Art History Courses, 2010-2011

Last updated: September 20, 2012

N. Atkinson, P. Berlekamp, C. Cohen, J. Elsner, D. English, P. Foong, C. Foxwell, C. Fromont, T. Gunning, E. Helsinger, M. Jackson, A. Kumler, A. Leonard, M. Luke, C. Mehring, S. Miller, W. J. T. Mitchell, R. Neer, J. Snyder, K. Taylor, Y. Tsivian, R. Ubl, M. Ward, H. Wu, R. Zorach

Courses: Art History (ARTH)

10100. Introduction to Art. Students must attend first class to confirm enrollment. For nonmajors, this course meets the general education requirement in the dramatic, musical, and visual arts. Students must attend first class to confirm enrollment. For nonmajors, this course meets the general education requirement in the dramatic, musical, and visual arts. This course seeks to develop skills in perception, comprehension, and appreciation when dealing with a variety of visual art forms. It encourages the close analysis of visual materials, explores the range of questions and methods appropriate to the explication of a given work of art, and examines the intellectual structures basic to the systematic study of art. Most importantly, the course encourages the understanding of art as a visual language and aims to foster in students the ability to translate this understanding into verbal expression, both oral and written. Examples draw on local collections. Autumn, Winter, Spring.

10230. Islamic Art and Architecture, 650-1100. This course introduces major monuments and artworks produced in the region roughly stretching from Córdoba to Samarqand from 650-1100. This period saw the development of the major architectural and artistic forms now associated with Islamic civilization as the lands of the Mediterranean and Near East were united politically and economically under the rule of the first Islamic dynasties. The survey will cover religious and secular architecture, manuscript painting, calligraphy, ceramics and metalwork. Lectures consider individual and groups of related works in their geographic, social, religious and intellectual contexts with special attention given to extant regional traditions and local inflections on broader trends. M. Saba. Winter.

14000 through 16999. Art Surveys. May be taken in sequence or individually. Students must attend first class to confirm enrollment. For nonmajors, any ARTH 14000 through 16999 course meets the general education requirement in the dramatic, musical, and visual arts. The major monuments and masterpieces of world painting, sculpture, and architecture are studied as examples of humankind’s achievements in the visual arts. Individual objects are analyzed in detail and interpreted in light of society’s varied needs. While changes in form, style, and function are emphasized, an attempt is also made to understand the development of unique and continuous traditions of visual imagery throughout world civilization. Courses focus on broad regional and chronological categories.

  • 14107. Greek Art and Archaeology. (=CLCV 21807) This course introduces students to the art, architecture and archaeology of ancient Greece from the Geometric through the Hellenistic Periods (ca. 1050-133 BCE). Each week we will explore various topics related to the study of the ancient world. Such topics include the importance of archaeological contexts, looting, ethics and the art market, relationships between word and image in Greek art, pictorial narrative, politics, gender, and nationalism. The purpose of this course is twofold: to provide a broad understanding of the ancient Greek world and to supplement that understanding with specific knowledge of the methods employed to interpret that world. A. Patnaude. Spring.

  • 14200. From Missionary Images to Image Explosion: Introduction to Medieval Art. This course explores the challenging world of medieval art. Beginning with the fourth-century fusion of Imperial and Christian images and ending with the advent of print, we will trace how images and art-making took on new roles--and re-invented old ones--over the course of the Middle Ages. We will consider architecture, sculpture, wall-painting, manuscript painting, stained glass, metalwork, and textiles in their historical contexts, questioning why medieval objects look the way they do and how they were seen and used by medieval viewers. Readings will include medieval sources (in translation) and exemplary modern scholarship. For non-majors, this course meets the arts, music, drama Core requirements. A. Kumler. Winter.

  • 14400. Italian Renaissance Art. This course is a selective survey of the major monuments, personalities, and issues in the Italian art from around 1400 to 1550. At the same time, it attempts to introduce students with little or no background in art history to approaches, methods, or tools for looking at, thinking about, even responding to works of art. The origins and value of broad style groupings such as Late Gothic, Early Renaissance, High Renaissance and Mannerism will be critically examined, though we will concentrate on fewer artists and works rather than attempt a uniform survey of the vast body of material at the core of the Western tradition. Attention will also be given to the invention and development of distinctive artistic types and their association with particular moments in history (e.g., "sacred conversation" altarpiece , centrally planned church, landscape painting). A major theme of the course will be the changing social context for the practice of art and with it the evolving nature of artistic creativity. Where possible, students will be asked to supplement their close study of the imagery with contemporary written documents such as contracts, letters and theoretical texts. The ability to talk critically and creatively about text and image will be the focus of required biweekly section meetings. C. Cohen. Winter.

  • 15500. 19th Century Art. This survey engages with central developments in 19th century art, historically and formally. We will examine the relation of art to, for example, industrialization and modernity, colonialism and revolution, while attending to developments in reproductive technology, popular visual culture, and practices of exhibition and display. Artists considered include Jacques-Louis David, Eugène Delacroix, Honoré Daumier, Francisco Goya, J.M.W Turner, Gustave Courbet, Thomas Eakins, Edouard Manet, Paul Cézanne, Auguste Rodin and Georges Seurat. An important aim of this course, which covers a broad stylistic range of images, is to develop fundamental skills of visual analysis and the use of visual evidence in persuasive writing. There will be one required visit to the Art Institute and at least one class session at the Smart Museum. J. Langbein. Spring.

  • 15510. The Visual Arts in American Culture, 1830-1945. This course introduces students to multiple modes of art's production and reception from the Jacksonian era to World War II--the period broadly characterized by the United States' consolidation of North American territories into nationhood; its emergence as an imperial power; its competitive participation in industrialization and modernization alongside other western societies; and near-constant turmoil over the parameters and requirements of citizenship and "culture." The arts in the U.S. have never been limited to an elite tradition of painting and sculpture; indeed much of their vitality derives from interchange between European academic models of art and the popular , vernacular, and mass-media visual forms developed in the Americas, inflected by both indigenous traditions and those carried by slaves and immigrants. Our subjects will include monuments, landscape and urban design, architecture, mural and easel painting, popular prints and illustration, photography and avant-garde cinema, modern iterations of "craft," public and private forms of patronage and collecting, and the establishment and aspirations of civic art museums. We will study relationships of artistic production to aesthetic, political, economic, environmental, and religious discourses—asking how those intersections precipitated new visual forms, practices, and iconography; new audiences; rapidly changing definitions of “art” and “artist”; and ongoing efforts to define what is, or should be, “American” in visual art and culture. Some written assignments will require visits to local museums. S. Miller. Autumn.

  • 15600. 20th Century Art. A survey class that will revolve around issues central or unique to the 20th century, including abstraction, traditional and new media, art and politics, mass produced design and culture. We will consider different conceptions of modern art that emerged during this period--for example, "modernism," "avant-garde," or "postmodernism"--and the ways in which such understandings overlapped or differed, actively fostered exchange, rejected or influenced one another. Artists to be discussed include Pablo Picasso, Wassily Kandinsky, Jackson Pollock, Andy Warhol, and Cindy Sherman. Meetings and assignments will make use of local collections such as the Smart Museum and the Art Institute of Chicago. No familiarity with art history is required. C. Mehring. Winter.

