Course Descriptions (Undergraduate)

ARTHIST SPRING 2020


ARTHIST 102: Art | Culture | Context II

Linda Merrill     M/W 12-12:50pm     White Hall 205

Popularly known as “102,” this course introduces the fundamental concepts of the discipline through the close examination and analysis of 102 representative works of architecture and art. Rather than attempt a comprehensive, historical survey of the arts produced between 1600 and the present day in Europe, Africa, and the United States, we focus on the formal structure of a select group of paintings, sculptures, buildings, and other works of art produced in those centuries, as well as the historical contexts in which they were made and understood. By imparting the ways of looking and thinking that distinguish art history as a field of study, Art | Culture | Context establishes a durable foundation for further coursework and a lifelong appreciation for art.

ARTHIST 102 is taught by the Art History faculty, with two lectures a week presented by specialists in the fields they cover. Weekly discussion sections provide time to ask questions, articulate and dispute ideas, expand upon issues raised in lectures, and examine and analyze works of art in the classroom, the Rose Library, the Michael C. Carlos Museum, and on the campus grounds. ARTHIST 102 is open to all students, including those without prior experience with art history.

Art History major/minor: core requirement


ARTHIST 190: Sex, Lies & Politics in Ancient Rome: Suetonius & the 12 Caesars

Also CL 190

Eric Varner     M 1-4pm     Carlos Museum Tate Room

Popular perceptions of Rome’s first twelve Caesars (who included Julius Caesar, Augustus, Caligula, Claudius, Nero, Vespasian, Titus and Domitian) are often fueled by the ancient biographer Suetonius’s lurid and scandalous accounts of the period. Suetonius’s Twelve Caesars is filled with accusations of outrageous sexual behavior, madness, and political posturing, that are often in direct opposition to the visual record as embodied in official monuments of art and architecture commissioned by the Caesars themselves or their wives. This course will combine an in depth examination of the artistic material, as well as surviving portraits in sculpture and on coins and gems, together with a careful reading of Suetonius’s text, as well as new biographical material on the twelve Caesars. Close attention will be paid to the iconographic meaning of the artistic monuments, their intended audiences, and their points of comparison and divergence from Suetonius, thus revealing the complex nature of Roman culture and society in the early imperial period.


ARTHIST 210/592: Introduction to Graphics & CAD

Ermal Shpuza     T 5-8pm     M&S E301A

An introduction to drafting, modeling, rendering and animation in which students explore the potential of the computer as an active analytical and design instrument. We take a hands-on approach, focusing on two projects selected according to students' own disciplinary interests.

Architectural Studies minor: core requirement

Art History major/minor: makers & materials course


ARTHIST 212: Digital Publishing Opportunities at Emory and Ancient Egyptian Art

Amy Butner     W 2-4pm     M&S E301A

This course will introduce students to some of the digital humanities and public facing scholarship opportunities offered by Emory.  The art and architecture of ancient Egypt will serve as a case study to allow students to explore the basics of these technologies and their possibilities for future research.  Students will be introduced to the principles of ancient Egyptian art history using material from the cemeteries of Saqqara, Thebes, and Amarna.

Over the course of the semester students will learn the basics of the audio editing software, Audacity, the 3D modeling program Autodesk 3Ds Mas, and Emory’s open source platform, Readux.  Students will partner with Emory Center for Digital Scholarship (ECDS) as well as the Michael C. Carlos museum.  Students will each pick one of the technologies they have learned (Audacity, Autodesk 3Ds Max, or Readux) to create a shareable final project.

Art History major/minor: makers & materials course


ARTHIST 226: Arts of the Ancient Andes

Megan O’Neil     M/W 10-11:15am     Carlos 212           

This course is a survey of the art and archaeology of the ancient cultures that lived in or near the Andean Mountain range in the present-day South American countries of Peru, Bolivia, Ecuador, and Chile. We begin with the rise of complex societies in the 2nd millennium BCE and explore the major Andean cultures up to the Inka Empire in the 16th century CE. This course covers architecture and art in a variety of media and addresses a range of topics including material and manufacturing techniques, aesthetics, ritual, archaeoastronomy, funerary traditions, religion, history and politics, warfare, and sacred landscapes.

