LIBERAL STUDIES AND ALLIED ARTS - School of Continuing and ...

LIBERAL STUDIES AND ALLIED ARTS 

SPRING 2011 

The following information is taken from 

the spring 2011 SCPS bulletin. Please 

note that changes are made to course 

schedules and locations, and new offerings 

are added on a continuing basis. 

Visit our website for the most up-todate 

program information: scps.nyu.edu

SCPS.NYU.EDU/LIBERALARTS 

ARTS AND HUMANITIES 

INFORMATION SESSION 

Cultivate your intellectual and creative interests with our arts, humanities, 

and performing arts offerings. Give the art world a closer 

look, from gallery exhibits to the global market; read or revisit great 

books; study ancient or evolving metropolitan cultures; or explore 

the season’s best film, theater, and music—with a faculty of accomplished 

experts and artists who are passionate about their disciplines. 

And whether you’re a novice or want to advance your career, 

our acting and music courses ensure your performance is memorable. 

Art Appraisal, 

Arts Administration, 

and Art Business 

Wednesday, 6–8 p.m., January 12 

48 Cooper Square, 1st Floor 

ARTS PROGRAMS 

Information sessions include discussions on industry 

news and career opportunities, presentations on 

curriculum, and a chance to ask questions of faculty 

and staff. No RSVP is required, but please be punctual. 

For more information, call (212) 998-7200. 

Our offerings in Arts, Humanities, and Performing Arts include: 

• A wide range of courses in art, literature, film, theater, performing 

arts, history, philosophy, and religion that can spark your curiosity 

and challenge you to view the world from a different perspective. 

• Professional certificate programs: Appraisal Studies in Fine and 

Decorative Arts (page 7), Arts Administration (page 9), and Art 

Business (page 9). 

For more information, visit scps.nyu.edu/liberalarts or call 

(212) 998-7200. 

CONTENTS 

Arts Programs 1 

Art and Art History 1 

Architectural History 4 

Archaeology4 

Appraisal Studies in Fine and Decorative Arts 4 

Arts Administration 7 

Art Business 9 

Studio Art 10 

Photography10 

Humanities11 

Film Studies 11 

History and Culture 12 

Literature14 

Music and Theater Appreciation 16 

New York: Metropolitan Studies 17 

Food and Wine 17 

Philosophy and Religion 18 

Psychology18 

Performing Arts 19 

Acting and Performance 19 

Music19 

Interested in exploring the Met’s most celebrated masterpieces Want to delve into the rich 

history of Asian art Maybe you’d like to try your hand at painting, drawing, or photography. 

We offer an array of courses to meet your creative interests. If you’re looking to launch a career in 

the art world, explore our courses in arts administration, art appraisal, and art business. 

ART AND ART HISTORY 

Unless otherwise noted, no grades are 

issued for Art History courses. 

Art Styles Through the Ages 

X03.9071/$470 

S Sec. 1: Mon. 6.45–8.25 p.m., Feb. 14– 

May 16 (12 sessions). No class Feb. 21 and 

Mar. 14. Francine Tyler, adjunct professor– 

art history, Long Island University. 

Survey painting, sculpture, architecture, and 

prints—and build a foundation in art history. 

Topics include prehistoric art; Egyptian 

art; archaic, classical, and Hellenistic art; 

Roman art and architecture; early Christian, 

Jewish, and Islamic art; Byzantine, Romanesque, 

and Gothic art; the early and High 

Renaissance in Italy and northern Europe; 

baroque art of the 17th century; Dutch 

masters; neoclassical art of the 18th century; 

romanticism, realism, and impressionism 

of the 19th century; postimpressionism; 

and 20th-century styles of fauvism, cubism, 

futurism, surrealism, and social realism. A 

visit to the Metropolitan Museum of Art 

is planned. Tuition includes museum fees. 

Hidden Treasures at the 

Metropolitan Museum of Art 

X03.8106/$350 

Sec. 1: Fri. 6.30–8.10 p.m., Mar. 25–Apr. 29 

(6 sessions). Meets at the Metropolitan 

Museum of Art. Susan Raggio, former lecturer, 

Metropolitan Museum of Art, Museum of Fine 

Arts, Boston, and Art Institute of Chicago. 

Hidden treasures at the Metropolitan 

Museum of Art reveal themselves in two 

ways: they can be unexpectedly beautiful 

art objects or installations that bring to life 

vanished worlds. Beginning our six evenings 

of discovery, the Vélez Blanco Patio is our 

gateway to the museum’s most rewarding 

objects and environments. Just beyond are 

the little gems of Renaissance painting in 

the Linsky Collection, French period 

rooms in the Wrightsman Wing, the 

Renaissance treasures of the Lehman 

Wing, the Cypriote Corridor, Southeast 

Asian and Indian sculptures, and the astonishing 

installations of the American 

Wing. Tuition includes museum fees. 

Understanding Painting: 

The Essential Guide 

X03.9188/$390 

S Sec. 1: Tues. 6.45–8.45 p.m., Mar. 22– 

May 10 (8 sessions). Brian Brooks, artist, 

former senior museum educator, Brooklyn 

Museum of Art. 

Much of the history of art concerns understanding 

artists’ intentions, struggles, and 

evolution. The canvas itself presents significant 

evidence for understanding a painter’s 

oeuvre and the development of painting. 

Such evidence includes brush work, paint 

layering and surface repainting, and composition. 

Examine works by Titian, Rubens, 

Ingres, Turner, Degas, Seurat, Matisse, 

Cézanne, and van Gogh, and abstract artists, 

such as Kandinsky, Mondrian, Pollock, 

Rothko, and de Kooning, to understand 

their achievements and contributions to 

the evolution of painting. One class takes 

place at the Metropolitan Museum of Art. 

Tuition includes museum fees. 

Art Across Cultures at the 


X03.9066/$470 

Sec. 1: Tues. 11.30 a.m.–1.10 p.m., Feb. 15– 

May 10 (12 sessions). Meet at the Metropolitan 

Museum of Art. No class Mar. 15. Paul Werner, 

editor, WOID; author, Museum, Inc.: Inside the 

Global Art World. 

All world cultures are related—sometimes 

by history, sometimes by practice. What 

does classical Greek sculpture owe to 

Africa What is the connection between 

Islamic art and Islam Or Buddhist sculpture 

to classical Greece How does the 

perspective of a Chinese landscape differ 

from European perspective and why In a 

series of wide-ranging lectures, discuss these 

cultures, drawing out the stylistic and cultural 

similarities, raising questions, and 

testing various critical approaches. In doing 

so, gain an introduction to the museum that 

reveals not a mausoleum of individual dead 

things but a dynamic, ever-growing whole. 


1 

WEB: SCPS.NYU.EDU 

E-MAIL: SCPSINFO@NYU.EDU


Signs and Symbols: Reading Art 

X03.9107/$490 

W Sec. 1: Wed. 6.45–8.25 p.m., Feb. 16– 

Apr. 13 (8 sessions). No class Mar. 16. 

Robert Melzak, art editor, researcher, and 

contributor, The Dictionary of Art, and others. 

Why is Botticelli’s Venus riding on a 

seashell Why are Michelangelo’s saints 

naked And why are Dali’s watches melting 

For centuries, artists have used signs 

and symbols drawn from myth, dreams, and 

everyday life to tell their stories through 

pictures. Learning to unravel these visual 

riddles—what art historians call iconography— 

adds depth and pleasure to your enjoyment 

of art. Explore these special images and 

their meanings in slide-illustrated lectures 

featuring; the artwork of Botticelli, van 

Eyck, Vermeer, Rembrandt, Dalí, Picasso, 

and others. Two Friday evening tours of 

the painting collection in the Metropolitan 

Museum of Art are planned. Tuition includes 

museum fees. 

Art in the Western World 

X03.9015/$470 

S Sec. 1: Tues. 6.45–8.25 p.m., Feb. 8–May 3 

(12 sessions). No class Mar. 15. Kathleen Kienholz, 

former adjunct, City University of New York, 

State University of New York; author, articles 

and catalogues on American art. 

This comprehensive, slide-illustrated series 

surveys Western painting, sculpture, and 

architecture from ancient times to the 17th 

century. Major movements, styles, and 

masterpieces are identified and placed in 

historical context. Examine works not only 

as aesthetic objects, but also as reflections 

of people, place, and period. Sessions cover 

prehistoric art; art of ancient Egypt, the 

Aegean, and Greece; Etruscan, Roman, 

early Christian, and Byzantine art; and 

Romanesque, Gothic, and Renaissance art. 

A visit to the Metropolitan Museum of 

Art is planned. Tuition includes museum fees. 

Renaissance Masters 

X03.9005/$430 

W Sec. 1: Mon. 2.30–4.30 p.m., Feb. 28– 

May 9 (10 sessions). No class Mar. 14. 

Filip Noterdaeme, lecturer, Metropolitan 

Museum of Art, Guggenheim Museum. 

This overview course covers Renaissance 

masters from the 14th through the 17th 

century. Topics and artists include Renaissance 

beginnings (Giotto and Duccio); Italy in the 

Quattrocento (Masaccio, Donatello, Piero 

della Francesca, Mantegna, and Botticelli); 

realism and symbolism in northern Europe 

( Jan van Eyck and Rogier van der Weyden); 

the High Renaissance (Leonardo, Raphael, 

and Michelangelo); the Renaissance in 

Germany (Dürer, Grünewald, and Holbein); 

Renaissance Venice (the Bellinis, Giorgione, 

and Titian); and Flemish fantasy and everyday 

life (Bosch and Brueghel). The course 

includes several visits to the Metropolitan 

Museum of Art. Tuition includes museum fees. 

NEW 

Major Monuments of 

the Italian Renaissance 

X03.8671/$430 

S Sec. 1: Thurs. 6.45–8.45 p.m., Feb. 17– 


Irina Oryshkevich, instructor, Columbia University, 

Brooklyn College, Stern College; recipient Getty 

Foundation and Kress Foundation awards. 

Experience the high points of the Italian 

Renaissance by exploring its 10 most important 

and expressive artistic monuments. 

Each week, focus on one major monument 

or series of artworks that ranks among the 

best that this astonishing rebirth of art and 

culture produced. Look at Michelangelo’s 

Sistine ceiling, Raphael’s work in Stanza della 

Segnatura in the Vatican, Giotto’s fresco cycle 

in Assisi, Masaccio’s Brancacci Chapel frescoes, 

the Baptistry doors in Florence, Piero 

della Francesca’s frescoes in Arezzo, Fra 

Angelico’s work at San Marco, Alberti’s 

Santa Maria Novella, Brunelleschi’s Basilica 

of San Lorenzo, and Piccolomini Library 

in Siena. 

From Duccio to De Kooning at the 


X03.8075/$430 

Sec. 1: Wed. 3.15–5.15 p.m., Feb. 9–Apr. 20 


Museum of Art. No class Mar. 16. 



The galleries of the Metropolitan Museum 

of Art can serve as a complete education in 

the history of Western art. Journey through 

the museum and explore the late medieval 

world with Duccio and Brueghel, religious 

controversy and commerce in baroque art 

with Caravaggio and Rubens, and the Dutch 

golden age with Rembrandt and Vermeer. 

The journey continues with romanticism and 

neoclassicism (David, Ingres, and Goya); 

impressionist discoveries and their aftermath 

(Manet, Degas, and Cézanne); and the modernists 

and postwar movements (Matisse, 

Picasso, and Pollock). Learn the language 

of painting and the visual language of these 

artists and their times. Tuition includes 

museum fees. 

European Art at the 


X03.9802/$470 

Sec. 1: Wed. 1.30–3.15 p.m., Feb. 9–May 4 


Museum of Art. No class Mar. 16. Paul Werner, 

editor, WOID; author, Museum, Inc.: Inside the 

Global Art World. 

The Metropolitan Museum of Art contains 

one of the most inclusive surveys of European 

art in this hemisphere—from Greek, medieval, 

Renaissance, mannerist, and baroque to 

the 19th-century impressionists and postimpressionists. 

Using the Metropolitan 

Museum of Art as our classroom, this course 

offers an introduction to centuries of artistic 

expression through a variety of narratives— 

including the history of masterpieces, the history 

of styles and techniques, issues of gender 

and social environment, and finally, an examination 

of the museum itself as the repository 

and arbiter of these various approaches and 

viewpoints. Tuition includes museum fees. 

NEW 

NEW 

La Serenissima: Three Centuries of 

Venetian Art and Architecture 

X03.9250/$430 

W Sec. 1: Mon. 6.45–8.25 p.m., Feb. 14– 


Mar. 14. Lorenza Smith, art historian, Ministry 

of Fine Art, Venice; author, Venezia: La Cittá, 

L’Arte, La Storia. 

For centuries, Venice, one of the Mediterranean’s 

richest and most powerful cities, has 

proven itself to be amazingly fertile ground 

for the arts. Explore the Byzantine origins 

of Venetian art and the unique characteristics 

of the Venetian school. Discuss architects 

including Sansovino, Palladio, and 

Longhena. Consider the paintings of Bellini, 

Titian, Giorgione, Tintoretto, and Veronese, 

and those who followed them, including 

Tiepolo, Canaletto, and the Guardi brothers. 

Learn about the decorative arts, including 

mosaic, blown glass, stuccos, and 

the furniture that completed the architectural 

schemes. 

Dutch Masters: Rembrandt 

and His Contemporaries 

X03.8631/$390 

Sec. 1: Wed. 6.45–8.25 p.m., Feb. 16– 


Jessica Boehmann, Fulbright Scholar; 

faculty, College of Wooster. 

During the lifetime of the remarkable 

painter Rembrandt van Rijn (1606-1669), 

Holland witnessed an explosion of artistic 

creativity expressed in luminous portraits, 

still lifes, and exquisite paintings of everyday 

life. Learn about the historical context 

of this Dutch Golden Age—including 

religious tensions, the fight for independence, 

the rise of a seafaring mercantile 

culture, the exploration of the New World, 

and the aesthetic qualities that made Dutch 

art unique. Explore the work of Rembrandt, 

Rubens, Hals, van Ruisdael, van Dyck, 

Goltzius, and Vermeer, among others. 

Paintings From the 17th 

to the 20th Centuries at the 


X03.8632/$430 

Sec. 1: Wed. 11 a.m.–1 p.m., Feb. 16– 


Heather Masciandaro, staff, Egyptian art, 

Metropolitan Museum of Art. 

From Caravaggio’s dramatic chiaroscuro to 

Picasso’s revolutionary cubism, this course 

explores the Metropolitan Museum of 

Art’s extensive collection of European and 

American paintings. Examine these paintings 

aesthetically and critically through the 

artistic trends of their time period and the 

lives of the individuals who created them. 

Discuss the paintings in the context of their 

broader historical backgrounds—from the 

consequences of the Reformation and 

Counter-Reformation to the events of the 

French and Industrial Revolutions and the 

social crises of modernity. Tuition includes 

museum fees. 

NEW 

Modern and Contemporary Art at 

the Metropolitan Museum of Art 

X03.9259/$390 

Sec. 1: Thurs. 1–2.40 p.m., Feb. 24–Apr. 21 

(8 sessions). No class Mar. 17. Roni Feinstein, 

art historian and curator; lecturer, Museum of 

Modern Art; contributor, Art in America. 

Trace the evolution of 20th-century art 

movements—from fauvism and cubism to 

German expressionism and surrealism to 

abstract expressionism and beyond—using 

the galleries of the Metropolitan Museum 

of Art as a classroom. Discussions include 

the development of American modernism 

early in the century and prevalent trends 

emerging in 21st-century art. The role of 

the museum in exhibiting and collecting 

art and the impact of alternative approaches 

to art criticism are considered. Tuition 

includes museum fees. 

The Best Photography in New York 

X03.8764/$350 

M Sec. 1: Thurs. 11 a.m.–12.40 p.m., Feb. 24– 

Apr. 6 (6 sessions). No class Mar. 17. Anne Hoy, 

author, three books on photography. 

Survey the best photography on view in 

New York—from inventive photo-based 

art and epic photojournalism to blue-chip 

mural-sized prints. Following an overview 

talk about camera work since the 1960s, visit 

influential galleries in Chelsea, Soho, and 

on 57th Street; view significant shows; and 

go behind the scenes at the Metropolitan 

Museum of Art. Learn what determines 

value for current photo collectors with experts 

at top city auction houses. Comfortable 

shoes are recommended. Tuition includes 

museum fees. 

Art of the 20th Century: Movements, 

Manifestos, and Modernisms 

X03.9247/$370 



Margaret Wilkerson, former faculty, Virginia 

Commonwealth University, The University 

of Maryland at College Park, New School 

University. 

This course provides an introduction to 

historical discourses on Western art created 

during the 20th century, with an emphasis 

on styles, subject matter, artistic 

movements, and the impact of social and 

political events on artists and their works. 

Artworks are analyzed as aesthetic and 

social products created for specific reasons. 

Art is considered not merely as a passive 

reflector of societal forces, but also as an 

active agent that, in turn, shapes social 

dynamics. Class sessions consist of slide 

lectures, films, and discussion. In addition, 

students take part in a study tour of the 

collection of the Museum of Modern Art. 


M Meets at NYU Midtown Center, 11 W. 42nd St. 

S Meets in the Washington Square, Cooper Square, 

Union Square vicinity. 

W Meets at the Woolworth Building, 15 Barclay St. 

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The Art Scene: Spring 2011 

X03.9062/$430 



Florence Dan, lecturer. 

M Sec. 2: Tues. 2–3.40 p.m., Mar. 1– 




Stroll through New York City’s museums 

and art galleries and gain fresh insight into 

the meaning and sources of today’s art. 

Explore the changing art scene firsthand 

during field outings to artists’ spaces and 

auction houses; galleries on 57th Street, 

in SoHo and Chelsea, and on Madison 

Avenue; and the Metropolitan, Whitney, 

and Guggenheim museums. Discuss the 

societal, economic, and political forces that 

inform the art of this century. Tuition does 

not include museum fees. 

Understanding Contemporary Art: 

The Essential Guide to New Art 

and New Media 

X03.8656/$390 

W Sec. 1: Tues. 7–8.40 p.m., Mar. 22– 


Lauren Marinaro, Sotheby’s Institute of Art. 

Explore the often rapid shifts in contemporary 

art, from conceptual and performance 

art to digital and video work. This course 

surveys art from 1960 to the present with 

an eye toward the underlying ideas and 

theories. Discuss major aesthetic trends, 

such as minimalism; genres, including new 

media; and the complex issues facing the 

art world today. These issues include the 

role of the contemporary art museum and 

curator; the influence of critics; the evolution 

and sheer number of art fairs, biennials, 

and galleries devoted to contemporary 

art; and the risks and rewards inherent in 

collecting new work. 

The Contemporary Art Experience 

X03.9021/$450 

W Sec. 1: Mon. 6.30–8.10 p.m., Mar. 7– 


Douglas F. Maxwell, arts editor, 

Psychoanalytic Review. 

Consider how and why the current art 

scene looks the way it does. This overview 

offers insight into central issues surrounding 

the contemporary art experience. 

Slide-illustrated discussions; guest visits 

from artists, curators, critics, dealers, and 

others; and occasional visits to artists’ studios 

help students develop their own ability 

to look at a work of art and ask not 

only: “Do I like it,” but also the ultimate 

question: “Is it any good” 

The Contemporary Art World 

X03.9041/$430 

Sec. 1: Wed. 11 a.m.–12.40 p.m., Feb. 9–Apr. 20 

(10 sessions). Location of first class to be announced. 

No class Mar. 16. Douglas F. Maxwell, 

arts editor, Psychoanalytic Review. 

Sec. 2: Fri. 11 a.m.–12.40 p.m., Feb. 11–Apr. 29 

(10 sessions). Location of first class to be 

announced. No class Mar. 18 and Apr. 22. 

Douglas F. Maxwell 

New York City’s art season ushers in the 

most exciting paintings, sculpture, photography, 

and installation work in the contemporary 

art world. Visit the most important 

exhibits and develop an understanding of 

the aesthetics of modern art. Exhibitions 

are selected by the instructor from those 

announced by museums and galleries. 

Meetings are devoted to major exhibitions 

in leading art museums or to shows in the 

more prominent and lesser-known art galleries 

in Chelsea, SoHo, and the galleries 

of 57th Street. Tuition does not include 

museum fees. 

NEW 

NEW 

American Art: From the 

Colonial Period to the Civil War 

X03.8138/$430 



Jennifer Hallam, instructor, Rutgers University, 

University of Pennsylvania, Pennsylvania 

Academy of Fine Arts. 

What do Shaker cabinets, embroidered 

alphabet samplers, hide painting, and folk 

portraits have in common They were all 

part of the aesthetic landscape in the early 

history of the United States. This introduction 

to American art—from the 

pre-Revolutionary period to the Civil 

War—focuses on both traditional and 

nontraditional media. In particular, the 

course gives a prominent place to crafts, 

such as furniture, sewing, quilting, and 

metalworking. It also embraces the national 

ideal of diversity by looking beyond 

canonical artists, such as Gilbert Stuart, 

Thomas Cole, and George Catlin, to include 

works by women and African- 

American and Native American artists. 

Masters of American Impressionism 

X03.8139/$350 

M Sec. 1: Mon. 6.45–8.25 p.m., Feb. 14–Apr. 4 

(6 sessions). Laurene Buckley, executive director, 

Jersey City Museum; former executive 

director, Queens Museum. 

In the late 19th century, American artists 

took the painting style of French impressionism 

by storm and made it their own. 

Many learned techniques directly from its 

originators in Paris or Giverny. Others absorbed 

the style from Americans returning 

from Europe to New York, Massachusetts, 

Pennsylvania, and Connecticut. Explore 

what makes American impressionism so 

distinct from its French precedent and examine 

the work of American masters of 

the style, including Mary Cassatt, Childe 

Hassam, John Henry Twachtman, Edmund 

Tarbell, Theodore Robinson, and William 

Merritt Chase. 

