Undergraduate

ARTHIST 105: Drawing & Painting I

Alembik ------------ Tu 6:00 – 9:00 PM --------------- MAX: 12
Emerson ---------------- Th 1:00 – 4:00 PM ------------------ MAX: 12
Emerson ----------------Th 6:00 – 9:00 PM -------------- MAX: 12

Location: Visual Arts Building Room 118

Content: Introduction to media, techniques, theory, and practice of drawing and painting. Students will develop skills through experimentation with a variety of techniques, and materials. Emphasis is placed on development of visual and aesthetic awareness.

Particulars: No pre-requisite; suitable for beginners or intermediate students. There will be class and sketchbook assignments. Evaluation will be based on class participation and attendance, growth of understanding, execution of assignments, completion of a sketchbook and a final portfolio. The three-hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. Materials expense approximately $100. Lab fee.

ARTHIST 106: Photography I

Francisco -------------Tu, Th 1:15 - 3:05 PM------------ MAX: 12
Location: Visual Arts Building Room 106

Content: Introduction to media, techniques, theory, and practice. This course stresses both technical and aesthetic issues in photography. Students will learn to operate a camera, expose and develop film, make prints, and present their work. Visual awareness and sensitivity to communication through the photographic image is paramount.

Particulars: In lieu of final, student will prepare and present a portfolio of twenty images representing the best of all assignments. Grading for course is on participation, growth of understanding, mastery of technique and craft. Student must have a 35mm camera with adjustable lens and shutter and 50mm lens preferred. A point and shoot or digital camera is not acceptable for this course. Lab fee of $45 covers costs of chemicals for the term. Student must purchase film and paper and miscellaneous supplies. Lab fee.

------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 108: Ceramics I

Kempler ---------------- Tu 1:00 – 4:00 PM ---------------- MAX: 12
Location: Visual Arts Building Room 113

Content: Introduction to media, techniques, theory, and practice of ceramic sculpture. This class explores ceramics as a medium of creative expression. Basic methods of hand building, glazing, and firing are taught. Creation of work of a personal and exploratory nature is emphasized.

Particulars: No prerequisite. Grades will be based on weekly projects and on a substantial final project using various techniques. A minimum of four hours of studio work in addition to class time also required. Lab fee.

------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 109: Sculpture I

Moore ---------------- Tu 9:00 AM – 12:00 PM ---------------- MAX: 12
Location: Visual Arts Building Room 117

Content: Introduction to media, techniques, theory, and practice. Various approaches to 3-D design are explored with particular sensitivity to sculptural concerns within the broader framework of contemporary art.

Particulars: No pre-requisite. Evaluation will be based on the development of each student through completion of projects and independent research. The three-hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. Lab fee.

------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 205R: Drawing and Painting II

Moore ---------------- M 9:00 AM – 12:00 PM ---------------- MAX: 12
Location: Visual Arts Building Room 118

Content: Students with intermediate experience in drawing and painting will further develop and build on their skills. Emphasis will be placed on broadening the students’ acquaintance with visual elements and materials, modern and historical practices, and personal development. Independent projects will supplement in-class work.

Particulars: Prerequisite: ARTHIST 104 or ARTHIST 105 or permission from Instructor. Students with AP credit or prior experience must acquire the permission of the instructor to enroll. Grades will be based on class involvement, growth of understanding, execution of assignments and final portfolio. The three hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. Cost of materials may vary depending upon the individual projects (approximately $100). Lab fee.

------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 206R: Photography II

Francisco -------------Tu, Th 3:15 - 5:05 PM------------ MAX: 12

Location: Visual Arts Building Room 106

Content: Further training in camera techniques, film, exposure and development, print developers and toners, and presentation. Students will concentrate on aesthetic as well as technical issues related to photography.

Particulars: Prerequisite: ARTHIST 106. Class requires outside assignments and visits to galleries, museums and lectures outside of class time. Note: High school photography will not substitute for ARTHIST 106. Students must provide film, photo paper, mounting materials, and miscellaneous supplies. Supplies need not be purchased at once, but must be purchased. Lab fee.

