Last updated: February 18, 2014

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N. Atkinson, H. Badamo, P. Berlekamp, C. Brittenham, S. Caviglia-Brunel, C. Cohen, P. Crowley, J. Elsner, P. Foong, C. Foxwell, C. Fromont, T. Gunning, M. Jackson, A. Kumler, L. Lee, A. Leonard, J. Lopez, C. Mehring, R. Neer, K. Taylor, M. Ward, H. Wu

Courses: Art History (ARTH)

Autumn 2013

Undergraduate Courses

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. 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.

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.

14307. Greek Art and Archaeology I: From the Bronze Age to the Persian Wars. This course will survey the art and archaeology of the ancient Greek world from the Bronze Age to the Persian Wars (480 BC).  We will study early civilizations of Minoan Crete and Mycenaean Greece, and their dramatic collapse in the twelfth century BC.  We will then see the emergence of a new political and social system based on city-states, featuring distinctive forms of sculpture, architecture, pottery, and urban design. Along the way, students will acquire a conceptual toolkit for looking at works of art and for thinking about the relation of art to social life. The big question is: how can we make sense of the past by means of artifacts? R. Neer.

15500. 19th Century Art. This course provides a critical survey of the major developments in nineteenth-century European Art. We will look at stylistic transformations in art of the period within their broader cultural, historical, and political contexts. A strong emphasis will be put on close examination of works of art in different media (painting, sculpture, drawing, print), and thinking about them through various interpretive models. While doing so we will be addressing questions of modernism, artistic innovation and relation to tradition, genre definitions, and public versus private settings of display. This class will have several visits to local collections (the Smart Museum and the Art Institute of Chicago). Artists to be discussed include: Jacques-Louis David, Francisco Goya, Théodore Géricault, Eugène Delacroix, Caspar David Friedrich, J.M.W. Turner, Honoré Daumier, Gustave Courbet, August Rodin, Eduard Manet, Edgar Degas, Claude Monet, Georges Seurat, Paul Gauguin, Vincent Van-Gogh, Paul Cézanne, and others. T. Mayer.

15600. 20th Century Art. This class provides a critical survey of the major movements, paradigms, and documents of European and American art of the 20th century. Special attention will be given to crucial problems: the relation of art and politics, art’s response to mass media and consumer culture, and the understanding of terms such as “modern,” “avant-garde,” and “postmodern.” More broadly, we will study fundamental tools for examining works of art formally, historically, and critically. The course is not intended as a complete survey of 20th century art; rather, it will address the complex set of aesthetic, philosophical, and political motivations that shaped the artistic production of select figures and movements, including Cubism, Dada, Surrealism, Pop Art, Minimalism, Performance Art, and Appropriation Art. L. Lee.

16413. Maya Art and Architecture. This course provides an introduction to the art of the ancient Maya of Mexico, Guatemala, and Honduras from the first millennium BC to the time of the Spanish invasion.  Beginning with the earliest developments of monumental art and architecture, studying through the competition between flourishing city-states, and examining moments of contact with other regions of Mesoamerica, this course examines topics such as architecture and urbanism, courtly and sacred arts, word and image, and the relationship between art and identity. C. Brittenham.

17000 through 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.

17207. Image and Word in Chinese Art. 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.

17410. Frank 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 required one-day Friday 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.

17700. 19th Century Art 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.

17800. Leonardo and Michelangelo. This course examines the art and personality of the two artists who are often considered the culminating figures of the Italian Renaissance with special attention to their identification as "High Renaissance" practitioners.   We will be try to understand the Florentine artistic and cultural context out of which these two near-contemporary, but very different, individuals emerged.  Their careers will then be studied in the context of the other major centers in which they worked, especially Milan and Rome.  We will concentrate on relatively few works, while taking 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 the artists as means of thinking about their creative methods and the complex issue of artistic intention. C. Cohen.

24619. Visual and Material Perspectives on the Silk Road. Arts and materials are always on the road, transferring and transforming. This material movement, along with customs, ideas and beliefs, challenges modern national discourses of the history of art. As a superhighway of trade and of cultural exchange both on land and over sea, the Silk Road linked China and Japan to the Mediterranean World across Central Asia in ancient times. Following this famous road, this course explores how arts and materials move across space, from border to border, shaping and reshaping culture after culture over a long period of time. Focusing on the eastern part of the route that connects India, Central Asia, China, and Japan from antiquity to the medieval period, this course surveys a variety of artworks and visual materials not only in formal and iconographic terms but also in social, political, and particularly religious perspectives. Organized chronologically, geographically, and thematically, major works for study include cities, temples, caves, icons, relics, and tombs related to Buddhism, Zoroastrianism, Manichaism, Nestorian Christianity, and Islamism that shaped the minds and lives of the people who spread along the route. J. Shi.

25608. History of Video Art. Artist and critic Gregory Battcock wrote in the early 1970s, “video art is art that will stretch the boundaries of the art world.” This course will take up Battcock’s polemic as a question: how did video promise to transform postwar art practice and criticism? We will focus primarily on the U.S. context during the period now described as early video: 1960s-1980s. Of particular interest will be video’s separation from (and continual return to) television—from transmissions of art on television to notions of artists' television. Additional topics include the influence of civil rights protest; expanded cinema and multi-channel environments; the circulation of early video in print formats; video collectives; exhibitions such as Software and Information; feminist performance; appropriation; installation and the rise of projection; and video as a paradigmatic instance of “social media.” We will also consider the particularity of early video in Chicago, from video synthesizers to the Video Data Bank. S. Nelson.

