Spring 2023 Undergraduate Courses
Last update: Thursday, January 12th, 2023
Confirm course listings on the Directory of Classes: http://www.columbia.edu/cu/bulletin/uwb/home.html
Undergraduate lectures are open to all undergraduate students. Graduate students may enroll in lecture courses listed at the 2000-level and above, as outlined in the program handbooks.
AHIS UN2109 Roman Art and Architecture
B. Fowlkes Childs
M/W 11:40-12:55, 612 Schermerhorn Hall
The architecture, sculpture, and painting of ancient Rome from the 2nd century B.C. to the end of the Empire in the West.
AHIS UN2309 Early Modern Architecture (1550–1799)
T/R 4:10-5:25, 612 Schermerhorn Hall
This course examines the history of early modern architecture from a European perspective outward. It starts with the time of Michelangelo and Palladio and ends in the late eighteenth century. It addresses a number of transhistorical principal issues and analytical approaches while focusing on to a series of roughly chronological thematic studies. Travelling across courts, academies, streets, and buildings devoted to new institutions, this course examines the cultural, material, urban, social, and political dimensions of architecture, as well as temporal and geographic migrations of architectural knowledge. Topics will also include: the resurgence of interest in antiquity; the longue durée history of monuments; changes in building typology; the patronage and politics of architecture; technological developments and building practice; architectural theory, books, and the culture of print; the growth of capital cities; the creation of urban space and landscape; the formalization of architectural education; and the changing status of the architect.
AHIS UN2405 Twentieth Century Art
T/R 2:40-3:55, 614 Schermerhorn Hall
The course will examine a variety of figures, movements, and practices within the entire range of 20th-century art—from Expressionism to Abstract Expressionism, Constructivism to Pop Art, Surrealism to Minimalism, and beyond—situating them within the social, political, economic, and historical contexts in which they arose. The history of these artistic developments will be traced through the development and mutual interaction of two predominant strains of artistic culture: the modernist and the avant-garde, examining in particular their confrontation with and development of the particular vicissitudes of the century's ongoing modernization. Discussion sections complement class lectures. Course is a prerequisite for certain upper-level art history courses. Discussion section required.
AHIS UN2409 Nineteenth Century Architecture
Z. Celik Alexander
M/W 2:40-3:55, 612 Schermerhorn Hall
This course revisits some of the key moments in the architecture of the nineteenth century with the goal of understanding the relationship between these developments and a global modernity shaped by old and new empires. In doing so, it assumes a particular methodological stance. Rather than attempting to be geographically comprehensive, it focusses on the interdependencies between Europe and its colonies; instead of being strictly chronological, it is arranged around a constellation of themes that are explored through a handful of projects and texts. Reading of primary sources from the period under examination is a crucial part of the course. Students will have the opportunity to hone their critical skills by reading, writing, and conducting research toward a final paper. Discussion section required.
AHIS UN2425 Visual Activism
T/R 10:10-11:25, 612 Schermerhorn Hall
How has visual culture played a role within the social movements of the last several decades, such as #BlackLivesMatter and Extinction Rebellion? How, we might ask, is activism made visible; how does it erupt (or disappear) with collective fields of vision? Drawing upon Black South African queer photographer Zanele Muholi’s term “visual activism” as a flexible rubric that encompasses both formal practices and political strategies, this lecture class interrogates contemporary visual cultures of dissent, resistance, and protest as they span a range of ideological positions. We will examine recent developments in and around recent intersections of art and politics from around the world, looking closely at performances, photographs, feminist dances, graffiti, murals, street art, posters, pussy hats, and graphic interventions, with a special focus on tactics of illegibility and encodedness. Topics include visual responses to structural racisms, global climate change, indigenous land rights, state violence, gentrification, forced migration, and queer/trans issues. Discussion section required.
