Art History, Theory, & Criticism Graduate Studies

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

Art History Graduate Overview

Reduced Application Fee Deadline: December 1
Application Deadline: January 10

SAIC has long been distinguished by its innovative and extensive curriculum in modern and contemporary topics. Our Art History MA programs draw on the institution's setting in Chicago with its wealth of historic architecture, public sculpture, museums, libraries, cultural facilities, and lively gallery scene.

Art History Master's Degree Programs

Master of Arts in Modern and Contemporary Art History (MAAH)
Students in SAIC’s Master of Arts in Modern and Contemporary Art History program pursue research in a prestigious fine art school connected with a major American art museum. Art History students work with a large department of full-time faculty specializing in modern and contemporary art and design with a global focus, and challenge, debate and interpret the field.

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Dual Degree: Master of Arts in Modern and Contemporary Art History and Arts Administration and Policy (MAAAP)
The 3-year, 63 credit Dual Degree is a unique program designed to immerse students in both the history of art and arts administration, competitively positioning graduates for work in the areas they choose, from academia to curatorial positions and work in nonprofit organizations.

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The programs' curricula incorporates historical, theoretical, and critical perspectives on art, design, and contemporary visual cultures. Fifteen full-time faculty teach modern and contemporary art history from diverse scholarly perspectives in a global context. Graduate students in our Art History master's degree programs join a vibrant art/design school community engaged with contemporary visual practices. Our graduate students have gone on to be curators, professors, writers, critics, publishers, gallerists, arts administrators, and activists.

Curriculum

Master of Arts in Modern and Contemporary Art History (MAAH)

Historiography seminar Select one of the following: ARTHI 5007 History of Art History (3) ARTHI 5008 History of Art Criticism and Theory (3)	3
Global Issues Seminar Graduate seminary (5000-level only) that focuses on art worlds outside of Europe and North America or focuses on Global Art Theory. A list of courses that satisfy this requirement is available from the department every semester.	3
Graduate seminars in Art History, Theory, and Criticism (5000-level)	12
Additional courses or seminars in Art History, Theory, and Criticism (4000 to 6000 level or above)	6
Interdisciplinary or Art History electives at 4000-level or above	6
Thesis research and writing ARTHI 5999 Thesis I (3) ARTHI 6999 Thesis II (Independent Study) (3)	6
Completion of thesis—a final thesis must be submitted to and approved by the thesis readers and the Department of Art History, Theory, and Criticism.
TOTAL CREDIT HOURS	36

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.
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

Visiting Scholars

The department supports an active research culture with frequent lectures by visiting scholars, critics, and curators. Most important of these is the annual Lifton Memorial Lecture and seminar that brings a significant figure engaged with modern and contemporary art to campus. Recent speakers have included Ming Tiampo, Adrienne Brown and Rashad Shabazz, Saloni Mathur, Hannah B Higgins and Deborah Willis. In addition, graduate students annually select an Art History End-of-Year Lecturer to speak every spring and have recently invited Amanda Boetzkes, Jessica L. Horton and Luis Castañeda, among many others. Across SAIC, contemporary artists give talks every week through studio departments and the Visiting Artists Program.

Thesis Abstracts

Each year, the School of the Art Institute of Chicago celebrates the culmination and closure of students' studies at the masters level. In studio areas, the celebration takes place in the form of the thesis exhibitions. The academic areas complement this with the publication of students' theses. The SAIC Thesis Repository contains theses for the MA in Modern and Contemporary Art History and the Dual Degree submitted since November 2013.

