( ) Year of initial appointment at Binghamton
Abou-El-Haj, Barbara, Associate Professor, PhD, 1975, University of California at Los Angeles: Social history of medieval art and architecture, political economy of building; cult of saints. (1985)
Barzman, Karen-edis, Associate Professor, PhD, 1986, Johns Hopkins University: Early modern visual and material culture; the institutions of art, art education and criticism; art, religion, and the state in the early modern era; feminist theory, gender studies and feminist histories of art. (1999)
Burroughs, Charles, Associate Professor, PhD, 1978, Warburg Institute, London University: Italian Renaissance, architecture and urban design, landscape history, vernacular environments. (1982)
King, Anthony D., Professor, PhD, 1983, Brunel University: Social production of building form, colonialism and urbanism, world systems and post-colonial theory, ethnic architecture and development. (1988)
McDonough, Thomas F., Assistant Professor, PhD, 1998, Institute of Fine Arts: History and theory of 19th- and 20th-century urbanism and architecture. (1998)
Nzegwu, Nkiru, Associate Professor, PhD, 1988, University of Ottawa: Philosophy of art; modern and traditional African art aesthetics; colonialism and post-colonial influences in contemporary African art; 20th-century African American, African Canadian and Caribbean art. (1990)
Tagg, John, Professor and Chair, MA (RCA), 1973, Royal College of Art, London: History and theory of photography, modern European and American cultural history, contemporary critical theory (Marxism, semiotics, post-structuralism). (1986)
Vazquez, Oscar E., Associate Professor, PhD, 1989, University of California, Santa Barbara: Modern European art, patronage, and art market systems; 18th- and 19th-century art criticism and theory; Spanish art and cultural history; Latin American 19th- and 20th-century art. (1991)
Wilson, Jean C., Associate Professor, PhD, 1984, Johns Hopkins University: Renaissance and early modern visual culture in Italy and Northern Europe (1300-1700); art markets and conditions of production. (1986)
Distinguished Visiting Scholars
Burgin, Victor, 1987, Professor of the History of Consciousness, University of California, Santa Cruz
Cromley, Elizabeth, 1995, Professor of Architectural History, State University of New York at Buffalo
Hadjinicolaou, Nicos, 1988, Professor of Art History, University of Crete
Hall, Stuart, 1989, Professor of Sociology, Open University, England
Moxey, Keith, 1993, Professor of Art History, Barnard College, Columbia University
Parada, Esther, 1990, Professor of Photography, University of Illinois at Chicago
Sassen, Saskia, 1992, Professor of Urban Planning, Columbia University
Wolff, Janet, 1990, Professor of Visual Culture Studies and Women’s Studies, University of Rochester
Romano Scholars
D’Ambra, Eve, 1997, Assistant Professor of the Art Department, Vassar College
Kutner, Ann, 1998, Associate Professor
of History of Art, University of Pennsylvania
The curriculum in the history of art acquaints students with the visual culture of humankind through the ages: with works of art as individual organizations of shape, space, color and as cultural artifacts with a history and function within their societies linked to other forms of cultural production. The curriculum shares the studio program’s concern with understanding the making of art, and the concern of other humanities departments with the variety of ways in which art has become a focus for discourse in the past and in the present. Students may enroll in one or more of the introductions to art and architecture or to particular media or fields. They may also take more specialized historical courses in the art and architecture of a particular era, or topical courses on a particular problem in the field.
The curriculum places the study of art within the broadest possible context, and well-prepared students are encouraged to take more specialized courses linked to their work and majors in other fields. The department encourages and advises students toward interdisciplinary studies and sponsors conferences, symposia and the use of the University Art Museum exhibitions to strengthen such links to other fields.
The art history undergraduate major in the Art History Department offers three development tracks through its program.
1. The standard art history concentration prepares undergraduate majors for scholarly and professional work and study in the fine arts world — advanced graduate study, professional museum and gallery work, and arts administration careers.