AHIS UN2702 Pre-Columbian Art and Architecture
M/W 1:10-2:25, 612 Schermerhorn Hall
The Western Hemisphere was a setting for outstanding accomplishments in the visual arts for millennia before Europeans set foot in the so-called “New World.” This course explores the early indigenous artistic traditions of what is now Latin America, from early monuments of the formative periods (e.g., Olmec and Chavín), through acclaimed eras of aesthetic and technological achievement (e.g., Maya and Moche), to the later Inca and Aztec imperial periods. Our subject will encompass diverse genre including painting and sculpture, textiles and metalwork, architecture and performance. Attention will focus on the two cultural areas that traditionally have received the most attention from researchers: Mesoamerica (including what is today Mexico, Guatemala, Belize, El Salvador, and Honduras) and the Central Andes (including Ecuador, Peru, and Bolivia). We will also critically consider the drawing of those boundaries—both spatial and temporal—that have defined “Pre-Columbian” art history to date. More than a survey of periods, styles, and monuments, we will critically assess the varieties of evidence—archaeological, epigraphic, historical, ethnographic, and scientific—available for interpretations of ancient Latin American art and culture.
AHUM UN2901 Masterpieces of Indian Art and Architecture
M/W 11:40-12:55, 807 Schermerhorn Hall
Introduction to 2000 years of art on the Indian subcontinent. The course covers the early art of Buddhism, rock-cut architecture of the Buddhists and Hindus, the development of the Hindu temple, Mughal, Rajput and Deccani painting and architecture, art of the colonial period, and the emergence of the Modern. CC/GS/SEAS: Partial fulfillment of Global Core requirement.
AHIS BC1002 Introduction to the History of Art II (Barnard course)
M/W 2:40-3:55, 304 Barnard Hall
Either term may be taken separately. Brief examination of the techniques of visual analysis, followed by a chronological survey of the major period styles of Western European art. Emphasis on the introduction of form and content in the works studied and on the correlation of the visual arts with their cultural environments. BC1001: Greek and Roman art; medieval art. BC1002: Renaissance to modern art. Discussion section required.
AHIS BC2628 American Monument Cultures (Barnard course)
M/W 10:10-11:25, 504 Diana Center
Cities, institutions, and impassioned individuals are pulling down statues of people implicated in the histories of slavery, colonization and violence. This class explores why monuments are important, how they have been used historically to assert political and social power and different points of view on where to go from here. The nation is caught up in a vital debate about how historical figures and events should be recorded in the public square. Spurred by protests in Charlottesville, VA in the summer of 2017 and moved forward during the uprisings against police brutality in the summer of 2020, cities, institutions and impassioned individuals are pulling down and removing statues of Confederate leaders and other individuals implicated in the histories of slavery, colonization and violence even as objections are raised to these actions from both the left and the right. This activism led to the formation of a commission to study New York City’s built environment in fall 2017 and its resolution advocating both taking down and putting up monuments here. Why are Monuments so important? How have they been used historically to assert political and social power? This course introduces the history of monument culture in the United States, focusing on monuments related to three controversial subjects: the Vietnam War, the Confederacy, and the “discovery” of America. We will study when, by whom, and in what form these monuments were erected and how artists and audiences of the past and present have responded to them. In addition to gaining historical background, students will engage in a digital project exploring the history and impact of monuments in a city or town with which they are familiar. Class meetings will combine lecture and discussion and will feature guest speakers most weeks. To accommodate the online platform, each class will be broken into several units and will include both a break and short periods of independent or small group work. In addition, students must complete online modules on conducting local research, podcasting, storymaps and timelines.
