Classes for Adults to Drop in to Art History Georgetown
Autumn 2021 Form Guide
For more than information on Georgetown'southward operating status for Fall 2021, please review the letter of the alphabet from President John J. DeGioia from March 25th, 2021 at the below link.
During virtual learning in the 2020-2021 academic twelvemonth, our courses had to adapt significantly. Studio Fine art courses, in item, developed new approaches, with heady results. In Art History and Art & Museum Studies, a broad array of courses includes several new ones that promise lively inquiry around questions that have become more than urgent than always in 2021.
We invite you to browse all the offerings and let us know if you lot accept any questions. For private courses, please reach out to the professor. For other questions about your major, small-scale, or our curriculum more than generally, please contact your major counselor or whatsoever of us listed beneath. Department faculty and staff are happy to answer your questions and discuss your options past email or appointment.
Director of Undergraduate Studies in Art History – Prof. Ian Bourland
Director of Undergraduate Studies in Studio Art – Prof. John Morrell
Director of MA Plan in Art and Museum Studies – Prof. Lisa Stiff
Department Chair, current – Prof. Al Acres
Department Chair, Fall 2021 — Prof. Elizabeth Prelinger
Department Coordinator – Emily Aufuldish
Studio Art Courses
Design
ARTS 100-01 – Design I
ARTS 100-01 — Pattern I is an introductory art studio class. Using drawing, painting, sculpture and photo materials, students larn the principles and elements of design necessary to communicate and express themselves visually. Special topics include collage and papercutting. ARTS 100 is required for all fine art majors and is recommended for art minors and as an elective for students interested in exploring the subject area of studio art.
This form is taught by Professor Michael Dowley.
Back TO Superlative
ARTS 100-02 – Design I
ARTS 100-02 – Design I focuses on the study of fundamental skills used for making visual fine art. This includes both conceptual and technical development. The broad goals of the course are to train our eye to sympathize and refine compositions equally a way to communicate ideas visually and create new designs that get by platitude ideas. Additionally nosotros will gain foundational skills and concepts needed for making and analyzing art. This section of Design volition focus on creating 3-dimensional forms using easy to manipulate materials such as paper, cardboard, foam-board and wire. With these materials all of the projects will be achievable in practically whatsoever learning environment.
This course is taught by Professor Evan Reed.
BACK TO TOP
Drawing
ARTS 110-01 & 110-02 – Drawing I: Visual Language
Charcoal on Charcoal Paper
ARTS 110-01 & 110-02 – Cartoon I: Visual Linguistic communication is a form designed to innovate basic fundamentals of drawing, with an accent on perceptive and technical skills. Bones art elements, and principles of fine art are explored as they chronicle to graphic expression. Additionally, this course is designed to develop basic cartoon skills using a multifariousness of media and techniques, and to become knowledgeable of diverse topics, and vocabulary in drawing such as line, tone, perspective, proportion, and composition. Another purpose of this course is to develop bones critical skills in visual art, and to expand elements of visual and disquisitional thinking, and visual vocabulary.
This course is taught by Professor Tom Xenakis.
BACK TO Height
ARTS 110-03 – Drawing I: Visual Language
ARTS 110-03 – Cartoon I: Visual Language In this course, students explore drawing as a graphic means to process the world effectually them. The grade starts with the fundamentals of composition, and how to utilize lite and shadow to describe class. We so await at line as a means of discovery and expression, along with other techniques of rendering form, space and texture. Projects range from nevertheless life and interiors to studies of nature, beast skulls and the portrait/figure. Students are approached on an individual footing as well as through group discussions, slideshows, demonstrations and critiques."Learning to describe is really a matter of learning to see." – Kimon Nicolaides.
This course is taught by Professor Ann Schlesinger.
Back TO TOP
ARTS 110-04 – Drawing I: Visual Language
ARTS 110-04 – Drawing I: Visual Language Gustav Klimt once said, "Art is a line around your thoughts." In this form, students will use drawing as a ways of creative reflection and as a ways to process the world around them. Students will draw inspiration for their work from their personal-history and surrounding environments. They volition larn to see the earth from a new perspective, and with fresh eyes. This form will begin with foundational material, building step by step in complexity. Students will use checklists to assist them to develop and set line drawing, shading, and composition. Understanding that students have different levels of cartoon experience, I work with each student individually to help them amend. Using interactive group critiques and one-on-1 feedback from me, all students will gain valuable feedback on their drawings. A diverseness of drawing processes and techniques volition be covered. Subjects covered will include still life, mural, portraiture, the figure, and architectural perspective drawing. As a remote course, resource will include prerecorded demonstrations, live-recorded demonstrations, slideshow lectures, and brusque films most artists.
