Art, Art History, and Visual Studies (ARTSVIS/ARTHIST)

Professor Van Miegroet, Chair; Professor Stiles, Director of Undergraduate Studies; Professors Antliff, Bruzelius, Leighten, Lenoir, McWilliam, Powell, and Wharton; Associate Professors Abe, Dillon, and Weisenfeld; Assistant Professor Gabara; Associate Professors of the Practice Noland, Rankin, and Shatzman; Assistant Professors of the Practice Belkina and Lasch; Adjunct Professor Rorschach; Adjunct Associate Professor Schroth; Adjunct Assistant Professor Schroder; Professor Emeritus Markman

HISTORY OF ART (ARTHIST)

Art history is the study of works of art in the context of the broader social, political, and intellectual cultures of which they are a part. Studying art history develops the ability to evaluate and organize information, visual as well as verbal; it also enhances the faculties of creative imagination, precise observation, clear expression, and critical judgment. Students of art history acquire a sophisticated understanding of the theory and practice of artistic production and reception.

A major or second major in art history provides basic training for those interested in teaching, museum and gallery work, art publishing, and advertising; the major also furnishes an appropriate background for graduate training in architecture. Art history's emphasis upon careful observation, the ordering of diverse sorts of information, expository writing, and scholarly research makes it a good general preparation for any profession.

69. Introduction to the History of Art. ALP, CCI, CZ The history of western architecture, sculpture, and painting in a cultural context from prehistory to the Renaissance (c. 1400). Instructor: Staff. One course.

71. Introduction to Asian Art. ALP, CCI, CZ The visual arts of Asia, primarily Chinese and Japanese sculpture, painting, and architecture: selected works in their historical context; the multiple ways in which the works have been understood in the past as well as the present. A range of art historical approaches and methods. Instructor: Abe or Weisenfeld. One course. C-L: International Comparative Studies

80FCS. Topics in Art History. ALP, CZ Subjects, areas, or themes that embrace a range of disciplines, art historical areas, and visual culture. Open only to students in the Focus program. Instructor: Staff. One course.

103. Representing Women in the Classical World. ALP, CCI, CZ The lives of women in the Classical world viewed through the visual culture of Classical art. Through images of women in statues, reliefs, coins, and painting, the course explores the role of visual representation in communicating complex social and political messages. Issues such as the construction of gender, the expression of power and status, the preservation of social hierarchies, the protection of normative values, and the manipulation and control of sexuality are considered. Instructor: Dillon. One course.

104. The Art and Architecture of Roman Spectacle. ALP, CCI, CZ Gladiatorial games, wild beast hunts, elaborately-staged executions of condemned criminals, and chariot racing as some of the most popular forms of public entertainment in the Roman world. The ritual of these entertainments and spectacles, the circumstances of and occasions for their performance, and the form and elaboration of the venues-the amphitheater, the circus, the theater, and the stadium-in which they took place. Visual and literary representations of these spectacles. Instructor: Dillon. One course. C-L: Classical Studies 140

105. Art in the Hellenistic Age. ALP, CCI, CZ The paintings, statues, and buildings of the Hellenistic kingdoms, in such culturally diverse places as Greece, Turkey, Egypt, Syria, Iraq, and Afghanistan, within context of such issues as power, ritual, acculturation, resistance, and "Hellenization." Spectacle culture in the Hellenistic world, questions of reception and memory, and more traditional art-historical themes of patronage and stylistic change. The vital role played by art in defining and expressing cultural change. Instructor: Dillon. One course. C-L: Classical Studies 132

106. Hellenistic Architecture. ALP, CCI, CZ Survey of the major architectural traditions during the great age of Greek and Macedonian colonization, which saw important developments in urbanism and city planning. Focus on political, social, aesthetic, and technical aspects of Hellenistic architecture and the profound impact that the architectural forms of the period had on the city of Rome. Instructor: Dillon. One course. C-L: Classical Studies 141

108D. Introduction To Visual Culture. ALP, CCI, CZ Survey of visual culture, from issues of production, circulation and reception to how visual media have historically exerted power, elicited desire, and constructed social experience. Topics include: how photography, television, film, video, Internet, advertising, comics, and other imagery code vision and inscribe race, gender, sexuality and class differences, and dominate nature and animals; how the gaze links cultural performativity, from the coliseum to shopping malls and museums to sports events; and how the rhetoric and semiotics of representation provide access to ways in which visual meaning is socially, politically, and culturally produced and obtained.(Team-taught.) Instructor: Staff. One course. C-L: Film/Video/Digital

110. Gothic Cathedrals. ALP, CCI, CZ, R Great cathedrals of Europe in England, Germany, and Italy, with a special focus on France, from roughly 1140 to 1270, and their construction, financing, and role in the fabric of medieval city life. The urban context of each city, the history of the site and its relics, and the artistic and technological developments that made the construction of these complex and large-scale structures possible. A consideration of Romanesque precedents and the origins of the various structural elements of Gothic architecture. Instructor: Bruzelius. One course. C-L: Medieval and Renaissance Studies 112A

111. Medieval Architecture. ALP, CCI, CZ, R A survey of the origins and development of medieval church architecture from Late Antiquity to the High Middle Ages in the Mediterranean and Europe north of the Alps concentrating on the effects of the cult of relics, the inclusion of burials, the segmentation of the lay public, and different types of liturgical requirements on the shapes and spaces of religious buildings; the origins and development of fortifications and castles. Emphasis on monastic architecture and especially the buildings of the mendicant orders. Instructor: Bruzelius. One course. C-L: Medieval and Renaissance Studies 112B

112. The Art of Medieval Southern Italy. ALP, CCI, CZ, R The art and architecture of southern Italy from the ninth through the fourteenth centuries. The wide range of cultural influences and mixtures of populations that characterized the Kingdom of Sicily and the impact of these rich and diverse importations on the art and architecture of the southern part of the peninsula. Special importance placed on the Islamic contribution to Italian art and its development under the Norman kings of Sicily. Instructor: Bruzelius. One course. C-L: Medieval and Renaissance Studies 113

113. Eighteenth-Century Art and Architecture. ALP, CCI, CZ The visual arts and esthetic issues in the development of modern culture in Europe and the relationship between artists and the public in the period of the Enlightenment. Considering all media, including painting, sculpture, prints, architecture and gardens, topics may include the rise of academies, the development of art criticism, the role of the spectator in art; the involvement of women in art and its institutions; historical and theoretical discussions of rococo and neoclassical styles; the idea of revolutions in history; Rousseau and the cult of nature; and the impact of new philosophical trends on aesthetic theory. Instructor: Staff. One course.

