Graduate Dual Degree

SAIC's graduate dual degree option in Modern and Contemporary Art History, Theory, and Criticism and Arts Administration and Policy provides students with a means to earn two synergistic degrees as efficiently as possible while maintaining the integrity and high standards of each degree.

Application and Admissions Information

  • Priority Deadline: December 1 - $45 Application Fee
    Application Deadline: January 10 - $90 Application Fee
    Apply online via SlideRoom

    If you are also interested in applying to the Arts Administration program, please ONLY submit a single application to the Dual Degree: Modern & Contemporary Art History AND Arts Administration & Policy.

    SAIC requires applicants to apply online. Filing an online application requires a valid credit card and a current email address. You may apply to up to three programs with one application and fee. If you are applying to either the MFA in Studio or the Post-Baccalaureate Certificate in Studio you may select up to three departments of entry.

    Applications must be submitted prior to 11:00 p.m. (CST) on the appropriate deadline. When you click the "submit" button on the Graduate Application form, you will be prompted to enter credit card information to pay the application fee. Your application form is not fully submitted until you have entered your credit card information.

    Under no circumstances will an application fee be waived or refunded. After you submit the application form you will be directed to a dashboard where you can begin working on your ePortfolio(s).

  • A conferred four-year baccalaureate degree or its equivalent is required for admission to all graduate programs at SAIC. Transcripts are records of your studies that list the courses you completed, the grades received, and provide evidence of degree conferral. They may include grade sheets, exam results, final diplomas, degrees, or graduation certificates. Official copies are issued in the original language directly by your university. Copies must bear the official stamp or seal of the institution, as well as the signature of the appropriate official such as the dean, rector, registrar, controller of examinations, or office of teaching affairs. Photos, notarized copies, facsimiles, or email transmissions are not acceptable.

    Official translations are expected for all educational documents issued in a language other than English. A translation agency or university language department should issue official translations typed on official stationary and the translator must attest proficiency in the original language and indicate their translations are accurate word-for-word.

    During the application process an unofficial transcript is acceptable for review pending an Admissions decision. Official transcripts are required upon admission. Include transcripts both official and unofficial from all universities/colleges from which a degree was obtained or prerequisites were fulfilled. You can attach unofficial transcripts as .pdf or .jpg files in the Educational History section of the application form. If you are in the process of completing a bachelor's degree when you apply, a transcript showing your first three years of study is acceptable.

    Transcripts are considered official if sent directly from the degree- or credit-granting institution to the SAIC Graduate Admissions Office. Hard copy transcripts are considered official if the documents remain in the registrar's original signed and sealed envelopes. Official transcripts can be sent both in digital and hard-copy format. Digital transcripts can be sent from the degree- or credit-granting institution to gradmiss@saic.edu. Hard copy transcripts can be mailed to:

    SAIC Graduate
    36 S. Wabash Ave., Suite 1201
    Chicago, IL 60603

    Students admitted to a graduate program who have not received a high school diploma, GED or equivalent are not eligible for federal Title IV financial aid funds. 

  • Please submit two responses in your statement of purpose document:

    • Write a 500- to 700-word statement of purpose that describes the history of your interests and experiences in Arts Administration, your personal and professional motivations and goals, and your reasons for pursuing graduate study at SAIC, and thoughts on potential future directions.
    • Write a 500 to 700 word statement that describes your Art History work or research. Discuss how you came to focus on the medium, body of work, or academic area you wish to pursue at the graduate level. Also discuss future directions or goals for your work, and describe how this area of study is particularly suited to your professional goals.

    A statement of intent is required for all graduate programs though the content varies by department. You will upload your statement of purpose to the Attachments section of your E-Portfolio.

  • 3 letters of reference are required.

    You are responsible for securing letters of recommendation from persons who are qualified to write about your potential for success at SAIC. If you are currently a student or are a recent graduate, we recommend you request letters of recommendation from current or former instructors.

    Letters of recommendation should be submitted electronically via the References section of the application form. In this section you will be asked to provide an email address for each of your references. Once you click "send request," an email will be sent from SlideRoom to your references with instructions on how to submit their recommendations online.

