Courses

Explore the undergraduate course offerings in art history, including cross-listed classes and college core classes offered by art history faculty. Much of the coursework offered by art history faculty encourages direct engagement with art historical sources and original works of art, taking advantage of the resources of the Smart Museum and other art institutions in Chicago and beyond. Part of the Rhoades Exchange Program, the annual Rhoades Seminar is taught by a curator at the Art Institute. The Suzanne Deal Booth Conservation Seminars are offered by a conservator or conservation scientist based at the Art Institute. Gold-Gorvy Traveling Seminars involve class travel to work with objects, buildings, and sites first hand.

Undergraduate courses are numbered 10000-29999. 100-level courses satisfy Arts Core requirements, while 200-level courses fulfill major and minor requirements.  Courses of study should be developed after consulting the catalog for required classes and conferring with the advisor and/or Director of Undergraduate Studies.

Undergraduate Courses

10100
Introduction to Art

Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.

This course develops skills in perception, comprehension, and evaluation of various art objects. It encourages close analysis of visual materials, exploring the range of questions and methods appropriate to works of art, in their historical, theoretical, and social dimensions. Most importantly, the course emphasizes articulate writing and salient argumentation about visual and other aesthetic phenomena. Three coherent units, on Monument/Site, Image/Medium, and Object/Museum, explore these issues across cultures and periods. Examples draw on original objects in campus collections.

2018-2019
Spring

10100
Introduction to Art

Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.

This course develops skills in perception, comprehension, and evaluation of various art objects. It encourages close analysis of visual materials, exploring the range of questions and methods appropriate to works of art, in their historical, theoretical, and social dimensions. Most importantly, the course emphasizes articulate writing and salient argumentation about visual and other aesthetic phenomena. Three coherent units, on Monument/Site, Image/Medium, and Object/Museum, explore these issues across cultures and periods. Examples draw on original objects in campus collections.

2018-2019
Winter

14105
Introduction to Roman Art and Archaeology

(
CLCV 14113
)
Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.

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?

2018-2019
Winter

14107
Greek Art and Archaeology

(
CLCV 21807
)

This course provides an introduction to the art and archaeology of ancient Greece between ca. 1000 BCE and 200 BCE, from the early settlements of the Geometric period to the rise of the Hellenistic kingdoms. To modern eyes, Greek art can appear at once familiar and foreign, its imagery and artistic forms both instantly recognizable and difficult to parse. Over the course of the quarter, we will gain the cultural knowledge necessary to look at ancient artifacts and monuments as their original makers and viewers might have seen them. We will develop the art-historical skills necessary to investigate a range of materials and techniques, stories and myths, practices and ideologies, all of which informed the way Greek art was produced and experienced. Participants will learn how to describe Greek art in ways that are both sensitive to historical context and informed by the methodological practices that transform archaeological discoveries into history.

2018-2019
Autumn

15780
Modern Art from the Enlightenment until Today

Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.

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 around original works of art and take place in the Smart Museum of Art.

2018-2019
Spring

15790
Modern Art

(
ARTV 20005
)
Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.
2018-2019
Winter

15800
Contemporary Art

(
ARTV 20006
)
Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.
2018-2019
Spring

16100
Art of The East: China

(
EALC 16100
)

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.

2018-2019
Winter

16100
Art of The East: China

(
EALC 16100
)

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.

2018-2019
Autumn

16460
Modern Latin American Art

(
LACS 16460
)
Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.

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.

2018-2019
Spring

16709
Islamic Art & Architecture, 1100-1500

(
NEHC 16709, NEAA 10630
)
Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.

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.

2018-2019
Autumn

16800
Arts of Japan

(
EALC 16806
)
Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.

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.

2018-2019
Spring

17121
The Art of Leonardo da Vinci

(
FNDL 21414
)
Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.

