2014-2015

Last updated: March 2, 2015

Art History (ARTH) Course Descriptions (TENTATIVE—Subject to change)

Autumn | Winter | Spring

Faculty

N. Atkinson, H. Badamo, P. Berlekamp, C. Brittenham, S. Caviglia-Brunel, C. Cohen, P. Crowley, J. Elsner, C. Foxwell, C. Fromont, R. Granados, T. Gunning, M. Jackson, A. Kumler, A. Leonard, J. Lopez, C. Mehring, R. Neer, J. Proctor, F. Rose-Greenland, V. Sancho Lobis, M. Sullivan, M. Szewczyk, K. Taylor, M. Ward, H. Wu, Y. Zhu, T. Zhurauliova

Autumn 2014

Undergraduate Courses

10100. Introduction to Art. Students must attend first class to confirm enrollment. 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.

14115. Roman Art I: Republican and Early Imperial Art and Architecture. This course offers an introductory survey of the art and architecture of the Roman world from the legendary founding of Rome in the eighth century BC up through the beginning of the second century AD, when the Empire reached its point of greatest expansion. 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.

14700. Building Renaissance Italy: Urban Design and Social Life. This is an introductory course and survey of the major patrons, architects, and building programs that defined the spatial contexts of the Renaissance in Italy and meets the general education requirement in the Humanities Core. Between the 15th and 16th centuries, the political aspirations of governments, popes, princes, and merchants demanded a more articulated architectural environment that would facilitate increasingly complex modes of public and private life.  They were aided in this endeavor by the emergence of a newly professionalized class of architects, who turned their eyes towards both a systematic study of the classical past and a critical assessment of their contemporary world.  Renaissance urban palaces – both civic and private – and rural villas provided the stages upon which a new art of living could be performed.  New inventions in military engineering responded to rapidly advancing technologies of warfare.  Urban planning techniques created new topographies of spiritual and political triumph and reform, while treatises on ideal cities laid the foundations for the modern integrated multi-functional city. Between Venice, Florence, Rome and their rural surroundings, this course will focus on a range of important patrons such as Roman Popes, Venetian Doges, princely courts and private merchants, and will explore what made the works of such architects as Filippo Brunelleschi, Giuliano da Sangallo, Leon Battista Alberti, Francesco di Giorgio, Michelangelo, Jacopo Sansovino, and Andrea Palladio, so creative, innovative, and influential well into our own contemporary architectural landscape. N. Atkinson.

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. M. Jackson.

16460. Modern Latin American Art. This course offers an introductory survey of the art of modern Latin America from the first wave of independence in early nineteenth century to the present day. Through the study of key artists, movements, and works of art, we will attend to a set of central problems: the formation of collective identities in these new nations, the impact of revolution, dictatorship, and political violence on the development of art in the region, the incorporation of both foreign styles and indigenous traditions, and the shifting definitions of Latin American art. Special emphasis will be placed on developing the skills needed to analyze a wide variety of modern and contemporary art, including painting, sculpture, photography, performance art, and site-specific installations. M. Sullivan.

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. 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.

17015. Blood, Sweat, and Tears: The Sacred Image in Byzantium. During the Middle Ages, icons—sacred images—played a pivotal role in the devotional practice of Byzantium, the eastern Christian empire that had its capital in Constantinople from 324-1453. “Windows to heaven,” sacred images provided access to the divine. Despite their spiritual function, icons also drew attention to their materiality by erupting into life – bleeding, weeping, and attacking foes. In this course, we will combine the study of Byzantine images with Byzantine primary sources (in translation) to explore a range of topics related to the icon, including medieval image theory, iconoclasm, visuality, enshrinement, the copy, and materiality. Our investigation of Byzantine images will be enhanced through comparison with responses to the image in Islam, Judaism, and the Christian west. H. Badamo.

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. Fischer Taylor.

17612. The Art of Michelangelo. The central focus of this course will be Michelangelo’s prolific production in sculpture, painting and architecture while making substantial use of his writings, both poetry and letters, and his extensive extant body of preparatory drawings to help us understand more about his artistic personality, creative processes, theories of art, and his intellectual and spiritual biography, including his changing attitudes towards Neoplatonism, Christianity and politics. Our structure will be roughly chronological starting with his highly precocious juvenilia of the 1490s in Florence at the court of Lorenzo the Magnificent through his death in Rome in 1564 as an old man who was simultaneously already the deity of art and a lonely, troubled, repentant Christian, producing some of his most moving works in a highly personal style. Beyond close examination of the works themselves, among the themes that will receive considerable attention for the ways they bear upon his art are Michelangelo’s fraught relationship with patrons such as the Medici and a succession of popes; his complex devotion to and rivalry with ancient classical art and his living rivalries with Leonardo da Vinci, Raphael, Bramante and others; his changing attitude towards religion, especially his engagement with the Catholic Reform and some of its key personalities such as Vittoria Colonna; his sexuality and how it might bear on the representation of gender in his art and poetry; his “official” biographies created by the devotees Giorgio Vasari (1550, 1568) and Ascanio Condivii (1553) during Michelangelo’s lifetime and some of the most influential moments in the artist’s complex, sometimes ambivalent, reception over the centuries; new approaches and ideas about Michelangelo that have emerged in recent decades from the unabated torrent of scholarship and, especially, the restoration and scientific imaging of many of his works. Through the concentrated art-historical material studied, the course will take seriously the attempt to introduce students with little or no background in art or art history to some of the major avenues for interpretation in this field, including formal, stylistic, iconographical, psychological, social, feminist, theoretical and reception. Readings are chosen with this diversity of approach in mind. C. Cohen.

17700. 19th Century French Art in the Art Institute. In this course, we will closely examine 19th century paintings and other media 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 of 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.

