Art history provides the opportunity to explore the fine arts, architecture and visual culture, as well as the social, aesthetic and personal values that help shape it.

Students are introduced to the study of art history and archaeology through general introductory courses that focus on European, Asian and American art, as well as world archaeology. In more advanced courses, students enjoy studying original works of art owned by the Washington University Mildred Lane Kemper Art Museum, the Saint Louis Art Museum, the Pulitzer Foundation, and local private collectors. Students also are invited on annual field trips organized by the faculty to visit cities with major museum collections.

A variety of career paths are available to majors in art history and archaeology. Many graduates earn advanced degrees in both related and unrelated fields and work in museums or academia or for art publishers, commercial art galleries, auction houses, nonprofit organizations, and other arts-related organizations.

Contact:Nancy Rubin
Phone:314-935-5270
Email:artarch@wustl.edu
Website:http://arthistory.artsci.wustl.edu

The Major in Art History and Archaeology

Total units required: 30 (33 for those students undertaking Senior Honors)

Required courses:

Art-Arch 111Introduction to Asian Art (spring)3
Art-Arch 113History of Western Art, Architecture and Design (fall)3
Total Units6

*A score of 4 or 5 on the AP Art History exam may be substituted for Art-Arch 113. To substitute a 4 or 5 on the AP Art History exam, a student must earn at least a B in a related upper-division departmental course.

Elective credits:

24 upper-level (300-level or above) art history credits. (Students may substitute one 200-level course for one upper-division course). One course at the 300-level or above is required in three of the five distribution areas: Ancient/Medieval, Renaissance/Baroque, European and American Modern, non-Western, and Architecture. Majors are required to take two 400-level seminars (in any field as long as they are home-based in the department), which are considered the Art History "Capstone Experience." Students may substitute one studio course of 3 or more credits (taken at any level in the Sam Fox School, or at another institution with prior permission) for a 300-level course. Students undertaking honors complete 3 additional credits of independent study in the second semester of their senior year. All courses for the major must be taken for a letter grade.

Majors are encouraged to acquire a good reading knowledge of French, Italian or German. For a concentration in ancient Mediterranean art and archaeology or Medieval art, either Greek, Latin or both will be useful. Similarly, Chinese, Japanese, Hindi or Arabic, for example, will be useful for a concentration in non-Western art. Majors also are encouraged to take studio courses in art and/or architecture in the Sam Fox School of Design & Visual Arts.

Prerequisites: Students should have the proper prerequisites before enrolling in 300- or 400-level courses. Courses in other departments (including courses in the Sam Fox School of Design & Visual Arts) do not count for the major unless they are cross-listed as Art History and Archaeology courses.

Additional Information

Internships: Internships in the curatorial and education departments of local museums, arts organizations or commercial galleries are available to undergraduate art history and archaeology majors. Students may enroll in up to 6 credit hours of a voluntary internship, or secure a paid internship for no credit. Such internships provide invaluable experience and may help lead to employment opportunities after graduation. Internship credit may not be applied to the major but does count toward graduation.

Study Abroad: Students are encouraged to participate in a variety of international programs available in a number of overseas locations. Although students are strongly encouraged to acquire and use foreign languages, programs based in English also are available in most countries. Students may work with the department's Study Abroad adviser to find the program that best meets the student's particular interests and needs.

Senior Honors: Exceptional students who hold a 3.65 grade point average or better in advanced courses (300-level or higher) and an overall GPA of 3.65 may apply to work toward honors in the department. Honors are awarded to students for maintaining their GPA during their senior year and writing an honors thesis (enrolling in Art-Arch 499 each semester of the senior year), which is defended before at least two full-time faculty members, who are both usually from the department. Students completing the thesis accrue 33 (rather than the usual 30) course credits in the major.

The Minor in Art History and Archaeology

Units required: 18

Required courses:

Art-Arch 111Introduction to Asian Art (spring)3
Art-Arch 113History of Western Art, Architecture and Design (fall)3
Total Units6

*A score of 4 or 5 on the AP Art History exam may be substituted for Art-Arch 113. To substitute a 4 or 5 on the AP Art History exam, a student must earn at least a B in a related upper-division departmental course.

Elective courses:

Four courses at the 300 level or above must be from at least two of the following areas:

  1. AM: Ancient Mediterranean and Medieval Art and Archaeology
  2. RB: European Renaissance and Baroque Art
  3. MEA: Modern European and American Art
  4. NW: Non-Western Art and Archaeology (such as Asian, Islamic, Oceanic or African)
  5. A: Architecture

Each of these upper-level courses must be taken for a letter grade.

Additional Information

One L01 (Art History and Archaeology) course at the 200-level counts toward the minor. Courses in the colleges of Architecture or Art do not count for the minor. Students should have the proper prerequisites before enrolling in 300- or 400-level courses. Courses in other Arts & Sciences departments do not count for the minor unless they are cross-listed as L01 (Art History and Archaeology) courses at the 300 level or above. At least two of the 300-level courses must be completed in residence at Washington University. Space in 400-level seminars is limited, and majors will be given priority over minors, even from wait lists. Internship credit may not be applied to the minor but does count toward graduation. 

Visit online course listings to view semester offerings for L01 Art-Arch.


L01 Art-Arch 106 Freshman Seminar: Van Gogh and the Avant-Garde

This freshman seminar focuses on the art and career of Vincent Van Gogh, and his relationship to artists of the 1880s in France. We explore his art in connection to the movements of Impressionism, Japonism and Symbolism. We examine the avant-garde world of Paris, and Van Gogh's relationship to such figures as Gauguin, Bernard and Toulouse-Lautrec. The larger current of fin-de-siècle nostalgia for the countryside informs our study of his work in the south of France. Van Gogh's life and the critical reception of his art offer an excellent opportunity to study how the legends of modern art are formed. Visits to the St. Louis Art Museum complement our study. Readings include the artist's letters, critical studies and biographies of Van Gogh and key figures in his circle. No prerequisite, but either Art-Arch 112 or co-enrollment with Art-Arch 211 is recommended.

Credit 3 units. A&S: LA Art: AH BU: HUM


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L01 Art-Arch 107 Freshman Seminar: Public Art/Art and Its Publics in St. Louis

The course considers the history and functions of public art, with special attention to public art in St. Louis. Part of our investigation is to inquire into the conditions that seem to be necessary for visual art to be considered public. So we consider not only the obvious forms of public art in urban sculpture and murals, but also less traditional intersections of art and public in such sites as video and the internet. We also examine the operations of institutions — national and local arts agencies, international exhibitions, nonprofit centers and the like — that foster a public engagement with contemporary art. After studying aspects of the history of public art, we proceed to selected case studies today, many of them in St. Louis, including projects for Arts in Transit (the MetroLink), the Regional Arts Commission, Grand Center, and Missouri SOS (Save Outdoor Sculpture). This leads us, finally, to theorize the function of public art in a variety of contemporary forms. Local field trips to study important public art; visiting speakers from arts agencies; student projects proposing a work of public art in St. Louis, which acquaint students with procedures in arts administration.

Credit 3 units. A&S: TH Art: AH BU: HUM EN: H


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L01 Art-Arch 1075 Freshman Seminar: What's New? Contemporary Art in St. Louis and Beyond

Freshman Seminar. This course introduces a broad range of practices within the field of contemporary art (art of the last two to three decades), paying particular attention to museum collections and exhibitions in St Louis (Kemper Art Museum, St Louis Art Museum, Contemporary Art Museum, the Pulitzer Foundation for the Arts, and the Museum of Contemporary Religious Art). Works in both new and traditional media are discussed (ranging from photography and sculpture to installation, performance, film and mixed media). Readings include artists' statements, theoretical texts, art criticism, and art historical essays. Students with little or no background in art history are encouraged to register. Class meetings are complemented by local field trips and some visits to artists' studios. No prerequisite.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH BU: HUM EN: H


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L01 Art-Arch 1076 A Big Beautiful Wall: Contemporary Art of the U.S.-Mexico Border and Beyond

Over the course of the last U.S. election cycle, the nation's border with Mexico proved to be a galvanizing issue. The exhortation to build a "big, beautiful wall," however, is nothing new in the history of U.S.-Mexican international relations. Since its establishment by the 1853 Gadsden Purchase, the border has loomed large in both the U.S. and Mexican cultural imaginaries, and in the post-Chicano period, spurring the production of politically engaged art. This course considers the U.S.-Mexico border and its artistic production in-depth, as well as the art of other border regions around the world.

Credit 3 units. A&S IQ: HUM Arch: HT Art: AH EN: H


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L01 Art-Arch 1095 Freshman Seminar: Art in the Golden Age of Venice

The art and architecture of Venice are inextricably linked to the city's distinct sociopolitical structure, cultural past and geography. This freshman seminar will consider the arts in Renaissance Venice within the city's unique context. Exploring the influence of the "Myth of Venice," we will examine the styles of painting, sculpture and architecture that were specific to Venice — and very different from contemporaneous developments in Rome or Florence. We will also study the unique physical characteristics of Venice, its economy and society, its political and religious life and cultural culture. We'll also learn about its food and music while we study the magnificent works of its most celebrated artists, Titian, Tintoretto and Veronese, to name a few. The course will address issues such as the family workshop, the introduction of oil paint, the role of antiquity in a city without ancient ruins, domesticity and the ceiling painting. From the private patronage of its confraternities, or scuole, to public programs sponsored by the Great Council, the course will examine the reflections of the "ideal state" in the art and architecture of the Serenissima, the most serene Republic.

Credit 3 units. A&S IQ: HUM, LCD Art: AH BU: IS EN: H


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L01 Art-Arch 111 Introduction to Asian Art

Beginning with the birth of the Buddha and continuing through the present, this course introduces the most influential art and architecture from all across Asia. Each class covers both historic and modern works to emphasize the continuing dialogue between past and present in Asian art today. Classroom lectures; smaller, bi-weekly discussion sections. No prerequisite.