This course is taught by Professor Marker Anderson.
Back TO TOP
Printmaking
ARTS 120-01 — Intro to Printmaking
ARTS 120-01 — Intro to Printmaking This course utilizes traditional hand printing of relief images from Linoleum plates. Test plates are washed in color and B&W. Folds and simple bookmaking are presented every bit options. Afterwards learning prophylactic cutting, registration and printing methods, students are encouraged to pursue their ain personal imagery. Critiques and view and response of videos and online print related sites is required.
This course is taught by Professor Scip Barnhart.
Dorsum TO TOP
ARTS 170-01 — Art of the Book
ARTS 170-01 — Art of the Book This course explores the practise and cosmos of unique artist books. Multiple bindings, sewing, folds, cutting methods, and techniques are taught to prepare students for personal expression through manus made books.
This course is taught by Professor Scip Barnhart.
BACK TO TOP
Photography
Darkroom
ARTS 130-01 – Photograph I: Darkroom
ARTS 130-01 – Photograph I: Darkroom This intro level course introduces students to the basics of moving picture and darkroom photography, including photographic camera utilize and functions, film processing, and printing images in the darkroom. Through lectures, demonstrations, and hands on practice, students learn about composition and aesthetics, exposure, and print qualities. The class also uses presentations and guest speakers to explore the history of photography and contemporary practices. No prior experience necessary.
These courses are taught past Professor Bruce McKaig.
Dorsum TO Peak
ARTS 130-02 – Photo I: Darkroom
ARTS 130-02 – Photo I: Darkroom This course has been designed for students who practise not have any technical understanding or previous experience with traditional black and white film photography. It volition cover camera operations, motion-picture show processing, enlargement printing, and presentation methods; students will betrayal, develop, and print all of their own images. Data will be conveyed through traditional readings, demonstrations, and hands on experience with the camera out in the field and print chemistry in the darkroom.
This form is taught by Professor Kelly Carr.
BACK TO Pinnacle
Digital
ARTS 131-01 – Photo 1: Digital
ARTS 131-01 — Photo 1: Digital Photography plays a predominant role in how we explore and express ourselves, how we connect. Even after the pandemic, that will still be true. This class explores how the arts and crafts challenges, the cultural framework, and the photographer'southward perspective are potential tools to help exist better at making and agreement photographs. The sample images are educatee's final portfolios from Fall 2020. I am humbled past how much progress the students fabricated even as we explored without the possibility of brainstorming face-to-face effectually a table.
These courses are taught by Professor Bruce McKaig.
Dorsum TO TOP
ARTS 131-02 – Photograph 1: Digital
ARTS-131-02 — Photo ane: Digital is an introductory digital photography studio fine art course designed to develop the hands-on skills necessary to produce and place the elements of a practiced photograph and to learn a thorough working knowledge of digital equipment. Students volition gain an understanding of the aesthetic and technical areas of photography as a fine art. Course lectures, discussions and digital lab assignments will deal with photographic composition, criticism and history, camera and paper types, and printer systems. Fundamental knowledge of reckoner programs such as Photoshop will be covered for students to edit and impress their work. Students enrolled in studio courses must devote a minimum of Four TO SIX hours per week outside of course to develop and complete assignments. Through the analysis of the history of this medium this class involves the study of photography as a metaphor for the human being condition with students engaging in self-reflection and questioning through analysis, inquiry, dialogue and creation. This course fulfills the Georgetown HALC (Humanities, Art, Literature and Culture requirement) requirement.
This course is taught by Professor Roberto Bocci.
Back TO Superlative
ARTS 131-03 – Photograph 1: Digital
ARTS 131-03 — Photo 1: Digital is a bones digital photography studio art grade designed to develop the hands-on skills necessary to produce and identify the elements of a adept photo and to acquire a thorough working noesis of digital equipment. Students will gain an understanding of the aesthetic and technical areas of photography as a fine art. Course lectures, discussions and digital assignments will deal with photographic composition, criticism and history. Fundamental knowledge of calculator programs such as Photoshop will be introduced in the semester to develop photographic imagery.
This course is taught past Professor Kelly Carr.