225500. Histories of Cairo. This course examines the urban planning and architectural development of the city from the late antique era to the present. By studying urban planning and the main architectural types in different periods – churches, mosques, synagogues, palaces, defensive works, mausoleums, and houses – this course considers the role of architecture in shaping society. It combines study of monuments and primary sources with work on urban spaces from relevant disciplines, to addresses themes such as the temporalities of monuments, minorities within the Islamic city, orientalism, modernization, contemporary practices of preservation and accommodation, and the recent role of public spaces in politics. H. Badamo.

Undergraduate and Graduate Courses

21202/31202. Drawing Foundations in Early Modern Europe. This course addresses the foundations of humanist drawing in early modern Europe from the perspectives of disegno, as the conceptual and formal “foundation" of art, and from the critical art historical junctures in which drawing achieves both an intellectual and an autonomous status. By looking at the works of such important artists as Michelangelo, Leonardo, the Carracci, Rubens and Watteau, drawing will be analyzed in the context of its increasingly central place in the creative process, as a place of intellectual freedom, as a study tool to explore the past and the natural world, and as an autonomous work of art. By examining early “moments” of the humanist practice of drawing and artistic training from the standpoints of theory, practice, content and the art market, this course aims to further problematize the nature, evolution and stakes of early modern drawing as a cognitive and aesthetic process, and by extension, the relationship between drawing and other more “finished” works such as painting. Students will gain familiarity with drawing as an artistic medium related to major questions about art and society. S. Caviglia.

21415/31415. Gender and Sexuality in Roman Architecture. In the remote, but omnipresent past of classical antiquity, what kinds of experiences and practices fell under the umbrella of terms and concepts that we moderns call “gender” and “sexuality”? This course explores the fundamentally visual aspect of this question by drawing attention first and foremost to works of Roman art, but also to topics such as the erotics of vision, the senses of shame and modesty, and bodily comportment. While the robust corpus of ancient and modern literature on these topics will constitute an important part of our discussions, we will likewise consider the ways in which ancient art provides forms of evidence that are analogous, but never coextensive, with that of ancient texts. Finally, taking a cue from Tom Stoppard’s play The Invention of Love (1997), in which A.E. Housman declares that the “barbarity” of homosexuality is that it’s “half Greek and half Latin”, we will attend to the ways in which the dynamics of gender and sexuality took shape in a historical continuum in which the lines between what was “Greek” and what was “Roman” became increasingly blurred. P. Crowley.

24182/34812. Museums and Art. This course considers how the rise and development of the art museum in the 19th and 20th centuries affected the production of modern art and the viewing of past art. This is not a survey course but a historically oriented investigation of certain issues relating to museums, modern art and art history. We will concentrate on these matters: various debates about what happens to past art and to objects when they are uprooted and moved into the museum; how and why museums have changed display practices in the interests of getting viewers to look differently at past art; what artists have understood to museums to represent and how they have responded in their work and display preferences. Though reference will be made to the contemporary art world, we will focus on materials and case studies drawn from the French Revolution to the 1960s. French, German, English and American museums will be featured. M. Ward.

26301/36301. Art, Ecology, and Politics. This course studies earthworks, land art, installation, performance, and “social practice” art that is motivated by ecological concerns, exploring how artists and activists have adapted strategies to environmental issues over the past 50 years. Themes to be addressed may include sustainability, materiality, “thingness,” and recycling; human ecologies and political struggles in relation to gender, race, poverty, territory and indigeneity; utopia and dystopia; and information, affect, and crisis. Readings may include fiction and journalism as well as art historical scholarship and critical theory; the class may involve some film screenings and/or field trips within the Midwest outside of class hours. R. Zorach.

26707/36707. Modern Chinese Art in a Global Context. This course will explore the ways in which Chinese artists have defined modernity and tradition against the complex background of China’s history from the late nineteenth century to the 1970s. We will study modern Chinese art through the lenses of social and cultural history as well as cross-border comparison. A key issue for this art is the degree to which Chinese artists chose to adopt or adapt Western conventions and the extent to which they rejected them. Equally legitimate positions have been taken by artists whose work actively opposes the legacy of the past and by those who pursued innovations based upon their particular understandings of the Chinese tradition. Through examining art works in different media, including oil painting, graphic design, woodblock prints, traditional ink painting, photography, and architecture, along with other documentary materials including theoretical writing, bibliographical and institutional data, we will investigate the most compelling of the multiple realities that Chinese artists have constructed for themselves. Y. Zhu.

26710/36710. Eisenstein: His Films and Ideas. (=CMST 26610/36610). How well do we really know Sergei Eisenstein? His reputation has long been secure as creator of the Soviet cinema’s most enduring classics, and as a pioneer theorist and teacher. This class will help students to keep pace with a rising tide of Eisenstein’s scholarship to reveal a far more eclectic and erotic figure than tradition would suggest. Y. Tsivian.

26803/36803. Architectural Theory & Practice in the Enlightenment and the 19th Century. 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. Fischer Taylor.

28000/38000. Szalon Seminar. Taking place inside the exhibition Szalon this seminar takes time to consider salon culture and oral traditions and their transformative impact on our very conception of contemporary art. Using (yes, use and usefulness is a key concept here) the works in the exhibition and enjoying visits from contributing artists, the seminar participants will discuss and write about the lives of artworks in their midst, potentially augmenting the exhibition guide for posterity. With its specific notions of study and planning, Stefano Harney and Fred Moten's The Undercommons: Fugitive Planning and Black Study (New York: Autonomedia, 2013) serves as an important leitmotif in the course. M. Szewczyk.