Credit 3 units. A&S: LA, CD A&S IQ: HUM, LCD Art: AH BU: HUM EN: H UColl: NW


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L01 Art-Arch 113 History of Western Art, Architecture and Design

A history of the visual arts, including architecture, sculpture, painting and design, from the ancient world to the present with emphasis on the relationship of art to society and to political and cultural events.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH BU: HUM EN: H


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L01 Art-Arch 1135 Freshman Seminar: The World of Cleopatra

Cleopatra — the last queen of ancient Egypt — captivated her contemporaries and has fascinated the Western world ever since her famous suicide by asp in 31 BCE. She was a woman of contrasts: Pharaoh of Egypt and Greco-Macedonian queen; seductive woman and shrewd political strategist; a ruthless monarch using every means available to consolidate her position in the face of the encroaching power of the Roman Empire. Through texts and material culture, the seminar seeks to understand Cleopatra in the context both of her native Egypt and of the wider Mediterranean world. We thus examine the traditions of Pharaonic Egypt; the historical events that brought Egypt under the control of the Macedonian Ptolemies (Cleopatra's dynasty); the wider stage of East-West tension and conquest in which Cleopatra struggled to maintain her power; her relationships (political and personal) with famous men of her day (Caesar, Herod, Mark Antony); her capital city of Alexandria, the largest metropolis of its day; Cleopatra's brilliant court and its luxury arts; and finally the many Cleopatras that have populated art and literature of later times. We emerge with a sense of Cleopatra, both as a unique individual and as a product of her time.
Same as L08 Classics 1135

Credit 3 units. A&S: TH, CD A&S IQ: HUM, LCD BU: IS EN: H


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L01 Art-Arch 116 Pompeii: Uncovering the Past

This course examines the Roman city of Pompeii from archaeological, art historical and literary perspectives. Topics include the city's public spaces and religious sanctuaries, its grand mansions and common houses, its political systems and leisure activities. Class discussions probe the problems inherent in the interpretation of a city captured in a moment of crisis, and how ancient literary tropes have affected our understanding of the archaeological remains. Students also investigate modern interpretations of the site in the form of novels, exhibitions and documentaries. Freshmen and sophomores only. No prerequisites.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 119 From Hercules to Harry Potter: Picturing Heroes in Ancient Greece, Rome, and Beyond

Societal celebration of influential people, mythical or real, raises them above others in public esteem and endows them with a high degree of fame, honor, and symbolic significance. Such heroic figures are often elevated and admired not only for their individual accomplishments, but also for the moral and ethical values and virtues that they embody as examples to others. Yet, the functions of heroes (and anti-heroes) may be controversial and their meanings contested. An exploration of the role of images and other forms of visual culture in the conception of heroism, and by extension virtue (character traits that are in some deep or fundamental way connected with being a morally good or admirable person), will present the opportunity to examine, among others, the following questions: What is the role of the visual arts in establishing and sustaining heroic status through which societies define and articulate their values? How do images shape an understanding of heroic significance? What are some of the religious and political uses of heroic images? What is the relationship between the historical person (if there is one) and the imaginative construction of the hero, or put another way, the relationship between history and memory? How do images of heroes shape the narratives of communal identity of which they are a part? Together we will first explore objects and texts from ancient Greece and Rome that address these questions from a variety of thematic and methodological perspectives. We will then examine the survival and transformation of ancient conceptions of the hero in representations of America's founding fathers, American frontiersmen, comic book superheroes, and the characters of the Harry Potter Series.

Credit 3 units. A&S IQ: HUM, LCD Art: AH BU: HUM EN: H


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L01 Art-Arch 120 Majors' Colloquium

This one-credit course provides students the chance to explore opportunities available to majors in the history of art and archaeology both during their time at Washington University and post-graduation. It was developed in response to the suggestion of past graduating seniors, who requested more formal guidance in professional development. Topics discussed include, among others: securing internship and fieldwork experience; preparing for an honors thesis; applying to graduate school in art history and archaeology; preparing for careers in museum, gallery and academic fields; and transferring the undergraduate degree to graduate programs in business, law and medicine. Guest speakers from the university and from the St. Louis community attend various sessions to provide current professional perspective on relevant topics. Prerequisite: a declared major in the Art History and Archaeology. Other students with a strong interest in Art History and Archaeology are admitted at the discretion of the instructor.

Credit 1 unit. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 146 Freshman Seminar: Beijing and the Forbidden City

The Forbidden City has been the heart of Beijing for nearly six hundred years, and continues to influence both China and its capital today. Through art, architecture and urban design, this seminar examines the intertwined relationship of the palace and its surrounding city: their origins and constructions, the coded symbolisms of their plans, their most influential characters, their modern identities as the backdrops to major political events, and their roles in contemporary art and the Olympics. This discussion-based seminar also aims to help students develop their skills in writing and critical analysis as a foundation for future classes. No previous experience with art history or Asian studies required.

Credit 3 units. A&S: TH, CD A&S IQ: HUM, LCD Art: AH BU: IS EN: H


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L01 Art-Arch 190B Introduction to Archaeology

Archaeology plays a critical and unique role in understanding the human past. Through study of the methods and theories of archaeology, and a survey of important firsts in the human past, this course introduces students to the way archaeologists use material culture to reconstruct and understand human behavior. Chronologically ordered case studies from around the globe are used to look at social, ecological and cultural issues facing humans from the earliest times to the present. Students gain practice reconstructing the past through hands-on participation in two one-hour labs focusing on lithics and animal bones. By the end of the course, students are expected to be able to think critically about how the past is presented, and why, and the importance of the past as it relates to the present and future.
Same as L48 Anthro 190B

Credit 3 units. A&S: SS A&S IQ: LCD, SSC Arch: SSC Art: SSC BU: BA EN: S


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L01 Art-Arch 215 Introduction to Modern Art, Architecture and Design

An introduction to major developments in modern art, architecture and design in Europe, the Americas and across the globe from the mid-19th century to the present. Focus is be on the history and theories of modernism and its international legacies, and the relationship of the visual arts, architecture and visual culture more generally to the social, cultural and political contexts of the modern era. While the precise topics covered may vary from one instructor to another, foundational movements and trends discussed typically include Beaux-Arts style, the Arts and Crafts Movement, Impressionism, Symbolism, Art Nouveau, Cubism, Dada, Surrealism, Purism, Art Deco, the Bauhaus, the International Style, Abstract Expressionism, Pop Art, Minimalism and Postmodernism. Cross-currents in various media are emphasized as we seek to understand the origins and complexity of modern visual forms in relation to political and cultural history and to critical theory. Students engage a wide range of readings in historical sources, theories composed by artists, architects and designers, critical responses to the arts, and secondary critical literature.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH BU: HUM EN: H


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L01 Art-Arch 225 Matisse and Picasso

These artists are considered individually, and in relation to such artistic movements as Cubism, Fauvism and Surrealism. Examines work in all media (painting, sculpture, decorative arts, theater and printmaking). Explores response to the political environment of modern France, including the two World Wars. Weekly class meetings, plus several required visits to the exhibit and to special lectures at the Saint Louis Art Museum. Class limited to 10. Prerequisite: Art-Arch 112 or 211, or permission of instructor.

Credit 3 units. A&S: TH Art: AH BU: HUM


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L01 Art-Arch 232 Myths and Monuments of Antiquity

An introduction to the ancient world (circa 3500 BC to AD 400) based on masterpieces of art and architecture from Mesopotamia, Egypt, Greece, and the Roman Empire. The monuments are accompanied by a selection of myths and documents representing the cultural life of these ancient societies and constituting their legacy to our modern world.

Credit 3 units. A&S: LA, CD A&S IQ: HUM, LCD Art: AH BU: HUM EN: H


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L01 Art-Arch 299 Internship in the Art Community

Prerequisite: a major or minor in Art History; permission of the undergraduate adviser requested in advance; and a letter from the sponsoring institution stating the nature of the internship.

Credit variable, maximum 3 units.


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L01 Art-Arch 3001 Writing-Intensive Topics in Art History and Archaeology

Selected Topics in Art History and Archaeology. Writing-Intensive Course — topics vary. Consult current semester listings. Prerequisite: permission of the instructor.

Credit 3 units. A&S: TH, WI A&S IQ: HUM, WI Arch: HUM Art: AH BU: HUM EN: H


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L01 Art-Arch 307 Northern Renaissance Art

A survey of the major artistic developments in Northern Europe, ca. 1400–1575. The course looks at the production of painting, sculpture, printmaking, drawing, manuscript illumination and architecture in social, political and religious contexts. The major artists covered include Jan van Eyck, Rogier van der Weyden, Albrecht Durer, Hans Holbein, Hieronymus Bosch and Pieter Bruegel the Elder.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH, GFAH BU: HUM EN: H


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L01 Art-Arch 3090 African Art in Context: Patronage, Globalisms, and Inventiveness

This course offers an introduction to principal visual arts from Africa, prehistoric to contemporary. It explores traditions-based and contemporary arts made by African artists from across the continent in conjunction with their various contexts of creation, use, understanding and social history. Theoretical perspectives on the collection, appropriation and exhibition of African arts in Europe and North America will be examined. Course work will be complemented by visits as a group or independent assignments at the Saint Louis Museum, the Pulitzer Arts Foundation, and possibly a local private collection.

Credit 3 units. A&S: TH, CD A&S IQ: HUM, LCD BU: IS EN: H UColl: NW


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L01 Art-Arch 311C Ancient Civilizations of the New World

An examination of the Inca empire in Peru, and the Maya and Aztec empires in Mexico, through the inquiry into the roots, development, form, and evolutionary history of pre-Colombian civilization in each region from its earliest times to the rise of the classic kingdoms. Examples of respective artistic accomplishments are presented and discussed.
Same as L48 Anthro 310C

Credit 3 units. A&S: TH, CD A&S IQ: HUM, LCD Arch: SSC BU: HUM


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L01 Art-Arch 331 Greek Art and Archaeology

A survey of the artistic achievements and material culture of the Greeks in the first millenium BCE (Iron Age through the Hellenistic period). Development of architecture, sculpture, and painting, as well as minor arts and utilitarian objects, with emphasis on the insights they offer into Greek society and interactions with the wider Mediterranean world.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH, GFAH BU: HUM EN: H


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L01 Art-Arch 3330 Greek and Roman Painting

This course provides a survey of the major achievements of ancient Greek and Roman painting, broadly understood and encompassing wall painting, panel painting, painted pottery, and mosaic. We study monuments ranging over a millennium in time and located throughout the ancient Mediterranean. Particular attention is paid to the social, political, and religious aspects of ancient Greco-Roman painting, and to questions of innovation in artistic practice. Special emphasis is placed on students' cultivation of the tools of art-historical analysis, and of the presentation of that analysis in written form. Readings appear in the course textbook or are supplied as PDFs; extracts of primary sources are occasionally distributed as photocopies in class. Prerequisites: Intro to Western Art (L01 Art-Arch 113) or Intro to Modern Art (L01 Art-Arch 215) or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH, GFAH EN: H


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L01 Art-Arch 334 Roman Art and Archaeology

The art and archaeology of the Romans, with emphasis on the late Republic and the Imperial period. Major monuments of sculpture and architecture, as well as town planning, domestic architecture and the minor arts are used as evidence for reconstructing ancient life.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH, GFAH BU: HUM


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L01 Art-Arch 3412 Japanese Art

Surveying the arts of Japan from prehistory to present, this course focuses especially on early modern, modern, and contemporary art. Emphasizing painting, sculpture, architecture and print culture, the course also explores the tea ceremony, fashion, calligraphy, garden design and ceramics. Major course themes include collectors and collecting, relationships between artists and patrons, the role of political and military culture or art, contact with China, artistic responses to the West, and the effects of gender and social status on art.

