Art History

Film, literature, and the arts have always played a central role in reflecting the attitudes towards the twin ideologies of Nazism and Communism in Central and Eastern Europe. They were central to propagandizing these ideologies and building their strength after World War I. However, they also provided the most vibrant forum for those challenging the totalitarian regimes established by Nazis and Communists. In the period since their fall, politics and academia have frequently failed to enable an accessible debate on their legacy. Thus, film and literature remain the site of a debate. This course explores the theme in a multi-disciplinary manner, drawing on history, political science, literature, film studies, and psychology. A thematical, rather than chronological, approach was selected to emphasize the occurrence of the examined issues across regions and times, using different methods of exploration. As Prague is one of the few capitals that experienced liberal democracy, Nazism, Communism, and a return to liberal democracy over the scope of slightly more than 50 years, first-hand experience through field trips and guest speakers is incorporated into the course to enhance understanding of the topic.

This course provides a study of the history of contemporary artistic movements, from the Enlightenment through the present day. 

Paris has long been recognized as a center for both revolutionary activism and innovative artistic production. This course explores the coming together of these two domains through diverse visual manifestations of social justice and advocacy produced and/or displayed in Paris from the Revolution to the present, including painting, sculpture, architecture, performance, installations, photography, video, posters, graffiti, and street art. Students explore the ways in which the urban landscape bears the scars of revolutionary destruction and serves as a showcase for politically engaged production, housed in its museums or visible to all on the streets. The instructional format consists of both lectures and group site visits throughout the city, to venues including public and private museums, which are studied both for their content, architecture, and their politics of display; galleries, artist collectives, and Parisian neighborhoods with outdoor art displays.

This course provides an understanding of Southeast Asian cultures and peoples, by explaining the general historical change from the 19th century to the 1990s by focusing on cultural change. This course is not meant to be a memorization of detailed names and times, but a creation of soft thinking for cultural change in this complicated wide area. The course looks the following important historical waves: Early Colonization (the period of mercantilism: before 18th century); Imperialism (19th century); birth of Nationalism (first half of the 20th century); Decolonization (the 1940s and 50s); Cold War (the 1960s); and New Change Period (the 1970s and 80s). This course focuses on material cultural elements or pictorial data in each period.

The course has 2 parts A and B. Students must take both parts. No partial credit is possible. Students who complete a paper on a pre-approved topic are awarder1 extra quarter unit per part. Maxim units for this course are 12, 6 for each part. The course focuses on the history of photography from its origins to the present with particular attention to technical and aesthetic developments. Special attention is placed on the role of photography in 20th century art and the application of photography in cultural industries such as fashion, publicity, and media. A section of the course is dedicated to contemporary artistic research and its applications in the field of communication. Part A of the course focuses on photography and art and the topics include the relationship between photography and art, definition/s of artistry in the 20th century, the role of the author and the production of the work of art, the contribution of technology in contemporary art, and contaminations between visual arts and other disciplines. Part B of the course focuses on photography and reality and discusses topics including the role of photography in 19th and 20th century art, the relationship with reality, the role of technology, painting and “ready-made” art, and the work of art and behavior.

Under the collective title, Art and Belief in Europe (c. 500 - 1700), the lectures in semester 1 address developments in European art from the rise of Christianity, through the Middle Ages and into the Renaissance, concluding with the Reformation and Counter-Reformation. Geographies studied include Britain, Italy, France, and Germany. The course looks at the work of both early anonymous and later celebrated artists, such as Giotto, Jan van Eyck, Durer, Michelangelo, and Leonardo da Vinci, all within a broad range of social contexts. Students consider issues surrounding art and identity, including gender, sexuality, nationality, religious and political belief, as well as issues surrounding the art objects themselves, such as patronage, materiality, display, and reception. Whenever appropriate the weekly tutorials are conducted in the museums, galleries and public spaces of Edinburgh, which has world-renowned art collections.