This course introduces world art and architecture from the late fourteenth century to the present, inclusive of Africa, the Americas, Asia, Europe, and the Islamic world. We will engage with thematic threads throughout, exploring landscape and the changing environment; portraiture, self-representation, and the body; calligraphy and writing-as-art and art in relation to writing; art and buildings meant to disappear or be re-made; imperialism, political resistance, and decolonization; and the circulation of artists, materials, and ideas around the globe. Works from the Walters Art Museum and the Baltimore Museum of Art will guide our discussion.

• Days/Times: MW 12:00PM - 1:15PM, F 10:00AM - 10:50AM
• Instructor: Hyman, Aaron M.; Schopp, Caroline Lillian
• Room: Hodson 305
• Status: Open
• Seats Available: 14/18
• PosTag(s): n/a

This course introduces world art and architecture from the late fourteenth century to the present, inclusive of Africa, the Americas, Asia, Europe, and the Islamic world. We will engage with thematic threads throughout, exploring landscape and the changing environment; portraiture, self-representation, and the body; calligraphy and writing-as-art and art in relation to writing; art and buildings meant to disappear or be re-made; imperialism, political resistance, and decolonization; and the circulation of artists, materials, and ideas around the globe. Works from the Walters Art Museum and the Baltimore Museum of Art will guide our discussion.

• Days/Times: MW 12:00PM - 1:15PM, F 12:00PM - 12:50PM
• Instructor: Hyman, Aaron M.; Schopp, Caroline Lillian
• Room: Hodson 305
• Status: Open
• Seats Available: 6/18
• PosTag(s): n/a

Perhaps no artist has so captivated the art historical imagination as Rembrandt van Rijn (1606–69). This course will provide students with an in-depth look at the artist’s life and work, but it will also use Rembrandt as a lens to examine critical themes/topics of artistic production in the Dutch Republic over the course of the seventeenth century. These topics will include: artistic training, studio practice, collecting and the art market, (self-)portraiture, authorship and artistic biography, genre, printmaking, technical mastery and meta-pictoriality, and global expansion/artistic exchange with non-European cultures.

• Days/Times: MW 3:00PM - 4:15PM
• Instructor: Hyman, Aaron M.
• Room: BLC 2030
• Status: Open
• Seats Available: 9/19
• PosTag(s): HART-RENEM

From 900 to 609 BCE, the Assyrian Empire dominated the ancient Near Eastern world, stretching from western Iran to the Mediterranean and Egypt. In concert with imperial expansion came an explosion of artistic production ranging from palace wall reliefs to small-scale luxury objects. This course provides an integrated picture of the imperial arts of this first world empire, situating it within the broader social and political contexts of the first millennium BCE. In its conquest of foreign lands, this powerful state came in contact with and appropriated a diversity of cultures, such as Phoenicia, Egypt, and Greece, which we will also study.

• Days/Times: MW 12:00PM - 1:15PM
• Instructor: Feldman, Marian
• Room: Gilman 177
• Status: Open
• Seats Available: 15/25
• PosTag(s): ARCH-ARCH, HART-ANC

This course aims to introduce students to the multiple modalities of modernism in Asia. We will acquire the critical tools to understand the complex and rich discussions surrounding “modernism” in the art traditions in Asia, and challenge a few fraught preconceptions: Firstly, instead of treating “Asia” as the monolithic “other” to the West, we acknowledge the plurality and multiculturality in Asian art that are eclipsed in the term “Asia” and learn the many different traditions and norms that the practitioners and theorists of modern art grappled with. Secondly, we examine how Asian artists dynamically engage with issues and ideas of modernisms that are circulated in global modern art. Thirdly, we discuss the interstitial spaces created by Asian modern artists in their engagements with both traditions and the modern art world. Last but most importantly, we challenge the notion that modernism is a Euro-American invention and exclusively in the Western art historical context. Instead, we locate these practices of modernism in Asia in each of their own histories, and understand how they try to reconfigure modern art in their contexts. The period we cover is what is considered modern and contemporary, ranging from the late 19th Century to present, but with a focus on the 20th Century. We study movements, artworks, artists, concepts changes in China, Hong Kong, India, Japan, Korea, Taiwan, Vietnam, and the Asian diaspora in the world (the list of countries are in alphabetic order). Students are also encouraged in this course to explore areas and topics that the course does not explicitly cover but need innovative research in.