    If your references cannot provide an online recommendation please contact the Graduate Admissions office at gradmiss@saic.edu

  • A current résumé is required.

    A resume is required for all graduate programs. Upload your résumé to the Attachments section in your E-Portfolio.

  • For the Master of Arts in Arts Administration and Policy program, submit a sample of your critical writing, up to 2,000 words in length. This can be either an essay assignment from a previous course of study, an excerpt from a longer research paper, or a recently published article.

    For the Master of Arts in Modern and Contemporary Art History program, submit a 15 to 25 page critical writing sample that demonstrates knowledge of the field, ability in research, and clarity of argumentation. Submissions should be written on a topic in modern or contemporary art history from the 19th century to the present, but papers dealing with earlier historical eras will be accepted if they are in dialogue with current debates and methods. Additionally, topics dealing with relevant theories and philosophies, visual studies, and film studies will be considered.

    Applicants are required to submit an E-Portfolio, though the content varies by department. Please visit your individual program of interest to find details. You must submit a separate E-Portfolio for each program or studio department to which you apply. After you pay the application fee and submit the application form, an E-Portfolio for each of the programs you selected in the application form will automatically appear in your SlideRoom dashboard.

    Submission Specifications

    • Images: .jpg, .gif, .pdf (up to 5 MB each)
    • Videos: .flv, .wv, .mov (up to 60 MB each)
    • Audio: .mp3 (up to 10 MB each)
    • Text documents: MUST be in .pdf format (up to 10 MB each)

  • TOEFL: 100 
    IELTS:
    DUOLINGO: 120

    International applicants are required to submit evidence of English language proficiency. You are waived from this requirement if you meet any of the following conditions:

    • Your native language is English
    • You have an undergraduate degree conferred by a U.S. accredited university
    • You have an undergraduate degree conferred by a university whose primary language of instruction is English

    If you do not meet one of these conditions, you must submit official English language proficiency test scores. You are strongly encouraged to schedule a language proficiency test appointment as early as possible in order to receive official test scores prior to the application deadline.

    SAIC accepts official scores from the Test of English as a Foreign Language (TOEFL), International English Language Testing System (IELTS), and Duolingo. The TOEFL Institution Code for SAIC is 1713. Please upload an unofficial copy of your test score results to the International Requirements section of the application form.

  • The department conducts interviews by invitation only. Applicants who pass the preliminary review will be invited to schedule an interview in Mid-February. Notification will be sent by late January. For students at a distance or unable to travel, interviews may be conducted remotely.

  • Dual Degree students writing their thesis in Art History and electing to follow the Design History pathway are expected to take ARTHI 5007 as their methods seminar followed by at least four seminars in the Design History curriculum. Thesis topics should address the history and theory of design or architecture.

    Specialization in Design History within the Master of Arts (MA) in Modern and Contemporary Art History 

    Graduate students in the Department of Art History, Theory, and Criticism's graduate degree programs may elect to follow a specialized pathway in Design History. Coursework in this specialization focuses on the production of knowledge, discourses, practices, and domains of objects that have been understood to fall under the broad category of design. As with the MA in Modern and Contemporary Art History degree as a whole, seminars and research topics focus on the modern and contemporary periods.

    Students following the Design History pathway will study the theories and practices of design and examine the conception, production, interpretation, and consumption of design.

    MA in Modern and Contemporary Art History students electing to follow the Design History pathway are expected to take ARTHI 5007 as their methods seminar, followed by at least four seminars in the Design History curriculum. Thesis topics should address the history and theory of design or architecture.

    Recent graduate seminars and courses in Design History include:

    • ARTHI 5101: Theories of Things: Art/Design/Object
    • ARTHI 5111: Urbanization and Its Discontents
    • ARTHI 5122: Critical Terms in Modern Architecture
    • ARTHI 5547: Typographic Modernity & Print
    • ARTHI 5571: Design and the Body
    • ARTHI 5575: Extraordinary Bodies: Disability/Art/Design
    • ARTHI 4547: Biopolitics and Data Visualization
    • ARTHI 5480: Vernacular, Colonial, Global: Modern Architecture at the End of Empire
    Curricular Requirements for the Design History Pathway36 credit hours total
    ARTHI 5007: History of Art History3 credit hours

    4 graduate seminars (5000-level) in Design History

     

    12 credit hours

    Global Issues seminar (5000 level) that focuses on art worlds outside of Europe and North America or focuses on Global Art Theory.

