Southwestern University

2005-2006 Catalog

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ART AND ART HISTORY DEPARTMENT

Art and Art History Department

The Sarofim School of Fine Arts

Professor Thomas Noble Howe, PhD, Chair-Art History

Professor Victoria Star Varner, MFA, Chair-Studio Art

Professor Mary Hale Visser, MFA

Professor Patrick B. Veerkamp, MFA

Associate Professor Kimberly Smith, PhD

Assistant Professor Diana Tenckhoff, PhD

Assistant Professor Johnathan Faber, MFA (part-time)

Instructor Erin Aldana, MA (part-time)

Instructor Michele Bernatz, MA (part-time)

Instructor Heather Mathews, MA (part-time)

The Art and Art History Department offers courses leading to a Bachelor of Arts degree with majors in Studio Art and in Art History, and minors in Studio Art, Art History, and Architecture and Design Studies.

Mission Statement of the Art and Art History Department

The mission of the Art and Art History Department is to provide students with a challenging, creative learning experience as part of a liberal arts education and as preparation for graduate study and professional work in studio art, art history, and architecture and design.

The learning experience is designed to emphasize the importance of aesthetic growth, artistic discipline, and critical thinking. The program focuses on mastery of conventional skills (e.g., life drawing and modeling in the studio, knowledge of classical forms in architecture, theory and research methods in art history) and is intended to facilitate and encourage the discovery and production of significant ideas and images. As students advance, instruction in all fields becomes increasingly tutorial with a great deal of individual attention from instructors, thus providing for the development of individual excellence. Research or studio seminars and independent or collaborative work with faculty are the central experiences of the junior and senior years.

Goals of the Art and Art History Department

1. To offer a Bachelor of Arts program within a liberal arts context that provides students with the preparation necessary for graduate study and professional work in the fields of studio art, art history, and architecture and design;

2. To provide students with the opportunity to develop an understanding of the diversity of art and its global perspective through other cultures via a variety of on- or off-campus and foreign study programs;

3. To contribute to the University’s general education program and the enrichment of the University community through the Fine Arts Gallery and Lecture Series;

4. To maintain and support an art faculty committed to their own and their students’ aesthetic growth and development in the fields of studio art, art history, and architecture and design;

5. To continue to offer competitive scholarships for students majoring in studio art who will provide a definitive standard for other students regarding artistic and academic performance; and

6. To maintain an art and art history department faculty whose artistic and scholarly influence reaches beyond Southwestern University.

Fine Arts Gallery and Lecture Program

The Art and Art History Department supports a teaching gallery that provides students the opportunity to view works of art on campus. The University presents some of the most talented, dedicated and passionate artists and scholars in their fields in the Art and Art History Department’s annual program of gallery exhibitions and lectures, studio critiques, master classes, and workshops. Majors are required to attend certain public events and lectures.

Qualified art majors may choose to present their work in an exhibition in the Fine Arts Gallery in their senior year. All qualified art majors electing to do a senior exhibition must secure an Art and Art History Department faculty sponsor.

Program Opportunities

The Art and Art History Department offers opportunities for students to develop an understanding of the diversity of art and its global perspectives through other cultures via a number of the University’s off-campus programs. Majors and minors in Studio Art, Art History, and Architecture and Design Studies are also encouraged to take part in at least one of the University’s off-campus programs such as the summer or fall in London or an internship in New York in the junior or senior year. Through association with the Great Lakes College Association (GLCA) semester in New York, Southwestern has regularly been able to place qualified students in internships in the studios and offices of some of the most prominent artists, architects, museums, and galleries in New York. Students interested in the New York program are advised that a representative from the GLCA program visits our campus each year. Students wishing to talk with the GLCA representative about the program should contact the Dean’s office. (For more information about the GLCA program, refer to the University Catalog section on special academic programs.) Students are advised that a large number of the courses in such programs often have to count as University electives in their degree program. All foreign study programs in which a student expects to receive or transfer credit requires prior approval of the department chair.

Studio Art

The major in Studio Art is a pre-professional program in a liberal arts context and deals with art as an expressive medium; it intends that each student should acquire technical proficiency in a principal medium, knowledge of a variety of media processes as well as liberal arts breadth in critical and verbal skills. The program is a preparation both for students intending to apply to Master of Fine Arts programs and go on to professional work as artists; and for students who wish to acquire a liberal arts degree which can lead to work in a wide variety of fields in graduate school both inside and outside the world of art (such as art history, architecture, commercial art, design, arts administration, teaching art in elementary and secondary schools, etc.).