Credit 3 units. A&S: TH, CD A&S IQ: HUM, LCD Art: AH, GFAH BU: IS EN: H


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L01 Art-Arch 3415 Early Chinese Art: From Human Sacrifice to the Silk Road

This course examines Chinese art and material culture from the prehistoric period through the end of the medieval Tang dynasty, when the Chinese capital boasted a cosmopolitan population of more than 1 million people. Topics covered include Neolithic ceramics and jades, the bronzecasting tradition, funerary art and architecture, the Terracotta Army, the origins of Chinese brush arts, Buddhist painting and sculpture, and the varied exotica of the Silk Road. Each class teaches recent works together with the ancient to demonstrate how the origins of Chinese art and architecture continue to influence contemporary works. Prerequisite: Art-Arch 111 Introduction to Asian Art or permission of instructor.

Credit 3 units. A&S: TH, CD A&S IQ: HUM, LCD Art: AH, GFAH, HUM BU: IS EN: H


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L01 Art-Arch 3425 Classical to Contemporary Chinese Art

Surveying Chinese art and architecture from the 10th century through today, this course examines classical and imperial works as the foundation for modern and contemporary art. Engaging with the theoretical issues in art history, we also pay particular attention to questions of gender, social identity, cultural politics and government control of art. No prerequisites.

Credit 3 units. A&S: TH, CD A&S IQ: HUM, LCD Art: AH, GFAH BU: IS EN: H


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L01 Art-Arch 3442 Chinese Painting, Then and Now

Tracing the unbroken history of Chinese painting from the first 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.

Credit 3 units. A&S: TH, CD A&S IQ: HUM, LCD Art: AH, GFAH EN: H


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L01 Art-Arch 3482 The Floating World of Japanese Prints

The relationship between Japanese printmaking and popular culture from 1600 to 1900. Woodblock and copperplate printmaking techniques, key masters, kabuki drama, pleasure quarters, fiction, travel, modernization will be explored. Prerequisite: Art-Arch 111EQ, or background in printmaking or Japanese culture.

Credit 3 units. A&S: TH, CD A&S IQ: HUM, LCD Art: AH, GFAH BU: HUM


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L01 Art-Arch 3545 The Art and Architecture of Ancient Mesoamerica: Objects of Ritual, Places of Power

This course examines the artistic and architectural achievements of the civilizations of ancient Mesoamerica, a cultural region covering most of modern-day Mexico, Guatemala, Belize and Honduras. From the emergence of complex societies in the second millennium BC through the rise of the spectacular cities of the Maya and ending with the violent fall of the Aztec Empire in the 16th century AD, rulers of ancient Mesoamerica relied on a consistent set of themes, images and media to proclaim their religious and political authority. This class explores how artists, farmers, priests, elites, kings and other community members created a vast array of images and objects that expressed cultural ideals, political and religious narratives, and distinct ethnic and civic identities. Prerequisites: Art-Arch 112, ARCH 200, Anthro 335 or permission of the instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH, GFAH EN: H


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L01 Art-Arch 360 Renaissance Architecture

The modern concept of the architect as creator and genius began with Filippo Brunelleschi, the great innovator of 15th-century Florentine art. The course explores the spread of architecture and architectural theory as it begins in the hands of the innovator and is expressed and changed by other men of genius such as Leon Battista Alberti, Donato Bramante, Michelangelo Buonarroti and Andrea Palladio.

Credit 3 units. A&S: TH Art: AH, GFAH BU: HUM


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L01 Art-Arch 3602 Italian Renaissance and Baroque Architecture

This course will survey the development of architecture in Italy from 1400 to 1700. From long-established medieval models we will explore the reintroduction and reinterpretation of Antiquity from the late 14th-century onward. The course will then explore how these foundational Renaissance ideals evolved to become Mannerism and found their ultimate expression in Bernini's Baroque. Following a chronological progression, the course will address the structures and theories of the period through its leading architects, Brunelleschi, Alberti, Michelangelo, Palladio and Bernini, among others. The course will explore a wide range of architectural types, from the centralized church to private palaces and villas. Further themes to be considered will include: the development of the architect as a professional, regional styles and their relationship with antiquity, patterns of patronage, and the interior. Prerequisites: L01 113 Intro to Western Art, Architecture and Design.

Credit 3 units. A&S IQ: HUM BU: HUM EN: H


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L01 Art-Arch 361 Art of Early Italian Renaissance

A survey of Italian Renaissance art from its origins to the end of the 15th century, examining artists such as Giotto, Masaccio, Donatello, Botticelli, and Leonardo da Vinci. Prerequisite: Art-Arch 1113.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH, GFAH BU: HUM


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L01 Art-Arch 362 High Renaissance Art

A general survey focusing on such outstanding figures of the period as Leonardo da Vinci, Michelangelo and Raphael. Prerequisites: Art-Arch 112, Art-Arch 113, Art-Arch 211, or Art-Arch 215, or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH, GFAH BU: HUM


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L01 Art-Arch 3620 Mannerism in Italy

This course surveys the various embodiments of Mannerism, "maniera," or what has been called the "stylish style," in Italian art following in the wake of the High Renaissance. The nature of this self-conscious response to the achievements of the Raphael, Michelangelo and the revival of the antique has resisted easy classification both in contemporary writings and modern scholarship. The works of the "maniera" have been framed both in terms of decadence and refinement. The period was also a time of great social and religious upheaval, leading some to define Mannerism as a style of crisis. On the other hand, the deliberate elegance and grace that characterizes so many works responded to the tastes of court society. The course addresses the conflicting definitions of Mannerism by analyzing the works of art themselves and placing them in their social and cultural contexts.

Credit 3 units. A&S: TH Art: AH, GFAH BU: HUM


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L01 Art-Arch 365 Baroque Art

A survey of the development of painting and sculpture in 17th-century Europe. Emphasis on the works of Caravaggio, Bernini, Poussin, Rubens, Rembrandt and Velazquez. Prerequisite: Art-Arch 112 or permission of the department.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH, GFAH BU: HUM


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L01 Art-Arch 3671 Michelangelo: Painter, Sculptor, Architect

An examination of his life, his work and his time. A consideration of the artist's painting, sculpture and architecture in relation to his contemporaries and to the broad historical, political and artistic currents of his day. Prerequisite: Art-Arch 112.

Credit 3 units. A&S: TH Art: AH BU: HUM


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L01 Art-Arch 370 The American West: The Image In History

Examines representations of the American West and of the frontier encounter between Euro-American and Native American cultures, from the early 19th to the early 20th centuries. We consider travel accounts, fiction painting, ledger drawings, photography and film in order to analyze the ways in which historical circumstances have shaped artistic and literary representations. At the same time, we look at how images and texts have shaped formative myths about the West that in turn leave their impact on history.

Credit 3 units. A&S: TH, CD A&S IQ: HUM, LCD Art: AH BU: HUM


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L01 Art-Arch 371 American Art to 1900

A survey of broad social, cultural and nationalist themes in the visual arts from European contact with the New World to 1900. Topics include the encounter of New World cultures with European colonizers and the ongoing relationship between America and Europe; the changing image of the artist; the role of art in the formation of national identity. Prerequisite: Art-Arch 113 or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH BU: BA EN: H


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L01 Art-Arch 3712 Art and Culture in America's Gilded Age

Developments in American culture from the end of the Civil War to the turn of the century: novels, buildings, images, public and private spaces of this transitional period — a time of new class formation, of unparalleled social diversity, and of new urban forms. The connections between art, literature and social experience. Representative figures include Henry James, Henry Adams, Louis Sullivan, Stanford White, Thomas Eakins, Louis Tiffany.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH BU: BA


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L01 Art-Arch 372 American Art to 1980

From the beginnings of modernism in the visual arts of the United States, around 1900, to Abstract Expressionism and the Beat aesthetic. Focus on the cultural reception and spread of modernism, native currents of modernist expression, from organicism to machine imagery, the mural movement and the art of the WPA, the creation of a usable past, abstraction and figuration, regionalism and internationalism, photography and advertising.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH BU: HUM EN: H


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L01 Art-Arch 376 American Modernism, 1900–1940

American modernism: What is it? What is the nature of its encounter with mass culture? What happened to modernism as it migrated from its "high" European origins to its "middlebrow" version in America between the turn of the century and the eve of World War II? What was the rhetoric of modernism in everyday life — its impact on design, photography, advertising? In addition to the fine arts, we look at popular media, film and photography. Lecture/discussion. Prerequisite: Art-Arch 211 Introduction to Modern Art or permission of the instructor.

Credit 3 units. A&S: TH, WI A&S IQ: HUM, WI Art: AH BU: ETH


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L01 Art-Arch 3762 American Modernisms, 1900–1940

American modernism: What is it? What is the nature of its encounter with mass culture? What happened to modernism as it migrated from its "high" European origins to its "middlebrow" version in America between the turn of the century and the eve of World War II? What was the rhetoric of modernism in everyday life  — its impact on design, photography, advertising? In addition to the fine arts, we look at popular media, film and photography. Lecture/discussion. Prerequisite: Art-Arch 112, Art-Arch 113, Art-Arch 211 or Art-Arch 215, or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH BU: HUM EN: H


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L01 Art-Arch 3782 Modern Art 1905–1960

This course investigates topics in European painting, sculpture, architecture, photography and film. Lectures and readings address major artistic developments, including Cubism, De Stijl, Futurism, Expressionism, Dadaism, Constructivism, Surrealism, the Bauhaus and Art Brut. Prerequisite: Art-Arch 211 or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH BU: HUM


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L01 Art-Arch 3783 The Modernist Project: Art in Europe and the United States, 1905–1980

The course surveys major tendencies in painting and sculpture from Fauvism in France and Expressionism in German to the beginnings of Postmodernism in photo-based work in the U.S. About two-thirds of the course treats European art, about one-third treats American art. Photography, architecture and work in other forms are considered selectively when pertinent to the individual class topics. Within the lecture topics, emphasis is on avant-garde innovation; the tension in modernist art between idealism and critique; reaction by artists to current events; relationship between art and linguistics, philosophy, literature, economics and science; the role of geopolitics in art production; intersections of art and society; the role of mass culture; issues of race and gender in the production and reception of art; the challenge to the concept of authorship and creativity posed by Postmodernism at the end of this period. Prerequisites: Art-Arch 112, Art-Arch 113, Art-Arch 211 or Art-Arch 215; one 300-level course in art history preferred; or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 3785 Photography in America