119. Cultural History of Graphic Reproduction. ALP, CCI, CZ Survey of the modern image-based print culture in its technological advancements and social impact, including case studies of key moments and exemplary aesthetic expressions in the history of image reproduction on paper. Topics include early woodcut illustrations; subsequent printmaking projects; the carte-de-visite; European fin-de-siècle popularity of poster art and Japanese woodcuts; twentieth-century photography and printmaking collectives in the Americas; and the photogravure's role in the rise of the pictorial magazine. Instructor: Powell. One course.

121. Visualizing Cultural Dissent in Modernism, 1880-1945. ALP, CCI, CZ Interrelations of modernism and politics in a period of rapid social and technological change, rise of mass social movements, and political reaction on left and right. Development of new media in the form of prints and photography reflecting these changes and a variety of social movements and political positions by artists exploring a range of subjects, media, and exhibition venues from large-scale paintings in the annual state-sponsored salons to political satire in the press. Instructor: Leighten. One course.

125A. Art and Archaeology of Ancient Athens. ALP, CCI, CZ Monuments, archaeology, art, and topography of ancient Athens from the Archaic to the Roman period. Examination of the physical remains of the city and countryside to trace the development of one of the most important city-states in the Greek world and to understand its impact on western civilization. Case study in understanding the role of archaeology in reconstructing the life and culture of the Athenians. Instructor: Dillon. One course. C-L: Classical Studies 126

128. Art of the Roman Empire. ALP, CCI, CZ Art in the Roman world from Augustus to Theodosius. Emphasis on portraiture, private arts, and triumphal monuments; Rome's cultural imperialism and the impact of foreign cultural traditions on the evolution of Roman art. Instructor: Staff. One course. C-L: Classical Studies 128

130. Late Antique Christian Art. ALP, CCI, CZ, W The broad cultural significance of visual and architectural forms of religious expression from the late fourth through the sixth century. Treatment of the difference between modern and ancient viewing through the study and writing of ekphrasis - description. Evaluation of primary sources as vehicles for understanding the past. Consideration of the changing political and cultural uses made of the ancient monuments by reading and writing critical assessments of the histories written about them. Instructor: Wharton. One course. C-L: Classical Studies 130, Medieval and Renaissance Studies 130, Religion 130

132. Art of the Late Middle Ages. ALP, CCI, CZ, R Romanesque and Gothic art and architecture from the eleventh through the fourteenth centuries in Europe, with a special emphasis on comparative developments in Italy, France, Germany, and England. The artistic impact of monasticism, pilgrimage, the Crusades, and urbanization. The role of ecclesiastic, civic, and courtly patrons. Instructor: Bruzelius or Wharton. One course. C-L: Medieval and Renaissance Studies 131B

134. Topics in Medieval Art and Architecture. ALP, CCI, CZ Specific problems dealing with contextual and cultural issues in medieval art and architecture from c. 300 to 1400. Instructor: Staff. One course. C-L: Medieval and Renaissance Studies 131C

140. Topics in Renaissance Art. ALP, CCI, CZ Specific problems dealing with the iconography, style, or an individual master from c. 1300 to 1600. Subject varies from year to year. Instructor: Staff. One course. C-L: Medieval and Renaissance Studies 140C

141. Fifteenth-Century Italian Art. ALP, CCI, CZ, R Painting, sculpture, and the related arts, 1400-1500. The art of the early Renaissance in its historical, social, and cultural context. Contributions of individual masters from Masaccio and Donatello to Botticelli and Mantegna. Emphasis on the art of Florence and central Italy. Instructor: Staff. One course. C-L: Medieval and Renaissance Studies 141

142. Sixteenth-Century Italian Art. ALP, CCI, CZ, R Painting, sculpture, and the related arts: 1500-1600. Investigation of the art of the High Renaissance in its historical, social, and cultural context. Contributions of individual masters, including Leonardo, Michelangelo, Raphael, Titian, Correggio. Emphasis on art in Florence, Rome, and Venice. Instructor: Staff. One course. C-L: Medieval and Renaissance Studies 142

143. The Art of the Counter Reformation. ALP, CCI, CZ, R Religious art in Catholic Europe during and following the Council of Trent. Rise of the new religious orders; the revival of interest in the early Church and the origins of Christian archaeology; the cult of saints and the veneration of relics; the Church's use of art in its campaign against Protestantism; papal patronage and the monumentalization of Rome. Considers the validity of the concept of a counter-reformation style. Instructor: Staff. One course. C-L: Medieval and Renaissance Studies 143

144A. Renaissance and Baroque Art History. ALP, CCI, CZ Introduction to the development of painting, sculpture, and architecture in Rome from the fifteenth to the early seventeenth centuries, focusing on the patronage of the Popes and the Papal court. Consent required. (Taught at the Intercollegiate Center for Classical Studies in Rome.) Instructor: Staff. One course. C-L: Medieval and Renaissance Studies 144B

144B. Renaissance and Baroque Art History. ALP, CCI, CZ Introduction to the development of painting, sculpture, and architecture in Rome from the fifteenth to the early seventeenth centuries, focusing on the patronage of the Popes and Papal court. Instructor: Staff. One course.