Students interested in graduate work in fields such as arts administration, arts conservation, or medical illustration should consider combining a major in art with a minor or second major in other fields such as business, chemistry, and biology, or developing an interdisciplinary “area of concentration.”

Entering students who are considering art as a major are required to take the beginning studios in ceramics, painting, and sculpture in the course of their first three semesters, as well as start the drawing sequence with Drawing I. In order to finish within four years, students must decide upon their focus medium (ceramics, painting, or sculpture) and take the first studio in that medium by the fall of their sophomore year.

In the visual arts it is important for the undergraduate studio art major to build a strong knowledge base over a wide variety of mediums, as well as become proficient in one medium. Students are encouraged to use their electives to develop skills in a number of media other than their focus medium. Students have the option of creating a “double focus” by using their department electives (e.g., sculpture and painting, ceramics and sculpture).

Upon invitation of the Department, an honors project is available to students. An honors project requires at least six semester hours of Senior Research on one project starting spring junior year or fall senior year. Students who are interested in pursuing honors are encouraged to contact the professor who is most likely to act as advisor to the honors work. Honors are awarded on the basis of portfolio review and the vote of the department. (Hours count as University electives.) See the section entitled Honors Courses in the Catalog for more information.

Art History

Art History is an academic liberal arts program that seeks to understand the significance of visual culture within specific cultural and historical contexts. The Art History major enables the student to develop visual literacy and to critically assess the complex meanings of material culture within diverse settings. To foster such understanding, Art History courses take a broadly contextual approach, situating art objects in relation to contemporaneous political and historical events; issues of race, gender, and class; intellectual history and aesthetic criticism.

Students are asked to adopt this expansive historical and interpretive perspective in their own work. They become well-versed in the history of art in specific cultural contexts, and learn to analyze the visual and material attributes of art objects; conduct thorough historical research; think theoretically about the meaning of artistic production; develop critical and inventive arguments; and communicate their ideas clearly in both written and oral forms.

As a liberal arts program, the Art History major offers excellent preparation for any field benefited by critical thinking, broad cultural knowledge, and research and writing skills. It is an appropriate major for work in the visual arts, such as arts administration or museum professions, and also prepares students for application to M.A. and Ph.D. programs in Art History as well as other academic disciplines. Students preparing for graduate work in Art History are encouraged to develop strong language skills in at least one foreign language, which is required for advanced primary and secondary art historical research.

The Art History program consists of six broad areas of study: Asian; Latin American; Pre-Modern (Ancient and Medieval); Early Modern (Renaissance and Baroque); Modern; and Design History. The area covered by a particular course is reflected by the course number: all 71-200 courses=Asian; 71-300=Latin American (except for 71-301, 71-302, 71-303, 71-304, mid level special topics courses); 71-400=Pre-Modern; 71-500=Early Modern; 71-600=Modern; 71-700=Design History. The program is strongest in the areas of Modern and Asian art, and Art History majors are required to take at least one course in each of these areas. Majors are encouraged to take courses in each of the remaining areas of study. The Design History component of the program is closely tied to the Architecture and Design minor.

Upon invitation of the Department, an honors project is available to students. An honors project requires at least six semester hours of Senior Research (71-98x) taken in the junior or senior year (starting, at the latest, fall of senior year). Those who are interested are encouraged to contact the professor who is most likely to act as advisor to the honors work and propose a topic. The project will have a committee of at least three faculty members, approved by the department, and honors are awarded upon the basis of the vote of the committee. Hours may not count towards the courses required for the major, and an honors project does not replace the seminar capstone requirement.

It is possible to complete a 54 hour program in International Studies that pairs a major in Art History with an additional “Concentration” of four courses on either East Asia, Europe, or Latin America plus two courses at the 300 level or above in an appropriate language and a semester or longer study abroad experience. See the International Studies Program for further details.

The Architecture and Design Studies program allows students to explore aspects of the design professions and to prepare for graduate school applications in architecture (normally the three and a half year Masters of Architecture programs which many schools offer) or for graduate schools in several related fields (e.g. landscape architecture, urban planning, interior design, industrial design, etc.). Numerous different liberal arts majors can enhance a design career, including almost any of the humanities, business, science, mathematics, or studio art.