    A list of courses that satisfies this requirement is available from the department every semester.

    3 credit hours
    2 additional seminars in Art History6 credit hours
    2 interdisciplinary electives (4000-6000 level) or additional Art/Design History seminars6 credit hours
    ARTHI 5999 and ARTHI 6999 Thesis sequence in second year6 credit hours
    Completion of thesis 

    Degree Requirements and Specifications

    1. Completion schedule: Students have a maximum of four years from entry into the program to complete coursework and submit a final, approved thesis. This includes time off for leaves of absence. Credit for Thesis Research and Writing (ARTHI 5999 and 6999) is granted only after the thesis is approved and final copies are submitted to the Department.
    2. Thesis in Progress: Students who have not submitted a finished thesis for review and approval by the end of the final semester of enrollment are given a Thesis in Progress grade (IP). All students with a Thesis in Progress grade (IP) will be charged the Thesis in Progress Fee in each subsequent full semester until the thesis is completed and approved and the grade is changed to Credit (CR). If the statute of limitations is reached without an approved thesis, the grade will be changed to No Credit (NCR).
    3. Transfer credits: A minimum of 30 credit hours must be completed in residence at SAIC. Up to six transfer credits may be requested at the time of application for admission and are subject to approval at that time. No transfer credit will be permitted after a student is admitted.
    4. Curriculum: The program requires 36 credit hours, and each individual course is generally three credit hours. Courses are subject to approval by the Art History Graduate Program Director.
    5. Art History requirement: From the Graduate Seminars and additional courses in Art History, at least one course (3 credit hours) must be taken from the list of courses designated 19th-century art history and at least one course (3 credit hours) designated early-20th-century art history. A list of courses that satisfies this requirement is available from the Department of Art History, Theory, and Criticism every semester.
    6. Global Issues Seminar: If the Global Issues seminar is also designated as Design History, students may use it to also fulfill one of the four graduate seminars in Design History. In this case, students would then be expected to take 3 Additional seminars in Art History rather than 2.
    7. Electives: Electives can be taken from the following departments and programs without additional approval from the Graduate Program Director: Art History, Theory, and Criticism; Visual and Critical Studies; Arts Administration and Policy; Art Education; and Writing. Graduate seminars and upper-level courses in departments other than those listed above may be allowed as electives, contingent upon prior approval from both the Art History Graduate Program Director and the course instructor.
    8. Internship/Co-op Option: Students have the option of taking up to three hours of credit through the co-op internship program. These credit hours can be taken as part of additional courses or electives, but internship credits never count toward the required number of seminar credit hours.
    9. Full-time Status Minimum Requirement: 9 credit hours

    Core Design History Faculty

    • Shiben Banerji, Design History Coordinator and Assistant Professor, Dept. of Art History, Theory, and Criticism
    • Michael Golec, Associate Professor, Dept. of Art History, Theory, and Criticism
    • Bess Williamson, Associate Professor, Dept. of Art History, Theory, and Criticism

World-Class Resources

SAIC students have special access to incomparable resources including the Art Institute of Chicago and its Modern Wing, SAIC’s John M. Flaxman Library and Special Collections, numerous on- and off-campus collections, and public programs.

Students also have at their disposal a diverse array of arts, cultural and community organizations in Chicago, and have the opportunity to work in partnership with them on a variety of projects sponsored and led by the department’s Management Studio. 

On-Campus Opportunities

Students engage directly with current trends in the fields of art history through numerous events and lectures hosted by the Art History department. The Visiting Artists Program has brought in such distinguished artists as Graham Pullin, Arlene Shechet, Anab Jain, Lewis Hyde, Irene Hofmann, Xaviera Simmons, Kendell Geers, Ron Athey, Beatriz Milhazes, and Iñigo Manglano-Ovalle.

