Jerrilynn Dodds

Harlequin Adair Dammann Chair in Islamic Studies

BA, Barnard College. MA, PhD, Harvard University. Work has centered on issues of artistic interchange—in particular, among Christians, Jews, and Muslims—and how groups form identities through art and architecture; special interest in the arts of Spain and the history of architecture. Author of Architecture and Ideology in Early Medieval Spain and NY Masjid: The Mosques of New York and co-author of Arts of Intimacy: Christians, Jews, and Muslims in the Making of Castilian Culture, among other books and publications. Dean of the College, 2009-15. SLC, 2009–

Undergraduate Courses 2018-2019

Art History

Arts of Spain and Latin America, 1492–1820

Open , Seminar—Spring

This course will explore the art and architecture of Spain and Latin America as its lands emerged from colonialism to forge strong independent identities. We will focus on selected topics, including extraordinary artists such as El Greco, Velázquez, Goya, Cabrera, and Aleijadinho, as well as complex issues surrounding art and identity in contested and textured lands—in particular, Casta painting, colonialism, and arts of revolution and national identity. Students may, if they wish, extend their conference work to later artists (e.g., Diego Rivera, Frida Khalo, José Bedia, Belkis Ayón, among others).

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Christians, Jews, and Muslims and the Arts of Medieval Spain: Art, Religion, and Identity

Intermediate , Seminar—Fall

How can we read peoples’ sense of identity in the arts? How do religious identities interact with national, regional, and cultural identities? Is European identity necessarily Christian? These are some of the questions that will be addressed in this seminar. From 711 to 1492, the Iberian Peninsula was home to a number of kingdoms with constantly transforming demographics, cities marked by religious pluralism, and kaleidoscopic political alliances between political and religious groups. Opposing forces rarely aligned simply with religious affiliation in medieval Spain. If documents give us a biased and incomplete picture of the relationship between and among Christians, Jews, and Muslims, the arts can provide a different kind of testimony to these rich and complex histories that continue to have an impact on our lives today. This is an intermediate course. Some of the things that would qualify you to enroll for this course would be: having previously taken a course in medieval art or Islamic art; having taken a course in medieval or Islamic history or civilization; or the ability to conduct research in Spanish. You are also welcome during interviews to make a case for other skills or background that you feel might qualify you.

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Masterworks of Art and Architecture of the Western Tradition: Part 2

Open , Seminar—Spring

This is not a yearlong course, but students taking Part 1 will have priority in enrolling for Part 2. (Not open to students who have taken FYS: Art and History)

This is a combination lecture and discussion-based course, in which students will learn to analyze works of art for meaning against the backdrop of the historical and social contexts in which the works were made. It is not a survey but will have as its subject a limited number of artists and works of art and architecture, which students will learn about in depth through both formal analysis and readings. The goal is to teach students to deal critically with works of art, using the methods and some of the theories of the discipline of art history. The “Western Tradition” is understood here geographically, including works executed by any political or cultural group from the Fertile Crescent, the Mediterranean, and extending to Europe and the Americas. Part 1 (fall semester) will include works from Ancient Mesopotamia through the end of the Middle Ages. Part 2 (spring semester) will cover works from about 1500 to the present.

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Masterworks of Art and Architecture of the Western Tradition: Part 1

Open , Seminar—Fall

This is not a yearlong course, but students taking Part 1 will have priority in enrolling for Part 2. (Not open to students who have taken FYS: Art and History)

This is a discussion-based course with some lecture segments, in which students will learn to analyze works of art for meaning against the backdrop of the historical and social contexts in which the works were made. It is not a survey but will have as its subject a limited number of artists and works of art and architecture, about which students will learn in depth through both formal analysis and readings. The goal is to teach students to deal critically with works of art, using the methods and some of the theories of the discipline of art history. The “Western Tradition” is understood here geographically, including works executed by any political or cultural group from the Fertile Crescent, the Mediterranean, and extending to Europe and the Americas. Part 1 (fall semester) will include works from Ancient Mesopotamia through the end of the Middle Ages. Part 2 (spring semester) will cover works from about 1500 to the present.