Art History major/minor: Division IV
Art History major with Museums Concentration: elective
Architectural Studies minor: elective

ARTHIST 231: Early Medieval Art: The Art of the Book across the Globe

Joy Partridge     M/W 11:30am-12:45pm     Carlos 212

This course takes a global approach to surveying early medieval art (ca. 400-1100). More than mere texts, medieval books were highly prized material objects, with pages made of dried animal skin, which were written on by hand, painted in vibrant pigments and real gold, and enshrined in gem-encrusted covers. Students will learn how decorated books served as agents of social, political, and religious change in varied forms across multiple centuries, geographies, and cultures, and how these diverse artistic approaches are interconnected. Special attention will be given to the advantages and challenges of studying the Middle Ages from a global perspective.

Art History major/minor: Division II


ARTHIST 259R-1/CL 220/ANTH 285-2: Bronze Age Greece

Sandra Blakely     T/Th/F 11am-11:50am     White Hall 112

Island networks, elaborate palaces, and international trade are the foci of this course, studied through the archaeology, artwork, writing systems and architecture of the Greek islands and mainland, from 3000-1100 BC.  Grades will be based on a combination of attendance, writing assignments, quizzes and midterms. Introductory course; no prerequisites.

Art History major/minor: Division I


ARTHIST 259R-2/ANCMED 201: Invention and Imagination: Archaeology of Ancient Painting

An Jiang     M/W 10am-11:15pm     Callaway S101

This class surveys the history and the cultural significances of ancient painting in the different Mediterranean societies. We will investigate ancient paintings on various media, such as Egyptian tomb paintings, Greek ceramic paintings, Roman domestic mural paintings and so forth. These ancient paintings will be particularly examined within their archaeological contexts and broader cultural contexts. Our class will also be enriched by gallery talks and discussions in the Michael C. Carlos Museum of Emory University.

Art History major/minor: Division I


ARTHIST 265: Impressionism: Beginnings and Endings

Todd Cronan     T/Th 1-2:15pm     Carlos 212

This course is an introduction to a key moment in French painting: from the end of Realism, to the Salon des Refusés in 1863, to the First Impressionist Exhibition in 1874, to the rise of Neo-Impressionism and the art of Paul Cézanne in the 1880s. We will look with especial emphasis, often going year by year, at the defining period of Impressionism 1863-1874.

Art History major/minor: Division III

Art History major with Museums Concentration: elective


ARTHIST 319R: Ancient Egyptian Hieroglyphs

Rune Nyord     T/Th 2:30pm-3:45pm     Carlos 212

Ancient Egyptian hieroglyphs were in use for well over three thousand years, offering the modern observer a unique window into the thoughts of the ancient Egyptians. Hieroglyphic signs often double as elements of iconography in Egyptian art, and many works of sculpture, relief, and painting contain regular inscriptions that can aid in the interpretation and appreciation of the artworks, from brief identifications of people, things, and actions to lengthy narratives or ritual recitations. This course offers an introduction to the hieroglyphic writing system and the Middle Egyptian language in which most inscriptions are composed, drawing on textbook lessons and exercises as well as practical studies of inscribed objects from the Michael C. Carlos Museum.

Art History major/minor: Division I

Art History major with Museums Concentration: elective


ARTHIST 349WR: Art in the Age of Michelangelo

Jean Campbell     T/Th 10-11:15am     Carlos 212

Following the trajectory of Michelangelo’s life as a painter, sculptor, and architect, this course will visit the various contexts that informed his art and that of the other artists of his time. Beginning with Michelangelo’s early practice as protégé of Lorenzo de Medici in late fifteenth-century Florence, the course will then move to Rome to consider his work and that of the other artists, including Raphael, who were drawn to Rome in the early 15th century. While in Rome, we will consider how artists of the time reacted to the unearthing of famous antique sculptures like the Laocoön.  We will also explore how the establishment of major workshops and canonical values in Rome became a point of contention for artists working outside the city in places like Venice. Venice was the home city of Titian, whose long life and career as a painter overlapped chronologically with Michelangelo’s, and whose paintings eventually came to represent alternative values to those of the Roman and Florentine painters in the increasingly cosmopolitan courts of sixteenth-century Europe. Finally, we will consider the long shadow cast by Michelangelo and his growing myth on Florentine art, after his return to his home city, where he undertook the commemoration of the newly established Medici dynasty in the design of the New Sacristy of the Church of San Lorenzo. Among other things we will consider upon returning to Florence is how the Florentine sculptor, Benvenuto Cellini, set himself and his metal casting abilities in dramatic opposition to the traditions of marble sculpture perpetuated by Michelangelo’s followers in that city.