2. The concentration in architectural/urban history prepares departmental majors for advanced study in the field, for careers in teaching, for professional work in such areas as historic preservation, and for civic administrative work in related areas.
3. The pre-architecture concentration prepares students for entry into professional graduate schools of architecture, design and urban planning by providing the prerequisites for admission into such programs.
Students who declare a specialization in art history normally take the introductory sequence (ARTH 101-102-103) in the freshman or sophomore year and then move into intermediate courses (ARTH 210 level) and advanced courses and seminars (ARTH 300 and 400 levels) that focus more intensely on particular periods and problems. The Seminar in Theory and Methods (ARTH 496) examines the discipline and its history from a theoretical and critical perspective. It is offered in the spring semester only. The honors course offers an opportunity to crystallize one’s studies in a carefully defined project supervised by a member of the art history faculty. Students must obtain the agreement of a member of the faculty to enroll for this course and present him or her with a short proposal outlining the proposed topic.
Majors in art history may elect the Pass/Fail grade option in only two art history courses. These courses may not include ARTH 496, Seminar in Theory and Methods or ARTH 498-499, Senior Honors.
| credit hours | |
| Track A: Art History | |
| Lower Level-two from 101, 102 and 103 | 8 |
| Intermediate Level-210 and above; five in
total, of which at least two must be in each of: |
|
Pre-18th Century |
8 or 12 |
18th century to present |
8 or 12 |
| Seminar in theory/method (ARTH 496) | 4 |
| Elective in Studio Practice | 4 |
| Senior Honors (ARTH 498-499) | 8 |
| TOTAL | 40-44 |
| Track B: Architectural History | |
| Lower Level-101 or 102; and 103 | 8 |
| Intermediate Level-210 and above | 20 |
Three must be in the history of |
|
| Additional upper-level course | 4 |
| Seminar in theory/method (ARTH 496) | 4 |
| Art Studio course in drawing | 4 |
| Senior Honors* (ARTH 498-499) | 8 |
| TOTAL | 40-44 |
| Track C: Pre-Architecture | |
| Lower Level: 101 or 102; and 103 | 8 |
| Intermediate Level: 210 and above | 20 |
| Three must be in the history of
architecture; at least one in each of: Pre-18th century |
|
| Additional upper-level course | 4 |
| Seminar in theory/method (ARTH 496) | 4 |
| Art Studio courses; Intermediate-level drawing plus elective | 8 |
| Senior Honors* (ARTH 498-499) | 8 |
| Required courses outside the department: MATH 221 and
PHYS 121 |
8 |
| TOTAL | 52-56 |
* Students not enrolled in Senior Honors must take an additional course at the 400 level outside of ARTH 496.
The honors program in art history is an opportunity for qualified undergraduate students to do advanced work with an individual faculty member for two semesters during their senior year. Based upon the successful completion of the senior honors project and a demonstration of overall excellence in art history courses, the department will award the BA degree with honors in art history. Requirements for admission to the honors program are a 3.5 average in art history and related courses for the major concentration through the sixth semester and the approval of a faculty adviser, who will also supervise the two-semester project.
The certificate in art history consists of 24 credit hours, distributed as follows:
| Two courses from ARTH 101, 102 or 103 |
8 |
| Intermediate/advanced level (ARTH 210 and above) Of these, no more than four credit hours may be an Independent Study (ARTH 397). |
12 |
| Seminar in Theory and Methods (ARTH 496) | 4 |
|
TOTAL |
24 |
Of the 24 total credits, at least 16 credit hours must be completed through department course offerings; the remaining eight credit hours may include art history transfer credits. A P/F grade option may be elected for only one course. This course may not include ARTH 496, Seminar in Theory and Methods.