Major in Studio Art: 30 semester hours, including Art 70-203, 213; 70-403 or 413; 70-463 or 473; 70-503; one additional course from 70-403, 413, 463, 473, 513; two semesters of studio seminar in the focus medium (may be taken a third time as a University elective), creating a four-course sequence in one studio area; six additional hours of Studio Art.

Additional Requirements for the Studio Art major: (1) Minor in Art History: 18 semester hours, including Art History 71-113, 123; 71-623 or 633; nine additional hours of Art History above the introductory level (three of these hours may be in Studio Art). (2) Portfolio Review: graduating seniors must present a portfolio of their work for review by the sponsoring faculty member. A slide portfolio and a resume are required and will be retained by the Department for its permanent records. Works for the portfolio are usually produced in studio seminars in a student’s focus medium. (Capstone)

Minor in Studio Art: 18 semester hours, including Art 70-403 or 413; 70-463 or 473; 70-503; one additional course from 70-403, 413, 463, 473, 513; six additional hours of Studio Art (three of these hours may be in Art History).

Major in Art History: 36 semester hours, including Art History 71-103 or 113; 71-123; 71-803 (Capstone, to be taken junior or senior year); one course in Studio Art in any medium; one 200-level course; one 600-level course; 18 additional hours of Art History, 12 hours of which must be above the introductory level.

Minor in Art History: 18 semester hours, including Art History 71-103 or 113; 71-123; 12 additional semester hours of Art History above the introductory level (three of these hours may be in Studio Art).

Minor in Architecture and Design Studies: 21 semester hours, including Art 69-703, 713, 723, 753, 763, Art History 71-703, 713.

See the Education Department for information regarding teacher certification in Art.

Architecture and Design Studies (ART)

†69-703	ARCHITECTURAL STUDIO I: INTRODUCTION TO DRAFTING AND PROGRAMMATIC DESIGN. See Art 70-703. (POK-Aesthetic Experience: Production) (Fall)
69-713	ARCHITECTURAL STUDIO II: HISTORICAL DESIGN. Prerequisite: Art 69-703 or Art 70-703, or ability to draw plans, sections and elevations. See Art 70-713. (Spring, even years)
69-723	ARCHITECTURAL STUDIO III: MODERN STRUCTURES. Prerequisite: Art 69-703 or Art 70-703, or ability to draw plans and sections. See Art 70-723. (Spring, odd years)
†69-753	DESIGN I. See Art 70-753. (POK-Aesthetic Experience: Production) (Fall)
69-763	DESIGN II. Prerequisite: Art 69-753 or Art 70-753. See Art 70-763. (Spring)


69-001, 002, 003, 004	SELECTED TOPICS. May be repeated with change in topic.
69-301, 302, 303, 304	SELECTED TOPICS. May be repeated with change in topic.
69-941, 942, 943, 944	ACADEMIC INTERNSHIP.
69-951, 952, 953, 954	INDEPENDENT STUDY.

Studio Art (ART)