Graduate Courses

30201. Topics in Contemporary Theory and Criticism. 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.

31511. Image, Spectacle, and Sound. This seminar seeks to introduce upper level undergraduate and graduate students in the humanities to the way in which images, sculpture, 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. Rather than isolate works of art, therefore, the goal of the course is to interrogate how they performed within the social life of the built environment. How were images (flags, banners, paintings, statues, coats of arms, relics, and miraculous images, altarpieces), spectacles (triumphal entries, marriages, passion plays, entertainments, political rituals, sacred processions), and sounds (sacred music, singers, church bells, trumpets, story-tellers, prophets) experienced by contemporaries? How were they consumed, interpreted, and remembered as a complex aesthetic ensemble? At a time when virtually all artistic projects were site-specific – and often temporally specific as well – and when such objects were a matter of worldly well-being and heavenly salvation, i.e., were a matter of life and death, what role did the art object play? The assumption of such a course is that the paintings, sculptures, and artefacts 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 the experience and viewership of art, rather than its 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 urban life and how it profoundly affected the lives of its audience. Therefore, the seminar seeks to explore the links between the iconographic interpretations made by art historians and those made by people in the more pedestrian social world of the past in order to bring new insight into the historical dimensions of the aesthetic experience. N. Atkinson.

33114. Aby Warburg and the Origins of Kulturwissenschaft(=GRMN 33114) This course explores Aby Warburg as a founder of Kulturwissenschaft in the context of other thinkers of the time such as Jacob Burckhardt, Sigmund Freud, and Walter Benjamin.  Trained as an art historian with an expertise in Renaissance art, Warburg morphed into a historian of images (i.e., Bildwissenschaft) and – more broadly – into a historian of culture.  We will trace Warburg’s cultural historical method as it develops primarily from philology, but also art history, anthropology, the comparative study of religions, and evolutionary biology.  How does Warburg read culture? What is his methodological approach for examining a wide variety of cultural artifacts ranging from Ovid’s Metamorphoses, Poliziano’s poetry, and Dürer’s etchings to postal stamps and news photographs? How can these artifacts be vehicles for cultural memory? And how does the transmission of cultural memory in artworks manifest itself in different media such as literary texts, religious processions, astrological treatises, photography, and painting? Moreover, how does Warburg’s work help us contextualize and historicize “interdisciplinarity” today? Ingrid Christian.

40200. Art History Proseminar. How do we do art history? What is it? What are its premises and where does it come from? This seminar will explore the historical foundations, formulations and applications of current art historical methods, as well as the foundations of the art historical discipline as it emerged from the late 19th and early 20th centuries. Both theory and practice will be considered through select texts, with special focus on art history as a distinct scholarly discipline today. Rather than attempting to cover a comprehensive history of the methodological and historiographic traditions, the readings will attempt to present a coherent, if highly complex and conflictive, narrative that remains open to continued interrogation by its practitioners. Required of all first year ARTH PhD students. M. Sullivan. 

41203. Illuminating the Bible in Byzantium. The main focus of this seminar will be the study of illustrated manuscripts of the Bible, viewed within the larger framework of Byzantine book culture. More generally, students will gain insight into the history, methods and techniques of interdisciplinary research involving Greek (illuminated) manuscripts. We will investigate famous and less well-known examples to identify both the principles guiding Biblical illumination in Byzantium and topics in need of further research. In addition to printed facsimiles, we will take advantage of digitized material from various Greek manuscript collections. In order to appreciate the auratic qualities of original manuscripts and for a close-up investigation of their codicological features, we will view material preserved in the Goodspeed Manuscript Collection. Greek skills and/or reading comprehension of modern European languages will be helpful, but are not mandatory. K. Krause.

42009. Art, Science, and Magic in the Pre-modern Islamic World. This seminar examines relationships between arts and the study of the cosmos in the pre-modern Islamic world. Our objects of study mediated human understanding of the cosmos, and/or offered humans the possibility of manipulating their position within it. The media in which these objects were made include manuscripts, textiles, ceramics, metalwork, and architecture. Recurrent questions of the seminar include the following. How closely can we define historically appropriate theoretical frameworks (eg., Neoplatonic, Hermetic, Aristotelean, Prophetic Medicinal) for particular objects? How do we explain objects of similar forms which might be theorized through divergent models, or objects of divergent forms which might be theorized through similar models? P. Berlekamp.

43010. Art and Ritual in Byzantium. What was the place of architecture, images and objects in the various rituals of Byzantium – public and private, sacred and secular? In what ways did works of art respond to the ritualistic purpose for which they were created? To what extent is the latter reflected in the design of buildings, their urban setting, their pictorial decoration, their furnishings and mobile equipment? These are the key questions underlying this course, to which must be added: What are the limitations encountered by those aiming to reconstruct the function of buildings that have survived in a fragmentary or refurbished state and of artifacts now isolated from their original context? We will approach this topic by critically confronting visual material surviving from Byzantium with various written sources. We will also explore these texts as a key source of information on works of art and architecture that no longer survive. K. Krause.

47911. Art and Public Life. The aim of this seminar-colloquium will be to work through some of the most advanced thinking on ideas about publics and their relation to questions of community, politics, society, culture, and the arts.  From John Dewey through Hannah Arendt  and Jurgen Habermas, the notion of the public has remained central  to a wide variety of debates in the humanities and social sciences.  What is a public?  How are publics constituted?  What is the role of real and virtual space, architectural design, urban planning, and technical media, in the formation of publics?   And, most centrally for our purposes, what role can and do the arts play in the emergence of various kinds of publics?  The colloquium aspect of the course will involve visiting speakers from a variety of disciplines, both from the University of Chicago faculty, and from elsewhere. W.J.T. Mitchell and T. Gates.

50100. Teaching Colloquium. K. Taylor.

Winter 2015

Undergraduate Courses

10100. Introduction to Art. Students must attend first class to confirm enrollment. 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.

14215. Roman Art II: Late Antique and Early Christian Art and Architecture. This course offers an introductory survey of the art and architecture of the Roman world starting from the beginning of the second century AD, when the Empire reached its point of greatest expansion. It then proceeds through a period of relative peace and prosperity before witnessing the effects of a political, social, and economic “crisis” of the third century AD, the adoption of Christianity as the state religion, and the tremendous consequences of moving the capital from Rome to Constantinople. 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.