Each year, as part of the Lifton Lecture, a prominent scholar presents a public lecture on a topic related to modern and contemporary art history. A theme over the years has been an emphasis on women art historians and their contributions to the field. Students in their final year present their thesis before the department’s faculty and students.

Dual degree students participate in the production of E-merge: journal of arts administration and policy. E-merge is an online journal produced by graduate students in the School of the Art Institute of Chicago’s Master of Arts Administration and Policy and Dual degree programs, featuring collaborations with guest editors from the SAIC Community. The journal is dedicated to fostering creative discussions amongst leading professionals, academics, and students, and provides dual degree candidates with valuable publication and journal-management experience.

Course Listing

Title Catalog Instructor Schedule

Description

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Class Number

1096

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Class Number

1097

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Class Number

1098

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Class Number

1100

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Class Number

1101

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Class Number

1125

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 1608

Description

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Class Number

2320

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 1608

Description

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

Class Number

2321

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 1608

Description

This is an advanced section of the survey of world art and culture, prehistory to 1850. It is intended for BAAH students, Scholars Program students, and students interested in the history of writing about art (and teaching the survey). We will begin at 500,000 BC, and cover approximately 50 cultures; the list is at ow.ly/Y902K. In each case we will also question the ways historians describe the culture; we will study the ways art history textbooks promote certain senses of art and national identity; and we will consider how other institutions have tried to teach the global survey. The class is difficult, and requires a lot of memorization. Concurrent Registration in one ARTHI 1101: Discussion Section for Advanced Survey of World Art Prehistory to 1850 is required.

Class Number

1095

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

Class Number

1102

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

Class Number

1103

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

Class Number

1104

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

Class Number

1105

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

This lecture course grounds students in basic critical themes in the history of design and design objects. Through lectures, demonstrations, and readings students study the material and discursive conditions of the history of design. Through lecture, readings, discussions, and museum visits, the class highlights a broad range of objects and formats in graphic design, object design, fashion design, and architectural design. Course works includes object analysis assignments, short research paper, and mid-term and final exams.

Class Number

1133

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

In this course, students will learn the basics of film language, cover the evolution of various stylistic and ideological trends throughout the medium, and gain a core understanding of how to critically analyze film and other media forms from formal, historical, and cultural theoretical perspectives. While the specific films screened may vary, course screenings and readings generally cover the development of Hollywood and studio-based filmmaking practices, diasporic and exilic models of filmmaking, European New Waves, televisual practices of media making, and topics in new media. Students will complete quizzes and a comprehensive final exam to demonstrate their understanding of course terminology, concepts, and themes, as well as a number of short written analyses to exhibit their competency and skill in constructing original scholarly argumentation.

Class Number

1106

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 1608

Description

Students will review the materials from the previous week's lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations. Concurrent Registration with 1353: ARTHI 1001 005: Advanced Survey of World Art From Prehistory to 1850 section required.

Prerequisites

Concurrent enrollment in ARTHI 1001 Scholars Section required.

Class Number

1121

Credits

0

Department

Art History, Theory, and Criticism

Location

Lakeview - 206

Description

Students will review the materials from the previous week's lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations. Concurrent Registration with 1353: ARTHI 1001 005: Advanced Survey of World Art From Prehistory to 1850 section required.

Prerequisites

Concurrent enrollment in ARTHI 1001 Scholars Section required.

Class Number

1122

Credits

0

Department

Art History, Theory, and Criticism

Location

Lakeview - 206

Description

Students will review the materials from the previous week's lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations. Concurrent Registration with 1353: ARTHI 1001 005: Advanced Survey of World Art From Prehistory to 1850 section required.

Prerequisites

Concurrent enrollment in ARTHI 1001 Scholars Section required.

Class Number

2330

Credits

0

Department

Art History, Theory, and Criticism

Location

280 Building Rm 120

Description

Students will review the materials from the previous week's lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations. Concurrent Registration with 1353: ARTHI 1001 005: Advanced Survey of World Art From Prehistory to 1850 section required.

Prerequisites

Concurrent enrollment in ARTHI 1001 Scholars Section required.

