Massachusetts College of Art and Design | Continuing Education | Summer 2008 Courses

DESCRIPTION
This course provides a comprehensive introduction to the history of Western art from ancient times to the Renaissance. Issues covered include the social history of art, the role of politics in art, connoisseurship, fakes, and the conservation of works of art. Students will also examine the ongoing discourse that determines and revises the canon of art history and the ways we see and interpret works of art. The course follows a chronological sequence, examining works in a wide variety of media, including architecture, sculpture, painting, furniture and metalwork. The format of the course combines lectures and discussion, as well as visits to the rich collection of the Boston Museum of Fine Arts

INSTRUCTOR
Duncan Givans holds an MA from St. Andrews University (UK) and PhD from the University of Warwick (UK). He received grants from the Henry Moore Foundation, the British Archaeological Association and the Royal Archaeological Association.

DESCRIPTION
This course provides a comprehensive introduction to the history of Western art from the Renaissance to the present day. A series of lectures will be punctuated at regular intervals with walking tours and visits to local museums. The basic purpose of the course is three-fold: to examine, briefly but thoroughly, the great monuments of creative endeavor which constitute the canon of post-Medieval art; to contextualize succinctly, with historical references and coetaneous examples in other media (for instance, music and literature), those monuments; and, finally, to engage students in the ongoing discourse which determines and revises the canon and the ways in which we see and interpret works of art.

INSTRUCTOR
Duncan Givans holds an MA from St. Andrews University (UK) and PhD from the University of Warwick (UK). He received grants from the Henry Moore Foundation, the British Archaeological Association and the Royal Archaeological Association.

DESCRIPTION
This course will examine the making of the diverse range of artistic media produced during the Middle Ages from monumental architecture, stone sculpture and wall painting, to manuscript illumination, textiles and metal work. Attention will be given to the methods used during the Middle Ages, the materials that were available, and the status of the people at work.

INSTRUCTOR
Duncan Givans holds an MA from St. Andrews University (UK) and PhD from the University of Warwick (UK). He received grants from the Henry Moore Foundation, the British Archaeological Association and the Royal Archaeological Association.

DESCRIPTION
This course is about the relationship between painting and film and their influence on each other. The topics of discussion include: Expressionism and Surrealism in painting and film: Cubism and Film Montage; Chiaroscuro (light and shadow)-from Caravaggio to Bergman; portrait and the close-up; landscape in painting and film; drawings of movie directors.

INSTRUCTOR
Inga Karetnikova holds an MA in Cinema and a PhD in Art History from the Academy of Arts, USSR. She is a former Carnegie Mellon and Guggenheim Fellow, as well as Associate Professor, Boston University. Ms. Karetnikova has published several books, including How Scripts are Made and Mexico According to Eisenstein as well as numerous articles on film and art in her native Moscow and Europe. She is also a scriptwriter and currently writes for the BBC in London. She just completed Films of the 1940s, published by Heinemann Publishing Co.

DESCRIPTION
This course introduces major analytic approaches and issues in the study of traditional expressive behavior that employs artifacts. We explore how cultural groups use material expression to articulate worldview, values and social relations. We will consider such diverse forms of folk art as the scrimshaw carved by whalers, gravestones in Colonial New England, Hmong storycloths, Hopi Katsina, Haitian Vodou flags, graffiti in New York City, political murals in Northern Ireland and Samoan tattooing.

INSTRUCTOR
Dr. Timothy C. Correll has a PhD in Folklore from the University of California, Los Angeles. He was a Fulbright scholar to Ireland 1999-2000. He has published a number of articles and books on folklore and folk art and has curated exhibitions at the Craft and Folk Art Museum as well as the Fowler Museum of Cultural History in Los Angeles. Dr. Correll has taught classes on folklore, material culture, and oral history at Harvard University, Harvard Extension School, Massachusetts College of Art, and Northeastern University.