------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 208R: Ceramics II

Kempler---------------- Tu 4:00 - 7:00 PM ---------------- MAX: 6

Location: Visual Arts Building Room 113

Content: This course is designed for students with previous hands-building experience. Emphasis will be placed on exploring creative expression in clay, paying attention to the details of form and surface quality.

Particulars: Prerequisite: ARTHIST 108 or the equivalent. Grades will be based on weekly projects and on a substantial final project using various techniques. A minimum of five hours of studio work in addition to class time also required. Lab fee.

------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 209R: Sculpture II

Armstrong ---------------- M 5:00 – 8:00 PM ---------------- MAX: 10
Location: Visual Arts Building Room 117

Content: This course springs from a contemporary definition of sculpture: Sculpture as idea manifested in matter. This implies that sculpture is involved with materials and the process of "making". At the same time the evolutionary process of sculpture involves the continual reexamination of the definition of sculpture. The focus of this course is the experimentation with the ideas and media of sculpture. Emphasis will be on the exploration of contemporary issues in relationship to individual aesthetic choices.

Particulars: Prerequisite: ARTHIST 109. Students with AP credit or prior experience must acquire the permission of the instructor to enroll. Students will develop project proposals to submit for instructor's approval. Grades will be based on the successful completion of projects via criteria agreed to by both instructor and student. Independent projects will be supplemented by presentations and field trips when possible. The three-hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. Lab fee.

------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 210: Contemporary Art Issues Workshop

Armstrong ---------------- Tu 1:00 – 4:00 PM ---------------- MAX: 12

Location: Visual Arts Building Media Room 145

Content: An exploration of the relationship between contemporary art issues, artist materials and methods.

Text: Weintraub, Linda. Art on the Edge and Over.

Particulars: Fulfills requirements for studio minor. Students will be asked to approach the course from the vantage point of working artists. Course work will include making artworks, assigned reading and critical writing. Visiting artists and field trips to artist's studios, galleries and museums will augment presentations by the instructor. Lab fee.

ARTHIST 214: Ancient Egyptian Art, 1550-30 BC: From Hatshepsut to Cleopatra

 Robins -------------------------M, W, F 2:00 - 2:50 PM---------------------------Max: 30

 Content: ARTHIST 214 is designed as an introductory course to the art of ancient Egypt from the beginning of the New Kingdom to the conquest of Egypt by Rome. It will examine the basic principles by which Egyptian artists worked, together with the techniques and materials that they used, and will consider the various purposes, religious, political and social, for which Egyptian art was created during this period. The course will be structured chronologically, and will acquaint students with key works of art, placing them within the context of ancient Egyptian history and culture. The works will include the funerary temple of Hatshepsut, the tomb of Tutankhamun in the Valley of the Kings, the monumental temples dedicated to the gods, and the decorated tomb chapels constructed for elite government officials.

Texts: G.Robins, The Art of Ancient Egypt (1997); selected readings on reserve.

 Particulars: class attendance required; visits to the Carlos Museum to study ancient
Egyptian works on display; midterm exam; final exam; a term paper on an object in the Carlos Museum.

 -----------------------------------------------------------------------------------------------------------------------------------------

• F. Hartt and D. G. Wilkins, History of Italian Renaissance Art
• G. Vasari, Lives of the Painters, Sculptors and Architects
• Other texts T.B.A.
   
  Particulars: Two short analytical papers, mid-term, and final exam.

Mitchell ---------------- W 1:00 – 4:00 PM ---------------- MAX: 12
Location: Visual Arts Building Room 118

Content: This course builds on the information students have acquired at the 105 and 205 levels. In this course, students truly begin to develop their own expression and creative body of work. In additionthey continue to develop their skills and conceptual/aesthetic awareness. Students are expected to be highly motivated and capable of developing creative projects with advice from the instructor. Students are expected to devote a significant amount of time to their work beyond that required in class.

Particulars: Prerequisite: ARTHIST 105, ARTHIST 205R or equivalent. Lab fee.

This class is not being offered this semester but if you are interested in taking this level, contact Professor Jason Francisco about doing an Independent Study.

Location: Visual Arts Building Room 106

Content: Further training in camera techniques, film, exposure and development, print developers and toners, and presentation. Students will concentrate on aesthetic as well as technical issues related to photography.