25800. 20th Century Performance Art. Though encompassing a variety of activities, the term performance art generally refers to event-based practices in which the artist’s body functions as a medium. This course will introduce students to a number of performance art’s developmental trajectories, along with an equally expansive range of historical and conceptual frameworks through which to understand them. Focusing on performances both within and outside of major art centers throughout Europe and America, we will survey canonical movements and practitioners while also investigating less familiar practices. Special attention will be paid to the ways in which specific performances intersect with and, in some cases, productively complicate topics central to the study of modern and contemporary art, including spectatorship; presence and the body; materiality and dematerialization; participation and collectivity; spectacle and mass culture; autonomy and alienation; and the politics of representation. Artistic practices will be framed through readings drawn from the fields of art history, cultural studies, sociology, anthropology, and performance studies. M. Maydanchik.

Undergraduate and Graduate Courses

22609/32609. Skills and Methods in Chinese Painting History. This course aims to provide groundwork skills for conducting primary research in Chinese painting history. Emphasis will be on sinological tools and standard resources relevant to the study of early periods, especially the Song and Yuan Dynasty, to develop proficiencies in analyzing materials (silk, paper, mounting, ink, color) and investigating provenance (identifying seals, inscriptions), as well as to gain familiarity with the scholarship on issues of connoisseurship, authenticity, and quality judgment. There will be weekly task-based reports and a final research paper. P. Foong.

24040/34040. Making History, Painting in Eighteenth Cenutry France. History painting is the object of our course. In particular, the crisis which affected history painting in Eighteen century France: crisis of fable, crisis of narrative, crisis of pictorial verisimilitude.  We focus on the genesis of history painting through the academic training and the artistic practice founded on imitation. We study the emergence of new features (lack of action, repetition, new temporality, hybridization) together with the emergence of a new conception of “novelty” or a new conception of painting as an object of sensual and sensitive pleasure. We consider material practices, theory of art, criticism, social and political involvements. S. Caviglia-Brunel.

28606/38606. Early Twentieth-Century Urban Visions. It is hard to understand contemporary architectural debate about how cities should develop without knowing its origins in the influential city planning proposals developed by architects and planners in pre-World War II Europe and North America. This course studies those foundations, looking at the period when modernist architects and intellectuals proclaimed the obsolescence of the metropolis just as it came to dominate the modern landscape. We will examine a variety of strategies devised to order or replace the metropolis during the late nineteenth and early twentieth centuries, ranging from the City Beautiful movement in Chicago, Camillo Sitte’s influential critique of Vienna’s Ringstrasse, and the English garden city alternative Lewis Mumford championed for the New York region, to Le Corbusier’s Plan Voisin for Paris, and Frank Lloyd Wright’s Broadacre City model displayed in New York’s Rockefeller Center. We conclude with urban renewal in New York and Chicago, and Jane Jacobs’ reaction. Course readings are in primary sources.  Focusing on particular projects and their promulgation in original texts and illustrations, as well as in exhibitions and film, we will be especially concerned with their polemical purposes and contexts (historical, socio-cultural, professional, biographical) and with the relationship between urbanism and architecture. K. Taylor.

Graduate Courses

40013. Network Aesthetics | Network Cultures. (=CDI 50013). In the mid-twentieth century, the network emerged as a dominant structure and prevailing metaphor of our globalizing world. In recent years, across various disciplines, networks have been used to describe cellular structures, viral ecologies, terrorist organizations, economic markets, social communities, and, most of all, the Internet. In this course, we turn a critical eye to the network structure and try to determine what is at stake in claiming that everything is interconnected. In this seminar, we explore what happens when we imagine things as networks. How does this paradigm shift affect art, narratives, philosophy, politics, and archival thought? What is the explanatory power of networks? What is the longer history of networked media? How do networks shape the digital humanities? In our turn to network aesthetics, we propose to explore the effect of networks on both narrative and procedural forms, including novels, films, electronic fictions, videogames, and new media art. In our turn to network culture, we will delve into theories that may include the work of Albert-Laszlo Barabasi, Manuel Castells, Wendy Chun, Gilles Deleuze and Félix Guattari, Alexander Galloway, Bruno Latour, Bernhard Siegert, Tiziana Terranova, and others. In addition to regular blog posts and a conference paper, we will explore networked digital environments and experiment with new media methods throughout the quarter. P. Jagoda and E. Rossaak.

40100. Art History Methodology. R. Neer.

40505. Imago: Concepts of the Image in Classical Antiquity. Over the past twenty-five years, the question “What is an image?” has been posed with an increasing urgency from a diversity of disciplinary perspectives such as art history, anthropology, and philosophy. Despite the contemporary nature of this discourse, both the history and the lexical field of the problems it seeks to interrogate are traditionally recognized to have had their genesis in classical antiquity. In this seminar, we will adopt a stereoscopic approach to the ontology of the image by attending to both its ancient and modern definitions and the ways in which they are mutually implicated. In addition to exploring how ancient concepts of the image have been constituted in written discourse, we will likewise consider how the concepts themselves can be made visible in works of art. While the focus of this seminar will be placed on the cultures of ancient Greece and Rome, significant attention will also be paid to the foundational contributions of the ancient Near East. P. Crowley.