• Days/Times: TTh 10:30AM - 11:45AM
• Instructor: Liu, Mia Yinxing
• Room: Gilman 177
• Status: Open
• Seats Available: 2/15
• PosTag(s): HART-MODERN

Faced with the apparent intractability of British rule during much of the colonial period, Indians were often forced to look outside institutional politics in order to imagine the Indian nation and their place within it. Many turned to bazaar art, films, photographs, maps, and other media that allowed them to gesture toward ideas not permitted in state-sanctioned discourse and to circumvent hurdles of multilingualism and illiteracy. We will consider, among other topics, how and why images of precolonial Indian monarchs became standardized during this time, the ability of mass-produced religious and devotional art to link households and communities, the rise and marketability of Indian maps, the role cinema hall in building and projecting national and communal bonds, and the power of iconography featuring Indians executed by the colonial state. In prioritizing the visual realm as a space wherein the Indian nation was imagined and disseminated, this course subverts classic theories of the modern nation-state that attribute its rise to literacy and language. It also seeks, as a corollary, to move the study of Indian nationalism away from the writings of the Indian elite and toward the contributions of everyday Indians whose projects were often unwritten but were no less influential.

• Days/Times: TTh 4:30PM - 5:45PM
• Instructor: Halladay, Andrew
• Room: Gilman 217
• Status: Open
• Seats Available: 2/15
• PosTag(s): HART-MODERN, INST-GLOBAL

Landscape in narrative cinema has silent enunciating power. The choice of location shots alone constitutes a set of complex considerations. We may wonder, why was Monument Valley featured in so many westerns? Is it only because of the site’s marvelous photogenicity, or its geographic location, or its social and historical significance? The formal and stylistic choices filmmakers made regarding how landscape is represented on screen, whether as a real or a fictional site, also reveal critical engagements with both social reality and the pictorial conventions of landscape art. Does it look barren or lush? sublime or banal? What is the concept of nature, what is a “view,” or picturesque, and how are these critical questions in representations of landscape framed and mediated in cinema? Does the representation of landscape work for or against the storyline unfolding on screen? What does it tell us about social reality, ecological concerns, and political commentary? This course examines landscape in narrative cinema not only as subject or part of the mise-en-scene but also as a way of seeing, a site of expression, and locus of social, historical, and political meaning. Each week we explore a film genre or a film movement, for example, Western, or Japanese New Wave, and study how landscape functions in that genre. Students are expected to watch films, read, and analyze both the readings and films carefully prior to coming to class. As a term project, each student selects a particular site (any site of their choice) for the focus of their study and research of cinematic landscape in the course. These sites can be a place personal to you, or a place you think is interesting or important in cinema. There will be workshops during the course of the semester to help complete the final project.

• Days/Times: T 1:30PM - 4:00PM
• Instructor: Liu, Mia Yinxing
• Room: MSE Library ERC
• Status: Open
• Seats Available: 5/15
• PosTag(s): HART-MODERN, MSCH-HUM

This course will explore the American art museum as a distinctive cultural and political idea. Tracing its origins to the ancient world, the American museum was descended more immediately from institutions created during the European Enlightenment, but differing with regard to overall mission and civic purpose. This course will explore the various roles played by museums in American society, focusing on programmatic content, organizational design, funding and operating practices, and the particular issues that have arisen in recent years in the areas of cultural property restitution, collection development, special exhibitions, governance and funding, anti-colonialism, and the larger question of civic purpose. Students will have the opportunity to visit local museums and meet with museum leaders in various professional areas.

• Days/Times: TTh 12:00PM - 1:15PM
• Instructor: Weiss, Daniel H
• Room: Gilman 177
• Status: Open
• Seats Available: 3/15
• PosTag(s): HART-MODERN

Drawing on case studies from North America, Mesoamerica, and the Andes this course considers various approaches to entombment and funerary ritual. Our analyses bear upon beliefs about death and the afterlife, ancestor veneration, fear of the dead, and the body as a site of embodied values. Tombs provide a specific context for interpreting object offerings and their attendant meanings. Collections study in regional museums.