DESCRIPTION
This course surveys the use of sound in many different types of media art and the issues surrounding these practices. Topics will include: copyright, censorship and mass distribution, sound in film, television and video (both commercial and experimental); transmission art (community radio, pirate radio, microradio, webcasting, Podcasting, etc.), the cultural implications of loudspeakers, popular music theory, basic acoustics and technical sound processes, and the MP3 phenomenon. In addition to lecture and discussion, classes will include listening to sound recordings and broadcasts, video and film screenings, technical demonstrations and a Podcast by the class. No previous experience with sound or music required. For more information please contact: Judy.Dunaway@massart.edu

INSTRUCTOR
Judy Dunaway is an internationally known sound artist whose works have been presented throughout North America and Europe including the Roy and Edna Disney Center, Lincoln Center Out-of-Doors, ZKM, New Museum of Contemporary Art, Everson Art Museum and many other venues. Awards/grants/residencies include Aaron Copland Fund, American Composers Forum, Meet the Composer, ZKM, Harvestworks, NEA. She received an MA from Wesleyan University, and PhD fromSUNY Stony Brook. For more information visit: http://jdunaway.web.wesleyan.edu

DESCRIPTION
Despite the repeated pronouncements of the ’end of painting,’ painting continues to thrive, often in startling new ways. This course will be structured around topics of interest to two-dimensional media practitioners. We will trace the historical development of painters and balance that with an examination of contemporary practitioners. Topics include abstraction from Jackson Pollock and Helen Frankenthaler to artists such as Ross Bleckner and Jodie Manesivit; figurative painters from Lucian Freud and David Park to Jenny Saville and Chuck Close; neo-expressionist and conceptual painters such as Gerhard Richter and Anselm Kiefer. Site specific 2D practitioners from Sol Le Witt to Glexis Novoa and Lily van der Stokker also have an impact on the contemporary scene. In addition, narrative art in the inventive work of William Kentridge, Jeff Wall, Hiroshi Sugimoto merits close study. No account of contemporary art would be complete without examining of the profound effect of film on art, so the work of artists such as Matthew Barney, Douglas Gordon, Bill Viola, and Chloe Piene will also be examined.

INSTRUCTOR
To Be Announced

DESCRIPTION
As an introduction to the visual arts of Japan, we will examine key works of Japanese visual arts, architecture, and material culture. The course will move chronologically as well as thematically through the stages of Japanese history beginning with Jômon archaeological findings and ending with contemporary installation art. Major monuments and works in a variety of media will be studied, including painting, sculpture, crafts works, prints, and architecture. The historical, social, and religious contexts surrounding Japanese art will be discussed along with formal visual analysis of particular works. Course format consists of lectures, discussions, student presentations, and direct analysis of art objects at area collections and exhibitions.

INSTRUCTOR
Meghen Jones is a PHd candidate in Japanese Art History at Boston University where she received an MA in Asian Studies and Certificate of Museum Studies. She has an MFA from Musashino Art University in Japan, specializing in Industrial, Interior and Crafts Design and a BA from Earlham College. She is currently Assistant Professor of Art History at Berklee College of Music.

DESCRIPTION
Imagine instruments played without touching, orchestras with airplane propellers, mind-bending sound pieces using only the echo of a space, vegetable instruments that turn into soup, a "Sound Chair" that propels you through the room, and meditations that reveal sounds in daily life that you never dreamed were there. The course examines works by artists who blur traditional boundaries between music and other disciplines including science, design, visual arts and philosophy. This course is ideal for artists engaged in multi-media work that incorporates sound as well as people interested in experimental music of any genre. Each week will include substantial listening and reading, along with questions about the material and discussion. No previous experience with sound or music needed. Course requires access to an MP3 player and either headphones or external speakers. Built-in computer speakers are not adequate. Sound examples may be downloaded to an iPod. For more information please contact: Judy.Dunaway@massart.edu

INSTRUCTOR
Judy Dunaway is an internationally known sound artist whose works have been presented throughout North America and Europe including the Roy and Edna Disney Center, Lincoln Center Out-of-Doors, ZKM, New Museum of Contemporary Art, Everson Art Museum and many other venues. Awards/grants/residencies include Aaron Copland Fund, American Composers Forum, Meet the Composer, ZKM, Harvestworks, NEA. She received an MA from Wesleyan University, and PhD fromSUNY Stony Brook. For more information visit: http://jdunaway.web.wesleyan.edu

