Dual Degree: MA in Arts Administration & Policy & MA in Modern and Contemporary Art History Admissions Information

A group of students and an instructor discuss a sculpture at the AIC

Graduate Dual Degree

SAIC's graduate dual degree option in Modern and Contemporary Art History 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

Reduced Application Fee Deadline: December 1—$45 Application Fee
Application Deadline: March 1—$90 Application Fee
Apply Online
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.
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 refunded. After you submit the application form, there will be a waiting period until you are able to see the program-specific application(s) in your portal.
Once your program-specific applications are available, for each program you will be able to submit your program-specific application requirements (writing sample or portfolio), request the required recommendations, and see any additional checklist items.
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 as directed in your application portal:
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.
You will upload each statement of purpose separately in your application portal.
Three 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 Letters of Recommendation section in each program-specific application. In the Recommendations section click Add Recommender, where you will be asked to provide an email address and other details for each of your references. Once you click "Send To Recommender" an email will be sent from your application portal to your references, with instructions on how to submit their recommendations securely through our online portal.
If your references cannot provide an online recommendation please contact the Graduate Admissions office at gradmiss@saic.edu.
A résumé is required for all graduate programs. Upload your résumé in the Résumé or Curriculum Vitae (CV) section of your application form.
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 each critical writing sample in your application portal.
Submission specifications:
Text documents: MUST be in .pdf format (up to 10 MB each)
TOEFL: 100
IELTS: 7
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.

Design History Track

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 4040 Postmodern Design: From Ambivalence to Permissiveness
ARTHI 4547 Data, Aesthetics, and Technical Images
ARTHI 5101 Theories of Things: Art/Design/Object
ARTHI 5102 A Global History of Architecture (1750-1900)
ARTHI 5120 Survey of Modern and Contemporary Design
ARTHI 5122 Critical Terms in Modern Architecture
ARTHI 5100 Special Topics in Architectural History
ARTHI 5547 Typographic Modernity

Curricular Requirements for the Design History Pathway	36 credit hours total
ARTHI 5007: History of Art History	3 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 History	6 credit hours
2 interdisciplinary electives (4000-6000 level) or additional Art/Design History seminars	6 credit hours
ARTHI 5999 and ARTHI 6999 Thesis sequence in second year	6 credit hours
Completion of thesis

Degree Requirements and Specifications

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.
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).
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.
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.
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.
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.
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.
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.
Full-time Status Minimum Requirement: 9 credit hours

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
Introduction to Art: Ways of Seeing	1001 (001)		Fri 3:30 PM - 6:15 PM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1002	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Introduction to Art: Ways of Seeing	1001 (002)	Mikolaj Czerwiński	Mon 8:30 AM - 11:15 AM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1003	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Introduction to Art: Ways of Seeing	1001 (003)	Mikolaj Czerwiński	Fri 3:30 PM - 6:15 PM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1004	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Introduction to Art: Ways of Seeing	1001 (004)	Artie Foster	Fri 12:15 PM - 3:00 PM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1005	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Introduction to Art: Ways of Seeing	1001 (005)	Joana Konova	Thurs 3:30 PM - 6:15 PM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1006	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Introduction to Art: Ways of Seeing	1001 (006)	Arianna Ray	Fri 8:30 AM - 11:15 AM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1043	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Introduction to Art: Ways of Seeing	1001 (007)	Rhoda Rosen	Wed 12:15 PM - 3:00 PM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1019	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Introduction to Art: Ways of Seeing	1001 (008)	Hannah Gadbois	Thurs 8:30 AM - 11:15 AM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1039	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Adv Hist World Art:Prehst-1850	1001 (009)	David Raskin	Thurs 12:15 PM - 3:00 PM In Person
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 1040	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Issues in Modern and Contemporary Art	1002 (001)		Thurs 3:30 PM - 6:15 PM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 1007	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Issues in Modern and Contemporary Art	1002 (002)	Weronika Malek-Lubawski	Fri 8:30 AM - 11:15 AM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 1008	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Issues in Modern and Contemporary Art	1002 (003)	Josh L. Gomez	Wed 8:30 AM - 11:15 AM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 1009	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Survey of Design History: Between Object and Ephemera	1015 (001)	Lara Allison	Thurs 12:15 PM - 3:00 PM In Person
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 1022	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Discussion Section for Advanced Survey of World Art Prehistory to 1850	1101 (01S)		Tues 3:30 PM - 5:00 PM In Person
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 1017	Credits 0	Department Art History, Theory, and Criticism Location MacLean 818
Discussion Section for Advanced Survey of World Art Prehistory to 1850	1101 (02S)		Thurs 3:30 PM - 5:00 PM In Person
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 1018	Credits 0	Department Art History, Theory, and Criticism Location MacLean 617
Discussion Section for Advanced Survey of World Art Prehistory to 1850	1101 (03S)		Fri 9:45 AM - 11:15 AM In Person
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 1041	Credits 0	Department Art History, Theory, and Criticism Location MacLean 919