BACK TO TOP
ARTS 230-01 – Photography Studio 2
ARTS 230-01 – Photography Studio II is an advanced course for both motion picture and digital photography students to continue shooting and printing their creative work in order to compile a portfolio that can be used to apply for internships, jobs or graduate school. Projects include the portrayal of a city (Washington DC and/or other), event documentation (the documentation of street events, political protests, rock concerts etc.), a volume-making projection that can be printed and leap in-house or sent out to companies like Blurb, and mini projects to larn how to employ advanced Photoshop compositing and editing techniques. Projects can exist developed on film or digital format and printed as gelatin silverish and/or digital prints. Every bit students produce work the prints are inserted into a hard re-create portfolio or added to a website. The primary software packages yous volition use is Adobe Photoshop and Bridge and/or Adobe Lightroom.
This course is taught by Professor Roberto Bocci.
BACK TO TOP
Sculpture
ARTS 140-01 & 140-02 – Sculpture I
There are two sections of 140, at dissimilar times.
ARTS 140-01 & 140-02 – Sculpture I offers students the opportunity to practise their artistic bulldoze and objectify their ideas as three-dimensional form. Students work in traditional and contemporary methods and materials. During the semester there are three thematically driven projects that simultaneously introduce new materials, processes, and conceptual consideration. Assignments begin with demonstrations and example images of work by artists of unlike eras and previous students from Sculpture One. This jump semester Sculpture I volition include projects that range from modeling a grade in dirt, creating sculptures with recycled paper-thin and designing a miniature monument that will contain a range of materials. All sculptural processes will exist low tech and accessible to all.
This course is taught past Professor Evan Reed.
Dorsum TO TOP
Painting
ARTS 150-01 – Painting I: Oil
ARTS 150-01 — Painting I: Oil Edward Hopper once said, "If I could say information technology in words there would be no reason to paint." In this form, students will use pigment as a ways of creative expression and as a means to explore their individual interests. Students will gain inspiration for their work from their personal-history and surrounding environments. They will learn to see the world from a new perspective, and with fresh optics. This course volition brainstorm with foundational fabric, edifice step by step in complexity. Students volition explore color theory and limerick. Understanding that students have different levels of painting experience, I work with each pupil individually to aid them improve. Using interactive group critiques and one-on-ane feedback from me, all students volition proceeds valuable feedback on their drawings. A variety of painting processes and techniques will be covered. In addition to nevertheless life, students will be able to do landscape and effigy paintings. Equally a remote course, resources will include prerecorded demonstrations, live-recorded demonstrations, slideshow lectures, and short films nearly artists.
This grade is taught by Professor Mark Anderson.
BACK TO TOP
ARTS 150-02 – Painting I: Oil
ARTS 150-02 — Painting I: Oil "A painting requires a trivial mystery, some vagueness, and some fantasy." – Edgar Degas. In this painting course, students are introduced to the oil medium, its techniques and concepts, from traditional to more gimmicky approaches. With an emphasis on composition, students volition explore color and tonal relationships, as well every bit surface and textural qualities. Starting with the basics of color mixing and application, students move through a series of projects and exercises in which they explore various aspects of the painting process, gradually building their skills and understanding. Subjects range from nevertheless life and landscape to portrait/figure. Students are engaged on an individual basis likewise as through grouping discussions, lecture/ slideshows, demonstrations and critiques.
This course is taught by Professor Ann Schlesinger.
BACK TO TOP
ARTS 150-03 – Painting I: Oil
ARTS 150 03 — Painting I: Oil is an introductory painting class that teaches the basic techniques of painting. Students learn to paint from ascertainment, in a manner that results in a realistic depiction of the subject. However, the goal of this form is not to make copies, just to strike a rest between an art historical arroyo to painting with a contemporary i – fostering an environment that encourages students to think creatively and to experiment with the pigment and the subject. This is achieved through live and prerecorded demonstrations, artist slide lectures, group, and individual critiques.
This class is taught past Professor Scott Hutchison.
BACK TO TOP
ARTS 154 01 – Intro to Watercolor
Watercolor on newspaper.
Watercolor on paper.
Watercolor on paper.