14505. The 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.

15600. 20th Century Art. This course 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, Abstract Expressionism, Pop Art, Minimalism, Conceptual Art, and Institutional Critique. J. Collingwood.

16211. Introduction to African Art. This course is an introduction to the arts of Africa and its diaspora. It surveys selected monuments of African expressive culture from a variety of places and times. Lectures, readings and discussions explore the relationship between art and leadership, religion, and society on the continent and in African diasporic communities in the Americas. Class meetings and assignments make use of local collections such as the Art Institute of Chicago and the Field Museum. C. Fromont.

16809. Islamic Art and Architecture, 1500-1900. This course surveys the art and architecture of the Islamic world from 1500-1900. This was the period of the three great Islamic empires: the Ottomans, the Safavids, and the Mughals. Each of these multi-religious, multi-linguistic, multi-ethnic empires developed styles of art and architecture that expressed their own complex identities. Further, they expressed their complex relations with each other through art and architecture. The various ways in which contact with regions beyond the Islamic world throughout this period impacted the arts will also be considered. P. Berlekamp.

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.

17735. The Art of Post-Revolutionary Mexico. This course surveys the landscape of Mexican art from the eve of the Revolution into the 1940s, exploring the developments, debates, and problems of this particularly rich moment in the history of twentieth-century art. Within the context of post-revolutionary society and politics, we will study the production, circulation, and reception of prints, photographs, easel painting, film, and craft, along with the work of the “big three” Mexican muralists. Issues to be addressed include: the formation of new ideas of nation and citizenship, the relationship of artists to the state, the place of the Indian in the new social order, the influence of foreign artists, the incorporation of both old and new media and technologies, and the intersection of gender, class, and national identities. Students will develop their ability to analyze works of art both formally and historically and will learn the fundamentals of art historical research and writing. M. Sullivan.

18202. Creative Destruction: War, Violence, and Upheaval in 20th-Century Art. Articulated by Joseph A. Schumpeter in his book Capitalism, Socialism and Democracy from 1942, the term “creative destruction” refers to capitalism’s inherent tendency to destroy existing economic systems through incessantly creating new ones in order to generate additional wealth. In a similar vein, the history of artistic avant-gardes is often told as a succession of radical formal innovations, a string of revolts against existing artistic conventions in search of a new visual language. This course will draw on Schumpeter’s concept of creative destruction, positioning it within a larger cultural context in order to examine the creative potential and ethical limitations of violence and destruction in art. Focusing on visual arts from World War I to the 9/11 attacks, we will question the concept of avant-garde innovation in order to consider the relationship between artistic gesture and social upheaval. Addressing such issues as political violence, psychological instability, trauma, and ecological devastation, the class will focus on various visual forms of creation, from painting and sculpture to photography and film. T. Zhurauliova.

23113. Computer Art. This class will consider the history and evolution of computer art beginning from the earliest computer graphics in the 1960s and continuing through computer and technology-based new media practices of the twenty-first century. Computer art has been marginal at best to canonical modern and contemporary art history. Yet the issues we will explore in this class, including the relationship between politics and art, art and technology, the role of the artist in society, changing models of collaboration and authorship, and problematizing display and exhibition in a museum setting are critical to broader narratives of postwar art. V. Salinger.

26213. 'New Queer Cinema' and Art of the 'Culture Wars,' 1980s-1990s. (=GNSE 26213, CMST 20903) This course explores the dialogue between postwar visual art and New Queer Cinema, a loose movement of film and video practices coined by critic B. Ruby Rich that developed in parallel to academic queer theory and direct action AIDS activism in the 1980s-1990s. While we will focus upon New Queer Cinema’s initial practitioners (for example, Gregg Arraki, Sadie Benning, Derek Jarman, Isaac Julien, Todd Haynes, Tom Kalin, Marlon Riggs, and Gus van Sant), we will also question the category of ‘New Queer Cinema’ and analyze the legacies of gay avant-garde and feminist and lesbian film/video more broadly. Methodologically drawing from both Art History and Cinema & Media Studies, this course proposes that ‘politics,’ or the effort to call a new audience forth, entailed—or required—formal innovation, new modes of address, and engagement with a history of depiction. We will explore queer image-making strategies across media boundaries -- from the photographic and performance works at the center of the ‘culture war’ debates about obscenity and state funding, to art works or graphics intended to function as AIDS activism, to the early video installations of Matthew Barney and Steve McQueen. Topics might include depictions of explicit sexuality, figuration/abstraction, projection, cinematic gesture, portraiture, appropriation, subculture, queer aesthetics as contested, collectives, direct action vs. lyricism, and the role of video art. Screenings are a required part of the course. S. Nelson

Undergraduate and Graduate Courses

21205/31205. From the Non-Object to the End of Art: The South American 1960s. Beginning with the 1959 publication of the “Neo-Concrete Manifesto” in Rio de Janeiro, this course traces the radical transformations of art objects and artistic practices in South America (especially Brazil and Argentina) over the course of the 1960s. Through the study of both works of art and the writings of artists and critics, we will investigate new definitions of the art object, revolts against existing institutions of art, and the emergence of performance, media, and conceptual art. These developments will be read against social and political changes in the region, including the impasse of mid-century modernization efforts and the rise of repressive dictatorships. We will also look to parallel movements in the United States, asking how we might account for the development of related artistic strategies in distinct socio-historical contexts. M. Sullivan.

23400/33400. Art, Architecture, and Identity in the Ottoman Empire. Though they did not compose a “multi-cultural society” in the modern sense, the ruling elite and subjects of the vast Ottoman Empire came from a wide variety of regional, ethnic, linguistic, and religious backgrounds. The dynamics of the Empire’s internal cultural diversity, as well as of its external relations with contemporary courts in Iran, Italy, and elsewhere, were continuously negotiated and renegotiated in its art and architecture. This course examines classical Ottoman architecture, arts of the book, ceramics, and textiles. Particular attention is paid to the urban transformation of Byzantine Constantinople into Ottoman Istanbul after 1453, and to the political, technical, and economic factors leading to the formation of a distinctively Ottoman visual idiom disseminated through multiple media in the sixteenth century. P. Berlekamp.