AHIS BC3626 In and Around Abstract Expressionism (Barnard course)
T/R 4:10-5:25, LL002 Milstein Center
This course focuses on the history of modern art in the mid-twentieth century. To place mid-twentieth century modernism within its proper historical context, we will explore artistic practices elaborated between the 1920s and the 1960s in a wide range of different locations. We will also survey the major critical and historical accounts of modernism in the arts during these years. The course will first introduce the development of modernism, anti-modernism and avant-gardism in the period between the two World Wars, exploring the changing relationship between these cultural formations in Europe, the U.S.S.R., Mexico, and North America. The second part of the course will study the vicissitudes of modernism and avant-gardism in Europe, Latin America, and the U.S. during the 1930s and 1940s that led to the formation of Concrete art in Europe and Abstract Expressionism and the New York School in the United States. The third part of the course will examine the challenges to modernism and the reformulation of avant-gardism posed by the neo-avant-garde in North America, South America, Europe and Japan in the 1950s and early 1960s. The course will address a wide range of historical and methodological questions and problems. These include: the challenges to the idea of artistic autonomy, the evolving concept of avant-gardism, the ongoing problematic of abstraction, the formal principles of serialism and the grid, the logic of non-composition, the persistence of figuration, the changing role of cultural institutions, the impact of new technologies on cultural production, and the emergence of new audiences and patrons for art. Discussion section required.
AHIS BC3675 Feminism/Postmodernism in the Visual Arts (Barnard course)
T/R 1:10-2:25, 304 Barnard Hall
Examines art and criticism of the 1970s and 1980s that were informed by feminist and postmodern ideas about visual representation. Explores postmodernism as (1) a critique of modernism, (2) a critique of representation, and (3) what Gayatri Spivak called a radical acceptance of vulnerability. Studies art informed by feminist ideas about vision and subjectivity. Places this art in relation to other aesthetic phenomena, such as modernism, minimalism, institution-critical art, and earlier feminist interventions in art.
Required course; open only to AHIS/HTAC/AHVA majors in the Department of Art History and Archaeology.
Interested students must sign up using the Spring 2023 Majors Colloquium Sign-Up Form. The form will open at 10am on Thursday, November 3rd, and close at 5pm on Friday, November 11th. Early sign-up is strongly encouraged.
AHIS UN3000 Majors Colloquium: Introduction to the Literature and Methods of Art History
M 4:10-6, 934 Schermerhorn Hall
This course is an introduction to the theories and methods of art history and visual culture. It is required for undergraduate majors.
AHIS UN3007 Majors Colloquium: Introduction to the Literature and Methods of Architectural History
T 2:10-4, 806 Schermerhorn Hall
This course will combine practical training in visual analysis and architectural historical research—through a single writing assignment in three stages—with a close reading of key works of architectural historians since the emergence of the discipline as a free-standing field of inquiry in the late 19th century.
AHIS UN3007 is open to AHIS/HTAC/AHVA majors in the Department of Art History and Archaeology only. It fulfils the same Colloquium requirement as AHIS UN3000.
Undergraduate seminars are open to Columbia and Barnard undergraduates. Students must submit an application, linked below each course description, in order to be considered for enrollment. Admission is at the instructor's discretion.
Spring 2023 undergraduate seminar applications are due by 5pm on Friday, November 11th.
AHIS UN3002 Senior Thesis Seminar
R 12:10-2, 930 Schermerhorn Hall
Required for all thesis writers. Counts toward elective lecture credit. For more information about the senior thesis program, please visit the Senior Thesis Information Page
AHIS UN3237 Art and Architecture of Medieval Germany* (travel seminar)
G. Bryda; H. Klein
M 2:10-4, 930 Schermerhorn Hall
This undergraduate travel seminar, designed for advanced undergraduate students in the history of art, offers an opportunity to examine a set of important monuments, themes, and developments of medieval art in Germany, spanning chronologically from the establishment of the Carolingian Empire in the early 9th century to the Protestant Reformation in the early 16th century. The course will commence with an exploration of the formation of medieval art and its indebtedness to late Roman and insular traditions, the renovatio of a Christian Roman Empire under Charlemagne, and the continuation of Carolingian cultural and artistic achievements under the Ottonian and Salian emperors of the tenth and eleventh centuries.