†70-203	DRAWING I. A study of the nature of drawing as visual language with an emphasis upon descriptive rendering. (POK-Aesthetic Experience: Production)
70-213	DRAWING II. Figure drawing with an emphasis on the enduring historical and aesthetic significance of figurative art. Models will be provided for the study of proportion, structure and articulation of the human body as well as the formal means toward expressive drawing. Non-figurative concepts will be studied through independent work. Various media. Prerequisite: Art 70-203. (Spring)
70-223	DRAWING III. A course in figure drawing and non-figurative contemporary drawing. The course is an extension of the figurative concepts introduced in Drawing II, with a greater emphasis on understanding the structure of the human body. Other related topics are covered and vary with the interests of the class members. Prerequisite: Art 70-213. May be repeated for university elective credit. (Fall)
†70-323	PRINTMAKING: INTAGLIO. A beginning study of fundamental techniques, history and theory of intaglio prints (etching, aquatint, soft ground, drypoint). Black and white and color. The assignments are designed to explore creative, technical and formal means toward expressive form. (POK-Aesthetic Experience: Production) (Spring, odd years)
†70-333	PRINTMAKING: LITHOGRAPHY. A beginning study of fundamental techniques, history, and theory of lithographic prints. Black and white and color. The assignments are designed to explore creative, technical and formal means toward expressive form. (POK- Aesthetic Experience: Production) (Spring, even years)
†70-403	SCULPTURE: FIGURATIVE. A studio course that introduces the study of the methods, materials, and tools of sculpture and general concepts of sculptural forms. A significant portion of this course is devoted to the study of figure structure via clay, wax, wood, and/or stone. Students are expected to work toward innovation and extension of the figure as image. (POK-Aesthetic Experience: Production) (Fall)
†70-413	SCULPTURE: ABSTRACT. The study and manipulation of space, form, and construction process available to the contemporary artist. Assignments emphasize an investigation of the expressive qualities of form in space. (POK-Aesthetic Experience: Production) (Spring)
70-423	SCULPTURE: STUDIO SEMINAR. An examination and discussion of intersections of aesthetic, intellectual, and societal issues in contemporary sculpture. Topics develop from the needs and interests of the students relevant to their own artwork. It is expected that the work produced in this course will constitute the portfolio required for the Portfolio Review for studio art majors. Prerequisite: Art 70-403 and 413, or permission of instructor. May be repeated for credit. (Fall)
†70-463	CERAMICS: HAND-FORMING. A study of various forming methods used in the production of pottery with an emphasis on hand-building. Other topics include: ceramic materials and their use; low-fire and mid-range clay and glaze formulation; decorating techniques; studio procedures; a general survey of the history of pottery; theory; and criticism. (POK-Aesthetic Experience: Production) (Spring)
†70-473	CERAMICS: WHEEL-FORMING. A study of the various methods used in the production of pottery with an emphasis on wheel-forming techniques. Other topics include: decorating techniques; high-fire clay and glaze formulation; and the history, theory, and criticism of pottery with an emphasis on the modern period (c. 1850-1970). (POK-Aesthetic Experience: Production) (Fall)
70-483	CERAMICS: STUDIO SEMINAR. In this course students are encouraged to pursue personal concepts and ideas directed toward the production of a cohesive body of work. In consultation with the instructor, students will develop individual research and creative projects and are expected to be able to work independently. The work produced in this studio will constitute the portfolio required for the BA Portfolio Review in Studio Art and serves as the capstone experience. Prerequisite: Art 70-463 and 473, or permission of instructor. May be repeated for credit. (Spring)
†70-493	CERAMICS: RAKU. Various pottery forming techniques will be considered including basic hand-building and wheel-forming, firing the kiln, and simple glaze formulation. The aesthetic theory that informs this approach to making pottery will be discussed, and the history of raku will be covered. (POK-Aesthetic Experience: Production) (Summer)
†70-503	PAINTING I. A beginning study of the techniques, formal devices and history of painting with an emphasis on expressive content in descriptive rendering. Composition and illusionistic devices will be taught. (POK-Aesthetic Experience: Production) (Fall)
70-513	PAINTING II. A study of the compositional devices and formal means toward an expressive visual statement. Formal devices are taught through individual studies aimed at specific visual ideas. Individual interests are pursued through a series of related compositions, which may include representation, abstraction, or non-objective concepts. Studies may be made from the model, when appropriate. Various media. Prerequisite: Art 70-503. (Spring)