23603/33603. Grace, Love, and Pleasure. Painting in Eighteenth Century France. The easing of political life and the relaxation of private morals which came to characterize the long reign of Louis XV (1715-1774) was mirrored by the development of a new conception of art, an art more intimate, decorative, generally amorous and often erotic. It is these last two related dimensions which are the basis of a new visual aesthetic which constitute the subject matter of this course. Through the exploration of contemporary novels and theater, as well as contemporary critical and philosophical writings, we will demonstrate how both the sensual and the erotic become essential components of the century’s cultural ethos. Artistic subjects, the mechanisms to represent them, their metaphorical stakes, and their phenomenological effects on the beholder will therefore be considered as the expression of a particular historical and ideological context. It is in this context that love became the symbol of a king who privileged peace against war, and where emotional pleasure triumphed over moralizing values and asserted itself as a new aesthetic category. S. Caviglia.

25115/35115. History, Happiness, and Hellenism: Introduction to Reading Winckelmann. (=SCTH 35000) Johann Joachim Winckelmann (1717-1768) is generally regarded as the first and greatest of modern art historian, eschewing biography and anecdote for etiology, treating the rise, flourishing and decline of artworks in terms of the ideas and the social life that brought them about, with particular love for all things Greek. All of this was done in a volatile prose, able to spin dream-like evocations of gods and heroes from inanimate marble fragments. Indeed, W’s impact on the art of his own time, launching a half-century of neoclassicism in music, architecture, and the visual arts, is arguably greater than his contribution to scholarship. Because of this, one can also understand why Anglophone scholarship, fed on an erratic set of translations (the Germans have a monumental edition, made under Goethe’s aegis, but no modern ones, except of the letters), has dealt with the affective and the rhetorical in his writing, on his sexuality (which cost him his life, to a young thug in Venice) and his network of friendships. The focus is on the subjective side of his legacy, which remains compelling while his scholarship fell apart: most of his Greek statues are roman copies, and already in his lifetime, scandals over fakes and G.E. Lessing’s challenges in theory and detail made a dent in Winckelmann’s dictatorial authority.

This course aims to look at Winckelmann not just as a passionate advocate of antiquity but as the “philosophical historian of ancient art”, as his American translator Henry Lodge put it in 1849. In particular, the question of a developmental history with high points admitted by the historian, remains of pressing interest: art historians today tend to feign pluralism, but remaining normative in what art they consider worthy of attention. An examination of W’s unique mix of personal and historical criteria of flourishing (pleasure, beauty, happiness), of book learning and visual imagination, is thus worthwhile on any account, not because we want to be as subjective as he is, but because we should want to be aware of what role our subjectivity, and our hopes and fears, play in history. Accordingly W’s texts, from the programmatic Gedanken (1755) and antiquarian writings to the monumental History of Ancient Art (1764, and an even more monumental posthumous version, 1776) will be foregrounded, as will his analyses of beauty, of the representation of male and female, of symbol and concept in art. His contemporaries and recent scholarship will make an appearance where they throw light on these methodological concerns of W’s, and in the students’ final presentations. A. Pop.

27304/37304. Photo/Modernism/Esthetic. 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. J. Snyder.

Graduate Courses

40306. Religion and Material Culture in Spainish America. (=LACS 40306) This graduate seminar will scrutinize how Religious Material Culture was produced and employed during the so-called Hispanization of the New World. The aim is to analyze how these artifacts, much of which are now considered art objects, served as vehicles of the sacred while at the same time allowed for cultural exchange and social cohesion. Attention will be given to materiality, display, reception, and ritual, all from an interdisciplinary perspective. R. Granados-Salinas.

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

43001. That was then, this is now: the art of the 1990s. The 1990s were a decade of enormous change, both in the visual arts and in the broader culture. The fall of the Berlin Wall in 1989 marked the end of the Cold War and fast-tracked the complex of processes now referred to somewhat prosaically as globalization. At the same time, the digital revolution—in particular the emergence of the Internet—dramatically altered everything from everyday communication to international commerce and geopolitics. In this seminar, we will attempt to take stock of the major developments that shaped artistic discourse and production over the course of the decade. In the process, we will attend to such topics as the “culture wars” surrounding censorship and artistic freedom and the rise of “identity politics,” the impact of new media and technology on artistic production, the emergence of so-called “relational aesthetics,” the proliferation of international biennials and art fairs, and the expansion of the global art market. J. Proctor.

43103. Rome Redux: Graduate Traveling Seminar. Processions were of fundamental importance in the urban calendar of the ancient city, where they played an integral role in sweeping changes that occurred between the Republican and early Imperial periods, and subsequently in the Christianization of the Empire in Late Antiquity. Centuries later, their self-conscious revival in the Renaissance was a critical component of an emerging historical consciousness. These ritual events unite the built environment to human movement, dress, aesthetic objects, poetic performances, ritual singing, political largesse, and the confrontation of classes, gender, and foreigners. In no other single performance do we learn so much about how Romans constituted and maintained individual and communal identities. By giving equal weight to the ancient and early modern material, this course seeks to consider how processions offer a unique perspective onto the Eternal City as a kind of palimpsest in which the present and the past are mutually implicated. This course is a traveling graduate seminar that focuses on the historical intersections between Ancient and Renaissance Rome through an exploration of civic, religious, and triumphal processions. The course will take place in the winter quarter of 2015 and then will continue with a two-week trip to Rome where we will continue the seminar with visits to relevant sites and museums, student on-site presentations, and the participation of local experts. Enrollment in the course is limited and by permission of the instructors only. P. Crowley and N. Atkinson.