NEW 

NEW 

NEW 

American Modernism 1900–1940: 

From John Sloan to Edward Hopper 

X03.9971/$350 

S Sec. 1: Thurs. 1–3 p.m., Mar. 24–Apr. 28 

(6 sessions). Emily Kies Folpe, lecturer, 

Metropolitan Museum of Art; author, 

It Happened on Washington Square. 

The first four decades of the 20th century 

witnessed a shift in American art from 

the assimilation of the work of European 

modernist artists, such as Cézanne, Picasso, 

and Matisse, to a vibrant new direction. 

Study the art of John Sloan and The Eight 

(“The Ashcan School”), Edward Hopper, 

Georgia O’Keeffe, Stuart Davis, and others. 

This course focuses on two themes: the absorption 

of European influences and the 

ongoing tension between realism and abstraction. 

Topics include Alfred Stieglitz’s 

291 Gallery, the 1913 Armory Show, and 

the role of American collectors, including 

Gertrude Vanderbilt Whitney. Two classes 

take place at museums. Tuition includes 

museum fees. 

The Great Art Collectors 

of the 19th Century 

X03.8500/$390 

S Sec. 1: Wed. 6.45–8.25 p.m., Mar. 23–May 11 

(8 sessions). Margaret Laster, instructor, Brooklyn 

College, Dahesh Museum; curatorial consultant 

for New York-based private collectors. 

Morgan, Huntington, and Frick are names 

reminiscent of the glory days of late 19thcentury 

American art collecting, which resulted 

in the formation of impressive collections 

that were eventually donated to 

museums. Explore this glorious—and sometimes 

inglorious—history and examine the 

social context of collecting, its relationship 

to the rise of museums, and the role of influential 

dealers, including Joseph Duveen, 

in the creation of the great collections. The 

course focuses on both the context of the 

art and on the unique individuals who 

helped to transform U.S. art collections— 

and the museums that house them—into 

an astonishing cultural patrimony. 

Edith Head: 

Wardrobe Designer to the Stars 

X03.8673/$360 

M Sec. 1: Fri. 10 a.m.–12 p.m., Mar. 25– 

Apr. 29 (6 sessions). June Weir, former vice 

president/fashion editor, Women’s Wear Daily 

and W Magazine; former executive editor, 

Harper’s Bazaar. 

She became a celebrity in her own right, 

but for more than 50 years Edith Head 

was the most famous and world-renowned 

wardrobe designer for Hollywood stars. 

Winning eight Academy Awards in her 

career, she defined the style of such film 

actresses as Bette Davis, Hedy Lamarr, 

Olivia de Havilland, Elizabeth Taylor, and 

Audrey Hepburn. Learn about the woman, 

her remarkable career as a pioneer in maledominated 

Hollywood, and the exquisite 

fashions she created. Guests and videos 

accompany class lectures. 

3 




ARCHITECTURAL 

HISTORY 


issued for Architecture courses. 

Experiencing Architecture Through 

the Work of Master Architects 

X03.8115/$430 

S Sec. 1: Wed. 6.45–8.25 p.m., Feb. 9– 


Claude Samton, architect; former faculty, 

Columbia University, Cooper Union, Pratt 

Institute; AIA National Honor Award. 

Great architects are responsible for creating 

some of the most memorable buildings 

throughout history. These structures have a 

profound influence on our culture and affect 

the way we live. After a basic review 

of the history of architecture, focus on 

the most significant architects from the 

Renaissance to the present day. Architects 

discussed include Brunelleschi, Bernini, 

Michelangelo, Gaudi, Sullivan, Wright, 

van der Rohe, Gropius, Le Corbusier, Kahn, 

Gehry, Calatrava, Nouvel, Daniel 

Libeskind, and Piano. Slides, films, and 

videos are used extensively. Includes a field 

trip to a prominent architect’s office. 

Understanding Modern Architecture: 

A Historical and Practical Survey 

X03.9185/$390 

M Sec. 1: Thurs. 10–11.40 a.m., Feb. 24– 


Samuel Albert, architectural historian; 

instructor, Pratt Institute, Hebrew University, 

and Rutgers University. 

Through slide lectures and two walks, examine 

Western architecture over the last 

200 years. Does architecture have its own 

language How have arts and sciences had 

an impact on architecture To answer these 

and other questions, discuss the period’s 

most important figures: William Morris, 

Henry Hobson Richardson, Louis Sullivan, 

Le Corbusier, Mies van der Rohe, Walter 

Gropius, and Frank Lloyd Wright, among 

others. Learn about Greek and Gothic 

Revivals, the influence of the Industrial 

Revolution, the skyscraper, the Arts and 

Crafts movement, art nouveau, the Bauhaus, 

art deco, the international style, and postmodernism. 

Web 

For the most up-to-date 

course information and 

to register online, visit: 

scps.nyu.edu 

NEW 

ARCHAEOLOGY 


issued for Archaeology courses. 

Egyptian Art at the Metropolitan 

Museum of Art: From the Time of the 

Pyramids to Cleopatra 

X03.8143/$430 

Sec. 1: Mon. 11 a.m.–12.40 p.m., Feb. 28– 


Morena Stefanova, research associate, 

Egyptian art, Metropolitan Museum of Art. 

Explore the art of ancient Egypt through one 

of the finest Egyptian art collections in the 

world. Begin with the prehistoric cultures 

of the Nile Valley and travel through the 

period of Queen Cleopatra and Roman 

rule. The class focuses on world-famous 

artifacts and monuments, such as the Old 

Kingdom Mastaba Tomb of Perneb, the jewelry 

of Princess Sit-Hathor-yunet, statuary 

of the first female pharaoh Hatshepsut in 

Egypt, and Faiyum portraits. While examining 

objects of the highest artistry, including 

sculpture, relief, decorative art, and 

painting, delve into the religious, social, and 

political context in which Egyptian cultures 

flourished. Tuition includes museum fees. 

The Pioneers of Archaeological 

Discovery: Tales, Treasures, and 

Exploration 

X03.9210/$390 


May 10 (8 sessions). Marina Thomatos, 

expert and instructor of classical archaeology. 

From the late 18th century until the present 

day, the work of archaeologists has fascinated 

us. Their discoveries and glimpses 

into our past constitute a deeply important 

cultural process. This course explores the 

pioneers—the men and women responsible 

for the most important discoveries in archaeology 

that have shaped our ideas about 

the past. Follow tales of exotic adventures, 

intrigue, and dedicated scholarship among 

figures, such as Heinrich Schliemann, who 

went in search of the walls of Homeric 

Troy; and Sir Arthur Evans, who sought 

the mythological labyrinth of King Minos, 

and delve into the worlds they discovered. 

Art, Antiquity, and the Law 

X03.9249/$350 

W Sec. 1: Tues. 6.45–8.25 p.m., Mar. 29–May 3 

(6 sessions). Paula Kay Lazrus, anthropologist/ 

archaeologist; faculty, St. John’s University. 

Art and antiquities elicit deeply rooted 

emotions that influence how nations and 

individuals think and act with respect to 

cultural resources. Is there a global cultural 

heritage Can the past be owned Why 

and how do we treat movable art differently 

from architecture or historical sites 

Investigate the issues surrounding conservation 

of heritage sites, the effects of war 

on cultural resources, the rights of indigenous 

peoples to control access to remains 

from their past, and the traffic in illegal 

antiquities. Examine how the law affects 

cultural resources and discuss potential 

resolutions to the inherent conflicts in 

protecting the world’s cultural heritage. 

APPRAISAL STUDIES IN 

FINE AND DECORATIVE ARTS 

Designed for both the prospective and practicing appraiser and other arts professionals, our 

appraisal studies program provides a structured overview of the field for dealers, collectors, 

writers, scholars, and museum personnel, as well as those who require continuing education 

for recertification by professional appraisal societies. This program is also invaluable for 

individuals interested in working for galleries and auction houses; in the trade; as writers in 

the field; and for insurance companies, banks, and law firms specializing in art and high-networth 

individuals. While not immediately qualifying students as appraisers, the six methodology 

courses prepare them for the societies’ qualifying examinations; and the electives 

delve into many areas of specialization. Students may enroll in a single course or pursue the 

certificate. 

Essentials of Appraising 

X03.8659/$360 

W Sec. 1: Fri. Sat. 10 a.m.–5 p.m., Feb. 25–26 

(2 sessions). Jane Jacob, independent appraiser; 

board member, Appraisers Association of 

America. 

V Sec. 2: Mon. 6.30–8.30 p.m., Feb. 14– 

Mar. 21 (5 sessions). Karen Hanus-McManus, 

associate appraiser, Jacqueline Silverman & 

Associates, Los Angeles. 

Learn the essential framework of personal 

property appraisal and acquire an education 

in appraising with this introductory 

course. Discuss important issues in the 

field and gain a general knowledge of the 

duties of a professional appraiser. Study 

different kinds of appraisals (estate tax, 

insurance, charitable contributions, and 

equitable distribution); examine the types 

of value and evaluation approaches used in 

appraisal reports; and look at markets and 

the varieties of property most often appraised. 

Other topics include client relations, 

standards and codes of ethics, and 

establishing a practice. 5-session Art 

Business elective. 

Legal and Ethical 

Aspects of Appraising 

X03.8604/$360 

M Sec. 1: Fri. Sat. 10 a.m.–5 p.m., Mar. 4–5 

(2 sessions). Victor Wiener, independent appraiser; 

former executive director, Appraisers 

Association of America. 

M Sec. 2: Wed. 6.45–9.55 p.m., Mar. 23– 

Apr. 20 (5 sessions). Victor Wiener 

V Sec. 3: Thurs. 6.30–8.30 p.m., Feb. 24– 

Mar. 24 (5 sessions). Patricia Dillon, art and antique 

appraisal, Abigail Hartmann Associates. 

Legal aspects of appraising have become crucial 

to the appraisal profession. Appraising 

at its highest levels requires in-depth knowledge 

of key issues, including clear title 

(NAGPRA, with regard to ownership of 

Nazi-era looted property); IRS legal considerations; 

determination of authenticity; 

appropriate marketplace (the retail market, 

tax shelters); factoring in volume discounts; 

interaction of case law and the Uniform 

Standards of Professional Appraisal 

Practice (USPAP); and legal aspects of 

damage/loss appraisals. Analyze prominent 

cases that illustrate compelling legal considerations 

connected with valuing modern 

and contemporary art, including that of 

Warhol, O’Keeffe, Rothko, and Calder. 

IRS Legal Guidelines in Valuation 

of Fine and Decorative Arts 

X03.9515/$360 

M Sec. 1: Fri. Sat. 10 a.m.–5 p.m., Feb. 25–26 

(2 sessions). Helena Addison, appraiser, 

Internal Revenue Service; licensed general 

real estate appraiser, State of New York. 

W Sec. 2: Tues. 6.45–8.45 p.m., Apr. 12– 

May 10 (5 sessions). Helena Addison 

V Sec. 3: Wed. 4–6 p.m., Feb. 23–Mar. 30 

(5 sessions). Patricia Dillon, art and antique 

appraisal, Abigail Hartmann Associates. 

Learn current tax law as it applies to the 

valuation of fine and decorative arts for 

estate, inheritance, gift, and income tax 

purposes, and as donations to charitable 

institutions. 

Research Methods for Appraisers 

X03.9522/$360 

M Sec. 1: Mon. 6.45–8.45 p.m., Mar. 21– 

Apr. 18 (5 sessions). Gayle Skluzacek, 

president, Abigail Hartmann Associates, and 

certified instructor. 


(2 sessions). Gayle Skluzacek 

V Sec. 3: Thurs. 4–6 p.m., Mar. 24–Apr. 21 


Appraisal students and collectors learn 

about the tools that enable an appraiser 

to research a work of art or object; determine 

the appropriate market from which 

to draw comparables; write a narrative 

analysis; and assign a value. Suggestions 

are offered on the use of standard reference 

works and major reference centers in the 

New York metropolitan area. By completing 

a research project, participants gain 

broad exposure to the standards and methodologies 

used by accredited appraisers. 





V Online course. 

4 




Appraisal Writing Workshop 

X03.9675/$360 

S Sec. 1: Fri. Sat. 10 a.m.–5 p.m., Feb. 25–26 

(2 sessions). Jane H. Willis, owner, Jane H. 

Willis Appraisal Service; certified member and 

former president, Appraisers Association of 

America. 

S Sec. 2: Wed. 6.45–8.45 p.m., Mar. 23– 

Apr. 20 (5 sessions). Jane H. Willis 


(5 sessions). Mark Grove, art and antiques 

appraiser; accredited senior appraiser, 

American Society of Appraisers. 

Correctly written appraisals are a necessity 

in the arts appraisal profession. Learn how 

to approach, construct, and develop various 

types of written appraisals appropriate for 

their purpose and reflective of the highest 

current standards. This workshop focuses 

on insurance, damage/loss, estate, donation, 

equitable distribution, and inventory documents. 

Students receive hands-on assistance 

with projects. 

Uniform Standards of Professional 

Appraisal Practice for Personal 

Property Appraisers 

X03.9503/$435 

M Sec. 1: Fri. Sat. 9 a.m.–5.30 p.m., Apr. 1–2 

(2 sessions). Victor Wiener, independent appraiser; 

former executive director, Appraisers 

Association of America; and Gayle Skluzacek, 

president, Abigail Hartmann Associates, and 

certified instructor. 

V Sec. 2: Tues. 4–7 p.m., Feb. 15–Mar. 15 




The Uniform Standards of Professional 

Appraisal Practice (USPAP) sets a unified 

code of ethics and standards for appraisal 

report writing. This unique USPAP seminar, 

offered in cooperation with the Appraisers 

Association of America, concentrates on 

personal property appraising and prepares 

students for the USPAP examination offered 

at the course’s close. Passing this 

exam is proof of professional competence 

and commitment, and essential for those 

who intend to become professional appraisers. 

The curriculum follows the guidelines 

of the Appraisal Standards Board of 

the Appraisal Foundation. 

NYU-SCPS AFFILIATION WITH THE APPRAISERS ASSOCIATION OF AMERICA 

An agreement between the NYU-SCPS Appraisal Studies Program and the Appraisers 

Association of America (AAA) offers students the following advantages: Upon successful 

completion of the Certificate in Appraisal Studies in Fine and Decorative Arts 

(page 144), the AAA credits you with up to two years of work experience and exempts 

you from the theory and methodology section of the AAA certification examination. 

(Additional AAA criteria must be met.) The AAA recognizes the completion of individual 

courses as recertification points for renewing members. A $75 annual fee entitles 

students enrolled in the Appraisal Studies Program to become Student Affiliates; they 

receive free admission to the association’s monthly lectures; the association’s newsletter, 

The Appraiser; reduced registration for the association’s national conference and special 

seminars; and discounts on selected publications and videotapes. 

For more information, write to the Appraisers Association of America, 386 Park Avenue 

South, Suite 2000, New York, NY 10016 or call (212) 889-5404. 

Internship and Advanced Research 

Projects in Appraisal Studies 

X03.9642/$515G 

Sec. 1: Dates and hours to be arranged, Feb. 9– 

May 20 (10 sessions). Aleya Lehmann-Bench, 

executive director, Appraisers Association of 

America. 

Acquire practical experience during an internship 

with an appraiser of fine and decorative 

arts. A written project is due at the 

conclusion of each internship. The internship 

equals one 10-session elective and up 

to one year of additional work experience 

toward membership in the Appraisers 

Association of America. Applicants must 

have completed four required courses and 

two electives. To apply, send your transcript/ 

grade mailer and résumé to: Appraisal 

Studies Internship, NYU School of 

Continuing and Professional Studies, 

726 Broadway, 6th floor, New York, NY 

10003. Applications must be postmarked 

no later than March 1, 2011. 10-session 

Appraisal Studies elective.H 

The Conservation and 

Science of Appraising 

X03.9820/$360 


(2 sessions). Jamie Martin, principal, Orion 

Analytical; forensic expert for auction houses, 

museums, and law enforcement agencies. 

Although assessing the value of objects 

involves connoisseurship and experience, 

scientific technologies are increasingly being 

called upon to aid in appraising objects. 

Advances in technology give scientists— 

and the appraisers using their services—a 

new range of tools to assess provenance and 

authenticity, from microscopy, spectroscopy, 

and direct dating to other methods for 

studying the internal structure of objects. 

Learn about the principal methods used in 

the field as science investigates the age, attribution, 

and authenticity of art objects. 

5-session Appraisal Studies elective. 

The Appraisal of Household 

and Personal Property 

X03.9822/$360 

W Sec. 1: Wed. 6.45–8.45 p.m., Feb. 23– 

Mar. 30 (5 sessions). No class Mar. 16. 

Victoria Shaw-Williamson, consultant, 

Art Peritus; owner, Victoria Shaw- 

Williamson Associates. 

While much appraisal work concerns a 

specialization in a particular period or art 

medium, a significant portion is general 

residential household appraising. Learn 

the basics of appraising household contents, 

including fine art, furniture, silver, 

porcelain, rugs, antiques, and other collectibles. 

Learn the techniques and skills necessary 

to become a general appraiser and 

when and where to hire a specialist. 


The Fine Art of Printmaking 

X03.9534/$360 

Sec. 1: Fri. Sat. 9.30 a.m.–5 p.m., Apr. 1–2 

(2 sessions). Nigel Freeman, prints and drawings, 

Swann Galleries; and Todd Weyman, vice 

president and director–prints and drawings, 

Swann Auction Galleries, and appraiser, 

Antiques Roadshow. 

Sec. 2: Fri. Sat. 9.30 a.m.–5 p.m., Apr. 8–9 

(2 sessions). Nigel Freeman and Todd Weyman 

V Sec. 3: Thurs. 6–8 p.m., Mar. 24–Apr. 21 

(5 sessions). 

An introduction to old masters through 

20th-century European and American 

prints and multiples, this course serves as 

a foundation in the methods used in the 

appraisal of prints. Learn to identify the 

modern artists most commonly encountered 

and recognize the media used, including 

etching, lithography, and screen 

print. Other topics include fakes and forgeries, 

how to research prices, and how to 

write a concise appraisal description. 


The Essential Guide to 

Appraising Silver 

X03.9834/$360 

W Sec. 1: Thurs. 6.45–8.25 p.m., Mar. 31– 

Apr. 28 (5 sessions). Stanley Szaro, founder 

and co-owner, Lauren Stanley Gallery, major 

dealers in 19th and 20th-century American 

silver. 

V Sec. 2: Wed. 6–8 p.m., Mar. 23–Apr. 20 

(5 sessions). 

Focusing primarily on American silver, 

this course explores the range of silver 

made in Europe and the United States 

from 1850 to the present. Learn about the 

basic changes in styles over different historic 

eras, technological changes, and differences 

in aesthetic criteria over time. The 

course also teaches how to appraise and set 

values for different forms of silverware, silver 

objects, and jewelry. 5-session Appraisal 

Studies elective. 

Continental Pottery and 

Porcelain 1700-1850 

X03.9537/$360 

M Sec. 1: Fri. Sat. 10 a.m.–5.30 p.m., Mar. 25–26 

(2 sessions). Letitia Roberts, former senior vice 

president and director–European ceramics and 

Chinese export porcelain, Sotheby’s. 

Trace the history, stylistic development, 

and influences on and of Continental ceramics 

over two centuries, concentrating 

on the products of Germany and France. 

The course focuses on connoisseurship; 

studying techniques for authentication; 

interpreting marks; determining condition; 

and establishing market value. Slideillustrated 

lectures are supplemented by a 

visit to either an auction house, gallery, or 

museum for a hands-on session. Tuition 

does not include museum fees. 5-session 

Appraisal Studies elective. 

18th- and 19th-Century Furniture: 

Materials, Construction, and Use 

X03.9604/$360 

M Sec. 1: Fri. Sat. 9.30 a.m.–4.30 p.m., 

Apr. 1–2 (2 sessions). Philip D. Zimmerman, 

consultant, Boscobel Restoration and other institutions; 

senior curator, Winterthur Museum. 

Explore the history of furniture construction 

and decoration, and learn how to distinguish 

authentic period pieces from 

well-crafted reproductions. Gain an understanding 

of joints, woods, finishes, and 

tools and examine the ways in which 

evolving design requirements have affected 

methods of furniture construction. Students 

with a background in the technical innovations 

of the period learn how to assess 

period pieces from the inside out. A visit 

to an American furniture dealer for a 

workshop session is planned. 5-session 






V Online course. 

G No discounts apply to this course. 

H Consult an advisor before registering. 

5 




NEW 

American Culture, American 

Decorative Arts and Antiques 

X03.9466/$360G 

M Sec. 1: Thurs. 6.45–8.25 p.m., Feb. 17– 


Wendell Garrett, editor, The Magazine 

Antiques; senior vice president– 

American decorative arts, Sotheby’s. 

Tour the prominent ages in American 

furniture and decorative arts in this course, 

not-to-be missed by those interested in 

antiques, art history, art appraisal, and 

American history. Discussions cover not 

only the objects themselves but social, political, 

and architectural contexts, heightening 

appreciation. Learn how different 

stylistic eras arose; what was going on in 

American culture at the time; how American 

craftsmen, builders, and architects were influenced 

by the latest European styles; and 

what homegrown styles were developed 

in the United States. 5-session Appraisal 

Studies elective. 

Introduction to Appraising 

American and British Furniture 

X03.8535/$360 

V Sec. 1: Tues. 6–8 p.m., Mar. 22–Apr. 19 

(5 sessions). 