Course Listing

Title	Catalog	Instructor	Schedule
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (001)	Mikolaj Czerwiński	Thurs 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 1035	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (002)	Artie Foster	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 1036	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (003)	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 1037	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (004)	Arianna Ray	Tues 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 1083	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Issues in Modern and Contemporary Art	1002 (002)	Alice Maggie Hazard	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 1039	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Issues in Modern and Contemporary Art	1002 (003)	Risa Puleo	Mon 12:15 PM - 3:00 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 1045	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Queer Spirits and Alternative Histories	1002 (004)	Chris Reeves	Wed 8:30 AM - 11:15 AM In Person
Description This is an advanced course that surveys developments in nineteenth and twentieth century art and architecture. It is intended for BAAH students and Scholars Program students. 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. ARTHI 1201: Discussion Section for Advanced Survey of Modern to Contemporary Art & Architecture is required.	Class Number 1050	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Issues in Modern and Contemporary Art	1002 (005)	Artie Foster	Fri 12:15 PM - 3:00 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 1047	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Global Modernisms	1002 (006)	Mikolaj Czerwiński	Tues 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 2114	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Issues in Modern and Contemporary Art	1002 (007)	Rhoda Rosen	Tues 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 2254	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Issues in Modern and Contemporary Art	1002 (01S)	James Elkins	Tues 12:15 PM - 3:00 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 1038	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Survey of Modern and Contemporary Painting	1017 (001)	Mark Krisco	Thurs 12:15 PM - 3:00 PM In Person
Description This class reveals the fine art, photography and art theories of late 19th century to the present day. The first half of the semester focusing on the period 1851 to the economic crash of 1929; which had been a time of rapid social, economic and political change impacted by revolutions in communication systems, technology and easy availability of reproductions. Students will gain a comprehensive and chronological picture of the major art movements and their engagement with or reaction against previous art and artists. The major artists of the major movements of Impressionism, Cubism, Purism, Expressionism, Futurism, Surrealism and Abstraction will be addressed in regards to their aims and achievements.These include - to name the most prominent - Claude Monet, Paul Cezanne, Picasso, Braque, Leger, Kirchner, Severini, Magritte, Dali and Kandinsky and Mondrian.The class ending with major 20th century artists from Pollock and De Kooning of Abstract Expressionism to Pop artists Andy Warhol and Roy Lichtenstein to current times and how they relate to this legacy and the concept of an art museum in terms of urban capitalism, Colonialism, Nationalism and Internationalism. This class has weekly reading assignments from two major texts ; one written by art historian Richard Brettell and one written by artist Alex Katz. Written questions about these readings will be assigned as well. The class also often has sketching and student discussions in the museum. There is also one final paper on the artist covered most admired by each student.	Class Number 1048	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section	1201 (001)		Tues 6:45 PM - 8:15 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. Prerequisites Corequisite: ARTHI 1002.	Class Number 2240	Credits 0	Department Art History, Theory, and Criticism Location Lakeview - 206
Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section	1201 (002)		Wed 12:15 PM - 1:45 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. Prerequisites Corequisite: ARTHI 1002.	Class Number 2241	Credits 0	Department Art History, Theory, and Criticism Location MacLean 818
Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section	1201 (003)		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. Prerequisites Corequisite: ARTHI 1002.	Class Number 2242	Credits 0	Department Art History, Theory, and Criticism Location MacLean 919
Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section	1201 (004)		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. Prerequisites Corequisite: ARTHI 1002.	Class Number 2243	Credits 0	Department Art History, Theory, and Criticism Location Lakeview - 1427
Issues in Visual Critical Studies	2001 (001)	Patrick Durgin	Mon 8:30 AM - 11:15 AM 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 2163	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location MacLean 920
Chance and Intentionality	2009 (001)	Patrick Durgin	Tues 8:30 AM - 11:15 AM In Person