44002. COSI: Objects and Materials Seminar. Team-taught between Northwestern, the Art Institute of Chicago and University of Chicago, this course focuses on sustained, close engagement with art objects in the AIC collection and the methods and questions such inquiry raises.  Students will be introduced to basic techniques of stylistic and scientific analysis as well as recent theoretical debates that resituate art history as a study of physical things as well as their disembodied images. Required for all first-year art history graduate students. Open to first year ARTH PhD students. C. Fromont.

44624. Spectacle and Surveillance. Spectacle and surveillance have been central tactics in the production of political power since at least the early modern era, when the pageants of the Sun King, Louis XIV of France, were accompanied by the spies of Cardinal Richelieu, who kept careful watch for potential rebellion in the provinces. The British empire’s musterings of uniforms, ribbons, and banners in mass formations of loyal subjects were probably as important to the maintenance of imperial power as the actual mustering of armed conflict. At the same time, Jeremy Bentham’s panopticon envisioned a world of incarcerated subjects, all exposed to the gaze of power at all times.  How does it stand with the relation of spectacle and surveillance today, the age of total information storage, retrieval, and big data?  The overall purpose of this seminar will be to reflect on the dialectical pairing of spectacle and surveillance as modes of image power—that is, power over subjects in the case of spectacle, over objects in the case of surveillance—and as modes of governing in our contemporary age of Big Data. While we are interested in the history of this pairing in theoretical discourses on visual culture, politics, law, media, and iconology, our major emphasis will be on contextualizing and analyzing the present state of the surveillance/spectacle dynamic, as well as exploring all the forms of resistance.  Readings will include Michel Foucault, Guy Debord, George Orwell, Glenn Greenwald and selected films dealing with surveillance and spectacle.  W.J.T. Mitchell and B. Harcourt.

45211. Contemporary Chinese Art: Issues and Narratives. This course explores the development and narrative of contemporary Chinese art. Through examining original documentation and analyzing existing narratives and interpretations, students 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.

46509. Modernism and Paris Between the Wars. This seminar considers changing practices of art exhibition and journal design in interwar France.  We will evaluate recent methodological controversies and address historical case studies to study how the massive social and political changes during this period impacted how art objects were presented, reproduced and written about.  Students will be expected to complete a research paper during the quarter. Reading knowledge of French desirable. M. Ward.

Spring 2015

Undergraduate Courses

10100. Introduction to Art. Students must attend first class to confirm enrollment. 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.

14107. Greek Art and Archaeology. This course examines the art and archaeology of ancient Greece from ca. 1000 BCE – ca. 200 BCE. Participants will learn a lot of facts about the Greek world; they will see the Greeks emerge from poverty and anarchy to form a distinctive political and social system based on city-states, and they will see that system grow unstable and collapse. They will see the emergence of distinctive forms of sculpture, architecture, pottery, and urban design – many of which are still in use today. Along with these facts, they will acquire a conceptual toolkit for looking at works of art and for thinking about the relation of art to social life. R. Neer.

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. TBD.

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. H. Wu.

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. 

17400. University of Chicago Campus. An introduction to architecture and planning, this course examines the changes in thinking about the University campus from its origins in the 1890s to the present. Many of the University’s choices epitomize those shaping American architecture generally and some of our architects are of national significance. The course develops skill in analyzing architecture and urban form in order to interpret: how the University images itself in masonry, metal, and lawn; how it works with architects; the role of buildings in social and intellectual programs and values; the effects of campus plans and the siting of individual buildings; and the impact of technological change. Many classes will meet at buildings around campus; many readings are drawn from university archives. K. Fischer Taylor.

18000. Photography and Film. 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.

23803. COSI: Materiality and Spirituality in Chinese Art. The collection of Chinese art at the Art Institute of Chicago encompasses a great variety of materials, notably jade, bronze, stone, ceramics and silk. Supplemented by specimens and fragments, the objects in the gallery and the storage room form the primary subject of investigation and study of this seminar. When we get together in the museum, I will encourage you not only to observe an artwork in its entirety, but also to think about its material components and the process of manufacture. You will have chance to handle certain objects, mainly fragments, and observe their details under microscope. By doing so, we can explore the material and haptic dimension of Chinese art, which is critical in Chinese culture but often neglected in regular art history class. We will also discuss a series of cultural and religious issues related to the materiality of Chinese art. We will examine different types of materials from Neolithic period to the last Dynasty of China, exploring how the focus of artistic creation and ritual practices shifted from one material to another over nearly 7000 years. We will consider the materiality of Chinese art in relation to major ritual and spiritual practices in Chinese history, e.g. ancestor worship, Buddhism, Daoism and scholarly syncretism. While most people tend to think about art history based on form and style, we will work together toward a different way of telling the story of Chinese art, namely from the perspective of materiality. J. Xu.

Undergraduate and Graduate Courses

20303/30303. Wonder, Grace, and Beauty: Ancient Sculpture in the Present. Ever since Plato it has been normal to discuss Greek sculpture is in terms of imitation (mimesis).  But that is not how early Greek writers talk about it.  For them, the key terms are “wonder" (thauma), “grace" (charis), “beauty" (kallos), “self” (ethos) and “desire" (pothos).  One goal of this course is to use ancient primary sources (read in translation) to retrieve historical modes of experiencing sculpture. Another goal, however, is to set this ancient understanding of sculpture alongside contemporary works, the better to understand the specific achievements of each.  Can the historical help us better to understand the present (and conversely), or are the terms simply incommensurate?  In particular we will devote particular attention to the work of the American sculptor Charles Ray, in conjunction with a major retrospective opening at the Art Institute of Chicago in May of 2015. R. Neer.

22808/32808. Rhoades Seminar: Age of Rubens and Rembrandt. This seminar will feature paintings, prints, and drawings to consider the artistic impact of Peter Paul Rubens (1577–1640) and Rembrandt van Rijn (1606–69) within their intellectual, political, and social contexts. Works of art in the collection of The Art Institute of Chicago will serve as case studies for discussions related to these artists, their contemporaries, and the history of interpretation and connoisseurship as it pertains to this field of art history. In class meetings in the Art Institute’s galleries, study rooms, and conservation labs, students will conduct object-based research as the point of departure for their individual projects. The adjacent fields of Southern Baroque European art and Colonial Latin American art will also be engaged. V. Sancho Lobis.