This course considers the practice and use of photography in America from its invention up to the present, offering various ways of thinking about the medium and its relation to society and culture. Students come to understand the ways photographic practices shape public perceptions of national identity, ethnicity and gender, nature, democratic selves, and a host of other concerns. We discuss famous practitioners such as Matthew Brady, Jacob Riis, Lewis Hine, Walker Evans, and Robert Frank. We consider not only the social and public uses of the medium through such episodes as the New Deal/FSA and photojournalism, but also the private explorations of "fine art" photographers, and the everyday practices of the snapshot. Prerequisites: Art-Arch 112 Introduction to Western Art or Art-Arch 211 Introduction to Modern Art or one course in American History, American Cultural Studies, or permission of the instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH, GFAH BU: HUM EN: H


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L01 Art-Arch 3815 Rococo to Revolution: Art in 18th-Century Europe

The Long 18th Century serves as a bridge between two fundamentally different times. The Europe of 1700 was dominated by absolutism and the ancien régime. The Europe of 1800 was in an age of revolution. This course will explore the dramatic shift in artistic representation and individual self-conception that occurred throughout the century to usher in our modern age. Important topics to be considered include: the rise of the Academy; the Enlightenment and the Encyclopédie; the Grand Tour; Art and Science; and the French Revolution. Focusing on the development of artistic trends, the course will address transformations in painting, sculpture and architecture throughout Europe.

Credit 3 units. A&S: TH A&S IQ: HUM BU: IS EN: H


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L01 Art-Arch 3822 City and Country in Late Impressionism 1880–1905

This course considers the relationship between the Parisian art world and the avant-garde painters who retreated to the countryside between 1880 and 1900 to paint rural landscapes, provincial life and exotic locales. We consider the artistic dialectic of city and country through examining the art and careers of Van Gogh in Provence, Gauguin in Brittany and Tahiti, Cézanne in Aix and Monet in Giverny, among others. We consider such themes as artist colonies, the market for landscape, rural escape as a critique of bourgeois urbanism; and the connections between tourism and the nostalgia for the provincial and the exotic.

Credit 1 unit. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 3831 Art in the Age of Revolution: 1789–1848

European painting, sculpture and printmaking from the French Revolution to the mid-19th century; French, English, German and Spanish artists discussed in social and aesthetic context, with a focus on links between art and ideology in times of political turmoil. The styles of classicism and romanticism, the rise of history painting, and the development of realism in both landscape and genre painting. Prerequisite: Art-Arch 112 or permission of the instructor.

Credit 3 units. A&S: TH Art: AH BU: HUM


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L01 Art-Arch 3833 Realism and Impressionism

An examination of the development of European art from approximately 1848 to the mid-1880s, with a focus on the development of Realism and Impressionism in England and France. Issues explored include the breakdown of academic art, the rise of landscape and naturalist themes, the emergence of alternative exhibition spaces and new dealer systems, and the relationship between gender and avant-garde practice. Prerequisite: Art-Arch 112 or Art-Arch 211 or permission of instructor.

Credit 3 units. A&S: TH Art: AH BU: HUM


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L01 Art-Arch 3835 The Art Museum: History, Theory and Design

The course studies the conceptual basis of the institution of the art museum in the United States and Europe, including its history, theoretical foundations, design and cultural function. We begin with the origins of the modern museum in the 18th century and earlier; trace the development in the 19th century of the earliest national art museums in the U.S. and Europe; consider the opportunities and problems of museums of modern and contemporary art in the 20th century; address the question of appropriate architectural strategies for art museums of the past and the present; and consider a variety of developments in the art museum today. Prerequisite: Art-Arch 211 Introduction to Modern Art or ARCH 2284/ARCH 4284 Architectural History II or permission of instructor. Students in the College of Architecture may register for this course under the assigned College of Architecture course number.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH BU: HUM EN: H


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L01 Art-Arch 3838 Modern Art in Fin-de-Siècle Europe, 1880–1907

This course examines artistic production at the turn of the century in France, Belgium, England and Scandinavia. Beginning with the re-evaluation of impressionism and naturalism in France, we 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). Considers cross-national currents of Symbolism in Belgium and Scandanavia; 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). Prerequisite: Art-Arch 112 or permission of the instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH BU: HUM


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L01 Art-Arch 3862 The Mediterranean and French Modernism

This course surveys the development of the Mediterranean region as an important site of modernist artistic practice. Among the artists considered are Pierre-Auguste Renoir, Henri Matisse, Pablo Picasso, Marc Chagall and Yves Klein. Excursions to museums and other artistic sites.

Credit 1 unit. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 3875 Rejecting Reason: Dada and Surrealism in Europe and the United States

In this multimedia, interdisciplinary course, we consider the history, theory and practice of Dada and Surrealism, from its Symbolist and Expressionist roots at the end of the 19th and the beginning of the 20th centuries through its late expressions in Beat culture and Pop art of the 1950s and 1960s. Dada's emergence in Zurich and New York in the midst of the First World War 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, are emphasized. Prerequisite: Art-Arch 112 Intro to Western Art or Art-Arch 211 Intro to Modern Art or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH BU: HUM EN: H


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L01 Art-Arch 3877 Cubism and Its Global Legacies

During the early 20th century, Cubism marked a radical break in the European representation of three-dimensional space in painting through a bold reconsideration of atmospheric and linear perspective. Early Cubists such Pablo Picasso achieved this formal breakthrough in part through studying African and Oceanic art. Between the summer of 1908, when Braque and Picasso developed the style collaboratively in France, and the advent of WWI in summer 1914, Cubism became the most influential style in the international art world. This course examines the development of Cubism in France, and analyzes how artists throughout Europe and the world adapted Cubism for their own purposes. Of particular interest is how artists from outside Europe and the U.S. have responded to Cubism's appropriation of non-Western art. Class format is lecture and discussion. Prerequisites: L01 Art-Arch 113 Introduction to Western Art or L01 Art-Arch 215 Introduction to Modern Art, or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM BU: HUM EN: H


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L01 Art-Arch 388 Contemporary Art

A survey of global contemporary art from 1970 to the present. Topics: happenings, minimalism, body art and neo-expressionism, placed in their social and political contexts. Prerequisites: Art-Arch 112, Art-Arch 113, Art-Arch 211, or Art-Arch 215, or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH BU: IS


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L01 Art-Arch 3884 Modern Design and Modern Culture

This course explores key issues of modernity (industrialization, consumerism, mass culture, nationalism, etc.) through the study of material culture. Focusing primarily on modern design in Europe and North America from William Morris to Charles Eames and Aleksander Rodchenko to Bruce Mau, we examine major developments in design thinking and practice as both reactive to and generative of broader political, economic, and social concerns. The course is organized around important and influential exhibitions, from World's Fairs to storefront shows, where design professionals, institutions, and publics came together to reflect on topics of urgency, identify alternatives, and imagine the implications of design on everyday life. Wherever possible, class discussions/lectures and assignments make use of objects and archives in area collections. Prerequisites: Intro to Western Art (L01 Art-Arch 113) or Intro to Modern Art (L01 Art-Arch 215) or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM EN: H


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L01 Art-Arch 3888 Museum Theory and Practice

This course explores the history of fine art museums and related debates on the nature of collecting and modes of display. Using historical and theoretical texts as well as select case studies, we focus on how the evolving structure and mission of the museum impact our understanding of art. Topics include the Renaissance "cabinet of curiosities," the Salon controlled by the French Academy, the rise of the modern art museum, and the proliferation of contemporary curatorial strategies in today’s global art world. In addition to the study of the history of exhibitions and the role of the museum, the course also investigates the various jobs and responsibilities that people hold within museums. Guest speakers include members of the curatorial, publications, registration, education and installation staff at the Mildred Lane Kemper Art Museum. We also take advantage of the distinct art institutions in St. Louis, exploring exhibitions and permanent collection displays at the Kemper Art Museum, Saint Louis Art Museum, the Pulitzer Foundation for the Arts, and the Contemporary Art Museum. Prerequisite: Art-Arch 112 Introduction to Western Art or Art-Arch 211 Introduction to Modern Art or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH, GFAH EN: H


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L01 Art-Arch 3892 Modern Sculpture: Canova to Koons

This course surveys sculpture in Europe and the United States from about 1800 to the present, with an emphasis on the period 1890–1980. A rapid traverse of Neoclassicism, Realism and the rage for statuary in the later 19th century take us to the work of Rodin and a more systematic exploration of developments in sculpture of the 20th century. Particular emphasis also is given to the work of Brancusi, Picasso, Matisse, Duchamp, Giacometti, Oppenheim, David Smith, Serra, Morris, Judd, Hesse and Bourgeois. An important theme running through the course as a whole, from an age of nationalism and manufacturing to our own time of networks and information, is the changing definition of sculpture itself within its social and political context. We also explore various new artistic practices — video, performance, installations and body art, for instance — and interrogate their relationship to sculptural tradition and innovation. Prerequisite: Art-Arch 112 Intro to Western Art or Art-Arch 211 Intro to Modern Art, or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 3972 Alterna-Art

Can contemporary art be truly alternative? What does the term even mean, when the channels for distributing art are available to all? This course presents a survey of art created outside of institutions and official channels. Students are exposed to a variety of different media, from graffiti and muralism to performance and internet art. The course also deals with questions of agency, "authenticity," and co-optation of street art by commercial means. Classes consist of a hybrid lecture/discussion format with weekly readings. Prerequisites: Intro to Western, Intro to Modern or permission of the instructor.

Credit 3 units. A&S: TH A&S IQ: HUM EN: H


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L01 Art-Arch 3973 New Media, New Technologies

In summer of 2013, Random International's Rain Room was installed at the Museum of Modern Art in New York. Lines to experience the sensation of being rained on without getting wet ranged up to seven hours at times. This merging of new technology with the gallery space proved irresistible, but also raises questions as to the uses of technology in contemporary art, and whether or not this could be much more than a gimmick. As one Yelp reviewer put it, "The Rain Room is definitely an experience. Let's be honest... I'm mostly upset that I didn't get a cool, new Facebook profile pic out of it." This course considers technological developments in modern and contemporary art, from photography, video and new media, digital and internet art, as well as forays into new technology that blur the lines between art and science. Prerequisites: Art-Arch 112, Art-Arch 113, Art-Arch 211, or Art-Arch 215; or permission of the instructor.