Discussion Section for Advanced Survey of World Art Prehistory to 1850	1101 (04S)		Wed 9:45 AM - 11:15 AM In Person
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 1042	Credits 0	Department Art History, Theory, and Criticism Location MacLean 501
Issues in Visual Critical Studies	2001 (001)	Kristi Ann McGuire	Tues 3:30 PM - 6:15 PM In Person
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 2182	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location Lakeview - 1428
20th Century Art Under Dictatorship	2012 (001)	Weronika Malek-Lubawski	Fri 12:15 PM - 3:00 PM In Person
Description This class offers one survey of how artists have responded and adapted to moments of severe political, economic, and social uncertainty. Some, like Albert Speer in Nazi Germany and Antonio Ferro of the Estado Novo in Portugal proudly shaped the images of dictatorial regimes. Others, like Pablo Picasso, created works that spoke to the horrors committed under Francisco Franco of Spain; others, like Malangatana Ngwenya, made drawings while imprisoned and awaiting trial. We will look at a spectrum of artists whose responses to their circumstances vary widely. Together, we ask: how does one cultivate and protect free expression? How do we historicize art made during moments of crisis, censorship, and severe oppression? Each week, we will concentrate on a particular time and regime within the twentieth century across five continents. We will begin in Ancient Rome to explore the concept of the dictator perpetuo, and will explore one regime per week in the following countries: Brazil, Portugal, Spain, Italy, the Soviet Union, Germany, Cuba, Cambodia, North Korea, China, and Sudan. Texts will primarily consist of primary sources, artist interviews, documentaries and art-historical articles and book chapters. Secondary texts include Mary Beard's 'Twelve Caesars: Images of Power from the Ancient World to the Modern' (2021); Claudia Calirman's 'Brazilian Art Under Dictatorship: Antonio Manuel, Artur Barrio, and Cildo Meireles' (2012), and Douglas Gabriel's 'Over the Mountain: Realism Toward Unification in Cold War Korea, 1980-1994' (2019, diss.). Assignments include one 5-page exhibition proposal and one final exam. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1047	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Gender and Sexuality, Class, Race, Ethnicity Location Lakeview - 202
Introduction to African Diaspora Art History	2015 (001)	Eddie Chambers	Mon 12:15 PM - 3:00 PM In Person
Description This class will begin with considerations of African Diaspora identity formations and how such formations and histories relate to the broad subject of the class - African Diaspora art history. We will consider the work of a number of leading artists of the African Diaspora, located throughout the world in geographic regions such as the Americas, Europe and artists emerging out of the continent of Africa itself. With African Diaspora art history being such a relatively recent addition to the canon of art history, pretty much all of the artists we look at in this class will be reflective of the modern and contemporary art history periods. The class will use a variety of texts, most frequently catalogue essays relating to artists of the African Diaspora, many of whom are now established figures in exhibitions and biennales. Artists such as Keith Piper, Rotimi Fani-Kayode, Charles White, Elizabeth Catlett, Sonia Boyce, Isaac Julien and others whose work can be seen as emerging from a confluence of factors including migration, diaspora, history and identity. Our readings will also include texts by art historians and curators who have worked with, or written about, such artists. The texts will demonstrate the extent to which African Diaspora identity formations are often central to nuanced readings of these artists' practices. Students are required to submit one short 'reaction' paper each week, plus a 4-6 page research paper at the end of the semester. The main emphasis of the seminar will be on active class participation and discussion of the artists and their work. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2118	Credits 3	Department Art History, Theory, and Criticism Area of Study Gender and Sexuality, Class, Race, Ethnicity, Exhibition and Curatorial Studies Location Lakeview - 202
20,000 Years of Clay	2022 (001)	Emily Schroeder Willis	Thurs 3:30 PM - 6:15 PM In Person
Description This course covers the history of clay and ceramics from the earliest known ceramic objects dating back more than 20,000 years up to the present. This history course will take us through each continent and look at its use of ceramics in different cultures at different times throughout history. It will help us understand how clay/ceramics have been connected to other elements of art history and have influenced and been influenced by other mediums. We will map how different pottery traditions traversed the globe to guide us on our journey in discovering the rich history of this material. Focus will be given to the role clay and ceramic plays in our human development as ritualistic, artistic, functional, and mass-produced objects. Additionally, we will look at the use of clay and ceramic objects in contemporary art, design, and craft. Each week will be structured with readings helping understand the historical context coupled with a reading that shows its contemporary influence. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2138	Credits 3	Department Art History, Theory, and Criticism Location MacLean 112
The Artist as Stylist?: Fashion Signifiers in Art	2143 (001)	Caroline Marie Bellios	Tues 12:15 PM - 3:00 PM In Person
Description If you could only be seen in one outfit for the rest of your life ? what would it be? How would you represent who you are through your choice of silhouette, color, pattern, and texture? In this course we will take a look at art?s ability to freeze moments, and garments, in time. What did the sitter (or the artist) chose to clothe the body? How did fashion and its power of communication function within the time the art work was made? What choices did the artist make to idealize or change their representation of the garments? In statues from Ancient Greece fabrics flow around bodies like liquids, 18th century subjects were often painted in swathes of fabric meant to suggest ancient ideals through similar (impossible) textiles, and today Kara Walker uses those same floating fabrics on bodies to critique less than ideal idealists. To 19th century Impressionists the urgency of Modernity could only be represented by using contemporary garments, today Kehinde Wiley dresses a man on a horse in a hoodie. What clues tell us a figure is a warrior or a captive in work of the Nazca from ancient Peru? How can we read hairstyles in Ukiyo-e paintings from 17th century Japan? What do Jeffery Gibson and Nick Cave want us to see when they create coverings for bodies? And what was Amy Sherald trying to tell us about Michelle Obama? We will utilize the collections of the Art Institute, The Field Museum, and