41600. Technologies of Visualization: Florence Then and Now. This course explores the uses of technologies of visualization for the production of humanistic knowledge with Renaissance Florence as both subject (the origin of literary and artistic “picturing” techniques that enabled new modes of representing individuals as well as geographies, and stimulated new ways of relating the visible to the invisible) and as object of representation (in stories, novels, films, images, as well as more abstractly in social network mapping, virtual imaging, and even videogame construction). We will be looking at technological phenomena including the Renaissance-era invention of perspective, the telescope, cartographical and chorographical innovations, and improved mirrors, and their impact on conceptualizations of the self, knowledge, and power in Machiavelli and others. But we also will be considering Florentine technologies of representation as the prehistory of the contemporary transformation of the real into digitally-mediated forms via geospatial mapping, network analysis, cinematography, and even videogame production. We will be asking if the Florentines have any lessons to share about the possibilities, dangers, and pleasures of technologized representation. N. Atkinson.

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 relationships between 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.  Each student will write a research paper on a topic to be developed in consultation with the instructor. P. Berlekamp.

47104. Kings, Culture, and the Three Religions of Medieval Spain. (=SCTH 37104) This course will approach the artistic, scientific, literary, political and religious projects of the Christian monarchs Alfonso X “the Wise” (king of Castile from 1252-1284) and James “the Conqueror” (King of Aragon from 1213-1276).  It will focus on the inter-religious context of these projects, and ask how their cultural dynamics of were shaped by the interaction of the Christian, Muslim, and Jewish communities living under their rule.  Particular attention will be paid to the material production of Alfonso X’s scriptoria, with special emphasis on the illuminated scientific, musical, and poetic manuscripts. D. Nirenberg.

48304. Museums and Media. Focusing on the period from 1900 to 1970, and taking as its point of departure André Malraux’s notion of the imaginary museum, this seminar will  consider the historical inter-relatedness of the uses to which various reproductive media have been put and developments in art museum practices.  Our focus will be on how reproductions been thought to shape ways of viewing and valuing original works, and how their impact has changed over time.  More specific topics include varying methods and senses of authentication, canon formation, exhibition design and education.   Readings and discussions will consider mainly European and American examples from 1860 to 1960, but student projects may extend beyond these parameters.  Each student will be required to produce a research paper and class presentation. M. Ward.

50100. Teaching Colloquium. Led by a faculty member each fall, this seminar meets weekly for 80 minutes, to address various topics through discussion with visitors (especially department faculty members) and occasionally through discussion of assigned readings. On the premise that one learns the most about teaching not well in advance but rather by reflecting with peer and senior colleagues on techniques and problems when one is in the midst of the challenge, this forum is meant to address participants' specific concerns and experiences, especially those related to art history. The quarter's topics are determined with student input and may include: the structure of the art history college core course program in which all faculty and students teach; the jobs of course assistant and writing intern; instructor authority and classroom dynamics; leading discussion; effective lecturing; strategic use of pictures in classroom teaching; small-group class projects; designing and grading assignments; designing syllabi. From year to year, the colloquium may address similar topics but the emphasis and tips will change depending on the participants. The department requires third-year students to participate fully in the colloquium, register for credit, and earn a Pass. More advanced students who have previously taken the colloquium are welcome to return on an occasional or regular basis to share experiences, strategies, and to seek advice on new teaching challenges. Required of third year students.

Winter 2014

Undergraduate Courses

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. 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.

14000 through 16999. Art Surveys.

14105. Introduction to Roman Art and Archaeology. This course offers a survey of the art and archaeology of the Roman world from the founding of Rome in the eighth century BC to the Christianization of the Empire in the fourth century AD. Students will witness the transformation of Rome from a humble village of huts surrounded by marshland in central Italy into the centripetal force of a powerful Empire that spanned mind-bogglingly distant reaches of space and time. Throughout the course, we will consider how the built environments and artifacts produced by an incredible diversity of peoples and places can make visible larger trends of historical, political, and cultural change. What, we will begin and end by asking, is Roman about Roman art? P. Crowley.

14200. 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 trace how images and art-making took on new roles—and re-invented old ones—over the course of the Middle Ages. We 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 include medieval sources (in translation) and exemplary modern scholarship. A. Kumler.

14407. Greek Art and Archaeology II: From the Persian Wars to the Coming of Rome. This course will survey the art and archaeology of the ancient Greek world from the Persian Wars (480 BC) to the rise of Rome (ca. 1st century BC). Major themes will include the place of Greece within a larger Near Eastern and Mediterranean context; the relation of art and empire; the cultural dynamics of ethnic strife; and the relation of art to philosophy.  Along the way, students will acquire a conceptual toolkit for looking at works of art and for thinking about the relation of art to social life. The big question is: how can we make sense of the past by means of artifacts? A. Rosenberg.

16100. Art of the East: China. This course is an introduction to the arts of China focusing on the bronze vessels of the Shang and Zhou dynasties, the Chinese appropriation of the Buddha image, and the evolution of landscape and figure painting traditions. This course considers objects in contexts (from the archaeological sites from which they were unearthed to the material culture that surrounded them) to reconstruct the functions and the meanings of objects, and to better understand Chinese culture through the objects it produced. Wu Hung.