Students will devote the first half of the semester studying major trends in the development of early medieval, Romanesque, and Gothic art and architecture with a special focus on carved altarpieces and artistic personalities of the late Gothic and early Renaissance periods. Topics of special interest will further include the function of art and architecture as a means of imperial self-representation, the role of bishops, abbots, and abbesses as patrons of the arts, issues of cultural and artistic exchange between the Byzantine and German empires, the development of medieval church architecture and its function as a liturgical space, the cult of saints and saintly relics, the production methods and use of precious liturgical books and sacred vessels, and the rise of artistic personalities and master craftsmen. Students will travel to Germany during spring break and study monuments of medieval art and architecture in Germany. The second half of the semester will be devoted to a review of specialized topics and presentation of student research projects in class.
'Art and Architecture of Medieval Germany' application form
*This course is a travel seminar. The trip to Germany will take place over the 2023 spring break. Students who enroll in this course must commit to going on the trip. Those who do not go on the trip will not be eligible to receive credit for the course. More information about the department's travel seminar program can be found here
AHIS UN3433 Enlightenment and Archaeology
W 4:10-6, 934 Schermerhorn Hall
This undergraduate seminar examines the emergence of the disciplines of Near Eastern and Classical archaeology, looking into the antiquarian interests and related collecting practices of eighteenth and nineteenth century Europe. These interests were centered around lands under the Ottoman empire, in the Near East and the Eastern Mediterranean. Students will learn about antiquarianism and the development of the scientific discipline of archaeology, how archaeology defined itself and set itself apart from its predecessors, focusing on the collecting and documentation of antiquities within the context of empire, the start of organized excavations in this region, the origins of the modern museum and early archaeological photography.
'Enlightenment and Archaeology' application form
AHIS UN3444 Reflexivity in Art and Film
R 4:10-6, 930 Schermerhorn Hall
This seminar will explore a range of individual works of Western art from the 16th century to late 20th century in which the tension between illusionism and reflexivity is foregrounded. It will focus on well-known paintings and films in which forms of realism and verisimilitude coexist with features that affirm the artificial or fictive nature of the work or which dramatize the material, social and ideological conditions of the work’s construction. Topics will include art by Dürer, Holbein, Velazquez, Watteau, Morisot, Hoch, Simpson, Vertov, Deren, Godard, Varda, Hitchcock, Akerman and others. Readings will include texts by Brecht, Barthes, Bazin, Lukacs, Wollen, Modleski, and Mulvey.
'Reflexivity in Art and Film' application form
AHIS UN3453 Women Artists in Eighteenth-Century Europe
T 10:10-12, 806 Schermerhorn Hall
This seminar will examine the career and artistic production of women artists in the long eighteenth century in Europe, with a specific focus on Italy, France and Britain. Recent research has shown that many women managed to become professional artists during this period. But how successful were they? And what did their work consist of? To date, the historical recovery of data about their career and oeuvre remains a work in progress. In contrast, the few women artists who reached international fame in the eighteenth century – in part because they were members of otherwise overwhelmingly male art academies – have received significant scholarly attention by art historians that include Angela Rosenthal and Mary Sheriff, among others, and have been the subject of important monographic exhibitions in the past two decades. In light of this state of the research, we will study the cases of canonical artists, such as Angelica Kauffman (1741-1807), as well as the cases of still understudied (yet sufficiently documented) artists, such as Marie Geneviève Bouliar (1763-1825). Our primary task will be to examine the different ways in which women who became artists navigated the eighteenth-century social order – an order where the terms “woman” and “professional artist” were commonly understood as contradictory – and analyze their art with a critical understanding of the expectations, aesthetic and otherwise, that they were held to. Topics of discussion will include: training; the hierarchy of genres; women artists and artistic media, including miniature painting, engraving and sculpture; self-portraiture and gender expectations; women artists and art criticism; and emulation and authorship.