ARTS 154 01 — Intro to Watercolor, is a studio art grade developing the techniques and concepts of painting in traditional, water-based medium. Students volition learn the basic techniques of transparent and opaque watercolor. They will investigate the impact of color and value on the illusion of space and form. While focusing on the traditional subjects of landscape, nonetheless life, and effigy, they will create a portfolio of five images developing their cartoon and painting abilities with the medium. Studio projects (watercolors), demonstrations, lectures, and; individual and class critiques will exist conducted online using Zoom and Sheet to nowadays all aspects of instruction — technique demonstrations, slide presentations and course discussion. Students create watercolors during regular grade sessions for one-on-one feedback from the instructor and they proceed to develop their paintings outside of class. The students receive individual guidance and evaluations from the instructor during each class also as valuable insights from the student discussions during class critiques.
This course is taught by Professor John Morrell.
BACK TO Acme
ARTS 250-01 — Painting Studio II
ARTS 250-01 — Painting Studio 2 is a continuation of Painting I. Students may explore a multitude of subjects during the semester, be it figurative, a landscape or still life. Nosotros will discuss both the history of painting equally well as contemporary and modern approaches in oils or acrylics. Painting II departs from direct observational study past encouraging students to take risks, experiment and explore deeply, a diverseness of interests through the investigative utilise of mark making, automatic painting techniques, collaging, and imagination. Like all studio courses, Painting Two is a high contact, hands-on class, as such students volition be expected to develop their projects both inside and exterior of class. Instruction volition consist of both alive and pre recorded demonstrations, presentations, individual and group critiques.
This course is taught by Professor Scott Hutchison.
Dorsum TO Summit
Graphic Blueprint
ARTS 162-01 & 162-03 – Intro to Graphic Design
There are two sections of 162, at different times.
Students had studies the bauhaus design and did research on the DAPL and created poster designs.
Students learn to do a portfolio newsletter in InDesign for their projects. This a spread from Nia Jordan's portfolio.
Arts 162-01 & 162-03 — Introduction to Graphic Design: Students will acquire the formal, aesthetic, and chatty aspects of creating effective graphic images. Projects include logos, typography, and digital arts that promote mastery of techniques, methods, and materials. In gild to foster inventiveness, we commencement with breathing meditation at the outset of grade, followed by discussions most design and learn the Adobe software and the foundation of pattern principles. The goal of this class is to strengthen students' visual literacy and communication skills equally part of their liberal arts education.
This grade is taught by Professor Negar Nahidian.
Dorsum TO Elevation
ARTS 162 02 – Intro to Graphic Design
ARTS 162-02 — Intro to Graphic Design is a studio art class focused on the creation of graphic design avails for print and screen-based media. During this course, y'all will learn basic Adobe Illustrator, Adobe Photoshop, and Adobe InDesign software through real-world projects and current topics in graphic design. The course seeks to familiarize pattern students with the communicative power of visual form and to assist students develop a personal process of creating original graphic forms capable of effectively communicating a message or data. Projects integrate the following topics: principles of graphic design, design research, logos and branding, album cover pattern, interactive and print publication design, typography, graphic design history, and professional portfolios.
This course is taught by Professor Toni-Lee Sangastiano
Back TO TOP
Animation
ARTS 166-01 — Animation I
ARTS 166-01 — Animation I is designed to introduce students to bones methods and practices in animation, while exposing them to artists working independently in the field. The course will provide an overview of techniques ranging from paw-fatigued frame-by-frame animation, to object animation and pixilation. Each course volition consist of a short demonstration, viewing of related works, easily-on experimentation and critique. Weekly assignments will further students' exploration of animation approaches and techniques. The course will conclude with the creation of final projects in which students will develop and create an blithe short in a medium of their choosing.
This course is taught past Professor Elyse Kelly.
BACK TO Superlative
Upper Level ARTS Courses
ARTS courses at the 330-400 level are designed primarily for Art Majors, Minors and advanced students who desire to piece of work with a professor on one or several independent projects over the course of the semester. These courses crave blessing. Delight ask with the individual instructor for more than information.
These courses include:
ARTS 321 — Printmaking: Directed Study
ARTS 330 — Photography Studio III
ARTS 340 — Sculpture III
ARTS 350 — Painting Studio Three
ARTS 430 — Photography Studio IV
ARTS 450 — Painting Studio Four
ARTS 499 — Senior Projection Seminar
Art History Courses
ARTH 101-01 — Ancient to Medieval Art
ARTH 101-01 — Ancient to Medieval Art surveys the fine art and architecture from the Paleolithic period through the Gothic period. Within a roughly chronological structure, we will explore the art of these periods in relation to their broader cultural, intellectual and historical contexts. In addition to emphasizing the developments that ascertain each historical period, we volition consider the aesthetic advances fabricated with the painting materials and methods available at the time.