25300/35300. Pilgrimage in Antiquity and the Early Christendom. This course will present an interdisciplinary interrogation into the nature of pilgrimage in pre-Christian antiquity and the rise of Christian pilgrimage in the years after Constantine.  It will simultaneously be a reflection on the disciplinary problems of examining the phenomena of pilgrimage from various standpoints including art history, archaeology, anthropology, the history of religions, the literary study of travel writing, as well as on the difficulties of reading broad and general theories against the bitty minutiae of ancient evidence and source material.  The core material, beyond the theoretical overview, will be largely limited to antiquity and early Christianity; but if students wish to write their papers on areas beyond this relatively narrow remit (in other religions, in the middle ages, modern or early modern periods), this will be positively encouraged! The course will be taught in an intensive format over 5 weeks, plus some individual discussion sessions to set up term papers. J. Elsner.

26114/36114. Invention and Revival in European Prints, 1500-1900. This course will offer a wide-ranging panorama of European printmaking using works exclusively drawn from the Smart Museum’s permanent collection.  We will be closely engaged with the historical development of print media and the technical advances that opened new possibilities to artists, while also addressing prints’ relationship to other art forms.  In addition, we will tackle broad thematic issues including originality and reproduction, dissemination and collecting, formats and genres, and markets and value.  Grounded in the firsthand examination of original works of art, the course will encompass leading masters of  printmaking such as Dürer, Callot, Rembrandt, Goya, and Whistler, as well as lesser-known figures and side currents in the European tradition.  In concert with other course requirements, students will have the opportunity to help prepare a small exhibition of prints. A. Leonard.

26201/36201. Architectural History and Critical Media Practice. [=ARTV 26201/36201] This advanced studio course is offered in conjunction with a Gray Center collaboration between D. N. Rodowick and Victor Burgin. We will investigate how creative practice can engage specific architectural sites and explore the erased or disappeared cultural histories, real and/or imagined, inscribed in those spaces.  Our focus will be the history of “The Mecca” apartment building. Despite great protest, The Mecca was demolished in 1952 as part of the expansion of the Illinois Institute of Design under the plan of Mies van der Rohe. This site and its Bronzeville environs thus present a variety of opportunities for exploring themes of displaced architectures, competing visions of modernism and utopia, and conflicts in popular and cultural memory. Students are expected to propose and pursue individual projects around this theme and to work experimentally with strategies of research and writing together with still and/or moving image production.  Field trips required. D. Rodowick and V. Burgin.

26400/36400. History of Photography in the U.S. 1835-Present. The invention of the photographic system as a confluence of art practice and technology is studied in detail. The aesthetic history of photography is traced from 1839 through the pre­sent. Special emphasis is placed on the critical writings of P. H. Emerson, Erwin Panofsky, Alfred Stieglitz, Lewis Mumford, Susan Sontag, and Michael Fried. J. Snyder.

27215/37215. Public Sculpture. This class examines sculpture made for public spaces since World War II, with a particular emphasis on public art in Chicago and on campus. We will read foundational texts on postwar sculpture; test the relevance of theories of the public; consider the role of commemoration, site-specificity, context, architecture, and photography; and examine questions of censorship, vandalism, and conservation. Significant portions of the class will involve on-site case studies, including sculptures in Millennium Park, Henry Moore’s Nuclear Energy, Wolf Vostell’s Concrete Traffic, Giuseppe Penone’s Ideas of Stone, and Jean Dubuffet’s Monument with Standing Beast. The class will also include conversations and hands-on sessions with experts, including the Campus Art Coordinator and staff at the  non-profit organization Public Art Chicago and at the City of Chicago's Department of Cultural Affairs. Students will research documentation, conduct interviews, and contribute texts to the website (and app) in progress on UChicago Public Art at http://arts.uchicago.edu/uchicago-public-art. Creative projects are possible in consultation with the instructor. This course requires several trips to offsite locations; please make sure your schedule allows for occasional travel time before and after class. C. Mehring.

27808/37808. The Rhetoric of Maps in the Spanish Atlantic World. This course takes as its subject the history of cartography in the Spanish Atlantic world. Organized thematically, it scrutinizes not only how mapmakers graphically interpreted the physical world, but in doing so, also made maps the locus of the production of knowledge. By employing a series of theoretical and historically oriented readings, students will examines how maps were used in Spain and in the New World to create, reinforce, or resist social, political, and imaginative orders. What can a map’s graphic commentary teach us about Spanish colonial ambitions? What role did maps play in the invention of America? How and why did indigenous groups combine pre-Hispanic and early modern cartographic practices to oppose Spanish hegemony? Working under the premise that maps are socially and politically charged documents, this course examines a diverse set of Western and non-Western cartographic traditions and conventions. J. Lopez.

28204/38204. Liquid Intelligence and the Aesthetics of Fluidity. In an influential essay, contemporary artist Jeff Wall has sketched a suggestive genealogy linking chemical photography to a range of wet, atavistic processes and their modes of “liquid intelligence.” Using Wall’s model as point of departure, this experimental seminar explores how liquid intelligence might be expanded and deployed as a broader category of art-historical investigation. What, we will ask, can be revealed by applying the analytical solvent of liquid intelligence to an expanded field of visual production? How might doing so enable us to reciprocally reconsider relations between photography and other visual media? Drawing upon a range of theoretical perspectives, novels and film, this seminar takes its focus from artists and visual practitioners of the early modern period and long eighteenth century (possibly including Leonardo, Cellini, Titian, Hooke, Reynolds, Turner, Talbot, and Courbet) who engage significantly with the problematic of making and thinking watery images. We will also consider their work in light of historical dynamics of maritime empire, the sciences of water (geology, chemistry, fluid mechanics among others) and shifting conceptions of intellectual liquidity itself. M. Hunter.