  • 15600. 20th Century Art. This course provides a critical survey of the major artistic movements, paradigms, and documents of twentieth-century art in Europe and the United States. Artists to be discussed include Henri Matisse, Kasimir Malevich, Jackson Pollock, Donald Judd, and Eva Hesse. Writing assignments will include a close analysis of a work in a local collection such as the Smart Museum or the Art Institute of Chicago. M. Warnock. Spring.

  • 15610. Imitation of Life: Art in the 20th Century. This course introduces numerous challenges posed to painterly and sculptural traditions by artists working in Europe and America in the twentieth century. We will consider the profusion of utopian dreams and schemes, artists' fascination with everyday experience, and their flirtation with kitsch, mass culture, and authoritarian propaganda. As we map the shifting terrain between the avant-gardiste and the reactionary, we will attend to profound revolutions in artistic labor. The changing formal and material organization of the art object shall be considered in tandem with the equally mutable structure of the commodity and modern subjectivity. Lectures will focus on specific artists and alliances and provide periodic overviews of art historical methodologies, novel techniques like the monochrome, collage, and the readymade, and debates about the relationship of art and life. M. Luke. Winter.

  • 16100. Art of Asia: China. This course is a survey of the arts of China from Neolithic to the contemporary period, focusing on bronze vessels of the Shang and Zhou dynasties, the Chinese appropriation of Buddhist art, and the evolution of landscape and figure painting traditions. This course considers artworks in various contexts (from the archaeological sites from which they were unearthed to the material culture that surrounded them) to reconstruct the original functions and meanings of the artworks, and to better understand Chinese culture through the art it produced. The first goal of this course is to familiarize the students who have no or little experience in Chinese art or culture with representative artworks, artistic styles, and visual strategies in Chinese art history. The second goal is to help students to learn basic visual analysis skills and to get familiar with Chinese art historical terminologies. This course combines a series of lectures with discussion sessions, reading assignments, museum tours to facilitate teaching and learning. The lectures aim to provide an outline of historical background and a framework that students can use to coordinate their materials. The readings offer detailed information of the artworks and examples of the visual analysis that students are supposed to peruse before or after class. The discussions provide opportunities for students to use their knowledge and practice their analytical skills. The museum tours (one or two) give students first-hand experience of original Chinese art. J. Shi. Spring.

  • 16709. Islamic Art and Architecture, 1100-1500. (=NEAA 10630) This course surveys the art and architecture of the Islamic world from 1100-1500. In that period, political fragmentation into multiple principalities challenged a deeply rooted ideology of unity of the Islamic world. The courts of the various principalities competed not only in politics, but also in the patronage of architectural projects and of arts such as textiles, ceramics, woodwork, and the arts of the book. While focusing on the central Islamic lands, we will consider regional traditions from Spain to India and the importance for the arts of contacts with China and the West. P. Berlekamp. Spring.

  • 16109 Art of Asia: Korea. This course explores Korean visual culture by examining images and objects in their historical, social, religious, and philosophical contexts. The main objective of the course is to help students gain a comprehensive understanding of Korean visual culture by providing them with critical tools to formulate individual visual analyses of traditional as well as modern and contemporary Korean art, distinguishing period, style, art movements and individual artists. Additional objectives are helping students discern Korea’s cultural identity in relation to the East Asian cultural sphere and further understand Korean art placed in the context of Asian American Art. Students will examine key examples of tomb murals, Buddhist sculptures and architecture, ceramics, and paintings from the Three Kingdoms period to the Chosun dynasty (57BC-1910). Major art movements and artworks through modern and contemporary Korean art across media will also be covered. Throughout the course, additional attention will be given to major Korean art exhibitions held in America and Chicago museums’ Korean art collections. P. Lee. Spring.

  • 16800. Art of Asia: Japan. (=EALC 16806) This course surveys the arts of the Japanese archipelago through the study of selected major sites and artifacts. We will consider objects in their original contexts and in the course of transmission and reinterpretation across space and time. How did Japanese visual culture develop in the interaction with objects and ideas from China, Korea, and the West? Prehistoric artifacts, the Buddhist temple, imperial court culture, the narrative handscroll, the tea ceremony, folding screens, and early modern prints are among the topics covered. C. Foxwell. Spring.

17000-18999. Art in Context. Students must attend first class to confirm enrollment. For nonmajors, any ARTH 17000 through 18999 course meets the general education requirement in the dramatic, musical, and visual arts. Courses in this series investigate basic methods of art historical analysis and apply them to significant works of art studied within definite contexts. Works of art are placed in their intellectual, historical, cultural, or more purely artistic settings in an effort to indicate the origins of their specific achievements. An informed appreciation of the particular solutions offered by single works and the careers of individual artists emerges from the detailed study of classic problems within Western and non-Western art.

  • 17107. Chinese Calligraphy. (=EALC 17107) If the invention of writing is regarded a mark of early civilization, the practice of calligraphy is a unique and sustaining aspect of Chinese culture. This course will introduce concepts central to the study of Chinese calligraphy from pre-history to the present. For discussion: materials and techniques, aesthetics and communication, copying/reproduction/schema and creativity/expression/personal style, public values and the scholar's production, orthodoxy and eccentricity, official scripts and the transmission of elite culture, wild and magic writing by mad monks. P. Foong. Spring.

  • 17207. Image and Word in Chinese Art. (=EALC 17207) The dynamic interplay between painting, poetry, and calligraphy in the Chinese tradition is encapsulated by Su Shi’s observation that there is “poetry in painting, and painting in poetry.” Further articulation of this truism requires us to examine developing modes of visual expression, and to define ways in which a painting might be “written,” or a text “imaged.” We will consider case studies which demonstrate increasingly fluid negotiation between these mediums: from pictures that labor in “illustrative” juxtaposition with didactic texts (image vs word), to representations of the natural world that are inscribed with poetry as sites of social and cultural identity (image cf word), and which achieve formal and conceptual integration in expressive purpose (imageword). P. Foong. Winter.

  • 17211. Arts of Medieval Japan. (=EALC 17211) Japan between 1300 and 1600 was a time of intermittent warfare and profound challenges to the authority of the emperor, the shogun, and the most powerful shrines and temples. Competing centers of power used visual displays to elaborate their respective positions –or to construct spaces apart from those of everyday life. This course examines the surviving arts of the period through three thematic lenses: the status of the artist, the political and aesthetic roles of reclusion, and the construction of sacred precincts. C. Foxwell. Winter.

  • 17310. Between the Agora and the Shopping Mall: The Social Construction of the City Square. Centrally located open urban spaces have been dominant architectural and social features of western cities. By focusing on these urban gathering sites, this course explores a range of key historical moments in which different formations of the city square emerge (political, communal, royal, imperial, colonial, modernist, privatized, etc.) Its goal is to define a set of criteria for analyzing what constitutes a city square, how “public space” also has a history, how public monuments function over time, and how understanding the urban environment is always dependent on the intimate relationship between physical structures and spatial performances. It will consider, therefore, both the design morphology and the social configurations that infuse such spaces with meaning in any given context. Several site visits in the Chicago area will be scheduled. N. Atkinson. Spring.

  • 17311. The Art of the Book in the Middle Ages. Many of the greatest works of art from the Middle Ages come in the form of illuminated books. This course will introduce students to the history of the art of the book in medieval West, exploring what kinds of books were made by medieval scribes and artists, how they were made, and what they meant to the men and women who gazed at their pages. We will meet in the Special Collections of the Regenstein Library, allowing us to explore the history of medieval book arts through close examinations of original medieval books and rare facsimiles. A wide range of illuminated books will be discussed--from those used in church rituals to those made for private aristocratic amusement. This course meets the Art, Music, Drama Core requirement. A. Kumler. Spring.