The central focus of this course will be on the small, damaged and disputed body of paintings that Leonardo has left to us, the wealth of his drawings that help us make sense of that problematic heritage and provide the most direct route into his creative thinking, and the hundreds of pages of text in the form of notes in mirror-image handwriting that comment on art and so many other subjects. Our structure will be roughly chronological, including his late fifteenth-century Florentine artistic and social context (e.g., artists such as Verrocchio, Pollaiuolo, Ghirlandaio and Botticelli), his two long periods in Milan as a court artist, his triumphant return to Florence and rivalry with the young Michelangelo, his brief and unsatisfying stay in papal Rome, and the little known, mythic final years in France. Among the themes that will be critically examined are: Leonardo’s role in the creation of what is still grandiosely called the High Renaissance; the value and problematic aspects of thinking of him as the quintessential artist-scientist; the significance of the fact that he has been a figure of such obsessive art-historical and broader cultural significance for over 500 years (e.g., readings by Vasari, Freud, and the innumerable artists who have interpreted and mimicked his work); and the ways in which recent scientific and digital imaging have shed surprising amounts of new light on his art. Through the concentrated art-historical material studied, the course will take seriously the attempt to introduce students with little or no background in art history to some of the major avenues for interpretation in this field, including formal, stylistic, iconographical, psychological, social, feminist, theoretical and reception. Readings are chosen with this diversity of approach in mind.

2018-2019
Autumn

17410
Frank Lloyd Wright in Chicago and Beyond

(
AMER 17410, FNDL 20502
)
Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.

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 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 on 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.

2018-2019
Autumn

17700
19th Century French Art in the Art Institute

Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.

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.

2018-2019
Winter

17735
Art of Post-Revolutionary Mexico

(
LACS 17735
)
Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.

This course surveys the landscape of Mexican art from the eve of the Revolution (1910-1920) 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 celebrated work of the Mexican muralists. Issues to be addressed include: the formation of new ideas of nation and citizenship, debates about art, politics, and social efficacy, the relationship of artists to the state, the place of the Indian in the new social order, 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 writing.

2018-2019
Spring

18000
Photography and Film

Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.

This 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.

2018-2019
Autumn

18700
The Arts of Arabic and Persian Manuscripts

(
NEAA 18700
)
Students must attend 1st class to confirm enrollment. If a student is not yet enrolled in this course, s/he must fill out the online consent form & attend the first class. This course meets the Gen. Edu. Reqmt. in the dramatic, musical, & visual arts.
2018-2019
Winter

20000
Introduction to Film Analysis

(
CMST 10100, ARTV 25300, ENGL 10800
)

This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres.  Along with questions of film technique and style, we consider the notion of cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception.  Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles.

2018-2019
Autumn

20700
/
30700
Understanding the Built Environment

Students must attend first class to confirm enrollment.
2018-2019
Spring

21320
/
31320
Philippe Parreno’s Media Temporalities

Students must attend first class to confirm enrollment.

In the 2013 exhibition Anywhere, Anywhere Out Of The World, the French artist Philippe Parreno (b. 1964) turned the monumental space of the Palais de Tokyo in Paris into a living, evolving organism, where music, light, films, images and performances led visitors through a precisely choreographed journey of discovery, based on the idiosyncratic body of work that he had created since the early 1990s. This course is devoted to an in-depth study of Parreno’s work, and the highly original form of media thinking that informs it. Rather than focusing on the properties of distinct media, or on multimedial forms or presentation, his works explore the new forms of life and social existence that result from the various ways in which 20th and 21st century media technologies store, manipulate and produce time. This is a form of thinking and artistic creation that adresses the realities of formats, programs and platforms rather than media apparatuses and messages, and that engages everything from architecture and design to social situations, natural worlds and virtual beings. (The course will be taught in collaboration with Jörn Schafaff)

2018-2019
Autumn

22020
/
32020
Contemporary Art from Latin America

(
LACS 22020, LACS 32020
)
Students must attend first class to confirm enrollment.

This seminar examines developments in art from Latin American since the 1960s. A set of questions will guide our investigation: What is contemporary art? How has globalization affected the production and reception of art from Latin America in recent decades? What are the advantages and disadvantages of hanging on to regional or national frameworks in the study of contemporary art?

2018-2019
Winter

22405
/
32405
Perspective: Rhetoric & Poetics

At least 1 previous art history course. Students must attend first class to confirm enrollment.

By reading classic texts and analyzing works of art deploying linear perspective, from paintings to the built environment and photography, this course will examine ways that perspectival projection functions as a poetics –as a purportedly coherent system of organizing form – and as a rhetoric – as a means of persuading viewers of perspectivally-informed works of art to perceive them in particular terms. To this end, it will necessarily also consider the history of the rise and uses of perspective, and place texts and works of art within that history.