Description If a society?s order of reasons disempowers its citizens, why not weaponize the irrational? This was the premise of various, systemic reactions against the ?ego? in the midlate 20th century. In Europe, the United States, and former colonies, some of this activity can be read as an extension of the historical avant garde?s investigation of altered states of consciousness and ?madness.? The neo-avant garde sometimes used the tools of rational science to deconstruct its premises, reconstruct the real, and promote a more demotic culture. This course takes an international approach and samples practices and discourses of Dadaism, Surrealism, free jazz, performance and conceptual art, dance, film, ?relational aesthetics,? and experimental poetics. We will place a special emphasis on the way indeterminacy claims to ameliorate conflicts between political commitment and aesthetic quality. Expect to encounter works by Francis Alys, Anthony Braxton, John Cage, Aime Cesaire, Fischli & Weiss, Helio Oiticica, Huang Yong Ping, Jorge Macchi, Jackson MacLow, Gerhard Richter, Apichatpong Weerasethakul, Hannah Weiner, and others. Course work will vary but typically includes weekly written responses, moderate reading assignments, listening and viewing, avid participation in class discussions, one creative/curatorial project, one research presentation, and a final essay. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2165	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Economic Inequality & Class, Community & Social Engagement Location MacLean 608
History of Modern Sculpture	2021 (001)	Weronika Malek-Lubawski	Fri 12:15 PM - 3:00 PM In Person
Description What is sculpture, and what separates it from other media? How did modernity and modernism change the artists¿ understanding of sculpture and its relationship to the human body, scale, and space? This course will present an overview of modern sculpture, from Rodin¿s figurative work to Smithson¿s land art, concluding with discussions about the role of contemporary sculpture in society. We will examine how technological innovations, societal transformations, and the myths of modernism influenced the artists¿ approaches to the medium. The course will primarily focus on European and North American sculptors but will also explore their understanding of colonialism and globalization. The course will overview various examples of artworks by Auguste Rodin, Karl Ioganson, Naum Gabo, Kurt Schwitters (Merzbau), Alexander Calder, Henry Moore, Barbara Hepworth, Magdalena Abakanowicz, Richard Serra, Robert Smithson, and other representatives of late 19th-20th century sculpture. Secondary readings will include Rosalind Krauss¿ ¿Passages on Modern Sculpture,¿ selections of Megan Luke's and Maria Gough's monographs on Kurt Schwitters and Constructivism, as well as relevant academic articles. We will also discuss and contextualize primary texts and manifestos by Naum Gabo, Carola Giedion-Weckler, Katarzyna Kobro, Barbara Hepworth, and Johann Winckelmann (some read in their entirety, some as selections). Formal analysis of a selected sculpture ¿ 1000-1500 words Presentation ¿ 5-10 minutes Final essay comparing three sculptures and relating them to concepts from class ¿ 3000-4000 words Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2484	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Why Ancient Art and Architecture Matter	2113 (001)	Joana Konova	Thurs 8:30 AM - 11:15 AM In Person
Description Ancient art and architecture often provides the backdrop for National politics and in many countries is the art which one first encounters outside of a museum. This course will introduce students to ancient art and architecture in a way that highlights its modern importance in terms of cultural heritage and the art making practices of modern artists. Readings will address the contemporary relevance of ancient art, the particularities of that artwork, and the way that ancient artwork and the modern art it inspires are a manifestation of cultural values both past and present. Students will be required to present readings to other students on a biweekly basis, take exams based on the artwork presented in lectures, and complete a research project. The research project involves the study of one repatriated artwork's provenience and provenance and the presentation of that research to the class Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1058	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
History of Designed Objects	2128 (001)	Lara Allison	Thurs 12:15 PM - 3:00 PM In Person
Description The course examines the history of designed objects and their place in a variety of material contexts. Even within our increasingly digitalized existences today, physical objects continue to play a key role in determining our experiences as humans. Our objects are designed by us and at the same time design us by extending the possibilities of what it means to be human and exist in a world. The designed object will be considered under the conditions of global exchange, in relation to questions of health, disease, and the body, as well as urbanism. We will also reflect on the designed object through the lenses of craftsmanship, technology, materials, activism, identity, and cultural heritage. Course participants will read texts relevant to the theoretical and historical aspects of the designed object and its representations, contribute to weekly discussions, conduct object-based analyses, and engage in a series of team and individually written critical writing assignments. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1040	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Medieval Manuscripts and the Arts of Medieval Paris	2131 (001)	Nancy Feldman	Thurs 12:15 PM - 3:00 PM In Person