70-523	PAINTING: STUDIO SEMINAR. Primarily a studio class, the seminar provides an examination of recent developments in contemporary art, as they relate to intellectual, aesthetic, and societal trends. Students are encouraged to develop a coherent body of paintings, drawings or prints which explore their own creative interests in current art issues. In consultation with the professor, research topics vary from semester to semester with the personal aesthetic interest of the student. Work produced for this course normally constitutes the material for the portfolio review capstone. Prerequisite: Art 70-503 and 513 or Art 70-323 and 333. May be repeated for credit. (Fall)
†70-603	COMPUTER IMAGING. A studio art course that introduces the application and integration of three-dimensional modeling software that can be used to create and animate two- and three-dimensional forms. This course will use a variety of modeling software, including Adobe Photoshop, to create artworks. Students are expected to work toward innovation and expression of form in an animated or still image format. (POK-Aesthetic Experience: Production)
†70-613	PHOTOGRAPHY I. An introduction to the history, theory and basic procedures of black and white still photography. Assignments emphasize the development of compositional and critical skills in producing an expressive image. (POK-Aesthetic Experience: Production) (Fall)
†70-623	PHOTOGRAPHY II. An advanced study of a variety of photographic techniques for both black and white and color process. Assignments emphasize experimentation, individual development of compositional design, and critical and analytical skills. Prerequisite: Art 70-613, or permission of instructor. (POK-Aesthetic Experience: Production) (Spring)
†70-643	COMPUTER ANIMATION. Studio art course that emphasizes artistic and aesthetic creativity in using computer animation and modeling techniques as a form of visual expression. The history and theory of animation, varieties of narrative, visual animated expressions and types of animation software will be covered. Students will be required to produce an original short piece of animation work informed by theoretical study and showing evidence of artistic skill in using 3D modeling software to communicate a visual statement. Students are expected to take their project through research and script revisions to storyboard stage and into production. Critiques will be conducted during the semester offering the opportunity to present ideas, project development and work-in-progress for critical examination. (POK-Aesthetic Experience: Production) (Spring)
†70-703	ARCHITECTURAL STUDIO I: INTRODUCTION TO DRAFTING AND PROGRAMMATIC DESIGN. Introduction to fundamentals of architectural drafting (drawing plans, sections, elevations, mechanical perspective, rendering) and principles of design (design to a program, formal systems). Material is presented in terms of one long and one or two short projects. Students who wish to complete a minor in Architecture and Design should register for this course under the 69- number. Also Art 69-703. (POK-Aesthetic Experience: Production) (Fall)
70-713	ARCHITECTURAL STUDIO II: HISTORICAL DESIGN. Five or six short design projects in the formal vocabularies of Neo-Classicism, Baroque, Gothic, and early Modern. Prerequisite: Art 70-703 or ability to draw plans, sections and elevations. Studio II and Studio III can be taken in either order. Students who wish to complete a minor in Architecture and Design should register for this course under the 69- number. Also Art 69-713. (Spring, even years)
70-723	ARCHITECTURAL STUDIO III: MODERN STRUCTURES. Empirical and intuitive introduction to construction and structures with four to six design projects in different media. Prerequisite: Art 70-703 or ability to draw plans and sections. Studio II and Studio III can be taken in either order. Students who wish to complete a minor in Architecture and Design should register for this course under the 69- number. Also Art 69-723. (Spring, odd years)
†70-753	DESIGN I. An introduction to the history, theory and practice of design. This course deals with the analysis of visual perception directed toward understanding the expressive nature of creative design. The objective of this course is to encourage visual awareness and to promote the development of various skills necessary to visualize personal design concepts. Students who wish to complete a minor in Architecture and Design should register for this course under the 69- number. Also Art 69-753. (POK-Aesthetic Experience: Production) (Fall)
70-763	DESIGN II. Refinement and elaboration of the basic design concepts and skills presented in Design I. Professional standards for documentation and presentation will be stressed. Students who wish to complete a minor in Architecture and Design should register for this course under the 69- number. Prerequisite: Art 70-753. Also Art 69-763. (Spring, odd years)