Learn the essentials of appraising American 

and British furniture and acquire the skills 

necessary to judge their quality, authenticity, 

age, and value. Explore distinctions of style, 

the importance of French and English influences, 

and market values while studying examples 

of the Pilgrim Century, William and 

Mary, Queen Anne, Chippendale, federal, 

classical, and the 19th-century revival styles, 

as well as Continental influences. 5-session 


The Appraisal of Impressionist 

and Early 20th-Century Painting 

X03.9821/$360 

M Sec. 1: Wed. 6.45–8.45 p.m., Feb. 23– 


Sabine Wilson, independent art consultant, 

specializing in the appraisal of paintings. 

For decades, impressionist and early modern 

art has been at the center of the auction 

market and of many private collections. 

Learn the skills and techniques needed to 

appraise fine art—from the impressionists 

through the first years of 20th-century 

modern art, including expressionism, cubism, 

futurism, Dada, and the path to abstraction. 

Explore issues of distinctive style, 

art authentication, and the technologies that 

an appraiser can utilize when assessing 

work from these periods. The course also 

examines changing markets and trends as 

they relate to appraising modern paintings 

and other work from these movements. 


Modern Design in French Decorative 

Arts: Art Nouveau to Art Deco 

X03.9477/$360 


(2 sessions). Madeleine Deschamps, former 

instructor, L’Ecole du Louvre. 

The years 1900 to 1930 framed a period of 

innovative and influential modern design 

in France. The architecture of Guimard, 

the furniture of Majorelle, and the glasswork 

of Galle and Daum epitomize the art 

nouveau style and form the starting point 

of this two-day seminar that surveys the 

French decorative arts. Consider trends in 

the arts and in everyday life that led to the 

rise of art deco and the landmark Exposition 

Internationale des Arts Décoratifs et 

Industriels Modernes of 1925, when 

Ruhlmann, Jean-Michel Frank, Chareau, 

and Le Corbusier were designing interiors 

and furniture. Museum and gallery visits 

are planned. Tuition does not include museum 

fees. 5-session Appraisal Studies elective. 

A Guide to Style and Ornament 

X03.9573/$360 

S Sec. 1: Tues. 6.20–8.20 p.m., Feb. 15– 


Louise Devenish, certified appraiser, 

Appraisers Association of America; 

principal, Louise Devenish Associates, 

appraisals and decorative arts consultants. 

An introduction to the visual vocabulary 

of style and ornament in the European 

and American decorative arts of the 17th 

through early 20th centuries, this slideillustrated 

course provides essential tools 

for good appraisal writing and determining 

the age and origin of an object. Learn to 

describe the decorative elements that have 

been carved, molded, painted, or applied to 

silver, porcelain, and furniture. Discuss 

methods of distinguishing between original 

forms and later revival derivations. Field 

trips are planned. 5-session Appraisal Studies 

elective. 

A Grand Tour of New York City’s 

Finest Art and Antiques Galleries 

X03.9556/$360 

Sec. 1: Tues. 10.30 a.m.–12.30 p.m., Mar. 22– 

Apr. 26 (6 sessions). Louise Devenish, certified 

appraiser, Appraisers Association of America; 

principal, Louise Devenish Associates, appraisals 

and decorative arts consultants. 

Step into New York City’s most glamorous 

carriage trade galleries, museums, and auction 

houses for a look at some of the finest 

art and antiques available in today’s market. 

Meet the principals of several galleries 

and learn how to recognize quality and determine 

current market value. In the past, 

venues included Bernard & S. Dean Levy, 

the Metropolitan Museum of Art, Hirschl 

& Adler, Spanierman Gallery, S.J. Shrubsole, 

James Robinson, H.M. Luther, and Dalva 

Brothers. Galleries change each semester. 

Tuition does not include museum fees. 


Creating Public and 

Private Art Collections 

X03.9769/$360 

M Sec. 1: Fri. Sat. 10 a.m.–5 p.m., Apr. 1–2 

(2 sessions). Renée N. Vara, Uniformed 

Standards of Professional Appraisal Practice, 

chief executive officer, Vara Fine Arts; former 

national art specialist and senior real property 

appraiser, Chubb Insurance Group. 

A broad range of organizations and corporations 

hire experts to create art collections 

for them. Learn exactly how to conceive 

of and create an art collection. Instruction 

covers how to define a collection and obtain, 

maintain, and display art. This course 

presents case studies; features guest speakers 

who have curated both public and private 

corporate collections; and includes a 

visit to one of New York City’s excellent 

collections. Tuition does not include museum 

fees. 5-session Appraisal Studies, Arts 

Administration, or Art Business elective. 

The Essential Guide to 

Contemporary Asian Art 

X03.8008/$360 


Apr. 19 (5 sessions). Michael Cohn, Asian antiquities 

appraiser and dealer; co-chair, Appraisers 

Association of America’s national conference. 

Contemporary Asian art has become 

a vital part of the world art scene, with 

European and American museums and 

collectors increasingly buying in this market. 

China has made dramatic and exciting 

contributions to contemporary art, while 

Japan and Korea continue a longer tradition 

of modern and contemporary art. New 

players on the scene include India, whose 

new wealth and global reach is reflected in 

new art, while Thailand, Indonesia, and 

Vietnam have shown strength in attracting 

a global audience. Learn about the artists, 

aesthetics, and changing nature of the 

Asian art market. The instructor is an authority 

on Asian arts and antiquities. 


An Insider’s Look at 

Emerging Art and Artists 

X03.8124/$360 

S Sec. 1: Wed. 5.30–7.30 p.m., Feb. 9–Mar. 2 

(4 sessions). Renée N. Vara, Uniformed 

Standards of Professional Appraisal Practice, 

chief executive officer, Vara Fine Arts; former 

national art specialist and senior real property 

appraiser, Chubb Insurance Group. 

Join us for two classes and three gallery 

talks to learn everything there is to know 

about up-to-the-minute trends and forces 

currently shaping the emerging art scene. 

This course focuses not only on the art itself, 

but also on the factors that contribute 

to aesthetic, cultural, and financial value. 

Explore the Chelsea gallery scene, auction 

house sales featuring emerging artists, and 

alternative areas that forge the careers of 

young artists, including the Lower East 

Side. 5-session Appraisal Studies elective. 

NEW 

Appraising Estate Jewelry 

X03.9542/$360 


(2 sessions). Joyce Jonas, president emerita, 

American Society of Jewelry Appraisers; 

jewelry appraiser, Antiques Roadshow. 

Analyze the characteristics of 20th-century 

jewelry. Learn how to appraise this jewelry 

and how to identify the complex and powerful 

styles that were often parallel, overlapping, 

and affected by each other. Examples 

of late Victorian, art nouveau, Edwardian, 

Arts and Crafts, Vienna Secession, Jugendstil, 

art deco, 1930s and 1940s, and costume 

jewelry are discussed. Includes hands-on 

sessions. 5-session Appraisal Studies elective. 

Topics in Rare Book 

Collecting and Appraisal 

X03.8142/$525 

Sec. 1: Mon. 6.30–8.30 p.m., Feb. 7–May 2 

(10 sessions). No class Feb. 21, Mar. 14, and 

Apr. 18. Arthur Schwarz, rare book expert 

and collector. 

Delve into manuscripts, typography, paper, 

and printing methods. Topics include four 

areas of book collecting: English and 

American literature, fine press books and 

modern first editions, illustrated books, 

and books outside the Anglo-American 

tradition. Three sessions are held at the 

Grolier Club; others are at papermaking 

and printing facilities, three rare book libraries, 

and the premises of two prominent 

dealers. Suggested preparation: Collecting 

and Appraising Rare Books/X03.8047 or 

equivalent experience in the field. 10-session 


Problems in Authenticating 

Works of Art 

X03.9608/$360 

Sec. 1: Wed. 6.20–8 p.m., Feb. 23– 


Paul Himmelstein, partner, Appelbaum & 

Himmelstein; conservator. 

Issues of authentication are among the 

most problematic confronting the arts professional. 

This course—designed for appraisers, 

art dealers, art historians, and art 

insurance adjusters—focuses on the relationship 

between an artwork’s condition 

and authenticity; techniques used to detect 

previous restoration and conservation 

treatment; methods available to distinguish 

forgeries and reproductions; and the importance 

of proper environment and care 

in preserving authenticity. Classes meet in 

a conservation laboratory where students 

can examine works of art undergoing conservation 

treatment. Suggested preparation: 

An Introduction to the Examination and 

Conservation of Works of Art/X03.9521. 

5-session Appraisal Studies or Arts 

Administration elective. 

6 




CERTIFICATE IN 

APPRAISAL STUDIES 

IN FINE AND 

DECORATIVE ARTS 

Are you a prospective or practicing appraiser 

or an arts professional looking to 

hone your skills and expand your realm 

of expertise in the fine and decorative 

arts This certificate explores the techniques 

and practices of art appraisal indepth 

and provides you with critical 

knowledge and competence to appraise 

paintings, furniture, jewelry, and more. 

Upon completion of the program, students 

have acquired the following: 

• An understanding of all the essential 

skills necessary to be an appraiser, or to 

work in a gallery, auction house, or insurance 

company as an appraisal expert. 

• Ability to objectively and critically 

evaluate fine and decorative arts. 

• Familiarity with the legal and ethical 

aspects of appraising. 

• Research skills and knowledge of the 

methodologies used by appraisers. 

• Specialized knowledge in various appraisal 

studies fields, such as American 

and European paintings and drawings, 

Asian art, silver, arts and crafts, furniture, 

modern design, fashion, photography, 

books, and jewelry. 

This certificate is awarded to students 

who successfully complete six required 

courses and four 10-session electives (or 

the equivalent in 5-session electives). 

Electives include such topics as jewelry 

appraising, American furniture, photography 

appraisal, and collecting and appraising 

rare books. Additional electives 

are offered in the summer and fall semesters. 

Students intending to pursue 

the certificate should call (212) 998-7200 

to work out a plan of study and to receive 

recommendations on course order, mentoring, 

and internships. 

REQUIRED COURSES 

Essentials of Appraising/ 

X03.8659 (page 4) 

Legal and Ethical Aspects of 

Appraising/X03.8604 (page 4) 

IRS Legal Guidelines in Valuation of 

Fine and Decorative Arts/ 

X03.9515 (page 4) 

Research Methods for Appraisers/ 

X03.9522 (page 4) 

Appraisal Writing Workshop/ 

X03.9675 (page 5) 

Uniform Standards of Professional 

Appraisal Practice for Personal 

Property Appraisers/ 

X03.9503 (page 5) 

See page 20 for certificate requirements and benefits. 

Appraisal Studies in Fine and Decorative Arts 

July 5–29 

SUMMER PREVIEWS 

This intensive four-week certificate program is designed for prospective and practicing 

appraisers, as well as dealers, collectors, and interior designers. Detailed methodology 

courses and courses focusing on specific areas, such as fine art, jewelry, and furniture 

appraisal, provide a structured overview of the field. Programs and excursions capitalize 

on the richness of New York City’s arts resources—museums, galleries, and auction 

houses—and address career possibilities. 

Arts Administration 

June 6–July 1 

In this program, learn about staffing and operating a nonprofit arts organization; how 

to work with boards of directors; marketing techniques and strategies; basic principles 

of fundraising; and budgeting, accounting, contracts, and legal issues. Lectures, discussions, 

case studies, workshops, guest speakers, and study tours of local arts groups create 

an overview of the varied career paths available in arts administration. 

For details on our summer intensive programs, visit scps.nyu.edu/summer 

or call (212) 998-7200. 

ARTS ADMINISTRATION 

The phenomenal growth in the number of visual and performing arts organizations has created 

opportunities for skilled managers in arts administration. Whether you choose an individual 

course or pursue the certificate, our offerings are valuable to professionals 

broadening their skills, newcomers seeking a structured introduction, artists starting their 

own companies or preparing for management positions, and board members and volunteers 

who want to be more informed and effective. This program is equally useful for those 

working in nonprofit and for-profit institutions, as the distinctions between the two become 

increasingly fluid. 

Managing the Arts 

X03.9700/$515 

W Sec. 1: Fri. Sat. Sun. 10 a.m.–5 p.m., 

Apr. 1–3 (3 sessions). Cynthia Ries, former 

director–development and marketing, 

Theatre Development Fund. 



Catherine Behrend, former deputy director, 

Percent for Art, New York City Department of 

Cultural Affairs. 

Survey the principal tasks, concerns, and 

skill requirements of the nonprofit arts 

manager. Topics include the history of the 

arts and arts management in the United 

States; legal obligations of the board; organizational 

structures; fundraising; audience 

development; economic development and 

the arts; working with artists; and the budget 

process. Personnel issues, programming, 

developing partnerships, planning, 

advocacy, and job searches are also covered. 

This course is a suggested prerequisite for all 

others in the certificate program. Other courses 

may be taken concurrently. 

Marketing the Arts 

X03.9701/$515 

N Sec. 1: Wed. 6.45–8.45 p.m., Feb. 9– 



Apr. 15–17 (3 sessions). Amy Fiore, 

managing director, TADA! Youth Theater. 

Examine what the arts manager must 

know about arts and the business of arts 

marketing. Learn how to recognize marketing 

opportunities, determine appropriate 

strategies, and identify target audiences. 

Discuss pricing options, subscriptions, and 

individual sales; membership campaigns; 

promotion techniques; public information; 

and how to generate income from sales, 

rentals, and other sources. Case studies and 

guest speakers aid in analyzing and developing 

marketing strategies. 

Fundraising for the Arts 

X03.9710/$515 

S Sec. 1: Fri. Sat. Sun. 10 a.m.–5 p.m., 

Feb. 18–20 (3 sessions). Geri Thomas, 

president, Thomas & Associates, Inc. 


Mar. 25–27 (3 sessions). Ellen Haddigan, 

former executive director, Rush Philanthropic 

Arts; former director–development, Museum of 

Contemporary Art, Chicago. 

Acquire the core competencies needed for 

a career in arts and cultural fundraising. 

Gain an understanding of the basic principles 

of fundraising for the arts from both 

public and private sources and learn the 

techniques, skills, and strategies for implementing 

an effective fundraising plan in 

challenging times. Central issues discussed 

include recent fundraising trends; assessing 

organizational readiness and making the 

“case”; the role and resources of the board, 

staff, and volunteers; how to identify potential 

supporters and sustain relationships 

with public, private, and individual donors; 

and how to communicate effectively 

through written and oral presentations. 

Financial Management for the Arts 

X03.9720/$515 

W Sec. 1: Thurs. 6.45–8.45 p.m., Feb. 10– 


James McGarry, director–finance and 

administration, International Center for 

Transitional Justice. 


Mar. 25–27 (3 sessions). James McGarry 


Apr. 29–May 1 (3 sessions). James McGarry 

Explore the challenging issues of budgeting, 

accounting, and financial management 

in today’s art world. Discuss how best to 

construct a budget, how to manage in 

times of financial crisis, and how to meet 

auditing and accountability requirements. 

Using case studies, gain a thorough overview 

of financial management in small to 

midsize arts organizations, with emphasis 

on practical issues, such as ensuring an 

honest box office, understanding a balance 

sheet, and knowing what tasks to delegate. 

Guest speakers are featured. 

Wondering 

what to take 

scpsinfo@nyu.edu 

(212) 998-7200 

7 




Financing Cultural Institutions: 

Strategies and Challenges 

X03.9752/$515 

W Sec. 1: Wed. 6.45–8.45 p.m., Feb. 9– 


Richard Shein, chief financial officer, 

New-York Historical Society. 


Mar. 4–6 (3 sessions). Richard Shein 

Cover the basic models of how cultural institutions 

finance their programs in light of 

the challenges of a competitive economic 

environment. Topics include how institutions 

price services; the different roles 

played by auxiliaries (food service, retail, 

and others); membership programs as a 

fundraising tool; and how capital financing 

and grants management fit into the financial 

mix. The role of the board is discussed, 

as are current trends in institutional financing, 

including Internet use. The course may 

include one field trip. No prior coursework in 

finance or business is required. 

Internship in Arts Administration 

X03.9745/$515G 

Sec. 1: Dates and hours to be arranged, 

Feb. 9–May 20 (10 sessions). Lauren 

McGowan, director–development, Abilities! 

Gain experience working on-site at an 

arts organization and complete a written 

project at the conclusion of the internship. 

Before applying, students must have completed 

the three Arts Administration certificate 

core courses. To apply, send your 

transcript/grade mailer and résumé to: Arts 

Administration Internship, NYU School 

of Continuing and Profes sional Studies, 

726 Broadway, 6th floor, New York, NY 

10003. Applications must be postmarked 

no later than March 1, 2011. Prerequisites: 

Managing the Arts/X03.9700, Fundraising 

for the Arts/X03.9710, and Marketing the 

Arts/X03.9701. 10-session Arts 

Administration elective.H 

Careers in Arts Administration 

X03.8072/$125 

M Sec. 1: Sat. 1–5 p.m., Mar. 26. Clint White, 

president and founder, Workinthearts.net; 

head–museum and library division, Eliran 

Murphy Group. 

Receive an overview of the different arts 

administration jobs available, how to 

obtain them, and what to expect when 

entering this profession. This seminar of 

presentations and networking opportunities 

helps students move forward in finding 

a career path in this field that is right for 

them. 


N Meets at Norman Thomas Center, 111 E. 33rd St. 





H Consult an advisor before registering. 

NEW 

NEW 

Current Challenges in 

Arts Administration 

X03.8672/$360 

Sec. 1: Wed. 6.45–8.25 p.m., Mar. 23–Apr. 20 

(5 sessions). Steven Miller, executive director, 

Morris Museum, Bennington Museum; former 

senior curator, Museum of the City of New York. 

Challenging economic times create both 

opportunities and stresses for arts organizations. 

Learn about the range of skills, 

talents, and personal abilities required to 

effectively lead and innovate in the arts 

sector, while assuring survival and even 

growth. Subjects discussed include current 

innovations in creative programming; how 

arts leadership is changing; how traditional 

functions, such as fundraising, finance, and 

education, are responding to challenging 

times; and career management. Guest 

speakers from New York City’s dynamic 

arts institutions enliven discussions on 

theaters, museums, visual art centers, dance 

companies, and music institutions. 5-session 

Arts Administration elective. 

The Arts and the Law 

X03.9725/$360 

W Sec. 1: Tues. 6.45–8.45 p.m., Feb. 15– 


Mark Beigelman, counsel, Kaufman, Feiner, 

Yamin, Gildin & Robbins LLP. 

Become conversant in the principal areas 

of legal concern critical to being a wellinformed 

nonprofit arts manager. Major 

issues covered include knowing when to 

engage professional counsel; contracts and 

copyright; relevant government regulations; 

labor and employment law; and First 

Amendment rights. Lectures are based 

on assigned case studies. 5-session Arts 


Creating and Managing 

Public Arts Projects 

X03.8670/$360 

S Sec. 1: Wed. 6.45–8.45 p.m., Mar. 23– 

Apr. 20 (5 sessions). Catherine Behrend, 

former deputy director, Percent for Art, 

New York City Department of Cultural Affairs. 

Public art encompasses a wide range of 

creative expression—from memorials and 

historical monuments to sculpture installations, 

murals, and performance events. 

Increasingly, municipalities see public art 

as a way to enhance public space, vitalize 

the economic base, and increase the cultural 

vibrancy of their communities. In this 

course, examine a range of temporary, permanent, 

interior, and exterior projects in 

New York and elsewhere. Explore specific 

case studies, the commissioning process, 

policies, and artistic practices. 5-session 


NEW 

Special Event Production for 

Nonprofit Organizations 

X03.9709/$360 

M Sec. 1: Fri. Sat. 10 a.m.–5 p.m., May 6–7 

(2 sessions). Pat Desibio, co-director, Projects 

Plus, Inc., event planning and strategic 

marketing firm. 

Special events are not just the icing on 

the cake. They are an important source 

of income, a critical element in individual 

donor prospecting and cultivation, and 

essential to promoting nonprofit organizations. 

Explore all facets of how to design 

and manage successful events. Topics include 

volunteer leadership; committee 

formation; vendor relations; budgeting; 

timelines; journal production; maximizing 

the visibility and marketing value of an 

event; underwriting; strategic seating; and 

achieving the appropriate sense of style 

for different organizations. 5-session Arts 


The Arts and Community 

X03.9837/$360 

S Sec. 1: Wed. 6.45–8.45 p.m., Mar. 23– 

Apr. 20 (5 sessions). Candace Jackson, 

principal, CJAM Consulting; former director– 

operations, Apollo Theater Foundation. 

Arts organizations often play central and 

enriching roles in their communities through 

education, public programs, and leadership 

in economic and cultural development. 

Focus on the broad range of roles that arts 

groups and arts professionals perform in 

their communities. Examine issues of community 

identity and participation; the 

value of community partnerships; the 

growth of collaborative social and artistic 

programs; the role of political and economic 

structures when working at a local 

level; audience development within and 

across communities; and how the arts contribute 

to economic development in communities. 

Learn about how community 

needs and societal issues influence artistic 

visions and how artistic programs help galvanize 

and shape community awareness. 

5-session Arts Administration elective. 

Museum Exhibit Design: 

Practices Workshop 

X03.8633/$360 

W Sec. 1: Sat. 10 a.m.–5 p.m., Apr. 2–9 

(2 sessions). Todd Palmer, consultant, 

Ralph Appelbaum Associates. 

Experience a hands-on introduction to 

the practical challenges of museum exhibit 

design. Students with various levels of experience 

learn visual and spatial techniques 

and acquire a range of interdisciplinary 

skills through creative workshop assignments. 