This course is taught by Professor Barrett Tilney.
Back TO TOP
ARTH 102-01 — Renaissance to Modern Fine art
ARTH 102-01 — Renaissance to Modern Art surveys over half-dozen centuries of art to serve as an introduction to the history of Western culture, aesthetics, and civilisation. During the semester, nosotros volition consider the piece of work of major artists and artistic movements in the history of art from the beginning of the Italian Renaissance through the Modernistic era. The emphasis is on painting, sculpture, and compages. The interaction of art and lodge will exist explored through the chronological presentation of historical periods, permitting us to written report the transformation of style and gustation in relation to the changing culture and history of a particular time. The aim of the course is to provide a coherent framework for understanding the history of fine art in Europe and North America after 1300.
This course is taught by Professor Susan Nalezyty.
BACK TO TOP
ARTH 171-01 — Buddhist Fine art
ARTH 171-01 — Buddhist Fine art will survey the Buddhist art and architecture of Asia through selected example studies of artworks and sites in South Asia, Southeast Asia, and East Asia. Among the topics to be studied include: representations of the historical Buddha's life, rock-cut architecture, monastic complexes, painted mandalas, Zen portraits, as well as the roles played by patronage, pilgrimage, and ritual. Our focus upon the Buddhist art and architecture of Asia volition allow united states of america to call up through non just the historical development of the religion and its visual and architectural forms, just likewise issues of cross-cultural transmission. In the process, students will gain familiarity non only with the religious and historical context of the artworks and sites and with the basic iconography of Buddhist deities, just also with methods of visual analysis that class the basis of art historical methodology. No prior knowledge of Asian fine art or religions is required or assumed.
This form is taught by Professor Michelle Wang.
BACK TO Tiptop
ARTH 222-01 — Art & Compages in Renaissance Venice
ARTH 222-01 — Art & Compages in Renaissance Venice This course surveys visual arts and architecture emerging in the late fourteenth century to the tardily sixteenth century. It will explore the history of art not only in Venice, but too the Venetian Republic's other possessions: the domini di Terraferma, such every bit Padua. Rather than presuming a "Venetian" style defined in contrast to other centers of the Italian Renaissance, nosotros will aim to understand regional and individual tendencies on their ain terms. The course volition present the canonical works of Venetian Renaissance painting, sculpture, and architecture, but it besides aims to expand the telescopic of relevant items for art historical inquiry, roofing material culture, manuscripts, and early on printed books. The works themselves within a historic context will exist the focus, including their means of product, the places for which these images were intended, the concerns of patrons and art collectors, and the expectations and responses of the works' outset viewers.
This grade is taught by Professor Susan Nalezyty.
Dorsum TO Elevation
ARTH 236-01 — Dutch Fine art/Age of Rembrandt
ARTH 236-01 — Dutch Art/Historic period of Rembrandt You have virtually likely heard of Johannes Vermeer and Rembrandt van Rijn whose paintings accept been the focus of countless exhibitions, films, and novels. While we will report their careers and remarkable artworks in-depth, their paintings comprise just a tiny fraction of an estimated five-10 million works of art produced in the 17th-century Dutch Republic (now the netherlands) for a population of about the same as Philadelphia today. One scholar estimates that, at times, artists made up 5% of the male person labor force in dutch towns. Our form will explore this explosion of art. In addition to surveying other artists and their paintings and prints, we volition consider the broader context of the profusion of art: political independence, trade, and exploration, a unique art market, a wide range of buyers, and new methods of product.
This course is taught by Professor Barrett Tilney.
BACK TO TOP
ARTH 255-01 — Global Gimmicky Fine art
ARTH 255-01 — Global Gimmicky Fine art This survey course provides a full general introduction to global gimmicky art. Later on providing a brief grounding in 20th-century modernism and socio-political events of recent decades, this form considers a broad thematic range: pop and conceptual fine art; the emergence of operation, installation, and new media; globe works and site specificity; identity-based and institution-critical art; relational aesthetics and new modes of spectacle and digital consumerism; and the emergence of the global biennial and gallery system. This course assumes no prior knowledge and introduces students to a constellation of artists from around the world—from Cindy Sherman to Andy Warhol and Ai Weiwei, Lygia Clark to Kara Walker and Walid Raad, and many more.