Class Number

2331

Credits

0

Department

Art History, Theory, and Criticism

Location

Lakeview - 206

Description

This course plunges students into content and ideas that universities often leave until graduate school, as we consider the role played by the 'critical' in 'visual and critical studies.' For the past ten years, it has been referred to as 'a primer for the art world.' It will still, mostly, provide you with a working vocabulary and crash course as to bodies of knowledge integral to the study of visual culture. At the same time, to productively engage in a reflective critique of society and culture, it will consider 'texts' from as diverse and contemporaneous a group of scholars, theorists, critics, and cultural producers as possible, from both inside and outside the academic institution.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1107

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Theory

Location

Lakeview - 203

Description

This course plunges students into content and ideas that universities often leave until graduate school, as we consider the role played by the 'critical' in 'visual and critical studies.' For the past ten years, it has been referred to as 'a primer for the art world.' It will still, mostly, provide you with a working vocabulary and crash course as to bodies of knowledge integral to the study of visual culture. At the same time, to productively engage in a reflective critique of society and culture, it will consider 'texts' from as diverse and contemporaneous a group of scholars, theorists, critics, and cultural producers as possible, from both inside and outside the academic institution.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1142

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Theory

Location

Lakeview - 203

Description

Since the Exposition des arts incoherents in 1882, the orthodox story of art has been pre-figured, parodied, or echoed by ideas and activities which are less well-known but nevertheless informative about the state of the arts through modernism to today. Including Hydropaths, `pataphysicians and members of groups called Lettrisme or Neoism, propagating ideas ranging from transmental to pandrogenic, this course identifies and contextualizes some of the salient adventures of those who ignore convention to create and play before the vanguard and behind the canon.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

2258

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 707

Description

This course surveys the history and production of clay and ceramics, from one of the earliest ceramic objects known, dating back some 20,000 years, to the present use of clay in contemporary art, design and craft. The course will take us through every continent and be looking at the use of ceramic in different cultures at different times though history. Attention will be given to the role clay and ceramic plays in our human development both as ritualistic, artistic and functional handmade and mass-produced objects. From ceramic in an ancient caves to NASA and the use of ceramic in space and everything in between.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1187

Credits

3

Department

Art History, Theory, and Criticism

Location

280 Building Rm 120

Description

Is it possible to have, or should we even want, an African American Art Historical canon?This class argues that the history of African American Art offers us, in practice and theory, resistant histories of 'high' and 'low' art, everyday objects, and ways of seeing. By conducting a chronological approach to African American Art, we will trace moments of historical continuity as well as emerging practices in order to better understand how the methods, materials, and meanings bracketed under the category of African American Art have been a site of innovation, experimentation, and avant-garde practice. We will spend this semester juxtaposing conventional approaches to art (painting, sculpting, line drawing, installation) with innovative approaches to visual culture (found objects, everyday materials, contemporary performance). Artists of inquiry include Augusta Savage, Aaron Douglass, Hale Woodruff, Charles White, Elizabeth Catlett, Faith Ringgold, Sam Gilliam, Alma Thomas, David Hammons, Senga Nengudi, Marlon Riggs, Arthur Jafa, Rashid Johnson, Sadie Barnette. We will also discuss author-less works, collectives, and collaborate projects. Students are required to complete an annotated bibliography, weekly in-class assignments, and a 3 hour final examination.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1181

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Class, Race, Ethnicity, Economic Inequality & Class

Location

MacLean 620

Description

This seminar examines inter-related practices of bookmaking, drawing, painting, and printmaking from Mexico-Tenochtitlan, Renaissance Venice, Safavid Isfahan, Mughal Delhi, Ottoman Jerusalem, colonial Ireland, Baroque Rome, Qing Wutaishan, and Tokugawa Edo. We scrutinize octavos, folios, codices, and albums. We look at how graphite, ink, watercolor, and engraving tools were used to embellish images, and alter the boundaries separating prints, drawings, and paintings. Writing assignments emphasize close looking, close reading, and careful revision. Class discussions focus on representations of architecture, paying particular attention to innovations in visual form and their cultural and political meanings. Students are expected to write and revise short essays responding to texts and images produced by architects.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