145. Renaissance Art in Florence. ALP, CCI, CZ Paintings, sculpture, and architecture from Giotto to Michelangelo based on the works of art preserved in Florence. Emphasis on individual artists and their creations and on the relation of the artists to the society of their times. (Taught in Italy.) Instructor: Staff. One course. C-L: Medieval and Renaissance Studies 145B

150. Italian Baroque Architecture. ALP, CCI, CZ, R Architecture in Italy in the seventeenth and eighteenth centuries. Emphasis on the contributions of Bernini, Borromini, Cortona, Guarini, and Juvarra. The evolution of building types, both secular and religious; town planning; garden and landscape history. Special attention to the cultural, economic, and political forces that shaped the Baroque city. Instructor: Staff. One course. C-L: Medieval and Renaissance Studies 150

151. Art of Italy in the Seventeenth Century. ALP, CCI, CZ, R Painting, sculpture, and the related arts: 1580-1700. The historical, social, and cultural context of artistic production in Baroque Italy; emphasis on the contributions of Caravaggio, the Carracci, Guido Reni, Bernini, Poussin. Instructor: Staff. One course. C-L: Medieval and Renaissance Studies 151C, International Comparative Studies

153. Netherlandish Art and Visual Culture in the Seventeenth and Eighteenth Centuries. ALP, CCI, CZ, R A contextual study of northern Netherlands art, seen through the major Dutch cities and towns where painters, such as Frans Hals and Johannes Vermeer, were at work. Rembrandt and his school; Dutch art in its historical, societal, moral, and psychological context. Instructor: Van Miegroet. One course. C-L: Medieval and Renaissance Studies 152B, International Comparative Studies

156. French Art and Visual Culture in the Early Modern Period. ALP, CCI, CZ, R Students proficient in French will be encouraged to do some of the reading in French. C-L: Art History 156. Instructor: Van Miegroet. One course. C-L: Medieval and Renaissance Studies 157, International Comparative Studies 180A

158. History of Netherlandish Art in a European Context. ALP, CCI, CZ See Art History 241. (Taught in the Netherlands.) Not open to students who have taken 241-242. Course credit contingent upon successful completion of Art History 159. Instructor: Van Miegroet. One course. C-L: Medieval and Renaissance Studies 158, International Comparative Studies

159. History of Netherlandish Art in a European Context. ALP, CCI, CZ See Art History 242. (Taught in the Netherlands.) Not open to students who have taken 241-242. Second half of Art History 158-159; required for credit for 158. Instructor: Van Miegroet. One course. C-L: Medieval and Renaissance Studies 159, International Comparative Studies

161. Art in an Age of Revolution: Europe 1760-1850. ALP, CCI, CZ The roots of modernity in European art: classicism, romanticism, and early realism. Impact of the enlightenment and French Revolution on European visual culture. Emergence of new publics for art and beginnings of a modern art market. Role of tradition: the impact of antiquity, northern legends and the middle ages. Religiosity and personal mythologies. Changing conceptions of nature, the body and artistic creativity. Artists include Blake, Fusseli, Turner, the Pre-Raphaelites, David, Ingres, Delacroix, Runge, Friedrich, the Nazarenes, Goya. Instructor: McWilliam. One course. C-L: International Comparative Studies

163A. Writing About American Art. ALP, CZ, R, W Art historical methodology as a tool for critical inquiry and scholarly research; developing visual literacy of American art through seeing and writing. Instructor: Powell. One course.

164. Chinese Visual Culture. ALP, CCI, CZ, R Introduction to visual culture produced in China from the Neolithic period to the present including archaeological discoveries of burials, tombs, temples, and palaces, the literati arts of calligraphy and painting, architecture, popular visual production, film, and fashion with attention to the role of overseas Chinese in recent history. Instructor: Abe. One course. C-L: International Comparative Studies

166. Nineteenth-Century Art after 1848: Early Modernism. ALP, CCI, CZ The second half of the nineteenth century in Europe with particular emphasis on realism, impressionism, postimpressionism, and symbolism in France, England, and America. Instructor: Antliff or Leighten. One course. C-L: International Comparative Studies

167. Modernism, Avant-gardism, and Visual Art, 1900-1945. ALP, CCI, CZ Major artistic movements and theoretical aims of early modernism: fauvism, cubism, expressionism, futurism, constructivism, suprematism, dada, surrealism, deStijl, Bauhaus, and Neue Sachlichkeit in France, Italy, Germany, America. Instructor: Antliff, Leighten, or Stiles. One course. C-L: International Comparative Studies, Women's Studies

168. Experimental Art and Its Ethics since 1945. ALP, CCI, CZ, EI Major avant-garde movements of the post-World War II era covered globally, from abstract expressionist painting to multimedia interactive art, all of which concentrate on the social, political, and cultural impact of experimental art after the atomic age and in the aftermath of the Holocaust, continuing into the post-biological age of genetic engineering. Focus on the vast changes that have occurred in art and its media since 1945 and the moral and ethical roles that art plays in shaping culture and in reflecting its social exigencies. Instructor: Stiles. One course. C-L: Women's Studies 168, Literature 133B, International Comparative Studies 101A, Ethics, Marxism and Society

169. Documentary Photography and Film of the Nuclear Age. ALP, CZ, EI The role of photojournalism and documentary photographers in recording and communicating vital issues of the nuclear age including nuclear weapons testing and its effects, the environmental issues surrounding fallout and nuclear power-plant accidents, low-level waste disposal, and other human and environmental issues related to war, the technology of nuclear weapon and energy production and their cultural manifestations. Instructor: Stiles. One course. C-L: International Comparative Studies, Documentary Studies, Film/Video/Digital

170. Chinese Buddhist Art. ALP, CCI, CZ, R Chinese sculpture, painting, and architecture in relation to Buddhist texts, practice, and ritual from the fourth through the ninth century C.E. Introduction to precedents in Indian and Central Asian Buddhist art. Emphasis on the relationship between Buddhist and non-Buddhist imagery. Instructor: Abe. One course. C-L: International Comparative Studies 120G

172A. History of the Art Museum. ALP, CCI, CZ, R The purposes and functions of the art museum as a Western institution from precursors to the present. The architecture, display, and pedagogy of art museums compared to other types of museums and exhibitions. The incorporation of non-Western art and the globalization of the art museum in the contexts of colonialism and modernism. Comparative study of the treatment of Western and non-Western art. Critical theory, aesthetics, and critical museum practices including exhibitions, which critique the nature and power of museum display. Field research in museums required. Instructor: Abe. One course. C-L: Literature 132C, Arts Management and Cultural Policy, International Comparative Studies