16600. Latin American Art. (=LACS 16700) This introductory course provides a critical survey of Latin America art from Spanish military conquest of the New World to the development of conceptual art (1521 to ca. 1980). We will learn to observe and describe different kinds of artifacts, made in a broad array of media (painting, sculpture, urban form, photography, engraving, and drawing, among others) to explicate the social context in which they were produced and circulated. By taking into account their constant dialogue with European ideas and models, we will analyze how colonial encounters, national formations, and cultural exchange took place in the region, and how identity, ethnicity, politics, and the sacred have been depicted in different historical moments. No background in art history or in Latin America is required for this course. R. Granados.

16800. Arts of Japan. 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 woodblock prints are among the topics covered. C. Foxwell.

17000 through 18999. Art in Context.

17101. Athenian Vase-Painting: Wine, Myth and Politics. From roughly 750 to 350 B.C.E., the city of Athens produced extraordinarily fine pottery bearing detailed figural scenes. The material was functional, much of it destined for use at orgiastic drinking parties for the city’s elite.  This course will examines Athenian painted pottery from a variety of critical perspectives. Topics include the consolidation of civic identity during the early years of the Athenian city-state; the politics of upper-class display; the use of myth; relations between imagery and intoxication; mortuary customs; gender and sexual practices; the development of democratic ideology in the early fifth century BC.  We will pay special attention to the differing ways in which art historians, archaeologists and cultural historians treat this material as evidence for arguments about the historical past.  Participation will involve 2-3 trips to the Art Institute. R. Neer.

17205. Islamic Gardens in Landscape and Image. Garden imagery is ubiquitous in the art and architecture of the Islamic world from the eighth century to the eighteenth, and from Spain to India. The poetic trope whereby a visually pleasing object or site is compared to the garden of paradise is equally ubiquitous. But does this imply any historical consistency in the significance of garden imagery, of actual gardens, or of the poetic trope? In this class we explore this question by examining both garden imagery and actual gardens from many different times and places in the Islamic world.  How do their visual forms and cultural significance shift according to specific historical circumstances? P. Berlekamp.

17707. Materiality as Meaning: Art from 1950 to the Present. This course investigates art after 1950 through specific ways artists have exploited non-traditional materials and their properties for symbolic significance and affective power. By working in chocolate or latex, urban detritus or industrial waste, painters and sculptors have not only pushed against conventional modes of art-making, but have responded to contemporary society. We will pay particular attention to the economic, political, and social contexts that give meaning to a given choice of artistic materials and means of production. Do such choices respond to post-war privation, to planned obsolescence in advanced capitalism, or to the impact of globalization on developing nations? Are they charged with private meaning or do they claim to have universal impact? How does exacerbated materiality alter viewer-object relations by eliciting affective responses like revulsion, alienation, identification, and attraction? This seminar will approach major American and European artistic movements after 1950—including arte povera, proto-pop, minimalism, process art, feminist performance, and installation art—through their expanded material repertoires. L. Lee.

24500. Arts in Italy and France in the Seventeenth and Eighteenth Centuries. This course presents the evolution of the arts in Italy and France from the early seventeenth century through the eighteenth century, focusing on painting and sculpture. Through the lens of major artists and their works, we will examine a range of issues in the relations of art and society: the emergence of a new language in visual arts at the time of the Counter-Reform (from the Caracci reform and the Caravaggio naturalistic quest, up to the establishment of Baroque), how art becomes an instrument of power under the absolutist government of Louis XIV, the increase in popularity of the genres mineurs during the Eighteenth century, the development of the rococo figurative language (especially characterized by pleasant subjects and galant dimension), the emergence and establishment of a moral painting. Students will gain familiarity with the major artists and questions of the time, they will develop their ability to read critically, to look and to analyze unfamiliar works of art. S. Caviglia-Brunel.

27330. The White Cube. Over roughly the past 80 years, the display of modern and contemporary art has become synonymous with the “white cube,” which may be broadly defined as an uncluttered gallery space with white or neutral walls; single-row displays of paintings or other two-dimensional artworks; flexible interior architecture (e.g., movable walls); and, oftentimes, natural overhead lighting. While the rough strokes of the white cube’s history are well known, this course asks questions in order to chart a more rigorous history and conceptualization of the white cube paradigm. To what extent, for example, did the white cube’s roots extend back before the late 19th century? How should we situate the white cube in relation to other display practices that emerged at roughly the same time? To what extent did the white cube paradigm and art-making practices dynamically reshape one another after World War II? And finally, despite the seeming reification of the white cube in art museums and galleries, how have artists, critics, and curators over the last three decades attempted to transform or otherwise problematize the white cube? M. Tymkiw.

27404. Mapping the City: Avant-Garde Itineraries in Twentieth-Century Europe. Taught in conjunction with the Smart Museum exhibition and events series, Interiors and Exteriors: Avant-Garde Itineraries in Postwar France, this course will examine the history of European avant-garde movements from their nineteenth-century origins through the postwar era. We will investigate how artists map social and psychological experience in their cities to forge collective subcultures that outline ideals for social transformation in journals, manifestoes, and public interventions. This course will focus on the relationship between art, politics, and movements for social change as artists reach beyond painting and sculpture to adopt film, mass media, poetry, and performance into their work to articulate new relations between their public and their cities. We will visit local collections at the Art Institute of Chicago and Smart Museum and students will be encouraged to participate in two re-enacted performances that will be held on campus during Winter Quarter 2014. M. Sarvé-Tarr.