2278

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Books and Publishing

Location

Lakeview - 203

Description

This course surveys the history of architecture and design, including furnishings, decorative arts and interiors, from the earliest settlements of the Neolithic Era until the onset of Neoclassicism in the late Eighteenth Century. Special attention is given to the developments that have remained most influential within the architecture and design of today, with particular emphasis on ancient Greece and Rome, Early Christian, Byzantine and early Islam, the European Middle Ages, and the Renaissance, Baroque and Rococo cultures. Through extensive lectures and readings, special focus in this class is devoted to the art of the Greek temple, Roman civil engineering, the rise of monasticism in the early Middle Ages, early Byzantine and early Islamic religious design, pilgrimage and Romanesque church building, Gothic Europe and the age of cathedrals, Italian Renaissance architecture and the rise of Humanism, Baroque churches and papal patronage, French chateaux and absolute monarchy, and the origins of Modernism during the eighteenth-century Enlightenment. Students will complete a combination of in-class and take-home exams along with a final research paper on a topic chosen in consultation with the instructor.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1108

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 202

Description

This is an undergraduate survey of modernism and postmodernism in Latin America from the 1920s through the present. Topics will include national identity and 'anthropophagy' in the first wave of modernism in the region, debates over Surrealism and realism in the 1930s, the transition from 'concrete to 'neo-concrete' form and the link between architecture and developmentalism in the 1940s, 1950s and 1960s, conceptual art and politics in the 1960s and 1970s, and more recent sculptural, photographic, performance, and relational practices. Specific topics include the cosmopolitan avant-garde that appeared in Mexico at the start of the 1920s, the theorization of anthropofagia in Brazil and indigenismo in Peru, Cuba?s Grupo Minorista, Mexican muralism and surrealism, Joaquin Torres-Garcia?s introduction of abstraction to Uruguay and Argentina, links between art and architecture in Venezuelan and Brazilian developmentalism, the rise of kinetic and participatory approaches in the 1950s and 1960s, conceptual art as a response to the dictatorships of the 1960s and 1970s, Latinx and Chicanx actions and performance in the United States, the politics of memory in post-dictatorship/violence art in Chile and Colombia, persistent questions of borders and internationalism in contemporary approaches to ?relational aesthetics? in Central America and the Caribbean, and many other examples. This course requires weekly reading responses, two papers, and a final exam.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1134

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 707

Description

This course examines the emergence, growth and evolution of art by Asian Pacific Islander Americans throughout the twentieth century especially in the aftermath of the Civil Rights Movement that also spawned a genesis of Asian American identity, culture and activism to the late 1980?s during the apex of multiculturalism and the politics of representation to the transnationalism of the new millennium and beyond. Through readings, field trips, and film screenings, our class will consider the ongoing debate of what constitutes Asian American art by looking at artists including Isamu Noguchi, Roger Shimomura, Nam June Paik, Yoko Ono, Maya Lin, Tseng Kwong Chi and others within these historical, cultural and political contexts to discuss how questions related to stereotype, cultural difference, gender politics, and identity construction affected and shaped its development and meaning. Course work will include in-class presentation, two research papers as well as a mid-term and final exam.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1162

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Class, Race, Ethnicity

Location

MacLean 920

Description

This course introduces Korean visual culture by examining images and objects in their historical, social, religious, and philosophical contexts. It covers key examples of paintings, ceramics and Buddhist art from the Three Kingdoms period to the Choson dynasty, through Modern Korean art, This course helps students gain a comprehensive understanding of traditional Korean visual culture and its modern legacy.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1164

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 608

Description

This course examines significant developments in European architecture, with regard to structure, function, and style, from the Industrial Revolution in the late 18th century through the outbreak of World War I. Major architects and their works are dealt with in the context of pertinent practical, theoretical, and social issues, to assess the overall prominence of architecture in the period of emergent modernism in Europe.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1109

