WUSTL Course Listings

Login with WUSTL Key

Search Results:		Display:	Open + Closed Just Open Just Closed	View:	Regular Condensed Expanded
13 courses found.

ART HISTORY AND ARCHAEOLOGY (L01) (Dept. Info)

Arts & Sciences (Policies)

L01 Art-Arch 500

Independent Study

Var. Units (max = 6.0)

Save Cancel My Note:

PREREQUISITE, GRADUATE STANDING OR PERMISSION OF THE CHAIR OF THE DEPARTMENT.

Instruction Type:

Independent study, tutorial, or other

N/A

Every Semester / History

Building / Room

01

TBA

See Dept /

[TBA]

See Department

999

0

0

Actions:

02

TBA

See Dept /

Childs

See Department

999

0

0

Actions:

03

TBA

See Dept /

Kleutghen

See Department

999

0

0

Actions:

05

TBA

See Dept /

Sheren

See Department

999

0

0

Actions:

06

TBA

See Dept /

Jones

See Department

999

0

0

Actions:

07

TBA

See Dept /

Klein

See Department

999

0

0

Actions:

12

TBA

See Dept /

Wallace

See Department

999

0

0

Actions:

14

TBA

See Dept /

Mumford

See Department

999

0

0

Actions:

L01 Art-Arch 5001

Writing Intensive Topics: Collecting Art/Excluding People: The Contradictions of Chinese Art in U.S.

Save Cancel My Note:

Tomb raiders, curators, archaeologists, politicians, dealers, and collectors all contributed to the arrival of Chinese art in the United States since the late nineteenth century. But at the same time as Chinese objects arrived in great quantities, Chinese people were actively excluded from the U.S. In this course we consider the contradiction between U.S. enthusiasm for collecting Chinese art and negative U.S. responses to Chinese immigrants, from the 1882 Chinese Exclusion Act to contemporary anti-Asian racism. Through the lens of museums, private collections, and public exhibitions, we study what the movement of Chinese art into the United States says about changes in U.S.-China relations from the nineteenth century through today.

A&S IQ: HUM, LCD, WI Arch: HUM Art: AH, GFAH, HUM Art-Arch: A, AM, MEA, NW, RB BU: HUM, IS EN: H

Instruction Type:

Classroom instruction

Unpredictable / History

Building / Room

01

M-W----

8:30A-9:50A

Kleutghen

Paper/Project/Take Home

12

0

0

Actions:

L01 Art-Arch 5013

The Digital Art Historian

Save Cancel My Note:

Within the digital humanities, it has often been asserted that art history lags behind other disciplines when it comes to technology adoption. But in fact, art historians are among the earliest adopters of technologically mediated academic practices, though the breadth of methodologies utilized within the digital humanities are not always suitable to or capable of fully accommodating the added layer of visual culture intrinsic to art history. While this course will explore all of the significant facets of the digital humanities and how they can be adapted to art history, it also more broadly aims to create technologically astute and nimble students and future professionals capable of "learning to learn" technologies as they emerge; determining when and how a technology may be useful in research, scholarship, instruction, and other professional work; assessing both data and the tools that represent it with a critical mind; and understanding how to effectively apply technology in a broad range of academic and professional contexts. Please note that this two-credit course does not fulfill the seminar requirement for majors in Art History and Archaeology, or count toward the four upper-level courses required for the minor in Art History and Archaeology Pre-req: One completed seminar-level course or permission of the instructor

A&S IQ: HUM Arch: HUM Art: AH, HUM Art-Arch: AM EN: H

Instruction Type:

Classroom instruction

Building / Room

01

-T-----

9:00A-10:50A

Whitlow

May 6 2025 6:00PM - 8:00PM

12

0

0

Actions:

L01 Art-Arch 5235

Rome in Egypt: The Archaeology of an Oasis City

Save Cancel My Note:

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

A&S IQ: HUM Arch: HUM Art: AH, HUM Art-Arch: AM BU: IS EN: H

Instruction Type:

Classroom instruction

L01 4235 L08 4235

Unpredictable / History

Building / Room

01

-T-----

2:30P-5:20P

Aravecchia

Paper/Project/Take Home

15

0

0

Actions:

L01 Art-Arch 5292

Art and Death in Ancient Rome

Save Cancel My Note:

Perhaps more than any other phenomenon, death spurred the creation of art in the ancient Roman world. The practice of materially commemorating the deceased -- of perpetuating the memory of the dead through the creation of funerary monuments designed to appeal to both intimate familial relations and the public at large -- stretched across Roman social boundaries and endured for many centuries. But death also frequently provided the subject matter of art even outside the confines of the funerary realm. The goal of this course will be to explore the complex relationship between art and death in the Roman world. It will range from early Rome to the end of the empire and the changes brought about by widespread conversion to Christianity. In conjunction with historical readings, the course will also engage with theoretical texts in the anthropology and philosophy of death. Prerequisites: Intro to Western Art (L01 113) or Intro to Modern Art (L01 215); one 300-level course in Art History preferred; or permission of instructor.