Undergraduate and Graduate Courses

23300/33300. Early Renaissance Art 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.  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 personalities studied in the course are Masaccio, Donatello, Brunelleschi, 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.

25900/35900. Theories of Media. 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.

28002/38002. Islamic Art and Architecture of the Medieval Perso-Turkic Courts (11th-15th Centuries). This course considers art and architecture patronized by the Seljuk, Mongol, and Timurid courts from Anatolia to Central Asia from the eleventh to the fifteenth centuries. While the princes of these courts were of Turkic and/or Mongol origin, they adopted many of the cultural and artistic expectations of Perso-Islamicate court life. Further, many objects and monuments patronized by these courts belong to artistic histories variously shared with non-Islamic powers from the Byzantine Empire to China. Questions of how modern scholars have approached and categorized the arts and architecture of these courts will receive particular attention. Each student will write a historiographic review essay with a research component. P. Berlekamp.

28008/38008. The Fifth Dimension. The course is conceived to function as a research unit for the exhibition The Fifth Dimension, which unfolds at the Logan Center Gallery December 17, 2013 to February 16, 2014.  During these two months, works by seven international artists will be introduced into the Logan Center Gallery and the Logan Center building in a sequence rather than simultaneously, opening up the temporal conventions of an exhibition and attempting the gradual build-up of an atmosphere. Also appearing as ghosts or inspirations are Loredo Taft, Marcel Duchamp, Constantin Brancusi, and Sun Ra. The question of time – often understood as the fourth dimension – or what it means to render time paradoxical, to “pass it” (Taft by way of Henry Austin Dobson) or to “forget it” (Sun Ra) – will continue to surface. But rather than agree on the properties of the fifth dimension, the seminar will attempt to extend the atmosphere of the exhibition. The proceedings of the seminar will be recorded. Weekly seminars will involve lectures, discussions and critiques; trips to several key sites that serve as inspiration for the exhibition; and visits by participating artists. Assignments will explore various forms of research and writing to open up the process of speculation to critical scrutiny and processes of critical scrutiny to forms that expand the conventions of art/historical practice. Exhibition making – as a means of engaging with artists and foregrounding their works as distinct forms of knowledge and inquiry – will serve as a model. M. Szewczyk.

29503/39503. Mexican Murals. This course examines three vital moments of mural production in Mexico: ancient, colonial, and modern.  We will begin by looking at indigenous Mesoamerican wall painting traditions of Teotihuacan, the Maya, Cacaxtla, and the Aztecs, and then consider how these traditions were transformed by the encounter with Spanish colonialism to provide decoration for the walls of monastic churches.  Finally, we will examine the modern Mexican muralist movement, looking at the work of Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros and others, with a particular focus on Rivera’s murals at the Detroit Institute of Arts.  Throughout the course, we will consider mural paintings in relationship to architecture and other media, paying special attention to the different methodologies and kinds of evidence that have been used to interpret these works.  The course will also focus on developing research, writing, and presentation skills. C. Brittenham.

Graduate Courses

35201. Critical Perspectives in Latin American Cultural Heritage. This graduate seminar scrutinizes how material culture has been defined as cultural heritage. The starting point for analysis on how patrimony has been legally defined and employed will be UNESCO’s World Heritage List (created in 1978), where most of Latin American sites date from the colonial period (1521-1810). We will question the criteria employed for the inclusion of these churches and urban historic centers, and examine their links to identity, memory, cultural tourism, social development, and conservation. Through presentations by professionals and scholars, readings, and discussions, we will also consider the relationship that patrimony has property and human rights. Advanced undergraduate students may take the course with instructor’s approval. R. Granados.

40201. Topics in Contemporary Theory and Criticism. (=ARTV 40201). This seminar focuses on key theories and theoretical debates in the critical discussion of contemporary art. Through close examinations of selected texts, exhibitions, and events, we will engage with a set of concepts and concerns that have shaped the discourse around cultural production in recent decades. Rather than presenting a comprehensive survey, the seminar will involve intensive investigation of certain key positions and debates and their relevance for thinking about artistic practice today. J. Proctor.

45203. History and Theory of the Avant-Garde. (=CMST 65203). In this seminar we will examine classic theories the avant-garde, canonical histories of avant-garde film, and contemporary scholarly works. Our central objective will be to explore how theories of the avant-garde simultaneously present models of history, while we will also consider how the inclusion (or exclusion) of the film medium transforms or challenges purportedly resolved questions in the theory and history of vanguardism. Designed to span the 20th century, this seminar will consider topics ranging from the historical European avant-garde, the first film avant-gardes, the neo-avant-garde, New Wave film movements, structural film, and contemporary moving image practice. Authors may include P. Bürger, R. Pogolli, P.A. Sitney, J. Kristeva, G. Marcus, R. Krauss, B. Buchloh, M. Calinescu, and others. Attendance at all screenings is mandatory. MAPH students may enroll with instructor’s consent. J. Wild.

