Jerrilynn Dodds

This course will explore the architecture and visual arts of societies in which Islam is a strong political, cultural, or social presence. We will follow the history of some of these societies through the development of their arts and architecture, using case studies to explore their diverse artistic languages from the advent of Islam through the contemporary world. We will begin with an introduction to the history surrounding the advent of Islam and the birth of arts and architecture that respond to the needs of the new Islamic community. We will proceed to follow the developments of diverse artistic and architectural languages of expression as Islam spreads to the Mediterranean and to Asia, Africa, Europe, and North America—exploring the ways in which arts can help define and express identities for people living in multiconfessional societies. We will then draw this exploration into the present day, in which global economics, immigration, and politics draw the architecture and artistic attitudes of Islam into the global contemporary discourse. Our work will include introductions to some of the theoretical discourses that have emerged concerning cultural representation and exchange and appropriation in art and architecture. One of our allied goals will be to learn to read works of art and to understand how an artistic expression that resists representation can connect with its audience. And throughout this course, we will ask: Can there be an Islamic art?

This course will explore the art and architecture of Spain and of Latin America as its lands emerged from colonialism to forge strong independent identities. We will focus on selected topics, including extraordinary artists such as El Greco, Velázquez, Goya, Cabrera, and Aleijadinho, as well as on complex issues surrounding art and identity in contested and textured lands—in particular, Casta painting, colonialism, and arts of revolution and national identity. Students may, if they wish, extend their conference work to later artists (e.g., Diego Rivera, Frida Khalo, José Bedia, Belkis Ayón, among others).

The visual arts and architecture constitute a central part of human expression and experience, and both grow from and influence our lives in profound ways that we might not consciously acknowledge. In this course, we will explore intersections between the visual arts and cultural, political, and social history. The goal is to teach students to deal critically with works of art, using the methods and some of the theories of the discipline of art history. This course is not a survey but, rather, will have as its subject a limited number of artists and works of art and architecture that students will learn about in depth through formal analysis, readings, discussion, research, and debate. We will endeavor to understand each work from the point of view of its creators and patrons and by following the work's changing reception by audiences throughout time. To accomplish this, we will need to be able to understand some of the languages of art. The course, then, is also a course in visual literacy—the craft of reading and interpreting visual images on their own terms. We will also discuss a number of issues of contemporary concern; for instance, the destruction of art, free speech and respect of religion, the art market, and the museum. Students will be asked to schedule time on weekends to travel to Manhattan on their own or in the College van to do assignments at various museums in New York. You will need to leave several hours for each of these visits and will keep a notebook of comments and drawings of works of art. There will be weekly conferences first semester and biweekly conferences second semester in the first-year studies.

The visual arts and architecture constitute a central part of human expression and experience, and both grow from and influence our lives in profound ways that we might not consciously acknowledge. In this course, we will explore intersections between the visual arts and cultural, political, and social history. The goal is to teach students to deal critically with works of art, using the methods and some of the theories of the discipline of art history. This course is not a survey but, rather, will have as its subject a limited number of artists and works of art and architecture that students will learn about in depth through formal analysis, readings, discussion, research, and debate. We will endeavor to understand each work from the point of view of its creators and patrons and by following the work's changing reception by audiences throughout time. To accomplish this, we will need to be able to understand some of the languages of art. The course, then, is also a course in visual literacy—the craft of reading and interpreting visual images on their own terms. We will also discuss a number of issues of contemporary concern; for instance, the destruction of art, free speech and respect of religion, the art market, and the museum. Students will be asked to schedule time on weekends to travel to Manhattan on their own or in the College van to do assignments at various museums in New York. You will need to leave several hours for each of these visits and will keep a notebook of comments and drawings of works of art.

How can we read peoples’ sense of identity in the arts? How do religious identities interact with national, regional, and cultural identities? Is European identity necessarily Christian? These are some of the questions that will be addressed in this seminar. From 711 to 1492, the Iberian Peninsula was home to a number of kingdoms with constantly transforming demographics, cities marked by religious pluralism, and kaleidoscopic political alliances between political and religious groups. Opposing forces rarely aligned simply with religious affiliation in medieval Spain. If documents give us a biased and incomplete picture of the relationship between and among Christians, Jews, and Muslims, the arts can provide a different kind of testimony to these rich and complex histories that continue to have an impact on our lives today.