  • 17410. Flank Lloyd Wright in Chicago and Beyond. This course looks at Wright’s work from multiple angles, examining his architecture, urbanism, relationship to the built environment and socio-cultural context of his lifetime, and legend. We’ll take advantage of the Robie House on campus, and of the rich legacy of Wright’s early work in Chicago; we’ll also think about his later “Usonian” houses for middle-income clients and the urban framework he imagined for his work (“Broadacre City”), as well as his Wisconsin headquarters (Taliesin), and spectacular works like the Johnson Wax Factory (a field trip, if funds permit), Fallingwater, and the Guggenheim Museum. By examining one architect’s work in context, students will gain experience analyzing buildings and their siting, and interpreting them in light of their complex ingredients and circumstances. The overall goal is to provide an introduction to thinking about architecture and urbanism. K. Taylor. Autumn, Spring.

  • 17411. 19th Century in the Art Institute. In this course, we will closely examine 19th century paintings and sculptures in the Art Institute of Chicago and seek to understand how and why art changed during this period. Topics to be considered include the meaning of stylistic innovation in the 19th century, the development and dissolution of the genres as landscape and portraiture, and varying conceptions of realism and abstraction. Most class sessions will be devoted to looking at works in the galleries of the Art Institute. Because attendance is mandatory, students should consider whether their schedules will allow time for traveling to and from the museum for class meetings. Assignments include three papers and a variety of written homework exercises. M. Ward. Spring.

  • 17500. History of Painting in France, 1780-1830. This course examines some of the masterpieces of the French tradition such as David's Oath of the Horatier, Géricault's Raft of the Medusa, or Delacroix' Liberty Leading the People. Through the close analysis of single paintings, the course introduces different and competing models of art historical interpretation. Focusing on new structures of pictorial meaning emerging around 1800, the course will also discuss the shifting place of painting in a (post)revolutionary world. R. Ubl. Spring.

  • 17511. Renaissance and Anti-Renaissance. The Renaissance is still often held up as a shining ideal in the cultural history of the West, a dramatic narrative of great artists, monuments, and passions. In conjunction with two exhibitions at the Art Institute of Chicago, this course considers aspects of art and culture in the years 1400-1600 in Europe that don't fit the mold. Some offered a contemporary challenge to the Renaissance "ideal"; some pose problems to modern viewers for a consistent, or consistently positive definition of Renaissance art. In this class we study art that is anticlassical in style (the grotesque, mannerism, and survivals of past styles); issues of geography (is there a Renaissance in northern Europe?); a fuller range of media (the story of painting's march toward realism leaves out many kinds of art objects—from performance to prints to monumental tapestries); and political questions (what do war, slavery, or incipient colonialism have to do with our understanding of Renaissance art?). Readings will be challenging but not overwhelming in length; a series of short papers will focus on objects in Chicago collections. R. Zorach. Spring.

  • 17611. Envisioning the Colonial Metropolis in the Early Modern Atlantic World. This course explores urbanism and its representations in the colonial enterprises of Spain and Portugal from the 16th to the 18th century. Focusing on four cities, Mexico City (Mexico), Cuzco (Peru), Luanda (Angola), and Salvador da Bahia (Brazil), we will analyze how the policies adopted by the Spanish and Portuguese crowns led to the development of different types of cities, and how indigenous populations contributed to the distinctively local texture of each urban fabric. Bringing together analytical writings on urbanism, architecture, and space with close formal consideration of these cities and their representations in pictorial, cartographic, and literary media, we will consider how urbanism on the one hand and its social uses on the other hand contributed to the political and religious enterprise of colonialism, shaped colonial identities, and helped fashion notions of race and gender. C. Fromont. Spring.

  • 17800. Leonardo and Michelangelo: Their Art in Context. This course examines the art and personality of the two artists who are often considered the culminating figures of the Italian Renaissance. Some attention will be devoted to understanding the Florentine artistic and social context out of which these two near-contemporary, but very different, individuals emerged. Their careers will then be followed and examined in the context of the other major centers in which they worked, especially Rome and Milan. The course will encompass the whole artistic career of Leonardo (d. 1519), but concentrate on the first half of Michelangelo's much longer career (including juvenalia, Pieta, David, Sistine ceiling, and Julius Tomb). Through the concentrated art-historical material studied, the course will take seriously the attempt to introduce students with little or no background in art history to some of the major avenues for interpretation in this field including formal, stylistic, iconographical, psychological, social and theoretical. Readings are chosen with this diversity of approach in mind. Special attention will also be given to the writings and drawings of these artists as means of thinking about the complex issues of artistic intention. C. Cohen. Spring.

  • 17903. 1900 in the Smart Museum. All the materials considered in this course are twentieth-century works of art located in the University's Smart Museum. Group discussions will focus on how to look at works of art and the questions to ask of them. We concentrate on different media (painting, sculpture, and print) and works drawn from different movements (Cubism, German Expressionism, Abstract expressionism and contemporary art. M. Ward. Autumn.

  • 18000. Photography and Film. Art History 18000 is a core course that serves as an introduction to the history of art by concentrating on some fundamental issues in the history of photography and film. The course is divided roughly in half between still photography and film. The central theme of the course concerns the way in which photographs and films have been understood and valued during the past 165 years. There have been profound changes in attitudes and beliefs regarding the nature of photographs throughout the history of photography (this is likewise true of film). The current range of views is very different from those held by the various audiences for photographs and films in the last century and the century before. For instance, photographs were originally conceived of as copies of things that can be seen, but the notion of copy was drawn from a long established set of views about what makes a picture a work of art and copies were said to be incapable of being works of art. This view continues to haunt the writings of some critics and historians of photography and film. The course will concentrate on the work of photographers, theorists of photography and film, and on films by John Huston, Billy Wilder, and Roman Polanski. J. Snyder. Autumn.

  • 18100. The Image of Space: Sculpture and Mass Media. This course surveys key texts for the study of modern sculpture and it considers how the invention of photography raised anxiety about the impact of new technologies on norms of spatial perception and aesthetic judgment. We examine how the industrial dissemination of images redefined the work of art, shaped the discipline of art history, inflected our understanding of the relationship between touch and vision, and reignited debate over the representation of three dimensions on planar surfaces. What is at stake is not only the relation of copy to original, but also the resistance sculpture could provide to what many regarded as the total and instantaneous visibility promised by the camera. M. Luke. Autumn.

  • 20000. Introduction to Film-I. (=CMST 10100; ENGL 10800; ARTV 25300) This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles. J. Lastra. Autumn.

The following courses do not meet the general education requirement in the dramatic, musical, and visual arts.

20210. Modern and Contemporary Art of Korea. This course will introduce 20th and 21st century Korean art by placing the encounter with the art object itself front and center. We will cover major themes, including the introduction of Western art, the shaping of a unique Korean Modernism, the Avant-garde art movement, people’s (Minjung) art, feminist art, as well as the diversification and internationalization of the Korean art scene. We will also address Korean artists working internationally and major thematic Korean art exhibitions held in America. It will provide students with skills in visual analysis, critical reading, and writing about art. P. Lee. Winter.