• Days/Times: TTh 10:30AM - 11:45AM
• Instructor: Deleonardis, Lisa
• Room: Hodson 216
• Status: Waitlist Only
• Seats Available: 0/29
• PosTag(s): ARCH-ARCH, HART-ANC, MSCH-HUM

Beginning in the present, the course will examine how popular constructions of “Da Vinci” are used to legitimate contemporary obsessions with art, genius, and technological innovation. We will examine how, since the 1500s, the biography and “character” of Leonardo has been produced, often in the absence of historical evidence, and the cultural and political interests that these productions serve. The primary focus of the course will be a revisionist approach to the writings and imagery of Leonardo, to be considered with regard to questions of artistic selfhood in the Renaissance, and of the artisan as author figure.

• Days/Times: Th 4:30PM - 7:00PM
• Instructor: Campbell, Stephen John
• Room: Gilman 177
• Status: Open
• Seats Available: 1/6
• PosTag(s): HART-RENEM

How might a critical and material art history contribute to contemporary debates in theory? Feminist and queer theories, on the one hand, and ecological thought, on the other, have often turned to metaphors of weaving in their attempt to think antihierarchical forms of relationality. Against models of autonomous selfhood, weaving is evoked to foreground the material fact of our interdependence with human and other forms of life, and to articulate relations that are all too often discounted in western liberal cultures – along with the care work that goes into maintaining them. This seminar lends texture to metaphors of weaving by looking at material practices. We consider how the study of textile and fiber arts informs theoretical concerns, while also attending to the ways in which our reading of theory impacts our appreciation of artistic techniques and practices. The course will include two group excursions on Saturdays to the exhibition “Woven Histories: Textiles and Modern Abstraction” at the National Gallery of Art in Washington DC, sponsored by the Faculty-Student Engagement and Enrichment Fund.

• Days/Times: F 1:30PM - 4:00PM
• Instructor: Schopp, Caroline Lillian
• Room: Gilman 177
• Status: Waitlist Only
• Seats Available: 0/6
• PosTag(s): HART-MODERN

What makes the Gospel story of Jesus of Nazareth’s arrest, trial, execution, burial, and resurrection not only Christianity's defining narrative but one of the enduring “root paradigms” of western culture? This seminar takes a long-range look at the transformations in European religious consciousness surrounding the Passion narratives, and explores the myriad developments in story-telling, image-making, and play-acting they urged forward. Our historical survey moves from the earliest icons associated with the Holy Places in Jerusalem, through the artful fictions conjured in the realist tradition by painters such as Hieronymus Bosch and Peter Paul Rubens, to late medieval Passion plays, Passion meditation and cult-forms, and finally to the silver-screen phenomenon that includes Paolo Pasolini's "The Gospel According to St. Matthew" (1964), Martin Scorcese's "The Last Temptation of Christ" (1988), and Mel Gibson's "The Passion of the Christ" (2004).

• Days/Times: W 1:30PM - 4:00PM
• Instructor: Merback, Mitchell
• Room: Gilman 177
• Status: Open
• Seats Available: 1/6
• PosTag(s): HART-MED, HART-RENEM

In the ancient Americas, power was told through objects and objects told of power. Portraits rendered a king’s visage in stone while mural programs depicted formidable deities. Towering pyramids were climbed by rulers and the open plazas below were structured spaces for spectacles. Hieroglyphic texts could picture authoritative narratives. Literacy was controlled by those who wielded power, yet pictographic literacy could place power in the hands of the viewer. But how did powerful images or places of power come into being? And how were these works of art received, and challenged, by those not in power? Extending geographically from North to South America, this course explores how power was imaged during the ancient period (beginning in the 2nd millennium BCE). The last third of the course will be devoted to exploring not only how powerful images were received by Spanish invaders but also how the Indigenous elite continued to garner power through art under the rulings of New Spain.

• Days/Times: M 1:30PM - 4:00PM
• Instructor: Popovici, Catherine H
• Room: Gilman 177
• Status: Open
• Seats Available: 2/15
• PosTag(s): HART-ANC, ARCH-ARCH

How did ancient civilizations around the Mediterranean basin (Greece, Rome, Egypt, Persia, Carthage) understand and represent their own and others’ identities and ethnic differences? How did notions and practices around race, citizenship, and immigration evolve from antiquity to the present? How have culture and politics informed artistic, literary, and museum representations of ethnic ‘others’ over time, along with the historical development of ethnography, biological science, and pseudo-sciences of race? What role did “Classics” (the study of Greco-Roman cultures) play in modern colonialism, racecraft, and inequality? And what role can it play in unmaking their legacies, through the ongoing Black Classicism movement, the practice of Critical Race Theory, and the development of more global and interconnective approaches to premodern cultures? RAP provides an opportunity for Hopkins undergraduates and graduate students from a wide variety of disciplinary backgrounds to engage in project-based research toward building an open-access, grant-winning educational resource (OER) on “Race in Antiquity.” Participants learn, share, and practice advanced research methods; examine and discuss the history and modern implications of the teaching and study of their fields; test-drive and collaboratively edit OER pilot materials; and create new content based on their own research, for eventual digital publication.

