28 courses with the subject HART B, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
HART B110INTRODUCTION TO MEDIEVAL ART AND ARCHITECTURE1.0
This course takes a broad geographic and chronological scope, allowing for full exposure to the rich variety of objects and monuments that fall under the rubric of “medieval” art and architecture. We focus on the Latin and Byzantine Christian traditions, but also consider works of art and architecture from the Islamic and Jewish spheres. Topics to be discussed include: the role of religion in artistic development and expression; secular traditions of medieval art and culture; facture and materiality in the art of the middle ages; the use of objects and monuments to convey political power and social prestige; gender dynamics in medieval visual culture; and the contribution of medieval art and architecture to later artistic traditions. This course was formerly numbered HART B212; students who previously completed HART B212 may not repeat this course.
This course is a survey of the arts of China from Neolithic to the contemporary period, focusing on bronze vessels of the Shang and Zhou dynasties, the Chinese appropriation of Buddhist art, and the evolution of landscape and figure painting traditions.This course was formerly numbered HART B274; students who previously completed HART B274 may not repeat this course.
What was "the Renaissance"? This course surveys major artistic currents in Europe between c. 1400 and 1600. Topics include the revival of Classical antiquity, renewed interest in the nude figure, the fascination with the grotesque, humanism, collecting, portraits and identity, and innovations in devotional art. While focusing on Italy and Northern Europe, we will consider their transcultural encounters across and beyond Europe. Students will become familiar with a variety of Renaissance media and genres, such as paintings, prints, sculptures, architecture, and decorative arts.
Global Baroque examines the Baroque style both within and beyond Europe, moving from Italy, France, Spain and Flanders to seventeenth-century India, Iran, Japan and China, the New World, the Ottoman Empire and the Kingdom of Kongo. We will study the role of Baroque art in early modern politics, religious missions and global trade; the emergence of princely collections of wonders and cartography; the flourishing of new and wondrous art materials; and the changing role of the artist and artisan in this period. We will consider the Baroque as an invitation for emotional engagement, as a style of power that was complicit in the violence of European colonialism, and as a tool of cultural reclamation used by artists across the world. As a class, we will work to construct an art history of The Global Baroque that also attends to the complex specificities of time and place. This course was formerly numbered HART B240; students who previously completed HART B240 may not repeat this course.
This course takes a transnational approach to the history of art from the Age of Revolution (beginning in the late-eighteenth century) through the industrial globalization of the late-nineteenth century. Lectures, readings and class discussions will engage key artistic and historical developments that shaped art and culture during this period. This course was formerly numbered HART B233; students who previously completed HART B233 may not repeat this course.
This class focuses on European and American art and theory from approximately 1960 to the present. We examine key aesthetic developments including Pop Art, Minimalism, institutional critique, performance, installation, and video. This course was formerly numbered HART B272; students who previously completed HART B272 may not repeat this course
HART B170HISTORY OF NARRATIVE CINEMA, 1945 TO THE PRESENT1.0
This course surveys the history of narrative film from 1945 to the present. We will analyze a chronological series of styles and national cinemas, including Classical Hollywood, Italian Neorealism, the French New Wave, and other post-war movements and genres. Viewings of canonical films will be supplemented by more recent examples of global cinema. While historical in approach, this course emphasizes the theory and criticism of the sound film, and we will consider various methodological approaches to the aesthetic, socio-political, and psychological dimensions of cinema. Readings will provide historical context, and will introduce students to key concepts in film studies such as realism, formalism, spectatorship, the auteur theory, and genre studies. Fulfills the history requirement or the introductory course requirement for the Film Studies minor. This course was formerly numbered HART B299; students who previously completed HART B299 may not repeat this course.
HART B201CRITICAL APPROACHES TO VISUAL REPRESENTATION: MEDIEVAL/MODERN1.0
This is a topics course. Course content varies. This course is writing intensive. This course examines intersections between the medieval and modern worlds through art and architecture. Students study medieval works of art and/or architecture as well as their afterlives in the modern era, as realized through revivals of style and form, museum exhibition excavation, alteration and adaptation for reuse, etc. There are no prerequisites for this course. Enrollment preference given to majors and minors in History of Art.
HART B205CRITICAL APPROACHES TO VISUAL REPRESENTATION: ART, DEATH, AND THE AFTERLIFE1.0
This course is writing intensive. This course aims to explore how art was used as a symbolic form to overcome death and to assure immortality in a variety of archaeological, philosophical, religious, sociopolitical, and historical contexts. Prerequisite: one course in History of Art at the 100-level or permission of the instructor. Enrollment preference given to majors and minors in History of Art. This course was formerly numbered HART B112; students who previously completed HART B112 may not repeat this course.
This course is writing intensive. This course uses art, visual, and material culture to trace the plantation’s centrality to colonial and post-colonial environments in the Atlantic World from the eighteenth century to the present, as a site of environmental destruction as well as parallel ecologies engendered by African-descended peoples’ aesthetic and botanical contestation. Objects to be considered include landscape painting, plantation cartography, scientific imagery, environmental art, and ecologically motivated science fiction. This course was formerly numbered HART B111; students who previously completed HART B111 may not repeat this course. Prerequisite: one course in History of Art at the 100-level or permission of the instructor. Enrollment preference given to majors and minors in History of Art.