'Women Artists in Eighteenth-Century Europe' application form
AHIS UN3622 Modern East Asian Art in a Global Context
T 12:10-2, 806 Schermerhorn Hall
This course introduces the history of Modern and Contemporary Art in China, Japan, and Korea through a comparative, Global Asias lens to investigate the preconceptions of modernity and art history revealed by the East Asian context. Following a largely chronological approach from the nineteenth to twenty-first centuries, we will consider questions including: What role did art play in the establishment of "modern" nations in East Asia? How did the European concept and institutional forms of "fine art" shift cultural production in the region? What cultural, racial, and gendered hierarchies did "modern art" in the region challenge or reinscribe? How did colonialism, wartime regimes, and Cold War politics influence the dominant forms of local artistic production and the recognition of East Asian artists abroad? How does post-WWII art from the region and from the Asian diaspora confirm or challenge the chronologies of contemporary art's "globalization" that pose 1989 as a point of origin? And how can we rethink the boundaries and expectations of the framework of “Modern East Asian Art” today?
'Modern East Asian Art in a Global Context' application form
AHIS UN3791 Epic India: The Rama Story in Visual Art
W 2:10-4, 930 Schermerhorn Hall
The epic story of Rama (Ramayana) is one of the most influential tales of the Indian subcontinent. It has been told and experienced in a stunning range of media across time and space: from epic verse and lyric poetry to painting, narrative sculpture, film, graphic novels, and puppet theater. While Valmiki’s Sanskrit Ramayana of ca. 500 BCE is acknowledged as the first, writers have recounted the tale in the polyglot array of Indic languages, from Kashmiri to Telugu, and infused it with the values and interests of their own time and place. The story’s flexibility and capaciousness has encouraged social contestation and given voice to the concerns of disenfranchised social groups, including women and Dalits. This seminar will examine a generous array of South Asia’s visual Ramayana traditions from the ancient to the modern, encompassing temple relief sculpture, painted courtly manuscripts, and comic book and film Ramayanas. Reading a selection of primary texts alongside we consider this tale’s immense capacity to represent the gamut of human experience, both private and public, and its continued resonance for artists, writers, performers, and their publics.
'Epic India: The Rama Story in Visual Art' application form
Barnard Art History Seminars
Open to Columbia and Barnard undergraduates. Spring 2023 undergraduate seminar applications are due by 5pm on Thursday, November 10th.
For questions about Barnard courses, contact the Barnard Art History Department
AHIS BC3831 Museums of New York City (Barnard course)
W 10:10-12, 502 Diana Center
New York City is home to one of the world’s best museum ecologies. This seminar studies that ecology by museum type, against the backdrop of the city’s cultural, economic, and social history. How can theories of collecting explain different museum types? How do museums anchor municipal identity? Class sessions will alternate between discussion sessions at Barnard and field trips to museums. Field trip sessions will start onsite at 10:20 and end by 11:40 to allow for travel time.
'Museums of New York' application form
AHIS BC3928 Seventeenth-Century Dutch Painting (Barnard course)
M 10:10-12, 502 Diana Center and Metropolitan Museum of Art
This course meets at the Metropolitan Museum of Art. It is devoted to close examination of real art-works in a museum context. This year’s focus is on Dutch art of the seventeenth century, one of the most celebrated chapters in the history of art. Students will be exposed to seminal art historical texts on the period, at the same time as they receive exposure to connoisseurship, conservation, and technical art history.
'Seventeenth-Century Dutch Painting' application form
AHIS BC3976 Japanese Photography (Barnard course)
W 2:10-4, 501 Diana Center
This course will examine the history of Japanese photography from the middle of the 19th century to the present. The class will be organized both chronologically and thematically. Throughout its history, photography has been an especially powerful medium for addressing the most challenging issues facing Japanese society. Among the topics under discussion will be: tourist photography and the representation of women within that genre in the late 19th century, the politics of propaganda photography, the construction of Japanese cultural identity through the representation of “tradition” in photography, and the interest in marginalized urban subcultures in the photography of the 1960s and 1970s. Although the course will be focused on Japan, the class will read from the literature on photography elsewhere in order to situate Japanese work within a broader context.