Art History major/minor: Division II
Architectural Studies minor: elective

ARTHIST 369R-1: The Architect and the City

Christina Crawford     M/W 10-11:15am     Rich 104

Because the discipline of urban design did not emerge until the 1950s, architects long enjoyed a cultural position of expertise on city-building issues. But what are the benefits and pitfalls of framing the city as a discrete design problem? Architectural thinking is the lens through which the history of 20th century urbanization will be viewed in this course, which relies on primary textual and material evidence produced by design protagonists. Original texts written by architects will establish theoretical bases for lectures on specific urban interventions, and both built and unbuilt projects will be explored within the context of these claims. Each typical week will be composed of one lecture and one discussion session. A combination of weekly short writing assignments, presentations, discussion leading responsibilities, and one longer research paper will encourage students to speak and write critically about the various scales of environmental design, from the building, to the city, to the region.

Art History major/minor: Division III
Architectural Studies minor: elective

ARTHIST 369R-2: Histories and Ethics: Indigenous Arts of the Americas in Museums

Megan O’Neil     M/W 1-2:15pm     Anthro 105

This course addresses the history and ethics of the collecting and display of indigenous arts of North and Central America, including ancient artistic traditions. We will study selected episodes from the late 19th century to the present, considering both the colonial or imperial origins of museums and more recent museum practices. We also will explore the intertwined histories of private and institutional collecting of indigenous arts of the Americas and consider the legality and ethics of this collecting, as well as histories of repatriation. Furthermore, we will examine collaborative practices in which contemporary artists, curators, and activists critique, contextualize, or transform historic collections and displays.

Art History major/minor: Division IV

Art History major with Museums Concentration: core museology requirement


ARTHIST 373/RUSS 373/FILM 375/IDS 385: The Russian Avant-garde

Juliette Apkarian     TTh 2:30pm-3:45pm     Callaway S102

Introduction to interdisciplinary study of 20th-century Russian literature and the visual arts, with focus on issues of art and politics, time, space and identity in symbolist, supermatist, constructivist, socialist realist and post-Soviet "vision". In English. Knowledge of Russian is not required.

Art History major/minor: Division III


ARTHIST 385/MESAS 337/WGS 337: Women in India

Ruby Lal     M/W 2:30pm-3:45pm     Bowden Hall     Tarbutton Hall 106

Scholars of India have taken a renewed interest in thinking about the figure of girl and woman, thus critically engaging the archival and ethnographic practices by which feminine figures are imagined and placed in history. In the main, the legacy of the reception of pre-modern Indian feminine world has been from the vantage point of the “modern,” as if this was the normative. One of the aims of this seminar is to examine how strict chronological divisions in fact do not work in understanding the history of women in India. We will read a variety of texts dealing with pre-colonial, colonial, and postcolonial India to examine the lives and careers of Indian women, and more recently of women’s struggles, and indeed consider how successful historical investigations have been, what their limitations are, and how we might open up new set of questions and approaches in order to bring to life.

Art History major/minor: Division IV


ARTHIST 393R: Introduction to 3D Visualization and Interactive Media Design

Arya Basu, Ian Burr, & Joseph Fritsch     W 4-7pm     M&S E301A

Computer graphics are an essential aspect of modern computation platforms. At the turn of the last century, it was required that engineers, architects, and designers have the common know-how to operate a graphics workstation in their respective workplaces. With the rapid progress of microprocessor technology, it became possible to produce three-dimensional (3D) computer graphics that can be manipulated in quasi real-time. This technology, which enabled interactions with three-dimensional virtual objects, immediately made its way into several different mainstream industry including design, visualization, and video gaming. 

This course will introduce the concepts of 3D modeling, texturing, and visualization using real-time game engines such as UnityTM. For the first half of the course, we will go through hands-on assignments to learn and practice developing/modifying 3D assets. For the second half of the course, we will focus on real-time rendering game engines and its various applications. We shall learn (see demos) about various 3D visualization paradigms such as Virtual Reality (VR) and Augmented Reality (AR). This course will introduce the concepts of basic interactive programming via scripting using the C# programming language. We shall implement basic 3D asset manipulation using the scripting language mentioned above. Finally, we shall learn about various application (immersive) deployment strategies that real-time game engines have to offer.

Art History major/minor: makers & materials course


ARTHIST 470RW: Perfection and Transformation: Funerary Culture in Ancient Egypt c. 2000 BCE

Rune Nyord     M 1-4pm     ROOM TBA

The ancient Egyptian Middle Kingdom (early 2nd millennium BCE) was a high point of artistic achievement, not least thanks to the flourishing funerary culture, including lavishly decorated and inscribed coffins, painted tomb chambers, and elaborate grave goods. This seminar explores the different aspects of Middle Kingdom funerary culture with particular focus on the nature, availability, and interpretation of the different types of evidence. Much of the archaeological material was excavated in the late nineteenth and early twentieth century with documentation standards very different from those of the present day. This means that apart from published excavation reports, one will often need to draw on excavators’ notes and photographs in archives and/or examination of the excavated objects themselves in museum collections. In turn, funerary evidence from this period has been used for modelling large-scale social processes, sometimes clearly reflecting the concerns of the modern researcher’s time more than those of the ancients, raising important questions about the ways in which the archaeological evidence is deployed.