others around the city to look closely, sketch, and research. Students will read, lead discussions, write daily reflections, explore through making, and develop skills in critical looking leading to two short research papers examining works of their choice. In statues from Ancient Greece fabrics flow around bodies like liquids, 18th century subjects were often painted in swathes of fabric meant to suggest ancient ideals through similar (impossible) textiles, and today Kara Walker uses those same floating fabrics on bodies to critique less than ideal idealists. To 19th century Impressionists the urgency of Modernity could only be represented by using contemporary garments, today Kehinde Wiley dresses a man on a horse in a hoodie. What clues tell us a figure is a king in Incan pottery? How can we read hairstyles in Ukiyo-e paintings from Japan? What do Jeffery Gibson and Nick Cave want us to see when they create coverings for bodies? And what was Amy Sherald trying to tell us about Michelle Obama? We will visit the collections of the Art Institute, The Field Museum, and other collections around the city to look closely, sketch, and research. Students will read, lead discussions, write daily reflections, and develop skills in critical looking leading to two short research papers examining works of their choice. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1099	Credits 3	Department Art History, Theory, and Criticism Area of Study Costume Design, Class, Race, Ethnicity, Museum Studies Location MacLean 111
History Of Architecture & Design I	2191 (001)	John P Smagner	Tues 3:30 PM - 6:15 PM In Person
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 1011	Credits 3	Department Art History, Theory, and Criticism Location MacLean 920
Modern and Contemporary Latin American Art	2206 (001)	Josh L. Gomez	Thurs 8:30 AM - 11:15 AM In Person
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 1023	Credits 3	Department Art History, Theory, and Criticism Location MacLean 920
Beyond Oriental: 20th Century Asian American Art	2385 (001)	Larry Lee	Thurs 3:30 PM - 6:15 PM In Person
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 1095	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity Location Lakeview - 203
History of Korean Art	2460 (001)	Yeonsoo Chee	Wed 8:30 AM - 11:15 AM In Person
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 1029	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
The Arts of Edo Japan	2462 (001)	Mami Hatayama	Tues 8:30 AM - 11:15 AM In Person
Description This course introduces Japanese Art between the 17th to the 19th century, also known as the Edo period (1603-1868), when a variety of art forms and styles emerged. We will examine a selection of major styles and artistic practices, and their social and historical backgrounds, providing an introduction to Japanese aesthetics, techniques, and artists. Students will be able to become familiar with many key works and also gain some understanding on changing currents during the 250 years period. Examples of the art forms we will examine include those from the official painting schools, such as the Kano school, to the vibrant popular culture ukiyo-e (floating world pictures). Influences from China and the West that were absorbed by artists in a variety of ways will be considered. To give foundation, the first few classes will provide a broad overview of pictorial art in Japan from ancient times to the 16th century and study major artistic traditions. Course work will vary but typically includes two writing assignments and a final exam. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2114	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Origins of Modern Architecture	2500 (001)	Timothy Wittman	Tues 3:30 PM - 6:15 PM In Person
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 1012	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
History of Dress	2566 (001)	Sandra Adams	Thurs 12:15 PM - 3:00 PM In Person
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 1013	Credits 3	Department Art History, Theory, and Criticism Area of Study Costume Design Location MacLean 920
INTERIORITY ON SCREEN	2588 (001)	Daniel Ricardo Quiles	Wed 6:00 PM - 9:00 PM In Person
Description What possibilities does filmic language offer for representing the inner lives and interior states of characters/human-subjects on screen? This course focuses on cinematic works that depict the subjectivities and mental states of their characters in unconventional, intimate, and poetic manners. Point-of-view (POV), point-of-audition (POA), close-ups, voice-over, characterization, performance style and depiction of dreams are among the cinematic elements and concepts that will be critically explored and defamiliarized throughout the course. Screenings and close study of works by filmmakers such as Lynne Ramsay, Barbara Loden, Lucrecia Martel, Todd Haynes, Apichatpong Weerasethakul, ildikó enyedi, Kathleen Collins, Márta Mészáros, Elem Klimov and Krzysztof Kie¿lowski will be accompanied by scholarly and personal essays and readings. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1049	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location Gene Siskel Film Center 203
19th Century Photography	2621 (001)	Alice Maggie Hazard	Thurs 3:30 PM - 6:15 PM In Person
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 1020	Credits 3	Department Art History, Theory, and Criticism Location MacLean 608
History Of Sonic Art	2660 (001)	Seth Kim-Cohen	Wed 12:15 PM - 3:00 PM In Person
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 1034	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Introduction to Video Art	2670 (001)	Bruce Jenkins	Mon 12:15 PM - 3:00 PM In Person
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 1021	Credits 3	Department Art History, Theory, and Criticism Area of Study Digital Communication Location Lakeview - 203
Interwar Art: Notions of Beauty	2865 (001)	Mark Krisco	Thurs 3:30 PM - 6:15 PM In Person
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 1035	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 202
The Creative Lives of Archives	3034 (001)	Deanna Ledezma	Thurs 12:15 PM - 3:00 PM In Person