This course is taught past Professor William Bourland.
BACK TO TOP
ARTH 365-01 — Latin American Art I
ARTH 365-01 — Latin American Art I This grade examines the fine art of Mesoamerican before the Conquest (ca. 10th century BCE) and up to the period of independence (early 19th century CE). Organized chronologically, the course studies the fine art of Mesoamerica, early contact betwixt Europeans and Indigenous Americans, the introduction of European art in Latin America, and the innovative transformation of both native and European art due to the Conquest. Past analyzing various materials and topics that include architecture, paintings, sculptures, codices, and prints, the course places particular emphasis on the interaction between native traditions and imported ideas apropos religion, race, gender, politics, rituals, and daily life. While because several relevant art movements, the course introduces students to the major theoretical issues regarding Latin American fine art and its interpretation.
This form is taught by Professor Andrea Gallelli Huezo.
BACK TO Acme
ARTH 431-01 — Museum Architecture
ARTH 431-01 — Museum Architecture Museum architecture shapes visitors' experience of works of art and plays an integral role in the life of a metropolis or region. In this course students will call back critically about the compages of the art museum. Questions to be considered include: How does architecture contribute to a museum's visiting culture? What is architecture's advisable function – should buildings be at the forefront of a visitor's experience or remain every bit a properties? How might a structure reflect the culture and art drove it presents? How have signature buildings impacted an expanse'south economic continuing? Among others, the work of designers such every bit Renzo Piano, Tadao Ando, Zaha Hadid and Snøhetta will be explored. Example studies addressing institutions such as the Metropolitan Museum, the Art Institute of Chicago and the Louvre volition be analyzed. Students will gain familiarity with field scholarship, visit multiple expanse museums and complete writing and presentation assignments.
This course is taught by Professor Stephanie Rufino.
Dorsum TO TOP
ARTH 451-01 — Global Modernism
ARTH 451-01 — Global Modernism Modernism broadly refers to varied cultural responses to the irresolute technological and economic forces of the 19th and 20th centuries. The study of modernism and its creative avant-gardes is often confined to example studies from the European context. This seminar considers a range of contempo scholarship on the flow from roughly 1900-1960 that explores new histories of modernist practice in Africa, Asia, and the Americas, and the networks of cultural exchange that connected them as role of a global phenomenon.
This course is taught past Professor William Bourland.
Back TO TOP
ARTH 454-01 — Visions of the Sublime in American Art and Literature
ARTH 454-01 — Visions of the Sublime in American Art and Literature This course examines the transformation of European philosophical and aesthetic notions of the sublime and the beautiful into a distinctly American aesthetic. By considering eighteenth-century philosophical writings on the Sublime, major American 19th-century paintings, and literary selections, we will explore ways in which Americans embraced Nature as a symbol of the Sublime (Divine), and the implications of this for American grapheme and national destiny. If possible, at that place volition be field trips to the National Gallery of Art and the Smithsonian American Art Museum.
This course is taught by Professor Elizabeth Prelinger.
Dorsum TO Pinnacle
ARTH 463-01 — World, Fine art: Red china
ARTH 463-01 — Globe, Art: China This seminar examines globe equally cloth, site, and concept for art-making in Red china from prehistoric times to the present twenty-four hours. Although Chinese ritual and connoisseurial texts privileged ritual objects made of bronze and works of painting and calligraphy fabricated from ink and silk, the earliest extant artifacts in People's republic of china are ceramic vessels fabricated from clay. Furthermore, cognition of how to work with clay and earth was critical to the production of objects and sites both miniscule and monumental in scale: from minor terracotta figurines of the silk routes to the Great Wall of China. In this seminar, nosotros will consider the artisanal knowledge that emerged from the very earth of Mainland china, also as frameworks such as site-specificity, new materialism, and environmental humanities.
This course is taught past Professor Michelle Wang.
Dorsum TO Tiptop
Senior Thesis
ARTS 490, Senior Thesis: Past arrangement with a kinesthesia adviser, majors may write a senior thesis on an art historical topic of their choosing. The thesis is optional, but can serve as a capstone form that prepares students for future professional or graduate work.
