Tamar Kharatishvili

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

In 2015, migration leapt into the headlines, becoming a topic of contemporary discussion like never before. From the plight of refugees attempting to cross the Mediterranean into Western Europe to 'illegal immigration' as a campaign issue in the last U.S. elections, the world's attention is focused on people on the move, often in quite desperate situations. Yet migration has been with us for a long time-- some would say, for much of human history-- and it has not always been linked to crisis. Migrants have included intellectuals who have exported ideas from country to country, as well as today's nomadic artists who journey around the world to exhibit and develop their practices. Starting from the era of World War II, this course investigates connections between artistic practice and migration over time, integrating historical case studies with critical theory to evaluate how contemporary art might continue to engage this topic in the 21st century. We will consider and differentiate different types of subjects on the move, among them migrant, nomad, emigre, exile, refugee, tourist, expatriate, and guest worker, and consider the implicit hierarchies that can subject them to drastically different institutional responses. At the center of our discussions will be questions of the personal and the affective. How might we responsibly address migration as contemporary subject-matter, and how might our own migration stories be made relevant for others?