Credit 3 units. BU: HUM


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L01 Art-Arch 3975 Art and Activism

This course examines political and social activsm in art and visual culture, focusing on the role that visual representation has played in social movements and how artists/activists have employed visual media to challenge and resist dominant visual representations and political formations. We explore key theoretical developments in activist discourse, as well as the role of art practices and aesthetic commitments in these developments. This course seeks to represent the development of the relation of art and activism in its broadest intellectual and cultural context within the 20th century and encourage an appreciation of the complex array of disciplinary perspectives that are implicated in this development. Prerequisites: Art-Arch 112, Art-Arch 113, Art-Arch 211 or Art-Arch 215, or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4000 Topics in Art History and Archaeology

Prerequisites: L01 113, L01 215; one 300-level course in Art History preferred; or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4002 The Decorative Aesthetic in Modernism, 1860–1960

In the criticism of modern art, decoration and decorative have often been used as pejorative terms, designating art that has no intellectual basis but is merely pleasing, intended to fill space and delight the eye. But in the late 19th century, these terms carried important cultural value, and opened the door to significant experiments in abstraction. Moreover, the decoration of a public space or surface may have political implications. This course investigates decoration and theories of "the decorative" in modern art in Europe and the United States, with special attention to the evolution of ideas of modernism in both 2-dimensional and 3-dimensional environments. We also consider some of the political meanings that may be borne by both public mural painting and domestic decoration, as well as easel painting that aspires to conditions of the decorative. Key figures include Puvis de Chavannes, Morris, the Nabis, Van de Velde, Monet, Matisse, the Mexican muralists, Pollock and Shapiro. Prerequisite: Art-Arch 211 Introduction to Modern Art, or any 300-level course in art history, or permission of instructor.

Credit 3 units. A&S: TH Art: AH


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L01 Art-Arch 4015 Theories of Modern Art and Architecture

The course presents theories of art and architecture from the 19th to the 21st century in their historical contexts through a set of in-depth investigations of selected topics. Some knowledge of history and theory is integral to contemporary understandings of the disciplines of art, art history and architecture. To foster a historical understanding of theories of modern art and architecture, we discuss a selection of key texts, divided into three sections: theoretical sources of modern art and architectural history in the 19th century; theories of modernism, from the formalist to the Marxist; postmodern critiques of modernism, in such areas as feminist theory and poststructuralism. Class visits to Sullivan and Adler's Wainwright Building (1890–91), Saarinen's Arch at the Jefferson National Expansion Memorial (completed 1964), Ando's Pulitzer Foundation for the Arts (2001), and Maki's Kemper Museum of Art (2006) are integral to the work of the course. Prerequisite: Either Art-Arch 112 Introduction to Western Art or Art-Arch 211 Introduction to Modern Art and any 300-level course in art history; or permission of instructors.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4045 Beyond Painting: Innovation in Prints and Sculpture in Early Modern Europe

Prints and sculpture are frequently overlooked in the study of early modern European art, yet the issues they raise are critical to our understanding of the period. Both categories, too often seen as secondary to painting, entail frequently complex technical and intellectual innovations that were fundamental to their time. This course will focus on these two important media in order to offer a fuller and richer picture of how artists of the Renaissance and baroque periods reinterpreted and expanded their visual vocabularies in response to, and in participation with, changing technologies and ideologies. Beyond Painting is based on direct interaction with works of art with the aim of facilitating enhanced looking and evaluation skills essential to the study of art history. Held at the Saint Louis Art Museum, each session will focus on the Museum's collection as well as the objects in the exhibition "Learning to See: Renaissance and Baroque Masterworks from the Phoebe Dent Weil and Mark S. Weil Collection." 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.

Credit 3 units. A&S IQ: HUM, LCD Arch: HUM Art: AH, GFAH, HUM EN: H


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L01 Art-Arch 4240 The Plundered Past

The public imagination thrills at the fantastic adventures of Indiana Jones and Laura Croft, Tomb Raider; but the reality of modern archaeology is more complex, ethically challenging and interesting than a simple treasure hunt. In the U.S. and Canada, our science museums and museums of anthropology still display artifacts that are regarded as sacred and culturally definitive by Indian nations, although such holdings are now subject to negotiation and repatriation. Art museums in Europe and the U.S. are still stocked with looted ancient masterpieces that are revered as vital heritage by the nations from which they were stolen. We display looted art alongside a much smaller number of legitimately excavated artifacts of masterpiece quality, so it is no surprise that our popular images of archaeologists as avid and undiscerning collectors raise little concern. But modern archaeologists are not extractors of art or even of scientific information, from places as passive and inert as the museums' objects ultimately occupy. Archaeologists work with living people inhabiting societies and states that care deeply about their pasts and the relics of it. They are active agents engaged with many other people in the production of knowledge about the past. In our rapidly shrinking world, educated sensitivity to the many ancient cultural legacies that shape the values of modern global society is more than a moral imperative; it is a basic form of collaboration in the common project of survival. Archaeologists are ethically charged to advance that project through education about the complex contemporary arena of artifacts, sites, and information they occupy.
Same as L48 Anthro 4240

Credit 3 units. A&S: TH, CD A&S IQ: HUM, LCD EN: H


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L01 Art-Arch 428 The Invention of the Image: From Classical Art History to Modern Visual Studies

The scholarly field of Image or Visual Studies has developed in response to the widespread proliferation of images, both still and moving, in contemporary life. It distinguishes itself from traditional art history by examining visual representations of all types, not only works of high art, and by concentrating on the role those representations play in the formation of culture. Though most of the scholarship produced in this field focuses on the modern world, it depends upon ideas first developed in Mediterranean antiquity. This course has two primary goals. We conduct an historical examination of practices and theories of image making from Near Eastern antiquity to modernity. In so doing, we also carry out an historiographical survey of the major works in Image/Visual Studies, thereby gaining an appreciation for the wide range of methods of inquiry employed in this important field of research. Prerequisites: Intro to Western Art (L01 Art-Arch 113) or Intro to Modern Art (L01 Art-Arch 215); one 300-level course in art history preferred; or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM EN: H


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L01 Art-Arch 429 Art and Death in Ancient Rome

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.

Credit 3 units. A&S: TH A&S IQ: HUM EN: H


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L01 Art-Arch 430 Topics in Northern Renaissance Art

Credit 3 units. A&S: TH Art: AH


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L01 Art-Arch 4321 Ancient Coins

The seminar is designed to research the rich world of Greek and Roman coinage by using the university’s own resource, the J.M. Wulfing collection of coins. Emphasis on coin typology, works of art or buildings illustrated on our coins, and the history of coinage. We use actual coins in the gallery. Due to the delicate nature of the material, the course is by permission of the instructor only.

Credit 3 units. A&S: TH Art: AH


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L01 Art-Arch 4375 Ancient Greek Sculpture in Context

Sculpture counts among one of the greatest artistic achievements of ancient Greece, and one that has had the greatest impact on the art of later periods. This course focuses on original works of art of the Archaic and Classical periods (600–300 BCE), placing emphasis on how study of their contexts — the places in which they were produced, displayed and found — contributes to our understanding of their place in the ancient world. Background material, which is covered at the beginning of the semester, includes the origins of monumental Greek sculpture at the beginning of the Archaic period (late 7th to early 6th century BCE), and the stylistic development of the Archaic and Classical periods. We then proceed to discussion of various types of sculpture (architectural, cult statue, votive, commemorative, funerary) and how these works functioned within the context of the Panhellenic sanctuary, the city sanctuary, the secular center of the city, and the necropolis. In a different view of context, we also consider sculpture recovered from ancient shipwrecks, looted art on its way to the ancient Roman art market. Prerequisite: Art-Arch 331 or permission of the instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4376 Pictorial Illusion in the Ancient Mediterranean

Among the many accomplishments in the history of Greco-Roman art, ancient writers especially valued the development of pictorial illusion. Pictorial illusion refers to the techniques of reproducing or approximating aspects of the visual perception of the material world on a two-dimensional surface. These include foreshortening, the application of highlights, and the indication of multiple points of depth in space relative to the picture plane. The purpose of the course is to explore the material, stylistic and technical history of illusionistic painting practices in the ancient Mediterranean world from Classical Greece to Late Antique Rome and to seek to understand the cultural and social significance of those practices. In addition to examining specific historical questions in the development of ancient painting, the course investigates trans-historical connections between vision, visuality and methods of representation. Prerequisites: one of Art-Arch 112, Art-Arch 113, Art-Arch 211, or Art-Arch 215; one 300-level course in art history preferred; or permission of instructor.

Credit 3 units.


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L01 Art-Arch 439 Greek Art in Rome: Discourse, Dedication and Reflection

Throughout the modern period, Ancient Greek art has been perceived of as a genuinely original and creative tradition, in which both individual artists and regional schools made some of the most significant advances in the long development of European art. Roman art, by contrast, has been seen as derivative and secondary; Johann Joachim Wincklemann, the founder of modern art history, classified it among the "style of the imitators." But this traditional dichotomy rests in large part on the Romans’ own reactions to their encounters with the arts of Greece. Through the analysis of textual sources, architecture, statuary and painting, this course investigates the status and influence of Greek art in the city of Rome from the third-century BCE until the late Imperial period, and seeks to understand how Roman responses to and uses of Greek art have come to shape the modern perception of both traditions. Prerequisites: Art-Arch 112, Art-Arch 113, Art-Arch 211, or Art-Arch 215; one 300-level course in art history preferred; or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM EN: H


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L01 Art-Arch 444 The Forbidden City

Home to 24 emperors of the Ming and Qing dynasties (1368–1911), the Forbidden City today occupies the heart of Beijing and comprises the largest ensembles of premodern architecture in China. This seminar examines the origins of the palace, its construction in early Ming, the coded symbolisms of its plan and decoration, the rituals of court, and the lives of its denizens, from emperors (including Pu Yi, the "last emperor") to concubines, from Jesuit missionaries to eunuchs. The course also considers the 20th-century identity of the site as a public museum and the backdrop to major political events, as well as its role in the urban design and contemporary art of 21st century Beijing. Prerequisites: Art-Arch 112, Art-Arch 113, Art-Arch 211 or Art-Arch 215; one 300-level course in art history preferred; or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM, LCD Art: AH EN: H


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L01 Art-Arch 4482 Japanese Prints: Courtesans, Actors and Travelers

Woodblock prints of the 18th and 19th centuries and their relationship to literature and popular culture. Topics include the life of the pleasure quarters, sexuality and the "erotic," parody, kabuki theater and the representation of women. Prerequisite: 3 units in Japanese painting, or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4489 The Three Emperors: Redefining Chinese Art in the Golden Age

Ruling imperial China during its last Golden Age, the Qing emperors Kangxi, Yongzheng and Qianlong patronized the arts during an unprecedented period of prosperity and international exchange. Many of the works they commissioned are now icons of Chinese culture, but in their time these three Manchus redefined Chinese art with ideas and styles from Baroque Europe, Tibet, Mongolia and even Islamic Central Asia. This seminar focuses on the ethnically and culturally diverse art, architecture and material culture patronized by these three emperors to examine how they and their multi-ethnic empire changed the definition of Chinese art during the long 18th century. Prerequisites: Art-Arch 111 Introduction to Asian Art; or one 300-level course in Asian art history, history or literature; or permission of instructor.