A&S IQ: HUM Art-Arch: AM BU: HUM EN: H

Instruction Type:

Classroom instruction

L01 429 L08 429 L08 5529 L23 4290

Building / Room

01

M------

2:30P-5:20P

Jones

Paper/Project/Take Home

15

0

0

Actions:

L01 Art-Arch 5442

Chinese Painting, Then and Now

Save Cancel My Note:

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.

A&S IQ: HUM, LCD Arch: HUM Art: AH, GFAH, HUM Art-Arch: NW BU: HUM, IS EN: H

Instruction Type:

Classroom instruction

L01 3442 L04 3442 L97 3442

Building / Room

01

M-W----

11:30A-12:50P

Kleutghen

Paper/Project/Take Home

15

0

0

Actions:

L01 Art-Arch 5629

Caravaggio: Master and Murderer

Save Cancel My Note:

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.

A&S IQ: HUM Arch: HT Art: AH, GFAH Art-Arch: RB BU: IS EN: H

Instruction Type:

Classroom instruction

Building / Room

01

----F--

10:00A-12:50P

Wallace

Paper/Project/Take Home

12

0

0

Actions:

L01 Art-Arch 5655

The Baroque: Art in an Age of Crisis

Save Cancel My Note:

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).

A&S IQ: HUM, LCD Arch: HUM Art: AH, GFAH, HUM BU: HUM, IS EN: H

Instruction Type:

Classroom instruction

Every 2-3 Years / History

Building / Room

01

-T-R---

10:00A-11:20A

Gabel

Paper/Project/Take Home

40

0

0

Actions:

L01 Art-Arch 5722

US Arts and Visual Culture, 1890-1980

Save Cancel My Note:

This lecture and discussion course surveys the visual arts in America from the expansion of American imperial power overseas in the 1890 to 1975. We begin with the shift from elite culture to more democratic forms of visual expression. Over the semester we work collectively to identify the many ways in which artists have acted in the spaces between art and life. Alongside Euro-American cultural expression the course considers the arts of minoritized ethnic groups within the U.S., including indigenous and black arts, and rural self-taught forms and media. We look at the enriching exchanges with Mexican art after 1920; and the course ends with the emergence of performance and 'Pop' art in the 1960s and 1970s.

A&S IQ: HUM Arch: HUM Art: AH, HUM Art-Arch: MEA BU: HUM EN: H

Instruction Type:

Classroom instruction

Building / Room

01

M-W----

1:00P-2:20P

Miller

May 7 2025 1:00PM - 3:00PM

30

0

0

Actions:

L01 Art-Arch 5745

Cahokia to Contemporary: Native American Arts, Past(s) and Future

Save Cancel My Note:

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

A&S IQ: HUM, LCD, SC Arch: HUM Art: AH, HUM BU: HUM, IS EN: H

Instruction Type:

Classroom instruction

L01 4745 L98 4745

Every 2-3 Years / History

Building / Room

01

--W----

2:00P-4:50P

Childs

Paper/Project/Take Home

10

0

0

Actions:

L01 Art-Arch 5838

Modern Art in Fin-de-Siecle Europe, 1880-1907

Save Cancel My Note:

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.

A&S IQ: HUM Art: AH, HUM BU: HUM EN: H

Instruction Type:

Classroom instruction

L01 3838 L97 3838

Every 2-3 Years / History

Building / Room

01

-T-R---

2:30P-3:50P

Childs

May 7 2025 3:30PM - 5:30PM

20

0

0

Actions:

L01 Art-Arch 5875

Rejecting Reason: Dada and Surrealism in Europe and the United States

Save Cancel My Note:

In this multimedia interdisciplinary course, we will consider the history, theory, and practice of Dada and Surrealism, from its Symbolist and Expressionist roots at the end of the 19th century and the beginning of the 20th century through its late expressions in the beat culture and pop art of the 1950s and 1960s. Dada's emergence in Zürich and New York in the midst of World War I set the tone for its stress on irrationality as an oppositional strategy. Surrealist research into the domain of the unconscious continued this extreme challenge to dominant culture but in a revolutionary spirit that proposed new possibilities for personal and collective liberation. The international character of the movements -- with substantial cross-transmission between Europe and the United States -- will be emphasized. Prerequisites: L01 113, Intro to Western Art; L01 215, Intro to Modern Art; or permission of instructor.

A&S IQ: HUM Art: AH, HUM BU: HUM EN: H

Instruction Type:

Classroom instruction

L01 3875 L97 3875 L98 3876

Building / Room

01

-T-R---

4:00P-5:20P

Klein

May 7 2025 6:00PM - 8:00PM

30

0

0

Actions:

L01 Art-Arch 590

Master's Research Instruction

Var. Units (max = 6.0)

Save Cancel My Note:

Instruction Type:

Independent study, tutorial, or other

N/A

Building / Room

01

TBA

TBA

[TBA]

See Department

999

0

0

Actions:

02

TBA

TBA

Childs

See Department

10

0

0

Actions:

07

TBA

TBA

Klein

See Department

999

0

0

Actions:

08

TBA

TBA

Miller

See Department

999

0

0

Actions:

12

TBA

TBA

Wallace

See Department

999

0

0

Actions: