Art 3062 focusses on major artists and themes in European art, mainly French, during the second half of the nineteenth century. Art and literature and new optical theories of color and light are explored. Questions of politics, gender, race, colonialism, exhibition strategies, urbanism and the landscape are problematized. Major artists include, Courbet, Manet, Degas, Lewis, Monet, Cassatt, Morisot, Cezanne, Seurat, Van Gogh, Gauguin

This course will examine the art of the first half of the twentieth century. We will consider the works studies within their relevant political and cultural contexts. Topics addressed will include the rise of abstraction, the liberation of color, the interest in the subconscious. We will begin with precedents to Modernism in the 19th Century and will conclude with WWII. Additionally, students will learn methods of art historical research and develop skills of visual analysis.

Home OER for Mona Hadler's ART3094-Postwar Art: From World War II to 1989. Twentieth-century art from World War II to the fall of the Berlin Wall. Major movements include Abstract Expressionism, Fluxus and performance, Pop Art, Minimalism, Conceptual Art, Postmodernism. Major artists include Pollock, Rauschenberg, Hesse, Serra, Richter, Warhol, Sherman. Issues of gender, race and politics are integrated into the entire curriculum. For document passwords, please contact Mona Hadler or the Brooklyn College Library.

Chris Richards' course at Brooklyn College offers a thematic examination of African art with an emphasis on the importance of women, a group recognized for their influence on and creation of artistic forms, yet seldom the exclusive focus of academic inquiry. Students will examine a diverse range of visual art forms throughout the African continent, in both historical and contemporary contexts. Although the course is organized thematically, students will be encouraged to interrogate these categories, exploring how specific art forms can fit into multiple categories. The thematic structure will allow students to compare similar art forms from different African cultures, such as pottery and masquerades. Lastly, this course will encourage students to question academic sources for potential biases, particularly in regards to the representation of women.

ART 3164 (undergrad) course will explore the history of architecture and urbanism in New York City from the colonial period through the present day. We will study well-known monuments along with lesser-known but important works, and consider the political, cultural, and economic factors that fueled the development of New York’s built environment. This course will situate the architecture of New York City within the broader discourse of American architectural history, and will examine the impact that New York had on nationwide architectural trends. Classroom lectures will be supplemented regularly with site visits across the city.

ART 7097 History of Architecture and Urbanism in New York City
This course will explore the history of architecture and urbanism in New York City from the colonial period through the present day. We will study well-known monuments along with lesser-known but important works, and consider the political, cultural, and economic factors that fueled the development of New York’s built environment. This course will situate the architecture of New York City within the broader discourse of American architectural history, and will examine the impact that New York had on nationwide architectural trends. Classroom lectures will be supplemented regularly with site visits across the city.

Global Contemporary Art from the Postwar/Postcolonial era to the present. It will consider the historical and contemporary contexts of the countries and artists discussed as well as theoretical issues of globalism, diaspora, and hybridity. While it would be impossible to cover all of global contemporary art in a course such as this, case studies involving different artists and regions will afford the opportunity to seriously investigate different artistic movements and cultures and address global and diasporic issues.

The course will look at the postwar or postcolonial periods in the various countries and then address more contemporary art that is global and often diasporic.

This class is an introduction to non-Western art. We will study the unique aesthetics and the basic ideas behind the arts made in the Islamic world, Asia, Africa, the Americas, and their diaspora. The course will consider the exhibition as a politicized arena and determine how particular ways of selecting and displaying the artworks or their lack of representation in museums can influence our knowledge. Students are encouraged to choose images and write their papers to communicate their ideas about the four focal areas and their diaspora. They are encouraged to think about how their knowledge and worldview can complement the existing world.

Entails exploration of a variety of methodological approaches to object-based learning within a museum setting. Our goal is the achievement of a comprehensive understanding of methods in museum education.

This session will be a studio based model in which students will complete 2D animation projects using multimedia elements such as images, sound, music, and text. These images can be drawings, photographs, or three dimensional materials. The course will help students develop a facility with tools and will steer them towards a personal animation style. Class time will be used to show works in progress, ask questions, get and give feedback, view historical examples, and work on animations in class. There will be opportunities for both individual and collaborative projects. Pre-production techniques like storyboarding and animatics will be covered. Both low and high-tech animation will be examined including cell animation, stop-motion, and motion graphics.

About BC Multimedia
This session will be a studio based model in which students will complete 2D animation projects using multimedia elements such as images, sound, music, and text. These images can be drawings, photographs, or three dimensional materials. The course will help students develop a facility with tools and will steer them towards a personal animation style. Class time will be used to show works in progress, ask questions, get and give feedback, view historical examples, and work on animations in class. There will be opportunities for both individual and collaborative projects. Pre-production techniques like storyboarding and animatics will be covered. Both low and high-tech animation will be examined including cell animation, stop-motion, and motion graphics.