29704/39704. The Objects of East Asian History. The collections of Japanese and Chinese 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 Boone 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 is also timed to coincide with the reinstallation of the museum's Chinese galleries. 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 and J. Ketelaar.

Graduate Courses

41502. Between Vienna and Hamburg; from Deutschland to America: the Writing of art History Between 1900 and 1960. This course will explore the foundations of the art historical approaches in Germany in the Twentieth century that have proved most formative for the development of the discipline in Anglo-American contexts after the Second World War.  It is a coherent if highly complex and conflictive story to uncover. In what was effectively the most philosophically intense moment in art history from 1900 to the early 30's (including interventions from both the neo-Kantians and from Heidegger), Jewish, Protestant and Catholic art historians with a significant and conflicted relation to the aesthetic apogee of European culture in different milieux and cultural contexts strove to resolve some fundamental ideals about and investments in Bildung (cultural formation).   The relation of the discipline and its exiles to the rise, triumph and demise of the Third Reich, form the fundamental backdrop to the development of art history in the post-War period. The course will be taught in 5 weeks, in two 3 hour sessions per week. J. Elsner.

42000. Giorgione and Giorgionism. This course will concentrate on the central, very problematic figure of Giorgione, but it will also pay attention to contemporaries such as the old Giovanni  Bellini and the young Titian in an attempt to contextualize his role in the origins of a distinctive Venetian version of the Renaissance.  Since the definition of Giorgione's oeuvre is one of the most important unresolved issues in the Renaissance corpus, his much disputed work  will be used as the basis for a critical examination of the practice, history and theory of connoisseurship with special attention to recent technical (including digital) approaches.  A second major theme of the course is Giorgione's new attitudes towards subject matter and innovations in pictorial types (e.g., pastoral landscape, meaning in portraiture), which seem to have led to some of the most puzzling and diversely interpreted images in Western art (e.g., Tempest, Three Philosophers, Fête Champêtre).  Students will have the option of doing seminar reports that focus on any of a wide range of art-historical methods and approaches including connoisseurship, style, history of pictorial types, emblematic iconography, iconology, intellectual history, history of taste and collecting, and whatever else they can credibly propose, and are very welcome to work with other Venetian cultural materials such as music, literature and popular culture.  Advanced undergraduates may be admitted with consent of the instructor. C. Cohen.

43403. Out of Mind: Arts and Sciences of Material Duration. (=CDIN 43403) As an inquiry into the problem of culture’s “material duration,” this course seeks to draw out the longer lives of art-objects and bring these extended lives into the purview of aesthetics.  Moving between texts and artifacts of the long eighteenth-century in Britain and the technologies that enable their persistence into the present day, we will foreground artistic practices that resist temporally unitary visions of art production and of aesthetic reception—practices that self-consciously open themselves to those other times that accrue to the object.  We will put seemingly “perverse” projects (such as Sir Joshua Reynolds’s notoriously self-destructive experimentation with fragile pigments) into conversation with wider debates about the persistence and ownership of the past during a moment of radical changes that belied the supposed “timelessness” of the period’s fine arts.  In emphasizing the longue durée of the art-object, this course attempts to move beyond narrowly historicist accounts of cultural production wherein an object’s meaning is largely determined by the time in which it was produced. Yet, rather than proceeding under the sign of a “new formalism,” we pursue a temporally extensible materialism that will make visible the technological apparatuses of care underpinning and sustaining the material lives of eighteenth century artifacts into our age of digital decay. And while relativizing the ordinary scale of human experience via the perspective of the objects that outlast us, this course will explore alternatives to the strong displacement of human agency in various object-centered ontologies by considering how period agents and contemporary institutions embrace these temporally-extended materialities of aesthetic life.  After an introductory segment, we will organize the course as a progression through three broadly-defined material mediums (painting, books, and textiles) and consider each medium within a two-week sequence.  The first week will foreground eighteenth-century art-practitioners and artifacts; the second week will involve collaborative inquiry alongside working conservators, curators, and archivists at local institutions (such as the Art Institute, the Newberry Library, and the Museum of Contemporary Art) as well as close examination of contemporary artistic practice.  The course will culminate in a final week of student presentations. M. Hunter.

44014. The Veneration of Icons in Byzantium: History, Theory, and Practice. In order to appreciate the pivotal religious significance icons had in Byzantium for private devotion, in the liturgy, in civic ritual, and in military campaigns, we will survey the visual evidence along with a vast array of written sources. We will explore the origins of the Christian cult of icons in the Early Byzantine period and its roots in the Greco-Roman world of paganism. Through close analysis of icons executed over the centuries in different artistic techniques, we will examine matters of iconography, style and aesthetics. We will also have a close look at Byzantine image theory, as developed by theologians from early on and codified in the era of Iconoclasm. All readings are in English, but Greek skills will be helpful. K. Krause.

44600. Theories of Art and Nature in Early Modern Europe. This seminar will involve intensive readings in selected 16th-18th c. texts drawn from science and art theory on the relationship of art and nature. Readings will be done in French, Italian, Latin, and English (where available). We will make frequent reference to images, secondary literature, and ancient texts. Paper topics may be drawn from students' own fields. Qualified undergraduates may be admitted. R. Zorach.

44604. Byzantine Art: Special Topics in Iconography. This course is designed to familiarize students with some of the more prominent topics, sacred and profane, depicted in the visual arts of Byzantium and (where applicable) with their textual sources. Through close analysis of the specific functions, capacities and constraints of images we will gain a critical understanding of the place of the visual arts in Byzantine culture. Students will become familiar with the methodology and resources that are indispensable for approaching issues of iconography and iconology. During the quarter, students will improve their ability to describe systematically and with sophistication visual images in different media, styles and techniques. K. Krause.

50200. Dissertation Proposal Workshop. K. Taylor.