Particulars: Prerequisite: ARTHIST 106, ARTHIST 206. Lab fee.

------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 308R: Ceramics III

Kempler---------------- Tu 4:00 - 7:00 PM ---------------- MAX: 6

Location: Visual Arts Building Room 113

Content: This course will provide an opportunity for those familiar with clay handbuilding techniques to further their individual ideas. It will focus on each student building their own personal artistic vocabulary. The process of this discovery will involve journaling, sketching and exercises in clay as well as slide lectures and group and individual discussions. Prior ceramic experience is required.

Particulars: Prerequisite: ARTHIST 108, ARTHIST 208R or equivalent. Lab fee.

------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 309R: Sculpture III

Armstrong ---------------- M 5:00 – 8:00 PM ---------------- MAX: 10

Location: Visual Arts Building Room 117

Content: This course springs from a contemporary definition of sculpture: Sculpture as idea manifested in matter. This implies that sculpture is involved with materials and the process of "making". At the same time the evolutionary process of sculpture involves the continual reexamination of the definition of sculpture. The focus of this course is the experimentation with the ideas and media of sculpture. Emphasis will be on the exploration of contemporary issues in relationship to individual aesthetic choices.

Particulars: Prerequisite: ARTHIST 109 and ARTHIST 209. Students with AP credit or prior experience must acquire the permission of the instructor to enroll. Students will develop project proposals to submit for instructor's approval. Grades will be based on the successful completion of projects via criteria agreed to by both instructor and student. Independent projects will be supplemented by presentations and field trips when possible. The three-hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. Lab fee.

------------------------------------------------------------------------------------------------------------------------------------------

• Stone-Miller, To Weave for the Sun, 1994
• Articles on reserve

• Whitney Stoddard, Art & Architecture in Medieval France
• Selected articles and readings from the current literature.
  

Particulars: Two papers, midterm and a final.

-----------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 355: African Art and Architecture Since 1500
(crosslisted with AFS 389)

Kasfir ------------------------- Tu, Th 10:00 - 11:15 AM ----------------------------Max: 15

Content: This course introduces students to the visual and performative arts of West Africa with primary emphasis on sculpture, leadership arts, vernacular architecture and arts of the body. The time frame extends from the 9th c ACE to the present, though most of the forms we will study originated prior to the 20th c and have undergone varying degrees of transformation under colonialism . The first part of the course will examine the development of artisanship in iron, terracotta and bronze in Nigeria from 500 BCE to the end of the nineteenth century. The second part will consist of five case studies of art in contrasting cultural and environmental settings in Nigeria, Mali, Ghana, Niger and Sierra Leone/Liberia . We will see several films or videotapes of performances, enactments or processes (eg, forging iron, brasscasting) There will be a Blackboard website of representative images for study purposes and a discussion board.

Texts: Library and online readings, others TBA.

Particulars: TBA

Content: This class will look at the work of a fascinating group of contemporary artists. These are artists of African origin/background, living and working in what we now sometimes refer to as the ‘African Diaspora’. Such communities of people, and the artists they have produced, owe their present day existence to a variety of factors including the trans-Atlantic slave trade, 20th century patterns of migration and travel, and the evolving nature of the art world. Today, a growing number of artists of African origin have become major players in the art market. Others have become reflective of shifts and developments in 20th Century Black cultural politics. This class will examine the work of a range of Black artists whose practice came to the fore over the course of the last three or four decades, from the early 1970s right up to the present time. Artists to be studied include US practitioners such as Jean-Michel Basquiat and Faith Ringgold, Artists of Caribbean background such as Albert Chong and Barrington Watson, and British artists of the African Diaspora such as Chris Ofili and Godfried Donkor.

• Black Art and Culture in the 20th Century (1997). Reissued in 2002 as Black Art: A Cultural History Richard J. Powell, Thames and Hudson World of Art.
• Caribbean Art (1998) Veerle Poupeye, Thames and Hudson World of Art.