173. Art, Architecture, and Masquerade in Africa. ALP, CCI, CZ, R Major art forms, monuments, vernacular structures, and masking traditions in West, Central, and Southern Africa. From ancient times to the present. Instructor: Powell. One course. C-L: African and African American Studies 157, International Comparative Studies 110A

174. Art and Philosophy from West Africa to the Black Americas. ALP, CCI, CZ, R A survey of several major cultural groups in West and Central Africa and their impact on the arts, religions, and philosophies of blacks in South America, the Caribbean, and the United States. Instructor: Powell. One course. C-L: African and African American Studies 154, International Comparative Studies 101B

176. Modern and Contemporary African American Art. ALP, CCI, CZ, R Emphasis on works derived from an Afro-United States cultural perspective. Major figures include Henry Ossawa Tanner, Aaron Douglas, Jacob Lawrence, Charles White, Elizabeth Catlett, Romare Bearden, Lois Mailou Jones, and others. Instructor: Powell. One course. C-L: African and African American Studies 156

177E. Topics in History of Photography. ALP, CZ Focus on periods, cultures and major ethical, social and political issues in the history of the photographic medium. Subject varies from year to year. Instructor: Leighten. One course.

178A. History and Theory of Modern and Postmodern Sculpture. ALP, CCI, CZ, R Changes in the notion of sculpture in the twentieth century, from Rodin to the present and global avant-garde; shifts from discrete objects, assemblages, environments, and installations to concepts, technologies, the body, and social activism, changes in notions of materials, space, site, and intervention as visual expressions of parallel transformations in social and political ideas regarding the role of the artist and sculpture in culture. Instructor: Stiles. One course.

180A. Early Japanese Art. ALP, CCI, CZ Survey of Japanese visual culture from prehistoric times to the end of the sixteenth century. Painting, sculpture, calligraphy, architecture, ceramics, decorative arts, and print media. The relationship between artistic production and Japanese sociopolitical development; issues of Sino-Japanese cultural exchange, religion, region, gender, and class. Instructor: Weisenfeld. One course. C-L: International Comparative Studies

180B. Later Japanese Art. ALP, CCI, CZ, EI Japanese visual culture from the end of the sixteenth century to the contemporary period encompassing the country's unification under Tokugawa rule and later emergence on the world stage through painting, sculpture, architecture, ceramics, decorative arts, photography, and print media. The relationship between artistic production and Japanese sociopolitical development seen through the critical issues of religion, region, gender, class, and nationalism. Ethical questions surrounding the establishment of the Japanese colonial empire in Asia, the Pacific War, the atomic bombings of Hiroshima and Nagasaki, the internment of Japanese-Americans in the United States, and the American Occupation of Japan. Instructor: Weisenfeld. One course. C-L: International Comparative Studies

181A. Japanese Print Culture. ALP, CCI, CZ Issues in Japanese print culture from the seventeenth to the twentieth century. An introduction to the rich and diverse Japanese printmaking tradition; a forum for the critical evaluation of related theoretical issues. The relationship between prints and economics, politics, technology, literature, religion, and philosophy; concerns related to gender, representation, aesthetics practice, and patronage. Instructor: Weisenfeld. One course. C-L: International Comparative Studies

181B. Contemporary Japanese Visual Culture. ALP, CCI, CZ, W Introduction to the art and visual culture of contemporary Japan concentrating on the postwar period, particularly 1980s to present. Performance art, installations, graphic and industrial design, photography, fashion, animation, and comics (manga). The transnational spread of popular culture within the Asia-Pacific region and the cross-cultural exchanges between East and West; the relationship between high art and popular culture; the impact of economic globalization and consumerism on visual culture. Instructor: Weisenfeld. One course.

182. Japanese Architecture. ALP, CCI, CZ A survey of major architectural traditions of Japan. Sites ranging from prehistoric tombs and dwellings to contemporary design work of architects such as Isozaki Arata and Ando Tadao. Focus on the development of various architectural typologies: Buddhist temples, Shinto shrines, tea ceremony structures, garden design, imperial and shogunal palaces, fortified castles, modern institutional structures, and private residences. Japanese architectural practices compared with other Asian and Euro-American building traditions. Aesthetic, structural, historical, social, and religious issues considered. Instructor: Weisenfeld. One course. C-L: International Comparative Studies 120H

183. Fascism and Visual Culture: Art, Power, Spectacle. ALP, CCI, CZ, EI Pre-1945 visual culture of Fascist Italy, Nazi Germany, Franco Spain, and various fascist movements throughout Europe. Focus on a variety of media (e.g., town planning, painting, sculpture, film, photography, architecture) and topics including gender, aestheticized violence; theories of classicism in Italy and Germany; Italian Futurism; anti-Semitism; Mussolini's transformation of Rome; and fascism as a form of "secular religion." Instructor: Antilff. One course. C-L: Classical Studies 183

184. History of Impressionism. ALP, CCI, CZ The evolution of the impressionist movement and postimpressionist reactions of the 1880s. Particular attention to the work of Manet, Degas, Monet, Renoir, and Pissarro. Instructor: Antliff. One course. C-L: International Comparative Studies

186. Feminism and Visual Culture. ALP, CCI, CZ Feminist aesthetic and theoretical discourses from the end of the nineteenth century to the present internationally. Feminist aesthetic differences in generation, place, race, class, and ethnicity. Focus on how these differences shape the form, content, and behavior of feminist art, and contributed to modernism and postmodernism. Ethical questions regarding patriarchal institutions and aesthetic practices. How feminist art provokes change in cultural systems and social relations, and how women artists have negotiated ethical and political clashes of values. Instructor: Stiles. One course. C-L: Literature 133A, Women's Studies 175

187. Dada and Surrealism. ALP, CCI, CZ The origins, aims, literature, and politics of the international movements of dada and surrealism, which flourished between the world wars, examined in the light of dada and surrealist theory, literature, and art. Instructor: Leighten. One course. C-L: Women's Studies