• Days/Times: W 1:30PM - 4:00PM
• Instructor: Pandey, Nandini
• Room: Greenhouse 000
• Status: Open
• Seats Available: 3/15
• PosTag(s): MSCH-HUM

This research-based Lab course will involve careful reading of a variety of Roman texts of the early empire, aiming to catalogue every instance of public speech and of the orators who speak in public. This cataloguing project, perhaps eventually resulting in an online database, will include historical and comparative readings about public speech as a feature of society.

• Days/Times: M 1:30PM - 4:00PM
• Instructor: Roller, Matthew
• Room: Gilman 108
• Status: Open
• Seats Available: 6/10
• PosTag(s): MSCH-HUM

This community-engaged course is co-created by a scholar and curator with expertise in religion, art, and material culture, and taught in partnership with the Baltimore Museum of Art (BMA), and centers how museums engage with the sacred. Recognizing that museums have traditionally been under-equipped to respond to the social concerns that animate their local communities, the BMA is rethinking how a twenty-first century civic museum engages the city in which it is located. Understanding the museum as a public space in which contemporary civic and social issues can be engaged, we will explore such questions as: how can a museum represent devotional objects while honoring a diversity of religious and spiritual perspectives and avoiding homogenous narratives about belief? How can a museum create relationships with religious communities to understand and interpret the objects in its collection, and navigate differences in faith-based communities with ethical care? How can a museum engage local communities in the process of writing labels for objects and in other acts of interpretation in a way that is not extractive and is genuinely value-aligned? In short, how can a museum truly become public? As a community-engaged course, students will build practically on their learning about museums, religion and public pedagogy to create and facilitate community listening circles at the BMA. The course will include visits to the BMA and other sites, guest visits on focused topics from museum professionals in other institutions, and training in listening and facilitation.

• Days/Times: TTh 1:30PM - 2:45PM
• Instructor: Ziad, Homayra
• Room: 3003 N. Charles OMA Lounge
• Status: Open
• Seats Available: 12/20
• PosTag(s): CSC-CE, ISLM-ISLMST, INST-GLOBAL

This course examines material culture through the lens of personal collecting. Focusing on the United States, students will explore how collectors influenced the holdings of the nation’s museums, including JHU’s Evergreen and Homewood Museum, and contemplate how collecting, for public and private purposes, shapes status and taste in America. This course will also address how collections are organized, displayed, and conserved and will delve into psychological and environmental aspects of collecting and hoarding.

• Days/Times: MW 12:00PM - 1:15PM
• Instructor: Finkelstein, Lori
• Room: Hmwd House Wine Cllr
• Status: Open
• Seats Available: 1/13
• PosTag(s): n/a

Working in collaboration with staff from the Baltimore Museum of Art, students assess the opportunities and challenges of the European collections; research select objects; contribute to the department's collections development plan; and conceptualize new, more global and more inclusive approaches to the displays.

• Days/Times: Th 3:00PM - 5:30PM
• Instructor: Kingsley, Jennifer P; Yeager-Crasselt, Lara
• Room: Bloomberg 274
• Status: Open
• Seats Available: 1/12
• PosTag(s): PMUS-PRAC, ARCH-RELATE

This course explores world art and architecture before c. 1400 and introduces art historical concepts and approaches. Works of art from local collections, such as the Walters Art Museum and the Baltimore Museum of Art, as well as local monuments and architecture may be incorporated into the course. Lectures will be supported by weekly sections that will include museum visits, discussion of scholarly readings and primary sources, and exam reviews.