DESCRIPTION
A survey of American painting, architecture, sculpture, prints and photography from 1600 to the present, covering a wide range of movements including Early American Art, Native American Art, Civil War era photography, Gilded Age painting and architecture, the Ashcan School, Early American Modernism, Regionalism, Surrealism, Abstract Expressionism, Earth Art, and Public Art. The course will include visits to local museums and institutions that house some of the finest collections of American Art in the country, including the Isabella Stewart Gardner Museum, the Museum of Fine Arts, Boston, and the Fogg Museum. We will examine style, technique, and iconography in their historical and cultural contexts, considering the political, social, and intellectual climates articulated in the arts, including systems of patronage and public reception.

INSTRUCTOR
Melissa Renn is currently a PhD candidate at Boston University where she received her MA in Art History with a specialization in 20th century American Art, Architecture and Visual Culture. She holds a BA from Stanford University. In 2005, she received the Carroll L. V. Meeks Fellowship and from 2004-2007 she has been the Jan and Warren Adelson Fellow in American Art at Boston University. She teaches at CambridgeCollege and MassArt.

DESCRIPTION
This course is an introduction to how anthropologists study the art of other cultures, focusing on New Guinea (where your instructor studies), Aboriginal Australia, native North America, and Africa as well as the art you display in your own living space and non-Western art in Boston museums. We will focus on three general topics. First, we will begin with general theories on the role and meaning of art in traditional societies. We will then, second, shift to how art from other cultures is displayed in museums around Boston. Third, we will discus tourist art and souvenirs and the question of authenticity. Students will read essays and several books, and write three essays that (i) analyze the art in their own living spaces, (ii) critique museum displays, and (iii) review a book.

INSTRUCTOR
Eric Silverman is a cultural anthropologist at Wheelock College with several years experience studying art, culture, and tourism in a Papua New Guinean village. He has written several books, and many articles and book chapters.

DESCRIPTION
This course is an overview of Russian and Soviet art from the end of 19th century until the collapse of the Soviet Union in 1991. We will analyze major developments, styles, and trends in visual and performing arts. The course concentrates on avant-garde art from 1900-1930 when, due to the unprecedented uplift of intellectual and artistic spirit, Russia became one of the European leaders in the arts. The cultural reality and artistic developments of the times will be viewed in relationship to the concurrent complex social and political conditions.

INSTRUCTOR
Anahit Ter-Stepanian holds an MS in Architecture from Yerevan Polytechnic Institute in Armenia and a PhD in Architecture Theory and History from the Moscow Architectural Institute.

DESCRIPTION
In this course, we investigate the designed and built environment, from the end of the 19th century to the present day. This course examines the influence of technology, aesthetics, politics, social history and economics on modern architecture and urban planning, including the Chicago School, Art Nouveau, international modernism of the 1920s to the 1960s, post-modernism, deconstructivism and worldwide contemporary theory and practice. We will also focus on modern and contemporary developments in the architecture of Boston.

INSTRUCTOR
Amy Finstein is a PhD candidate at the University of Virginia. She has a BA from Brandeis University and a Master of Architectural History from the University of Virginia. She has taught at the Art Institute of Boston at Lesley University, BAC, and Wheaton College.

DESCRIPTION
This course explores cultural and artistic developments associated with and resulting from the major modern social and political revolutions between the end of the 18th and 20th centuries. The course mainly concentrates on rarely covered artistic responses to political, social, and religious revolutions of the 20th century, and briefly covers art during revolutions of the 18th and 19th centuries. Historical, political, philosophical currents and their impact on painting, sculpture, and architecture will be analyzed. Using a cross-cultural and interdisciplinary approach, the visual arts will be viewed in the context of their relationships to political, social, and religious events of their representative time periods.