188. Topics in Early Modern Netherlandish Art and Material Culture. ALP, CCI, CZ Understudied aspects of European visual culture, with special attention to economic, social, and political history of early modern Netherlands in its relation to France, German, Spain, and the Americas. Organized around a single theme; both theme and analytical focus vary from year to year, depending on latest developments in research. Instructor: Van Miegroet. One course. C-L: Medieval and Renaissance Studies 188

189AD. Modern Architecture. ALP, CCI, CZ The history of European and American architecture from the eighteenth-century Neo-Classicism through Gothic Revival, Art Nouveau, and Arts and Crafts to the early twentieth century Bauhaus. Labrouste, Richardson, early Wright, and LeCorbusier among the architects considered. Not open to students who have taken ARTHIST 189. Instructor: Wharton. One course. C-L: International Comparative Studies 180BD, Marxism and Society

189BD. Postmodern Architecture. ALP, CCI, CZ Background examination of the Bauhaus through Corporate International Style as a background to the Postmodern core of the course. Later Wright and LeCorbusier, Gehry, Graves, Eisenman, Disney Imaginers among the architects and designers considered. Political, ideological, aesthetic, and technical aspects of building investigated through primary texts. Not open to students who have taken ARTHIST 189. Instructor: Wharton. One course.

190. Berlin: Architecture, Art and the City, 1871-to the Present. ALP, CCI, CZ Development of urban Berlin from the Grunderzeit (the Boom Years) of the 1870s to the present: architecture of Imperial Berlin; the Weimar and Nazi periods; post World War II; reconstruction as a reunified city. The major architectural movements from late historicism to postmodernism. (Taught only in the Duke-in-Berlin Program.) Instructor: Neckenig. One course. C-L: International Comparative Studies

190B. Art and Architecture of Berlin, Fifteenth to the Twentieth Century. ALP, CCI, CZ Introduction to the visual arts of Germany from the fifteenth to the twentieth century through lectures conducted in Berlin's museums and cultural institutions. German Old Masters, German Romantic and Realist artists, Modernist art movements, such as Expressionism and New Objectivity, considered in relation to upheavals in modern German history. Taught in English in the Duke-in-Berlin summer program. Instructor: Staff. One course. C-L: German 196A

191A. Research Independent Study. R Individual research in a field of special interest under the supervision of a faculty member, the central goal of which is a substantive paper or written report containing significant analysis and interpretation of a previously approved topic. Open to qualified students in the junior year, by consent of instructor and director of undergraduate studies. Instructor: Staff. One course.

191B. Independent Study. Directed reading in a field of special interest, under the supervision of a faculty member, resulting in a substantive paper or report. Open to qualified students in the junior year, by consent of instructor and director of undergraduate studies. Instructor: Staff. One course.

194. Maya Art and Culture. ALP, CZ The ancient Maya civilization of Mexico, Guatemala, and Belize explored through study of their material culture. Mayan religious and political iconography in conjunction with Mayan hieroglyphic writing. Approaches include those of archaeology, ethnohistory, and linguistics. Instructor: Staff. One course. C-L: International Comparative Studies

195. Pre-Columbian Art and Culture of Andean South America. ALP, CZ The art of Peru, Bolivia, Ecuador, and Colombia from the beginnings of permanent settlements through the coming of the Spaniards (1534 A.D.), concentrating on sociopolitical and religious institutions. Instructor: Staff. One course. C-L: International Comparative Studies

196A. Paris: A City and its Culture 1850 - 1930. ALP, CCI, CZ The development of Paris, from the major remodeling initiated under the Second Empire to the advent of modern style in the interwar years, focusing on the changes in architecture and planning which transformed the French capital into a model of urban modernity. The city as a physical environment that has to be understood in terms of varied populations, transport systems, economic activities, and cultural representations. The role played by visual arts in shaping the city, recording its appearance and interpreting its meanings, together with Paris's role as a environment favoring cultural production and exchange. Instructor: McWilliam C-L: Comparative Area Studies. One course. C-L: International Comparative Studies 180C

196B. English Art 1740-1850: Hogarth to the Pre-Raphaelites. ALP, CCI, CZ, R, W Painting and sculpture in Britain from Hogarth to the Pre-Raphaelites; developments in narrative painting, portraiture and history painting; funerary sculpture and the emergence of the public movement; the role of institutions and art collectors; writing on art from Hogarth and Reynolds to Hazlitt and Ruskin. Instructor: McWilliam. One course.

196C. French Art 1780-1850. ALP, CCI, CZ A thematic history of painting in France from Classicism to Realism; the impact of revolution and social change on visual art; the academy and artistic training and exhibition; romanticism and changing conceptions of creativity and artistic individuality; the crisis in history painting and the new appeal of landscape; critics and collectors. Instructor: McWilliam. One course.

197. Gender and Modernism. ALP, CCI, CZ A study of art and gender politics from the late eighteenth century to the 1960s, with special attention to the interrelation of class, race, and gender, as well as definitions of the body politic. Neoclassicism, realism, impressionism, and a broad range of twentieth-century movements. Topics may include: gender and the French revolution; the 'Jew's body'; domesticity and modern art, gay and lesbian visual culture, the primitivized prostitute, and the gendering of the lower classes. Themes and chronological focus vary from year to year. Instructor: Antliff. One course.

198. Cubism and Culture. ALP, CCI, CZ, W Development of Cubism from its origins in Paris in 1907 to the movement's decline in the 1920's. Cubist aesthetics is contextualized in light of the cultural politics of the period. Topics may include tradition, primitivism and anti-colonialism, anarchism and politics, approaches to college, contemporary philosophy and science, and the role of gender in Cubist aesthetics. Instructor: Antliff or Leighten. One course.