'Japanese Photography' application form
AHIS BC3984 Curatorial Positions, 1969–Present (Barnard course)
R 10:10-12, 501 Diana Center
Contemporary exhibitions studied through a selection of great shows from roughly 1969 to the present that defined a generation. This course will not offer practical training in curating; rather it will concentrate on the historical context of exhibitions, the theoretical basis for their argument, the criteria for the choice in artists and their work, and exhibitions' internal/external reception.
'Curatorial Positions, 1969–Present' application form
Bridge lectures are advanced lectures open to all undergraduate and graduate students. They do not require an application.
AHIS GU4089 Native American Art
M/W 2:40-3:55, 807 Schermerhorn Hall
This introduction to Native North American art surveys traditions of painting, sculpture, ceramics, textiles, photography and architecture and traces the careers of contemporary Indian modernists and postmodernists. It emphasizes artistic developments as a means of preserving culture and resisting domination in response to intertribal contact, European colonization and American expansion.
AHIS GU4093 Sacred Space in South Asia
T/R 2:40-3:55, 612 Schermerhorn Hall
“Sacred” space in the Indian subcontinent was at the epicenter of human experience. This course presents Buddhist, Hindu, Islamic, and Jain spaces and the variety of ways in which people experienced them. Moving from the monumental stone pillars of the early centuries BCE to nineteenth century colonial India, we learn how the organization and imagery of these spaces supported devotional activity and piety. We discuss too how temples, monasteries, tombs, and shrines supported the pursuit of pleasure, amusement, sociability, and other worldly interests. We also explore the symbiotic relationship between Indic religions and kingship, and the complex ways in which politics and court culture shaped sacred environments. The course concludes with European representations of South Asia’s religions and religious places.
Bridge seminars are advanced courses open to undergraduate and graduate students. Students must submit an application, linked below each course description, in order to be considered for enrollment. Admission is at the instructor’s discretion.
Spring 2023 bridge seminar applications are due by 5pm on Thursday, January 5th.
AHIS GU4514 Greek Myths in Italy: Images, Contexts, Functions
F. de Angelis
W 6:10-8, 930 Schermerhorn Hall
This seminar addresses the unique role of ancient Italian cultures as both avid consumers and creative producers of Greek mythology. It analyzes and compares the uses of mythological images in a native context (Etruria) and a colonial one (Magna Graecia,) and posits the visual dimension, alongside the verbal and the theatrical, as a crucial channel for the intercultural circulation of myths. It focuses on the viewing contexts of the images—and the functions of the monuments and artifacts they decorated—as special keys for their interpretation.
'Greek Myths in Italy: Images, Contexts, Functions' application form
AHIS GU4526 Conversion Aesthetics
T 10:10-12, 930 Schermerhorn Hall
In its mission to convert ever greater swaths of medieval Europe, the church often had to reconcile its mandated disdain for the material world, as inscribed in Genesis, to absorb the territories of nature-centered cultures and spiritual traditions. Grounding its approach in anthropologies of religion and postcolonial studies, this bridge seminar tracks a series of artworks and monuments across the European subcontinent—from Insular manuscripts and Scandinavian stave churches to German fountain chapels and Cistercian monasteries built atop sacred groves in Eastern Europe—that demonstrate the tendency of medieval Christianity, despite its singular immaterial truth, to accommodate and negotiate with heterodox customs entrenched in the land. We will also explore the historiography of such encounters, and read how historians in the eighteenth and nineteenth centuries wrote about their own pre-Christian, so-called indigenous cultural heritage, and how that research was later co-opted by ethnonationalists, in particular but not limited to the Nazis of the Third Reich, who relied on those histories in their fascist aestheticization of race and landscape.