TopThe graduate program offers opportunities for advanced studies and research in the history and theory of art and architecture, with a particular commitment to new theoretical and methodological approaches. Supported by University strengths in history, sociology, anthropology and critical theory, it aims to develop scholars, teachers, museum, conservation and other professionals capable of interpreting the role of art and architecture within cultural production in the broadest sense. Because of its programmatic links with other interdisciplinary research centers and graduate programs within the University, the program in the history and theory of art and architecture also offers a unique opportunity to graduate students wishing to undertake innovative studies of a cross-disciplinary nature, stressing the development of critical, theoretical and historical perspectives in relation to the visual arts, photography, architecture, planning and the wider-built environment, and to the social and political contexts in which they may be embedded at a local, national and global level.
The program is particularly suited to students wishing to pursue careers in research, education and museum and gallery practice, as well as related areas in urban design, planning and administration. Essential to the program is the active working relationship between faculty and students. Advanced studies and research supervision are currently offered in theory and criticism, the social history of art, feminist interpretations of art, the history of photography, the history and sociology of planning and urban design, and selected periods of art and architectural history, from Medieval, Renaissance and Baroque to modern and contemporary. In addition to organizing the department’s own cross-disciplinary annual symposia — Current Debates in Art History and Working Papers in Art History — faculty and students are actively involved in the teaching and conference activities of other interdisciplinary centers and programs, including the Fernand Braudel Center for the Study of Economies, Historical Systems and Civilizations; women’s studies; philosophy, literature and criticism; comparative literature; and the Center for Medieval and Renaissance Studies.
Candidates for admission to the graduate program should write in advance to the director of graduate studies concerning resources and possibilities of their areas of interest.
A minimum of eight courses (32 credits) with regular letter grades and a B average or better, to be distributed as follows:
| credits | |
| ARTH 500. Theory and Methods of Art History
(required in the first year) |
4 |
| Seven courses (including at least five art history seminars) |
28 |
Students are required to produce a master’s thesis, finished to a professional standard and approximately 30 pages in length, by the end of their fourth semester. The paper is refereed by a second reader, assigned by the departmental graduate committee.
Students planning to apply for funding into the doctoral program should have submitted a first draft of their master’s thesis to their supervisor by the date of final registration for the spring semester.
The MA/MBA in Art History and Arts Administration provides students with both the professional level of management competence required of arts administrators and the academic enrichment that will give them an understanding of current developments in the discipline of art history affecting the role of arts institutions.
For students concurrently enrolled both in the master’s program in the History and Theory of Art and Architecture and the MBA in Arts Administration, the degree requirements for the MA in Art History are as follows:
A minimum of nine courses (36 credits) with regular letter grades and a grade average of B or better, to be distributed as follows:
| credits | ||
| ARTH 500. Theory and Methods of Art History (required in the first year) | ||
| Eight courses (including at least sixart history seminars) |
| credits | |
| Graduate courses (500-600 level) in art history and related subjects |
32 |
| ARTH 500. | 0-4 |
| ARTH 699. Dissertation registration, as required to maintain registration after admission to candidacy |
To be accepted for candidacy by the art history faculty, a student must have:
1. completed the coursework described above for the doctoral program.
2. passed a reading comprehension examination demonstrating an ability to read research literature in his or her areas of interest in at least two appropriate languages of scholarship in addition to English. Work in certain fields may require additional language skills.
3. passed a comprehensive oral examination before a committee designated by the art history faculty. The examination focuses on: i) a circulated dissertation proposal; ii) professional knowledge and practice (based on a familiarity with broad methodological and historio-graphical questions in the discipline as demonstrated by syllabi and/or proposals in the student’s chosen professional field, as agreed with the chair of the examining committee).
4. presented a written prospectus of the dissertation outlining in detail the problem, the method of inquiry and
the relevant literature on the subject for approval by a three-member dissertation committee.
The art history faculty recommends for the degree of doctor of philosophy a student who has:
Top1. completed an approved program of study and University residence requirements
2. submitted a dissertation acceptable to the department. An acceptable dissertation demonstrates the student’s ability to handle a significant art historical problem in a critical and scholarly manner and makes a contribution to the discipline.
3. defended the dissertation before a committee designated by the art history faculty and approved by the vice provost for research and graduate studies.