ARTHIST 369WR: Whistler in Context

Merrill ------------------------- Tu Th 1:00-2:15 PM ----------------------------Max: 18

Content: James McNeill Whistler (1834–1903), an American-born artist who spent his professional life in England and France, has always eluded art-historical classification. This course will consider his career in the context of late nineteenth-century French, British, and American art movements, including Realism, Impressionism, Pre-Raphaelitism, Aestheticism, and Tonalism. Whistler’s contributions to the fields of oil painting and etching are widely recognized, but we will also measure his influence on watercolor painting, the pastel revival, interior design, photography, book design, exhibition reform, art criticism, and modernism.

Texts:

• Whistler on Art (Nigel Thorp, ed.), an anthology of the artist’s writings
• Robin Spencer, James McNeill Whistler
• Additional readings on reserve

Particulars: This is a writing-intensive course, with in-class writing exercises, two short papers, and a longer research paper to be presented in class.

--------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 379: The African Impulse in 20th-Century African American Art
(crosslisted with AAS 385)

Harris ------------------------- Tu, Th 2:30 - 3:45 PM---------------------------- Max Enrollment: 10

Content: This class will explore the conscious use of African references and
forms in African American art from Henry Tanner's The Banjo Lesson in
1893 to the present. There will be an extended focus upon Alain
Locke's call to artists to use their African heritage in his 1925
"Legacy of the Ancestral Arts" essay, and the black arts movement in
the 1960s and early 1970s and its aftermath. Artists began traveling
to Africa in the late 1950s and the impact of this experience on the
work of many will also be explored. The class will touch upon African
cultural elements surviving or persisting in vernacular culture in the
United States, the Caribbean, and South America as well.

Texts: TBA

Particulars: TBA

----------------------------------------------------------------------------------------------------------------------------------------

Texts: TBA

Particulars: TBA

-----------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 393: Computer-Aided Design

Shpuza ------------------------- Tu 6 - 9 PM---------------------------- Max Enrollment: 6

Content: This course is designed to provide students with a basic understanding of computer-aided design and graphic analysis. The course is an introduction to creating, presenting, and managing graphical information on the computer through learning two popular CAD programs: AutoCAD (2D drafting) and 3D Studio Viz (3D modeling and rendering). Emphasizing a hands-on approach, the course is structured around two workshop projects which are structured according to students' own disciplinary interests: art history, architecture, graphic design and archaeology. Students explore the potential of the computer, not merely as a drafting and presentation instrument but as an active analytical and design aid. 

Texts: TBA

Particulars: TBA.

-------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 393 (FILM 405): Experimental / Avant-Garde Cinema

Brown --------Th 6:30 – 9:30 PM --------MAX: 12
(6 Visual Arts / 6 Film Studies)
Film Screenings: M 8:00 – 9:30 PM

Location: Visual Arts Building Room 105

Content: This course explores the evolution of non-fiction cinema from the "actualites" of the late 19th century to the contemporary obsession with so-called "reality television." We will focus in particular on the ways in which documentary films have worked to shape our perceptions of reality and history, and on the unique practical, aesthetic, and ethical issues which separate non-fiction filmmaking from other forms of cultural production.

Prerequisite: FILM 270.

------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 394 (FILM 385):  Documentary Film

Brown --------Tu 6:30 – 9:30 PM --------MAX: 12
(6 Visual Arts / 6 Film Studies)
Film Screenings: M 5:30 – 8:00 PM

Location: Visual Arts Building Room 105

Content: Class will consist of 3 hours of lecture/workshop and one film screening per week. Students will be expected to learn basic DV camera operation, interview techniques, basic lighting for documentary filmmaking, basic sound recording techniques, and basic editing on a non-linear Final Cut Pro editing system.

Particulars: This will be a hands-on course with weekly assignments that will be graded using the critique method. Students will present and defend work in front of the class. Digital production equipment will be provided. The class will meet in the video studio in the Visual Arts Building. In addition to weekly skill building assignments, students will be responsible for completing a 10-minute documentary by the end of the semester. Lab fee. NO PREREQUISITES.

