Charles A. Dana Professor of History of Art & Architecture
Kirsten Hoving joined the department in 1983, after earning her Ph.D. at Columbia University. She teaches modern art and history of photography.
Her research interests revolve around her teaching fields. In particular, she has published widely on surrealism, with articles about surrealist photography in such journals as Art History and History of Photography, as well as an essay in the Guggenheim Museum's exhibition catalogue, Speaking with Hands. She is also interested in intersections between surrealist art and science, seen in her recent book, Joseph Cornell and Astronomy: A Case for the Stars, published by Princeton University Press in 2009.
Courses offered in the past four years.
▲ indicates offered in the current term
▹ indicates offered in the upcoming term[s]
HARC 0202 - Modern Art ▹
In this course we will survey the major movements and artists in the history of modern art in Europe and the United States, from Impressionism to the postwar period. We will focus on the development of style, aesthetic concerns, and social contexts. Topics will include individual artists, such as Picasso and Matisse, as well as the development of styles, such as Abstract Expressionism and Pop Art. 3 hrs. lect.
Spring 2010, Spring 2013, Spring 2014
HARC 0218 - History of Photography ▲
History of Photography
In this course we will consider the history of photography as a medium from its inception in 1839 to the present. We will focus on technological advances in photography, aesthetic developments, and the evolution of acceptance of photography as an art form. We will examine the use of photography in different genres, such as landscape, portraiture, and documentation. To illustrate our study, we will rely on examples of photographs available in the Middlebury College Museum of Art. 3 hrs. lect.
Fall 2009, Fall 2010, Fall 2012, Fall 2013
HARC 0247 - Impressionism/Post-Impression ▲
Impressionism and Post-Impressionism
In this course we will examine the Impressionist and Post-Impressionist movements that evolved in France during the second half of the 19th century. Looking at artists such as Manet, Degas, Cassatt, and Monet, as well as Cézanne, Van Gogh, Seurat, and Gauguin, we will place their work in social and historical contexts that include the rise of the city, new opportunities for leisure, demographic change, and the breakdown of artistic establishments. When appropriate we will compare visual artistic production to parallel developments in literature and music. 3 hrs. lect.
Fall 2012, Fall 2013
HARC 0262 - Stieglitz and Camera Work
Alfred Stieglitz and the Camera Work Era
In 1902, Alfred Stieglitz published the first issue of the magazine Camera Work, a landmark in the history of photography. Featuring hand-pulled photogravures, articles about pictorialist aesthetics, and reviews of books and exhibitions, the journal was, in Stieglitz's words, "the best and most sumptuous of photographic publications." Over the last two decades, the Middlebury College Museum of Art has amassed a fine collection of original photogravures from Camera Work. In this course, we will curate an exhibition of these photographs, placing them in the context of pictorialism and modernism in early 20th century American art and culture.
HARC 0327 - Photography & the Environment ▹
Photography and the Environmental Ethos
Since the invention of photography in 1839, photographers have turned their gaze toward the world around them. Working on the land, they have considered issues of land management and natural resources in a variety of ways. In this course we will explore the question of how American photographers from the 19th century to the present have used their photographs as a way of raising awareness about a variety of environmental questions. Artists to be considered may include: Timothy O'Sullivan, William Henry Jackson, Carleton Watkins, Annie Brigman, Ansel Adams, Laura Gilpin, Richard Misrach, and Edward Burtynsky. 3 hrs. lect/disc.
Spring 2013, Spring 2014
HARC 0345 - Four American Artists ▹
Four American Artists
In this course we will examine the art and lives of four masters of American modernism: Ansel Adams, Georgia O'Keeffe, Man Ray, and Joseph Cornell. While Adams and O'Keeffe projected nationalist and environmental themes in their work, Man Ray and Cornell offered a European-based Surrealist approach. Through examining these artists and the interconnections between them, we will consider photography, painting, sculpture, and film in the context of American modernist art. We will consider the following questions: What makes art modern? What is the role of national identity? How do artists work in a variety of media? What makes these artists important?
Spring 2010, Spring 2011, Winter 2014
HARC 0510 - Advanced Studies ▲ ▹
Supervised independent work in art history. (Approval Required)
Fall 2009, Winter 2010, Spring 2010, Fall 2010, Winter 2011, Spring 2011, Winter 2012, Fall 2012, Winter 2013, Spring 2013, Fall 2013, Winter 2014, Spring 2014
HARC 0711 - Senior Thesis: History of Art ▹
Senior Thesis: History of Art *
This course is a continuation of HARC 0710 which consists of ongoing, supervised independent research with an advisor, plus organizing, writing, and presenting a thesis, which will be due on a Friday, two weeks before the end of classes. (HARC 0301 and HARC 0710)
Spring 2010, Spring 2011, Spring 2012, Spring 2013, Spring 2014
INTD 1104 - Photographing Frost
“Whose woods these are….” Robert Frost’s poems explore the winter landscape in narratives of human interaction with the land. To understand Frost’s winter imagery, we will interpret his written work through the medium of photography. Using shooting locations such as the Frost Trail and Cabin, as well as the local terrain, we will consider the meaning of Frost’s art through creative involvement with the landscape that inspired him. In addition to making photographs, we will read, discuss, and write about selected Frost poems with the goal of producing a self-published book of our essays and photographs. (Students will need to have access to a camera.)