‘Conversion Aesthetics’ application form
AHIS GU4538 The Fragment
R 12:10-2, 934 Schermerhorn Hall
This seminar uses the broad framework of ‘the fragment’ to analyze studies of the ancient world, the creation of private collections of antiquities, and the origin of public museums, as well as artistic and aesthetic approaches to disiecta membra and the matter of fragmentation in architecture. It deals with the fragment as both a received and a created object, but also as a hybrid of these two categories. It examines fragments as part of a lost whole, replete with historical and symbolic values, and also as individual, relatively autonomous entities. Although the course takes a trans-historical approach, it pays particular attention to the pivotal period between the mid-seventeenth and the early nineteenth centuries. Moving across the fluid boundaries of the European Republic of Letters and the Mediterranean 'Republic of the Sea.’ It examines how Etruscan, Egyptian, Roman, Greek, Christian, and Islamic fragments of objects, buildings, words, and images were recorded, selected, interpreted, manipulated, appropriated, and transmitted. It also investigates the dynamics of their migrations from their sites of origin to various destinations — libraries, collections and museums—and their transformation from material objects into immaterial ekphrases or images in diverse media—drawings, prints, and book illustrations. Exploring the fragment as a category, the seminar brings art and architecture into dialogue with the management of knowledge, the making of history, the mapping of antiquity, the design of museums, and the creation of spaces for learning.
'The Fragment' application form
AHIS GU4741 Art and Theory in a Global Context
M 4:10-6, 807 Schermerhorn Hall
What is “globalization”? How does it change the way we think about or show art today? What role does film and media play in it? How has critical theory itself assumed new forms in this configuration moving outside post-war Europe and America? How have these processes helped change with the very idea of ‘contemporary art’? What then might a transnational critical theory in art and in thinking look like today or in the 21st century? In this course we will examine this cluster of questions from a number of different angles, starting with new questions about borders, displacements, translations and minorities, and the ways they have cut across and figured in different regions, in Europe or America, as elsewhere. In the course of our investigations, we will look in particular at two areas in which these questions are being raised today -- in Asia and in Africa and its diasporas. The course is thus inter-disciplinary in nature and is open to students in different fields and areas where these issues are now being discussed.
'Art and Theory in a Global Context' application form
AHIS GU4940 Postwar American Architecture, 1945–1970
M 10:10-12, 934 Schermerhorn Hall
As the United States boomed following World War II, a new style of architecture flourished that represented a forward-thinking outlook and internationally proclaimed the “the American century,” in Henry Luce’s famous formulation. Government, cultural institutions, corporations and even middle-class homebuyers all chose to “go modern,” in that period’s buoyant phrase. Through lectures, discussions, archival and site visits, and with a sustained focus on building materials, this course will consider architectural trends and highlights of postwar American modernism.
'Postwar American Architecture, 1945–1970' application form
Courses from other departments that may count toward degree requirements
WMST GU4000 Genealogies of Feminism*
T 4:10-6, 832 Schermerhorn Hall
Course focuses on the development of a particular topic or issue in feminist, queer, and/or WGSS scholarship. Open to graduate students and advanced undergraduates, though priority will be given to students completing the ISSG graduate certificate. Topics differ by semester offered, and are reflected in the course subtitle. For a description of the current offering, please visit the link in the Class Notes.
*Contact ISSG with questions on enrolling in this course
ANTH GU4355 Weaving Seminar**
T 12:10-2, 467 EXT Schermerhorn Hall
This interdisciplinary course on weaving as a craft and an art in Muslim societies draws on scholarship in Art History, Anthropology and Islamic Studies. We will have access to actual weavings from the Instructor’s collection, from the Avery Library Properties, and in visits to the Metropolitan and the American Museum of Natural History.
**Contact Anthropology with questions on enrolling in this course