The course is ideal for those intending to 

apply for professional or graduate study in 

exhibit design and those with design backgrounds 

seeking careers in the field. At 

the conclusion of the course, students are 

equipped with a series of sketches and an 

exhibit design concept that can be independently 

developed for admissions and 

job-seeking portfolios. Prerequisite: 

Museum Exhibit Design/X03.9723 or 

equivalent experience. 5-session Arts 


The Arts and Education: 

Designing Effective Programs 

X03.9732/$360 

M Sec. 1: Fri. Sat. 12–5 p.m., Feb. 25–Mar. 5 

(4 sessions). Beth A. Vogel, former program 

officer, Arts Education and Artist Services, 

New Jersey State Council on the Arts (NJSCA). 

Explore the educational programs and services 

that performing, visual, and other arts 

organizations can develop with schools, the 

local community, and the general public. 

Examine effective institutional and instructional 

partnerships and the guidelines 

and criteria for developing, sustaining, and 

evaluating them. The course focuses on 

current issues and examines the arts and 

education movement. Topics addressed in 

discussion and by guest speakers include: 

Why and how should our organization get 

involved in education With whom do we 

design these programs and services Who 

is our potential audience What are the 

problems and prospects we face 5-session 


Public Relations for the 

Visual and Performing Arts 

X03.9760/$360 

M Sec. 1: Fri. Sat. 10 a.m.–5 p.m., Apr. 22–23 

(2 sessions). Michael Chang, president, 

MC ArtStrategies; former executive director, 

Downtown Music at Grace. 

Over the years, public relations has helped 

arts institutions gain visibility for their 

programs and caused communities and 

corporations to contribute to arts institutions 

that they deem important. Now and 

in the future, skilled public relations professionals 

in the arts world are critical to 

attracting attention in a highly competitive 

environment. In this course, students learn 

essential public relations skills, including 

rhetoric, persuasion, writing, promotion, 

and making connections. The course focuses 

on Internet public relations, along 

with more traditional outlets. 5-session 


A Case Study: Managing on Broadway 

X03.9762/$515 

N Sec. 1: Mon. 6.20–8.20 p.m., Feb. 28–May 9 

(10 sessions). No class Mar. 14. Mitchell A. Weiss, 

theatrical director and composer; author, 

Managing Artists in Pop Music. 

A producer relies on a general manager 

and a company manager to get the show 

open, keep it running, follow through on 

production and finance, oversee employees 

and artists, and work with investors. Class 

participants assume the roles of general 

and company managers and oversee a 

Broadway show from preproduction to 

follow-up after closing. Union rules; contract 

negotiations; budgeting; scheduling; 

time management; subsidiary rights; box 

office supervision; theater deals; marketing 

and promotion; job descriptions; pricing; 

investment reporting and accounting practices; 

legal issues; merchandising; and 

management styles are addressed. The class 

goes backstage on Broadway to meet with 

working managers. 10-session Arts 


8 




INFORMATION SESSION 

Art Appraisal, 

Arts Administration, 

and Art Business 

Wednesday, 6–8 p.m., January 12 

48 Cooper Square, 1st Floor 


ARTS 

ADMINISTRATION 

The remarkable recent growth in the 

number of visual and performing arts 

organizations has resulted in more opportunities 

for skilled professionals. This 

certificate equips students with the marketing, 

managerial, fundraising, and financial 

skills required to succeed in the 

exciting and increasingly competitive world 

of arts organizations and institutions. 

Upon completion of the program, 

students have attained the following: 

• Experience creating strategic plans, 

budgets, and other financial documents. 

• Fundraising skills for arts organizations, 

both for-profit and nonprofit. 

• Insight and resources to market diverse 

projects and organizations in the arts. 

• Management skills in areas related 

to museums, galleries, alternative 

spaces, and performing arts groups 

and organizations. 


who successfully complete five required 

courses and two 10-session electives (or 

the equivalent in 5-session electives). 

Electives may include topics such as 

wealth management in the art market, 

fine art as a financial asset, starting a 

successful art business, and research 

methods for appraisers. Additional electives 

are offered in the summer and fall 

semesters. Students intending to pursue 

the certificate should call (212) 998-7200 

to work out a plan of study and to receive 

recommendations on course order, 

mentoring, and internships. 


Managing the Arts/ 

X03.9700 (page 7) 

Marketing the Arts/ 

X03.9701 (page 7) 

Fundraising for the Arts/ 

X03.9710 (page 7) 

Financial Management for the Arts/ 

X03.9720 (page 7) 

Financing Cultural Institutions: 

Strategies and Challenges/ 

X03.9752 (page 8) 


Information sessions include discussions on industry 

news and career opportunities, presentations on 

curriculum, and a chance to ask questions of faculty 

and staff. No RSVP is required, but please be punctual. 

For more information, call (212) 998-7200. 

ART BUSINESS 

The Art Auction 

X03.8602/$450 

M Sec. 1: Fri. Sat. 9.30 a.m.–4.30 p.m., 

May 6–7 (2 sessions). Lark E. Mason, 

president, iGavel.com. 

Examine the ever-evolving art auction business 

and its importance in the international 

art market. Gain insight into the history of 

art auctions, the roles of the art expert, and 

the myriad services provided by auction 

houses, including the rise of private sales 

and financial guarantees. The impact of the 

Internet, including the rise in the number 

of online auctions and the immediate 

worldwide availability of auction sales information, 

is analyzed. Learn how to buy 

and sell at auction, how an auction is put 

together, and how to navigate the industry. 

Today’s American and 

International Art Market 

X03.9996/$375 

M Sec. 1: Wed. 6.45–8.45 p.m., Feb. 23–Mar. 30 

(5 sessions). No class Mar. 16. Renée Vara, 

chief executive officer, Vara Fine Arts. 

Discover global and regional trends in today’s 

international art market by analyzing 

auction sales and gallery activity for both 

established and emerging artists. Through 

the examination of several specific collecting 

categories, both historically and in the 

context of the current global economy, this 

course addresses questions about the future 

of the art market. What factors affect today’s 

market trends Where is the market headed 

Examine issues of art loss and restitution, 

national patrimony, and increasing worldwide 

wealth. 

Law and Ethics in the Art Market 

X03.9726/$450 


(2 sessions). Michael McCullough, lawyer, specializing 

in customs law and international trade. 

The art market operates under a unique set 

of rules. This course presents an overview 

of the current legal conventions and practices 

in today’s art market. Delve into the 

rights and responsibilities of artists, collectors, 

art dealers, and auction houses. 

Analyze fine art appraisals, consignment 

agreements, commissions, and other contracts 

as legal documents. Due diligence, 

title, and the legal status of works of art, 

copyright, and reproduction are examined 

thoroughly. Charitable giving and the tax 

consequences of being a collector, investor, 

or dealer of fine art are explained. 

The Art Dealer in the 21st Century 

X03.9716/$375 

M Sec. 1: Sat. 10 a.m.–12.30 p.m., Mar. 26– 

Apr. 30 (6 sessions). Laura Miner, former art 

administrator, Citibank. 

Venture behind-the-scenes in the world 

of art dealing. Meet art dealers in their 

galleries and discuss the art they sell, their 

personal experiences, and issues such as 

connoisseurship, marketing, pricing, gallery 

space, and design. Topics include creating 

an identity and building a reputation, relationships 

with others in the art world, and 

the educational component. Discuss private 

dealers, brokers, and consultants. Dealers 

who have participated include Debra Force 

of Debra Force Fine Art; Andre Emmerich 

of Andre Emmerich Gallery; Mary Ryan 

of Mary Ryan Gallery; Ivan Karp of OK 

Harris Gallery; and Daniel Morris of 

Historical Design. 5-session Appraisal 

Studies, Arts Administration, or Art 


Wealth Management in the Art Market 

X03.8529/$375 

W Sec. 1: Tues. 6.45–8.25 p.m., Mar. 22– 

Apr. 19 (5 sessions). 

Learn about wealth management as it relates 

to art collectors and how to analyze 

clients’ financial and personal goals, as well 

as the psychological and emotional issues 

of collecting. Course topics include taxes; 

charitable giving; philanthropy and wealth 

preservation; asset allocation; and what it 

means to consider art as a financial asset— 

whether borrowing against it or investing 

in it—all using examples related to fine art. 

Identify resources to help wealth managers 

guide art collectors, including appraisals, 

shipping and insurance, storage, and collections 

management systems. 5-session Art 


Starting a Successful Art Business 

X03.9812/$375 

W Sec. 1: Wed. 6.45–8.45 p.m., Mar. 23– 

Apr. 20 (5 sessions). Alan Siege, principal, 

Small Business Management Consulting; 

certified facilitator, Kaufman Foundation 

Center for Entrepreneurship. 

Identify and investigate the skills necessary 

to launch, sustain, and grow an art business. 

All aspects of starting and running an art 

business are covered, from creating an identity 

and building a reputation to budgeting 

and operations management. Practical examples 

are used throughout. Each student 

starts the course by stating their business 

concept to the class. Students then learn 

the basic elements of a good business plan 

and begin the process of writing one. 

5-session Art Business elective. 


ART BUSINESS 

Today’s global art market is more complex 

than ever, and in the midst of current 

economic uncertainties, there is a 

substantial need for professionals with 

advanced education, practical skills, and 

industry-specific knowledge who can 

effectively navigate these challenges. 

Whether you are interested in starting 

a new art business, managing an art gallery, 

or working as a wealth manager, 

financial planner, or advisor to high-networth 

individuals, this certificate provides 

the expertise you need. Leading 

practitioners in the field bring their experience 

into the classroom and educate 

students about the latest trends in today’s 

art market. Students acquire valuable 

information in areas ranging from 

current business practices and technology 

to understanding the broader global 

landscape of the field. 

Upon completion of the program, 

students have attained the following: 

• Expertise required to appraise the 

quality of artwork, and to analyze 

and assess value. 

• Familiarity with the legal and ethical 

aspects of the art market. 

• Knowledge of the specific dynamics of 

art collecting, and the social and financial 

context in which dealers and collectors 

operate. 

• An understanding of the specific concerns 

and needs of the high-net-worth 

client who is an art collector, enabling 

the student to build a stronger relationship 

with the client. 

• Ability to analyze the art market, understand 

its essential dynamics and 

players, assess current art markets, 

and predict future art markets. 


who successfully complete five courses— 

three required and two electives. One 

elective must be chosen from within the 

Certificate in Art Business offerings; one 

elective may be taken in the arts or business 

areas when listed below as electives. 


Today’s American and International 

Art Market/X03.9996 (this page) 

Law and Ethics in the Art Market/ 

X03.9726 (this page) 

The Art Auction/X03.8602 (this page) 

ELECTIVES (Choose two) 

Wealth Management in the Art 

Market/X03.8529 (this page) 

The Art Dealer in the 21st Century/ 


Starting a Successful Art Business/ 


Fine Art as a Financial Asset/ 

X03.8034 (2011–2012) 


9 




STUDIO ART 


issued for Studio Art courses. 

Introduction to Drawing 

X29.9037/$450 

W Sec. 1: Wed. 2–4.30 p.m., Feb. 9–Apr. 27 

(10 sessions). No class Mar. 16 and 23. 

Meera E. Thompson, artist, exhibitions 

in New York and Massachusetts. 

Drawing arises from a universal human 

impulse—the desire to communicate. The 

act of drawing consists of using the eyes, 

mind, and heart to translate an image seen 

into an image recorded. If you have always 

wanted to express yourself through drawing, 

this course introduces the fundamental 

concepts and techniques that enable you to 

unlock the mysteries of perspective, shading, 

and rendering a likeness. Course includes 

in-class exercises. A materials list is 

sent to students before the first class. 

Drawing at the Metropolitan 

Museum of Art 

X29.9028/$450 

Sec. 1: Thurs. 2–4.30 p.m., Feb. 10–Apr. 28 


Meera E. Thompson, artist, exhibitions 

in New York and Massachusetts. 

Studying the masters has been an important 

part of the training of artists throughout 

the ages. Whether you are new to 

drawing or an experienced artist, drawing 

works of art at the Metropolitan Museum 

of Art broadens your knowledge and expands 

your style. This is an opportunity to 

sketch the paintings and sculptures of influential 

artists celebrated for their drawings, 

among them Rodin, Degas, Delacroix, 

Ingres, Rembrandt, Rubens, Sargent, and 

Eakins. Bring a 14-by-17-inch pad of paper, 

a 4B pencil, and a kneaded eraser to the first 

class. A materials list is provided. Tuition includes 

museum fees. 

Drawing: Beyond Beginning 

X29.9042/$450 

V Sec. 1: Mon. 6–9.10 p.m., Mar. 7– 


Claire Rosenfeld, painter, numerous 

exhibitions. 

Drawing as a way of seeing is explored 

through a variety of materials, including 

charcoal, pastel, pencil, oil, and ink. The 

study of line, tone, value, color, and perspective 

enhances each student’s individual 

approach to drawing. Models, still-life objects, 

landscape, abstraction, and personal 

imagery are used as catalysts for the work. 

Students are encouraged to develop individual 

projects by working with the 

instructor. 




V Meets at Manhattan Village Academy, 43 W. 22nd St. 


Still-Life Drawing 

X29.9041/$430 

S Sec. 1: Mon. 2–4.30 p.m., Mar. 28–May 16 

(8 sessions). Meera E. Thompson, artist, 

exhibitions in New York and Massachusetts. 

Many of the best opportunities for drawing 

can be found all around us, in the chance 

arrangements of objects from everyday life. 

Learn the fundamentals of selecting a 

composition, focusing on a concept, and 

choosing a technique for rendering objects, 

including flowers, fruit, and drapery. The 

class is open to beginners as well as more 

advanced students and instruction is given 

on an individual basis. Students who have 

had prior experience can choose to work 

in color. Bring a 14-by-17-inch all-purpose 

pad, an assortment of soft charcoal pencils, 

a chamois cloth, and a kneaded eraser to the 

first class. A materials list is provided. 

Drawing and Visualization 

X29.9080/$430 



Peter Scott, internationally exhibited artist; New 

York Foundation for the Arts Fellowship recipient. 

Develop drawing techniques while heightening 

your visual sensitivity. This course 

focuses on how objects and spaces are perceived; 

how light behaves on surfaces; how 

buildings and interiors read in perspective; 

and the drawing conventions that describe 

these phenomena. Regardless of your 

drawing experience, learn to open up more 

fully to the complexity and subtlety of your 

subject. This course helps develop both 

technical and perceptual skills to enable 

more intense responses to artistic subjects. 

Painting 

X29.9033/$450 

W Sec. 1: Wed. 2–4.30 p.m., Feb. 9– 


Brian McCafferty, painter, Lionize, Inc. 

W Sec. 2: Wed. 6.45–9.15 p.m., Feb. 9– 


Brian McCafferty 



Brian McCafferty 

Working with oil and acrylic paints, 

beginning and advanced students learn 

composition, proportion, texture, and 

mark-making, as well as how to set up the 

palette; mix; contrast warm and cool colors; 

and understand both realistic and 

imaginative uses of color. The class works 

with still-life arrangements, photographs, 

and live models. Group and individual instruction 

are provided and personal expression 

is encouraged. 

NEW 

Watercolor 

X29.9010/$450 

W Sec. 1: Tues. 6.30–9 p.m., Feb. 15– 


Elizabeth Terhune, nationally exhibited artist. 

Designed for beginning and intermediate 

students, this course illustrates how to use 

a variety of watercolor techniques to express 

the versatile and spontaneous nature 

of the watercolor medium. Emphasis is on 

the elements of form, composition, space, 

and color. Instruction is through lecture 

and demonstration. Participants receive individual 

guidance in the use of the brush 

and other methods to encourage personal 

expression. Bring a pad or block of watercolor 

paper (8-by-10-inch or larger), a small tube 

of burnt sienna watercolor, and a bamboo or 

watercolor brush to the first session. 

Drawing and Painting With Mixed Media 

X29.9088/$450 

W Sec. 1: Tues. 6–9.10 p.m., Mar. 8– 


Claire Rosenfeld, artist, exhibited at 

Prince Street Gallery, New York Studio School, 

Painting Center, and others. 

Explore the range of media available for 

painting and drawing and expand the 

boundaries of your art. Approach the relationship 

between drawing and painting dynamically 

and experiment with a variety of 

techniques and materials. Students may 

choose to work in charcoal, pencil, colored 

pencil, ink, watercolor, gouache, pastel, or 

collage. While subject matter is suggested, 

students may work on projects that they conceive 

independently. Instruction in the use 

and combination of materials is provided. 

PHOTOGRAPHY 


issued for Photography courses. 

Photography: From 

Beginner to Exhibitor 

X29.9008/$470 



T. L. Wheatman, exhibiting artist with three 

dozen solo shows. 

If your dreams include sharing your personal 

photographic vision with a wider audience, 

then this class is for you. Receive 

critique, guidance, encouragement, and the 

necessary technical assistance to accomplish 

your goals. An annual group show of 

student work is arranged at a New York 

City gallery for a month-long show. 

Submission fee is $20. If accepted, there is a 

$50 show fee (covers press releases, printing 

gallery invitations, hanging fee, and all costs 

associated with the opening, including a wine 

and cheese reception). 

Introduction to Color Photography 

X29.9030/$450 

W Sec. 1: Wed. 6.45–9.35 p.m., Feb. 16– 


Kay Kenny, three-time recipient, New Jersey 

State Council on the Arts Fellowship award; 

photographer, numerous solo exhibitions. 

W Sec. 2: Thurs. 1–4 p.m., Feb. 17–Apr. 28 

(10 sessions). No class Mar. 17. Kay Kenny 

Learn the basics of camera controls using a 

film or digital SLR camera and develop an 

eye for taking great color photographs. 

Discuss basic camera function for both 

film and digital, as well as using both a 

built-in flash and shoe flash, remote cable 

releases for night photography, lens types, 

filters, and new technology. Topics include 

composition, lighting, and additional aesthetic 

issues. Students share and discuss 

their images in a supportive environment. 

Guest professional photographers show 

and discuss their work. Bring an SLR camera 

that can be switched to manual or be prepared 

to purchase one after consultation with 

the instructor. 

10 



ARTS AND HUMANITIES 

Introduction to Digital 

Black-and-White Photography 

X29.9086/$450 

W Sec. 1: Mon. 6.20–9.10 p.m., Feb. 28– 


T. L. Wheatman, exhibiting artist with 

three dozen solo shows. 

W Sec. 2: Fri. 6.20–9.10 p.m., Feb. 11–Apr. 22 

(10 sessions). No class Mar. 18. T. L. Wheatman 

This course emphasizes creative self-expression 

and aims to be both fun and informative. 

Appropriate for both beginners and those 

who have been taking pictures for years, 

the class covers basic camera functions, experimentation, 

alternate processes, manipulation, 

and enhancement—with special 

attention paid to exploring the virtues of 

digital technology. Limited instruction on 

the use of Adobe Photoshop and other 

image control programs is provided and 

printing is via home or office ink-jet or 

laser machines. Owning a working manual 

digital camera is recommended and buying 

advice is provided in the first class. A field 

trip is planned. 

Taking Pictures of People 

X29.9032/$340 

S Sec. 1: Wed. 6.45–9.15 p.m., Apr. 6–May 11 

(6 sessions). John Hart, author, Art of the 

Storyboard, 50 Portrait Lighting Techniques, 

Lighting for Action, and others. 

Explore techniques for photographing 

people using available indoor and natural 

outdoor light—and obtain professional 

results. Students use their own camera 

equipment and simple white reflectors to 

photograph one another. Critiques of contact 

sheets and 8-by-10-inch enlargements 

are part of each session. Field trips to the 

instructor’s studio and to a professional 

black-and-white photography laboratory 

are planned. 

How to 

Register 

Web: 

scps.nyu.edu 

By mail: 

Use the form and envelope 

at the back of the Bulletin. 

By telephone: 

(212) 998-7150 

By fax: 

(212) 995-3060 

In person: 

145 Fourth Avenue, 2nd Fl. 

For detailed information, 

see the Registration section 

at the end of this Bulletin. 

NEW 

From Beginning Photographer 

to Exhibiting HDR Artist 

X29.9079/$450 

W Sec. 1: Wed. 6.20–9.10 p.m., Feb. 9–May 4 

(12 sessions). No class Mar. 16. T. L. Wheatman, 

exhibiting artist with three dozen solo shows. 

High-dynamic-range (HDR) photography 

is as much a sea change in the world of 

pictures as the invention of color film was 

70 years ago. This technology generates 

images that are far more accurate to what 

the human eye sees, while also granting the 

photographer control of painterly lighting 

effects. In this course, students gain the 

critiques, guidance, encouragement, and 

technical assistance necessary to support 

their goals. Selected student work is submitted 

for inclusion in a New York City 

gallery group show. Submission fee is $20. If 

accepted, there is a $50 show fee (covers press 

releases, printing gallery invitations, hanging 

fee, and all costs associated with the opening, 

including a wine and cheese reception). 

On the Waterfront 

X29.9087/$340 

W Sec. 1: Thurs. 6–9 p.m., Feb. 17–Mar. 31 

(6 sessions). No class Mar. 17. 

Robert A. Schaefer, Jr. 

The waterfront of the greater New York 

City area has garnered much attention 

lately, with an exhibition at the Museum 

of the City of New York and several photography 

shows devoted to it. Develop a 

documentary project with the New York 

waterfront as your theme. In this class, students 

take field trips to various waterfront 

locations and create a body of photographs 

illustrating their concept of the waterfront. 

Between field trips, students critique each 

other’s work and attend lectures by photographers 

focusing on this subject matter. 

Students present their work at the end of 

the course in a slide show or as prints. A 

camera, either analog or digital, is required. 

Photography 101 

X29.9101/$325 

M Sec. 1: Tues. 2–4.30 p.m., Feb. 15–Mar. 22 

(5 sessions). No class Mar. 15. Kay Kenny, 

three-time recipient, New Jersey State Council 

on the Arts Fellowship award; photographer, 

numerous solo exhibitions. 