This course will explore the art and architecture of Spain and Latin America as its lands emerged from colonialism to forge strong independent identities. We will focus on selected topics, including extraordinary artists such as El Greco, Velázquez, Goya, Cabrera, and Aleijadinho, as well as complex issues surrounding art and identity in contested and textured lands—in particular, Casta painting, colonialism, and arts of revolution and national identity. Students may, if they wish, extend their conference work to later artists (e.g., Diego Rivera, Frida Khalo, José Bedia, Belkis Ayón, among others).

This course will explore the art and architecture of Spain and Latin America as its lands emerged from colonialism to forge strong independent identities. We will focus on selected topics, including extraordinary artists such as El Greco, Velázquez, Goya, Cabrera, and Aleijadinho, as well as complex issues surrounding art and identity in contested and textured lands—in particular, Casta painting, colonialism, and arts of revolution and national identity. Students may, if they wish, extend their conference work to later artists (e.g., Diego Rivera, Frida Khalo, José Bedia, Belkis Ayón, among others).

How can we read peoples’ sense of identity in the arts? How do religious identities interact with national, regional, and cultural identities? Is European identity necessarily Christian? These are some of the questions that will be addressed in this seminar. From 711 to 1492, the Iberian Peninsula was home to a number of kingdoms with constantly transforming demographics, cities marked by religious pluralism, and kaleidoscopic political alliances between political and religious groups. Opposing forces rarely aligned simply with religious affiliation in medieval Spain. If documents give us a biased and incomplete picture of the relationship between and among Christians, Jews, and Muslims, the arts can provide a different kind of testimony to these rich and complex histories that continue to have an impact on our lives today. This is an intermediate course. Some of the things that would qualify you to enroll for this course would be: having previously taken a course in medieval art or Islamic art; having taken a course in medieval or Islamic history or civilization; or the ability to conduct research in Spanish. You are also welcome during interviews to make a case for other skills or background that you feel might qualify you.

A number of contemporary politicians would have us believe that Medieval Europe was an almost uniquely Christian place and that the other two Abrahamic religions—Judaism and Islam—were fleeting and insignificant forces in the development of Europe and the Mediterranean. The arts, however, tell a different story. It is not a story of a utopia of tolerance and understanding, nor is it one of constant hostility and opposition between religious groups. The arts, instead, reveal multiple different ways that relations between different religious groups are constructed in societies, in times of war and peace, and in times of tension and productive interaction between different religious groups. The works that students will explore are fascinating and historically revealing. The themes will be traced in mosques, churches, and synagogues; in palaces and gardens; in paintings, costume, and luxury arts, seeing how rich the act of grappling with difference can make a society. To understand these relations, we will also explore theories of interaction and question some of the ways in which religious difference has been characterized in the arts in the past.

The visual arts and architecture constitute a central part of human expression and experience, and both grow from and influence our lives in profound ways that we might not consciously acknowledge. In this course, we will explore intersections between the visual arts and cultural, political, and social history. The goal is to teach students to deal critically with works of art, using the methods and some of the theories of the discipline of art history. This course is not a survey but will have as its subject a limited number of artists and works of art and architecture, about which students will learn in depth through formal analysis, readings, discussion, research, and debate. We will endeavor to understand each work from the point of view of its creators and patrons and by following the work's changing reception by audiences throughout time. To accomplish this, we will need to be able to understand some of the languages of art. The course, then, is also a course in visual literacy—the craft of reading and interpreting visual images on their own terms. We will also discuss a number of issues of contemporary concern; for instance, the destruction of art, free speech and respect of religion, the art market, and the museum. If health considerations and COVID restrictions allow, students will be asked to schedule time on weekends to travel to Manhattan, either on their own or in the College van, to do assignments at various museums in New York. You will need several hours for each of these visits and will keep a notebook of comments and drawings of works of art. During the fall semester, students will meet with the instructor weekly for individual conferences; in the spring, we will meet every other week.

This is a discussion-based course with some lecture segments, in which students will learn to analyze works of art for meaning against the backdrop of the historical and social contexts in which the works were made. It is not a survey but will have as its subject a limited number of artists and works of art and architecture, about which students will learn in depth through both formal analysis and readings. The goal is to teach students to deal critically with works of art, using the methods and some of the theories of the discipline of art history. The “Western Tradition” is understood here geographically, including works executed by any political or cultural group from the Fertile Crescent, the Mediterranean, and extending to Europe and the Americas. Part 1 (fall semester) will include works from Ancient Mesopotamia through the end of the Middle Ages. Part 2 (spring semester) will cover works from about 1500 to the present.