Description Archives are more than boxes of historical documents studied by historians. As this course demonstrates, archives are also sites of creative practices, interventions, and collaborations. Focusing on archival practices in contemporary art, this course examines how artists make work with preexisting archives and produce new collections of their own. We will investigate how artists have activated archival collections, countered exclusions in archives, critiqued colonial archives, and developed archives with and for marginalized communities. The course will provide an overview of key terms and major themes in critical archival studies, such as memory, ephemera, critical fabulation. Readings will include texts by the following scholars, curators, and archivists: Sarah Callahan, Tina Campt, Michelle Caswell, Maria Eugenia Cotera, Ann Cvetkovich, Okwui Enwezor, Saidiya Hartman, Carolyn Steedman, and Diana Taylor. Along with these writings, we will learn about the art practices and archives of LGBTQ+ and BIPOC artists: William Camargo, Guadalupe Rosales, Wendy Red Star, Irene Antonia Diane Reece, Diana Solís, Stephanie Syjuco, and Fred Wilson. In addition to the Flaxman Library Special Collections, we will visit archives held in Chicago institutions, such as the Newberry Library, the Gerber/Hart Library and Archives, and the Harold Washington Library Center. During these class trips, we will meet with archivists and librarians. Coursework will include written reflections on assigned readings and field trips, a creative project based on an archival collection, and a final research paper and presentation on a self-selected topic. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1100	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Community & Social Engagement, Public Space, Site, Landscape Location MacLean 608
War: Art and Photography in the 20th Century	3133 (001)	Conor Lauesen	Fri 12:15 PM - 3:00 PM In Person
Description This course explores the history of 20th century warfare through the lens of art and history, most especially photography. An upper-level undergraduate course, lectures and discussion likewise aim to introduce students to both the uncanny strangeness and implicit violence embedded in the photographic medium. In this way, the material of the class reaches beyond only explicit representations of war, and instead also considers how the medium of photography is today part and parcel with our modern, contemporary experience of witnessing violence. Chronologically structured, the course considers the ever-shifting ethos of representation and war with pictures beginning in 1898 and the American imperial projects across the Philippines. However, with the American Civil War looming in the immediate background of democratic identity and pictorial practice, the 1865 war photographs from Alexander Gardner and Timothy O'Sullivan unofficially commence our investigations. We then speedily arrive at the wars in the Pacific (1898) and slowly traverse through the long 20th century: WWI, the inter war years, WWII (Hiroshima; the death camps and Lee Miller's Hitler), Korea to Vietnam, Iraq and the 'Desert Storm' wars, 9/11, and Abu Ghraib--these are some of the historical markers structuring the material of the course. As we often traverse beyond the edges of mere binary and literal representations of war, the course will as importantly incorporate art photography from some of the most consummate American masters of the last century: Walker Evans, Robert Frank, Diane Arbus, Eugene Smith, Carrie Mae Weems, Diane Lawson, Dawoud Bey, An My Le and others comprise this short list. The ways in which pictures are often obliquely and subtlety inscribed with a pathos of war are always fundamentally at stake. Finally, the basement photography gallery at the Art Institute as well as rotating special exhibitions will offer the class firsthand opportunities to discuss photographic works of art in person. Moreover, their will be two film screenings across the term and students will be expected to attend the screenings and in turn contribute to related conversation. Students will be asked to complete one short (2-3 pages) and one long (6-8) end of the term paper. Topics may vary but all students will be asked to discuss their final project with the professor; most pressing at stake is the writing process, one's own art historical temperament, and perhaps most fundamentally: how can we (students and artists) learn to put words to images, going beyond blithe captions and ironically glib, disinterested tropes. Ideally there will also be a short final written exam (20% of the final grade): this will include two long essay questions; three short questions; and 15-20 works of photography to be identified.*I write this with hopes that a short exam, though challenging, will encourage students to truly engage with the material at hand--learning and memorizing and critically thinking that goes beyond rote knowledge. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1102	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Class, Race, Ethnicity, Public Space, Site, Landscape Location Lakeview - 203
The Italian Renaissance	3150 (001)	Joana Konova	Mon 8:30 AM - 11:15 AM In Person
Description This course will survey a broad range of objects and settings, and attempt to familiarize students with relevant media and techniques, as well as important intellectual, social, and political developments that informed the production and reception of art in Italy from the 15th through the early 17th centuries. Students will gain exposure to original works through appropriate use of relevant collections. They will hone their skills in visual analysis and their ability to engage art and express positions and observations about art orally and in writing. The major assignments for the class will include a formal analysis paper, an object presentation, and an object response. Introductory context readings will be complemented by selected original readings (in translation) and exemplary art historical scholarship on the period. All readings will be available on Canvas. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1028	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 205
History of Manga	3173 (001)	Ryan Holmberg	Mon 6:45 PM - 9:30 PM All Online
Description This course offers a survey of the history of manga (Japanese comics) from its premodern predecessors to the present. Beginning with narrative picture scrolls in the medieval period, it will touch on forms of humor and political cartooning in the 19th and early 20th centuries, before moving onto multi-page stories, serials, and standalone books within the serially paneled comics medium. Related developments in non-Japanese comics and media like film, animation, illustration, and painting will also be considered. Among the major artists to be considered in this course are: Hokusai, Tagawa Suiho, Tezuka Osamu, Tatsumi Yoshihiro, Shirato Sanpei, Tsuge Yoshiharu, Hagio Moto, Otomo Katsuhiro, Takahashi Rumiko, and Tagame Gengoro. Students will be required to complete weekly readings, including translated manga and historical/interpretive essays, in addition to occasional reading responses, a research paper, and a final exam. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1094	Credits 3	Department Art History, Theory, and Criticism Area of Study Books and Publishing, Comics and Graphic Novels, Illustration Location Online
Abstract Art	3302 (001)	Conor Lauesen	Thurs 3:30 PM - 6:15 PM In Person
Description This course investigates the international art movements of the 1920s and 1930s such as Constructivism, Purism, the Bauhaus, De Stijl, Neoplasticism, and other movements that favored a nonobjective mode. After its initial development before World War I, how did nonobjective art develop, justify itself, change, and find new roles in the troubled period of the Roaring Twenties and the Fascist Thirties? These questions are explored in lectures and discussion. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1030	Credits 3	Department Art History, Theory, and Criticism Location MacLean 920