M Sec. 2: Tues. 6.45–9.15 p.m., Feb. 15– 


Kay Kenny 

Designed for those new to both photography 

and digital media, this course helps 

students develop their skills taking snapshots, 

portraits, and street and travel photography. 

Since taking good photos requires 

not only an interesting subject but also attention 

to basic elements of composition 

and appropriate lighting, the class focuses 

on developing an eye for photography 

through color, lighting, composition, and 

editing. It covers basic camera controls so 

that students maintain maximum flexibility 

with their cameras. Students work with 

either a point-and-shoot or digital SLR 

camera and should bring an automatic 

camera or be prepared to purchase one 

after consultation with the instructor. 

HUMANITIES 

Read great books and enjoy fascinating discussions with expert faculty and fellow students. 

Discover the masters of cinema or become engrossed in the work of modern European 

philosophers. Explore New York City’s theater, music, and culinary scenes. Appreciate the 

culture of our time, while learning important lessons only history can teach. 

Unless otherwise noted, no grades are issued for Humanities courses. 

FILM STUDIES 

Richard Brown’s Movies 101@NYU 

X34.9017/$395G 

* Sec. 1: Tues. 6.45–9.30 p.m., Mar. 15–May 10 (8 sessions, 

plus weekend bonus screenings). No class Apr. 19. Meets at 

Cantor Film Center, 36 E. 8th St. Richard W. Brown 

* Sec. 2: Wed. 6.45–9.30 p.m., Mar. 16–May 11. (8 sessions, 

plus weekend bonus screenings). No class Apr. 20. Meets 

at The Beekman, 1271 Second Ave., between 66th and 67th Streets. Richard W. Brown 

View the newest films before their public release. Then enjoy in-depth interviews with directors 

and stars conducted by Richard Brown. Over the past 25 years, Professor Brown has made 

Movies101 a cherished institution among New York’s most passionate filmgoers. For each 

preview, he includes the film’s background and creative history. The depth and intelligence of 

his legendary interviews have drawn our finest talent, including recently George Clooney, 

Martin Scorsese, Daniel Day-Lewis, Meryl Streep, Sigourney Weaver, Kate Winslet, and 

Al Pacino. Recent films have included Black Swan, The Blind Side, Casino Jack, City Island, 

Conviction, Crazy Heart, The Dark Knight, The Departed, The Fighter, Hereafter, Juno, 

The King’s Speech, Love and Other Drugs, Miral, Up in the Air, and Welcome to the Rileys. 

* Discount parking is available. 

Movies 101 Winter Session Mini-Course 

X34.9020/$195G 

** Sec. 1: Wed. 6.45–9.30 p.m., Jan. 26–Feb. 16. (4 sessions, plus weekend bonus screenings). 

Meets at Cantor Film Center, 36 E. 8th St. Richard W. Brown 

Join Richard Brown for a special four-session course beginning in January. Why wait 

until March to view the latest features and get the inside scoop on discussions with stars 

and directors For full description, see listing above. 

** Discount parking is available. 

For up-to-date information and further details, visit movies101.org. 

History of Cinema: From World War II 

to the New Hollywood and Beyond 

X07.9367/$430 


(10 sessions). No class Mar. 15. Danny Mond, 

film critic, Maariv and other Israeli publications. 

Take a tour of film history’s most turbulent 

era. After World War II, films featured the 

mean streets, hard men, and dangerous 

women of film noir; the heartbreaking realities 

of postwar Italy; and more. A decade 

later, Hollywood faced its most formidable 

enemy ever—television—and responded 

with one of the greatest bursts of creativity 

in the history of show business: the New 

Hollywood. Directors whose work is discussed 

in this course include Welles, 

Rossellini, De Sica, Siodmak, Tourneur, 

Truffaut, Godard, Hitchcock, Kazan, 

Donen, Wilder, Kurosawa, Bergman, 

Scorsese, Coppola, Spielberg, Lucas, Allen, 

Kubrick, and Altman. 

NEW 

Presenting Alfred Hitchcock 

X07.9378/$430 

S Sec. 1: Wed. 6.45–9.45 p.m., Feb. 16– 


Nic Rapold, assistant editor, Film Comment; 

film writer, Village Voice, New York Sun, and 

others. 

More than a master of suspense, Alfred 

Hitchcock was a towering filmmaker 

whose movies offer a master class in the 

power of cinema to dazzle, surprise, and 

move us. Through close viewings and an 

examination of Hitchcock’s meticulous 

methods of working with stars and technicians 

alike, this course investigates an oeuvre 

that succeeds as both popular cinema and 

a profound study of human psychology. 

Films examined include Rear Window, 

Psycho, Vertigo, North by Northwest, The 

Man Who Knew Too Much, and Blackmail. 

Revealing interviews and outtakes are also 

featured. 

11 




NEW 

Three American Directors 

X07.9052/$350 

M Sec. 1: Thurs. 1–4 p.m., Feb. 24–Apr. 7 

(6 sessions). No class Mar. 17. Leonard Quart, 

professor emeritus of cinema studies, College 

of Staten Island, City University of New York 

Graduate Center. 

This course explores the films of three distinctive 

American directors: Nicholas Ray, 

Elia Kazan, and Sidney Lumet. All worked 

within the Hollywood mainstream but 

made films that were personal and political 

in nature. The visually inventive Ray built 

his films around brooding protagonists 

who didn’t comprehend their own feelings. 

Ambivalence toward the American Dream 

permeated Kazan’s emotionally intense, 

Method-acted work. Lumet’s films had a 

feel for the streets of New York City and 

he elicited striking performances from his 

actors. Films screened include Ray’s In a 

Lonely Place, Kazan’s East of Eden, and 

Lumet’s The Pawnbroker. 

Sex, Cinema, and Censorship 

X07.9359/$350 

M Sec. 1: Mon. 6.45–9.45 p.m., Mar. 28–May 2 

(6 sessions). Howard Oboler, lecturer, New 

School, Marymount Manhattan College. 

To entice the moviegoing public, Hollywood 

has often produced films with strong sexual 

content. Stars, including Jean Harlow, 

Hedy Lamarr, Rita Hayworth, and Marilyn 

Monroe, were often featured in films that 

highlighted their seductiveness; Errol 

Flynn, Clark Gable, and Burt Lancaster 

are prime examples of their male counterparts; 

and Greta Garbo, Cary Grant, Jack 

Lemmon, and Dustin Hoffman intrigued 

moviegoers by appearing in drag. In this 

course, explore sex gods and goddesses, 

cross-dressing, and sexual orientation in 

films that were produced prior to, during, 

and after the period of movie censorship. 

The Portrayal of Genius in Film 

X07.9360/$430 

M Sec. 1: Tues. 2–5 p.m., Feb. 22–May 3 

(10 sessions). No class Mar. 15. Harry Chotiner, 

president, Interscope Communications; vice 

president, Twentieth Century Fox. 

Much more has been written about the geniuses 

who make movies than the geniuses 

who are portrayed in them. Studying films 

such as Wilde, Good Will Hunting, Shine, 

and Kinsey, this course addresses questions 

such as: What types of genius are recognized 

in film What constitutes genius Is 

genius the result of innate abilities alone 

Are the criteria of genius filmmakers similar 

to the criteria we use for identifying 

movie character genius Examine specific 

films and ponder why some are thought of 

as truly exceptional works of art. 

Power and the Private Realm in Film 

X07.9363/$430 

M Sec. 1: Wed. 2–5 p.m., Feb. 23–May 4 

(10 sessions). No class Mar. 16. Harry 

Chotiner, president, Interscope Communications; 

vice president, Twentieth Century Fox. 

Explore both American and international 

films to observe the different ways in 

which private power is conceived and depicted. 

While classical thinkers made connections 

between power in the public and 

private realms, modern societies have focused 

mainly on the public realm. But the 

modern women’s movement changed all 

that with the simple slogan, “The personal 

is political.” Examine how power dynamics 

play out in a host of private areas, including 

marriage and family, work, friendships, 

and recreation. Films studied include House 

of Sand and Fog, Intimate Strangers, Walk on 

Water, and others. 

Hollywood: What’s the 

Nature of Human Nature 

X09.9904/$430 

M Sec. 1: Thurs. 2–5 p.m., Feb. 17–Apr. 28 

(10 sessions). No class Mar. 17. Harry Chotiner, 

president, Interscope Communications; vice 

president, Twentieth Century Fox. 

Films offer messages and make assumptions 

about human nature. They explore 

topics such as: What motivates us What 

is most characteristic or representative of 

us Deep down, are we all the same—and 

if so, how Focus on 10 Hollywood films 

that lend themselves to a rich conversation 

about human nature. Examine how films 

often contain contradictory messages, not 

unlike our own often-contradictory feelings. 

And explore how assumptions about 

human nature are sometimes linked to 

gender, race, and social class. Films screened 

include The Magnificent Ambersons, The 

Sweet Smell of Success, and Groundhog Day. 

Faculty 

Learn from instructors who 

are leaders in their fields. 

For NYU-SCPS faculty bios, 

visit scps.nyu.edu/faculty. 

NEW 

HISTORY AND 

CULTURE 

Creative Cities in History 

X07.9920/$430 



Francis Morrone, architectural historian; author, 

The Architectural Guidebook to New York City; 

NYU-SCPS Excellence in Teaching Award. 



Francis Morrone 

Discover the many forms of urban artistic 

and architectural creativity while learning 

about the social, political, and economic 

influences that allowed such inventiveness 

to flourish. In this course, study various 

cities, focusing on one artist or architect in 

each whose work is significant in the urban 

context. Visit Renaissance Rome, Florence, 

and Venice; 18th-century London; 19thcentury 

Paris; Vienna around 1900; early 

20th-century St. Petersburg; New York, 

Chicago, and Los Angeles in the 20th century; 

with a layover or two elsewhere. 

The Civil War: The Greatest 

of American Tragedies 

X09.9229/$430 

S Sec. 1: Thurs. 2–3.40 p.m., Feb. 17–Apr. 28 

(10 sessions). No class Mar. 17. Juliana Gilheany, 

instructor, Manhattan College, Fordham 

University; NYU-SCPS Excellence in Teaching 

Award. 

On the 150th anniversary of the Civil 

War, explore the war that determined the 

very nature of the American nation. Look 

at its causes: economic, political, legal and 

constitutional, ideological, and moral. Get 

to know its people—Lincoln and Davis, 

Grant and Lee, Douglass and Tubman, 

northerners and southerners, abolitionists 

and slave owners, and the slaves—in bondage 

and dubious freedom. Study the battles 

(Antietam, Shiloh, Vicksburg, and 

Gettysburg); the great events (the Emancipation 

Proclamation, the Gettysburg 

Address, Appomattox, and the assassination 

of Abraham Lincoln); and the aftermath 

of the war as the country moved into 

Reconstruction and redemption, racism, 

and segregation. 

NEW 

The Nature and Power 

of Political Thinkers 

X07.9203/$430 



Jeffrey Wengrofsky, historian, Lower East 

Side Conservancy; former faculty, Rutgers 

University, Parsons School of Design. 

Understanding the nature of power is 

crucial to those interested in politics and 

political theory. How do people create political 

institutions and assign the correct 

balance between individual and collective 

power What is the nature of the drive to 

power Is it the opposite of the drive for 

social good and justice Turn to three of 

the greats thinkers, each from a radically 

different historic moment, to find the answers. 

Students read Thomas Hobbes, Karl 

Marx, and excerpts from Michel Foucault’s 

The Foucault Reader, a postmodern work. 

Trial and Triumph: 500 Years of 

Jewish Life in Western Europe 

X09.9449/$430 

M Sec. 1: Wed. 1–2.40 p.m., Feb. 16–Apr. 27 

(10 sessions). No class Mar. 16. Andrea Grover, 

cultural historian, NYU-SCPS Excellence in 

Teaching Award. 

The Jewish experience in Spain, Portugal, 

Italy, France, and Germany from the 14th 

to the mid-19th century provides a record 

of a people with great originality, creativity, 

and sense of identity. Concentrating on the 

organization of Jewish life and thought, 

this course links events as diverse as: pogroms 

that accompanied the Black Death 

in Germany and France; establishment of 

Jewish loan banks in central and northern 

Italy during the late Middle Ages; attempts 

to convert the Jews of Spain to 

Christianity; the diaspora of Marranos in 

the Mediterranean; life in the ghetto; and 

the age of emancipation. Film screenings 

and recordings accompany lectures. 

Cities on the Sea: The Ports of Italy 

X09.9081/$370 



Andrea Grover, cultural historian, NYU-SCPS 

Excellence in Teaching Award. 

Italy’s history begins with the sea—and 

the adventurous frontier spirit of the shipowners 

and merchants of Italian ports. 

Explore the commercial and cultural relationship 

of Italy’s great early port cities— 

Amalfi, Pisa, Genoa, and Venice—to the 

Arab and Byzantine worlds after the fall 

of Rome through the discovery of the 

Americas. Trace the rise of these Italian sea 

towns and their communication with the 

East and then go on to explore how, in the 

modern era, Naples and Livorno became 

Italy’s economic and cultural links to the 

New World. 






12 




Eleanor of Aquitaine: Politics, Power, 

and Poetry in the 12th Century 

X09.9310/$430 

M Sec. 1: Thurs. 3–4.40 p.m., Feb. 17–Apr. 28 

(10 sessions). No class Mar. 17. Diane Marks, 

associate professor, Brooklyn College. 

Explore the courts associated with 

Eleanor of Aquitaine and her husband, 

Henry II of England. Begin in southern 

France with Eleanor’s grandfather, William 

of Poitiers, a long-lived Norman knight 

and historian. Then discuss the court of 

Eleanor’s daughter, Marie de Champagne, 

famous for its focus on love and as the 

place where Chrétien de Troyes wrote the 

Arthurian legends of Lancelot, Camelot, 

and the Holy Grail. Move on to Henry II’s 

conflicts with Thomas à Becket, the 

Archbishop of Canterbury, which led to 

Becket’s death. And finally, discover the 

court life of Henry II’s crusading son, 

Richard the Lionheart. 

History of Astronomy: 

Before and After Galileo 

X07.9313/$370 


(8 sessions). No class Mar. 16. Martin Spergel, 

visiting scientist, Hayden Planetarium; professor 

emeritus, York College. 

It has been more than 400 years since 

Galileo’s first telescopic observations of the 

cosmos. Join an amateur scientist’s exploration 

of Galileo and astronomy. Study the 

history of astronomic explorations—from 

the ancient Greeks, Hipparchus and Ptolemy, 

to the 20th-century discovery of microwaves 

and their application in radar, 

communications, and medicine. Topics include 

astronomy’s contribution to general 

scientific methods, solar system formation, 

the structure and evolution of stars, and 

the Milky Way galaxy. No previous knowledge 

of science is necessary. 

NEW 

Music in Jewish Culture and History 

X06.9082/$430 

M Sec. 1: Tues. 2–3.40 p.m., Feb. 22– 

May 10 (10 sessions). No class Mar. 15 

and Apr. 19. Marsha Dubrow, adjunct, 

Rutgers University; cantor and awardwinning 

composer. 

Explore how ethnic Jewish world music 

transformed over centuries around the world 

as a result of expulsions, cultural integrations, 

and war. Listen to the multifarious 

sounds of the Jewish spirit heard outside of 

Israel, as world musical traditions merged 

with Jewish rituals and rites. Learn what 

makes Ashkenazic, Sephardic, and Mizrahi 

music sound so different from one another. 

Study aspects of Yiddish theater and song, 

and enjoy the highs and lows of klezmer 

over two centuries of evolution—from the 

acoustic tsimbl and fiddle of the 18th and 

19th centuries to American bebop klezmer, 

to contemporary electric klezmer fusion. 

Music and the Holocaust 

X07.9051/$430 

M Sec. 1: Thurs. 2–3.40 p.m., Feb. 24– 


Marsha Dubrow, adjunct professor, 

Rutgers University; cantor and awardwinning 

composer. 

Beginning in the 1930s with the banning 

of certain music by the Third Reich, musical 

expression figured prominently in the 

lives of Jews and others persecuted during 

the Holocaust. Ghetto and camp musicians 

and composers created in many styles, 

wrote their own lyrics, and performed their 

own work. This course surveys a musical 

spectrum that spans the historic events 

that led up to the Holocaust; the Holocaust 

itself; and the post-Holocaust, both in 

Europe and America. In-class listening, 

live performance, and selected readings are 

included. 

PRE-COLUMBIAN AMERICA 

Faculty: George Scheper, faculty associate, Johns Hopkins School of Professional Studies; 

director–Mesoamerican Institutes, National Endowment for the Humanities. Take all three 

courses and receive a 15 percent discount on tuition. 

Eskimo/Inuit Culture: Peoples of the Far North 

R09.9012/$95G 

M Sec. 101: Fri. 1–4 p.m., Mar. 11. 

This seminar explores the intricacies of Eskimo or Inuit culture, emphasizing the lifeways 

of the hunting cultures of the northern forests and ice fields, traditions of storytelling, 

and other forms of literary and artistic expression—including the rich heritage 

of expressive ceremonial masks, ivory carvings, and other exquisitely made ritual and 

practical objects. A special focus is placed on the theme of inua or spirit; the subject of 

shamanism; and the cross-cultural connections that reach across the northern world 

from Siberia, through Alaska and Canada, to Greenland. See and discuss clips from 

Nanook of the North, The Fast Runner, and other landmark films. 

Native American Cultures of the Pacific Northwest Coast: Land of the Totem 

R09.9010/$95G 

M Sec. 101: Fri. 1–4 p.m., Mar. 25. 

Explore the cultures of the Pacific Northwest Coast of North America, including the 

Tlingit, Haida, and Kwakiutl, in this half-day seminar. Beginning with archaeology 

and prehistory, focus on major categories of social, religious, and artistic expression, 

such as the winter ceremonial, the potlatch or chiefly feast, and traditions of masking 

and shamanism. Learn about distinctive forms of Northwest Coast art, including 

formline paintings and totem poles. See and discuss clips from Curtis’ Land of the War 

Canoes, The Spirit of the Mask, and other documentary films. 

Pueblo Cultures of the Southwest: An Archaeological and Cultural Excursion 

R09.9011/$95G 

M Sec. 101: Fri. 1–4 p.m., Apr. 8. 

Discover the rich and complex cultural history of the Native American Southwest, 

beginning with the extraordinary archaeological sites of the ancient ancestral Pueblo 

people, the “Anasazi,” at such sites as Chaco Canyon, Mesa Verde, and Canyon de 

Chelly. Discuss the cultural traditions of their historical descendents, the Pueblo peoples 

of the Rio Grande, the Hopi, the Zuni, and the communities of Acoma and 

Laguna. For comparison, look at the history and culture of their neighbors, the Navajo 

people, and the impact and consequences of the coming of the Spanish and the Anglos 

into “Indian Country.” Discuss clips from documentary films that focus on traditions 

of ceremony and healing, and pottery and other Native American craft traditions. 

Web 

For the most up-to-date 

course information and 

to register online, visit: 

scps.nyu.edu 



NEW 

British Studies 

Oxford: Town and Gown 

X09.9375/$95 

M Sec. 1: Sat. 11 a.m.–4 p.m., Feb. 26. 

Lorella Brocklesby, cultural historian; 

NYU-SCPS Excellence in Teaching Award; 

Fellow of the Royal Society of Arts. 

Oxford, England, is a town richly endowed 

with centuries of history. It offers us two 

faces: the famous riverside university town 

with its picturesque colleges, tranquil gardens, 

soaring spires, and Bodleian Library; 

and the lively city with its newly restored 

castle, town hall, canal, and ancient inns. 

These two aspects are woven together in a 

study of the breathtaking architecture, traditions, 

royal connections, celebrated residents, 

and famous products of a city that 

produced marmalade and motor cars. 

Explore the spectacular new galleries of 

the world-renowned Ashmolean Museum 

and discuss why the city remains one of 

England’s most beloved places. 

NEW 

London’s Literary Haunts 

X09.9180/$430 

M Sec. 1: Thurs. 2–3.40 p.m., Feb. 17–May 5 





Uncover London’s literary geography— 

from Bloomsbury to Kensington—and 

study the historic places that have forever 

been associated with famous literary residents 

and celebrated literary visitors, including 

Southwark, with its Chaucer and 

Shakespeare connections. Explore the 

homes of Samuel Johnson, John Keats, 

Charles Dickens, William Morris, and 

Henry James; discover Westminster 

Bridge, where Wordsworth composed his 

famous sonnet; learn of literary rarities, including 

the district known to Daniel Defoe; 

Virginia Woolf ’s suburban retreat; the elegant 

Georgian pied á terre where Harold 

Nicolson, husband of Vita Sackville West, 

lived; and the home on Baker Street of the 

legendary Sherlock Holmes. 

NEW 

From Tower to Tavern: 

Nine Centuries of Architectural 

Splendors and Scandals 

X09.9179/$430 


May 5 (10 sessions). No class Mar. 17 and 24. 




Majestic Durham Cathedral and an art 

deco masterpiece in London epitomize the 

splendor of many unique buildings and interiors 

that abound in England. In this 

survey extending from medieval times to 

the present, study how the changing architectural 

styles and interiors of important 

castles, country houses, inns, mills, and 

barns frame a history that reveals changes 

in taste, travel, patronage, and wealth over 

the centuries. Study the scandals that have 

involved patrons and architects—including 

rivalries between 18th-century architects, 

and why George III, an excellent draughtsman, 

offered his own critical views on the 

latest Georgian designs. 

13 




OXFORD UNIVERSITY STUDY PROGRAM 

AT CHRIST CHURCH COLLEGE, OXFORDFootsteps to the 

Past: Exploring England’s History 

July 31–August 13, 2011 

Cost: one week, $2,590; two weeks, $5,180. 

Book by March 31, 2011 for a reduced price: one week, $2,490; two weeks, $4,980. 