20910/30910. Urban Life and Social Structure in Imperial Rome. (=CLCV 24810; CLAS 34810) Ancient literature paints a vivid picture of urban life in Imperial Rome. We know more about Rome's topography, administration and economy than about any other city in the ancient Mediterranean. Still, the social organization and living conditions of ordinary Romans are, in large part, a matter of conjecture. Here, new archaeological and epigraphic studies can help to arrive at a less elite-focused understanding of Rome's urbanism. E. Mayer. Autumn.

21230. Picturing the Monstrous and the Marvelous, 1300-1700. This course investigates visual modes of expressing and experiencing the monstrous and the marvelous, two broad and changeable labels that evolved as European geographic perceptions of the world expanded. Voyages of exploration to Africa, Asia, and the Americas during the 15th, 16th, and 17th centuries returned to Europe with reports of the strange peoples encountered in these distant lands, their curious cultural practices, and the bizarre flora and fauna native to the unfamiliar terrain. Specimens, too, were gathered and taken back to the aristocratic courts of England, France, or Italy for further inquiry and display. Western history often characterizes European responses to difference and diversity during the 'Age of Discovery' as distinct from earlier, presumably less empirical modes of grasping the world. However, the paintings, sculptures, prints, maps, and manuscripts produced during this period of cross-cultural exchange reveal certain continuities with conceptual strategies and pictorial traditions dating from antiquity and the Middle Ages. We will examine how such objects and images, as well as those collected from non-Western cultures, communicate marvel and monstrosity in terms of identity, categories of knowledge, ideological objectives, and cultural attitudes. Course readings and discussion will draw upon recent interdisciplinary approaches to medieval and early modern visual material in art history, history of science, cultural anthropology, and the history of cartography. I. Greenfield. Spring.

21240. The Subject and Object of Encounter in Postwar Photography. This course revolves around the premise that some of the most compelling photographs produced during the postwar period can be productively analyzed by focusing on the photographic encounter. We will primarily be examining portrait photographs that foreground relations between subject positions (subject(s), photographer, viewer) in order to ask to what end these photographs were made. This emphasis will guide investigations into central themes in postwar photographic theory and activity. Theoretically, the class will examine how claims for photographic uniqueness structure encounters between viewers and reality. Beginning with Garry Winogrand, Robert Frank, Walker Evans, and Lee Friedlander, we will chart the kinds of encounters produced through street photography. We will then explore themes such as the professional sphere (Weegee, Ron Galella); the familial milieu (Sally Mann, Nan Goldin, Larry Sultan); and the visibility of marginalized groups (Catherine Opie, Diane Arbus) in order to discuss issues of access. We’ll also reflect upon contemporary photographers who deliberately employ modes of post-photographic production to create encounters between viewers and "fictional" realities (Loretta Lux, Aziz+Cucher, Jill Greenberg). A. Lee. Spring.

21411/31411. Social Form. PQ: One course in art history. When "the social" is not the "context" for the work of art but is the work itself, what use are the tools of art history? This course studies a range of pre-modern, modern, and contemporary examples of utopias, performance, radical experiments in living, creative business ventures, educational projects, and political and social in(ter)ventions, conducted by both artists and non-artists. Can a different history of art and a different descriptive vocabulary be imagined around such acts of social imagination? Readings include theoretical and critical writing, manifestos, and interviews, with occasional film screenings and first-hand fieldwork in Chicago. R. Zorach. Winter.

21511/31511. Image, Spectacle, Sound: The Iconography of Experience in the pre-Modern City. PQ: Instructor consent.This seminar seeks to introduce upper level undergraduate and graduate students in the humanities to the way in which art and architecture were elements within a comprehensive urban system that included civic, religious, and daily rituals, both modest and spectacular. The pre-modern city was the site of a whole range of practices in which art played an important but integrated role. The assumption of such a course is that the paintings, sculptures, and artifacts that remain in museums and collections today are only a part of what was once a whole set of social relations between the individual and the collective, between the sacred and the profane. Consequently, through a series of readings that will focus on experience rather than aesthetic production, students will be encouraged to develop research projects that go beyond the frame of the work of art in order to see how it was intimately connected to the structure of urban life and how it profoundly affected the lives of its audience. N. Atkinson. Spring.

22311/32311. Exhibiting African Art. This course explores the display of African art in Western contexts from the Renaissance to now. Texts, discussions, and student research will analyze the production and uses of art in Africa, and investigate how African art has been collected, preserved, and exhibited in Europe and the Americas since the fifteenth century. Topics include the early modern trade in Afro-Portuguese ivories, the scientific and artistic project of the cabinets of curiosities, the birth of ethnology and the advent of the museum, art, commerce and colonialism, primitivism, and 20th and 21st century politics of collecting, museums, and exhibits. C. Fromont. Spring.

22611/32511. The Politics of Luxury. Open to undergraduates and MAPH students with permission of instructor. Open to Art History graduate students. This course explores conspicuous consumption, the love of costly things, the collection of precious materials, and the important role played by the arts in the definition of status, power, and influence in the Middle Ages. Investigating a series of episodes from the history of medieval luxury, we will explore how precious objects were implicated in the politically charged practices of medieval gift-culture, how the patronage of works of art served ideological aims, and how the politics of luxury contributed to changing conceptions of the status of the artwork and the artist over the course of the Middle Ages. A. Kumler. Spring.

23009/33009. Mongol and Timurid Art and Architecture in the Islamic Lands, 1258-1506. (=NEAA 20760/30760) The course explores art and architecture in the Islamic east from 1258 to 1506. After the sack of Baghdad in 1258, the eastern half of the Islamic world was incorporated into a Mongol world empire stretching from China to Eastern Europe. Along with a brutally imposed new world order came new visual forms, such as the phoenix; as well as shifts in patronage patterns, evidenced by the rise of women patrons. Conquerors and conquered negotiated their positions vis-à-vis each other through the arts, and rival Turko-Mongol princes vied to attract the best artists to their courts. The vibrancy of this period was universally acknowledged under subsequent Islamic dynasties. Later writers traced the origins of Persian manuscript painting tradition to the early fourteenth century, and later courts positioned themselves as heirs of the Timurid artistic legacy. P. Berlekamp. Winter.

23110. The Art of Networks (1969-Present). is the name of an art movement formalized in 1994 among a small group of artists working on and with the apparatus of the Internet—a literal art of networks. Early in the course we will study that movement. But the structuring proposition of the course is that an art of networks existed long before 1994, that artworks were problematizing an inchoate networked culture at least since the late sixties. Electronic networks thus become the lens through which we will study post-sixties art and art history, focusing on minimalism, conceptualism, performance art, installation art and video art, and reconsidering questions of spectatorship, audience, public, institution, critique, and artistic labor. This is not, in other words, a class about art and technology generally, nor about internet art specifically, but a class about the significance of art in a networked culture. The course will have the United States as its locus, but networks rather than nations will set the geographical scope. Classes will be structured around group discussion of artworks viewed in combination with theoretical texts, primary source texts, artist’s writings, and ethnographies of networked culture. Students’ primary responsibilities will be class participation and a research paper (~15 pages). K. Cohen. Autumn.