70-001, 002, 003, 004	SPECIAL PROJECTS. May be repeated with a change in topic.
70-301, 302, 303, 304	SPECIAL PROJECTS. May be repeated with a change in topic.
70-941, 942, 943, 944	INTERNSHIP. Internships related to specific fields of study.
70-951, 952, 953, 954	INDEPENDENT STUDY IN STUDIO ART. May be repeated with a change of topic. At the invitation of the instructor.
70-983, 984, 985, 986	HONORS/SENIOR RESEARCH IN STUDIO ART. Intended for honors work. At least six semester hours of work over two semesters (beginning spring junior year or fall senior year) on a single project. At the invitation of the instructor and approval of the department.

Art History (ARH)

†71-103	INTRODUCTION TO THE HISTORY OF ART: ART OF THE ANCIENT AND MEDIEVAL WORLD. A comprehensive overview of art from the prehistoric era until 1400, focusing in particular on the history of Western art, in a format that considers these objects within their broader cultural contexts. Included in this survey will be the art of Paleolithic and Neolithic, Ancient Near Eastern, Greek and Roman, Islamic, African, Mesoamerican, Byzantine, Romanesque, and Gothic cultures. Also includes an introduction to the basic skills of visual analysis. History of Art I and II can be taken separately or in either order. Also Classics 07-103. (POK-Aesthetic Experience: Lecture) (Fall)
†71-113	INTRODUCTION TO THE HISTORY OF ART: ART OF THE EARLY MODERN AND MODERN WORLD. A comprehensive overview of art from 1400 until the present, focusing in particular on the history of Western art, in a format that considers these objects within their broader cultural contexts. Included in this survey will be Renaissance, Baroque and Rococo art, art of the Americas and Pacific cultures, modern African art, Neoclassicism, Romanticism, Realism, Impressionism, and 20th century art in the United States and Europe. Also includes an introduction to basic skills of visual analysis. History of Art I and II can be taken separately or in either order. (POK-Aesthetic Experience: Lecture) (Spring)
†71-123	INTRODUCTION TO THE HISTORY OF ART: ASIAN ART. An introductory survey of the arts of India, Central Asia, Southeast Asia, China, Korea and Japan. Organized chronologically by country, the course also examines cross-cultural thematic issues, particularly Buddhism. Encompasses ancient India and the origins of Buddhist art and traces the expansion of Buddhist art and culture into Central and Southeast Asia. Chinese art from the Neolithic to the modern era, the rise of Buddhism in China and Korea’s relationship with both China and Japan. Japanese art from the inception of Buddhism to the Meiji era is also included. Can be taken separately or in any order relative to the other introductory art history survey courses. (POK-Other Cultures and Civilizations)
†71-233	HISTORY OF THE ART OF CHINA. A survey of Chinese art from the Neolithic period (ca. 6000-2000 BCE) through the Qing dynasty (1644-1912), focusing on all the visual arts, their cultural history and their political, social and religious contexts. Organized chronologically, the course encompasses art from the Neolithic through the Han dynasty created for the tombs, the arrival of Buddhism from India and its impact on architecture, sculpture and painting of the Six dynasties to the end of the Song dynasty, the political response to the foreign Mongol controlled Yuan dynasty, the resurgence of Chinese taste in the subsequent Ming Dynasty, and how the Chinese transformed their artistic tradition under the Manchu Qing Dynasty. (POK-Other Cultures and Civilizations)
†71-243	HISTORY OF THE ART OF JAPAN. A survey of Japanese art from the Jomon period (10,500-300 BCE) into the Edo period (1615-1868), focusing on all the visual arts, their cultural history and their political, social, religious contexts. Organized chronologically, the course traces the visual arts beginning with the earliest artistic traditions, and early Buddhist architecture, sculpture and painting from the Asuka and Nara period. The course also examines how Buddhism continued to play a dominant role in art of the Heian period with the rise of the sects of Esoteric and Pure Land Buddhism, the civil war and strife in the Kamakura period followed by the rise of Zen Buddhism, the introduction of Chinese style ink painting and a variety of artistic schools beginning with the Momoyam period that continued into the prosperous Edo period. (POK-Other Cultures and Civilizations)
71-253	ANCIENT CHINESE ART AND CULTURE: NEOLITHIC THROUGH TANG. Ancient Chinese art and culture encompasses all the visual arts from the Neolithic Period (ca. 6000-2000 BCE) through the end of the Tang dynasty (61-907). Organized chronologically, the course encompasses ceramics and jades from the four main Neolithic cultures, the bronze and ceramic production of the Great Bronze Age and the Qin dynasty. The course also addresses art from the Han dynasty (ceramics vessels and tomb figurines) as well as metalworking, painting, sculpture and tombs in the Six dynasties and Tang dynasty. Buddhist architecture, painting and sculpture of the Six Dynasties and Tang, such as the cave Temples at Dunhuang, Yungang, and Longmen, are also included.