2018-2019
Winter

24110
/
34110
Venetian Painting from Bellini to Titian

Students must attend first class to confirm enrollment.

The works of Giovanni Bellini, Giorgione, Titian, and other major figures are studied in the context of the distinctive Venetian version of the Renaissance. The course will explore the patterns of patronage, iconography and practice as they are impacted by the Venetian cult of the state, the role of the great charitable institutions in Venetian society, the conservative Venetian guild and workshop organization. Some of the major art-historical themes will include the understanding of Giorgione and Giorgionism as a decisive turn towards modernity in European art; the complex place of the long-lived Titian throughout the entire period; the role of drawing in an art most noted for its light, color and touch; the complex interaction of Venetian and Tusco-Roman visual cultures throughout the Renaissance.

2018-2019
Spring

24170
/
34170
Research the Chicago Cityscape

(
AMER 24170, AMER 34170
)
Please email the instructor explaining your interest and any relevant background experience (e.g., previous course work in architectural or urban history, urban problems, or experience with any aspect of the built environment or Chicago history).

This course has three goals: (1) To support artist Theaster Gates’s renovations of South Side Chicago buildings for civic uses with student research on the architectural and social history of prospective buildings and their environs. The Stony Island Arts Bank and the Arts Incubator at the University are examples of Gates’s work: https://rebuild-foundation.org/ (2) To develop research skills, which can be adapted to other built environments. (3) To develop an understanding of Chicago’s built environment and its social history. We meet twice a week, once to discuss common readings and once for a longer session to enable field trips (a tour of Gates’s area; visits to research archives) and collaborative research work among students. Students will work together to produce historical reports. Permission of instructor required. Please send an email explaining your interest in the course and any relevant background experience (e.g., previous course work in architectural or urban history, urban problems, or experience with any aspect of the built environment or Chicago history). Although the course does not require significant background, ideally it will include students with diverse pockets of expertise.

2018-2019
Spring

24615
/
34615
Modern & Contemporary Materialities (Suzanne Deal Booth Conserv

Students must attend first class to confirm enrollment.

This course aims to explore the links between materiality, making and meaning of modern art and investigate how surface, form, texture and color are localized in particular artistic or historical contexts. It can be argued that the discipline of art history still remains substantially divided between those who study what objects mean and those who study how objects are made, where 'meaning' typically derives from cultural hermeneutics, while 'madeness' remains the province of technical analysis. The course will discuss the methods, theory and strategies of a material-based approach, its forms of writing and claims to meaning. Readings will be drawn from a variety of disciplines, including art history, visual and material culture, anthropology, philosophy, and material science.

Maria Kokkori
2018-2019
Autumn

24810
/
34810
The Body and Embodiment in Ancient Greek Art

(
CLCV 24818, CLAS 34818
)
Students must attend first class to confirm enrollment.

Whether naked or clothed, male or female, mortal or divine, the body takes pride of place in the visual worlds constructed by ancient Greek artists. Yet this emphasis on depicting the body begs the question: What is a body that exists as an image? What, in other words, is a body that is not embodied? This problem, articulated already in our ancient sources, serves as the starting point for this course’ investigation of the relationship between images of the body in Greek art and the experiences such images solicited from their viewers. It examines, on the one hand, how Greek art promoted the body as a social construct—through artistic practices that configured the body’s appearance, like distinctive techniques, styles, and iconography; through conceptual categories that ascribed identities, like gender, class, and race; and through contexts that integrated depictions of the body into lived experience, like sanctuaries, cemeteries, and domestic settings. But we will give equal attention to the viewer’s subjective experience of embodiment, including its sensorial and affective dimensions, and the ways in which that experience is negotiated and articulated as a function of works of art. Finally, we will turn to the legacy of the Greek body in more recent centuries and consider its enduring impact as a visual paradigm today.

2018-2019
Winter

25202
/
35202
Visual Encounters in the Global Renaissance

(
LACS 25202, LACS 35202
)
Students must attend first class to confirm enrollment.