Survey of the 1970s	3309 (001)	Simon Anderson	Fri 12:15 PM - 3:00 PM In Person
Description This class surveys the artistic themes, styles and producers of the period, across a variety of visual art media including painting, performance, sculpture, video and experimental media. The effects on aesthetics and activities of some social, scientific and philosophic ideas which informed the decade?such as feminism, ecology or pluralism?are also addressed. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2110	Credits 3	Department Art History, Theory, and Criticism Location MacLean 620
Modern and Contemporary Native American Art	3382 (001)	Risa Puleo	Mon 12:15 PM - 3:00 PM In Person
Description In this course, we will explore the ways in which the idea of persistence might be said to characterize modern and contemporary Native American and Indigenous arts practices--including performance, film, video, painting, sculpture, printmaking, and photography, among others. The artists we will examine employ a range of tactics to engage social, cultural, economic, and political relationships as they occupy and articulate Indigenous worldviews and systems of knowledge that are often incommensurable with Settler structures and ideologies. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1026	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Economic Inequality & Class Location MacLean 707
History & Technique of The Old Masters' Drawings	3554 (001)	Mark Krisco	Thurs 12:15 PM - 3:00 PM In Person
Description This class surveys the development of draftsmanship as the key element of workshop practice. This class exploring in-depth all the major drawing materials and their formulation; all of which are still used today. This class then looks at which major artists chose each of these media as an example to illuminate how students should also search for the proper drawing materials to express their own individual visions. Aspects of drawing such as history of caricature and self portrayal are also analyzed. Major artists are explored from post medieval age i.e. Jan Van Eyck to Renaissance masters such as Leonardo, Michelangelo and Raphael especially in regards to drawing materials, techniques and anatomy. Contemporary artists as diverse as David Hockney, and Jim Dine, William Kentridge are also examined through documentary films and discussed in relation to former art techniques. This class making the student aware of the ongoing impulse of mankind to draw and yet also makes the student highly aware how the discipline of drawing is key to a whole range of artists from fine artists, to architects to animators. There are weekly reading fromm a book on Old Master Drawings mostly in regards to materials, techniques and anatomy. But equally are many trips to the Art Institute museum to establish through discussions the learning of connoisseurship. Two papers: a mid-term and a final are written about specific drawing of a specific artist of the student's choice; one of which must be a class presentation. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1014	Credits 3	Department Art History, Theory, and Criticism Location MacLean 620
Contemporary World Textiles	3572 (001)	Nancy Feldman	Tues 12:15 PM - 3:00 PM In Person
Description This course examines the production and design of textiles by artists in the 20th and 21st century with a focus on indigenous contemporary textile artists and their intersection with artists and the Western art world. Students consider craft practices and cultural politics as artists and communities negotiate challenges in urban spaces and community lands. Terms central to class discussions include colonialism, appropriation, authenticity, and traditional. Students engage in hands-on study of textiles as they consider the relational networks between traditional and non-traditional patterns, designs and iconographies and their ties to refinement of materials, traditions of practice, cosmologies, environment, and ceremony. Case studies include textiles of Asia, North and South America, Central Asia as well as textile traditions of West and Central Africa. Readings include works by M. Anna Fariello, Glen Adamson, Nilda Callanaupa Alvarez, Teruo Sekimoto, Elissa Auther, Bently Spang, Wade Davis and more. Coursework will vary but typically includes discussions, reading responses, in-class quizzes, short presentations and a research paper. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2124	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Foreigners Everywhere: The Aesthetics of Migration	3823 (001)	Tamar Kharatishvili	Tues 8:30 AM - 11:15 AM In Person
Description In 2015, migration leapt into the headlines, becoming a topic of contemporary discussion like never before. From the plight of refugees attempting to cross the Mediterranean into Western Europe to 'illegal immigration' as a campaign issue in the last U.S. elections, the world's attention is focused on people on the move, often in quite desperate situations. Yet migration has been with us for a long time-- some would say, for much of human history-- and it has not always been linked to crisis. Migrants have included intellectuals who have exported ideas from country to country, as well as today's nomadic artists who journey around the world to exhibit and develop their practices. Starting from the era of World War II, this course investigates connections between artistic practice and migration over time, integrating historical case studies with critical theory to evaluate how contemporary art might continue to engage this topic in the 21st century. We will consider and differentiate different types of subjects on the move, among them migrant, nomad, emigre, exile, refugee, tourist, expatriate, and guest worker, and consider the implicit hierarchies that can subject them to drastically different institutional responses. At the center of our discussions will be questions of the personal and the affective. How might we responsibly address migration as contemporary subject-matter, and how might our own migration stories be made relevant for others? Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2131	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Politics and Activisms Location Lakeview - 1427
ARTHI: Junior Proseminar: Topics in Art History Methods	3901 (001)	Margaret MacNamidhe	Thurs 8:30 AM - 11:15 AM In Person
Description This writing-intensive seminar is intended for students enrolled in the BA in Art History program or the BFA in Studio with Art History Thesis. The course examines the role of methodology and the practice of writing in the history of art, with topics varying by instructor. It fulfills the Junior Professional Practice requirement for BA in Art History students. For BFA students completing an Art History Thesis, it satisfies part of the Professional Practice requirement; these students must also complete an additional Professional Practice (PROFPRAC) course in a studio discipline. Must be a BA in Art History or BFA in Studio with Art History Thesis student Prerequisites Pre:Open to ARTHI students	Class Number 1749	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1427
