Fall 2013 Course Catalog - School of the Museum of Fine Arts

Fall 2013 Course Catalog
16
English II: Moc and
Documentary
ENGS 0002 C (4 Credits)
David Greenwood
R
2:00 PM - 5:00 PM
C111
In this course, we will look at films using the documentary toolkit and examining the nature
of “reality” in art. We will view documentaries such as Capturing the Friedmans, Fog of War,
and Control Room, along with documentary-style features like In this World, and even films
that use documentary techniques in non-naturalistic ways, like Elephant. These films will be
launchpads for frequent writing of your own as you practice analysis of style, content, and
perspective, learning to detect just how any of these components yields “truth.” Please visit:
http://www.ase.tufts.edu/visualcriticalstudies/English/EnglishCourses.html
Architectural Installation &
Design
FAB 2001 01 (4 Credits)
Barbara Dowling
W
9:00 AM - 12:00 PM /
2:00 PM - 5:00 PM
A208
This course is designed for students interested in exploring Boston’s building landscape
and public parks. It is neither a glass class nor a technical architecture class. Students will
work throughout the semester to develop a site specific “dreamscape”. We will examine
the creative process of Frank Gehry, Antonio Gaudi and Frank Loyd Wright. Students will
be expected to develop a conceptual world in what ever medium of their choice sculptuure,
painting, glass etc. This will become your class final project.
Material a Week
FAB 2005 01 (4 Credits)
Barbara Dowling
T
9:00 AM - 12:00 PM /
2:00 PM - 5:00 PM
A208
Approach sculpture-making through nontraditional materials. Use the particular properties
of each material as a departure point and discover that materials themselves can suggest
ways to transform into sculpture. Materials are not mute: they can speak if we only listen.
We will provide a different material every week to explore for its sculptural possibilities.
We guarantee that you will learn if you bring a commitment and willingness to experiment.
Prerequisite: some sculpture experience or Down, Dirty, and Dimensional, or just a willingness
to be open minded.
A View of Ancient Middle and
South American Art
FAHS 0002 01 (4 Credits)
Eulogio Guzman
T
9:00 AM - 12:00 PM
B311
This class is a general survey on American cultures prior to European contact. It introduces
selected topics in the field of Pre-Columbian studies such as myth, religion, cosmogony,
archaeoastronomy, kingship and sacrifice as manifested in the arts of Middle and South
American peoples. The course examines the ways art referred the worldview and the
social history of indigenous cultures. The formal, technical, and iconographic merits of
indigenous artworks will thus be analyzed to support the historical, socio-economic and
political interpretations put forth by scholars of the discipline. Lectures will present the theories
and methodological approaches scholars use to understand Amerindian visual imagery;
students will be expected to evaluate critically the merits of such methods. Students are
to consider every work presented in this course as part of a larger puzzle that can help us
better comprehend the Pre-Columbian past. Additionally, students are urged to keep in mind
what agendas play a role in pursuing our interest in studying this past.
Histories of Film/One: 1895-
1955
FAHS 0007 A (4 Credits)
Tina Wasserman
T
2:00 PM - 5:00 PM
B311
The two Histories of Film courses are sequential, one-semester courses that may be taken
separately, but are created as a year-long inquiry into the history of the art of cinema.
Constructed as a foundations course, we will examine the historical development of cinema
from its inception in the late nineteenth century through the present. Presented through a
broad historical, aesthetic, and critical framework, this course will introduce the student to
the study of cinematic representation by focusing on the first half-century of its development
in the fall and the second half-century of its development in the spring. By investigating the
aesthetic, formal, and stylistic devices of film as well as its narrative codes and structures
we will consider the evolution of its rich and complex language. Our study will focus on such
noteworthy film movements as the early international avant-garde, German Expressionism,
Soviet filmmaking of the 1920s, the classical studio Hollywood film (including genre and
authorship studies), postwar cinemas in Japan and Italy, international New Wave cinemas
of the 1960s, post-classical American cinema, World cinema, contemporary independent
film practices, and more.