46604. Whose Paris? Walter Benjamin famously described Paris as the capital of the nineteenth century, and his archival, uncompleted Arcades Project gave that epithet, thanks to posthumous publications and translations of his notes, a very long life.  However complex Benjamin's characterization of this proto-modernist capital, the term carries certain implications.  Paris is equally the city of the commune, the insurrectional and ungovernable metropolis, less the capital than a figure and object of contention.  We will read a number of interpretations of Paris from the point of view of who Paris can be said to belong to, from the Enlightenment to recent times, considering them in light of how Paris has changed material form in the modern period.  Seminar members will assume responsibility for different moments in the city's material history, which will give us each a vantage point for examining our readings from a materialist and historical perspective as well as a methodological one.  Required: research paper, presented in both oral and written versions.   Reading knowledge of French highly desirable for research; seminar readings will be in English. K. Taylor.

47606. Narrating the Artist in East Asia and Beyond. In recent years, the project of the artist's monograph has been subjected to criticism and analysis, yet the single-artist study remains important to our discipline. These methodological reflections should be taken seriously in the case of East Asia, where notions of the (primarily male) artist or painter and his place in society prior to the twentieth century must be evaluated on their own terms. Drawing on both premodern and modern cases, this course proposes to do just that, reading primary texts where possible and evaluating a range of recent monographs. When and how do European and American tropes of the artist enter the picture? How do ethnic and regional background, gender, medium, and socioeconomic status complicate the narration of the Asian and Asian American artist? How well does art historical writing accommodate the type of visual knowledge that can only be gained by in-depth contemplation of the artist's works? For the final paper, students are encouraged to present a case study or comparison of their choice drawn from East Asia and beyond. C. Foxwell.

Spring 2014

Undergraduate Courses

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. 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.

14000 through 16999. Art Surveys.

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, with a look back at the 14th Century. 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., the “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. The ability to talk critically and creatively about text and image will be the focus of required biweekly section meetings. C. Cohen.

14505. Global Middle Ages. Focusing on the art and architecture of the Mediterranean and Middle East, this course provides a survey of monuments and artifacts produced at places of exchange. Its goal is to help students understand the complexity of religious, political, and visual interactions in the Middle Ages, a period in which the rise and expansion of Christian and Islamic polities brought together diverse religious communities, generating both social frictions and new cultural forms. We will examine visual representations from spaces of contact in the Byzantine, Islamic, Spanish, Norman, and Venetian Mediterranean realms, giving due attention to the minority cultures within these governing polities. H. Badamo.

15609. Visual Art in Postwar U.S. A survey of major figures and developments in visual arts and related fields in the United States since roughly 1945. Chronological in progression, this course nevertheless affords a wide view of consequential developments in and beyond major art centers and occurring across mediums and national borders. Themes to be considered will include Abstract Expressionism, Color Field Painting, Happenings, “Neo-Dada,” Pop Art, Minimal Art, Process, Performance, Conceptual Art, Experimental film and video, Postmodernism, Feminist and Queer practice, and others. J. Sichel.

15780. Modern Art from the Enlightenment until Today. Surveying the history of modern Western art from the 18th through the 21st century, this course will introduce students to the artists, art works, and issues central to the relationship between art and modernity: the rise of the self and identity politics, the growth of the metropolis, the questioning of the "real" and the invention of photography, the autonomous thrust and semiotic potential of abstraction, the political ambitions of the avant-garde, and the impact of consumer and media cultures. Most discussion sections will center on original works of art and take place in the Smart Museum of Art. C. Mehring.

16100. Art of the East: China. This course is an introduction to the arts of China focusing on the bronze vessels of the Shang and Zhou dynasties, the Chinese appropriation of the Buddha image, and the evolution of landscape and figure painting traditions. This course considers objects in contexts (from the archaeological sites from which they were unearthed to the material culture that surrounded them) to reconstruct the functions and the meanings of objects, and to better understand Chinese culture through the objects it produced. J. Xu.

16709. Islamic Art & Architecture, 1100-1500. 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.

16910. Modern Japanese Art and Architecture. This course takes the long view of modern Japanese art and architecture with a focus on the changing relationships between object and viewer in the 19th and 20th centuries. Beginning in the late eighteenth century with the flowering of revivalist and individualist trends and the explosion of creativity in the woodblock prints of Hokusai and others, we will then turn to examine Western-style architecture and painting in the late nineteenth century; socialism, art criticism, and the emergence of the avant garde in the early twentieth century. Also covered are interwar architectural modernism, art during World War II, and postwar movements such as Gutai and Mono-ha. No familiarity with art history or Japan is required. C. Foxwell.

17000 through 18999. Art in Context.

17107. Chinese Calligraphy and Civilization. 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 introduces concepts central to the study of Chinese calligraphy from pre-history to the present. We discuss materials and techniques; aesthetics and communication; copying/reproduction/schema and creativity/expression/personal style; public values and the scholar's production; orthodoxy and eccentricity; and official scripts and the transmission of elite culture through wild and magic writing by “mad” monks. P. Foong.