Formation & Deformation of the Human Body	3911 (001)	James Elkins	Tues 3:30 PM - 6:15 PM In Person
Description If you take this course, you'll be able to answer this question: Which of the following actually exist? A. Mermaids D. Satyrs B. Centaurs E. Unicorns C. Cyclopes The course covers the history of proportions, sexual and ethnological prejudice in representation, and the history of beauty and monstrosity. Some lectures contain material that may offend sensitive viewers. Students may have their cranial capacities measured (this is optional). The drawing of Egyptian and Renaissance body types is included. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1045	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 202
Asian Identity in Film	3982 (001)	Tatsu Aoki	Tues 12:15 PM - 3:00 PM In Person
Description This course looks at America's perceptions of Asians through their portrayal in American mainstream media in contrast to those made in Asia by Asian filmmakers. By comparing films made by Asians and those produced by the American mainstream, we find major differences in their perspectives and approaches. In doing this, we investigate issues of representation and misrepresentation in mass culture stereotypes of Asians to show how they have been rooted in confusions surrounding cultural differences between Asians and Asian Americans. The course presents Hollywood films, mainstream Asian films, as well as independent works from both the Asian and Asian American communities. Weekly readings and short journal. One Midterm and One final Paper Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1016	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity Location MacLean 1307
Nation and Narration : Modern and Contemporary Indian Art	4017 (001)	Arshiya Lokhandwala	Tues 8:30 AM - 11:15 AM All Online
Description This survey class of Modern and Contemporary Indian art from the 20th century to date examines the rich and complex art practices which emerged from pre-independent India to its transition as an independent nation in 1947. We will discuss the works of the most significant Indian artists and unpack the concepts of tradition/ modern, nationalism/internationalism and, globalization, to investigate the same through the writings of eminent postcolonial scholars such as Geeta Kapur, Homi Bhabha, Partha Mitter, Gayatri Spivak, and Saloni Mathur to name a few. The course gives a critical insight into India as a nation, the challenges it faces including the socio-political climate that is reflected in the artist's work and practices that make Indian art distinct. The class examines Indian art from the early 20th century including the works of Raja Ravi Varma and Amrita Sher-Gil to the currently contemporary emerging avant-garde art practices today. This includes the work of the Progressive Artist Group; such as Maqbool Fida Husain, Syed Haider Raza, and Francis Newton Souza amongst others, to other prominent artists such as K. G. Subramanyan and Bhupen Khakhar. We will examine the first wave of the feminist artist's as Nalini Malani, Nilima Sheikh, Arpita Singh, and Madhvi Parikh, moving to the more contemporary art practices such as Subodh Gupta, Anita Dube, Bharti Kher, Jitish Kallat, Nikhil Chopra, Mithu Sen, and Shilpa Gupta to name a few. The course work will include weekly readings a mid- term paper and a final paper. Class participation and discussion is encouraged. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1025	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Exhibition and Curatorial Studies, Museum Studies Location Online
Entangled Bodies and Media Ecologies	4042 (001)	Lisa M Zaher	Tues 8:30 AM - 11:15 AM All Online
Description This course explores new possibilities for understanding the materiality and agency of media: its bodiliness, liveness, and performative interactions in/with space and time. Extending our investigation to the lived body, the course will embrace new corporealities, unconfined by normative limits of form, language, or social construct. We will investigate performative utterances and gestures through their technological recordings and playback to account for how various technologies convert/convey energy, power, breath, thought and action. Drawing upon texts in performance, dance, music, cinema and media studies, philosophy and science, with an emphasis on readings in phenomenology and new materialism, we will encounter big questions about our Being, in bodies, with others, in spaces and places, along with media ontologies and their shared entanglements with planetary forces and elements. Readings will include texts by Lucretius, N. Katherine Hayles, Mark Hansen, Gilbert Simondon, Emmanuel Levinas, Martin Heidegger, José Gil, Vivian Sobchack, Walter Benjamin, Béla Balázs, Giuliana Bruno, Ara Osterweil, Laura Marks, Delinda Collier, Gilles Deleuze, Félix Guattari, Tim Ingold, Donna Haraway, Karen Barad, Erin Manning, Brian Massumi, Michael Taussig, Luce Irigaray, Fred Moten, Gernot Böhme, Philip Auslander, and Erika Fischer-Lichte, among others. The course will include works by Eadweard Muybridge, Etienne-Jules Marey, Loie Fuller, Maya Deren, Yvonne Rainer, Trisha Brown, Merce Cunningham, OpenEndedGroup, Nam June Paik, John Cage, Alvin Lucier, Gordon Mumma, Halim El-Dabh, Onyx Ashanti, Patrick Clancy, Hollis Frampton, Anthony McCall, Chris Welsby, Ana Mendieta, David Rodowick, Leighton Pierce, Wu Tsang/boychild, Vito Acconci, Bruce Nauman, William Kentridge, Ethan Osman, Steina and Woody Vasulka, Lynn Marie Kirby, Dawn Roe, Liz Deschenes, and Hiroshi Sugimoto, Carolee Schneemann, Aria Dean, and many more! Course work will include weekly reading responses that may be experimental in nature, plus a final research paper including an abstract and annotated bibliography. Students will present their research to the class at the end of the semester.	Class Number 1036	Credits 3	Department Art History, Theory, and Criticism Area of Study Gender and Sexuality, Digital Imaging, Art and Science Location Online
Venice Exhibition Seminar	4053 (001)	Lou Mallozzi, Mechtild Widrich	Tues 8:30 AM - 11:15 AM In Person