23300/33300. Early Renaissance Painting in Florence. This course concentrates on two themes. 1) The origins of the Renaissance in Florence as seen in the painting and sculpture of the early fifteenth century, examined in the context of civic humanism and contemporary politics. 2) The diverse and often inconsistent responses of a second generation of artists to these radical ideas, especially in the linked areas of style and religious expression. As a coda to the course, the implications of this artistic environment for Leonardo and the last generation of Quattrocento painters will be considered. Considerable attention will be given to the changing social status of the artist as manifested both in the theoretical writings and artists' working methods. The main artists studied in the course are Masaccio, Donatello, Gentile da Fabriano, Lippi, Angelico, Uccello, Domenico Veneziano, Castagno, and Piero della Francesca. In addition to reading, students are expected to do a substantial amount of visual study. C. Cohen. Autumn.

24030/34030. Sexuality Studies in American Art. Sexuality in American art, a staple of the culture wars, is back in the news thanks to the Smithsonian’s controversial exhibition, Hide/Seek: Difference & Desire in American Portraiture. But in fact, the exhibition’s premise is neither new nor shocking: American art has proven fertile ground for the intersection of sexuality studies and revisionist art history scholarship for the past thirty years. Taking Hide/Seek as our springboard, this course will examine the plural strategies by which sexuality studies (in modes ranging from queer theory to feminist history to psychoanalysis) have been brought to bear on the canon of modern American art, and the ways they have refigured our investigative methods, our objects of study, and the canon itself. Treating sexuality as a multivalent force in the creation of modern art and culture (rather than merely as subject), our topics will range from the 1860s to the 1960s—the years before artistic engagements with sexuality and gender were radically transformed by postmodernism and contemporary identity politics. Case studies will include the work of, and recent scholarship about, Thomas Eakins, John Singer Sargent, F. Holland Day, Grant Wood, the Stieglitz circle (especially Marsden Hartley, Georgia O'Keeffe), the downtown bohemian and uptown Harlem Renaissance scenes of 1920s New York; the trans-Atlantic "New Women" of the 1920s (including Berenice Abbott, Romaine Brooks), Jasper Johns and Robert Rauschenberg, Andy Warhol, and Eva Hesse. Readings will include related literature and poetry, along with recent art historical and key theoretical texts. S. Miller. Spring.

25811/35811. Surrealism. Surrealism has come to be seen as one of the most important and influential artistic movements of the twentieth century. Yet it is all but impossible to speak of a Surrealist “style.” Not only did the movement lack a coherent theory of art, but the artists and oeuvres assembled under its aegis also were notoriously diverse. This course will explore Surrealism as a set of historically shifting propositions that artists at once adopted and adapted to heterogeneous ends. Topics include the movement’s founding concept of “psychic automatism”; the relation between art and sublimation; fetishism; and Surrealist challenges to traditional notions of medium, genre, and composition. Among the artists studied are Ernst, Miró, Masson, Picasso, Giacometti, Dalí, and Man Ray; texts by Breton, Bataille, Aragon, Blanchot, Leiris, and Einstein. M. Warnock. Winter.

25812/35812. History and Theory of the Avant-Garde. Open to undergraduates, MAPH students, and graduate students. The notion of an artistic "avant-garde" is at once peculiar and central to Western modernity. This course will adopt a genealogical approach to the concept, tracking its practical and theoretical peregrinations from the later-nineteenth to the mid-twentieth century. Topics include the importance of new forms of artistic collaboration and collectivity; the manifesto as genre; the Gesamtkunstwerk or "total work of art" as idea and aspiration; and the relation between art and political radicalism. Among our case studies will be Futurism, Dada, Surrealism, Russian Constructivism, and De Stijl; readings will include texts by Baudelaire, Wagner, Greenberg, Clark, Poggioli, Bürger, and Adamson. M. Warnock. Spring.

25900/35900. Theories of Media. (=CMST 27800/37800; ARTV 25400; ENGL 12800/32800; ISHU 21800) This course will explore the concept of media and mediation in very broad terms, looking not only at modern technical media and mass media, but at the very idea of a medium as a means of communication, as set of institutional practices, and a habitat in which images proliferate and take on a “life of their own.” The course will deal as much with ancient as with modern media, with writing, sculpture, and painting as well as television and virtual reality. Readings will include classic texts such as Plato’s Allegory of the Cave and Cratylus, Aristotle’s Poetics, and modern texts such as Marshall McLuhan’s Understanding Media, Regis Debray’s Mediology, and Friedrich Kitler’s Gramaphone, Film, Typewriter. We will explore questions such as the following: what is a medium” What is the relation of technology to media? How do media affect, simulate, and stimulate sensory experiences? What sense can we make of concepts such as the “unmediated” or “immediate”? How do media become intelligible and concrete in the form of metapictures” or exemplary instances, as when a medium reflects on itself from another, and how do they become “mixed” in hybrid, intermedial formations? We will also look at recent films such as The Matrix and Existenz that project fantasies of a world of total mediation and hyperreality. Students will be expected to do one “show and tell” presentation introducing a specific medium. There will also be several short writing exercises, and a final paper. W.J.T. Mitchell. Autumn.

25911/35911. Conceptual Art. The Conceptual artist Joseph Kosuth once wrote, "If one is questioning the nature of painting, one cannot be questioning the nature of art.” That is, if traditional artistic media no longer produced compelling accounts of experience, as this statement suggests, then what might constitute a vital and self-aware art practice circa 1970? In this course we will ponder such questions, while surveying the sources and legacies of Conceptual art in Asia, Europe, and the Americas. M. Jackson. Winter.

26310/36310. Donald Judd: Artist, Critic, Designer, Activist, Curator. PQ: e-mail Prof. Mehring by September 24 for permission to enroll, explaining background in art or art history and particular interest in the topic. In this seminar, the monographic focus on Donald Judd will function as a matrix to examine broader issues that have become, or might become, central to the study of modern and contemporary art. Judd’s multiple roles as artist, critic, designer, activist, and curator will form the basis for discussions of: canon formation and artistic self-definition; empiricism, pragmatism, analytic philosophy, and their relevance to the visual arts; the status of artists’ writings, collaborations, and curatorial practice; “relational aesthetics;” the relationship of art to design, visual and material culture; and the relationship between art and political action. C. Mehring. Autumn.

26803/36803. Architectural Theory & Practice in the Enlightenment and 19th Century. PQ: For undergraduates, a prior course in art history or permission of the instructor. This course examines influential new ideas about architectural design from the Enlightenment and nineteenth century in terms of writings and related buildings in Europe and the U.S. This experimental period generated theoretical writing that continues to matter to architects today; we will study it in terms of its initial contexts and application. Major themes are: (1) the relationship of a building's structure to its decoration (or body to clothing, as it was sometimes put); (2) the rise of historical interest in older buildings from divergent stylistic traditions (e.g., classical and Gothic) and its impact on new design; (3) the development of aesthetic theory suited to mass as well as elite audiences (e.g., the sublime and the picturesque); and (4) the idea that architect and building could and should be ethical or socially reformative. K. Taylor. Autumn.

