| | Description: | Humans of the ancient world had to devote vast amounts of time and resources to the production of textiles such as clothing, bedding, ship's sails, and beyond. In this course you will dive into the textile production techniques of the ancient Mediterranean, with units on fiber preparation, spinning, weaving, laundry, and non-clothing textiles. In addition, we will explore the social structures (especially gender) which influence and are influenced by textile production.
This course has a significant hands-on component. It will be approximately 50% engagement with scholarship and 50% studio work. That means that every week you will be participating in the processes that you are reading about. There are no required prerequisite courses or skills, but you must be ready and willing to try new things with your hands.
The evidence for ancient fiber production is varied, and so the scholarship portion of this class will involve work in the fields of classical philology, art history, and archaeology.
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| | 01 | -T-R--- | 4:00P-5:20P | TBA | Kamens | May 7 2025 6:00PM - 8:00PM | 15 | 15 | 5 | | |
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| | Description: | An introduction to major developments in modern art, architecture and design in Europe, the Americas, and across the globe from the mid nineteenth century to the present. Focus will be on the history and theories of modernism and its international legacies, and the relationship of the visual arts, architecture and visual culture more generally to the social, cultural and political contexts of the modern era. While the precise topics covered may vary from one instructor to another, foundational movements and trends to be discussed will typically include Beaux-Arts style, the Arts and Crafts Movement, Impressionism, Symbolism, Art Nouveau, Cubism, Dada, Surrealism, Purism, Art Deco, the Bauhaus, the International Style, Abstract Expressionism, Pop Art, Minimalism and Post-Modernism. Cross-currents in various media will be emphasized as we seek to understand the origins and complexity of modern visual forms in relation to political and cultural history and to critical theory. Students will engage a wide range of readings in historical sources, theories composed by artists, architects and designers, critical responses to the arts, and secondary critical literature. NO PREREQUISITE. |
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| | 01 | -T-R--- | 11:30A-12:50P | Steinberg / 105 | Klein | May 5 2025 1:00PM - 3:00PM | 200 | 98 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| A | --W---- | 9:30A-10:20A | Kemper / 103 | [TBA] | See Department | 20 | 0 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| B | --W---- | 10:30A-11:20A | Kemper / 103 | [TBA] | See Department | 20 | 6 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| C | --W---- | 10:00A-10:50A | Kemper / 211 | [TBA] | See Department | 15 | 8 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| D | --W---- | 5:00P-5:50P | Kemper / 211 | [TBA] | See Department | 15 | 13 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| E | ----F-- | 11:00A-11:50A | Kemper / 103 | [TBA] | See Department | 15 | 15 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| F | ----F-- | 12:00P-12:50P | Kemper / 211 | [TBA] | See Department | 15 | 15 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| G | ---R--- | 1:00P-1:50P | Kemper / 211 | [TBA] | See Department | 15 | 6 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| H | ---R--- | 2:00P-2:50P | Kemper / 211 | [TBA] | See Department | 15 | 1 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| I | ----F-- | 1:00P-1:50P | Kemper / 103 | [TBA] | See Department | 20 | 20 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| J | ---R--- | 9:00A-9:50A | Kemper / 103 | [TBA] | See Department | 20 | 3 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| K | ----F-- | 9:00A-9:50A | Kemper / 103 | [TBA] | See Department | 15 | 11 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | Description: | The Arab world is a region in flux. Its borders have been drawn and redrawn multiple times since the Arab Revolt (1916-1918) which brought an end to the Ottoman Empire amidst the global conflict of World War I. Although the primary goal of the Arab rebels was to establish an independent and unified Arab state, instead, the Arab-majority Ottoman territories were carved up into a number of mandates controlled by the French and British empires. In response, multiple strains of Arab nationalism emerged across the Middle East and North Africa (MENA), reaching a cogent phase following World War II. Soon after, French and British control over the region deteriorated and collapsed. The period of decolonization and the decades after were characterized by the formation of several new sovereign states accompanied by political factionalism, numerous oil crises, war, and mass migration. Since then, the formal political structures that define nation states have been precariously constituted in the MENA region.
