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Online Class: Picturing New York

Online / Art in Context

Wednesdays, July 7 – July 28, 1 – 3:10pm

#SeeingtheBarnes

Margaret Bourke-White. Untitled (Sergei Eisenstein Having a Shave on the Terrace of Bourke-White's Studio) (detail), 1930. © 2021 Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), NY

$220; members $198
(4 classes)

All classes in Eastern time. We encourage you to watch live, but classes can be streamed once the live session ends. See our FAQ.

About the Class

This course explores the visual representation of New York City from the 17th century to the post-9/11 present. Considering maps, architecture, prints, photography, painting, sculpture, and film, we will examine the conditions under which New York gave rise to a uniquely American form of urban imagery. At the same time, we will attempt to understand the roles geography, politics, capitalism, race, and gender have played in the city’s visual culture. Also, by investigating how images broke with traditional practices, we will seek a better understanding of what modernism means in a New York context.

Each week, the 90-minute lecture is followed by a 30-minute discussion session that allows students the opportunity to ask questions and exchange ideas with the instructor and classmates.

 

Margaret Bourke-White. Untitled (Sergei Eisenstein Having a Shave on the Terrace of Bourke-White's Studio), 1930

Instructor

R. Tripp Evans

Evans is a professor of art history at Wheaton College in Norton, Massachusetts, where he specializes in the art and architecture of the Americas. He received his BA in architectural history from the University of Virginia and his MA and PhD in the history of art from Yale University. He is the author of Grant Wood: A Life (Alfred A. Knopf: 2010), which won the 2010 National Award for Arts Writing. He lives in Providence, Rhode Island.

Art in Context

Art in Context courses connect works of art to history: What was happening politically, socially, and culturally at the time a piece was made? How did these circumstances shape the artist’s formal choices?