Subject engages a dialogue with architecture and urbanism from the perspective of the visual artist. Ideas investigated thematically from early modernist practices to the most recent examples of contemporary production. Art making as an adjunct to the design process is challenged by both synthetic and critical models of production. Visual art practice is examined as a conceptual prologue to architectural and urbanistic thinking, as an integrated part of the design process, and as a critical epilogue. Lectures and discussions lead to the development of realized projects to be coordinated with architectural studio. This seminar engages in the notion of space from various points of departure. The goal is first of all to engage in the term and secondly to examine possibilities of art, architecture within urban settings in order to produce what is your interpretation of space.

Focuses on the production of visual art for public places outside the gallery/museum context. Readings and discussions that engage aesthetic, social, political, and urban issues relevant to this expanded public context complement studio production. Traditional approaches of enhancement and commemoration are contrasted to more temporal and critical methodologies. Historical models are studied and discussed, including Russian Constructivist experiments, the Situationists, Conceptual Art, and more recent interventionist tactics.

This teaching packet discusses artistic movements of the late 20th century, including abstract expressionism, pop art, minimalism, conceptualism, process art, neo-expressionism, and postmodernism, with attention to their critical reception and theoretical bases. The packet considers works by 27 painters and sculptors including Jackson Pollock, Jasper Johns, Mark Rothko, David Smith, Martin Puryear, Anselm Kiefer, Susan Rothenberg, and Roy Lichtenstein (see full list below).

" This seminar is open to graduate students, and is intended to offer a synoptic view of selected methodologies and thinkers in art history (with some implications for architecture). It is a writing-intensive class based on the premise that writing and editing are forms of critical thinking. The syllabus outlines the structure of the course and the readings and Assignments and Labs for each week. The discipline of art history periodically surges into "crisis." The demise of formalism as a guiding tenet, or connoisseurial appreciation as a general guide, plunged the field into confusion during the 1970s when the battle raged over "social histories of art" or "revisionism;" in the late 1990s the debate was staged between "visual studies" versus "normative art history." The course takes this confusion as itself worthy of study, and seeks to make available some of the new methodologies that have emerged over the past two decades. The ultimate goal is to bring students closer to discovering their own individual methods and voices as writers of art historical prose. In broader terms, we will attempt to understand the historiography of visual art and images more broadly. Our efforts will be predicated on the conviction that art history can serve as a generative discipline for all humanistic disciplines, and even those that style themselves as "Bildwissenschaft" (or "image-science")."

Contributors to this open textbook offer relatable descriptions, details, and contexts of artworks from around the world, which have often been relegated to the peripheries of art and social history. Art traditions from Africa, Oceania, South and Southeast Asia, Islamicate regions, East Asia, and the indigenous Americas (before colonization) are prioritized to challenge the long-held view that “real art” only comes from the West. Introductory discussions of the history of art history and geographic conventions set the stage for considering the larger question, “where does art come from,” and other questions such as, “why haven’t I heard much about art from Africa, Oceania, etc.?” This book takes a pluralistic approach, forefronting diversity and interconnectedness. Scholars and students collaborated to produce this book. Student contributions will continue to improve the text and interactivity as it evolves. A scavenger hunt of student-made “easter eggs” builds a thread of engagement and humor throughout the book. Make sure to find them all!

Art appreciation is centered on the ability to view art throughout history, focusing on the cultures and the people, and how art developed in the specific periods. You cannot understand art without understanding the culture, their use of materials and sense of beauty. Art is also conveyed by the simple act of creating art for art’s sake. Every person is born with the innate desire to create art and similar to other professions, training is essential in honing skills to produce art.