In this seminar, students will discover how artists and other cultural contributors living in the Arab world and diaspora have narrated, mediated, and shaped these pivotal moments in history and, vice-versa, how these moments influenced their work. This course encompasses a broad range of media, treating painting, sculpture, photography, installation, film, cartoons, graphic novels, street art, and social media as parts of one continuous visual landscape. In addition to the methods of art history, this course also incorporates literary, museological, archaeological, and philosophical perspectives. As a result of this interdisciplinary approach, students will come to understand that visual creation in the region has been shaped by forces that have often pulled in opposite directions: the legacy of colonialism and early nation formation; cultural and religious tradition and Modernism; cosmopolitanism and isolationism; artistic innovation and acts of iconoclasm and censorship. Students will also gain a good overall grasp of the modern and contemporary political and cultural history of the Middle East and North Africa.
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| | 01 | M-W---- | 4:00P-5:20P | Kemper / 103 | Murphy | Paper/Project/Take Home | 40 | 22 | 0 | | |
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| | Description: | This course traces the development in Italy of what we know as the modern museum. Unfolding chronologically from the Renaissance to the current day, the course will examine the origins and rise of art, natural history, science, and national museums across the peninsula from Rome to Venice, Florence to Naples. We will study the establishment of the early public art museums epitomized by the Vatican Museums, the Uffizi Gallery, and the Capitoline Museums. We will examine the impact on national and cultural identity of Fascist propaganda museums instituted under Mussolini's regime, and we will conclude with an examination of extraordinary new museums in Italy, such as the interactive MUSME (Museum of Medicine) in Padua, and the MEIS (National Italian Judaism and Shoah Museum) in Ferrara. Art Curators, and Museum directors will visit our course. Taught in English. |
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| | 01 | -T-R--- | 1:00P-2:20P | TBA | Messbarger | No Final | 15 | 15 | 2 | | |
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| | Description: | As the original home of humanity, the African continent has, over the millennia, produced an incredible diversity of tangible and intangible arts and aesthetic practices - in sculpture, architecture, masquerade, royal and religious regalia, rock painting, pottery, and much more. However, this richcultural heritage has, historically, largely been approached, studied, and curated according to Western academic, museological, and cultural heritage management approaches. These have often been disconnected from the lived realities of Africans across the continent. Critics of these interconnected
hegemonic paradigms and practices have argued that the needs, interests, aspirations, aesthetic philosophies, and concepts of preservation and patrimony of local communities have long been neglected, overlooked, and even undermined by colonially derived and often ethnocentric approaches and understandings of material culture, as well as the expropriation of much of Africa's historic art, much of it now held in Western museum and private collections. These criticisms highlight Africa's ongoing struggle for its art and heritage: to repatriate it, curate it, and represent it in ways more in accordance with various African philosophies and practices. |
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| | 01 | M-W---- | 11:30A-12:50P | Kemper / 103 | [TBA] | Paper/Project/Take Home | 20 | 20 | 1 | | |
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| | Description: | What is Latinx art? This seemingly simple question holds a number of complicated,
contradictory answers. Latinx art is art created by (and often for) Latinx communities in the United States, but who determines the scope of representation? Is Jean-Michel Basquiat, the famed Haitian-Puerto Rican-American of 1980s NYC, a Latino artist? How about the Cuban-born Ana Mendieta, who lived and worked primarily in the United States? This course will consider who gets counted as Latinx in the art world and why. Topics covered include the Chicano/a movement in the 1970s, the Border Art movement in the 1980s and 1990s, the rise of "multiculturalist" rhetoric in the United States, and the contemporary global art market and its relationship to the category "Latinx." We will also consider issues of gender, sexuality and race, as they pertain to Latinx artists. This is an introductory course, and requires no prior knowledge of Art History or Latinx Studies.