ARTH 101. INTRODUCTION TO ART
Understanding major developments, structures and institutions of the history
of art. Lectures with discussion sections.
ARTH 102. CONTEMPORARY ISSUES IN ART
Understanding the language of art history and criticism and its relation to
contemporary art, art institutions and the broader field of visual culture.
ARTH 103. INTRODUCTION TO ARCHITECTURE
Understanding built environments: space, structures, settlements,
landscapes; major monuments and contemporary issues.
ARTH 111 (ALSO AFST 111). INTRODUCTION TO THE WORLD OF AFRICAN ART
Introduction to basic ideas about art and art-making in ancestral Africa:
concepts of nka, ona, neku, design consciousness and imagination.
ARTH 221. ICONS AND IMAGES OF THE AFRICAN WORLD
Explores concepts of the rites, performance and life force in understanding
the production of art in different African and African diasporic communities in
the 19th and 20th centuries.
ARTH 230. GOLDEN ARTS OF KINGS
Art and architecture produced in Europe from the sixth to the ninth century,
from the grave jewels of Germanic chieftains to the imperial architecture of
Justinian and Charlemagne. Ivory throne of Maximian, Sutton Hoo ship burial,
Book of Kells and Coronation Gospels.
ARTH 242. NORTHERN RENAISSANCE MASTER PAINTERS
Oil painting originated in the early 15th century in the South Netherlands.
Exploration of artistic and broader cultural phenomena that led to development
of painted panel, its fate and its diverse messages.
ARTH 251. GRAFFITI/MURALS AND PUBLIC SPACE
Traces the historical precedence of contemporary murals and graffiti of
different cultures, focusing on Latin America. Examines how graffiti and murals
in public spaces have been contextualized within the popular and critical
debates since the early 1970s in light of the transformations of major urban
centers. No prerequisites, but ARTH 101 or 102 helpful.
ARTH 252. AMERICAN ART AND SOCIETY, 1930-1960
Organized around three moments or conjunctures: The Moment of Documentary,
1933-1939; The Radical Retreat, 1939-1947; and The American Century, 1947-1960.
In a period of intense crises and conflicts, new types of governmental policies
attempted to negotiate threatening social conditions, the cultural and political
economy were recast and "American" culture emerged into a period of
political conformity and global hegemony.
ARTH 254. CONSTRUCTS OF MODERNISM
Examination of the historically important concepts of modernity, modernism and
avant garde as objects of critical study within the visual cultures of the 19th
and early 20th centuries.
ARTH 275. BUILDING THE ATLANTIC WORLD: ARCHITECTURE AND URBANISM OF THE
FIRST GLOBAL ERA, C. 1500 TO 1800
Concerned with architecture, including the making of cities and designed
landscapes, in Europe and the Americas from the 15th to the 18th centuries. Main
focus on developments involving both sides of the Atlantic, linked by the
infamous "triangular trade." Considers the impact of Near Eastern and
Chinese ideas, architectural idioms, and technologies in the "West,"
especially France and England.
ARTH 276. MODERN ARCHIteCture AND URBANISM every other year
International survey of architecture and urbanism from late 18th century to
post-Modernism of 1970s. Major architects, stylistic trends, building types and
structural systems discussed to evaluate modern built environment. First half of
course covers period to Art Nouveau (c. 1900); second half, 20th century.
ARTH 278. AMERICAN ARCHITECTURE every other year
Survey of American architecture and urbanism from late colonial period to
present. First half of course covers to end of 19th century; second half, to
post-modernism of 1980s. Stylistic manifestations in relation to design process,
architectural theory, technological change and social, cultural and political
phenomena. Characteristic patterns of American urbanization. Architecture of
Binghamton is field laboratory for studying national styles and regional
manifestations. Course as much about architecture in general as about American
architecture; for majors and non-majors.