This session will be a studio based model in which students will complete 2D animation projects using multimedia elements such as images, sound, music, and text. These images can be drawings, photographs, or three dimensional materials. The course will help students develop a facility with tools and will steer them towards a personal animation style. Class time will be used to show works in progress, ask questions, get and give feedback, view historical examples, and work on animations in class. There will be opportunities for both individual and collaborative projects. Pre-production techniques like storyboarding and animatics will be covered. Both low and high-tech animation will be examined including cell animation, stop-motion, and motion graphics.

Course Description: In 324CE, Constantine the Great moved the capital of the Roman Empire to Constantinople, creating what scholars now refer to as the Byzantine Empire. From 324 to 1453, the Byzantine Empire existed as a major power in the Mediterranean World. Its artists negotiated its Roman past with its Christian present, innovating new modes of depicting the world in art and architecture. In this class we will examine works from the early through late Byzantine periods, questioning Byzantine identity in the arts. Drawing from a wide geographic range, we will consider the Byzantine Empire as a site of cross-cultural interaction and exchange, and ask how art objects expressed the diversity and power of the Empire.

An exploration of the art and architecture of the Silk Road across Afro-Eurasia, from the Han Dynasty (2nd century BCE) until the spread of colonialism (17th century). Some discussion of the contemporary Silk Road will also be included. Subjects covered: the history of art, the rise and interaction of Islam and Buddhism, and the economic and diplomatic context that facilitated the development and expansion of the Silk Road, the Silk Road today.

Art 3062 Graduate level: Same as Art 3062 with extra readings and projects.
Art 3062 focuses on major artists and themes in European art, mainly French, during the second half of the nineteenth century. Art and literature and new optical theories of color and light are explored. Questions of politics, gender, race, colonialism, exhibition strategies, urbanism and the landscape are problematized. Major artists include, Courbet, Manet, Degas, Lewis, Monet, Cassatt, Morisot, Cezanne, Seurat, Van Gogh, Gauguin.

This course will combine art history with gender studies. It will be a balancing art between art historical discussions of key women artists from the Renaissance to the present, problematizing issues and reading theoretical texts. (Not open to students who have completed Art 15.6.)

This class is an OER class—all assignments can be found online here on this site.

This site was developed as an open educational resource (OER) for the CUNY / Brooklyn College course, ARTD 3105 The Development of the Silk Road, taught by Professors Jennifer L. Ball and Shuming Lu.

This course focuses specifically on the Western region of Africa and will examine a diverse range of arts and cultures from the following countries: Nigeria, Benin, Togo, Ghana, Ivory Coast, Mali, Sierra Leone, Liberia, Burkina Faso, and Senegal. By focusing on a specific geographic region, students will be able to better understand the arts of the aforementioned countries and how they are interrelated. Students will be further encouraged to examine how African cultures and their respective art forms have been represented by Western academics and the Western art historical canon. The course will include both historical and contemporary art forms, such as masks and masquerades, textiles, wood carvings/sculptures, and architecture. Contemporary works of art will also be discussed, with an emphasis placed on artists who are influenced by historical forms of African art (such as El Anatsui and Yinka Shonibare).

This seminar aims to channel the excitement and interest generated by the film Black Panther into a course that utilizes its themes, design elements, and costumes as a means to explore the art and culture of the African continent. This course will provide students with the tools to assess how African cultures are referenced and reimagined in the film, ultimately allowing them to assess if these allusions are informed and appropriate and how they shape our understanding of the film. The course begins by providing students with several theoretical frameworks for understanding the film and its use of African cultures, followed by an exploration of ancient and historical African empires that served as the inspiration for the mythological empire of Wakanda. The majority of the class focuses on specific characters, examining the actual culture practices and forms of dress that influenced their characterization, providing students with a more nuanced and informed understanding of African cultural practices. Students will examine a diverse range of visual art forms throughout the African continent, with an emphasis on textiles, dress and adornment. Most importantly, this course will encourage students to interrogate and question how African cultures are frequently referenced in American popular culture.

This graduate session is a studio class on the topic of video art. Students, through creative projects, readings, and screenings, will develop a practical and conceptual approach to the medium. Video, although used as an artists' material since the late 1950's, has undergone many transformations both due to technical innovation and shifting cultural and artistic landscapes. Video art today is in such wide use by artists in general that it can seem barely noteworthy beyond a materials footnote. However, Video Art, born during a time of the intersection of television culture, conceptual art, and performance art, retains traces of all of these today. This seminar will provide a useful introduction to Video Art's history, methods, and expressive capacities. Technically, we will look at digital editing and compositing techniques as well as mining the characteristics of the many camera technologies available today.