Art History major/minor: Division I

Art History major with Museums Concentration: elective


ARTHIST 475RW-1/759: Piranesi at Emory

Sarah McPhee & Eric Varner     T 1-4pm     Woodruff Library Room 1064

This seminar will consider the life and works of the great eighteenth-century etcher/engraver Giovanni Battista Piranesi (1720-1778). In particular, we will focus on the culminating publications of his career: the four volumes, newly acquired by the Rose Manuscript, Archive and Rare Book Library and once belonging to Giannalisa Feltrinelli, of Le Antichità Romane (1756-57) and his magisterial volume devoted to the Campus Martius Antiquae Urbis (1762), also held by the Rose Library. We will consider Piranesi’s origins, his training in the studio of Giuseppe Vasi, his study and use of the prints of seventeenth-century predecessors such as Giovanni Battista Falda, his collaboration with great mapmakers such as Giovanni Battista Nolli, and his lifelong devotion to understanding the physical remains of the ancient world. The seminar will be taught entirely in the Rose Library where students will be able to examine primary materials influential for Piranesi, such as Pirro Ligorio’s 1561 reconstruction of Rome, the Imago Urbis Antiquae, Giovanni Battista Falda’s Il Nuovo teatro delle fabriche (1665-69), and Pietro Santi Bartoli’s Thesaurus Eruditae Antiquitatis (1694-99) among many others. Research projects will address individual problems and issues related to the Antichità and Campus Martius volumes. Students will explore Piranesi’s tools and techniques in a printmaking workshop designed for the class, and will contribute their research to the ongoing Piranesi Project, initiated by Art History graduate student Abbey Hafer, who has used the Omeka platform to create a census for all Piranesi materials on the Emory campus with accompanying illustration and bibliography.

Art History major/minor: Division I or II
Art History major with Museums Concentration: elective
Architectural Studies minor: elective

ARTHIST 475RW-2: Medieval Visions of the Cosmos

Joy Partridge     W 2-5pm     Candler Library 119

Contrary to popular belief, medieval people did not think the world was flat; in fact, they thought of the whole cosmos as a complex system of interconnected parts. This course explores the many ways in which medieval people envisioned their world—from the earthly realm in front of them to the heavenly one beyond, and everything in between—with a focus on manuscript arts from the late Middle Ages, ca. 800-1350. This course will draw on the diverse fields of study that intersected under the umbrella of “natural philosophy” in the medieval period, including astronomy, astrology, meteorology, medicine, and theology. Images to be considered include maps of the earth and the vast skies filled with planets and stars, astrological charts, representations of invisible phenomena like winds, pictures of awesome matter like precious stones, and visionary pictures of the heavens. Using these diverse textual and image sources, this seminar will give special attention to the question of how art, science, and religion are interrelated in the Middle Ages. This course will make use of the local resources through class trips to Emory’s Rose Manuscript, Archives and Rare Book Library; we will also access remote resources by exploring the digital databases of major American and European libraries.

Art History major/minor: Division II


ARTHIST 480RW-1/769-1: Spatial Revolution! Soviet Architecture and Urbanism

Also REES 490 and HIST 585

Christina Crawford     T 9am-12pm     Candler Library 119

How did early Soviet architects and planners frame their creative endeavors in light of the successful socialist revolution? Did their design work produce new ways of living, as purported? Using Soviet architecture and cities as primary material evidence, this seminar will utilize maps and plans, original texts, scholarly writings, excerpts from works of literature, and period films to immerse students in a series of socialist built environments. We will study temporary agitational structures, house-communes, workers’ clubs, and socialist cities of varying types and geographies, each of which will allow us to explore and analyze the complex relationship between space and socio-political ideology.

Art History major/minor: Division III
Architectural Studies minor: elective

ARTHIST 480RW-2/769-2: Problems in Mid-Century Modern Art

Todd Cronan     W 9am-12pm     Carlos Conf Room

This seminar is centered around the key works and texts that define American art at Mid-Century. Looking closely at the work and writings of some the most influential figures of the period—including Moholy-Nagy, Buckminster Fuller, Charles & Ray Eames, Eero Saarinen, and Reyner Banham—we will try to reconstruct the defining problems of the moment and how those problems relate to issues in contemporary thought.