ARTH 279. CULTURE, DWELLINGS AND DESIGN
Explores the question of how culture affects the design and use of dwellings
in different regions of the world. Within a cross-cultural framework, examines
recent methods of cultural analysis as applied to the study of housing and
design and discusses contesting theories for the explanation of dwelling form.
ARTH 280. HISTORY OF PHOTOGRAPHY every other year
Introduction to problems in theory, analysis and history of photography.
Nature of camera apparatus and photographic meaning; development of photography
as the basis of a picture industry; growth of photographic records and
documentary evidence, recent emergence of new forms of critical practice. Woven
into course is study of the institutional and discursive orders in which
photographies function and produce meaning.
ARTH 281 and 286 A-Z. TOPICS IN ART HISTORY
Intensive study of particular pre-18th century themes and problems
determined in advance. May be repeated for credit if different topic offered.
ARTH 282-283 A-Z. TOPICS IN 2 cr.ART HISTORY
Intensive study of particular pre-18th century themes and problems
determined in advance. May be repeated for credit if different topic offered.
ARTH 284 and 285 A-Z. TOPICS IN 2 cr. ART HISTORY
Intensive study of particular post-18th century themes and problems
determined in advance. May be repeated for credit if different topic offered.
ARTH 287, 288 and 289 A-Z. TOPICS IN ART HISTORY
Intensive study of particular post-18th century themes and problems
determined in advance. May be repeated for credit if different topic offered.
ARTH 330. MEDIEVAL CULT OF SAINTS
History, distribution, art and architecture of the cult of saints.
Illustrated manuscripts, reliquary shrines, stained glass displayed in new
churches to attract pilgrims to towns such as Vezelay, Sainte-Foy, Monte Cassino
and Canterbury, among others.
ARTH 340. MASTERS OF EARLY REALISM
The major advances in the mastery of naturalistic representation in Italy,
France, Flanders and the North Netherlands during 1350-1675 and the complex
sociopolitical and religious circumstances within which these pictorial
accomplishments were achieved. Prerequisite: one 100-level ARTH course.
ARTH 352. INTERMEDIATE WORLD OF AFRICAN ART
Exploration of cultural and artistic issues in the works of 20th century African
and African diasporic artists as shaped by major historical events in Africa,
Canada, Caribbean, South America and the United States. Prerequisites: ARTH 111
or 221.
ARTH 355. IMPRESSIONISM/POST-IMPRESSIONISM
The developments and critiques of works that came to be termed under the
problematic rubrics of Impressionism and Post-Impressionism, within the context
of the changing urban and political environments of the 1860s through 1900.
Although works from Spain, Germany and South America are examined, emphasis is
placed on western European trends exploring figures such as Manet, Cassatt,
Morisot, Monet, Van Gogh and Seurat.
ARTH 356. LATIN AMERICAN AND U.S. LATINO/A VISUAL CULTURES
An analysis of the major, critical debates concerning the visual cultures and
representation of Latin America and United States Latino/as. Each class focuses
upon a particular aspect of these debates, or upon a particular country, artist
or medium, while including an examination of its historical, stylistic and
iconographic development.
ARTH 370. READING THE CITY
Cities are spatial and architectural representations of social life, and
different cultures, economies, histories and places produce different forms and
images of the city. But cities are themselves also represented in different
cultural forms — in novels, films, scholarship and the visual arts.
Consideration of a wide range of issues prompted by contemporary city writings
from a range of disciplines. In addressing discourses on the city, the different
sessions tell us something of the cities themselves, their cultures and their
spaces, as well as the conditions in which they exist.
ARTH 381 and 386 A-Z. TOPICS IN ART HISTORY
Intensive study of particular pre-18th century themes and problems
determined in advance. May be repeated for credit if different topic offered.
ARTH 382 and 383 A-Z. TOPICS 2 cr. IN ART HISTORY
Intensive study of particular pre-18th century themes and problems
determined in advance. May be repeated for credit if different topic offered.
ARTH 384 and 385 A-Z. TOPICS 2 cr. IN ART HISTORY
Intensive study of particular post-18th century themes and problems determined
in advance. May be repeated for credit if different topic offered.