INSTRUCTOR
Anahit Ter-Stepanian holds an MS in Architecture from Yerevan Polytechnic Institute in Armenia and a PhD in Architecture Theory and History from the Moscow Architectural Institute.

SPECIAL SCHEDULE
M,W,F, 9a-5p, Aug 13-25 & T, 9a-5p, Aug 26

DESCRIPTION
The course introduces the history of photography from the inventions of Daguerre and Fox Talbot to the 20th century masters. The course addresses problems and issues arising from the different techniques of, and the interrelationships between, art, photography, science, and society.

INSTRUCTOR
Joanne Lukitsh is Professor of Art History at MassArt. She received her BA from Wesleyan University, MA from the University of New Mexico, and Ph.D. from the University of Chicago. Her fellowships and grants include: Mellon Curatorial Fellowship at George Eastman House; Mellon Post-Doctoral Fellowship; American Council of Learned Societies; National Endowment for the Humanities Summer Stipend.

DESCRIPTION
In this course we will discuss and attempt to define many of the key movements and terms that form a central part of the language of artists and art critics today – What is Modernism? What is Postmodernism? What is structuralism? What is poststructuralism? What is the "Death of the Author?" What is Deconstruction? How might knowledge of these historical and philosophical ideas affect an artist’s practice today? And why have these developments – often confusing to young artists - become an indispensable part of the language of artists and critics in recent years? Throughout the course, special emphasis will be given to the central role of politics in artistic discourse and practice.

INSTRUCTOR
Anthony Scibilia holds a BA from Cornell University, and MA, MPhil and PhD (ABD) from Columbia University. He teaches at Rhode Island School of Design and MassArt. He is also a photographer with work in the collections of numerous academic institutions as well as the Fogg Museum, The Metropolitan Museum of Art, NY and The National Gallery of Art, Washington, DC. anthonyscibilia.com

DESCRIPTION
The purpose of this class is to stimulate thought and challenge your imagination with extraordinary images from Africa, from the distant past to the post-modern present, from North to South and West to East, in short, a survey of the rich and diverse artistic heritage of this vast continent. We will take a thematic approach with case studies of art in context. Slides that you will be responsible for will be posted for the final. A thematic approach allows for an exploration of ideas that cut across many cultural zones. Case studies provide a more complex view of artworks, their aesthetic and their communicative/symbolic functions within specific societies at a particular point in time.

INSTRUCTOR
Jean Borgatti has a BA from Wellesley College and MA and PhD from UCLA. She is a research associate at Clark University and teaches at Simmons College and Salem State College. She is a lifetime member of the African Studies Association and the author of numerous books and articles. See more: http://Clarku.edu/~jborgatt/

DESCRIPTION
This course is about the relationship between painting and film and their influence on each other. The topics of discussion include: Expressionism and Surrealism in painting and film: Cubism and Film Montage; Chiaroscuro (light and shadow)-from Caravaggio to Bergman; portrait and the close-up; landscape in painting and film; drawings of movie directors.

INSTRUCTOR
Inga Karetnikova holds an MA in Cinema and a PhD in Art History from the Academy of Arts, USSR. She is a former Carnegie Mellon and Guggenheim Fellow, as well as Associate Professor, Boston University. Ms. Karetnikova has published several books, including How Scripts are Made and Mexico According to Eisenstein as well as numerous articles on film and art in her native Moscow and Europe. She is also a scriptwriter and currently writes for the BBC in London. She just completed Films of the 1940s, published by Heinemann Publishing Co.

DESCRIPTION
This course introduces major analytic approaches and issues in the study of traditional expressive behavior that employs artifacts. We explore how cultural groups use material expression to articulate worldview, values and social relations. We will consider such diverse forms of folk art as the scrimshaw carved by whalers, gravestones in Colonial New England, Hmong storycloths, Hopi Katsina, Haitian Vodou flags, graffiti in New York City, political murals in Northern Ireland and Samoan tattooing.