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Previous Courses

Romanesque and Gothic: Art and Architecture at the Birth of Europe

Open , Lecture—Spring

This course explores the powerful architecture, sculpture, and painting styles that lie at the heart of the creation of Europe and the idea of the West. We will use a number of strategies to explore how monumental architecture and expressive narrative painting and sculpture were engaged in the formation of a common European identity and uncover, as well, the architectural vestiges of diverse groups and cultures that challenge that uniform vision. These are arts that chronicle deep social struggles between classes, intense devotion through pilgrimage, and the rise of cities and universities that could both advocate genocide and nurture enormous creativity, in styles both flamboyant and austere, growing from places as diverse as rural monasteries to Gothic cathedrals. The course will explore those aspects of expressive visual language that link the buildings to social history, the history of ideas, and political ideology.

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Islamic Art and Society

Open , Lecture—Fall

This course will explore the architecture and visual arts of societies in which Islam is a strong political, cultural, or social presence. We will follow the history of some of these societies through the development of their arts and architecture, using case studies to explore their diverse artistic languages from the advent of Islam through the contemporary world. We will begin with an introduction to the history surrounding the advent of Islam and the birth of arts and architecture that respond to the needs of the new Islamic community. We will proceed to follow the developments of diverse artistic and architectural languages of expression as Islam spreads to the Mediterranean and to Asia, Africa, Europe, and North America, exploring the ways in which arts can help define and express identities for people living in multi-confessional societies. We will then draw this exploration into the present day, in which global economics, immigration, and politics draw the architecture and artistic attitudes of Islam into the global contemporary discourse. Our work will include introductions to some of the theoretical discourses that have emerged concerning cultural representation and exchange and appropriation in art and architecture. One of our allied goals will be to learn to read works of art and to understand how an artistic expression that resists representation can connect with its audience. And throughout this course, we will ask: Can there be an Islamic art?

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First-Year Studies: Art and History

Open , FYS—Year

The visual arts and architecture constitute a central part of human expression and experience, and both grow from and influence our lives in profound ways that we might not consciously acknowledge. In this course, we will explore intersections between the visual arts and cultural, political, and social history. We will ask in what ways works of art can be used as documents for understanding history and will seek to understand how different approaches to the interpretation of art can be used to reveal different kinds of understanding of the conditions and concerns of the people who created them and of their audiences. What meaning did these works originally convey, and how did they communicate—both consciously and unconsciously? We will also discuss a number of issues of contemporary concern; for instance, the destruction of art, free speech and respect of religion, and the art market and the museum. Our work will include analysis of images and readings from the works of art historians, historians, social scientists, philosophers, and theorists. We will endeavor to understand the work from the point of view of its creators and patrons, as well as its changing reception by audiences throughout time. To accomplish this, we will need to be able to understand some of the languages of art. The course, then, is also a course in visual literacy, the craft of reading and interpreting visual images on their own terms. Students need to be able to schedule time on some Saturdays to take the college van to Manhattan to do assignments or attend the occasional class at various museums in New York City.

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Art, Religion, and Identity: Christians, Jews, and Muslims in the Arts of Medieval Spain

Intermediate , Seminar—Spring

Is European identity basically Christian? How do religious identities interact with national, regional, and cultural identities? These are some of the questions that will be addressed in this seminar. From 711 to 1492, the Iberian Peninsula was home to a number of kingdoms with constantly transforming demographics, cities marked by religious pluralism, and kaleidoscopic political alliances between political and religious groups. Opposing forces in Medieval Spain rarely aligned simply with religious affiliation. If documents give us an incomplete picture of the relationship among Christians, Jews, and Muslims, the arts can provide a different kind of testimony to these rich and complex histories. Some of the qualifications for this intermediate course would be completion of a course in Medieval art or Islamic art, completion of a course in Medieval or Islamic history or civilization, or the ability to conduct research in Spanish. You are also welcome to make a case for your other qualifying skills or background.

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Florence: Portrait of a City Through Art, Architecture, and Urban Planning

Sophomore and above , Seminar—Fall

In this course, we will chart the history and development of the City of Florence, Italy, from the Roman period through the 19th century, with particular attention given to the Renaissance period. We will discuss the interaction of the city with the extraordinary artists and architects whose works helped to transform it: Giotto, Donatello, Leonardo, Michelangelo, Bramante, Botticelli, Brunelleschi, Bronzino, and many others. We will also consider the interaction of the arts with Florence’s powerful intellectual figures, as well as its ecclesiastical, political, and civic leaders—figures such as Machiavelli, Vasari, Savonarola, Ficino, Dante, and, of course, the Medici.

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