisciplinary seminar on the relationship between visuality and poverty from 1945 to the present. Theorizes visual culture through an examination of the forms of knowledge produced by impoverished populations. Uses philosophical and perceptual methods to explore the limits and limitations of visuality as it applies to science, ethics, the humanities, and the arts. Readings in the humanities and social sciences focus on issues related to lack, scarcity, absence, minimalism, and invisibility. Students encouraged to fuse theory and practice in research presentations and visual productions. Consent of instructor required. Instructor: Lasch. 3 units.

252AS. Art and Markets. Cross-disciplinary art history-visual culture-economics seminar. Analytical and applied historical exploration of cultural production and local art markets, and their emergence throughout Europe, Asia, and the Americas. Criteria for valuation of imagery or what makes art as a commodity desirable or fashionable. Visual taste formation, consumer behavior, and the role of art dealers as cross-cultural negotiants. Consent of instructor required. Instructor: Van Miegroet. 3 units. C-L: Art History 245S, Medieval and Renaissance Studies 245S, Economics 244S

2008-09 Bulletin of the Duke University Graduate School

2008-09 Bulletin of the
Duke University Graduate School