17310. Between the Agora and the Shopping Mall. 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. N. Atkinson.

17909. Sculptural and Spatial Practices in Modern and Contemporary Art. This course will trace critical sculptural and spatial practices of the twentieth and twenty-first centuries—from the readymade to the found object, from spatial construction to kineticism, and from site-specificity to installation art. These artistic practices amount to an interrogation of sculpture, which has resulted in the radical redefinition of its status, means, and meanings. We will attend to art historical discourse that grapples with sculpture’s transformation from relatively self-contained statuary to a range of artistic procedures that stress temporality, materiality, and interactivity. We will also consider the ways in which the sculptural discourse is entangled with theories regarding the commodity, collective and individual bodies, sites and places, architecture, and the public sphere. L. Lee.

18109. Visual Style in Still and Moving Images. The course surveys elements of styles and techniques common to the visual arts. We will discuss framing and editing, moment and movement, action and narration and other visual devices as used by artists, photographers, architects and filmmakers in the late nineteenth and early twentieth centuries. Y. Tsivian.

24250. A Visual History of Latin American Women. This undergraduate seminar will analyze both visual and literary images of and by women to show their role in society and the transformations experienced in terms of their civil, political, labor, and reproductive rights. These vignettes, which span from Pre-Colombian times to the present, will be examined from an art-historical perspective, thus providing students with the opportunity to discuss Latin America’s historical context through visual culture. R. Granados.

Undergraduate and Graduate Courses

23601/33601. Pre-Columbian Arth and Architecture in the Modern Imagination. This seminar examines pre-Columbian architecture in the modern imagination (1521 to the present). One of the principal questions that this course addresses is: How and why is the architecture of the ancient Americas integral to the social, political, and cultural events of the modern period? To that end, we will analyze how this architecture is depicted in paintings, plaster molds, models, engravings, photographs, architectural drawings, archaeological illustration, and theater design. Through readings and discussions students will gain understanding of how each medium evokes ideas about the aesthetic character of pre-Columbian building forms and how these ideas support the theories and events of the modern period. Weekly readings and participation are required. A term paper will be due at the end of the quarter. J. Lopez.

23903/33903. Northern Renaissance Painting in Context. The weekly seminar will be held at the Art Institute of Chicago.  It will examine the activity of painters as designers and makers of works of art in northern Europe, particularly the Burgundian Netherlands, from about 1400 to 1530. Students will be introduced to the issues of historiography and documentation that surround the work of the pioneering painters of this period, notably Jan van Eyck and Rogier van der Weyden as well as their successors. Through discussion of workshop organization, painting process and the connections between painting and other media including sculpture, tapestry design, and manuscript illumination, students will gain insight into the role of painting in this transitional period.  The course will use the collections of the Art Institute and, when possible, the facilities of the Art Institute’s Conservation Department to trace the artist’s working process and to gain a sense of the degree to which paintings now displayed on the walls of a museum have been removed from their original context, either that of a larger, public multi-part work combining painting and sculpture, or a private object kept in a study and brought out for individual use. M. Wolff.

24105/34105. The Archaeology of Death in Ancient Rome. This course serves as a general introduction to the commemoration of death in Roman funerary monuments, giving particular attention to the social bonds they were meant to express and reinforce through visual modes of address.  Memorials dedicated by a socially diverse group of patrons including both elites and non-elites, metropolitan Romans and far-flung provincials, will be studied in relation to an equally diverse body of material evidence including tomb architecture and cemetery planning, inscriptions, sarcophagi and cinerary urns, and portraiture.  The course will also take advantage of sites in Chicago such as Rosehill or Graceland Cemetery as important points of comparison with the ancient material. P. Crowley.

25005/35005. Nineteenth-Century Prints. Using a wide range of examples from the Smart Museum collection, this course will examine the various techniques, meanings, aspirations, and publics of nineteenth-century European printmaking, from the invention of lithography in 1798 to the color innovations of the 1890s.  Among the topics to be investigated are prints as multiples; reproduction and originality; caricature; color in prints; the etching revival of the 1860s; and the practice of collecting.  Students will not be expected to have any prior knowledge of prints or printmaking techniques but may benefit from a general acquaintance with nineteenth-century art.  Major artists to be considered include Delacroix, Daumier, Whistler, Meryon, Buhot, Fantin-Latour, Tissot, Bonnard, and Toulouse-Lautrec. In part a history of nineteenth-century art told through prints, this course will give students the tools to recognize and identify traditional print media and to explore broader themes such as the illustrative and narrative function of prints; their relationship to other art forms; and their participation in discourses of scarcity and value. In concert with other course requirements, the class will make a visit to a local print dealer, propose an acquisition, and help prepare a small exhibition drawn from the Smart Museum’s holdings. A. Leonard.

25613/35613. Art, Money, and Meaning. This course examines how artworks accrue meaning and value once they leave their creators’ hands. Working with the basic idea of art as trophy, we will concentrate on three main spheres in which meaning and valuations are attached to art: markets, museums, and muses (here understood as the phenomenon of iconicity and celebrity in art production and sales). Art market courses normally begin with a historical examination of historical antecedents, specifically the 16th and 17th century markets. We’ll begin instead with the Napoleonic seizure of artworks and antiquities from Italy and Egypt, which we’ll study as a key moment in the “trophying” of art. From there we will move into the 20th century, examining the economic, cultural, and institutional processes and mechanisms that shape the meaning and value of art. By “markets” we will include formal economic activity in which money is exchanged for art through auctions and private deals, as well as the spheres of meaning-making that play into or respond to formal art market dynamics: blockbuster museum displays, marketing tactics for specific genres or artists, prize competitions, and elite auction houses. F. Rose-Greenland.