INSTRUCTOR
Dr. Timothy C. Correll has a PhD in Folklore from the University of California, Los Angeles. He was a Fulbright scholar to Ireland 1999-2000. He has published a number of articles and books on folklore and folk art and has curated exhibitions at the Craft and Folk Art Museum as well as the Fowler Museum of Cultural History in Los Angeles. Dr. Correll has taught classes on folklore, material culture, and oral history at Harvard University, Harvard Extension School, Massachusetts College of Art, and Northeastern University.

DESCRIPTION
Despite the repeated pronouncements of the ’end of painting,’ painting continues to thrive, often in startling new ways. This course will be structured around topics of interest to two-dimensional media practitioners. We will trace the historical development of painters and balance that with an examination of contemporary practitioners. Topics include abstraction from Jackson Pollock and Helen Frankenthaler to artists such as Ross Bleckner and Jodie Manesivit; figurative painters from Lucian Freud and David Park to Jenny Saville and Chuck Close; neo-expressionist and conceptual painters such as Gerhard Richter and Anselm Kiefer. Site specific 2D practitioners from Sol Le Witt to Glexis Novoa and Lily van der Stokker also have an impact on the contemporary scene. In addition, narrative art in the inventive work of William Kentridge, Jeff Wall, Hiroshi Sugimoto merits close study. No account of contemporary art would be complete without examining of the profound effect of film on art, so the work of artists such as Matthew Barney, Douglas Gordon, Bill Viola, and Chloe Piene will also be examined.

INSTRUCTOR
To Be Announced

DESCRIPTION
Despite the repeated pronouncements of the ’end of painting,’ painting continues to thrive, often in startling new ways. This course will be structured around topics of interest to two-dimensional media practitioners. We will trace the historical development of painters and balance that with an examination of contemporary practitioners. Topics include abstraction from Jackson Pollock and Helen Frankenthaler to artists such as Ross Bleckner and Jodie Manesivit; figurative painters from Lucian Freud and David Park to Jenny Saville and Chuck Close; neo-expressionist and conceptual painters such as Gerhard Richter and Anselm Kiefer. Site specific 2D practitioners from Sol Le Witt to Glexis Novoa and Lily van der Stokker also have an impact on the contemporary scene. In addition, narrative art in the inventive work of William Kentridge, Jeff Wall, Hiroshi Sugimoto merits close study. No account of contemporary art would be complete without examining of the profound effect of film on art, so the work of artists such as Matthew Barney, Douglas Gordon, Bill Viola, and Chloe Piene will also be examined.

INSTRUCTOR
To Be Announced

DESCRIPTION
In this course, we investigate the designed and built environment, from the end of the 19th century to the present day. This course examines the influence of technology, aesthetics, politics, social history and economics on modern architecture and urban planning, including the Chicago School, Art Nouveau, international modernism of the 1920s to the 1960s, post-modernism, deconstructivism and worldwide contemporary theory and practice. We will also focus on modern and contemporary developments in the architecture of Boston.

INSTRUCTOR
Amy Finstein is a PhD candidate at the University of Virginia. She has a BA from Brandeis University and a Master of Architectural History from the University of Virginia. She has taught at the Art Institute of Boston at Lesley University, BAC, and Wheaton College.

DESCRIPTION
In this course we will discuss and attempt to define many of the key movements and terms that form a central part of the language of artists and art critics today – What is Modernism? What is Postmodernism? What is structuralism? What is poststructuralism? What is the "Death of the Author?" What is Deconstruction? How might knowledge of these historical and philosophical ideas affect an artist’s practice today? And why have these developments – often confusing to young artists - become an indispensable part of the language of artists and critics in recent years? Throughout the course, special emphasis will be given to the central role of politics in artistic discourse and practice.

INSTRUCTOR
Anthony Scibilia holds a BA from Cornell University, and MA, MPhil and PhD (ABD) from Columbia University. He teaches at Rhode Island School of Design and MassArt. He is also a photographer with work in the collections of numerous academic institutions as well as the Fogg Museum, The Metropolitan Museum of Art, NY and The National Gallery of Art, Washington, DC. anthonyscibilia.com