------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 397R: Internships
Coordinator: Meyer

Internships are a valuable complement to art history courses. Students may apply to work in art-related institutions in the community including the Michael C. Carlos Museum at Emory, the High Museum of Art, commercial art galleries, architectural firms, auction houses, arts preservation agencies, and art publications. Through consultation with the internship coordinator, internships may be arranged both in Atlanta and elsewhere. These internships, when approved by the department and supervised by the personnel of the cooperating institutions under established guidelines, carry academic credit (4 hours per semester). For the internship guidelines and contact information for the internship coordinator, students can come by or call the Art History Department, 404-727-6282.

-------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 398R: Supervised Reading and Research
Faculty

 ---------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 470: Decorative Arts of the Classical World

Gaunt ------------------------- Th 1:00 - 4:00 PM ---------------------------Max: 3

Content: This seminar examines the rich traditions that surround the creation of the decorative arts in the ancient Greek and Roman worlds. Many media, from precious metals to pottery, from textiles to panel paintings will be considered. An attempt will be made to understand how these strands relate to one another; to more familiar traditions such as monumental sculpture and architecture; and how they fit into their historical and social contexts. The class meets in the Carlos Museum to enable hands-on study of objects in the collection, to which prime importance is attached.

Text: TBA
 
Particulars: This course will consist of object examinations; slide lectures; small weekly assignments and a research paper on an object in the Museum.

-------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 475SWR: Seventeenth-Century Still Life Painting

Hildebrecht ---------------------------- W 1:00 - 4:00 PM-------------------------- Max: 5

Content: This seminar investigates the art of still life painting and book illustration during the seventeenth century with special emphasis on the Dutch and Flemish painters whose cultivated skills and innovations made this kind of artistry a locus for questions about craft, knowledge, and the nature and function of pictorial representation. We will begin by considering the origins of still life, its rise to prominence in the seventeenth century and how this genre is identified and discussed both then and today. In the late 1960s art historians began to focus serious attention on this once neglected genre, and by the 1990s, still life had become the locus of intense scholarly interest. This process reached a pinnacle in the joint exhibition held at the Rijksmuseum and The Cleveland Museum of Art in 1999-2000. This important exhibition gave rise to a number of more specialized exhibitions devoted to still life painting that we will consider including the 2008 exhibition of Jan van Kessel at the Rijksmuseum and the exhibition devoted to fish still lifes held at the Centraal Museum, Utrecht in 2004. This seminar will approach still life by recovering the seventeenth century vocabulary used to describe this kind of artistry and then turn attention to how these pictorial skills generated meaning(s), innovation and value. We will consider still life painting from several perspectives, looking at its place not only within the discourse and practice of art, but also in relation to relevant social, rhetorical and experimental practices.

Texts:

• Svetlana Alpers, The Art of Describing (Chicago, 1983).
• Anne Goldgar, Tulipmania: Money, Honor and Knowledge in the Dutch Golden Age (Chicago, 2007).
• Hanneke Grootenboer, The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still-Life Painting (Chicago, 2005).
• Julie Berger-Hochstrasser, Still Life and Trade in the Dutch Golden Age (New Haven, 2004).
• TBA

Particulars: Written assignments based on readings, in-class presentations and discussions, culminating in a research paper.

-------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 475SWR: Art in the Age of Michelangelo

Campbell ---------------------------- M 1:00 - 4:00 PM-------------------------- Max: 10

Content: This course will examine Michelangelo’s life as an artist in the context of the various cultural realms with which it intersected, ranging from late fifteenth-century Florence through sixteenth-century papal Rome and the Florence of the Grand Dukes. We will consider the poetic and practical aspects of his work both within the living traditions of devotional art and monumental painting and against the backdrop of the ancient traditions of sculpture and architecture that he sought to revive. We will also examine the place of Michelangelo’s art and person within the larger political project, initiated by his followers, to establish critical definitions of the various “modern manners” of Italian painting.

Texts:

• Howard Hibbard, Michelangelo
• Alexander Nagel, Michelangelo and the Reform of Art
• Ascanio Condivi, Life of Michelangelo
• Giorgio Vasari, Lives of the Painters, Sculptors and Architects
• Other texts TBA

Particulars: Class Discussion, book review, formal research presentation, and final research paper.