Prerequisites: none |
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| | 01 | M-W---- | 2:30P-3:50P | Kemper / 103 | Sheren | Paper/Project/Take Home | 40 | 40 | 1 | | |
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| | 01 | -T-R--- | 11:30A-12:50P | Weil / 120 | Dingwall | See Instructor | 0 | 15 | 10 | | |
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| | Description: | Tracing the unbroken history of Chinese painting from the 1st through 21st centuries, we explore the full evolution of its traditions and innovations through representative works, artists, genres, and critical issues. From its ancient origins to its current practice, we will cover topics such as classical landscapes by scholar painters, the effects of Western contact on modern painting, the contemporary iconography of power and dissent, and theoretical issues such as authenticity, gender, and global art history. Prerequisites: Intro to Asian Art (L01 111) or one course in East Asian Studies recommended. |
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| | 01 | M-W---- | 11:30A-12:50P | Kemper / 211 | Kleutghen | Paper/Project/Take Home | 15 | 11 | 0 | | |
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| | Description: | Coronations, marriages, visiting dignitaries, banquets, saints' feast days - all were cause for celebration and spectacle in the Italian Renaissance. This course will explore the culture and festivals of Italian courts from c. 1400-1650. We will consider the major courts of Florence, Rome, and Venice, as well as the smaller yet thriving courts in cities such as Mantua and Ferrara. In addition to the art and architecture of courtly spaces, we will also examine drawings alongside written accounts of ephemeral decorations that no longer survive, commemorative medals, processional banners, relics and miraculous images, material culture objects associated with feasting and spectacle, and more |
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| | 01 | -T-R--- | 11:30A-12:50P | Kemper / 103 | James | Paper/Project/Take Home | 40 | 39 | 0 | | |
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| | Description: | The late 16th century was a time of crisis and conflict, and change echoed across Europe and its empires. Religious reform, scientific discovery, and political upheaval shook the foundations of early modern society. Yet from this turbulent time, an era of extraordinary artistic achievement emerged, defined by a dynamic new visual language. This course will examine how "the Baroque" became a global language, from its early beginnings in Rome to Spain, France, Flanders and the Dutch Republic, even extending beyond the borders of Europe to Asia and the Americas. In addition to studying leading artists such as Caravaggio, Bernini, Rubens, Vermeer and Velázquez, important themes to be considered will include space and spectacle in urban planning; the mundane and profane in still life and genre; collections and curios; the church triumphant; and the portrait. Prerequisite: Intro to Western Art (L01 113). |
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| | 01 | -T-R--- | 10:00A-11:20A | Kemper / 103 | Gabel | Paper/Project/Take Home | 40 | 23 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | Description: | Urbanism and urbanization - the emergence and development of densely populated towns, often cradles of novel and specific arts, institutions, industries, philosophies, ideologies, and identities - have a deep history on the African continent. From the earliest settled towns of the ancient world in
Tichitt (in present-day Mali and Mauretania) and the Nile Valley, to the bustling "Medieval" metropolises of Ilé-Ifè (Nigeria), Great Zimbabwe, and the Swahili coast (East Africa), the continent witnessed a range of trajectories and outcomes of urban development, leading to diverse forms of hierarchy, heterarchy, social organization, technologies, and arts often very distinctive from those of Europe and the Islamic world beyond Africa. Given that much of the continent did not use written documentary sources until relatively recently, approaches and methods from the disciplines of archaeology and art history are among the best tools to investigate and understand its deep-rooted
and sophisticated urban past, and the fundamental contributions of this to the modern world. This class explores the origins, development, and florescence of forms of urbanism and statehood across the African continent, focusing on the complex social structures and dynamics that emerged from,
and shaped, these processes, as well as the rich archaeological and artistic record that they stimulated. It will begin by moving chronologically through this long history, and later branch into largely coeval regional examples. Students will have the opportunity to learn about the archaeology and arts of critical urbanized polities such as the early Sahelian metropolis of Djenne-Jeno (Mali), the empires of Dahomey, Oyo, Benin (West Africa), and the kingdom of Kongo (Central Africa) among others. |
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| | 01 | -T-R--- | 1:00P-2:20P | Kemper / 103 | [TBA] | Paper/Project/Take Home | 40 | 10 | 0 | | |
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| | Description: | This course examines artistic production at the turn of the century in France, Belgium, England and Scandinavia. Beginning with a brief overview of impressionism and naturalism in France, we go on to examine Neo-Impressionism (Seurat and Signac) and Symbolism (Moreau, Van Gogh, Gauguin, the Nabis, Rodin, Munch), as well as later careers of Impressionists (Cassatt, Monet, Degas, Renoir, Morisot). Considers cross-national currents of Symbolism in Belgium and Scandinavia; the Aesthetic Movement in Britain; the rise of expressionist painting in French art (particularly with the Fauvism of Matisse and Derain), and the juncture of modernist primitivism and abstraction in early Cubism (Picasso). PREREQ: ART-ARCH 112, ANY 200-LEVEL COURSE IN ART HISTORY, OR PERMISSION OF THE INSTRUCTOR. |