This course examines the visual, material, and political encounters between the peoples of Europe, Africa, Asia, and the Americas between the era of European expansion inaugurated circa 1450 to the abolitionist period of the mid eighteen hundreds. It seeks to bring a multicultural framework to the understanding of the early modern period. We will examine the role of images, material exchange and visual reckoning in the early modern institutions and endeavors that helped shape our current world: the Atlantic slave trade, envisioning the other in European and non-European art, religious encounters and conflicts, visual and material exchange in scientific explorations, imperialism and colonialism. Special attention will be given to the enduring effects of these interactions in contemporary European societies and emphasis brought to a critical consideration of the idea of the Renaissance as a keystone of histories of ‘Western’ art, culture, and science.

2018-2019
Winter

26105
/
36105
A Curating History: The Documenta Case

(
ARTV 20007, ARTV 30007
)
Students must attend first class to confirm enrollment.
2018-2019
Winter

26110
/
36110
Ways of Curating and Collecting

(
ARTV 20008, ARTV 30008
)
Students must attend first class to confirm enrollment.
2018-2019
Spring

26114
/
36114
Invention and Revival in European Prints, 1500-1900

Students must attend first class to confirm enrollment.

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.

2018-2019
Winter

26790
/
36790
A Curating Case-Study: The Hut

(
ARTV 20012, ARTV 30012
)
Students must attend first class to confirm enrollment.
2018-2019
Spring

27304
/
37304
Photo/Modernism/Esthetic

(
ARTV 20704, ARTV 30704
)
Students must attend first class to confirm enrollment.

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.

2018-2019
Spring

27420
/
37420
Modernist Architecture on Campus

A previous course on architectural history or design, or permission of the instructor. Students must attend first class to confirm enrollment.

How have universities brought modern architecture into campuses designed in traditional architectural styles, whether classical or medieval? How have they balanced architecture’s capacity to exemplify a consistent institutional image and to symbolize innovative leadership? Can the two be integrated, whether in single new buildings, renovations of old buildings, or groupings of old and new? What effect do new building materials, methods, and technologies, as well as new purposes for buildings, have on these questions? While acknowledging other institutions, the course will focus on our own campus history, examining varied approaches to updating our collegiate Gothic campus architecture and layout from the construction of Levi Hall (the Administration Building) in the 1940s to the present. We will analyze buildings and campus plans in relation to the abundant and largely unstudied drawings and related building documents at Special Collections, and work together to interpret the histories we produce in the context of the broader, changeful history of modernist architecture and its debates. Our work will lay the foundation for a future architectural exhibition.

2018-2019
Autumn

27800
/
37800
The Material Science of Art (Suzanne Deal Booth Conservation Se

Students must attend first class to confirm enrollment.
Maria Kokkori
2018-2019
Winter

28002
/
38002
Islamic Art and Arch of the Medieval Perso-Turkic Courts

(
NEHC 28002, NEHC 38002
)
Students must attend first class to confirm enrollment.

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.

2018-2019
Winter

29410
/
39410
Dimensions of Citizenship: the Venice Architecture Biennale 201

This is a traveling seminar; the course in its entirety will be taught over 3 weeks in September in Venice. Registration by instructor consent only.

In conjunction with the US pavilion at the Venice Architecture Biennale, this course will explore the multiple relationships between architecture and citizenship both in contemporary practice and in historical perspective. The course will be centered around the pavilion's theme of architecture and citizenship at seven spatial scales: Citizen, Civitas, Region, Nation, Globe, Network, Cosmos. Through these scales, students will engage critically with the works of participating artists, architects, and designers, works that address the spatial dimensions of belonging in contemporary society. Students will also explore the historical dimensions citizenship through Venice's complex history as a globally connected maritime empire that incorporated multiple linguistic, ethnic, and religious communities. Finally, the seminar will take account of the politics of national display at the root of the biennale itself and the relationship between historical and contemporary spatial experiences of citizenship and rights of abode, belonging and exile, migration and refuge, and the design of liminal spaces such as ships, ports of entry, quarantine centers, and ghettoes as places of agonistic cultural exchange. This course will take place over three weeks in Venice, where students will focus on the US pavilion amid the constellation of national ideologies of architecture, and a swiftly vanishing but stubbornly active local Venetian culture.

2018-2019
Autumn

29600
Junior Seminar: Doing Art History

Required of third-year students who are majoring in art history; open to non-majors with consent of instructor.

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

2018-2019
Winter