This class investigates the theory, method, and form of collage. It studies not only the historical precedents for collage and their physical attributes, but the psychology and process that plays a part in the making of them. The class was broken into three parts, changing scales and methods each time, to introduce and study the rigor by which decisions were made in relation to the collage. The class was less about the making of art than the study of the processes by which art is made.
This seminar introduces, through studio projects, the basic principles regarding the use of color in the visual arts. Students explore a range of topics, including the historical uses of color in the arts, the interactions between colors, and the psychology of color.
Examines significant episodes in the history of modern art from the end of the enlightenment to the early twentieth-century in relation to emerging visual technologies (lithography, photography, the poster, photomontage), urban audiences, and consumer culture. Major artistic movements (Romanticism, Realism, Impressionism, Cubism, Futurism, Surrealism) are discussed along with theoretical writings about the relationship between avant-garde artistic practices and mass culture. No previous knowledge of art history is required. This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art including painting, sculpture, architecture, photography, and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and so-called "primitive" art.
This course is an introduction to problems about creativity as it pervades human experience and behavior. Questions about imagination and innovation are studied in relation to the history of philosophy as well as more recent work in philosophy, affective psychology, cognitive studies, and art theory. Readings and guidance are aligned with the student's focus of interest.
This subject exposes students to a variety of visualization techniques so that they learn to understand the work involved in producing them and to critically assess the power and limits of each. Students concentrate on areas where visualizations are crucial for meaning making and data production. Drawing on scholarship in science and technology studies on visualization, critical art theory, and core discussions in science and engineering, students work through a series of case studies in order to become better readers and producers of visualizations.
The nature of human identity - how we think of ourselves, how we perceive others - is a mutable concept, changing with the rise and fall of religious beliefs, social mores, philosophical theories. Today, we live in a world in which science and technology are among the most powerful forces reshaping our culture - and thus our definitions and perceptions of identity. In this seminar, we will examine the impact of science and technology on identity.
" This seminar is open to graduate students, and is intended to offer a synoptic view of selected methodologies and thinkers in art history (with some implications for architecture). It is a writing-intensive class based on the premise that writing and editing are forms of critical thinking. The syllabus outlines the structure of the course and the readings and Assignments and Labs for each week. The discipline of art history periodically surges into "crisis." The demise of formalism as a guiding tenet, or connoisseurial appreciation as a general guide, plunged the field into confusion during the 1970s when the battle raged over "social histories of art" or "revisionism;" in the late 1990s the debate was staged between "visual studies" versus "normative art history." The course takes this confusion as itself worthy of study, and seeks to make available some of the new methodologies that have emerged over the past two decades. The ultimate goal is to bring students closer to discovering their own individual methods and voices as writers of art historical prose. In broader terms, we will attempt to understand the historiography of visual art and images more broadly. Our efforts will be predicated on the conviction that art history can serve as a generative discipline for all humanistic disciplines, and even those that style themselves as "Bildwissenschaft" (or "image-science")."
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