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| | 01 | -T-R--- | 2:30P-3:50P | Kemper / 103 | Childs | May 7 2025 3:30PM - 5:30PM | 20 | 20 | 5 | | |
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| | 01 | -T-R--- | 4:00P-5:20P | Kemper / 103 | Klein | May 7 2025 6:00PM - 8:00PM | 30 | 15 | 0 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | -T----- | 9:00A-10:50A | Kemper / 211 | Whitlow | May 6 2025 6:00PM - 8:00PM | 12 | 4 | 0 | | |
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| | Description: | This seminar will focus on the results of the archaeological fieldwork carried out at Trimithis / Amheida, a Graeco-Roman city in Egypt's Western Desert. It will investigate the available documentary and archaeological evidence, including a wealthy house with paintings inspired by Classical themes, a public bath built in the Roman tradition, a rhetorical schoolroom, pyramid-shaped Roman tombs, remains of a temple, and one of the earliest churches discovered in Egypt so far. We will explore how this evidence compares with that from neighboring sites in Egypt's Western Desert as well as in the Nile Valley. The goal is to develop an appreciation and understanding of Romano-Egyptian architecture, Classical and late antique art in Egypt, and Egypt's religious, social, and cultural history. Students will also have the opportunity to familiarize themselves with notions of archaeological methods and practice, as adopted in the context of an Egyptian excavation project.
Prerequisites: One course at the 100- or 200-level in Art History, Classics, or Archaeology recommended |
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| | 01 | -T----- | 2:30P-5:20P | Kemper / 211 | Aravecchia | Paper/Project/Take Home | 15 | 15 | 1 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | M-W---- | 10:00A-11:20A | TBA | Aravecchia | Paper/Project/Take Home | 15 | 15 | 3 | | |
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| | 01 | M------ | 2:30P-5:20P | Kemper / 211 | Jones | Paper/Project/Take Home | 15 | 15 | 0 | | |
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| | Description: | Michelangelo Merisi (Michael Angelo Merigi or Amerighi) da Caravaggio (29 September 1571 - 18 July 1610) was one of the most important and influential painters of the Seventeenth Century, in Italy and throughout Europe. He was active in Rome, Naples, Malta, and Sicily between ~1592 and 1610. But who was Caravaggio? What do we really know about his tempestuous life, and how it factors in the art he created? Caravaggio was a powerful, brilliant, brutish, and hugely influential artist; a belligerent personality, brawler, and murderer. He was a man of contradictions: a devout Christian and bi-sexual sodomite; a Knight of Malta and a fugitive from the law. This seminar explores the reality and fiction of this fascinating and influential genius, and places him in his historical, social and artistic contexts -- from Baroque Italy to the modern imagination. Prerequisites: L01 113; one 300-level course in Art History; and permission of instructor. |
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| | 01 | ----F-- | 10:00A-12:50P | Kemper / 211 | Wallace | Paper/Project/Take Home | 12 | 12 | 1 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | Description: | Recent museum and scholarly initiatives have offered innovative, corrective approaches to the study of the seventeenth century in The Netherlands-an era commonly known as "the Dutch Golden Age." Within the last decade, numerous museums and special exhibitions have questioned the historical accuracy and political sensitivity of the term; some museum curators have refused to use it any longer, and many scholars have deliberated on its significance, structuring their arguments about the time through other terms. At the heart of conceptions of the "Golden Age" is the city of Amsterdam, which increased in girth, population, and celebrity between 1600 and 1700. Dutch maritime prowess and trading ventures around the globe resulted in the exponential growth of the urban fabric of Dutch cities and their fame, and Amsterdam was first among equals. Amsterdam was not just the wealthiest, most powerful city in the Dutch Republic, but was praised as the center of the world (omphalos mundi) and celebrated in monuments; and the visual arts were practiced and celebrated widely. But the flow of currency and luxury goods was not the only structuring dynamic: the Dutch involvement in the transatlantic slave trade and the gap between rich and poor, powerful and disenfranchised in the burgeoning metropolis are also hallmarks of the time and place. Studying contemporary scholarly and curatorial approaches to a past that has been by turns glorified and disavowed, this seminar will enable students to engage directly with changing conceptions of the history of this time and place-by reading current historical accounts and editorial interventions and meeting with proponents of various views of the subject (e.g., scholars who have opined that doing away with the "Golden Age" model amounts to throwing the baby out with the bathwater vs. scholars and artists who engage with and propose new lenses for assessing the history of Amsterdam and the Dutch Republic in the context of considerations on political violence and enslavement in particular). The seminar will travel to Amsterdam during spring break 2025, for onsite visits with people, places, and works of art, providing students with the unique opportunity to engage directly with the makings and makers of art history.