Credit 3 units. A&S: TH, CD A&S IQ: HUM, LCD EN: H


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L01 Art-Arch 4490 Art, Vision, and Science in China

After China and Europe began sustained contact, the introduction of Western science, math and technology often affected Chinese art more than anything else. New optical devices and ways of visually understanding the world produced a range of positive and negative responses. Often expressed in art, these works demonstrate how new ideas affected Chinese conceptions of vision, looking, cognition and visuality. Covering the 17th through mid-20th centuries, this course discovers how Chinese art became entwined with vision and modern science, covering prints, paintings, objects and photographs across medicine, astronomy, cartography, optics and mathematics. Prerequisite: L01-111, one course in Art History or Asian Studies, or permission of instructor.

Credit 3 units. A&S IQ: HUM, LCD Arch: HT Art: AH


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L01 Art-Arch 4494 East, Meet West: Cross-Cultural Aesthetics in Chinese and Japanese Art

This seminar grounded in cross-cultural aesthetics examines East Asian visual responses to European art and science from the 16th through 19th centuries. First introduced by Jesuit missionaries, continued by merchants, and culminating with colonial enterprises, the same Western ideas and works left very different impressions on China and Japan. An introduction to cross-cultural aesthetics from both Western and East Asian perspectives lays the theoretical foundation to engage these works of art, before proceeding thematically through time to cover painting, cartography, woodblock prints, ceramics and photography within transregional and transcultural contexts. Prerequisites: at least one course in Asian art or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4615 Caricature: The Culture and Politics of Satire

This course examines the golden age of caricature. Beginning with the prints of William Hogarth, we look at the caricatural traditions in France and England from the late 18th-century through the early 20th century. Special emphasis is placed on visual satire as a vehicle for social and political critique, on theories of humor (particularly Baudelaire and Bakhtin), and the development of a mass market for this imagery. Other figures discussed include Rowlandson, Cruikshank, Daumier, Gavarni, Philipon, and Gil. We take advantage of a major collection of French caricature in the Mildred Lane Kemper Art Museum at Washington University, as well as collections available for study in Olin Library and at the St. Louis Art Museum. Prerequisites: Art-Arch 112 or Art-Arch 211, or a 300-level course in modern European history or literature, or permission of the instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4621 Leonardo da Vinci

Leonardo da Vinci is universally recognized to be one of the greatest artists of all time. But who was Leonardo? Artist or scientist? Master, magus or myth? This seminar explores the reality and fiction of a fascinating, yet enigmatic genius, as well as placing this unique individual in the contexts of Renaissance Italy and the modern imagination.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH


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L01 Art-Arch 4624 Michelangelo

An examination of the life and works of Michelangelo. The most important developments in his architecture, painting and sculpture; with special attention to his assistants, friends, family and contemporaries. Prerequisite: permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4625 Venice

A seminar focusing on the art of Venice, in particular on Bellini, Giorgione and Titian. Special attention to the international reputations of these three artists and to problems of patronage, connoisseurship and interpretation. Prerequisite: Art-Arch 361 or 362, or permission of the instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH


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L01 Art-Arch 4629 Carravaggio: Master and Murderer

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 17th 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 bisexual 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.

Credit 3 units. A&S IQ: HUM Arch: HT Art: AH


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L01 Art-Arch 4662 Michelangelo the Architect

When, why and how did the great Renaissance sculptor, painter and poet Michelangelo Buonarroti become an architect? This seminar surveys Michelangelo’s built and unbuilt architecture, his methods and extant drawings, and the process and influence of his creations.

Credit 3 units. A&S: TH Art: AH


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L01 Art-Arch 467 Topics in Baroque Art

Credit 3 units. Art: AH


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L01 Art-Arch 4678 Bosch and Bruegel

Humor, monstrosity, violence, and vernacular culture pervade the oeuvres of Hieronymus Bosch and Pieter Bruegel the Elder, two of the most seminal artists of the Northern Renaissance. This course addresses the complexity of their oeuvres and the methodological problems raised in the interpretation of their enigmatic imagery, with a particular focus on the dissemination of their artistic personas in print. Prerequisites: L01 113 or L01 215; one 300-level course in Art History preferred; or permission of instructor.

Credit 3 units. A&S: LA A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4721 Hydrogen Jukebox: American Art and Culture, 1945-1960

The rise and "triumph" of Abstract Expressionism has long dominated the story of American art following World War II. This new seminar puts Abstract Expressionism into context with parallel developments in the arts, photography and film. Among the topics we consider: the conversation between émigré artists and American culture during and after the war; the emergence of a "noir" aesthetic in film and literature; the early work of Jasper Johns and Robert Rauschenberg and the so-called "aesthetic of indifference" in relation to Abstract Expressionism; artistic collaborations at Black Mountain College; New York school photography and photojournalism; and the cultural impact of the A bomb. Prerequisite: a 300-level course on 20th-century art, photography or history; or permission of the instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 473 Art and Culture in Fin-de-Siècle America

The particular climate of the fin-de-siècle and its expression in art, architecture and letters. Concurrent development in Vienna, Paris and London as basis for comparison. Themes include new theories of mind and perception, the fate of rationalism, the "crisis in bourgeois values," and redefinitions of gender. Prerequisite: permission of instructor.

Credit 3 units. A&S: TH Art: AH


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L01 Art-Arch 4743 Imagining the West

The historical, visual, literary and scientific encounter of Europeans and European-Americans with the North American frontier. Examines how the West as myth and reality was assimilated into, and imaginatively colonized by, both Europe and America from the pre-discovery period through the end of the 19th century. Images of the first encounter, cultural dynamics of the colonization process, cultural resistance of native Americans. Field trips, guest lectures. Prerequisite: 100-, 200- or 300-level courses in art history; or 300-level courses in European or American 19th-century comparative literature, history; or permission of instructors.

Credit 3 units. A&S: TH Art: AH


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L01 Art-Arch 4744 TransAmerica: The US and Mexico between the Wars

Many areas of 20th century U.S. culture between World Wars I and II were inspired by post-revolutionary Mexico. The Mexican Revolution (1910–1917) profoundly reoriented modern Mexico, introducing new cultural and aesthetic forms and historical themes over subsequent decades. Mexican artists contributed to a new national consciousness drawing on indigenous Mexico and on the new politics of workers and peasants, given monumental expression in mural painting. The bidirectional exchange between U.S. and Mexican artists was of great importance for the cultural revitalization of the New Deal and after in the U.S. Among artists, writers, anthropologists and tourists, the vogue for things Mexican was fed by many sources, including increasing travel, diplomatic exchange, and a yearning for alternatives to U.S. modernity. The seminar supports travel to Mexico City, funded by the Art History and Archaeology department. Must be a graduate student, or an undergraduate major or minor in Art History and Archaeology. Recommended courses: one 300- or 400-level course in 20th century U.S. art or history; or one relevant course in Latin American Studies program.

Credit 3 units. A&S: TH, CD A&S IQ: HUM, LCD EN: H


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L01 Art-Arch 475 The City in American Arts and Popular Culture, 1910–1940

Using visual media-painting; prints and illustration; film and animation — along with studies of vaudeville, and other forms of popular and mass entertainment — this seminar analyzes the presence of the city as a theme that registers a range of cultural attitudes toward the modern. Through close readings of visual and verbal texts, we consider such issues as the relationship between work and leisure, and between high culture and popular arts. We look at critiques and celebrations as well as at how the popular arts help the ordinary man and women to negotiate the challenges of the new mechanized and overscaled urban environment. Prerequisites: 300-level course in American 20th-century cultural history, or American art or literature; or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH


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L01 Art-Arch 4770 Cosmopolitan and Native Modernisms: The U.S. and Europe between the Wars

This seminar focuses on two contrasting currents within American and European modernism between the two world wars: native and cosmopolitan. Alternating between the United States and France, it begins in the years before World War I and concludes with the rise of virulent forms of cultural nationalism in the late 1930s. We consider the subjects, personalities, aesthetic strategies, and political and social investments associated with these alternative modernisms, linked to a search for roots, on the one hand, and on the other, to a desire for forms of spatial and social mobility. Comparing "homegrown" and expatriate experience, we consider divergent attitudes toward identity, gender, nation, time and nature, analyzing these two fundamental responses to modernity in relation to one another. Prerequisites: Art-Arch 112 Introduction to Western Art or Art-Arch 211 Introduction to Modern Art; one 300-level course in art history preferred; or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4774 The Age of Gatsby: American Art and Culture from World War I to the Great Crash

Mass consumption and the expansion of mass culture; mechanization; and the birth of a new visual culture that turned on animation, advertising, photography and film. Taking our cues from the cultural contradictions and historical tensions embedded in F. Scott Fitzgerald's great novel of 1925, and the 2013 film inspired by it, this seminar will trace what many at the time called the "Rediscovery of America" and its tribulations. American artists, writers, and cultural theorists embraced the possibilities and pitfalls of American modernity, the nation's mythic promise and its historical dilemmas in the face of growing commercialization and standardization. This seminar is an interdisciplinary look at the art, visual culture, music, literature, and cultural essays of the 1920s through the lens of nation, race, region, and cultural identit(-ies). Prerequisite: 300-level 20th-century American art, history, or literature course, or permission of instructor.