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 707

Description

This course is a chronological history of human dress from pre-history to the 20th century, and from archaeological remains of ancient cultures, through diverse global material technologies and markets influencing dress, through European monarchical and social class attire, to global exploration and colonialist effects upon worldwide human dress and ways of life. Portraiture, artistic dress and reform dress will be seen to evolve and transform long-standing gender binaries in human dress. Historic styles will be seen to continue to influence contemporary dress and fashions. The sartorial contributions of diverse historical and global human cultures also be appreciated for their innovations and ongoing influences. All students may become conversant with the anatomy, language and literature of dress. Learning experiences include lectures, readings, library and museum visits, observational sketching and noting from documents of dress, film viewing and spoken illustrated presentations in class. Focus on primary, secondary and tertiary sources of clothing information will be essential. Historical accuracy, creative anachronisms and research of period clothing will be expressed in film viewing and Ryerson Library antique costume books. Visits to Art Institute curatorial departments to view period armor, textiles and garments will provide essential experiences of historic dress. Assignments will include: self-introductory observations on a museum exhibition visit, a spoken presentation from a group of diverse Documents of Dress sketched and noted by each student on visits to about 6 libraries, museum installations and curatorial departments, and a final presentation/research paper of 10 pages on a Personification of Style, an individual whose attire and accomplishments made important cultural contribution in their time. Citations and bibliography are essential for credit. Knowing your sources is essential.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1110

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Costume Design

Location

Lakeview - 203

Description

This course is designed to serve as an introduction to film analysis, in which students learn the basic concepts and vocabulary of film aesthetics and criticism. We examine different trajectories of film, studying mainstream film practices next to alternative ones. By studying the basics of film form and film style, through examples from different national cinemas, genres, and directorial oeuvres, students learn to analyze and write about films as both formal and cultural constructs. Along with questions of film technique and style, we study cinema's relationship to popular culture and fine art. The films discussed include works by Griffith, Eisenstein, Welles, Hitchcock, and Godard. This course does not assume any prior exposure to film studies.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

2280

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 1307

Description

This seminar is part of the 'Global Cinema Histories' film series at the Gene Siskel Film Centre, where we will meet to watch films and discuss them. The term propaganda, originally used for religious purposes to “propagate” faith, has historically been seen as a neutral or even positive tool to disseminate information, and is characterized by forceful messages and aesthetics. For both politicians and activists, propaganda has practical uses. More often than not, today the term elicits strong responses of wariness and dubious denial. The focus of this course is on the filmic output related to propaganda in the 20th and 21st centuries, when new technologies and the use of reproductive media met mass movements and big political shifts. We will cover Italian Fascism and German National Socialism’s “aestheticization of politics”, as Walter Benjamin described it. We will address Eastern European Socialist Aesthetics, revolutionary cinema in China and Hong Kong, the White Terror years in Taiwan, the pop culture of a divided Korea, and the revolutions in South America. We will explore the relationship of propaganda to colonialism, imperialism, and globalization. We will consider official politics, grassroots movements, and the blurred lines distinguishing these realms. Writing short reflections and reviews, some reading, and lots of time for discussion will structure the course.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

2272

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Theory

Location

Gene Siskel Film Center 203

Description

This seminar is part of the 'Global Cinema Histories' film series at the Gene Siskel Film Centre, where we will meet to watch films and discuss them. The term propaganda, originally used for religious purposes to “propagate” faith, has historically been seen as a neutral or even positive tool to disseminate information, and is characterized by forceful messages and aesthetics. For both politicians and activists, propaganda has practical uses. More often than not, today the term elicits strong responses of wariness and dubious denial. The focus of this course is on the filmic output related to propaganda in the 20th and 21st centuries, when new technologies and the use of reproductive media met mass movements and big political shifts. We will cover Italian Fascism and German National Socialism’s “aestheticization of politics”, as Walter Benjamin described it. We will address Eastern European Socialist Aesthetics, revolutionary cinema in China and Hong Kong, the White Terror years in Taiwan, the pop culture of a divided Korea, and the revolutions in South America. We will explore the relationship of propaganda to colonialism, imperialism, and globalization. We will consider official politics, grassroots movements, and the blurred lines distinguishing these realms. Writing short reflections and reviews, some reading, and lots of time for discussion will structure the course.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