†71-263	CHINESE PAINTING: THE COURT, POLITICS, AND THE LITERATI. Encompasses Chinese painting from the Neolithic period (ca. 5000 BCE) and ending with the rise of the literati tradition in the Yuan dynasty (1279-1368). Organized chronologically, the course addresses the major subjects and themes in Chinese painting taking into account the artist’s involvement in political, religious and literary discourse. The impact of Confucianism and Daoism on the art of the Zhou and Han dynasties is addressed. Starting in the Six Dynasties and the Tang dynasty, the course focuses on achievement in court painting, including figure, landscape, and bird and flower painting, art theory, and other trends. Buddhist figure and landscape painting at the cave site of Dunhuang is examined. Tracing the rise of ink monochrome painting into the Five Dynasties and Northern Song dynasty, the course also explores court painting and the flowering of Chan Buddhist painting in the Southern Song. The political and intellectual reaction of Chinese painters in the early Yuan dynasty under Mongol control and the rise of the literati tradition are also addressed. (POK-Other Cultures and Civilizations)
†71-273	CHINESE PAINTING: PERSONAL EXPRESSION, ORTHODOXY, AND ECCENTRICITY. Encompasses Chinese painting from the Yuan dynasty (1279-1368) through 17^th and 18^th centuries of the Qing dynasty. Includes a consideration of the rise of the literati tradition and how it evolved in the Yuan under Mongol control. Organized chronologically, the course examines the contributions of Zhao Mengfu and how his circle impacted the middle and late Yuan, as well as the Four Late Yuan masters, and other Yuan dynasty painting trends. Starting in the Ming dynasty, the course focuses on the Zhe and Wu Schools as well as the achievements of professional painters. Dong Qichang’s innovations in theory and painting are also considered, as are the reactions and responses of the Orthodox, Individualists, and Eccentrics painters in the subsequent Qing dynasty. The course includes a consideration of the Four Anhui Masters and the Eight Eccentrics of Yangzhou. (POK-Other Cultures and Civilizations)
†71-313	PRE-COLUMBIAN ART. Examines the artistic traditions and cultural history of ancient Mesoamerica (Mexico, Guatemala, Belize, and Honduras) from BC 1500 to AD 1600. (POK-Other Cultures and Civilizations)
†71-393	MODERN LATIN AMERICAN ART. This course addresses major topics in the history of Latin American art from 1821 to the present. (POK-Aesthetic Experience: Lecture)
†71-443	CLASSICAL AND HELLENISTIC ART. A survey of the dispersion of the formulae of Greek “classical” art (fifth and fourth centuries B.C.) throughout the cosmopolitan Mediterranean cultures of the Hellenistic period (c. 330-30 B.C.), including the Late Roman Republic and early Empire (mid-first century A.D.). This is one of the most “romantic” and “modern” periods in world history, a period of cultural fluidity and international cosmopolitanism, featuring some of the most romantic personalities, from Alexander to Pompey, Caesar and Kleopatra. In art the period features the development of a wide range of expressive modes, the growth of art criticism, collecting, self-referencing and quotation, and the transference of artistic formulae to different cultures with highly differing effects. The course will involve considerable background reading in ancient history and texts, as well as an introduction to some of the most fundamental issues of art practice and criticism as they shaped the rest of Western aesthetic practice. Also Classics 07-353. (POK-Aesthetic Experience: Lecture)
†71-543	ITALIAN RENAISSANCE ART. An in-depth survey of Italian art and culture from the beginning of the 14th century to the end of the 16th century. (POK-Aesthetic Experience: Lecture)
†71-553	BAROQUE ART. A survey of European art and its cultural and intellectual context from c. 1600 to the mid eighteenth century. (POK-Aesthetic Experience: Lecture)
†71-613	REVOLUTION, ROMANTICISM, REALISM. Encompasses the visual arts produced in Europe and the United States between 1780 and 1860. Includes a consideration of David and Neo-Classicism; Romanticism in England, Germany, and France; native and colonial American art; and international Realism. Organized according to chronological development in the history of 19th century art, the course also focuses on thematic issues including the relationship between revolution and art, the representation of femininity and masculinity, the tensions between Enlightenment and Romantic philosophies, the connections between imperialism and art, and the coincident rise of modernism and high capitalism. (POK-Aesthetic Experience: Lecture) (Fall, even-numbered years)
†71-623	MODERNISM AND MODERNITY. Encompasses the visual arts produced primarily in Europe and the United States between 1860 and 1945. Includes a consideration of urban planning in Paris, Impressionism, Post-Impressionism, worlds’ fairs, Symbolism, Art Nouveau, Cubism, Expressionism, the Russian Constructivists, Bauhaus, Dada, Surrealism, and the muralist movement. Organized according to chronological developments in the history of modernism and the avant-garde, the course also focuses on thematic issues including the critiques enacted by modern art of technology and the city; primitivism and the avant-garde; the role of philosophy and theosophy in painting; the practical and theoretical exclusion of the decorative, feminine and commercial from the realm of fine art; and the importance of political programs to the avant-garde. (POK-Aesthetic Experience: Lecture) (Spring, odd-numbered years)