Credit 3 units. A&S: TH Art: AH


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L01 Art-Arch 4776 The Arts of Cultural Democracy: America in the 1930s

What does democratic access to the arts look like? Over the past decade the question of distributive justice has taken on new urgency in our nation. This seminar will look at an earlier period in the nation's history — the 1930s, from the stock market crash of 1929 to the beginning of World War II — when the ideal of cultural democracy was put into practice on a variety of fronts, from dance to the fine arts to public murals and the collecting and inventorying of the nation's material and cultural legacies. We will also consider the possibilities and limits of political art, the impact of John Dewey on future generations of artists and culture-makers; the relationship between leftist politics and modernism; regionalism and internationalism; debates over the nature of documentary photography, and efforts to create a "useable past." Prerequisite: 300-level course in European or American 20th-century art or cultural history, or permission of the instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH


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L01 Art-Arch 4782 Modern Architecture in St. Louis

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4785 Art and Culture in 1920s America

This interdisciplinary seminar examines the relationship between art and 1920s culture in the United States: how artists and critics thought about the nature of our cultural heritage — its rich possibilities and its limitations; the potential of technology and urbanization as well as the threats they pose to older cultural values; the nature of a multicultural society and the contributions of minority traditions to the evolution of American culture; the lure of the Southwest; early criticism of popular media; and the conversation between popular culture and high art. Prerequisite: Art-Arch 112 or permission of instructor.

Credit 3 units. A&S: TH Art: AH


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L01 Art-Arch 481 Topics in Modern Art

The sources, styles, influences and content of the art of such artists as Gauguin and Cézanne examined in the context of contemporary movements in art and literature. Prerequisite: art history major or permission of instructor.

Credit 3 units. A&S: TH Art: AH


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L01 Art-Arch 4816 Art and Culture in Fin-de-Siècle Europe

An examination of painting, photography and the decorative arts in France during the period between the two World’s Fairs of 1889 and 1900. Artistic movements include Symbolism (Van Gogh, Gauguin, Redon), later Impressionism (Monet and Morisot), Neo-Impressionism (Seurat and Signac) and Art Nouveau. Thematics include urban leisure and cafe culture; the agrarian ideal; the promises and threats of science and technology; the lure of the primitive; and the impact of nationalism and feminism on the arts. Prerequisites: Art-Arch 211; any 300-level course in 19th-century art, literature or history; or permission of instructor.

Credit 3 units. A&S: TH Art: AH


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L01 Art-Arch 4817 Paris ca. 1900: Art, Leisure and Spectacle

Paris at the turn of the 20th century was a vibrant international center for the development of the visual arts, including painting, photography, film, and the graphic arts, particularly in the exploding domains of posters and illustrated journals. In this seminar, we study the period 1880 to 1910, and examine how diverse modes of urban visuality were at the heart of the development of French modern art. The place of graphic arts in promoting popular entertainments such as ballet, opera, and café concerts, is considered. Another focus is the powerful role of Parisian satirical journals and caricature in debating matters of class, race and national identity. We examine diverse modes of displaying and selling the visual arts, particularly in the spheres of World's Fairs, annual salons, and in the avant-garde spaces of gallery and café exhibitions. Artists of central concern include Lautrec, Cheret, Mucha, Degas, Pissarro, the Nabis, Vallotton, and early filmmakers such as the Lumière brothers and Méliès. Special focus will be given to works on view in an exhibition on the subject to be held at The Kemper Art Museum in spring 2017. Prerequisites: L01 Art-Arch 215 or permission of instructor; one 300-level course in modern art history, or a course in modern French history or literature preferred. French language reading skills not required.

Credit 3 units. A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4818 Matisse and Modernisms

Certain artists generate enormous interest during their lifetimes and long after. Over time the work of such artists is subjected to a variety of interpretive approaches in light of changing trends in art criticism and art history; the influence of contemporary art; the ebb and flow of interest in different aspects of the artist's production; changes in the political landscape; and the changing sense of how the artist's work intersects with contemporary cultural developments. This set of intersecting concerns is especially fluid in the modern period, when there is no single dominant idea of the role of art in society. The variety of interpretive strategies developed from and applied to the work of Henri Matisse demands a critical reading of the extensive literature on the artist, as well as an understanding of the variety of modernisms through which to assess his artistic project. Students gain a thorough familiarity with the work of one of the most influential artists of the 20th century; engage aspects of the historiography of 20th-century art through a survey of developments in the Matisse literature; and develop a specific topic in Matisse's art, or the writing about his art, into a class presentation and research paper. Prerequisites: Art-Arch 112, Art-Arch 113, Art-Arch 211 or Art-Arch 215; one 300-level course in art history preferred; or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4819 The Century of Picasso

The art of Pablo Picasso (1881-1973) spanned three-quarters of the 20th century, and posthumous critical response to his work shows no sign of abating. Picasso was a leading figure in the European primitivist trends at the beginning of the last century, and with Georges Braque, he developed the aesthetic system of Cubism, which rewrote the rulebook of artistic representation. Although he was not an activist, his art routinely engaged momentous political events. Toward the end of his career, he strove to shape his legacy through artistic dialogues with artists of the past by appropriating their styles or subjects, and making them his own. Such eclectic activity, coupled with his creativity and prolific output, has ensured his place among the most influential artists of his century. Prerequisites: one 300-level course in modern art or permission of instructor; junior, senior or graduate standing.

Credit 3 units. A&S: TH A&S IQ: HUM EN: H


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L01 Art-Arch 4850 Romanticism to Realism: French Art 1830-1871

This course traces the flourishing of romanticism and the emergence of various forms of Realism in 19th-century French modernism, opening with the Revolution of 1830. Artistic tendencies ranging from the official and the academic to emergent romantic and avant-garde alternatives are addressed, as well as the unresolved social and aesthetic tensions that support the demand for an art that addresses modern times. The political idealism and the rhetoric of Republicanism in the Second Republic (1848 to 1852) intertwine with the emergence of a critical modernism that seeks truth in form, in materiality, and in political philosophy. Under the authoritarian regime of the Second Empire (1852-1870), the mandates of realism and idealism continue to vie in a period that sees both the flourishing of the academic system and the art dealer system, and the emergence of a critical avant-garde. The course closes with the emergence of Impressionism and the crisis of the Franco-Prussian war. Artists to be discussed include Delacroix, Ingres, Millet, Daumier, Courbet, Corot, Manet, Bonheur, Bayre, Clesinger, and the early careers of Bazille, Degas, Monet, Renoir, Pissarro, Degas, Morisot and Cassatt. Prerequisites: limited to graduate students in Art History; advanced undergrads only with permission of instructor. Some prior knowledge of French modernism required; some facility with French language useful but not required.

Credit 3 units. A&S: TH A&S IQ: HUM EN: H


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L01 Art-Arch 4854 Gauguin in Polynesia: The Late Career

This seminar focuses on the late career of Paul Gauguin, in Tahiti and the Marquesas. This course examines closely the colonial context of fin-de-siècle French Polynesia, Gauguin's response to indigenous culture, his ongoing interests in European currents of theosophy and anarchism, the development of his primitivist style in response to the French avant-garde, and Gauguin's legacy to modern art and culture in the early 20th century. Readings range from primary texts (literature and journals read by the artist, his letters, his satirical articles and caricatures produced for a Tahitian newspaper, his treatises on religion), to postcolonial theory and recent critiques of primitivism. French reading skills are useful, but not required for the course. We visit the Saint Louis Art Museum to view both the Oceanic collection, and prints and paintings by Gauguin. Prerequisite: at least one upper-level course in modern art history, or permission of the instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4856 French Art and Politics in the Belle Epoque

This interdisciplinary seminar addresses the rich intersection of politics, fine arts and visual culture in modern France from the Franco-Prussian War (1870) to the First World War (1914). We will study the political trends, historical events, and cultural conditions of the era, and their direct influence on the production and reception of a wide range of visual arts, ranging from official paintings and monuments to popular culture such as tourist and documentary photography, commercial posters and political caricature. We also examine the question of what it meant in the Belle Epoque to be an avant-garde artist, and how such artists expressed political sentiment in their work. Prerequisites: permission of instructor. 

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4859 Visualizing Orientalism: Art, Cinema and the Imaginary East 1850-2000

This seminar examines film and modern art within the framework of "Orientalism." Reading foundational texts by Said, and incorporating theory and historical discourse concerned with race, nationalism and colonialism, we explore artistic practice in European photography, painting and decorative arts from 1850 to recent times, and European and Hollywood film. We study how power and desire have been inscribed in western visual culture across the bodies of nations and peoples through conventions such as the harem, the odalisque, the desert, and the mysteries of ancient Egypt. To that end, we look at artists such as Delacroix, Ingres, Gérôme, Beardsley, and Matisse and screen films such as The Sheik, The Mummy, Salome, Cleopatra, Pepe le Moko, Naked Lunch, Shanghai Gesture, Thief of Bagdad, Princess Tam Tam and The Sheltering Sky. Subjects include the representaion of gender, sexuality, desire, race and identity as well as the cultural impact of stereotype and "exotic" spectacle. Students study methods of visual analysis in film studies and art history. All students must attend film screenings.
Same as L53 Film 485

Credit 3 units. A&S: TH, SD A&S IQ: HUM, LCD, SD EN: H


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L01 Art-Arch 4861 Paul Gauguin in Context

An examination of the art and career of Paul Gauguin (1848-1903) and the artistic, social, and political milieu in which he worked in France and Polynesia. Readings will include the artist's writings, studies of avant-garde culture and primitivism in fin-de-siècle France, and postcolonial theory. Special emphasis will be given to the relationship of the artist and his work to indigenous Polynesian and French colonial cultures of the 1890s. Prerequisite: Art-Arch 211, or any 300-level course in art history, or permission of instructor. Reading knowledge of French useful, but not required.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4863 The Photographic Muse: The Modern Artist and the Camera

An examination of the interplay of photography with painting and sculpture in European art from 1850 to World War I, with an emphasis on the fin-de-siècle. Readings address the history of the medium; the critical debates (starting with Baudelaire ) over photography as a tool of science or of art; the rise of ethnographic photography; the Symbolist ambivalence toward technology; and the development of Pictorialism at the turn of the century. Artists studied include Nadar, Moreau, Degas, Rodin, Steichen, Gauguin, Munch, the Nabis, Brancusi and Picasso. Prerequisite: graduate standing.