• Days/Times: MW 12:00PM - 1:15PM, F 10:00AM - 10:50AM
• Instructor: Merback, Mitchell
• Room: Gilman 119
• Status: Open
• Seats Available: 2/12
• PosTag(s): n/a

This course explores world art and architecture before c. 1400 and introduces art historical concepts and approaches. Works of art from local collections, such as the Walters Art Museum and the Baltimore Museum of Art, as well as local monuments and architecture may be incorporated into the course. Lectures will be supported by weekly sections that will include museum visits, discussion of scholarly readings and primary sources, and exam reviews.

• Days/Times: MW 12:00PM - 1:15PM, F 12:00PM - 12:50PM
• Instructor: Merback, Mitchell
• Room: Gilman 119
• Status: Open
• Seats Available: 4/18
• PosTag(s): n/a

This course surveys the art and architecture of Mesoamerica, from the ancestral Puebloans in what is today the Southwestern United States, through the homelands of the Mexica, Maya, and Zapotec in Central America, to the Taíno and Chiriquí in the Circum-Caribbean. After first discussing the concept of “Mesoamerica,” we will then explore the material and spatial productions of these Indigenous groups. Each week we will focus on a different urban setting, examining the works communities made and used there, which included sculpture, ceramics, murals, manuscripts, textiles, metalwork, and earthen architecture. Course themes will include—but are not limited to—the portrayal of humans, animals, and sacred figures; urban design, construction, and monumentality; as well as how materials and spaces were used for religious and political purposes.

• Days/Times: TTh 3:00PM - 4:15PM
• Instructor: Meyer, Anthony Joshua
• Room: Gilman 177
• Status: Open
• Seats Available: 6/19
• PosTag(s): HART-ANC, ARCH-ARCH

This course investigates the confluence of archaeology as a discipline, collecting of cultural heritage, and their ongoing roles in the socio-politics of the Western world and Middle East. It focuses primarily on the Middle East, first tracing a narrative history of archaeology in the region during the 19th and early 20th centuries, with its explorers, diplomats, missionaries and gentlemen-scholars. It then examines the relationship of archaeology to the creation of the encyclopedic museum and collecting practices more generally, considering how these activities profoundly shaped the modern world, including the antiquities market and looting. A central theme is the production of knowledge through these activities and how this contributes to aspects of power and (self-)representation.

• Days/Times: TTh 10:30AM - 11:45AM
• Instructor: Feldman, Marian
• Room: Gilman 177
• Status: Open
• Seats Available: 13/20
• PosTag(s): HART-ANC, ARCH-ARCH

This writing-intensive (W) seminar investigates the role of performance and ritual in the conceptualization, production, and reception of medieval European art and architecture (ca. 500-1500). Utilizing an achronological, interdisciplinary framework formed around thematic sessions, students will engage with primary texts and secondary scholarship from the fields of art history, architecture, sociology, and performance studies. Using these sources, as well as the art objects and architectural spaces themselves, students will evaluate a key concept for the study of medieval objects and sites: the relationship between art and function. Students will be required to apply readings and seminar discussions to artworks in museum and university collections located in Baltimore, working directly with manuscripts, paintings, liturgical furnishings, and sculptures in the Johns Hopkins University Rare Books Library and the Walters Art Museum. This will allow students to make claims and conclusions about the involvement of medieval cultural artifacts in rituals and performances, from official liturgical rites to daily personal prayer. Throughout this course, students will also be asked to critically evaluate the role of objects, spaces, and performances in their own life, serving to reduce the temporal gaps between the Middle Ages and the contemporary world. Using current, broad conceptualizations of ritual and performance, students will explore the powerful potential of art objects and sites in shaping, framing, and recontextualizing communal and individual identities.

• Days/Times: TTh 9:00AM - 10:15AM
• Instructor: Sova, Matthew A
• Room: Gilman 177
• Status: Open
• Seats Available: 13/18
• PosTag(s): HART-MED

The era identified as the “High Renaissance” in Florence was one of the most dystopian in the history of the city, a period of terror and explosive political crisis beginning with the expulsion of the Medici, followed by the theocratic Savonarolan regime in 1494, the repressive Medici restoration of 1513 and concluding with the fall of the “Last Republic” in 1530. Much of the most distinctive cultural production associated with this period - the sermons of Savonarola, the writings of Machiavelli, and major works of art by Michelangelo and others, is concerned with the relocation of Florentine identity following an experience of rupture with history and tradition, leading to a fundamental revaluation of the past and of the significance of history and memory. We will examine cultural transformation under a succession of Republican and autocratic regimes, with a particular attention to the process of “image-making” on the part of the state, of factions within it, of writers and ideologues, and - not least - of artists.