27304/37304. Photography/Modernism/Esthetics. PQ: Prior course in art history or consent of instructor. The course presents the history of photographic practices in the United States, beginning in the late nineteenth century and extending into the 1980s, aimed at gaining an audience for photographs within museums of art. The issues under study include the contention over claims about medium specificity, notions of photographic objectivity,a peculiarly photographic esthetics, the division of photography into two categories--art vs. documentary-- and the role of tradition and canon formation in the attempted definition of the photographic medium. Photographers whose work will be studied include Alfred Stieglitz, Edward Steichen, Gertrude Käsebier, Paul Strand, Edward Weston, Berenice Abbott, Man Ray, Robert Frank and Diane Arbus. Texts for the course include essays by Stieglitz, Strand, T.S. Eliot, Edward Weston, Elizabeth McCausland, Walter Benjamin, Beaumont Newhall, John Szarkowski, and Douglas Crimp. J. Snyder. Spring.

27411/37411. Chinese Show. (=EALC 27411/37411) PQ: For Undergrads, one other Chinese art course at 100 level. Organizing an exhibition of Chinese art involves both conceptual and practical concerns. Major components of this course will include concept development (by examining a selection of past shows), grant writing, object and venue selection, display, label writing, and other attendant issues that are central to the curatorial process. The class may develop and mount a mock show, if there is consensus. Individual final projects may be an exhibition proposal, or a critical consideration of exhibiting China based on a historiography of showing Chinese works of art in the West. P. Foong. Winter.

27612/37612. Painting and Subjectivity. In this seminar, we will discuss some recent art historical, philosophical, and psychoanalytic contributions to the theory of painting (by authors as divers as Richard Wollheim, Julia Kristeva, and TJ Clark) and will ask how their arguments relate to the profound transformation (and crisis) of painting in the last century. R. Ubl. Autumn.

27613/37613. Eugène Delacroix and the Origins of Modern Painting. While late 19th and early 20th century critics and artists such as Cézanne or Valéry recognized Eugène Delacroix as a founding figure of the modern tradition, especially because of his transformation of Western colorism, recent art historical scholarship emphasizes the specific historical context of his work in post Napoleonic France. In this seminar, we will discuss Delacroix' artistic career as a test case for a revaluation of the transition from Romanticism to Modernism. R. Ubl. Autumn.

27910/37910. Visuality in Hispanic Avant-gardes. (=LACS 26710/36710) This course studies the theoretical implications of the exchanges and correspondences between contemporary poetry, painting and cinema, and the influence of the visual arts in the configuration of the poetics of the Hispanic literary avant-garde, from cubism to the present. The objective is to establish the conditions of possibility of such relations and the methodological foundations and tools of interactistic research. Readings by Huidobro, Larrea, Alberti, Lorca, Dalí, Buñuel, Picasso, Miró, Paz, Pizarnik, Sarduy, Brossa, Gimferrer, Valente, Ullán. A. Monegal. Autumn.

28500. History of International Cinema-I: The Silent Era. (=CMLT 22400/32400; CMST 28500/48500; COVA 26500/36500; ENGL 29300/48700; MAPH 33600) This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. The aim of this course is to introduce students to what was singular about the art and craft of silent film. Its general outline is chronological. We also discuss main national schools and international trends of filmmaking. J. Lastra. Autumn.

29400/39400. "Feminine Space" in Chinese Art. (=EACL 27708/37708) "Feminine space" denotes an architectural or pictorial space which is perceived, imagined, and represented as a woman. Unlike an isolated female portrait or an individual female symbol, a "feminine space" is a spatial entity---an artificial world comprised of landscape, vegetation, architecture, atmosphere, climate, color, fragrance, light, and/or sound, as well as selected human occupants and their activities. This course traces the construction of this space in Chinese art and the social/political implications of this constructive process. H. Wu. Autumn.

29600. Junior Seminar: Doing Art History. Required of third-year students who are majoring in art history; open to nonmajors with consent of instructor. The aim of this seminar is to deepen an understanding of art history as a discipline and of the range of analytic strategies art history affords to students beginning to plan their own BA papers or, in the case of students who are minoring in art history, writing research papers in art history courses. Students read essays that have shaped and represent the discipline, and test their wider applicability and limitations. Through this process, they develop a keener sense of the kinds of questions that most interest them in the history and criticism of art and visual culture. Students develop a formal topic proposal in a brief essay, and write a final paper analyzing one or two works of relevant, significant scholarship for their topics. This seminar is followed by a workshop in Autumn Quarter focusing on research and writing issues for fourth-year students who are majoring in art history, which is designed to help writers of BA papers advance their projects. Winter.

29700. Reading Course. PQ: Consent of instructor and Undergraduate Program Chair. Students are required to submit the College Reading and Research Form. Must be taken for a quality grade. With adviser's approval, students who are majoring in art history may use this course to satisfy requirements for the major, a special field, or electives. This course is also open to nonmajors with advanced standing. This course is primarily intended for students who are majoring in art history and who can best meet program requirements by study under a faculty member's individual supervision. The subject, course of study, and requirements are arranged with the instructor. Autumn, Winter, Spring.

29704/39704. The Objects of Japanese History. The Boone Collection of Japanese objects in the Field Museum will be examined as a case study in museum and collection research. Assembled in the 1950s by Commander Gilbert and Katherine Boone, the collection includes over 3,000 Japanese objects. Individual objects will be examined, not only for religious, aesthetic, cultural, and historical issues, but also for what they tell us of the collections and of museum and collections studies in general. The course will be co-taught by Chelsea Foxwell from Art History and James Ketelaar from the History Department, and will include methods and texts from both disciplines. Several study trips will be made to the storage rooms of the Field Museum during class time. C. Foxwell, J. Ketelaar. Spring.

29800. Senior Seminar: Writing Workshop. Required of fourth-year students who are majoring in art history. This workshop is designed to assist students in researching and writing their senior papers, for which they have already developed a topic in the Junior Seminar. Weekly meetings target different aspects of the process; students benefit from the guidance of the workshop instructors, but also are expected to consult with their individual faculty advisers. At the end of this course, students are expected to complete a first draft of the senior paper and to make an oral presentation of the project for the seminar. Autumn.

29900. Preparation for the Senior Paper. PQ: Consent of instructor and Undergraduate Program Chair. Students are required to submit the College Reading and Research Form. May be taken for P/F grading with consent of instructor. This course may not count toward the twelve courses required in the major. This course provides guided research on the topic of the senior paper. Students arrange their program of study and a schedule of meetings with their senior paper adviser. . Autumn, Winter, Spring.

2/30610. Ekphrasis and the Vivid Description of Art. This course explores the rich tradition of ekphrasis in Greco-Roman antiquity, as it ranges from vivid description in general, to a specific engagement with works of art. While the prime focus will remain on texts from Greece and Rome (both prose and verse)--in order to establish what might be called the ancestry of a genre in the European tradition--there will be opportunity in the final paper to range beyond this into questions of comparative literature, art (history) writing and ekphrasis in other periods or contexts. This course is primarily intended for graduate students. Reading knowledge of Greek and Latin preferred but not required. The course will be taught over an intensive 5-week schedule. Students will be examined on the basis of a research paper (on a subject to be agreed upon with the instructor) due at the end of the Spring quarter. J. Elsner. Spring.

2/34090. Japanese Woodblock Prints: From 1660 to the Present. This class will explore the birth of the commercial Japanese print and its many incarnations leading up to and including the designs of contemporary artists. Issues of connoisseurship will feature strongly in this course taught from a curatorial point of view. As this class will be conducted largely in the Art Institute's Japanese print storage area, it represents a rare opportunity to view works of art up close and unframed, essential for an understanding of printing techniques and collecting practices. Prints will also be viewed in the newly renovated Japanese art galleries at the museum, as well as in the homes of private collectors. J. Katz. Winter.

39800. Approaches to Art History. Open to MAPH students concentrating in Art History. Others by instructor consent. S. Hand. Winter.

40100. Art History Methodology. Description forthcoming. R. Neer. Autumn.

42106. Arts of the Book in the Islamic World. This seminar offers an opportunity for in-depth consideration of methodological and theoretical issues as they pertain to the study of Islamic manuscripts. These include issues of representation, figuration, and abstraction in calligraphy, illumination, and painting; problems of copying and originality; challenges posed by manuscripts that have been altered by successive generations of users; and multiple levels of text-image relationships. Throughout the seminar we will consider points of congruence and divergence between how such issues were theorized in (translated) primary texts contemporaneous to the manuscripts being studied, and how they are theorized today. This is a graduate seminar open to undergraduates by permission. P. Berlekamp. Spring.

42211. Iconography and its Discontents. PQ: Reading knowledge of French and/or German will be very helpful, but is not required. From the nineteenth-century landmark works of Adolphe Didron and Émile Mâle to the present day, iconography has dominated the practice of medieval art history. This course questions the implications of that methodological allegiance through a critical confrontation of selected iconographic readings with the medieval works of art they claim to illuminate. Our discussions will examine both the insights and the blind spots of iconographic interpretation. Select seminars will be focused on imaginatively exploring new directions for iconographic interpretation of medieval art (possible topics include: the iconography of color, the iconography of materials, the iconography of technique/facture). A. Kumler. Winter.

42511. The Origin of the Fetish. Borrowing its title from the 1987 article by William Pietz “The problem of the Fetish II: the Origin of the Fetish,” this graduate seminar will start with an examination of the social, religious and economic conditions under which the word fetish was coined, presumably in the 17th or18th century, on the West African coast. The course will then consider the evolution of the word from an idiom descriptive of a type of objects created in the interactions between European travelers and Africans in the early modern period, to an analytical term that played a central role in the perception and study of non-Western art in general and African art in particular. Class discussion and readings will focus on the similarities and differences between the idea of fetish and neighboring notions of idol or curiosity and on the role played by religious and ideological discourses in the coining and posterity of the concept. C. Fromont. Winter.

42611. Listening to the City: The Urban Soundscape. . This course focuses mainly on the late medieval and Renaissance soundscape in Italy. However, the conceptual framework on which it is based explores a variety of theoretical frameworks that have contributed to the construction of the soundscape as an urban phenomenon. It will explore such pre-modern themes as the acoustic construction of sacred and secular space, the visual and aural aspects of early modern time-keeping practices, ritual forms of music and singing in the public sphere, the auditory practices of civic devotion, the phenomena of mendicant preaching and public storytelling, as well as more modern and industrial soundscapes, such as noise and the circulation of information through urban communication networks. N. Atkinson. Winter.

43300. Roman Mannerism. This seminar explores the historiography of Mannerism as a concept and the selective study of Roman art between Raphael and Caravaggio. C. Cohen. Spring.

42411. Painting in the Japanese Style. (=EALC 42411) This seminar follows the visual and discursive articulation of a “Japanese style” in painting from its origins as yamato-e (the painting of Yamato) in the Heian period (794-1185), through its positioning in a dichotomy with continental East Asian ink painting in the medieval period, to its ultimate reinvention with respect to modern national consciousness in the nineteenth and early twentieth centuries. In each case, painting in the Japanese style is named in contrast to an alternate style, a shaky process of co-determination as fraught for painters and theorists of the time as it would prove to be for modern art historians. We will discuss foundational primary and secondary sources, but students without prior experience in Japanese art are welcome. C. Foxwell. Winter.

42911. Visual Art in the 21st Century. In this seminar we will explore the visual art of the last decade in its global context. Special attention will be devoted to theoretical and critical writing that has attempted to describe recent transformations in the international art world. M. Jackson. Spring.

44011. What is an Archive? History, Theory, Practice. PQ: Ability to do research in at least one foreign language; French particularly helpful. What is an archive? This seminar asks this question from historical, theoretical, and practice perspectives. How did modern archives come to exist, how do they grow, what kinds of materials do they contain, and how do we deal with their silences? What other kinds of practices and institutions and histories can be considered archives? What does it mean to be more or less archival in one's scholarly orientation? How do researches conceptualize their own individualized archive of research materials, however far-flung, as the basis for a particular project? Some attention will be paid to contemporary artists whose work addresses or involves the archive. Work involves practical assigments and visits to institutions; readings include works by Walter Benjamin, Ann Cvetkovich, Jacques Derrida, Hal Foster, Michel Foucault, Griselda Pollock, Alan Sekula, Diana Taylor, and others. R. Zorach. Spring.

44610. Spatial Strategies in the Chinese Traditon. (=EALC 44610) PQ: Chinese and Japanese reading proficiency recommended. Are there spatial dispositions particular to China? How do historical and culturally specific projects reify or challenge spatial categories? This course is an object-orientated exploration of space as an analytical category for the interpretation of Chinese cases: we may consider burials, temples, imperial cities, landscape, etc. Readings will include seminal and recent texts on space and place, and writings in area studies which make use of these concepts. Particular attention will be paid to hierarchical arrangements that conceptualize as infrastructures of power, in particular those that are institutional and/or geopolitical in nature. P. Foong. Autumn.

45211. Contemporary Chinese Art: Issues and Naratives. (=EALC 45211) This seminar explores the development and narrative of contemporary Chinese art. Through examining original documentation and analyzing various art projects, students will explore the major trends and issues in this art since the late 1970s and reflect on how we tell the story of this art in its domestic and global contexts. H. Wu. Spring.

46111. Painting, Writing, and Reading in French Art of the Early 19th Century. PQ: Very good reading knowledge in French required. Taking the new critical edition of Eugène Delacroix's Journal by Michele Hannoosh (Paris: José Corti, 2009) as a starting point, this seminar will explore how reading and writing informed the art of painting in late 18th and early 19th century France. We will discuss the transformation of ut pictura poesis in the wake of Lessing's Laocoon, the changes in artistic education around 1800 and the impact of the general boost in literarcy and publishing, the responses of painters to the emergence of professional art criticism and art history, the writing practices of painters, and not least the place of writing and reading in specific paintings. Artists and writers discussed in this seminar include, beside Delacroix, Denis Diderot, Jacques-Louis David, Anne Louis Girodet, and Stendhal, among others. R. Ubl. Spring.

46409. The Modernist Museum. This seminar will aim to understand changes in art museum display through a comparative history, including developments in art making and art history, varying notions of the public, and the impact of reproductive technologies. Each week will focus on a particular museum, from 1900 to 1945, and especially on changes introduced in the name of modernism. Examples will be drawn from the U.S., Germany, France and Italy, but seminar participants will be encouraged to pursue research topics from their own areas of interest. Readings will encompass basic theoretical perspectives in museum history and primary sources. Reading knowledge of French is highly desirable. Seminar participants will be expected to produce a research paper on an example of art museum practice. M. Ward. Winter.