28800/38800. Art and Religion in Late Antiquity. This course will explore the ways art helped to form and articulate religion in the late antique period, taking as its focus traditional forms of state and civic polytheism, the so-called mystery cults, late ancient Judaism and the rise of Christianity. The material is vibrant and the problems profound – both empirically and as a heavily invested ancestral basis for many issues of current concern in the construction of modern identities. The theoretical prism through which the investigation will take place will be simultaneously an archaeologically-nuanced art history of actual objects and sites, and a critical historiography of the constructions of religion in the period, awake to varieties of apologetic and ideological agendas (Catholic, Protestant, Orthodox, secularist) in the approaches of modern scholarship.  The course will not require reading in languages outside English (although knowledge of ancient languages and a command of modern European languages will be helpful) and it will be taught as a 3-hour seminar on a speeded-up twice-a-week model over 5 weeks in the Spring. J. Elsner.

29400/39400. Feminine Space in Chinese Art. “Feminine space” denotes an architectural or pictorial space that 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 composed of landscape, vegetation, architecture, atmosphere, climate, color, fragrance, light, and sound, as well as selected human occupants and their activities. This course traces the construction of this space in traditional Chinese art (from the second to the eighteenth centuries) and the social/political implications of this constructive process. Wu Hung.

Graduate Courses

42911. 21st Century Art. his course will consider the practice and theory of visual art in the late twentieth and twenty-first centuries. M. Jackson.

40301. Modernism/Postmodernism/Everythingism. The post–World War II era of decolonialization, the 1989 collapse of the Soviet Bloc, and the dawn of the globally networked 21st century could be described as marking three stages in the transition of the Euro-American art industry from a culture grounded in modernist notions of cultural experience toward the contemporary horizon of what might be called “everythingism”—with postmodernism serving as a placeholder somewhere in between. Or, at least, this is the narrative that our course will examine as we explore various aspects of visual art’s production and theorization over the past 50 years. M. Jackson.

43100. Venetian Mannerism. This course will cover the central post Giorgionesque years of the “golden age” of Venetian painting, including the mature career of Titian and the early years of Tintoretto and Veronese.  The central theoretical thrust will be to understand the uniqueness of Venetian art within the context of the Italian Renaissance by examining Venetian art and culture at a moment when it comes into heightened contact with the art of central Italy. Attention will be given to the nature and mechanisms of this interaction, especially after the sack of Rome, and responses to it such as Titian’s so-called crisis and the meaning of Mannerism in Venice. In addition to painting, we will selectively make use of drawing, sculpture, theory (especially the disegno-colorito controversy) and their quite particular venezianità. C. Cohen. 

44610. Spatial Strategies in the Chinese Tradition. 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.

46306. Art for the folk: Medieval England's Parish Churches and Pilgrimage Destinations. This traveling seminar will explore the sacred spaces of medieval England, both the period's great cathedrals and the more intimate spaces of a series of notable parish churches, ranging in date from the late Saxon period to the fifteenth-century. Our aim will be to immerse ourselves in recent scholarship on how the visual arts and architecture shaped popular experience of the sacred, both in its local manifestations and in pilgrimage to several of England's great cult centers. While medieval art history has often focused on the luxury arts available to elite audiences, this seminar will also pay close attention to the experience of late medieval "folk": those men, women, and children whose primary experience of art was framed and enlivened by their village or town church and—for some—by the practice of pilgrimage. Prerequisite: Places in this advanced seminar are quite limited and will be awarded on a competitive basis. Interested students should contact Professor Kumler no less than *one month* before registration to indicate their interest in enrolling; places will be assigned on the basis of a brief statement of interest and of preparation (further information will be provided upon initial email contact). A subset of required readings (primary sources) will require familiarity with medieval Latin &/or Middle English. Required student site presentations will entail reading and analysis of both secondary literature and primary sources (most untranslated; some still unedited). The seminar excursion is a requirement component of the course. A. Kumler.

49900. Historiography of Art History. This course, designed specifically for art history graduate students, explores the foundations of the art historical discipline as it emerged from the German intellectual context in the late 19th and early 20th centuries. It then focuses on those approaches that have proved most formative for the development of the discipline in Anglo-American contexts after the Second World War. Rather than attempting to cover a comprehensive history of the historiographic tradition, the readings will attempt to present a coherent, if highly complex and conflictive, narrative that remains open to continued interrogation by its practitioners. J. Elsner. 

50200. Dissertation Proposal Workshop. The Dissertation Proposal Workshop is conducted by a faculty member every spring to introduce third-year students to the tasks of preparing grant proposals and applications. Grant proposals are typically much shorter than the departmental proposal. Here you will read and critique each other's proposals. The aim of the workshop is to help you produce a finished proposal by the early fall of your fourth year and to prepare you to apply for grants at that time. Second year students who have room in their schedule and have a dissertation topic defined may enroll in their second year, with permission of their advisor and Director of Graduate Studies. You should register for the workshop for course credit. Grading is Pass/Fail. The time demands of the workshop will depend on how far along you are in developing your departmental proposal. If you are early in that process, working on a short grant proposal will help you define what you need to develop in both versions over the summer.