†71-633	ART SINCE 1945. Encompasses the visual arts produced primarily in Europe and the United States between 1945 and the present. Includes a consideration of modernism and Abstract Expressionism, art informel, Post-painterly abstraction, Pop art, Happenings and performance art, environmental art, Minimalism, Conceptualism, Arte Povera, feminist art, Neo-Expressionism, issue-based art and post-modernism. Organized according to chronological developments in the history of post-1945 art, the course also focuses on thematic issues including the development of modernist aesthetics and criticism; critiques of difference based on race, class, or gender; the body and art; the role of popular culture in contemporary art; the relationship between politics and representation; and the notion of originality. (POK-Aesthetic Experience: Lecture) (Fall, odd-numbered years)
71-643	GENDER AND ART. A study of the ways in which gender and sexuality are intricately involved in the making, reception, and criticism of art. Includes a consideration of how the art historical canon is generated, often excluding female producers of art, and an examination of the ways in which art represents both femininity and masculinity. The course will consistently investigate the experience of gendered subjectivities, asking what it means to be called, and to call oneself, a woman or a man. This course will include an analysis of the intricate mechanisms informing the construction of gender identities, the history of sexuality, and how these theories can aid in better understanding both representation and production in the visual arts. Also Feminist Studies 04-413.
71-653	HISTORY AND THEORY OF PHOTOGRAPHY. A study of photography from its inception in the mid-19th century to the present. The course will provide an overview of major figures and movements in photography organized both chronologically and thematically. Close attention will be paid to fundamental theoretical issues relevant to the practice and interpretation of photography, such as the tension between photography as art and as document; photography and the notion of the “real”; gender and photography; photography’s relationship to death; the photographer as explorer; the political uses of photography; and photography and post-modernism.
71-663	THE LANDSCAPE: REPRESENTING “NATURE”. This course will consider different ways in which European and American culture has represented the natural environment. Areas to be addressed include the history of landscape painting, landscape architecture, urban planning and park development, gender and the landscape, nature photography, and the relationship between landscape and power. Also Environmental Studies 49-423.
†71-703	WORLD ARCHITECTURE I: ANCIENT AND MEDIEVAL TRADITIONS. A survey of Western architecture from Egypt through the middle ages, with brief introductions to the architecture of South and East Asia, Islam and pre-Columbian America. Aesthetics are presented as the evolution or invention of formal-linguistic systems, and are considered in the context of social and religious systems and history of technology. Also Classics 07-363. (POK-Aesthetic Experience: Lecture) (Fall, odd-numbered years)
†71-713	WORLD ARCHITECTURE II: RENAISSANCE TO POST MODERN. A survey focusing on the development of Western architecture and the development of international modernity through the 20th century. Presented as the recurring crisis in the search for aesthetic formal systems from the Renaissance to the present, and considered in context of social and intellectual history, and history of technology. Also an introduction to issues of architectural theory and the history of the architectural profession. (POK-Aesthetic Experience: Lecture) (Spring, even-numbered years)
71-803	SEMINAR IN SPECIAL PROBLEMS. A research seminar in various topics. Primarily for majors but open to non-majors who fulfill prerequisites. Prerequisites: Art 71-103 or 113 and six additional hours of art history or permission of instructor. Open to juniors or seniors only. May be repeated with change of topic. (Every semester, with different topics.)

71-001, 002, 003, 004	SPECIAL PROJECTS. May be repeated with a change in topic.
71-301, 302, 303, 304	SPECIAL PROJECTS. May be repeated with a change in topic.
71-941, 942, 943, 944	INTERNSHIP. Internships related to specific fields of study.
71-951, 952, 953, 954	INDEPENDENT STUDY IN ART HISTORY. May be repeated with a change of topic. At the invitation of the instructor.
71-983, 984, 985	SENIOR HONORS RESEARCH IN ART HISTORY. At least six hours of work over two semesters (beginning spring junior year or fall senior year) on a single project. At the invitation of the instructor.

Southwestern University 2005-2006 Catalog