199. History of Photography, 1839 to the Present. ALP, CCI, CZ Major artists and movements in the history of the photographic medium, including visual and critical traditions inherited and manipulated by photographers, the ways photography participated in nineteenth- and twentieth-century art movements as well as documentation and social change, and critical photographic discourse throughout this period. Topics include the invention of photography, 'Art' photography and documentary photography in the nineteenth century, pictorialism, 'straight' and purist photography, photography and modernist art movements (dada, surrealism, Bauhaus, Russian avant-garde), twentieth-century documentary, and photography of the 1950s, 1960s, 1970s, 1980s, and 1990s. Instructor: Leighten. One course. C-L: Documentary Studies, Film/Video/Digital

201S. Topics in Greek Art. ALP, CCI, CZ, R 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. One course. C-L: Classical Studies 220S

202S. Topics in Roman Art. ALP, CCI, CZ, R Selected topics in the art and architecture of late republican and imperial Rome. Subject varies from year to year. Consent of instructor required. Instructor: Staff. One course. C-L: Classical Studies 227S

203AS. Student-Curated Exhibition I. R Preparation and execution of an exhibition in the Duke Museum of Art by a small group of Art History majors; selection of theme and works, planning, and execution of all aspects of the exhibition including the writing of text labels and catalogue. Two semester sequence. Prerequisites: status as Art History major and consent of instructor. Instructor: Staff. One course.

208S. Theories of Visual Culture. ALP, CCI, CZ, R Capstone seminar focusing on advanced theories of visual culture and individual senior projects, undertaken as a written thesis or visual production. Consent of instructor required. Prerequisite: Art History 108. Instructor: Abe or Stiles. One course.

221S. From Caricature to Comic Strip. ALP, CCI, CZ, R 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. Instructor: McWilliam. One course.

222S. Spatial Practices. ALP, CCI, CZ, R 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. Instructor: Wharton. One course.

233S. Topics in Early Christian and Byzantine Art. ALP, CCI, CZ Specific conceptual, institutional, or formal problems in the art of the late antique world or of the east Roman Empire. Subject varies from year to year. Consent of instructor required. Instructor: Wharton. One course. C-L: Classical Studies 230S, Medieval and Renaissance Studies 233S, Religion 275S

236S. Topics in Romanesque and Gothic Art and Architecture. ALP, CCI, CZ, R Analysis of an individual topic. Subject varies from year to year. Consent of instructor required. Instructor: Bruzelius. One course. C-L: Medieval and Renaissance Studies 237S

241. History of Netherlandish Art and Visual Culture in a European Context. ALP, CCI, CZ, R 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. One course. C-L: Medieval and Renaissance Studies 241, International Comparative Studies

242. History of Netherlandish Art and Visual Culture in a European Context. ALP, CCI, CZ, R 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. One course. C-L: Medieval and Renaissance Studies 242, International Comparative Studies

243S. Topics in Netherlandish and German Art. ALP, CCI, CZ, R 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. One course. C-L: Medieval and Renaissance Studies 243S, International Comparative Studies

245S. Art and Markets. ALP, CCI, R, SS 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. Instructor: Van Miegroet. One course. C-L: Medieval and Renaissance Studies 245S, Economics 244S, Arts Management and Cultural Policy

247S. Topics in Italian Renaissance Art. ALP, CCI, CZ, R Topics in art and/or architecture from c. 1300 to c. 1600. Subject varies from year to year. Consent of instructor required. Instructor: Staff. One course. C-L: Medieval and Renaissance Studies 248S

255S. Museum Theory and Practice. ALP, R 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. One course. C-L: Arts Management and Cultural Policy

256S. Inventing the Museum: Collecting and Cultural Discourses of the Nineteenth Century. ALP, CCI, CZ, R One course. C-L: see German 286S; also C-L: History 286AS, Romance Studies 286S, Arts Management and Cultural Policy

260S. Topics in Italian Baroque Art. ALP, CCI, CZ, R Problems in Italian art and architecture from c. 1580 to c. 1750. Topics vary from year to year. Consent of instructor required. Instructor: Staff. One course. C-L: Medieval and Renaissance Studies 261S

265S. Topics in Nineteenth-Century Art. ALP, CCI, CZ, R 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. One course.

269S. Harlem Renaissance. ALP, CCI, CZ, R 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. Instructor: Powell. One course. C-L: African and African American Studies 269S

270S. Topics in African Art. ALP, CZ 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. One course. C-L: African and African American Studies 270S, International Comparative Studies

272S. Topics in Chinese Art. ALP, CCI, CZ, R Problems and issues in a specific period or genre of Chinese art. Specific focus varies from year to year. Instructor: Abe. One course. C-L: International Comparative Studies

274S. Topics in Japanese Art. ALP, CCI, CZ, R 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. One course. C-L: International Comparative Studies

283S. Topics in Modern Art. ALP, CZ, R 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. One course. C-L: International Comparative Studies

284AS. Caricature and Popular Journalism in England 1760-1850. ALP, CCI, CZ 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. One course.

287S. 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. Instructor: Gabara. One course. C-L: Latin American Studies

290S. Visual Culture and Animal Studies. ALP, CCI, CZ, R 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. One course.

291A. Research Independent Study. R Individual research in a field of special interest under the supervision of a faculty member, the central goal of which is a substantive paper or written report containing significant analysis and interpretation of a previously approved topic. Open only to qualified students in the senior year. Consent of instructor and director of undergraduate studies required. Instructor: Staff. One course.

291B. Independent Study. Directed reading in a field of special interest, under the supervision of a faculty member, resulting in a substantive paper or report. Open only to qualified students in the senior year. Consent of instructor and director of undergraduate studies required. Instructor: Staff. One course.

292A. Research Independent Study. R See Art History 291A. Open only to qualified students in the senior year. Consent of instructor and director of undergraduate studies required. Instructor: Staff. One course.

295S. Trauma in Art, Literature, Film, and Visual Culture. ALP, CZ, EI 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. Instructor: Stiles. One course.

296S. Methodology of Art History. ALP, CZ, R, W 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. One course.

297S. Topics in Art since 1945. ALP, CZ, R 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. One course. C-L: International Comparative Studies

VISUAL ARTS (ARTSVIS)

Studio art courses offer directed experiences in the practice of the visual arts, enhancing the understanding of art both within the history of culture and as an individual human achievement. Department offerings emphasize the analysis and articulation of visual concepts and processes as they relate to a broader education in the humanities and sciences.

A major or concentration in studio art can provide the foundation for further study in various areas of the visual arts. It may prepare the student for further training as an artist, teacher, or architect, as well as in related fields such as advertising or design. Lower-level courses emphasize the fundamentals of drawing, color, and form; upper-level courses encourage the student to develop a more individual conceptual approach and style, within the context of historical precedents and traditions.