This is a combination lecture and discussion-based course, in which students will learn to analyze works of art for meaning against the backdrop of the historical and social contexts in which the works were made. It is not a survey but will have as its subject a limited number of artists and works of art and architecture, which students will learn about in depth through both formal analysis and readings. The goal is to teach students to deal critically with works of art, using the methods and some of the theories of the discipline of art history. The “Western Tradition” is understood here geographically, including works executed by any political or cultural group from the Fertile Crescent, the Mediterranean, and extending to Europe and the Americas. Part 1 (fall semester) will include works from Ancient Mesopotamia through the end of the Middle Ages. Part 2 (spring semester) will cover works from about 1500 to the present.

This is a discussion-based course with some lecture segments, in which students will learn to analyze works of art for meaning against the backdrop of the historical and social contexts in which the works were made. It is not a survey but will have as its subject a limited number of artists and works of art and architecture—about which students will learn in depth through both formal analysis and readings. The goal is to teach students to deal critically with works of art, using the methods and some of the theories of the discipline of art history. The “Western Tradition” is understood here geographically, including works executed by any political or cultural groups from the Fertile Crescent, the Mediterranean, and extending to Europe and the Americas. The course will include works from Ancient Mesopotamia through the present.

In this course, we will trace the history of Paris from its foundation until World War I, working from the visual arts that both defined and emanated from this remarkable city. We will explore works of art, architecture, and urban design as documents of history, of social and cultural values, and of the history of ideas. Our readings and discussions will lead us to interactions between the arts and the history, fashion, religion, science, and literature of Paris. Student projects will chart these relationships graphically and construct, in both individual and group projects, a cultural history of Paris from Roman Lutetia to the City of Lights.

In this course, we will trace the history of Paris—from its founding through World War I—using the arts that both defined and emanated from this remarkable city. We will use works of art, architecture, and urban design as documents of history, of social and cultural values, and as the history of ideas. Student projects will chart these relationships graphically and construct a cultural history of Paris from Roman Lutetia to the City of Lights.

This course explores the powerful architecture, sculpture, and painting styles that lie at the heart of the creation of Europe and the idea of the West. We will use a number of strategies to explore how expressive narrative painting and sculpture and new monumental architectural styles were engaged in the formation of a common European identity; we will uncover, as well, the artistic vestiges of diverse groups and cultures that challenge that uniform vision. These are arts that chronicle deep social struggles between classes, intense devotion through pilgrimage, the rise of cities and universities, and movements that could both advocate genocide and nurture enormous creativity—in styles both flamboyant and austere—growing from places as diverse as castles and rural monasteries to Gothic cathedrals. The course will explore those aspects of expressive visual language that link works of art to social history, the history of ideas, and political ideology.

This course will explore the powerful architecture, sculpture, and painting styles that lie at the heart of the creation of Europe and the idea of the West. We will use a number of strategies to explore how expressive narrative painting and sculpture and new monumental architectural styles were engaged in the formation of a common European identity and uncover, as well, the artistic vestiges of diverse groups and cultures that challenge that uniform vision. These are arts that chronicle deep social struggles between classes, intense devotion through pilgrimage, the rise of cities and universities, and movements that could both advocate genocide and nurture enormous creativity in styles both flamboyant and austere, growing from places as diverse as castles and rural monasteries to Gothic cathedrals. Students will explore those aspects of expressive visual language that link works of art to social history, the history of ideas, and political ideology.

This course explores the powerful architecture, sculpture, and painting traditions that lie at the heart of the creation of Europe and the idea of the West. We will use a number of strategies to explore how monumental architecture and expressive narrative painting and sculpture were engaged in the formation of a common European identity and uncover, as well, the architectural vestiges of diverse groups and cultures that challenge that uniform vision. These are arts that chronicle deep social struggles between classes, intense devotion through pilgrimage, and the rise of cities and universities that could both advocate genocide and nurture enormous creativity, in styles both flamboyant and austere, growing from places as diverse as rural monasteries to Gothic cathedrals. The course will explore those aspects of expressive visual language that link the buildings to social history, the history of ideas, and political ideology.