Description This seminar provides a framework for developing an exhibition at the Czok Foundation in Venice, Italy that will take place in the January interim period. The participating students will create all of the content and the curatorial approach from their own practices, from the artworks, curatorial approach, exhibition design, and accompanying texts and online materials. Practitioners will be able to show their own work in this centrally located gallery in Venice. Graduate students and advanced undergraduate students from studio arts, design practices, art history, curatorial practices, arts administration, and other programs are invited and enrolled students are encouraged to commit to both the 15-week fall 2025 seminar and a 3-week study trip in Venice in winter interim 2025-26 to install and present the exhibition on site. We will also read and discuss texts on the history and theory of curating; the history of Venice, in particular its relation to art making and exhibiting (Biennale) and an expanded critical exploration of its 'international' status vis-a-vis globalization, commerce, and colonialism; strategies for communal production; and the relationship between institutional settings and artistic practice. Prerequisites Must be a graduate student or receive instructor permission	Class Number 1048	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Community & Social Engagement, Exhibition and Curatorial Studies Location MacLean 301
Venice Exhibition Seminar	4053 (001)	Lou Mallozzi, Mechtild Widrich	Tues 8:30 AM - 11:15 AM In Person
Description This seminar provides a framework for developing an exhibition at the Czok Foundation in Venice, Italy that will take place in the January interim period. The participating students will create all of the content and the curatorial approach from their own practices, from the artworks, curatorial approach, exhibition design, and accompanying texts and online materials. Practitioners will be able to show their own work in this centrally located gallery in Venice. Graduate students and advanced undergraduate students from studio arts, design practices, art history, curatorial practices, arts administration, and other programs are invited and enrolled students are encouraged to commit to both the 15-week fall 2025 seminar and a 3-week study trip in Venice in winter interim 2025-26 to install and present the exhibition on site. We will also read and discuss texts on the history and theory of curating; the history of Venice, in particular its relation to art making and exhibiting (Biennale) and an expanded critical exploration of its 'international' status vis-a-vis globalization, commerce, and colonialism; strategies for communal production; and the relationship between institutional settings and artistic practice. Prerequisites Must be a graduate student or receive instructor permission	Class Number 1048	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Community & Social Engagement, Exhibition and Curatorial Studies Location MacLean 301
How To Be A Neoliberal Artist In 14 Easy Lessons	4126 (001)	Seth Kim-Cohen	Tues 8:30 AM - 11:15 AM In Person
Description Neoliberalism is the political-economic system under which we live. Yet few of us can describe its features. As artists, how do we contribute to, or resist, this system? We will look at examples of how artists negotiate the art market, institutions, and the politics of cultural production, focusing on projects that engage these issues explicitly. Students will develop research projects pertaining to both art history and global economic-political history over the past half-century. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1096	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Class, Race, Ethnicity, Economic Inequality & Class Location Lakeview - 205
Post-Nature: Art in the Age of the Anthropocene	4181 (001)	Giovanni Aloi	Tues 12:15 PM - 3:00 PM In Person
Description This seminar considers past and present histories of 'visual culture' (a spectrum of representation including painting, photography, film, installation, performance, geological and geographical mapping, data processing, and journalism) which focus on the specific challenges posed by current political, ecological, and cultural crises. What new roles can art play in mapping and critically addressing the interconnectedness of the ever-so-fragile ecologies we inhabit? From the construction of posthuman identities through new and old media to the fragmentation of post-photography, the new reconfigurations of nature and culture, and the urgency posed by climate change and unprecedented diasporas, this seminar focuses on new conceptions of art as a political tool capable of outlining new trajectories in the absence of cultural certainties. The course will focus on the key intersections of art and science from the 1700s through to today considering important philosophical traditions like Cartesianism and Kantian philosophy, thereafter moving on to explore issues of colonialism and decolonization of nature. The course focuses on the work of contemporary artists and scholars who have actively engaged in the definition of the anbthropocene and its new aesthetic models designed to reimagine our relationship with the non-human through new perspectives on gender, race, and interconnectedness. Coursework will involve weekly reading responses in the form of Canvas discussions that will be elaborated in class and a final major project. Readings include: Haraway, D. J. (1984) `Teddy bear patriarchy: Taxidermy in the Garden of Eden, in Social Text, n. 11, Winter, pp.20-64 Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1092	Credits 3	Department Art History, Theory, and Criticism Area of Study Community & Social Engagement, Economic Inequality & Class, Art and Science Location MacLean 302
Socially Engaged Art Practice	4223 (001)	Rhoda Rosen	Wed 8:30 AM - 11:15 AM In Person
Description This course is for students who are interested in or practice art that takes place outside of the studio, an art that bumps up against real life, an art that engages robustly with the world in order to build a socially just future. It is also for those students who are thinking about how to write about such art within the art historical field, and for those students who want to think carefully about how to curate socially engaged art (or social practice) in traditional as well as experimental contexts. This course will contextualize contemporary social practice historically, by looking at writings that define this emerging art historical field (Claire Bishop, Nato Thompson, Pablo Helguera, for ecample) and will survey a range of socially engaged projects, like Women on the Waves, Silent University, and Campuses in Camps, for example. The course will include field trips and will afford students the opportunity to work collaboratively or alone on projects of their own design, combining both rigorous research and hands-on components. In addition to weekly reading responses, students will work across the semester toward a final project. Over the course of the semester, students will have developed a written proposal for a project centered on social justice or a research paper that contributes to shaping the theoretical framework for socially engaged art or social practice. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2116	Credits 3	Department Art History, Theory, and Criticism Area of Study Community & Social Engagement, Exhibition and Curatorial Studies, Museum Studies Location MacLean 608