Art History major/minor: Division III
Architectural Studies minor: elective

ARTHIST 729: Strategies for 3D Visualization in Art History, Archaeology, and the Environment

Bonna Wescoat     M 3-6pm     Carlos Conf Room

Humanists and social scientist have increasingly engaged the affordances of digital visualization for managing, interrogating, connecting, and presenting a wide array of three-dimensional objects in three-dimensional spatial contexts. This course centers on how digital technologies for various forms of spatial thinking, modeling, and visualizing offer both powerful forensic tools and effective forms of public communication. Using as a starting point the current research trajectory of investigations in the ancient Greek Sanctuary of the Great Gods on Samothrace, this course aims to acquaint students with the fundamental digital tools of spatial analysis and offer the opportunity to work directly with each technology. A key objective is to enable students to make knowledgeable choices about which strategies and technologies most effectively address particular research or visualization questions. An emphasis on both acquired skills sets and their informed deployment will effectively prepare students to frame research questions visually and present Humanities scholarship to public audiences.


ARTHIST 749: Drawing and European Cultures of Knowledge, 1400-1800

Jean Campbell     Th 1-4pm     Carlos Conf Room

This seminar will examine drawing as a foundational practice which functioned within and beyond art production in late medieval and early modern Europe. It will take shape around a series of themes, including: drawing as a mimetic and educative activity, drawing books and their functions; drawing, invention, and collaboration; drawings as gifts. We will also consider drawing as an instrument of analysis and recording in the context of the growing knowledge cultures of Early Modern Europe; and, finally, the emergence of drawing collections outside artists’ workshops in the seventeenth century.


ARTVIS SPRING 2020 


ARTVIS 103: Intro Drawing and Printmaking

Linda Armstrong     T 1-4:30pm     VA 118

This class investigates the art and techniques of drawing as relational to printmaking. Printmaking techniques will include woodcuts, collagraphs, monoprints, drypoint etching, and experimental techniques.

Architectural Studies minor: studio art course requirement


ARTVIS 105: Intro Painting

105-1: Linda Armstrong     W 10am-1:30pm     VA 118

105-2: Katherine Taylor    F 9am-12:30pm        VA 118

Intro Painting/Drawing provides an introduction to the fundamentals of these interrelated mediums.  Through a combination of class work and out-of-class assignments, students will gain familiarity with visual elements and their organization in projects that range from representational to non-objective.  Along with the practical experience of working with a range of media and techniques, students should expect to explore drawing and painting within a historic and cultural context and to articulate and discuss their understanding and conclusions.

Architectural Studies minor: studio art course requirement


ARTVIS 109: Intro to Sculpture

Dana Haugaard W 10am-1:30pm VA117

Offered every semester. Credit, four hours. A course designed to provide a firm grounding in the rudiments of sculptural practice. Drawing on historical and contemporary modes of art making this course investigates aesthetic and technical strategies of generating and understanding sculpture. Students are guided toward the realization of three-dimensional form with an emphasis on developing formal language, acquiring basic skills of spatial, conceptual, and technical issues. Students are instructed in the safe use of power and hand tools.

Architectural Studies minor: studio art course requirement


ARTVIS 112: Foundation in Art Practices

Linda Armstrong & Dana Haugaard     T/Th 10am-12pm     VA 118

This foundation-level course exposes students to historical media and practices that undergird the physical creation of art objects, in both two and three-dimensional forms. Designed as a studio course to complement ARTHIST 102. Strategies and materials of art-making. Team Taught Class. No prerequisite.


ARTHIST 190: Drawing, Objectivity, and Understanding

Keiran Moore    M 10am-1pm     VA 118

This class explores drawing techniques and concepts in realistic rendering. Through a sequence of class projects and out of class assignments, students will explore how visual objectivity affects, informs, and influences human understanding.


ARTVIS 205: Intermediate Painting

Katherine Taylor    F 1:30pm-5PM     VA 118

This course builds on the tools and concepts of painting. This course incorporates intermediate levels of conceptual and aesthetic awareness, creative problem solving, aesthetics and critical thinking with an emphasis on the 20th and 21st century aesthetic practices.


ARTVIS 490: Senior Seminar

Leslie Taylor & Dana Haugaard     F 10am-12pm     VA Gallery

Offered once a year, this capstone course is required of all graduating IVAC co-majors and focuses on professional practices including documentation, research, and development of an individual body of work situated in contemporary theory and methodology.