Art and Art History 298. Experimental Courses
Impossible Monsters: Goya as Painter and Printmaker
Impossible Monsters: Goya as Painter and Printmaker is an in-depth study of the life and work of this great Spanish artist and is being taught in conjunction with a blockbuster exhibition on Goya (the first in 25 years in North America) called Goya: Order and Disorder, which will open at the Museum of Fine Arts in Boston in early October and is being curated by a Wheaton Alumna. Goya ranks among the greatest painters and printmakers in the history of art. In a rich series of astonishing prints (four of which Wheaton owns) and paintings, Goya plumbed the depths of human misery in images so real and yet so bizarre that the term “Social Fantastic” was coined for them. In the fourteen ‘Black Paintings ‘of his last suffering years (after going deaf), including Satan Devouring his Children, Goya portrayed a universe of isolation, brutality and anxiety. Francisco de Goya y Lucientes effected an intense influence on the direction of modern art. We will scrutinize his impact on Picasso, for example, and identify how Goya’s work evolved as a painstaking criticism of outdated Spanish institutions as well as his critique of Spain’s invasion by Napoleon. From his technical innovations, which revolutionized the production of etchings and lithography (a “young” art form at the time) to his astounding portraits and historical/allegorical paintings, Goya’s art and insight were phenomenal — eerily modern and relevant even today.
Other highlights of the course will include the organization of a small exhibition by students in Wheaton’s Weil Gallery of our Goya prints (one was donated this December and has not yet been shown) in conjunction with the MFA show. All students will become art collectors through a Buy-A-Print Assignment; each will become acquainted with a professionalizing experience of going to the International Print Fair in NYC in November; all will attend the Goya exhibition in Boston and network with alumnae(i) in all disciplines at a special event. A final highlight is that this class has been designated one of the two Wheaton Institute for Interdisciplinary Humanities (Please visit the WIIH website: http://wheatoncollege.edu/wiih/) courses for next year, which means that all students enrolled will become WIIH fellows and benefit from exposure to professional development events, such as hearing a panel of alums speak about their careers (museum studies, law, conservation, recent PhD’s and college professors, auction house professionals, curators, etc.), participate as facilitators at interdisciplinary events, network with professionals in these areas, to name a few.
Mainstream films, television programs, and video games in the United States have been central to the cultural reproduction of images of Islam as the “other” to and enemy of the so-called West. Yet, the increasing visibility of independently produced media has provided alternative ways for Muslims living in the US to offer counter-narratives to hegemonic stereotypes, and instead promote humanistic representations of Islam. This course will examine the spectrum of media created by and about Muslims living in the United States and the Middle East in order to develop a better understanding of how media shapes global perceptions of Islam.
This course begins with a historical approach to already familiar media images that have saturated our field of vision. Class readings will offer critical frameworks to re-view and discuss selected films, television programs and other media as they relate to political justifications for war and the perpetuation of a “Clash of Civilizations” discourse. Next, the course examines media practices and circulations within the Muslim Middle East. From hip-hop performances to graphic novels, and Ramadan serials to political organizing on Facebook, we will engage with the multitude of ways that contemporary media informs, transforms, and represents the everyday lives of Muslims from Cairo to Tehran. The course concludes with an engagement with recent media interventions by Muslims living in the United States. These interventions seek to counter the normalization of the “terrorist” stereotypes that dominates the media. Together, we will assess how successfully these humanistic, humorous, and heroic portraits of Muslim-Americans challenge the dominant narrative.
Architectures of Islam
This course is a survey of histories of the built environment in the Islamic world from 7th century until the present. Our main objective is to gain a foundational understanding of core questions at the heart of this intellectual journey: What is Islam? Why do we describe architecture or cities as “Islamic”? Is all Islamic architecture necessarily religious? What factors have shaped formal and informal built environments in contemporary Islamic countries and communities?
In the first part of the course, we will examine the origins of Islam on the Arabian Peninsula. Next we will trace the spread of Islam and the monumental religious and secular architecture produced during periods of Islamic rule that stretched from Persia to the Iberian Peninsula. Finally, the course will conclude with modern perspectives of the social, economic and cultural factors shaping the built environment in relationship to Islamic identities during periods of nation building and globalization in the Middle East and South Asia.
Cities of the Middle East
Chaotic souqs, monumental mosques, exotic natives, and labyrinthine streets: this image of the timeless medina, or Arab City, has been a source of fascination in western visual cultures for centuries. In this course, we will flip the script on orientalist narratives of urban life in the Middle East to better understand the political, social, economic, and cultural histories that have shaped representations and transformations of modern urban space and urban life in the region. Throughout the semester we will combine critical readings and case studies from art, architecture, urban planning, and film to examine a range of cities.
We will travel from colonial urbanism in Algiers, modernist planning in Kuwait City, and gentrification in Jaffa, to “star-chitect” ambitions for Abu Dhabi, military occupation in Baghdad, and urban uprisings in Cairo. The course is organized around four main themes: (1) the myth of the medina, (2) colonial urbanism, (3) manufacturing urban heritage, and (4) contesting urban space. Special attention will be paid to the visual representation of cities in the Middle East in order to develop critical observations of the role that art, media, and film play in shaping knowledge of the region.