2272

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Theory

Location

Gene Siskel Film Center 203

Description

This course discusses the development of photography as both an art and a tool, including its invention, the initial social reaction to the photograph, the careers of major photographers, movements, and commercial publishers. The interrelationships between photography, art, science, and society are emphasized.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1128

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 202

Description

In 1839 a new means of visual representation was announced to a startled world: photography. Although the medium was immediately and enthusiastically embraced by the public at large, photographers spent decades experimenting with techniques and debating the representational nature of this new invention. This course focuses on the more recent history of this revolutionary medium. From the technological advancements that characterized the rise of photography in the commercial world during the 20th century, and the acknowledgement of photography as an artistic medium in its own right, to the digital revolution and its social media applications, we will consider the technological, economic, political, and artistic histories of photography through selected works of art and seminal critical texts. This course considers photography in a global context. We focus on seminal texts and images in order to explore ethical, commercial, artistic, and political issues that make photography essentially important to our contemporary visual culture. The course explores broad range of photographic practices, techniques, and approaches including the work of Hannah Hoch, Martha Rosler, Hiroshi Sugimoto, Dawoud Bey, Gordon Parks, Nan Goldin, Cindy Sherman, William Eggleston, Shirin Neshat, Wolfgang Tillmans and many more. We regularly visit the collections of AIC and MCoP to enrich our class discussions with private print viewings and exhibition critiques. Students are expected to share an image of their choice in response to the assigned weekly reading. These images are used in class discussion. There also is a final paper, a final presentation, and an in-class test.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

2334

Credits

3

Department

Art History, Theory, and Criticism

Location

280 Building Rm 120

Description

This course offers an historical survey of music as a sonic art form from the Futurists to the present day. Emphasis is placed on works that tune the performance environment, explore sound as sculpture, interact with the listener/viewer, and employ intermedia. Class discussions include topics such as basic psycho-acoustics, sound manipulation, conceptual art, installation techniques, and constructivist aesthetics.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1192

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 202

Description

This course is designed to provide a comprehensive introduction to the history of video art from its emergence in the late 1960s through our present moment. Students will examine key works and the major historical, cultural, and aesthetic influences on the form.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1129

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Digital Communication

Location

MacLean 1307

Description

This general survey of graphic design between the 19th and 20th centuries maps the relationships between graphic design and various commercial and cultural institutions under the broad category of the modern. Students study the issues and problems that faced designers, their clients, and their audiences, in the negotiation of commercial and social changes. Through lectures, readings, discussions, and museum visits, the course examines the cultural, social, economic, political, industrial, and technological forces that have influenced the history of graphic design. Course work includes object analysis assignments, research paper, and mid-term and final exams.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1157

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Graphic Design

Location

Lakeview - 1608

Description

Exploring the art, fashion, music of the 'Jazz Age'this class reveals the enduring impact 1920's aesthetics has had on contemporary fashion, art and social customs. Starting with an exploration of the differing mind sets of Europeans versus Americans, this class then takes an in-depth look of the artists and lifestyles 1920's Paris that had been greatly impacted by the influx of Americans after the First World War. The class ends with the lasting legacy of the Jazz Age, which was seen particularly in the 1960's, but currently has resurfaced in contemporary issues of gender identity. More specifically, this class examines using film and texts the two key Jazz Age couples; F. Scott and Zelda Fitzgerald and Gerald and Sara Murphy. The former couple establishing the persona of 'the flapper' and the latter couple establishing a major link between American in France and the Famous School of Paris artists particularly Picasso. Other key figures are examined such as the first major Chinese American actress Anna May Wong and the black performer Josephine Baker as well as fashion designer Coco Chanel and film star Clara Bow. Course work revolves around two key texts as well as a reading the Great Gatsby. Reading questions accompany the 1st text and essay is required to explore the other text in relation to the Great Gatsby. There is also one final paper on one Jazz age artists of the student's choice.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

2261

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 1608

Take the Next Step

Visit the graduate admissions website or contact the graduate admissions office at 312.629.6100, 800.232.7242 or gradmiss@saic.edu

 

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