BACK TO Superlative
Art & Musuem Studies Courses
AMUS 500-01 — Museum Studies Foundation
AMUS 500-01 — Museum Studies Foundation This course introduces students to the country of museums as well as their cadre functions, history, and critical literature. We volition examine recent debates nearly museums through the lens of gender studies, disability studies, critical race theory, decolonization, and environmental sustainability, with detail attention to social media movements currently calling for change. Assignments will focus both on mastering fundamental concepts in museum studies and on considering how we can modify museums to better fit society. Our focus will be on art museums, but selected topics in historic and ethnographic museums volition also exist considered.
This course is taught by Professor Lisa Strong.
Back TO Top
AMUS 510-01 — Collections Direction
AMUS 510-01 — Collections Management focuses on general museum concepts and procedures every bit they relate to collections (objects and their documentation) and their management (e.g., preparation, preventive maintenance & conservation, housing, problem solving) as a whole. The course objectives are to innovate the participants to basic care and preservation of collections too every bit a bones agreement of the history and current status of the governance of cultural materials. By the end of the course, participants should sympathize the definition and part of collections within a museum context; sympathise the philosophy of cultural preservation and the meaning of cultural patrimony; sympathise the importance of drove ideals and the role of collections within museum accountability and accreditation programs; empathize the importance of a collections direction policy, its development, content, and application; and how such a policy governs the daily activities within a museum's collections.
This course is taught past Professor Jerry Foust.
Back TO Acme
AMUS 520-01 — Museum Instruction and Interpretation
Students in Museum Pedagogy and Interpretation fix for a programme at the Maria & Alberto de la Cruz Gallery, 2019.
Copyright ©2019 Lisa Helfert for Georgetown University.
AMUS 520-01 — Museum Pedagogy and Interpretation Students will exist active participants in learning about museum education theories and do. This course situates the functions of museum education and estimation within the broader context of a changing paradigm in museums. During site visits to area art museums, educators will talk over aspects of interpretation, programming, and enquiry that are unique to their museum. Class discussion will include such topics as how visitors acquire in an fine art museum, new approaches to interpretation, education programming for varied audiences, edifice audiences and community, and the relationship of mission to teaching and interpretation.
This course is taught by Professor Anna Hindley.
Back TO TOP
AMUS 530-01 — Fall Internship
AMUS 530-01 — Fall Internship Museum internships provide concentrated practical experience within selected museum departments likewise as an overview of the operations of a museum. Some of our internships include a staff-directed seminar; nearly involve a linked research projection as well every bit an internship journal. Expectations and placement will be discussed during the orientation session. Schedule determined by student and museum supervisor; 15–20 hours/wk. Fine art and Museum Studies students only.
This class is taught by Professor Lisa Strong.
BACK TO Meridian
AMUS 535-01 — Curatorial Studies
AMUS 535-01 — Curatorial Studies The term "curate" has get ubiquitous in popular civilisation. Professional person curators are doing the real work and exist at the heart of the art globe; however, their part and daily responsibilities remain mysterious to many. This introductory course will encourage students to know the history of the curatorial field, retrieve critically nigh the discipline every bit it exists and is evolving today, and acquire practical skills and noesis for jobs in the curatorial sector with a focus on the institutional environment. During the semester, we will examine collections and exhibitions from the curatorial perspective. Lectures, assignments, readings, in-form exercises and site visits/guest lectures with local curators will explore both aspects. Students will also be expected to visit museums on their ain as some class assignments will stem directly from this visual experience. The course will culminate in the product of each student's ain exhibition proposal for a Washington, DC museum.
This course is taught by Professor Al Miner.
Dorsum TO Peak
AMUS 545-01 — Museums and Digital Media
AMUS 545-01 — Museums and Digital Media Within the span of just a few decades, digital technologies have made a profound impact on museums: from how they operate to how the visitor experience is synthetic. With an emphasis on interpretation and outreach, this class will explore the impact of technology on museum approaches to collections, exhibitions, and education. A variety of digital media platforms will exist covered, including websites, social media, in-gallery interactives, and mobile experiences. We volition immerse ourselves in key problems that guide and frustrate the successful implementation of engineering in 21st-century institutions, such equally openness, collaboration, sustainability, and a focus on the museum audience as user. With the assistance of case studies and guest speakers, we volition explore what's possible—and what's challenging—when it comes to museums and engineering science.
This course is taught by Professor Darren Milligan.
BACK TO TOP
Source: https://art.georgetown.edu/fall-2021-course-guide/
0 Response to "Classes for Adults to Drop in to Art History Georgetown"
Post a Comment