Accompanying NYU-SCPS faculty: Lorella Brocklesby, cultural historian; NYU-SCPS 

Excellence in Teaching Award; Fellow of the Royal Society of Arts. 

From the minute you enter the magnificent 16th-century campus of Christ Church 

College for our noncredit study vacation, you are enthralled by the historic ambience 

that surrounds you. Join us this summer as we offer the unique opportunity to register 

for one or two weeks of living and learning at a college that was founded in 1525. 

Our acclaimed program, a collaboration between Oxford University and NYU-SCPS, 

offers courses, lectures, field trips, and special events that have been created and arranged 

exclusively for NYU-SCPS participants. 2011 marks our 12th year of this 

popular program. 

Enjoy three meals daily in the spectacular 16th-century dining hall; explore the magnificent 

on-site medieval cathedral; relax in the college’s lovely gardens; or stroll to 

the nearby River Isis. The college is also near the center of the historic city, concert 

halls, and bookshops. Both NYU-SCPS courses (see below) are taught by a distinguished 

Oxford tutor who is very popular with our NYU-SCPS students. Additional 

lectures are given by accompanying NYU-SCPS faculty. Enrollment is open to all. 

Week One: Britain’s Finest Hour: 1939–1945 

July 31–August 6 

Instructor: Kees Windland 

This course examines the achievements of Churchill—statesman, politician, and military 

strategist—during the years 1939-1945, as well as the lives of the resilient men 

and women who lived during the era of World War II. How did society react to wartime 

pressures and what opportunities became available, particularly for women We 

develop a picture of the British nation at that time to uncover what it was really like 

to be British during that remarkable chapter in the nation’s history. 

Week Two: The English Medieval Lady 

August 7–13 

Instructor: Elizabeth Gemmill 

What power and influence did the English medieval noblewoman and gentlewoman 

really have She was an elusive figure and by catching tantalizing glimpses of her in 

lines of medieval romances and manuscript illustrations, we are able to discover the 

life of the “real” lady. Study the expectations of her family and friends, her upbringing, 

the arrangements surrounding marriage, and her responsibilities as wife and mother, 

as well as her clothes, pleasures, and pastimes. 

Please note: This is a very popular program. Enrollment is strictly limited to 18 

students per course and many places are already filled by early spring. We strongly 

urge you to register as soon as possible. 

Includes: Academic program, six nights’ accommodation in private single rooms* at 

Christ Church College (or 13 nights’ accommodation if you register for both weeks); 

all breakfasts, lunches, and dinners at Christ Church daily; special events; field trips; 

accompanying NYU faculty; reading lists; and a predeparture briefing. 

*Accommodation is in single rooms, which are comfortably furnished with refrigerators and 

tea/coffee-making facilities and serviced daily. A limited number of these rooms have a private 

shower and toilet and are allocated on a first come, first served basis, so we urge you to 

register as soon as possible. A $450 per week supplement applies. Rooms furnished with 

twin beds may also be available. 

Airfare is not included. Direct bus services from Heathrow Airport to Oxford are excellent 

and very frequent. 

For an application and further information, call Ken French at (212) 992–3258 or 

e-mail kf38@nyu.edu. 

NEW 

LITERATURE 

World Literature 

Goddesses in the Ancient 

and Modern Worlds 

X02.9258/$370 

M Sec. 1: Thurs. 12–1.40 p.m., Feb. 24– 

Apr. 21 (8 sessions). No class Mar.17. 

llona Rashkow, professor emerita of Judaic 

studies, State University of New York Stony 

Brook; author, Taboo or Not Taboo: The 

Hebrew Bible and Human Sexuality. 

In recent decades, scholars have been 

examining the role of goddess religions 

in shaping the social status of women in 

various cultures—and questions about the 

possibility of a woman representing the 

divine and its meaning have emerged. 

Investigate prehistoric (Paleolithic and 

Neolithic: Venus of Willendorf and others); 

Mesopotamian (Inanna/Ishtar); 

Egyptian (Isis, Hathor); Canaanite/ 

Hebrew (Anat/Asherah); Gnostic/New 

Testament (Sophia/Virgin Mary); Hindu 

(Kali/Sri Lakhsmi/Radha); East Asian 

(Kuan-yin/Amertsu); and North American 

(Wiccan/Thealogy) goddesses. Examine 

the nexus where religion, gender, and 

power intersect. 

Love, War, Peaceful Ending: 

Reading Homer’s Iliad 

X02.9631/$430 

M Sec. 1: Tues. 1–2.40 p.m., Feb. 15– 


Susan Matthias, award-winning translator of 

Greek literature (George Seferis, Six Nights on 

the Acropolis). 

Explore Homer’s genius as an oral bard 

through in-depth discussions of the Iliad, 

a glorification of the heroic ideal that concludes 

with an eloquent plea for peace. 

Trace the causes underlying Achilles’ grudge 

and examine the pride, loss, and isolation 

experienced by this definitive Homeric hero, 

who matures enough to perform the ultimate 

act of kindness. Please bring a copy of 

Robert Fagles’s translation of Homer’s epic 

to the first class. 

Introduction to the New Testament 

X02.9121/$430 

M Sec. 1: Tues. 12–1.40 p.m., Feb. 15–Apr. 26 

(10 sessions). No class Mar. 15. llona Rashkow, 

professor emerita of Judaic studies, State 

University of New York Stony Brook; author, 

Taboo or Not Taboo: The Hebrew Bible and 

Human Sexuality. 

Containing the sacred writings of three 

major world religions—Judaism, Christianity, 

and Islam—the Bible has influenced 

millennia of literature, art, and thought. 

Explore the New Testament in light of 

historical, sociological, and literary contexts 

both ancient and contemporary. 

Classes are discussion-oriented and involve 

close analysis and interpretation of texts. 

No background in religion is necessary. 

NEW 

Don Quixote, Part II 

X02.9628/$370 


(8 sessions). No class Mar. 16. Pilar Rotella, 

former faculty, Sarah Lawrence College, 

University of Chicago. 

In this course, we continue our introduction 

to Miguel de Cervantes and his Don 

Quixote, a text significant not only in itself 

but also because of the long lasting influence 

it has exerted on the development of 

the novel as we understand this term today. 

Through careful reading and analysis of 

both text and context, students become 

well acquainted with the Knight of La 

Mancha and his adventures, and also with 

the trajectory of Cervantes’s life and 

Spanish history in the 16th and early 

17th centuries. Edith Grossman’s translation 

of Don Quixote (Harper Perennial, 2005) is 

recommended. 

Masterpieces of 19th-Century Fiction 

X02.9031/$260 

M Sec. 1: Mon. 1–2.40 p.m., Feb. 14–May 16 

(5 sessions). Meets every three weeks. 

Margaret Boe Birns, NYU-SCPS Excellence in 

Teaching Award; writer, New York Times, 

Literary Review, and others. 

Study five novels that have passed the test 

of time: a story of love, loss, and social class 

in Regency England; an exploration of 

childhood in the wake of the Industrial 

Revolution; a psychological masterpiece 

that investigates criminality and spirituality 

in 19th-century Russia; a study of a 

courtesan who wreaks havoc in Second 

Empire Paris; and a depiction of an independent 

American girl who inherits a fortune 

and seeks liberty in European society. 

Readings for this course are Jane Austen, 

Persuasion; Charles Dickens, Hard Times; 

Fyodor Dostoesvky, Crime and Punishment; 

Emile Zola, Nana; and Henry James, 

Portrait of a Lady. Please read Austen’s 

Persuasion for the first class. 

Hardy, Trollope, and James: The 

Pessimist, the Optimist, and the Realist 

X02.9267/$430 

M Sec. 1: Mon. 1–2.40 p.m., Feb. 28– 


Rosemary Gelshenen, faculty, Marymount 

Manhattan College; Veritas Award for 

Excellence in Education. 

Thomas Hardy, Anthony Trollope, and 

Henry James are all major literary figures— 

yet each approached his work from 

a decidedly different point of view. In 

Hardy’s The Trumpet Major, Anne Garland 

must choose between two brothers; when 

fate intervenes, Anne’s choice is made for 

her. In Phineas Finn, Trollope follows the 

adventures of an outsider who conquers 

English society. James was less interested 

in happy endings than in portraying complex 

characters like Morton Densher, the 

protagonist of The Wings of the Dove. Please 

read “For Conscience’ Sake” and “To Please 

His Wife” in Hardy’s Life’s Little Ironies 

and the first five chapters of The Trumpet 

Major for the first class. 

14 



NEW 


The Novel Today 

X02.9270/$430 



Margaret Boe Birns, NYU-SCPS Excellence in 

Teaching Award; writer, New York Times, 

Literary Review, and others. 

M Sec. 2: Thurs. 1–2.40 p.m., Feb. 24–May 5 

(10 sessions). No class Mar. 17. Margaret Boe 

Birns 

M Sec. 3: Thurs. 6.20–8 p.m., Feb. 24–May 5 

(10 sessions). No class Mar. 17. 

Margaret Boe Birns 

Discuss new novels, written by both 

emerging and established writers, from 

around the world. These novelists explore 

power and love, historical and personal 

change, the nature of identity, and the 

meaning of survival. Readings range from 

the time of Henry VIII to the present day 

and include John Wray, Lowboy; Mohammed 

Hanif, A Case of Exploding Mangoes; Colm 

Tóibín, Brooklyn; Abraham Verghese, 

Cutting for Stone; Yoko Agawa, The 

Housekeeper and the Professor; Amelie 

Nothomb, Tokyo Fiancée; Hilary Mantel, 

Wolf Hall; and Tom Rachman, The 

Imperfectionists. 

Shakespeare Studies 

The Rowdy Shakespeare 

X02.9327/$430 

S Sec. 1: Mon. 6.45–8.25 p.m., Feb. 28–May 9 

(10 sessions). No class Mar. 14. Molly Goforth, 

actor; director; playwright; performance, voice, 

and speech instructor, NYU Tisch School of the 

Arts, New School for Drama. 

If you are intrigued by William Shakespeare 

but are unsure of how to approach his work, 

then this course is for you. With the help 

of a professional actress and director of 

Shakespeare’s plays, learn to appreciate 

them as lively entertainment rather than 

as high-brow literature. Examine the 

Elizabethan worldview and crack the simple 

code of scansion—the key to unlocking 

Shakespearean verse. Investigate the comedy 

in three tragedies, Romeo and Juliet, 

Macbeth, and Hamlet; a classic comedy, 

A Midsummer Night’s Dream; and a socalled 

“problem” play, Measure for Measure. 

Faculty 

Learn from instructors who 

are leaders in their fields. 

For NYU-SCPS faculty bios, 

visit scps.nyu.edu/faculty. 





NEW 

WINTER SESSION 

Get a jump start on the New Year. The following course is offered 

this January during the NYU Winter Session. 

Introduction to Shakespeare 

X02.9636/$180 

M Sec. 1: Wed. 1–3.30 p.m., Jan. 5–19 (3 sessions). Zoe C. Kaplan, trained at Royal Academy 

of Dramatic Arts; member, League of Professional Theatre Women. 

William Shakespeare is generally acknowledged as the greatest English language writer 

of all time. This mini-course provides an opportunity to learn more about Shakespeare’s 

world and work. During the first class, explore what little is known about the Bard, as 

well as the historical and literary context of his plays and their heritage. In the following 

weeks, read from and discuss three of Shakespeare’s plays. The course concludes 

with an analysis of one of the many feature films based on Shakespeare’s work. Please 

read the Folger Shakespeare Library edition of A Midsummer Night’s Dream before the 

first class meeting. 

For more information, visit scps.nyu.edu/winter. 

What’s in a Name 

The Shakespeare Authorship 

Debate Investigated 

X02.9328/$300 

M Sec. 1: Wed. 1–2.40 p.m., Apr. 6–May 11 

(6 sessions). B.J. Rahn, former professor, 

Hunter College. 

Doubts about the authorship of the plays 

published under the name William 

Shakespeare were first expressed at the end 

of the 18th century, and the debate has 

gathered momentum over the ensuing 200 

years. Using a detective’s logical analysis in 

the hope of discovering a “smoking gun” 

and solving the case definitively, review the 

principal evidence gathered by observation, 

interviews, and research that points to the 

four most likely suspects: Francis Bacon; 

the 17th Earl of Oxford, Edward de Vere; 

Christopher Marlowe; and “the Man from 

Stratford” himself. Readings and lectures 

include historical and contemporary 

sources. 

Irish Literature 

Reading Joyce’s Ulysses 

X02.9169/$430 

S Sec. 1: Thurs. 7–8.40 p.m., Feb. 24–May 19 

(10 sessions). No class Mar. 17, 24, and 31. 

Robert Frumkin, writer on Joyce and Zen 

Buddhism. 

James Joyce’s Ulysses has been called the 

greatest novel ever written. It may also be 

the funniest—and the most difficult to 

read. Its greatness rests in part on Joyce’s 

mastery in making his main character, the 

kind but ordinary Leopold Bloom, seem 

extraordinary. This is achieved by showing 

us the innermost workings of Bloom’s 

mind through interior monologue and a 

bewildering array of styles. Through the 

close reading of passages in class, master 

the surface difficulty of these styles. Then 

ponder the mystery of how the obstacles 

the novel puts in our way move us, paradoxically, 

closer to Joyce’s hero. Please 

bring a copy of Ulysses, edited by Hans 

Walter Gabler, to the first class. 

NEW 

NEW 

The James Joyce Lectures 

X02.9336/$260 

M Sec. 1: Wed. 6.45–8.45 p.m., Mar. 23– 

Apr. 13 (4 sessions). Jesse Meyers, 

lecturer, James Joyce symposia in Dublin; 

Austin, Texas; and at New York University’s 

Fales Library. 

If you have read Dubliners, Portrait of the 

Artist as a Young Man, Ulysses, or Finnegans 

Wake but yearn to immerse yourself further 

into the endlessly rich and rewarding 

world of James Joyce, then consider this 

course. Taught by an expert on Joyce and 

his work, it consists of four in-depth lectures 

on the context, content, and consequences 

of Joyce’s art. “Joyce’s Life and 

Cultural Contributions” opens the series, 

followed by “Joyce’s Poetry” and “Ulysses’ 

Tortured Publishing History.” The series 

concludes with “Reading Joyce: A Practical 

Guide.” Join us as we investigate and celebrate 

the 20th century’s greatest Englishlanguage 

writer. 

From Page to Stage: Great Irish 

Playwrights of the 20th Century 

X02.9263/$430 

M Sec. 1: Wed. 11 a.m.–12.40 p.m., Feb. 16– 


Nancy DiBenedetto, faculty, Marymount 

Manhattan College. 

From the founding of Dublin’s Abbey 

Theatre by William Butler Yeats and others 

in 1897 to the present day, Irish playwrights 

have left an indelible mark on 

theater history. With political and social 

themes providing a unique backdrop to the 

drama, these writers have set human behavior 

against Ireland’s tumultuous historic 

and cultural past—and unforgettable theater 

has been the result. Playwrights studied 

include Yeats, Lady Augusta Gregory, 

John Millington Synge, George Bernard 

Shaw, Samuel Beckett, Brian Friel, and 

Conor McPherson. 

NEW 

American Literature 

Masterpieces of American Short Fiction I 

X02.9029/$270 



Leigh Harbin, former faculty, University 

of Illinois, Urbana-Champagne. 

What is special about American short fiction 

and why How did social movements 

and technical experimentation inform its 

early development Investigate European 

influences on the American short story 

during the 19th century and discover how 

the new nation’s enormous challenges— 

and gifts—were reflected in its short literature. 

Writers discussed include Washington 

Irving, Nathaniel Hawthorne, Edgar Allen 

Poe, Herman Melville, Mark Twain, and 

Edith Wharton. This course is divided into 

two 5-session modules. Students may take the 

entire 10-session course or the first or 

second module. 

Masterpieces of American Short Fiction II 

X02.9036/$270 

S Sec. 1: Tues. 6.45–8.25 p.m., Apr. 5–May 3 

(5 sessions). Leigh Harbin, former faculty, 

University of Illinois, Urbana-Champaign. 

Thanks to the influence of aesthetic movements, 

including modernism and postmodernism, 

and social changes, such as 

immigration, the American short story, 

distinctive and robust at the turn of the 

20th century, developed even further over 

the ensuing 100 years. The result was an 

art form that could only have come from 

America. Writers discussed in this course 

include Sherwood Anderson, Ernest 

Hemingway, John Cheever, J.D. Salinger, 

I.B. Singer, Eudora Welty, and John Updike. 

This course is divided into two 5-session modules. 

Students may take the entire 10-session 

course or the first or second module. 

Fiction and Film: Southern Gothic 

X02.9332/$430 

M Sec. 1: Tues. 10 a.m.–12 p.m., Feb. 15– 


Kate Brooks, former faculty, University of 

Manchester, London University, New School. 

Southern Gothic literature, a regional form 

that arose after the Civil War, has focused 

on the dark ambiguities within, and grotesque 

transformations of, antebellum 

stereotypes, including the contented slave, 

the demure Southern belle, the chivalrous 

gentleman, and the righteous Christian 

preacher. Individuals in this deeply flawed 

culture reflect disturbed—and disturbing— 

interactions with sexual, spiritual, and social 

norms, ranging in form from comedy 

to horror, and in tone from ironic to surreal. 

In this course, read works and watch 

films inspired by the work of, the following 

writers: Carson McCullers, Tennessee 

Williams, Truman Capote, Flannery 

O’Connor, and Anne Rice. Please read 

Carson McCullers, The Heart Is a Lonely 

Hunter, for the first class. 

15 




NEW NEW 

The World of Henry James 

and John Singer Sargent 

X02.9279/$430 

M Sec. 1: Thurs. 6.45–8.25 p.m., Mar. 3– 


Kyoko Miyabe, contributor, Critical Companion 

to Henry James; former instructor, University 

of Cambridge. 

Henry James, one of the most important 

figures in American literature, was a good 

friend of John Singer Sargent, perhaps the 

most successful portrait painter of the late 

19th century. The backgrounds of the two 

artists were uncannily similar: both were 

American by birth but spent their childhoods 

in Europe, and both established careers 

in London after spending time in 

Paris. Through reading James’s stories and 

looking at Sargent’s paintings, examine the 

artistic and aristocratic world that they 

inhabited and portrayed in their work. 

Lectures and class discussions are supplemented 

by a visit to the Metropolitan 

Museum of Art. Tuition does not include 

museum fees. 

Vladimir Nabokov, 

Master of Language 

X02.9338/$430 

M Sec. 1: Tues. 1–2.40 p.m., Feb. 15–Apr. 26 

(10 sessions). No class Mar. 15. Tanya Mairs, 

faculty, New School and others; translator, 

Yuri Krotkov’s The Red Monarch. 

Best known for Lolita, Vladimir Nabokov 

was a distinguished writer long before the 

publication of his most famous novel. A 

Russian émigré who, after the 1917 revolution, 

lived abroad in Berlin, Paris, and the 

United States, Nabokov wrote of other 

cultures from a unique perspective, reflecting 

the historical events and cultural forces 

of the time. He was a master stylist and, 

whether depicting a tyrant, a writer, a professor, 

or a “nymphet,” his works are always 

captivating and original. Works covered in 

this course include Invitation to a Beheading, 

Lolita, Pnin, and Nabokov’s memoir, Speak, 

Memory. 

Marilynne Robinson, Writer of Spirit 

X02.9339/$260 

M Sec. 1: Wed. 4–5.50 p.m., Mar. 23–Apr. 20 

(5 sessions). Rebecca M. Painter, writer, 

specializing in moral issues in literature. 

First in a series of courses on great 

writers whose works reveal a concern with 

spiritual and moral reflection, this course 

focuses on Pulitzer- and Orange Prizewinner 

Marilynne Robinson. Her companion 

novels, Gilead and Home, feature an 

authentically devout Protestant minister’s 

near-death musings on passion, friendship, 

nature, sin, and grace, while also vividly recasting 

the Biblical figures of the Prodigal 

Son and Ruth. Robinson’s intellectually 

rigorous essay collections, The Death of 

Adam and Absence of Mind: The Dispelling 

of Inwardness From the Modern Myth of the 

Self, probe gradations of religious and scientific 

reasoning, personal conscience, and 

societal juggernauts. Please read Gilead 

before the first class meeting. 

NEW NEW 

Stephen King’s American Nightmare 

X02.9335/$430 



Leigh Harbin, former faculty, University 

of Illinois, Urbana-Champaign. 

A best-selling author for four decades 

and one of the most prolific American 

novelists of all time, Stephen King’s success 

is a cultural phenomenon. The monsters 

that inhabit his magical rural Maine 

have captured countless readers and earned 

King numerous awards, including a Medal 

for Distinguished Contribution to American 

Letters from the National Book Foundation 

in 2003—yet not all literary critics are fans. 

In this course, read and discuss King’s novels 

and stories and decide for yourself if 

his writing should be considered serious 

literature. 

Topics in Literature 

Brilliant Minds 

X07.9305/$450 

M Sec. 1: Tues. 10–11.40 a.m., Feb. 15– 


Peter Arcese, poet, director, and attorney. 

S Sec. 2: Wed. 6.45–8.25 p.m., Feb. 9–May 4 

(12 sessions). No class Mar. 16. Peter Arcese 

Literary genius takes innumerable shapes 

and forms. From books to plays to poetry, 

brilliant minds use their gifts to entertain, 

inspire, engage, and enlighten us about 

philosophical and artistic concerns, social 

trappings, and human conceit. Readings 

include Valmiki, The Ramayana; Julius 

Caesar, Gallic Wars; Omar Khayyam, The 

Rubaiyat; Molière, Tartuffe; Shakespeare, 

Two Gentlemen of Verona; Nikolai Gogol, 

Dead Souls; Natsume Soseki, Kokoro; 

Virginia Woolf, Between the Acts; and 

Elizabeth Bowen, Collected Stories. Begin 

reading The Ramayana for the first class. 