53. Drawing. ALP Introduction to the visual language of drawing, including various media and processes. Learning to construct and develop drawings done from observation, through reference to other artist's work, and with frequent individual and group critiques. Consent of instructor required. Instructor: Staff. One course.

54. Introduction to Visual Practice. ALP Basic principles and methods of visual practice: 2DD and 3DD composition, drawing, color theory, photographic and architectural principles, as well as digital and time-based media like film, video, and performance. Visuality in everyday life and its impact on other fields of knowledge. Includes methods such as mapping, virtual environments, graph theory, and vernacular visual practices. Intended primarily for first and second year students. Prerequisite: intermediate and advanced Visual Arts and Visual Practice classes. Instructor: Lasch. One course.

55. Introduction to Graphic Design. ALP Artists and art movements that shaped and continue to shape design history. Fundamental graphic design principles. Limited exposure to graphic design software. Consent of instructor required. Prerequisites: Visual Arts 53 and Art History 70 or comparable modern art history course. Instructor: Belkina. One course.

101. Book Illustration. ALP Studio course examining all aspects of bookmaking, including theories of bookmaking, designing and planning, typography, computer design, illustration, and binding. Prerequisites: Visual Arts 53 and consent of instructor. Instructor: Shatzman. One course.

102. Figure Drawing. ALP The human figure through different artistic media and from different visual perspectives. Emphasis on drawing and design skills and an anatomical knowledge of the human form. A significant body of drawings is developed in this class. Prerequisites: Visual Arts 53 and 54, and consent of instructor based on portfolio. Instructor: Staff. One course.

103. Introduction to Architectural Design. ALP Introduction to architectural design: space making with emphasis on process, abstraction, and modes of representation. Drawing conventions, orthographic projection, model building, rendering, digital technologies as forms of visual inquiry. Tectonics, space, scale, and material as ensemble parts of project presentations to represent ideas as well as artefacts. Final projects on building program and architectural issues: threshold, view, entry. Instructor: Jones. One course.

105. Intermediate Drawing. ALP, R Allows students to explore their artistic interests and biases through a series of self-directed projects. Both the directness and the flexibility of the medium of drawing are investigated. Prerequisites: Visual Arts 53 and 54 and consent of instructor. Instructor: Staff. One course.

106. Digital Imaging. ALP Photoshop and Illustrator used to introduce single and serial images for print and web output. Prerequisites: Visual Arts 55 and consent of instructor. Instructor: Belkina. One course. C-L: Documentary Studies, Information Science and Information Studies

107. Typography. ALP Writing systems, printing technologies, and typographic evolution; letterform, typographic composition, and page layout. Introduction to Illustrator and Pagemaker. Prerequisites: Visual Arts 55 and consent of instructor. Instructor: Belkina. One course.

108. Virtual Form and Space. Studio course that explores various applications of virtual environments and specific 3D modeling techniques. Introduction to animation principles. Screenings, discussions and lab. Not open to students who have taken this course as FVD 118. Prerequisite: Visual Arts 53. Permission of instructor required. Instructor: Belkina. One course. C-L: Information Science and Information Studies 108, Film/Video/Digital 137

110. Sculpture. ALP Sculptural principles, processes, and issues introduced through lectures, readings, studio assignments, individual projects, and field trips. Consent of instructor required. Instructor: Noland. One course.

111. Intermediate Sculpture. ALP Studio practice in sculpture at the intermediate level. Group and individual discussion and critique. Prerequisite: Visual Arts 110 and consent of instructor. Instructor: Noland. One course.

116S. Photography. ALP, CZ An emphasis on how to see with the camera and ways of thinking about photographs. Class assignments accompanied by historical and theoretical readings, lectures, class discussions, and field trips. Final projects are a self-portrait series and an individual documentary essay. Prerequisites: camera and consent of instructor. Instructor: Noland. One course. C-L: Documentary Studies, Film/Video/Digital

118S. American Communities: A Photographic Approach. ALP, CCI, SS One course. C-L: see Documentary Studies 176S; also C-L: Public Policy Studies 176S, Film/Video/Digital, Policy Journalism and Media Studies Elective

120. Painting. ALP Studio practice in painting with individual and group criticism and discussion of important historic or contemporary ideas. Prerequisites: Visual Arts 54 or equivalent and consent of instructor. Instructor: Staff. One course.

123. Visual Culture and Photography. ALP How photographers create, document, and reflect visual culture, beginning with James Agee's notion of a photographer "ordering the façade" to interpretations, reflections, and comments on visual expressions in local landscapes and fieldwork. Instructor: Rankin. One course. C-L: Documentary Studies 102

125S. Intermediate Digital Photography. ALP Intermediate digital darkroom course. Development of coherent, well-edited body of work undergoing steady evolution over the semester, informed by relevant precedents from the recent history of photography and resulting in portfolio presentation. Includes local field trips. Digital cameras provided as needed. Pre-requisites: Visual Arts 115, 116S or 118S. Instructor: Noland. One course. C-L: Film/Video/Digital

128. Advanced Visual Practice. ALP Interdisciplinary course focusing on student productions. Mixing of new and traditional disciplines (multimedia), and visual manifestations of knowledge from the wider field of visual studies, as well as areas normally considered outside art encouraged. Any number of media accepted, including concentration in just one. Embraces international contemporary art, as well as the multiple expressions of visual society. Prerequisites: Visual Arts 54, at least one 100-level Visual Arts class, and at least one Art History course or equivalent work. Instructor: Lasch. One course.

130. Printmaking: Silkscreen. ALP, R The silkscreen medium and its stencil-making processes including paper stencils, blockouts crayon, and photographic methods. Students develop a significant body of prints using these techniques. Prerequisites: Visual Arts 53, 54 and consent of instructor. Instructor: Shatzman. One course.

131. Printmaking: Lithography. ALP, R Introduction to stone lithography and its drawing and printing methods. Includes both black and white and color printing. The methods and history of lithographic printing. Projects emphasize the development of visual images through this medium. Prerequisites: Visual Arts 53, 54 and consent of instructor. Instructor: Shatzman. One course.