Credit 3 units. A&S: TH Art: AH


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L01 Art-Arch 4864 Exoticism and Primitivism in Modern Art

An interdisciplinary investigation of the development of exoticism and primitivism in European and American art from the Enlightenment to World War II. Topics include exoticist representations of non-Western cultures; the links between colonialism and orientalism; the intersection of discourses on race and gender with exoticism; and the anti-modernist impulse of fin-de-siècle primitivism. Sample artists and authors include Delacroix, Flaubert, Gauguin, LaFarge, Picasso and Matisse. Prerequisites: any 300-level course in art history and permission of the instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4867 The Impressionist Landscape: Style, Place and Global Legacies 1870–1920

We will consider Impressionism as a dominant style of the Parisian art world, first undertaken as an extension of Barbizon naturalism, but soon expanded into an avant-garde style that objectified sensation and emotion in the name of truth in representation. We will examine the place of individual perception, the physiology of sight, and theories of the natural in the development of the Impressionist landscape, through the consideration of style, genre, artistic theory, and these artists' investment in particular sites. Furthermore, the social, commercial and critical networks that supported the movement will be analyzed. Particular attention will be given to Monet, and a special exhibition of his water lily paintings on view at the Saint Louis Art Museum. Other key artists include Degas, Morisot, Renoir and Cassatt. We will also discuss the relationship of the Impressionist landscape to the development of modernist abstraction, and the aesthetic and nationalist motivations for its appropriation across the globe. Prerequisite: Introduction to Western Art; Introduction to Modern Art, or permission of instructor. 

Credit 3 units. A&S: TH A&S IQ: HUM, LCD Art: AH EN: H


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L01 Art-Arch 4868 Impressionism and the Nation in France and Beyond: Painting and Photography 1860-1920

We consider Impressionism as a dominant style of the Parisian art world, first undertaken as an extension of Barbizon naturalism, but expanded into an avant-garde style that objectified sensation and emotion in the name of truth in representation. Our central question is the relationship of individual perception, the physiology of sight, and theories of the natural in relation to the importance of place — both region and nation — in the political imagination of the era. We also address the relationship of the Impressionist landscape to the development of modernist abstraction, and the aesthetic and nationalist motivations of its adaptation as a modernist style around the globe. Particular attention is focused around an exhibition "Impressionist France: Visions of Nation" at the St. Louis Art Museum. This seminar has a required travel component to see related works of art in Kansas City and on the east coast; students' expenses are covered. Prerequisite: senior major in art history, or graduate student standing and permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM EN: H


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L01 Art-Arch 4877 Critical Studies in Portraiture, Ancient to Contemporary

To study portraiture is to confront the complexity of human identity. The central theoretical question of this course is how identity can be expressed in a portrait. Following consideration of theories of portraiture, identity and artistic representation, we treat specific historical and cultural instances of portrait-making, from ancient Greece to the present. Non-Western cultural examples broaden the scope beyond the conventional conceptions of portraiture. We conclude by trying to understand the continuing allure of the portrait today as digital media challenge our conventional ideas of visuality, and perhaps even the urgency of portraiture in the post-human age.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4879 Marking History: Painting and Sculpture After World War II in the U.S., France, and Germany

This seminar focuses on the aesthetic, cultural and philosophical reactions to the devastating events surrounding World War II and its later reception. We consider artistic developments within a network of international exchange — biennials, gallery and museum exhibitions — in which France, Germany, and the U.S. participated equally within a field of visually similar aesthetic responses to a seismic shift in historical consciousness. What distinctive artistic languages emerged after the war to express transformations in historical consciousness, and in older ideas about an unfettered subjectivity? In what ways did concepts of trauma with which we live today reshape collective memory and leave their trace on painting and sculpture? Looking at abstraction and semi-abstract works in painting and sculpture, we analyze the works of Jackson Pollock, Willem de Kooning, Alberto Giacometti and Jean Dubuffet, Wols, K.O. Götz, Emil Schuhmacher and Hans Hartung. Student research for this seminar will contribute to an exhibition being organized by the Kemper Museum of Art. Students with reading skills in German or French are encouraged. Prerequisites: L01 215 Intro to Modern Art, Architecture and Design or permission of the instructor.

Credit 3 units. A&S IQ: HUM EN: H


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L01 Art-Arch 4900 Independent Study and Research

Credit variable, maximum 3 units.


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L01 Art-Arch 4905 Greenberg Curatorial Study

The Arthur Greenberg program offers students the experience of curating an exhibition. A small team (of two or three) are selected through a competitive application process the year before they enroll in the course. Students sign up for 3 credits in the fall semester, and one credit in the spring. Under the supervision of a faculty mentor in the Art History & Archaeology Department and a curator in the Mildred Lane Kemper Art Museum, students plan and curate an exhibition for the museum's Teaching Gallery. They also research and write a short brochure, prepare educational materials, and offer related programs for the exhibition which usually opens in April. Fall three-unit course fulfills a departmental capstone requirement for the major.

Credit variable, maximum 4 units. A&S: TH A&S IQ: HUM EN: H


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L01 Art-Arch 4918 Obscene as Cancer: Modern War in Art

Art and war have always been intertwined, whether in glory or revulsion. But modern art and modern war are qualitatively different from their counterparts in the past in ways that ensured that their relationship would become more problematic and oppositional. The challenge of finding new artistic languages to express the new conditions of mechanized combat led many artists to explore abstraction, fragmentation, absurdity or arbitrariness to convey the energy, impersonality and nihilism of modern war. When the British soldier and poet Wilfred Owen (1893-1918) wrote of the human devastation of World War I as "obscene as cancer, bitter as the cud," he strained for metaphoric language appropriate to its magnitude. We will consider the same challenge to visual artists throughout the modern period. 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.

Credit 3 units. A&S IQ: HUM Arch: HUM EN: H


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L01 Art-Arch 4921 Theory for Art History: Modernism/Modernity/Postmodernism

This course introduces key modern theories. Considering diverse thinkers, this seminar focuses on concepts that have framed and re-framed the study and interpretation of aesthetic modernism and postmodernism over the past century. We read and discuss primary theories and probe their application through close visual readings of individual works of art. Discussions seek a better understanding of the role and meaning of the aesthetic object within a variety of theoretical contexts, extending from an investment in the universalist modern artistic subject, to the shifting role of the contingent viewer within modernity to an expansion of the traditional boundaries of the discipline of art history into visual studies. Prerequisites: advanced undergraduate standing, permission of the Instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4922 From the Death of the Author to the Birth of YouTube: Identity in Contemporary Art

What constitutes an artist today, when anyone can upload his or her musings to the entire world? Is the question even relevant? This course introduces students to the construction of artistic identity in contemporary art. Students consider major themes governing the production of contemporary art. We cover such topics as the death of the author and the end of art, identity politics and "authenticity," and the effects of new media on the construction of artistic persona. This course assumes a basic familiarity with the methods of art history, as well as general knowledge of art history before 1960. Prerequisites: Introduction to Western Art or Introduction to Modern Art and one 300-level course in art history, or permission of the instructor.

Credit 3 units. A&S: TH A&S IQ: HUM EN: H


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L01 Art-Arch 4923 Globalization and Contemporary Art

What does globalization mean for contemporary art? And what do we even mean when we use the term? This upper-level seminar course considers recent art (1985–present) in the context of theories of development, postcolonialism and globalization. We focus on the tensions between the global and the local, as well what it means for an artist to be national or international. We also consider the impact of neoliberal economic policies on art production and the art market, as well as the role museums play in this international context. Finally, we consider the internet and social networks as globalizing influences that affect the production and distribution of contemporary art. Prerequisites: Introduction to Western Art or Introduction to Modern Art and one 300-level course in art history, or permission of the instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH, HUM EN: H


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L01 Art-Arch 4924 1968 and its Legacy

The events of 1968, including the May riots in Paris, the Tucuman Arde exhibition in Argentina, the Tlatelolco Massacre in Mexico City, and the Prague Spring (and Russian winter) in the Czech Republic, just to name a few, ushered in a new political and social imperative for artists. This class starts with 1968 and traces its legacy to the social and cultural movements of the 1980s, 1990s and early 2000s. We seek to understand the historical underpinnings of contemporary activist art and determine the roles of socially-motivated art in the current political and intellectual climate. Art-Arch 112, Art-Arch 113, Art-Arch 211, or Art-Arch 215; one 300-level course in art history preferred; or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM EN: H


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L01 Art-Arch 4925 The Persona of the Artist: Contemporary Visual Artists and their Writings

An art movement is located as much in the writing that "surrounds" it as in the body of objects that apparently "comprise" it. In the art world today, it is generally accepted that artists are also artist-writers. This course explores this phenomenon by examining the writings of late 20th- and early 21st-century visual artists. In addition to studying social and political contexts, we analyze the various modes of writing that artists employ, look for specific points of intersection between their art and writing, consider the circumstances and venues of the writings' publication, study how the writings figure into the contemporary reception of the artists' visual practices, and evaluate art historians' uses of artists' writings. In exploring a range of case studies, we contemplate the motivations and critical function of writing versus or in combination with art-making as well as the role that the practice of writing plays in forming the identity of the contemporary artist-subject. Prerequisites: Intro to Western Art (L01 Art-Arch 113) or Intro to Modern Art (L01 Art-Arch 215); one 300-level course in art history preferred; or permission of instructor.

Credit 3 units. A&S IQ: HUM EN: H


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L01 Art-Arch 4975 Collecting Cultures: Taste, Passion and the Making of Art Histories

This seminar examines the theory and the cultural history of the collecting of art objects and artifacts from a range of cultures and periods, considering how and why both individuals and institutions create collections. What social and psychological factors drive this passion? What are the various cultural, political and aesthetic priorities that have driven this practice historically? How is cultural patrimony defined, and how do law, the art market and cross-cultural ethics impact the placement, study and display of a culture's material heritage? We build the seminar around the history of collecting in America, with a focus on Midwestern examples, and particularly, important case studies in St. Louis. We, for example, consider the significant local collections built by Joseph and Emily Rauh Pulitzer (modern art), and Morton May (modern and oceanic art), as well as the histories of both modern and non-Western collections now owned by the St. Louis area museums. This course is complemented by various local field trips (SLAM, Pulitzer, Kemper and Cahokia). Prerequisites: Art-Arch 112, Art-Arch 113, Art-Arch 211 or Art-Arch 215; one 300-level course in art history preferred; or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 4982 Public Art: History, Practice, Theory

The course will consider the history and functions of public art, with special attention to public art in St. Louis. We survey not only the obvious forms of public art in urban sculpture and mural painting, but also less traditional intersections of art and public in such sites as the internet. We will also examine the operations of institutions — national and local arts agencies, international exhibitions, nonprofit centers and the like — that foster a public engagement with contemporary art. Finally, we will consider new priorities and projects in public art, especially socially oriented and environmentally sustainable initiatives. Prerequisites: L01 Art-Arch 112 Introduction to Western Art or L01 Art-Arch 211 Introduction to Modern Art; one 300-level course in art history preferred, or permission of instructor.

Credit 3 units. A&S: TH A&S IQ: HUM Art: AH EN: H


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L01 Art-Arch 499 Honors Art History and Archaeology

A major research paper acceptable to the department. Prerequisite: permission of the department. Max. 6 units.

Credit 3 units. A&S: TH EN: H


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