Law and Disorder: 

Crime Fiction as Literature 

X02.9259/$430 



David Gordon, author, The Serialist; screenwriter; 

instructor, Baruch College. 

From the stories of Sherlock Holmes to 

the unsolved case on your bedroom night 

table, mysteries and the detectives who solve 

them have fascinated readers for well over 

a century. Reconsider the tradition of the 

mystery as literature, from its origins with 

Edgar Allan Poe and Arthur Conan Doyle, 

through its hard-boiled phase (Dashiell 

Hammett, Raymond Chandler), to the 

genre’s modern masters (Georges Simenon, 

John D. MacDonald), and variations on 

the theme by Haruki Murakami and 

Roberto Bolaño. Consider historical and 

social contexts; changes in style and form; 

and connections between crime, art, writing, 

reading, and the detective in modern life. 

NEW 

Plays With a Social Conscience 

X02.9325/$370 

M Sec. 1: Tues. 1–2.40 p.m., Mar. 22–May 10 

(8 sessions). Bob Lamm, contributor, New York 

Times, Village Voice, Ms.; instructor, City 

University of New York Graduate Center, 

Yale University. 

Examine how eight well-known playwrights 

bring moving, memorable stories to the 

stage and illuminate the injustices evident 

in cultures and communities. Issues of gender, 

race, and class are given special focus 

in this course as students read the works 

of Clifford Odets, Arthur Miller, Lorraine 

Hansberry, Caryl Churchill, Athol Fugard, 

August Wilson, David Henry Hwang, and 

Lynn Nottage. Students participate actively 

in class discussions. Read Odets’s Awake 

and Sing! for the first class. 

Mothers and Daughters in 

Contemporary Literature 

X02.9321/$430 

M Sec. 1: Tues. 11.10 a.m.–12.50 p.m., 

Feb. 15–Apr. 26 (10 sessions). No class 

Mar. 15. Joan Dulchin, former faculty, 

Barnard College, Wesleyan University. 

After looking at the myth of Demeter 

and Persephone, explore the mother/ 

daughter relationship through a range of 

modern literary texts written from both 

perspectives—including poems by Louise 

Glück, Adrienne Rich, Maxine Kumin, 

and Eavan Boland; Jamaica Kincaid’s novels 

about growing up, Annie John and Lucy; 

Edna O’Brien’s novel about the passions 

among three generations of women, The 

Light of Evening; Vivian Gornick’s memoir 

about the difficulties of separation, Fierce 

Attachments; and descriptions of conflict, 

love, loss, and the passage of time in memoirs 

by Faith Ringgold and Kate Simon 

and in stories by Alice Munro and 

Charlotte Perkins Gilman. 

Images of Women 

X02.9294/$430 

M Sec. 1: Thurs. 11.10–12.50 p.m., Feb. 17– 


Joan Dulchin, former faculty, Barnard College, 

Wesleyan University. 

How do images of women in literature, 

art, and the media influence a woman’s 

identity and experience of herself Read 

poems by Sharon Olds and Carol Ann 

Duffy; Annie Ernaux’s memoirs, Cleaned 

Out and Happening, about growing up female 

in France; Doris Lessing’s novel, The 

Summer Before the Dark, about a woman in 

the midst of a mid-life crisis; Mary Shelley’s 

novel, Frankenstein, on the power of the visual 

sense; Émile Zola’s novel, The Ladies’ 

Paradise, on shopping and the department 

store; critic John Berger’s Ways of Seeing on 

depictions of women in art, culture, and 

history; and philosopher Susan Bordo’s 

Unbearable Weight on weight, beauty, and 

advertising. 

MUSIC AND THEATER 

APPRECIATION 

Listening to Music 

Introduction to Music 

X06.9005/$370 

M Sec. 1: Wed. 1–3 p.m., Feb. 23– 


Edmond Cionek, composer, arranger, 

orchestrator. 

Enhance your enjoyment of music with 

this survey of major composers through 

lectures, discussions, recordings, and live 

piano performance demonstrations. Learn 

the major musical forms, the elements and 

meaning of music, and the relationships of 

the composer to society. Topics include the 

Middle Ages (the domination of sacred 

music); the Renaissance (the secular sound); 

the baroque era (Vivaldi, Bach, Handel); the 

classical era (Haydn, Mozart, Beethoven); 

romanticism (Schubert, Schumann, Brahms, 

Berlioz, Wagner, Verdi); post-romanticism 

(Strauss, Puccini); impressionism (Debussy, 

Ravel); and the 20th century (Stravinsky, 

Schoenberg, Bartók, Prokofiev, and Copland). 

Theater Appreciation 

The Play’s the Thing 

X09.8501/$570G 

M Sec. 1: Wed. 2–5 p.m., Feb. 16–May 4 

(10 sessions). No class Mar. 16 and Apr. 20. 

Zoe C. Kaplan, author; lyricist; actress. 

See and discuss six of the newest Broadway 

and off-Broadway plays on Wednesday afternoons. 

Following many of the performances, 

the class may have the opportunity 

to ask the director, playwright, actors, or 

members of the production staff questions. 

On the four dates when no play is scheduled, 

the class meets at the NYU Midtown 

Center for in-depth discussions of the productions 

and theater in its broader context. 

Recent plays have included A View From 

the Bridge, A Behanding in Spokane, Fences, 

and Red. Tuition includes theater tickets. 

Off- and Off-Off-Broadway Theater 

X09.8502/$430G 

S Sec. 1: Thurs. 8–10.30 p.m., Mar. 3–Apr. 14 

(7 sessions). Helen G. Freedman, former adjunct, 

New School; member, Drama Desk. 

Off- and off-off-Broadway has long provided 

the energy and creativity for great 

theater. It is here that new and seasoned 

playwrights, directors, and performers 

showcase their talents. Explore the best 

current offerings at intimate theaters, often 

before the critics have a chance to pass 

judgment. After each evening’s performance, 

remain in the theater for lively 

post-performance discussions with cast 

and/or production staff members. Recent 

plays have included Bedroom Farce, Irena’s 

Vow, The Glass Cage, and Farragut North. 

The first and last sessions meet on campus. 

The remaining sessions are performances, and 

students meet at designated theaters. Tuition 

includes theater tickets. 

16 




SUMMER PREVIEW 

Modern British Drama in London 

July 31–August 13 

Now in its 12th season, this program is a thrilling experience for anyone who loves 

theater. In the morning, learn about the history of Great Britain’s exciting theater 

scene from World War II until the present, the golden age when audiences were introduced 

to some of the world’s most influential playwrights. In the evening, attend new 

productions in London’s West End and the occasional off-West End and/or Fringe 

playhouses (at least nine productions). 

For details on our summer intensive programs, visit scps.nyu.edu/summer 

or call (212) 998-7200. 

NEW YORK: 

METROPOLITAN 

STUDIES 

Architecture of New York: 

17th Century to Present Day 

X03.8133/$470 

M Sec. 1: Tues. 10–11.40 a.m., Feb. 15– 


Francis Morrone, architectural historian; author, 

The Architectural Guidebook to New York City; 

NYU-SCPS Excellence in Teaching Award. 



Francis Morrone 

Learn the essential history of the city’s built 

environment—from Dutch days to the 

present. All building types are discussed in 

this course, including row houses; apartment 

buildings; tenements; office buildings; 

industrial loft buildings; houses of 

worship; and civic buildings, as well as 

bridges, parks, and other public works. All 

styles are covered, from the Georgian of the 

English colonial era to 19th-century revival 

styles through beaux arts, art deco, 

modernism, and postmodernism. By the end 

of the course, students are able to tell a 

Federal from a Greek Revival row house; 

know what motivated Victorian designers; 

and understand where modernism came 

from and why. 

Hidden in Full View: New York’s 

Urban Folklife and Folklore 

X09.8522/$370 



Hanna Griff Sleven, expert in folklore and 

American studies; director–public programs, 

Eldridge Street Project. 

Every city and every culture has customs, 

music, food, and stories passed on orally— 

ways of expressing who we are and how we 

fit into the world. Folklore shapes our everyday 

experiences and crosses barriers of ethnic 

cultures, making us all New Yorkers. This 

course examines basic concepts of folklore 

and looks at the rich folklore of New York 

City in its music (salsa, polka, gospel, blues); 

art (graffiti, urban gardens); and folk narratives 

(urban legends, humor). From Latino 

santeras to the Italian Giglio celebration, and 

Jewish foodways to Peruvian drumming traditions, 

we traverse the length and breadth of 

New York’s unique urban folklife. Lectures 

and field trips enhance the experience. 

NEW 

Downtown New York: 

Past, Present, and Future 

X03.9036/$195 

W Sec. 1: Sun. 2–4.30 p.m., Apr. 10–May 8 

(5 sessions). Meets in lower Manhattan. 

Anthony Robins 

Examine the boom and bust history of the 

lower Manhattan/Wall Street area as seen 

in its planning and architecture. In class 

discussions and walking tours, study overall 

trends in downtown’s development over 

the past four centuries, including post- 

World War II development, with a special 

focus on the creation of the World Trade 

Center; the last decade of neighborhood 

diversification (residential, high-tech, hotels, 

restaurants, and movie theaters joining office 

buildings); and the various proposals 

for redeveloping the World Trade Center 

site and their implications for the future 

of downtown. 

Tour New York City’s Great 

Architectural Centers 

X03.8141/$370 

Sec. 1: Tues. 2–4 p.m., Feb. 22–Apr. 19 

(8 sessions). John Tauranac, author, Elegant 

New York, Manhattan Block by Block: A Street 

Atlas; NYU-SCPS Excellence in Teaching Award. 

Join us for a series of walking tours of the 

great architectural centers that contribute 

to Manhattan’s unique character and urban 

environment. The first class, an illustrated 

lecture, is followed by tours of the Financial 

District, the Civic Center, the Theater 

District, the Club District, Rockefeller 

Center, Park Avenue, and Morningside 

Heights. 

Walking and Talking New York 

X09.9033/$430 


(10 sessions). No class Mar. 15. Joyce Gold, 

director, Joyce Gold History Tours of New York; 

author, From Windmills to the World Trade Center. 

Discover how the Irish experience in New 

York City differed from the Italian experience; 

why buildings took on a particular 

style; and what a stream and statue have to 

do with the design of Greenwich Village. 

Learn why African-Americans settled in 

Harlem, find out how New York City got 

its magnificent Central Park. Discover the 

hidden charms of Chelsea. These are 

among the topics discussed in four walking 

tours and two lively slide-illustrated talks. 

The Insider’s Guide to Low-Cost 

Cultural New York 

X09.9374/$60 

S Sec. 1: Sat. 10 a.m.–1 p.m., Mar. 12. 

Susan Teltser-Schwarz, cultural researcher 

and freelance author. 

In this three-hour session learn about 

inexpensive, free, and relaxing cultural 

opportunities around New York City, concentrating 

on lesser-known ones, such as 

exhibitions at the Grolier Club, tours of the 

Park Avenue Armory, and the mosaics surrounding 

Grant’s Tomb. An evaluation of 

membership in cultural institutions that 

offer unusual presentations; multiple handouts, 

including a reference guide highlighting 

New York City Happenings; and an 

exchange of information during a questionand-answer 

segment round out the class. 

FOOD AND WINE 

Becoming a Wine Expert 

X37.9006/$385G 

S Sec. 1: Wed. 6.30–8.30 p.m., Mar. 23– 

Apr. 27 (6 sessions). Tyler Colman, scholar; 

writer, specializing in the wine industry in 

France and the United States; former instructor, 

University of Chicago. 

Which wine should you drink with dinner 

tonight What’s the best wine to give as a 

gift to a host And just how do you find 

the best value on the wine list These 

questions and more are answered in this 

introductory wine course. Join wine expert 

and award-winning wine blogger and author, 

Tyler Colman (Dr. Vino), for this extremely 

popular class. Each session focuses 

on a different theme to boost your wine 

confidence and knowledge and includes 

discussion and a tasting. 

Great Grapes! 

X37.9038/$280G 

S Sec. 1: Wed. 6.30–8.30 p.m., Mar. 23– 

Apr. 20 (5 sessions). Tracy Ellen Kamens, 

chief education officer and founder, 

Grand Cru classes. 

Learn about the flavor profile of different 

varieties of grapes—and discover how 

these are expressed depending upon climate, 

soil conditions, and winemaking 

techniques. Participants have the opportunity 

to taste several wines of the same variety 

from different winemaking regions. 

Divided into five sessions, this class includes 

“Mad About Merlot,” “Savvy About 

Sauvignon Blanc,” “Penchant for Pinot,” 

“Resolute for Riesling,” and “Hooray for 

Chardonnay.” 

Finding Wine Bargains 

X37.9041/$95 

W Sec. 1: Tues. 7.30–9.30 p.m., Mar. 8. 

Tracy Ellen Kamens, chief education officer 

and founder, Grand Cru classes. 

Discover the best wines on the market for 

the budget-conscious consumer. Receive a 

general introduction to wine appreciation 

and wine styles and explore a selection of 

great wines that deliver high quality without 

the high price tag. All wines featured 

retail for under $20, and many for less 

than $15. 

Wine Tasting: From Mystery to Mastery 

X37.9043/$95 

W Sec. 1: Wed. 7.30–9.30 p.m., Mar. 9. 

Tracy Ellen Kamens, chief education officer 

and founder, Grand Cru classes. 

If wine tasting seems like a mystery to 

you, come learn how to taste like an expert. 

Explore the correct way to sniff, swirl, and 

sip your way through wine. Test your palate 

by tasting for sugar, acid, alcohol, and tannin. 

Tribeca: The Historical 

Heart of Culinary New York 

X37.9060/$95G 

Sec. 1: Fri. 10 a.m.–2 p.m., Mar. 4. 

Liz Young, Liz Young Tours. 

Tribeca, once called Washington Market— 

a neighborhood providing New York City 

with wholesale produce, spices, and meats— 

is now a hot spot of lofts and trendy restaurants. 

We start at Bazzini’s, a 19th-century 

nut importer now operating as a specialty 

store and neighborhood café. Along the 

walking tour, learn about the history of 

Tribeca and its unique place in the city’s 

culinary scene, and explore some area 

highlights. Your tour ends with lunch at 

Pepolino’s, home of fabulous Florentine 

sage gnocchi. All participants receive a list 

of area restaurants and food emporia. 

Chelsea Market and the Meatpacking 

District: Old and New 

X37.9070/$95G 

Sec. 1: Wed. 11 a.m.–3 p.m., Mar. 9. 

Liz Young, Liz Young Tours. 

Find out why Chelsea is a newly developed 

treasure of the New York City food scene 

on this walking and eating tour. Learn how 

the area’s dynamic restaurant offerings reflect 

the neighborhood history and eat at some 

of the best local picks. As we eat our way 

through Chelsea, learn about the cultural 

and historical influences that helped shape 

the neighborhood into what it is today. 


N Meets at Norman Thomas Center, 111 E. 33rd St. 





17 




Hidden and Cheap Eats in Manhattan 

X37.9071/$95G 

Sec. 1: Fri. 11 a.m.–3 p.m., Mar. 11. Meets at 

Le Parker Meridien, 118 W. 57th St. Liz Young, 

Liz Young Tours. 

Become in-the-know and eat on-thecheap 

with this eating and drinking tour 

through Manhattan. Satiate your hunger as 

New Yorkers do, at the hidden and out-ofthe-way 

“secret eat” spots they prize. Cover 

ground on foot and by subway. Delicious 

tastings of cold beer, juicy burgers, fancy 

hot dogs, spicy falafels, and silky ramen 

noodles keep your palate engaged along 

the way. Bring walking shoes, a good appetite, 

and plenty of gastronomic curiosity. 

PHILOSOPHY 

AND RELIGION 

Philosophy 

Hegel’s Philosophy of History 

X08.9086/$430 



James O’Higgins, former faculty, 

New School, Columbia University. 

Hegel famously observed that the only 

thing we learn from history is that we 

never learn from history. He elaborated a 

philosophy of history that has affected philosophers, 

historians, and other thinkers 

for the last 200 years. Follow Hegel in his 

profoundly insightful journey through 

world history and explore a monumental 

philosophical system of extraordinary 

reach, comprehension, and splendor. Read 

Hegel’s Reason in History and selections from 

The Philosophy of History. Lectures provide 

background and context from other relevant 

works from Hegel. 

Essential Questions: Philosophical 

Excursions Into Real Life 

X08.9106/$430 



Lauren Tillinghast, philosophical counselor and 

managing editor, Philosophical Practice; former 

instructor, University of Chicago, Knox College, 

and University of Pittsburgh. 

Examine some of the ways in which real 

life issues invite philosophical reflection. 

Case studies are employed to ground class 

discussions and philosophical texts hone 

students’ thinking. Topics include the idea 

of a meaningful life, the nature of happiness, 

the nature of love, the point of marriage, 

and how to think about ethical 

conflicts. Case studies are derived from 

Lou Marinoff ’s Plato, Not Prozac! and the 

literature on experimental philosophy. 

Traditional philosophical texts may include 

selections from Plato, Aristotle, Aquinas, 

Hume, Mill, Kant, Anscombe, Nussbaum, 

and Foot. 

Modern European Philosophy 

From Descartes to Derrida 

X08.9147/$430 



Thomas Riggins, faculty, New School. 

Survey European philosophy from the 

17th-century scientific revolution to contemporary 

times. How have the discoveries 

of the natural and social sciences changed 

the way in which we perceive the world 

Why is Descartes considered the first 

modern philosopher Debate the merits of 

the foundations of modernity as laid out in 

the works of Descartes, Spinoza, Hume, 

Voltaire, and other Enlightenment thinkers, 

including Kant, Hegel, Marx, and 

Nietzsche. Discuss such 20th-century 

modernists and postmodernists as Russell, 

Wittgenstein, Sartre, and Derrida. Texts 

include Bertrand Russell, A History of 

Western Philosophy and The European 

Philosophers From Descartes to Nietzsche, 

both edited by Monroe Beardsley. 

Religion 

Pathfinders: Comparative Religions 

X08.9091/$430 


May 5 (10 sessions). No class Mar. 17 and 

Apr. 21. Ernest Rubinstein, faculty, New School. 

Embark on a two-part journey in this 

study of world religions. First, navigate 

the theory of religion and explore its diverse 

definitions, categories, experience, 

language, and communities. Then examine 

the ideals of six world religions through 

a close study of texts: the ideal of law in 

Judaism, Christianity’s otherworldliness, 

the concept of surrender in Islam, Hinduism’s 

action, negation in Buddhism, and harmony 

in Confucianism. 

The Concept of the Sacred 

X08.9108/$430 

M Sec. 1: Thurs. 2–3.40 p.m., Feb. 17–Apr. 28 

(10 sessions). No class Mar. 17. Harriet Lutzky, 

faculty, City University of New York; 

psychotherapist. 

Many scholars have identified the sacred as 

the essence and defining factor of religion, 

present even when there is no notion of 

deity. Learn about ideas of the sacred in 

both ancient and contemporary societies— 

and in cultures as diverse as ancient Rome, 

the ancient Israelite religion, Polynesia, 

and others. Read works by major thinkers, 

including Mircea Eliade, Émile Durkheim, 

Sigmund Freud, and Rudolf Otto, and explore 

ideas about communal life, emotions, 

biology, and consciousness as they relate to 

the concept of the sacred. 

Religion and Art: 

A Transcultural Exploration 

X07.9001/$430 

N Sec. 1: Tues. 6.45–8.25 p.m., Feb. 22– 


Laura Lombard, Pearson Prize in Philosophy; 

instructor, School of Visual Arts. 

Throughout the world, art inspires religious 

engagement. Explore the fascinating 

relationship between art and religious experience 

through the perspectives of five 

major religions. Look at Hinduism within 

the context of sculpture, noting cyclic concepts 

of time; view Buddhism in terms of 

meditation mandalas, recognizing the relation 

of the mind and body; study Judaism 

in relation to architecture and religious illustration, 

appreciating the role of memory; 

explore Islam and calligraphy, focusing 

on the relation of words and images; and 

understand Christianity in terms of painting 

and prayer scrolls, examining the role 

of the human figure as spiritual intercessor. 

Tibetan Meditation: 

Bringing Meaning to Every Moment 

X08.9142/$300 

N Sec. 1: Tues. 6.45–8.45 p.m., Feb. 22– 


Carol Savvas, author, Transformation 

Into the Exalted State. 

Explore ways in which Mahayana Buddhist 

concepts of compassion and wisdom, coupled 

with unique Tibetan meditation techniques, 

can transform the mind and form a 

basis for a healthy, happy, and meaningful 

life. Focus on essential Tibetan meditation 

techniques designed to calm the mind and 

bring meaning to every moment. Included 

are visualization and breathing techniques 

and meditation exercises to transform the 

mind along with a study of the Tibetan 

practice of taking each occurrence in our 

daily lives as a basis for mental, physical, 

and spiritual development. Guided meditation 

and relaxation exercises are part of 

each class. 

B.A. in Humanities 

Tibetan Meditation II: 

Living, Loving, and Letting Go 

X08.9006/$300 

S Sec. 1: Wed. 6.45–8.45 p.m., Feb. 23–Apr. 20 

(8 sessions). No class Mar. 16. Carol Savvas, 

author, Transformation Into the Exalted State. 

Expand and enrich your experience of living 

a meaningful life. This course is for 

people with some exposure to Tibetan 

meditation, and also those who have already 

participated in an introductorylevel 

meditation course. Focus on more 

advanced Tibetan meditation techniques 

designed to deepen one’s experience of 

wisdom and compassion. Guided meditation 

and relaxation exercises are part of 

each class. 