ARTH 387, 388 and 389 A-Z. TOPICS IN ART HISTORY
Intensive study of particular post-18th century themes and problems
determined in advance. May be repeated for credit if different topic offered.
ARTH 397. INDEPENDENT STUDY
ARTH 430-489. ADVANCED STUDIES IN ART HISTORY
These courses are restricted in scope, require specialized knowledge and
have specific course prerequisites depending on the subject.
ARTH 452. ADVANCED WORLD OF AFRICAN ART
Guided research into the life and art of artists of the global African world
(namely, Africa, Europe, Canada, U.S. and the Caribbean). Critical evaluation of
race, relevant cultural history, art and its underlying theories. Prerequisite:
ARTH 111, 221 or 352.
ARTH 492. UNIVERSITY ART GALLERY var. cr. INTERNSHIP
"Hands-on" internships for qualified students in aspects of
gallery operations including assistant editor of gallery newsletter, docent,
cataloging assistant, permanent collection, public relations and audience
development assistant, and exhibition design and installation. Interns work on a
specific project or assist with daily operations.
ARTH 493. LOCAL INSTITUTION var. cr. INTERNSHIP
Museum experience gained through cataloging projects. Specific work
contracts developed between the student and museum staff member for each
internship. Admission by petition only; pre-registration interview required.
ARTH 495. ART HISTORY INTERNSHIP
Student’s primary responsibility is to assist the editor (member of the
art history faculty) of the Art History Newsletter with a variety of tasks
related to this publication (e.g., creating topics for articles; researching
information for an producing drafts of articles; working with University
Publications Office on production-related tasks, such as layout and visuals; and
creating mailing lists and distribution).
ARTH 496. THEORY AND METHODS
Discussion of major approaches to art history, past and present, through
reading and analysis of critical theory and selected major historical studies.
Required of majors; open to others with consent of instructor.
ARTH 498-499. SENIOR HONORS
For students whose primary goal is graduate study in art history and who
wish to write thesis in area of art history. Must be taken for two semesters,
for total of eight credit hours. Available only to art history majors with 3.5
cumulative average in art history, plus accepted proposal and recommendation of
a faculty member.
The only mandatory course in the graduate program is ARTH 500, Theory and Methods, required of all MA candidates and of PhD candidates who have not fulfilled this requirement with a comparable graduate course elsewhere. The ARTH 510-580 rubrics reflect the general areas of graduate specialization. Individual courses under these rubrics are determined each semester by the instructor and become the transcript title of the course. Individual courses frequently count in more than one area of specialization, and courses numbered 510-580 may be repeated as long as the subject matter of individual courses differs.
ARTH 500. THEORY AND METHODS
Introduction to history, methods and theory in art history. Reviews the
development of art history as a discipline, its changing paradigms, and current
methods and theories. Acquaints students not only with research tools and
methods for answering questions about spatial and visual environments, but also
with the historical and social models and the institutional settings that shape
our questions in the first place.
ARTH 501. ART HISTORY AND CULTURAL THEORY
Introduction to recent debates in cultural theory and their importance for
current attempts to rethink the methodologies, subject matters and institutional
frameworks of art history.
ARTH 502. REPRESENTATION AND COUNTER-PRACTICE
Focus on the relation of recent cultural theories to forms of cultural
production that, since the mid-1970s, have redefined the arenas, means and goals
of cultural practice and cultural politics.
ARTH 530. GRADUATE SEMINAR IN MEDIEVAL ART
Recent offerings have included: the medieval cult of saints, Vezelay and
Santiago, cathedral towns in the 12th and 13th centuries, Reims and Amiens, and
Reims, the coronation cathedral.
ARTH 532. SEMINAR IN BAYEUX EMBROIDERY
Examination of the Bayeux Embroidery as one among a number of partisan
Anglo-Saxon, Norman and Anglo-Norman accounts of Duke William’s conquest of
England. Historiography, textual and visual sources and their transformation,
continuous narration, embroidery techniques, patronage and intended audiences.