132. Printmaking: Relief and Monotype. ALP, R Relief methods of woodcut and linoleum block printing and monotype techniques. Concentration on both the technical and historical aspects of the media and its expressive potentials. Students develop a significant body of prints using these techniques. Prerequisites: Visual Arts 53, 54 and consent of instructor. Instructor: Shatzman. One course.

133. Printmaking: Intaglio. ALP, R Directed problems in the intaglio medium including etching, aquatint, drypoint, black and white, and color printing methods. Assigned projects emphasize conceptual issues supported by the medium. Students develop a significant body of prints through use of this medium. Prerequisites: Visual Arts 53, 54 and consent of instructor. Instructor: Shatzman. One course.

208S. Poverty and the Visual. ALP, CCI, CZ 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. One course.

217. Independent Study. R Individual directed study in a field of visual practice on a previously approved topic, under the supervision of a regular-rank faculty member, resulting in an academic and/or artistic product. Consent of instructor and director of undergraduate studies required. Instructor Staff. One course.

218. Independent Study. R Individual directed study in a field of visual practice on a previously approved topic, under the supervision of a regular-rank faculty member, resulting in an academic and/or artistic product. Consent of instructor and director of undergraduate studies required. Instructor: Staff. One course.

Major Requirements. The major in art history requires at least ten courses. Two of the three introductory art history courses Art History 69, 70 and 71, are required. Art History 71 will not fulfill the non-Western requirement. The other eight courses should be distributed across the fields of ancient, medieval, Renaissance/baroque, modern, and non-Western (pre-Columbian, African, Asian). Students must take one course in each of these five areas. One of these ten courses must be a 200-level seminar.

Students planning to attend graduate school should consider taking two 200-level seminars: Art History (ARTHIST) 296S, Methodology of Art History; and a second seminar in the same field as a 100-level course already taken by the student. (For example, Art History (ARTHIST) 141, Fifteenth-Century Italian Art, is a logical preparation for Art History (ARTHIST) 247S, Topics in Italian Renaissance Art. Two years of a foreign language at the college level are strongly recommended. Students interested in preparing for graduate work in architecture should supplement their major requirements with the following courses: Mathematics 31, 32 and either Mathematics 103 or Physics 51L, 52L; Visual Arts (ARTSVIS) 53 and either Visual Arts (ARTSVIS) 54 or 56; Institute of the Arts/Biology 45S; Engineering 75L or 83L. No more than two approved courses taken away from Duke (at other institutions or abroad) may count toward the requirements of the major.

The department offers a B.A. degree in art history with a concentration in architecture. Thirteen courses are required in four broad areas: (1) Art History 291/2 on a subject approved by the concentration in architecture advisor; (2) seven additional courses in Art History, including at least three of the follow`ing: Art History 104, 110, 111, 130, 145, 182, 189AD or 189DB, or 206S ("topics" courses that focus on space or architecture may be used to fulfill this requirement, or other courses approved by the concentration in architecture advisor); (3) two courses in the Visual Arts, including Visual Arts 53; (4) three courses in mathematics, physics, and/or engineering courses that offer or require advanced mathematics or physics skills (recommended courses include Mathematics 31, 32, and 103; Physics 51L or 52L; Civil and Environmental Engineering 161 or 162). Distribution requirements for the major must be fulfilled. Certification of this concentration is designated on the official transcript.

Major Requirements. The major in Visual Arts (ARTSVIS) requires at least ten courses. These include: two lower level courses, Visual Arts 53 (Drawing) and either Visual Arts 54 (Two Dimensional Design) or Visual Arts 55 (Introduction to Graphic Design); and eight 100-level courses including two upper-level Art History courses. The remaining six courses must include a minimum of one course in at least three of the following areas of instruction: film/video/digital, graphic design, painting, photography, printmaking, and sculpture. Students are encouraged to enroll as seniors in an independent study and, during the spring of their senior year, Visual Arts 269S (Special Topics in Visual Arts). No more than two approved courses taken away from Duke may satisfy the requirements and prerequisites of the major. Courses are available for credit at North Carolina State University and the University of North Carolina at Chapel Hill.

A combined major in Art History and Visual Arts requires at least fourteen courses. These include: two lower-level courses; Visual Arts (ARTSVIS) 53, Drawing, and Art History (ARTHIST) 69, 70 or 71, Survey of Art; and twelve upper-level courses. The twelve upper-level courses are to be divided as follows:

Art History: Six upper-level courses distributed across the fields of ancient, medieval, Renaissance/baroque, modern, and non-western (pre-Columbian, African, Asian). Students must take at least one course in four of these five areas. At least one of these courses must be a 200-level seminar.

Visual Arts: Six 100-level courses including a minimum of one course in at least three of the following primary areas of instruction: film/video/digital, graphic design, painting, photography, printmaking, and sculpture. Students are encouraged to enroll as seniors in an independent study and, during the spring of that year, in Visual Arts 269S (Special Topics in Visual Arts).

The department offers a combined B.A. degree in Art History and Visual Art with a Concentration in Visual Culture. The total number of courses required for the concentration is thirteen. Students are required to take Art History 108, "Introduction to Visual Culture," and the capstone course, Art History 208S, "Theories of Visual Culture." Eleven additional courses are required, including at least four in Art History and four in Visual Arts. A number of "topics" courses that focus on various aspects of visual culture may be used to fulfill these requirements, contingent on the advisor's approval. Students may select from the following: Art History 103, 104, 134, 153, 156, 157, 158, 159, 164, 169, 173, 172A, 176, 177S, 181A, 181B, 186, 190, 196A, 197, 199, 255S, 274S, 285S; Visual Arts 101, 106, 108, 113, 117, 118, 169, 269. Certification of this concentration is designated on the official transcript.

Requirements: Five courses at the 100-level or above, with the following courses required: Visual Arts 115 Introductory Photography; Visual Arts 218 Individual Project; and Art History 199 History of Photography, 1839 to the Present. One transfer course may count toward the requirements for the minor; courses taken pass/fail or Advanced Placement credits do not count towards the minor.

Undergraduate Instruction 2007-2008