PSYCHOLOGY 

Dreaming: Its Psychology, Its Meaning 

X07.9009/$370 

N Sec. 1: Wed. 6.45–8.45 p.m., Mar. 2–Apr. 27 

(8 sessions). No class Mar. 16. Frank Heynick, 

medical historian; psychiatric researcher; author, 

Language and Its Disturbances in Dreams. 

Since the discovery of rapid eye movement 

(REM) sleep in the 1950s, scientists have 

increasingly studied the physiology of 

sleep, hoping to unlock the function and 

meaning of dreams. But for millennia, 

every culture has had its ideas about 

dreaming. Explore our culture’s psychological 

theories of dreaming, including those 

of psychoanalysis (Freud), other depth psychology 

( Jung), and cognitive and linguistic 

psychology. Look at current research 

and theories about how dreaming functions 

and what it means to us as humans, 

including the phenomena of lucid dreaming 

(being fully conscious in a dream state), 

universal dream themes, and myths, or 

“public dreams.” 

McGHEE 

AN EXCEPTIONAL UNDERGRADUATE 

EXPERIENCE FOR ADULTS 

This program provides students with a strong preprofessional education 

in the liberal arts. Students acquire the writing, thinking, aesthetic, and analytical 

abilities required for advanced degrees and career development. 

Students choose from concentrations in Art History, Creative Writing, 

and Literature. Courses introduce students to the concepts, practices, 

methods, and theories specific to each field of concentration. Students 

are encouraged to think in the cross-cultural and cross-disciplinary ways 

necessary in today’s increasingly globalized world. 

This program is offered by NYU’s Paul McGhee Division. For more 

information, see page 185 or visit scps.nyu.edu/mcghee. 

18 




NEW 

PERFORMING ARTS 

Have you ever imagined yourself on stage, commanding an audience Are you looking for 

your first break in the big city Or perhaps you’re a seasoned professional seeking to advance 

your skills. Whatever your level and interest, our courses can help get you where you 

want to go. Learn from experienced actors, composers, dancers, directors, and musicians, 

each with a deep passion for, and commitment to, their art. 

Unless otherwise noted, no grades are issued for Performing Arts courses. 

ACTING AND 

PERFORMANCE 

Acting for the Non-Professional 

X02.9982/$470 

W Sec. 1: Thurs. 6.45–9.15 p.m., Feb. 24– 


Lisa Chess, actor; director; faculty, 

University of California—Los Angeles. 

Do you often feel that you are one 

person at work and another outside the 

workplace Do you ever wish you could 

integrate these two people, allowing the 

real, creative, “whole” you to function in 

both places Using professional acting 

techniques in a supportive environment, 

participants experience the unfolding of 

their full potential for self-expression and 

personal presentation. The training introduces 

new levels of relaxation, concentration, 

and focus, with the goal of helping 

students deepen sensory awareness, 

heighten imagination, release spontaneity, 

and improvise in their performances. 

Primarily for nonactors, this course also 

provides an excellent orientation for 

beginning actors. 

Become a Player: A Play-Reading 

Workshop for Non-Actors 

X02.9326/$275 

S Sec. 1: Tues. 6.45–9.15 p.m., Feb. 22–Apr. 5 

(6 sessions). No class Mar. 15. Phyllis Roome, 

theater professional, Royal National Theatre, 

Théatre des Bouffes du Nord, and other venues 

in London and Paris. 

Experience the lively creative process of 

interpreting a play and preparing a staged 

reading. Acquire techniques for getting in 

touch with your acting instincts in an exuberant, 

supportive setting. Using the plays 

of the celebrated British comedy writer 

Alan Bennett, a theater professional and 

actress with London’s National Theatre 

guides you through innovative play-reading 

exercises. Learn how to analyze a play, 

project your voice, create your stage presence, 

“own the room,” and find the actor 

inside you. 

Acting: A Practical Approach 

X02.9991/$470 

S Sec. 1: Mon. 6.45–9.15 p.m., Feb. 14– 


Mar. 14. Kathryn Rossetter, actress/writer/director; 

credits include Death of a Salesman 

with Dustin Hoffman and Speed 2. 

Discover an approach to acting that is 

clear, pragmatic, and fun. Learn how to 

play the emotional truth of any scene and 

understand actions and behavior. Through 

exercises, improvisations, and scenes, learn 

techniques designed to unlock your imagination, 

get rid of repressions and inhibitions, 

and approach a character—from first 

read through to performance. This course 

is ideal for the beginning acting student 

looking to build a strong foundation. 

Participants must speak English fluently. 

Beginning Acting: The ABCs 

X02.9900/$520 


May 10 (12 sessions). No class Apr. 19. 

Steven Perlmutter, actor in regional theater, including 

Philadelphia’s Walnut Street Theatre; 

former instructor, School of Film and Television. 

S Sec. 2: Sat. 10 a.m.–12.30 p.m., Feb. 12– 


Laurence Gewirtz, director/producer, 

4th Wall Actors Workshop. 

Whether you envision yourself acting on a 

Broadway stage or at your local community 

theater, learn the basic skills you need to 

develop as an actor in an enjoyable, pressure-free 

environment. Develop techniques 

to deal with stage fright. Use your body 

and voice effectively. Explore your creativity 

and analyze a script from an actor’s perspective. 

Identify the mental, physical, and 

emotional elements required to create a 

role and tap resources from deep inside 

yourself. This class helps you bring a playwright’s 

words to life and approach any 

character you are called upon to play with 

confidence. 

WINTER SESSION 

Get a jump start on the New Year. The following course will be offered 

this January during the NYU Winter Session. 

A Taste of Acting 

X02.9985/$125 

S Sec. 1: Sat. 10 a.m.–5 p.m., Jan. 8. 

Laurence Gewirtz, director/producer, 4th Wall Actors Workshop. 

Explore your creative side in this one-day workshop, designed to welcome newcomers 

to the world of acting. Students are introduced to theater games, strategies to conquer 

stage fright and self-consciousness, and the rudiments of playing a role. This enjoyable 

course is for the beginner or anyone who wants a taste of the full-length beginning acting 

courses offered in the spring, summer, or fall semesters. 

For more information, visit scps.nyu.edu/winter. 

Acting in the “Zone”: 

Scene Study and Improvisation 

X02.9986/$520 

S Sec. 1: Thurs. 7–10 p.m., Feb. 17–May 5 

(10 sessions). No class Mar. 17 and Apr. 28 

Laurence Gewirtz, director/producer, 

4th Wall Actors Workshop. 

Athletes describe “the zone” as a special 

place where performance is exceptional, 

consistent, and flowing. Seek this transcendent 

state in acting through the fusion of 

scene study and improvisation. Once you 

have the author’s words and actions crystallized 

in your mind, personalize them 

through a series of challenging improvisations, 

using your own words and inventing 

significant moments of your character’s life 

that do not appear in the text. Returning 

to the script with a stronger personal connection, 

you prepare for performance, 

ready to reach those perfect moments of 

acting in “the zone” when you and the 

character are one. 

Beyond Beginning: 

The Meisner Approach 

X02.9987/$470 

W Sec. 1: Mon. 6.45–9.15 p.m., Feb. 14– 


Apr. 18. Steven Perlmutter, actor in regional 

theater, including Philadelphia’s Walnut Street 

Theatre; former instructor, School of Film and 

Television. 

Whether you have previous experience 

or are just starting out, discover your expressive 

inner life for acting in a fun, supportive 

environment. Through exercises, 

cold readings, and scene study, learn the 

Meisner technique, which is specific, spontaneous, 

and expressive. Particular emphasis 

is placed on the repetition exercise, 

allowing you to bring a vitality and unique 

expression to your acting. The goal of this 

course is to fulfill Sanford Meisner’s definition 

of acting: “the ability to live truthfully 

under imaginary circumstances.” 

Participants must speak English fluently. 

MUSIC 

Songwriting 

X06.9063/$370 



Laurence Dvoskin, Grammy-nominated 

songwriter/producer/remixer. 

Have you written lyrics or do you have unfinished 

musical ideas to share Learn how 

to turn them into finished songs. This 

course teaches beginners and more advanced 

songwriters techniques to master 

melody, lyrics, chord progression, music 

theory, and collaboration. Find out the 

right places to record, network, and sell 

your songs in today’s evolving marketplace. 

How to 

Register 

Web: 

scps.nyu.edu 

By mail: 

Use the form and envelope 

at the back of the Bulletin. 

By telephone: 

(212) 998-7150 

By fax: 

(212) 995-3060 

In person: 

145 Fourth Avenue, 2nd Fl. 

For detailed information, 

see the Registration section 

at the end of this Bulletin. 




19 



GENERAL INFORMATION 

Professional Certificate 

Programs: Requirements 

and Benefits 

NYU-SCPS professional certificate programs 

provide knowledge and essential 

skills in specific fields and are taught by 

highly qualified faculty with in-depth 

experience in their subject areas. 

Professional certificates are comprised of 

courses that do not carry credit and are not 

state-reviewed. 

To receive an official certificate, students 

must declare their candidacy before the start 

of the fourth certificate course for which 

they enroll. Certificate candidacy entitles 

students to important new benefits detailed 

on this page. To apply for certificate 

candidacy, use the Application for Certificate 

Candidacy on page 188. There is a nonrefundable 

one time $100 application fee. 

Students are welcome to take as many 

individual courses from a certificate program 

as they wish, but will not receive 

an official certificate or be eligible for the 

benefits detailed below, unless they apply 

for candidacy. Undeclared students may 

request a transcript showing course completion 

and grades, but that transcript will 

not indicate certificate completion. 

Certificate Candidate Benefits 

• NYU student photo ID, which confers 

the following privileges while students 

are enrolled in course(s) applicable to 

the certificate: 

° Access to NYU Libraries. 

° NYU Computer Store educational 

discount pricing. 

° Access to the Kimmel Center for 

University Life. 

• Invitations to NYU-SCPS events. 

• Access to services through the NYU 

Home website. For more information, 

visit scps.nyu.edu/certificate. 

• Invitations to career workshops and 

related resources. 

• Upon completion of certificate program, 

$100 discount voucher toward an NYU- 

SCPS course (valid for one year). 

Certificate Requirements 

• Certificate declaration is required before 

the start of the fourth applicable course. 

A onetime $100, nonrefundable application 

fee is required. 

• Students have up to four years to complete 

a certificate from initial date of 

registration. 

• An official certificate is available upon 

completion of all courses if an overall 

B average or above is maintained and 

candidacy has been declared. Students 

must request their certificate online at 

scps.nyu.edu/certificate. 

• Certificate candidacy may be revoked if 

academic performance is not maintained. 

• The NYU-SCPS transcript of declared candidates 

will identify certificate completion. 

• Substitution classes require approval of 

the academic department. 

• Certificate candidacy may be revoked if 

student conduct policies are not adhered to. 

• There is a one time $5 fee for the NYU 

student photo ID card. The card is active 

for the entire semester in which a registered 

student is enrolled in an approved 

certificate course and is deactivated 

when the student is not enrolled in an 

applicable course. 

• Students must satisfy the certificate program 

requirements listed in the Bulletin 

published for the term in which they 

register for the first course toward the 

certificate. 

• Program administrators may authorize in 

writing substitutions of specified courses 

in individual situations (maximum of one 

substitution for a four-course certificate; 

two substitutions for a certificate requiring 

five or more courses). 

• Regular class attendance is required in 

order for a course to be applied toward 

a certificate program. 

• Students may complete more than one 

certificate in a given term but, for administrative 

purposes, each certificate will be 

issued and dated in separate terms. 

• Courses taken at NYU-SCPS may be 

applied to fulfilling the requirements of 

only one certificate program. No transfer 

work or waiver of the total number of 

courses required is permitted. 

• The name printed on the certificate will 

match the name on the student’s NYU 

transcript. 

• Certificates offered through the 

International Institute for Learning 

(IIL) and the Dalton Education certificate 

program in Financial Planning do 

not require declaration. 

• Approval for exception to any of the above 

requirements must be obtained in advance 

in writing from the program office. 

Certificates are highlighted throughout 

this Bulletin in their respective subject areas, 

where the specific requirements and course 

sequences are outlined. 

A comprehensive alphabetical listing of 

all certificate programs can be found in the 

Bulletin Index. 

Note: Departments may es tablish more 

stringent requirements for their programs. 

Check individual listings for details. 

ID Cards 

NYU-SCPS students enrolled in degree 

or diploma programs and declared professional 

certificate candidates are issued 

NYU photo ID cards. Continuing education 

students enrolled in courses, seminars, 

and conferences, or with undeclared 

status in a certificate program are issued a 

Building Access Pass that provides access 

to classroom buildings. 

Replacements for lost NYU photo ID 

cards can be obtained at the NYU Card 

Center, 383 Lafayette St. One piece of 

photo ID is required to get a replacement 

card. The fees for replacements are $15 for 

the first replacement; $50 for the second; 

and $75 for the third. 

Information Services 

The NYU-SCPS information line, 

(212) 998-7200, is open Mon.–Thurs., 

9 a.m.–7 p.m.; Fri., 9 a.m.–5 p.m. We 

are available to answer inquiries about the 

school and its programs. If you would like 

to be added to our mailing list for future 

Bulletins, call (212) 998-7200 and leave 

your name and address with a staff member 

or our 24-hour automated attendant. 

You may also obtain schoolwide general 

information or request a Bulletin on our 

website at scps.nyu.edu, or by e-mailing your 

name and address to scpsinfo@nyu.edu. 

Continuing Education 

Changes, Withdrawals, 

and Refunds 

Additions (added courses) to your nondegree 

program may be made by telephone, 

fax, mail, online, or in person. 

Program changes (drop/adds) may be 

made via the Web, in person, or by fax. 

Withdrawals. Students who wish to withdraw 

from, or for any reason find it impossible 

to complete, a continuing education course 

should officially withdraw. Requests to withdraw 

(drops only) from continuing education 

courses can be made at any time via the Web 

at scps.nyu.edu; by mail, Office of Noncredit 

Student Services, NYU School of Continuing 

and Profess ional Studies, P.O. Box 1206, 

Stuyvesant Station, New York, NY 10009- 

9988; online at scps.nyu.edu/drop; by fax, 

(212) 995-3060; or in person, 145 Fourth 

Avenue (between 13th and 14th Streets), 

Room 214. 

Merely ceasing to attend a class does 

not constitute official withdrawal, nor 

does notification to the instructor. 

Cancellation of payment does not constitute 

withdrawal, nor does it reduce indebtedness to 

the University; in this case, a penalty of $25 

for late payment and $10 for stop-payment 

(subject to change without notice) must 

be charged. Students of any other NYU 

school must withdraw from SCPS courses 

through SCPS. 

Refund Policy. Refunds are computed 

based on the date and time the written or 

electronic notice of withdrawal is received 

by the Office of Noncredit Student Services. 

In addition, refunds for continuing education 

courses and seminars are based on the 

number of class sessions for the course that 

have met between the time of registration 

and withdrawal. Course withdrawal 

does not necessarily entitle a student to a 

refund—nor to a cancellation of tuition 

still due. 

The refund schedule is as follows. 

For continuing education courses 

(X numbers) and seminars (R--.7999 

and below): 

1. Student withdraws prior to the first 

session—100 percent refund. 

2. Student withdraws after one or two 

sessions of a course with six or more 

sessions—75 percent refund. No refund 

thereafter. 

3. Student withdraws after one or two 

sessions of a four- to five-session 

course—60 percent refund. No refund 

thereafter. 

4. Student withdraws after more than 

two sessions of a four-session course— 

no refund. 

5. Student has attended any session 

of a one- to three-session course— 

no refund. 

For seminars and conferences (designated 

as R--.8000 and above or beginning 

with SCPS): Procedures and policies 

for refunds vary by department. 

For online courses: Refunds for online 

courses are calculated differently from 

on-site courses. Students are eligible for 

a 100 percent tuition refund if they withdraw 

from the course before the official 

start date. Students are eligible for a 60 

percent tuition refund if they withdraw 

from the course before having logged into 

the course four times or within the first 

two weeks of the course. After the fourth 

login, or the second week, students are not 

eligible to receive any tuition refund for 

courses taken through SCPS. 

Continuing Education 

Registration Fees 

For continuing education courses (designated 

with an X or R number), the registration 

fee is either $10 or $20, depending on 

the total cost of the course or courses for 

which you apply. If the total of your tuition 

is $99 or less, your registration fee is $10. 

If the total of your tuition is $100 or more, 

the fee is $20. The maximum $20 registration 

fee is pay able only once each semester, 

no matter how many times you add courses. 

Regis tration fees are nonrefundable. 

Note: This fee schedule does not apply to 

programs requiring Credit Registration.

R E G I S T R A T I O N F O R M 

Registration, Spring Term, 2011. MAIL TO: SCPS Noncredit Student Services, New York University, PO Box 1206, Stuyvesant Station, 

New York, NY 10009-9988. FAX: (212) 995-3060. Mail and fax registrations are accepted throughout the semester for late-starting courses; 

mail registrations must be postmarked two weeks before the course start date. REGISTER EARLY FOR BEST COURSE SELECTION. 

PRIORITY CODE 

B27 

PRINT NAME (LAST) (FIRST) (MIDDLE INITIAL) 

MR. 

MS. 

HOME ADDRESS (STREET)_________________________________________________________________ 

APT. NO. 

CITY_________________________________________________ STATE___________________ ZIP 

E-MAIL 

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Note: Students must provide an e-mail address and/or a telephone number so that SCPS can notify you regarding room location or class changes. 

Please check this box if you do not want your e-mail address or telephone number used for marketing purposes. 

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N 

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DO YOU PLAN TO PURSUE A PROFESSIONAL CERTIFICATE YES NO FOR NEW CERTIFICATE REQUIREMENTS AND BENEFITS, VISIT SCPS.NYU.EDU/CERTIFICATE. 

WHAT CERTIFICATE ARE YOU PLANNING TO PURSUE 

COURSE/SEMINAR SECTION 

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I ENCLOSE CHECK OR MONEY ORDER FOR TOTAL SHOWN I HEREBY AUTHORIZE USE OF MY CREDIT CARD 

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*Registration fees: $10 on $99 total tuition, $20 on totals of $100 and above (regardless of number of courses for which you are registering). 

Would you also answer these optional questions about your place of business so we may keep you informed of corporate and free events 

YOUR NAME 

DAYTIME TELEPHONE NUMBER ( ) 

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FAX NUMBER ( )__________________________________ E-MAIL 

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FULL PARTIAL CHECK ANY RESTRICTIONS THAT APPLY: 

MUST BE JOB-RELATED CREDIT ONLY OTHER 

USE THIS FORM TO REGISTER. 

REGISTER EARLY FOR THE BEST SELECTION OF COURSES: 

WEB 

You can register online with NYU’s Student Information System via the Internet. Visit scps.nyu.edu 

to access the Web-based registration and information system at NYU. Online registration requires 

payment by credit card. Consult the inside front cover for complete information. 

MAIL OR FAX 

1 Use the Registration Form to register for continuing education courses with course numbers beginning with the 

prefix “X” and for seminars beginning with the prefix “R.” Do not use this form to register for credit courses 

(prefix “Y” or “Z”), conferences (prefix “SCPS”), or for courses of the American Language Institute (ESL courses). 

2 Find the course(s) you want to register for and note: 

• Course title 

• Course number and section 

• Days and hours of the course • Course fee 

Transfer this information to the registration form. 

3 Type or write clearly and make sure you copy your credit card information accurately. 

Mistakes can delay your registration. 

4 Be sure to include your phone number and e-mail address so that we may contact you if there are any questions. 

5 Place the registration form in the postage-paid envelope provided or fax the form to (212) 995-3060. 

TELEPHONE 

1 For your convenience and to have a written record for yourself, fill out the course information section of 

the registration form before you call. 

2 Have your credit card handy. 

3 Note the code in the upper right corner of the registration form; the registration operator will ask you for it. 

4 Call (212) 998-7150, if you know the course you would like to take. If you have questions about course 

curriculum, a certificate, or your registration, please call (212) 998-7200. 

HERE ARE ANSWERS TO SOME 

COMMONLY ASKED QUESTIONS: 

WHAT INFORMATION DO I NEED TO REGISTER BY PHONE 

• Course title, course number, and course section. 

• Your mailing address, e-mail address, and telephone number. 

• Your credit card (Visa ® , MasterCard ® , American Express ® , or Discover ® card). 

WHAT ABOUT LATE FEES 

There are no late fees for continuing education courses. But remember, register early for 

best course selection and availability. 

HOW DO I DROP OR ADD COURSES 

You may drop a course by mail or in person (145 Fourth Avenue, 2nd Floor, New York, NY 10003), online 

at scps.nyu.edu/drop, or by fax (212-995-3060) up until one day before the course start date. Please 

consult our refund policy in the Registration section of this Bulletin for drops made after the start of 

class. You may add a course by fax, the Web, or in person. 

MAY I USE A COMPANY VOUCHER TO PAY FOR MY CLASS 

Yes, as long as your company does not qualify payment based upon completion of coursework with a passing 

grade. We accept purchase orders, vouchers, and letters of authorization as payment for tuition in credit and 

continuing education courses. Please send the voucher with your registration. 

WHERE CAN I LEARN ABOUT NEW PROFESSIONAL CERTIFICATE DECLARATION REQUIREMENTS 

Our professional certificate programs now include new requirements and benefits. Students intending 

to pursue a certificate must declare their candidacy. For details, visit scps.nyu.edu/certificate. 

CAN I CONTACT NYU WITH QUESTIONS BEFORE I REGISTER 

Yes. If you need more information or have questions about a course or certificate, we are available via e-mail 

at scpsinfo@nyu.edu, or by phone (see the General Information section of the Bulletin for contact information).

LIBERAL STUDIES AND ALLIED ARTS - School of Continuing and ...

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