46611. Architecture of Government. This course will look at buildings for government bodies and agencies, with an eye to the way spatial organization and architectural imagery interact with the needs and character of the government and the particular governmental body in question, and the kind of access available to the public. We'll read some studies addressing architecture and power and the spatial analysis of buildings and examine case studies ranging from pre- and post-revolutionary France (the Versailles of French absolutism; the development of a legislature and the changes in the lawcourts) and their counterparts in England and the nascent United States, to recent western government buildings (the Scottish Parliament Building), colonial and post-colonial capitals, and international bodies (for instance, the League of Nations, the UN, the European Union legislature and international courts). Examples will date from the mid eighteenth century to the present but I hope the course may nonetheless be useful for students interested in earlier periods and other kinds of public architecture. K. Taylor. Spring.

46811. Image and Text. (=ENGL 42405) This course will focus on the ways novels or books of poems work together with images (illustrations, ekphrastic works, description, verbal evocation of visuality more generally, frame poems or narratives, book design--typeface, page design, covers, and more), on the one hand, and the way artists use text (titles, inscriptions on frames or in the art work, wall texts, catalogue texts, text-as-image, allusions to text, etc.), on the other. The nineteenth century will be the primary but not exclusive source of cases to examine. E. Helsinger. Winter.

47511. Art and Theory in the Context of Tel Quel. PQ: Reading knowledge of French required. This course will take the journal Tel Quel as a key lens through which to understand broader shifts in postwar art and theory. Published in Paris between 1960 and 1982, Tel Quel is generally regarded as a major catalyst and vehicle for the emergence of “French theory.” Less well-known is the journal’s enduring and at times intense engagement with aspects of contemporary visual art, painting in particular. Seminars will alternate between case studies of key figures and sustained consideration of selected cruxes (e.g., the postwar status of avant-gardism, the deep transformation of Surrealist legacies, the relation between contemporary art and the “linguistic turn” in the human sciences). Texts include essays by Georges Bataille, Clement Greenberg, Philippe Sollers, Marcelin Pleynet, Jacques Derrida, Marc Devade, Julia Kristeva, Louis Cane, Jacques Lacan, and Louis Althusser. M. Warnock. Winter.

48612. The Silent Avant-Garde. (=CMST 65201) This course will examine the long-standing relationship between the cinema and primarily European and American avant-garde artists and movements between 1890 and 1935. By exploring the theoretical, practical, and more conceptual adoption of the cinema by artists across media, this course will ask how the cinema and filmmaking practices transformed the history and theory of vanguardism. The following movements will be considered: Les Incohérents; Futurism (Italian and Russian); Cubism; Vorticism; Dada; Constructivism; Surrealism; the Cinéclub movement and little magazines dedicated to modernism will also be studied. Emphasis will be placed on primary documents and significant cultural events and manifestations of the period, but classic theories of the avant-garde will also be read (Bürger, Poggioli). Films by Bauer, Bragaglia, Ivens, Léger, Clair, Moholy-Nagy, Steiner, Richter, Ruttmann, Vertov, Dulac, Epstein and others will be shown. J. Wild. Winter.

48711. Barthes: Text & Image. (=GRMN 48711, CMST 48711) Roland Barthes's incisive criticism stands as a major contribution to literary theory, to the semiotics of culture, and to contemporary conceptions of the image – still and moving. His work spans a wide variety of topics (including literature, photography, film, mythology, fashion, advertising, conversation, sport, love, and himself), propelling semiotics, anthropology, psychoanalysis, and post-structuralism towards an incisive and eloquent reflection. Although Barthes did not develop an explicit theory of the imaginary, the relationship of texts and images, the symbolic and the imaginary, are among his constant concerns. Are images 'just another type of text', or is there an independent sphere of the imaginary which escapes structural, or even cultural analysis? This question will be among the guiding themes of the seminar. All principal readings are in English. Susanne Lüdemann. Noa Steimatsky. Winter

48750. Documentary: New Histories in Progress. PQ: Prerequisite: at least one undergraduate or graduate course substantively treating the history of American modernist (1900-1950) art, film, literature, or photography. In 1930s America, various inventions of a novel concept—“documentary” —helped to generate wholly new conversations about the nature and potential of photography, film, graphic arts, literature, theater, and dance. Documentary is often oversimplified as a programmatic turn to “realism” amidst the social stresses of the Great Depression, resulting in a “genre” that verged on propaganda. This seminar proposes that documentary is more fruitfully reconceived as an elastic notion engendered by, and serving to articulate, some core dilemmas and directions of the American arts as they engaged the ascent of mass media forms and technologies. In other words, we will approach documentary as its creators did: a capacious and controversial conceptual tool for navigating the collapsing high-art/popular-culture divide, and a wide-ranging experiment in rethinking the very definitions of “culture” and “art” for a society increasingly self-characterized through Hollywood cinema, newsreels, mass-circulation photo-magazines and books, radio, new forms of reportage, new types of cultural institutions, and widespread discussion about the “mechanization” and “standardization” of everyday life. Taking photography as our key medium and thematic thread, we will chart and analyze the diversity and functions of documentary ideas and practices emergent between 1930 and 1945, seeking to understand a) their relationships to broader contests over the sources, forms, and roles of modern art in the United States; and b) what kinds of transformations within the arts, and in the arts' relationship to the public sphere, these notions of documentary made possible. Readings (largely primary sources), objects of study, and student research projects will encourage exploring the connections between those iterations of documentary developed in photography and those developed in other art forms. Requirements include active classroom discussion, oral presentations about readings and artworks, and a 20-25 page research paper. S. Miller. Autumn.

48911. Seeing Madness: Mental Illness and Visual Culture. (=CDIN 51700; ENGL 51305; CMST 57000; CMLT 51700) This course will ask how the experience of insanity is conveyed and represented. What are the face and look of madness? How does madness make itself visible? How has it been treated as exhibition and spectacle? These questions will be approached while keeping two considerations at the forefront: first, how madness is understood to manifest itself; second, how it is in turn displayed and represented in a number of different (western) cultures. The first of these two considerations engages the history of the concept—the place of madness in medicine and the political-cultural framing of the “insane” as a legal, social, and clinical category. This includes as well what the conventions of madness are and how they change with the history of medicine as well as of cultural givens. The aim here is not to undertake such a historical account fully. Rather, students will be looking at moments in the history of madness when the idea is redefined or at issue. The second of the considerations for the seminar is the theater of madness—that is, how madness is represented graphically, from drawings to the modern media of photography, painting, cinema, architecture, and literature. Theoretical readings will include Freud, Foucault and Lacan, among other theorists and practitioners. In literature, students will be reading passages from texts such as Don Quixote, Breton’s Nadja, Marat/Sade, late Nietzsche, and Hölderlin. Students will explore a number of films (e.g A Beautiful Mind, Vertigo and David and Lisa), early photographs, drawings and paintings, and blue prints from various eras for the housing of "the insane." W.J.T. Mitchell, F. Meltzer. Winter.

49011. Materialities of Modern Art. PQ: Limited to 12 students. Please e-mail Prof. Mehring by January 1 for permission to enroll, explaining background in art or art history and particular interest in the topic. Exploring the significances of materiality in art, particularly in modern art, this seminar will test the art historical relevances of theories and histories of materials, and, by extension, of matter, tactility, touch, things, objects, commodities, use, craft, and design. Readings will be drawn from a variety of disciplines, including aesthetics, art history, anthropology, literary theory, philosophy, visual and material culture. Part of the purpose of the class is to jointly plan and mount a small exhibition on materiality at the Smart Museum scheduled for winter 2011. C. Mehring. Winter.

49900. Historiography. Description forthcoming. Spring.