ARTH 540. GRADUATE SEMINAR IN RENAISSANCE AND EARLY MODERN ART
Recent course offerings have included seminars on the following topics:
painting in 15th-century Bruges; methodological approaches to Renaissance
painting in Italy and northern Europe; Flanders in the 15th century; the 16th
century in northern Europe; and theories of representation.
ARTH 550. GRADUATE SEMINAR IN MODERN ART
Recent offerings have included: Francisco de Goya and Patrons and
Collectors, 18th and 19th Centuries.
ARTH 552. GRADUATE SEMINAR IN AFRICAN ART
Recent offerings have included seminars on the following topics: The Art of
Romare Bearden; 20th-Century Women Artists in Africa, the United States, Canada
and the Caribbean; the Power of Imagery in Politicizing Difference; and Politics
of Identity in Contemporary African Art.
ARTH 560. CURATORIAL PRACTICE
Courses involved in conceptualization, research and mounting of exhibitions.
Recent examples include Posing for Power/Posing for Pleasure: Photographies and
the Social Construction of Femininity; Access and Exclusion: Works from the
Wilkes-Barre/Binghamton Region; In Search of a National Identity: The Min Joong
Art Movement of Korea.
ARTH 566. GRADUATE SEMINAR IN MUSEUM STUDIES
Recent offerings have included The New Museologies; Cultural Politics;
Heritage in the Post-Modern World; and International Expositions.
ARTH 570. POWER/PHOTOGRAPHIES/THE STATE
Exploration of points of intersection between new formations and institutions of
the state under capitalism and the development and deployment of new
photo-graphic technologies, new forms of writing and new regimes of
representation.
ARTH 571. STUDIES IN URBANISM, 19TH-20TH CENTURY
Recent course offerings have included New York, Paris, London: Urban
History; Suburbia USA; Global Cities; and Contemporary American Urbanism.
ARTH 573. ISSUES IN COLONIAL CULTURE
Course explores recent critical literature on colonial cultures,
post-colonialism and post-imperialism as modes of cultural critique. Attention
paid to questions of cultural hegemony and the social production of knowledge.
ARTH 574. GRADUATE SEMINAR IN ARCHITECTURE AND SOCIETY
Recent course offerings have included Cities and Colonialism; Nations,
Cultures, Cities; History and Theory: Architecture and Urbanism; The Production
of Space; The Building’s Face; Restraint in Design; Constructions of Society;
and Society, Culture, Space.
ARTH 576. CONTEMPORARY ARCHITECTURE
ARTH 580. GRADUATE SEMINAR IN HISTORY OF PHOTOGRAPHY
ARTH 591. TEACHING OF 1-4 cr. COLLEGE ART HISTORY
For teaching assistants. May not be applied toward department requirements.
ARTH 592. INTERNSHIPS 1-4 cr./sem.
Individually designed projects at University Art Gallery, or work in area
museums.
ARTH 597. INDEPENDENT STUDY 1-4 cr. — MA
ARTH 599. THESIS 1-4 cr.
ARTH 697. INDEPENDENT STUDY 1-4 cr.— PhD
ARTH 698. PRE-DISSERTATION 1-9 cr./sem. RESEARCH
Independent reading and/or research in preparation for comprehensive
examinations for admission to PhD candidacy; and/or preparation of dissertation
prospectus. Graded on Satisfactory/Unsatisfactory basis only.
ARTH 699. DISSERTATION 1-12 cr./sem.
ARTH 700. CONTINUOUS 1 cr./sem.
REGISTRATION
Required for maintenance of matriculated status in graduate program. No
credit toward graduate degree requirements.
ARTH 707. RESEARCH SKILLS 1-4 cr.
Development of research skills required within graduate programs. May not be
applied toward course credits for any graduate degree. Prerequisite: approval of
relevant graduate program directors or department chairs.