• Days/Times: TTh 1:30PM - 2:45PM
• Instructor: Campbell, Stephen John
• Room: Gilman 177
• Status: Open
• Seats Available: 5/12
• PosTag(s): HART-RENEM

As a central practice of the Muslim faith, pilgrimage has long animated the arts of the Islamic world, not only by generating countless monuments and objects, but also by facilitating the movement of artists, artifacts, and ideas across vast distances. This course explores the rich visual and material products of the Islamic pilgrimage tradition during the early modern and modern periods, including the architecture of the sacred sites themselves, the processions and ceremonies enacted by those who journeyed to these destinations, and proxy monuments and artworks created for those unable to perform the pilgrimage in person. Although our focus will be on the Hajj—the main annual pilgrimage to Islam’s holiest city, Mecca—we will also consider the arts associated with other pilgrimage sites, in particular the Shi‘i shrines of Iraq and Iran, as well as the pilgrimage practices of non-Muslim communities in the Middle East. We will bridge the gap between these geographies and our own vantage point in Baltimore through locally housed artworks, among them a seventeenth-century Ottoman tile at the Walters Art Museum that shows the Great Mosque of Mecca and a printed Hajj certificate—probably designed by an Indian artist but published in Istanbul in 1895—recently acquired for Hopkins’ own Special Collections. Through close engagement with these objects and other materials, the course will address such themes as sacred spectacle and ritual, pilgrimage as a locus of female patronage, and the impact of modernity on the Hajj and its traditions.

• Days/Times: Th 1:30PM - 4:00PM
• Instructor: Rustem, Unver
• Room: BLC 2043
• Status: Open
• Seats Available: 4/8
• PosTag(s): HART-RENEM, HART-MODERN

This course is dedicated to the study of the art and material culture of ancient Egypt, spanning from the 5th millennium BCE to the Roman period. The objective of the course is to provide students with a comprehensive understanding of Egyptian art, with a focus on materiality, effective methods of description and analysis, and a command of bibliography. It will also enable students to practice two fundamental aspects of their future professional life: presenting a paper at a conference and submitting an article to an academic journal. In the initial sessions, we will examine the fundamental principles and conventions that define Egyptian art. We will then investigate the natural resources available to Egyptian craftsmen and artists, including nature, origin, networks, and uses. We will analyze the production of works of art through several case studies, focusing on materiality. Finally, we will reflect on the presence of Egyptian works of art in museums around the world. Moreover, the course will provide an opportunity for discourse on professional matters pertaining to engagement with Egyptian antiquities and works of art. The course will be structured around: lectures by the professor or by guest researchers, with the students participating in a dialogue with the lecturers; sessions dedicated to discussions of articles to be read (with two/three articles per session); oral presentations by the students, with the aim of reproducing the conditions of a colloquium or conference. These will include formal presentations and question-and-answer sessions, with all students taking part. At the conclusion of the semester, students will be required to submit a paper in connection with the oral presentation they have prepared. This paper will be presented as a scientific article, and the instructor will evaluate it in the same manner as an anonymous referee.

• Days/Times: MW 12:00PM - 1:15PM
• Instructor: Arnette, Marie-Lys
• Room: Gilman 130G
• Status: Open
• Seats Available: 4/10
• PosTag(s): NEAS-HISCUL, ARCH-ARCH

This course surveys museums, from their origins to their most contemporary forms, in the context of broader historical, intellectual, and cultural trends including the social movements of the 20th century. Anthropology, art, history, and science museums are considered. Crosslisted with Archaeology, History, History of Art, International Studies and Medicine, Science & Humanities.

• Days/Times: TTh 10:30AM - 11:45AM
• Instructor: Kingsley, Jennifer P
• Room: Gilman 400
• Status: Open
• Seats Available: 3/25
• PosTag(s): HIST-EUROPE, ARCH-ARCH, PMUS-INTRO, MSCH-HUM

Examines the history of African art in the Euro-American world, focusing on the ways that Western institutions have used African artworks to construct narratives about Africa and its billion residents.

• Days/Times: M 6:00PM - 8:30PM
• Instructor: Tervala, Kevin
• Room: Gilman 10
• Status: Open
• Seats Available: 2/12
• PosTag(s): ARCH-RELATE