FVNM Sem:Queer Pictures	4225 (001)	John D Neff	Thurs 12:15 PM - 3:00 PM In Person
Description This seminar explores questions of cinema and television in relation to the larger issues concerning visual representations and definitions of sexuality and gender. Themes and approaches include theories of spectatorship, in particular, feminist, postcolonial, and queer theories of looking as related to sexuality and gender; stereotypes and social roles; and the interplay between unconscious processes and forms of representation. The course consists of weekly discussions based on screenings of moving image work, as well as critical and theoretical texts that, from a variety of perspectives, address these issues. Some of the scholars and artists we will study include Jose Mu?oz, B. Ruby Rich, Leotine Sagan, Jean Genet, Kenneth Anger, Shu Lea Cheang, Barbara Hammer, Frederic Moffet, Gregg Bordowitz, Cassils, David Getsy, Liz Rosenfeld, Marlon Riggs, Judith Butler, Vaginal Davis, Dee Rees, Lana Wachowski and Lilly Wachowski, Cheryl Dunye, Richard Fung, George Kuchar Course work will include in-class discussions, screening/reading responses, a midterm critical response essay, and a final research paper Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1015	Credits 3	Department Art History, Theory, and Criticism Area of Study Gender and Sexuality, Theory Location MacLean 1307
Chicago Arch & Public Sculp	4508 (002)	Timothy Wittman	Wed 8:30 AM - 11:15 AM In Person
Description Between its incorporation in 1833 and the world's fair of 1933, Chicago was internationally the most important site for development of modern architecture. From the commercial buildings of Burnham and Root or Adler and Sullivan to the domestic architecture of Frank Lloyd Wright and the Prairie School, Chicago was on the 'cutting edge.' This architectural 'century of progress' is explored through field trips and on-site lectures. Chicago and its suburbs are the class's 'museum.' Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1101	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 202
Data, Aesthetics, and Technical Images	4547 (001)	Michael Golec	Thurs 8:30 AM - 11:15 AM In Person
Description The historian of cultural technologies Mario Carpo characterizes technical drawing systems as instances of data compression, or the translation of three-dimensional objects and spaces into two-dimensional figures. This course addresses Carpo's proposal by examining modern techniques of data compression operative in forms of mechanical drawings, plans for infrastructure, diagrams for assembly, and visualizations of statistical data in forms of charts, graphs, and thematic maps (to name just a few examples). In addition to historical analysis of material techniques for the creation of technical images and data visualizations, the class will examine cultural meanings of an array of informational artifacts, including, but not limited to: early modern printed machine books; encyclopedias of the mechanical arts; engineering drawings from small-scale industrial products to large-scale infrastructural systems; patent drawings; pictographic statistical charts; data portraits; statistical schematics; time-lines; and urban cartography. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2112	Credits 3	Department Art History, Theory, and Criticism Area of Study Digital Communication Location MacLean 707
Defining Contemporary Dress: History, Exhibition and Literature	4560 (001)	Gillion Carrara	Fri 8:30 AM - 11:15 AM In Person
Description This course is a chronological inquiry into fashion and dress and their relationship to a legacy of visual arts and literature. Content begins with the life and work of nineteenth-century dressmaker Charles Frederick Worth in Paris, and continues through to the modern radical designers of 1960s Paris. Students should expect to learn about art, decorative arts, literature, and the lives, times and oeuvre of designers. Visits to various libraries are included in the syllabus. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2119	Credits 3	Department Art History, Theory, and Criticism Area of Study Costume Design Location MacLean 920
The Philosophy of Modernism	4703 (001)	Christopher Cutrone	Tues 3:30 PM - 6:15 PM In Person
Description Several questions are paradigmatic for the study of 19th and 20th (and now 21st) century art, including: How might we understand and explain modern art?s increasingly radical practices? How does subjectivity become the critical object of diverse artistic practices? How does ?art? itself emerge as a specifically modern and critical category of aesthetics? Readings range from late 18th to early 19th century philosophers Kant, Schiller and Hegel, through Nietzsche?s criticism of the values of social and aesthetic modernity (for which the opposition of Bizet?s Carmen to Wagner?s Parsifal reveals the crisis and bad faith), to 20th century critics of modern art and society Lukacs and Adorno, as attempts to grasp the emergence of modernism in art, the peculiarities of modern artistic practices and the critical possibilities of their subjectivity to the present. Poetry by Wordsworth and Paul Celan provide framing and contrasting (early 19th and late 20th Century) examples for considering the subjectivity for modern art. Course assignments include in-class team presentations on the readings, a midterm paper and a final paper. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1090	Credits 3	Department Art History, Theory, and Criticism Location MacLean 111
Senior Thesis I	4899 (001)	Daniel Ricardo Quiles	Mon 6:45 PM - 9:30 PM In Person
Description Senior Thesis I is designed to guide senior BA in Art History (BAAH) students through the first half of their yearlong capstone project: a senior thesis. This course will equip students with the skills to develop an advanced art historical research project. Students will evaluate possible topics and methodologies via research questions. They will then draft, revise and submit a project proposal, outline, annotated bibliography, and research plan, and turn in 10 or more pages of the thesis as the final assignment. The course will also hone their abilities as interlocutors of the work of their fellow students, as students will regularly present to the rest of the class on their progress while participating in group reviews of their colleagues. There will also be individual mentoring sessions with the professor at junctures throughout the term that will orient students toward more individualized research and writing in the Spring term and second half of Senior Thesis. Prerequisites: Art History Survey requirement; ARTHI 2900, 'Sophomore Seminar: Writing Art History'; student must be enrolled in the BAAH or BFAAH program. Prerequisites Prerequisite: Art History Survey requirement. Student must be enrolled in the BAAH or BFA w/ Art History Thesis program.	Class Number 1091	Credits 3	Department Art History, Theory, and Criticism Location MacLean 501

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