HART B235CRITICAL APPROACHES TO VISUAL REPRESENTATION: IDENTIFICATION IN THE CINEMA1.0
This course is writing intensive. An introduction to the analysis of film and other lensed, time-based media through particular attention to the role of the spectator. Why do moving images compel our fascination? How exactly do spectators relate to the people, objects, and places that appear on the screen? Wherein lies the power of images to move, attract, repel, persuade, or transform their viewers? Students will be introduced to film theory through the rich and complex topic of identification. We will explore how points of view are framed by the camera in still photography, film, television, video games, and other media. Prerequisite: one course in History of Art at the 100-level or permission of the instructor. Enrollment preference given to majors and minors in History of Art and Film Studies. Fulfills Film Studies Introductory or Theory course requirement. This course was formerly numbered HART B110; students who previously completed HART B110 may not repeat this course.
Using the museums of Philadelphia as field sites, this course provides an introduction to the theoretical and practical aspects of museum studies and the important synergies between theory and practice. Students will learn: the history of museums as institutions of recreation, education and leisure; how the museum itself became a symbol of power, prestige and sometimes alienation; debates around the ethics and politics of collecting objects of art, culture and nature; and the qualities that make an exhibition effective (or not). By visiting exhibitions and meeting with a range of museum professionals in art, anthropology and science museums, this course offers a critical perspective on the inner workings of the museum as well as insights into the “new museology.” Not open to first-year students. Enrollment preference given to minors in Museum Studies. This course was formerly numbered HART B281; students who previously completed HART B281 may not repeat this course.
This is a topics course. Course content varies. Prerequisite: one course in History of Art at the 100- or 200-level or permission of the instructor. Enrollment preference given to majors and minors in History of Art.
This is a topics course. Course content varies. Prerequisite: one course in History of Art at the 100- or 200-level or permission of the instructor. Enrollment preference given to majors and minors in History of Art.
HART B346THE HISTORY OF LONDON SINCE THE EIGHTEENTH CENTURY1.0
Selected topics of social, literary, and architectural concern in the history of London, emphasizing London since the 18th century. This course was formerly numbered HART B355; students who previously completed HART B355 may not repeat this course. Prerequisite: one course in History of Art at the 100- or 200-level or permission of the instructor. Enrollment preference given to majors and minors in History of Art.
This is a topics course. Course content varies. Prerequisite: one course in History of Art at the 100- or 200-level or permission of the instructor. Enrollment preference given to majors and minors in History of Art.
HART B365EXHIBITING AFRICA: MEANING MAKING ACROSS THE AFRICAN DIASPORA1.0
At the turn of the 20th century, the Victorian natural history museum played an important role in constructing and disseminating images of Africa to the Western public. The history of museum representations of Africa and Africans reveals that exhibitions—both museum exhibitions and “living” World’s Fair exhibitions— has long been deeply embedded in politics, including the persistent “othering” of African people as savages or primitives. While paying attention to stereotypical exhibition tropes about Africa, we will also consider how art museums are creating new constructions of Africa and how contemporary curators and conceptual artists are creating complex, challenging new ways of understanding African identities.This course was formerly numbered HART B279; students who previously completed HART B279 may not repeat this course.
HART B370TOPICS IN HISTORY & THEORY OF PHOTOGRAPHY1.0
This is a topics course. Course content varies. Prerequisite: one course in History of Art at the 100- or 200-level or permission of the instructor. Enrollment preference given to majors and minors in History of Art. This course was formerly numbered HART B308.
This is a topics course. Course content varies. Prerequisite: one course in History of Art at the 100- or 200-level or permission of the instructor. Enrollment preference given to majors and minors in History of Art. This course was formerly numbered HART B380.
This is a topics course. Course content varies. Prerequisite: one course in History of Art at the 100- or 200-level or permission of the instructor. Enrollment preference given to majors and minors in History of Art.
This is a topics course. Course content varies. Prerequisite: one course in History of Art at the 100- or 200-level or permission of the instructor. Enrollment preference given to majors and minors in History of Art and Film Studies. This course was formerly numbered HART B334.
This course is open only to History of Art senior majors; permission of the instructors is required for registration. A critical review of the discipline of art history in preparation for the senior thesis. Capstone in the major; culminates in the senior thesis proposal.
This course is open only to History of Art senior majors; permission of the instructors is required for registration. A seminar for the discussion of senior thesis research and such theoretical and historical concerns as may be appropriate. Interim oral reports. Capstone in the major; culminates in the senior thesis.
Advanced students may do independent research under the supervision of a faculty member whose special competence coincides with the area of the proposed research. Consent of the supervising faculty member and of the major adviser is required.
This course provides students a forum in which to ground, frame and discuss their hands-on work in museums, galleries, archives or collections. Whether students have arranged an internship at a local institution or want to pursue one in the Bryn Mawr College Collections, this course will provide a framework for these endeavors, coupling praxis with theory supported by readings from the discipline of Museum Studies. The course will culminate in a final presentation, an opportunity to reflect critically on the internship experience. Prior to taking the course, students will develop a Praxis Learning Plan through the Career and Civic Engagement office. All students will share a set syllabus, common learning objectives and readings, but will also be able to tailor those objectives to the specific museum setting or Special Collections project in which they are involved. Note: Students are eligible to take up to two Praxis Fieldwork Seminars or Praxis Independent Studies during their time at Bryn Mawr.
Students may register for this course with approval of a faculty supervisor in conjunction with internship projects in the college’s collections and other art institutions in the region.