-------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 480WR: Gaudí, Frank Lloyd Wright, Le Corbusier

Rohrer ----------------------------Th 1:00 - 4:00 PM-------------------------- Max: 10

Content: This seminar will examine the principles and development of modern architecture through the work of three major architects with very different approaches to modernism, all of whom have achieved near mythical status in the recent literature.  We will investigate the reasons for this assessment in order to understand how architectural reputations are established and why specific architectural figures have captured the imagination at particular times in history.  All three can be regarded, to a certain degree, as “visionary”, and another goal of the class will be to understand how visionary ideas become realities in the built environment and how the utopian has informed modern architectural thought.  We will consider the evolution of each architect’s practice and thought as manifested in a few select projects.  Relevant writings by the architect and/or his contemporaries, as well as more recent analyses and interpretations of the work, will provide an intellectual context for critical judgment.  We will also consider geographic, cultural and historic factors relevant to each man’s work and the architectural discourse which shaped it. In addition to complicating notions of “modernism”, comparisons of the architecture produced by the three architects will serve to interrogate certain typological (buildings for worship, apartment dwellings and isolated houses, planned communities, etc.) and thematic ( the natural environment, technology, “tradition”, urban/rural) assumptions.

Readings: TBA

Particulars: Readings will be assigned and discussed each week.  There will be several short writing and presentation assignments as well as one major term paper that will also be presented orally to the seminar. The first weekend in March, we will attend the special Dean’s Symposium at Southern Polytechnic University on Le Corbusier.

----------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 485: Visual Arts in the Making of Black Britain

Chambers ------------------------------ F 9:00 AM -12:00 PM ----------------------------Max: 7

Content: One of the most interesting developments in the demographics of post-war Europe is the emergence of Black Britain. That is, British people whose origins (or whose parents’ origins) lie in the post-war period of African and African-Caribbean immigration that the UK experienced from the late 1940s through to the early 1970s. This seminar will look at the various ways in which Black painters, sculptor, film-makers and other artists created fascinating bodies of work that effectively reflect the development and emergence of Black Britain as a vibrant, culturally complex element of the wider community, albeit an element constantly beset with formidable challenges. The seminar will look at issues and examples of how some Black British artists (that is to say, artists of African and African-Caribbean origin and background) have contributed to debates about history, identity and nationality in Britain and beyond over the past several decades. The seminar will also seek to put their work into a variety of international and artistic contexts.

British artists of the African/Caribbean Diaspora have often attempted to position themselves within a wider international context, and yet, simultaneously, they have to some extent become an integral component of the British art scene. These artists’ work frequently embraces debates about what it means to be both Black and British - conditions that have often been regarded by many as being mutually exclusive. Many of these artists have produced work that exposes and highlights the often-uneasy state of being critically distanced from ‘British’ history and cultural sensibilities. And yet, at the same time, being very much an integral component of that very same history. The seminar will chart the development of why and how Black Britain came to be.

Texts: Seminar Reading (four publications):

• Rasheed Araeen, The Other Story: Afro-Asian Artists in Post-War 
  Britain, exhibition catalogue, South Bank Centre, London 1989.
• David A. Bailey, Ian Baucom and Sonia Boyce (eds.), Shades of Black: Assembling Black Arts in 1980s Britain, Duke University Press, Durham, NC 2005.
• Kobena Mercer, Keith Piper: Relocating the Remains, inIVA, London 1997.
• Franklin Sirmans and Mora J. Beauchamp-Byrd (eds.), Transforming the Crown: African, Asian, and Caribbean Artists in Britain, 1966-1996 Caribbean Cultural Center New York, 1997.

Particulars: Students are required to produce 750 word response papers, relating to the previous week’s seminar. Students are also required to make presentations, of between 30 – 45 minutes’ duration. A 6000 word paper, relating to some aspect of the seminar, must be submitted towards the end of the semester.

------------------------------------------------------------------------------------------------------------------------------------------

ARTHIST 490: Senior Seminar

Emerson---------------- Tu 1:00 - 4:00 PM ---------------- MAX: 12

Location: Visual Arts Building Room 118

Content:  Students will develop and implement a final project in their area of choice for display in the Emory Visual Arts Gallery at the end of the semester.

Particulars: This course is required for graduating seniors with a Joint Major in Art History and Visual Arts. Lab fee.

------------------------------------------------------------------------------------------------------------------------------------------