Prerequisites: Permission of the instructor. Students should have taken at least one seminar in AHA or a closely related field; priority will be given to AHA majors. |
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| | 01 | ---R--- | 3:00P-5:50P | Kemper / 211 | Swan | Paper/Project/Take Home | 0 | 0 | 16 | | |
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| | Description: | The arts of Native American communities demand a primary place in both American and global art histories. The historic depth, variety of cultural expression, and circumstances of the collection, exhibition and interpretation of Native arts continue to demand our careful and critical attention. We are well situated in St Louis to consider both indigenous artistic cultures of our own region, and to observe the vitality of Native modern and contemporary art practice. Key concerns include the artists' relationship to space and place, their presentation of identities, politicized and activist dimensions of their practices, their negotiation of issues of race and gender, and their conscious relationships to both historic traditions and to contemporary culture. With a focus on what's on view in St Louis in 2025, we will examine a works from the Mississippian cultures exemplified by the nearby sites of Cahokia and Sugar Loaf Mound, twentieth-century pottery from the Southwest, historic materials at the Kemper Art Museum, and modern and postmodern works on view by such artists as Fritz Scholder, Edgar Heap- -of-Birds, Juane Quick-to-See Smith, Faye HeavyShield, Wendy Red Star, Rose Simpson, and others. Class field trips to Cahokia and a weekend trip to visit the First Americans Museum of Oklahoma City are funded by a generous CRE2 Rotating Graduate Studio grant. Prerequisites: One 300-level course in Art History and Archaeology, or permission of instructor |
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| | 01 | --W---- | 2:00P-4:50P | Kemper / 211 | Childs | Paper/Project/Take Home | 9 | 9 | 1 | | | Actions: | | Books | | Syllabus | | Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use. |
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| | 01 | TBA | | TBA | [TBA] | No Final | 50 | 0 | 0 | | |
| 02 | TBA | | TBA | Childs | No Final | 50 | 0 | 0 | | |
| 03 | TBA | | TBA | Kleutghen | No Final | 50 | 0 | 0 | | |
| 05 | TBA | | TBA | Sheren | No Final | 50 | 0 | 0 | | |
| 06 | TBA | | TBA | Jones | No Final | 50 | 0 | 0 | | |
| 07 | TBA | | TBA | Klein | No Final | 50 | 0 | 0 | | |
| 08 | TBA | | TBA | Miller | No Final | 50 | 0 | 0 | | |
| 12 | TBA | | TBA | Wallace | No Final | 50 | 0 | 0 | | |
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| | 01 | TBA | | TBA | [TBA] | See Department | 20 | 1 | 0 | | |
| 02 | TBA | | TBA | Childs | See Department | 20 | 0 | 0 | | |
| 03 | TBA | | TBA | Kleutghen | See Department | 20 | 0 | 0 | | |
| 05 | TBA | | TBA | Sheren | See Department | 20 | 1 | 0 | | |
| 06 | TBA | | TBA | Jones | See Department | 20 | 0 | 0 | | |
| 07 | TBA | | TBA | Klein | See Department | 20 | 0 | 0 | | |
| 08 | TBA | | TBA | Miller | See Department | 12 | 1 | 0 | | |
| 12 | TBA | | TBA | Wallace | See Department | 12 | 0 | 0 | | |
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