Description This course studies the medieval book in Europe and the visual arts crafted in medieval Paris as well as their connections to the global medieval world through exchange and gifting. The medieval cosmos in Islamic and European cultures, humans? relationship with the natural world, and artist?s practices of making will be studied as well as manuscripts, textiles, metal work, and more. Books in the medieval world include narratives of heroes, saints, love, magic, scientific knowledge, and documentation of artistic techniques. This course is Eurocentric however includes arts of Middle East and North Africa for a broader understanding of the medieval world. Coursework includes field trips to view Chicago's medieval manuscript and art collections at the Newberry and the Art Institute. Readings include works by Sharon Farmer, ?Surviving Poverty in Paris,? Edson and Savage-Smith, ?Medieval Views of the Cosmos,? Michael Camille, ?Nature of Gothic,? Madeline Caviness, ?Patron or Matron?,? Jonathan Bloom and Sheila Blair, ?Islamic Penmen and Painters,? 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 2370	Credits 3	Department Art History, Theory, and Criticism Area of Study Books and Publishing Location MacLean 920
The Flowering of Medieval & Renaissance Dress	2141 (001)	Gillion Carrara	Thurs 8:30 AM - 11:15 AM In Person
Description Often fashion refers to history, as it will in this course. We will explore the culture of Europe within the Renaissance era and the fashions created in that time, including the various occasions when men in their uniforms and women in their gowns stepped out in velvets, satins, leather, beading, metalwork and embroideries. Turner Wilcox, Andre Castel, David Herlihy, Colin McEvedy, William McNeill, Rublack & Hayward, Anthony McIntyre READINGS: Excerpts from: Trucco e Bellezza nell' Antichita Rossana ed Cesaris; Fashion as a Cultural Intertext Michaela Malickova; Pandora in the Box Lydia Marie Taylor; For A Contemporary Vision of the Other History and Phenomenology of Fashion Alessia M. M. Giurdanella; Fashion in the Middle Ages Margaret Scott; Medieval Households David Herlihy; First Book of Fashion edited by U. Rublack and M. Hayward; Plagues and People William H. McNeill; Memoirs of Hadrian Marguerite Yourcenar; Arms and Armour Visual Books; Flowering of the Italian Renaissance Andre Chastel; Medieval Households David Herlihy; Penguin Atlas of Ancient History Colin McEvedy; Alla Mensa degli Antichi - the ceramics of the table - collezione Costantini Students should expect to create around 3 presentations and 3 written essays, a combination of written and visual. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2475	Credits 3	Department Art History, Theory, and Criticism Area of Study Costume Design, Art/Design and Politics, Museum Studies Location MacLean 707
Modern and Contemporary Korean Art	2468 (001)	Yeonsoo Chee	Wed 8:30 AM - 11:15 AM In Person
Description This course introduces 20th and 21st century Korean through major themes, including the introduction of Western art, the unique formation of Korean Modernism, the Avant-garde art movement, people?s art, feminist art, and the globalization of the Korean art scene. We also address Korean artists working internationally and major thematic Korean art exhibitions held in America. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1067	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Media Art Histories and Genealogies	2513 (001)	James Connolly	Thurs 12:15 PM - 3:00 PM In Person
Description This course presents an overview of the academic field known as Media Art Histories as well as the specific genealogies of relevant academic disciplines (i.e. of film art, video art, new media art, both filmic and digital experimental animation, interactive digital systems, and video games) as well as genealogies of specific media technologies (i.e. still and film cameras, television, computers, software, video games, the internet, and aglorithms). These interwoven histories of shared theory/practices are investigated in relationship to independent/experimental/art media in contemporary cultures by asking: How do film, video, and new media artists develop methods to work with, against, and around these techno-social forms? Readings will include Marshall McLuhan, Tom Gunning, André Breton, Maya Deren, Laura Mulvey, Bell Hooks, Angela J. Aguayo, Rosalind Krauss, Rosa Menkman, and Legacy Russell. Established genealogies will be presented and critically examined alongside screenings and discussions about works by media artists whose practices embodied and challenged the techno-cultural media environment of their time, from the advent of photography and film to the contemporary moment of ultra-high-definition digital video, networked streaming, online algorithmic media sharing and consumption, and 3D capturing and rendering. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1074	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location MacLean 1307
African Cinema	2588 (001)		Wed 6:00 PM - 9:00 PM In Person
Description This course explores the rich and diverse landscape of African cinema from its origins to the present day. Students will examine seminal works from pioneers like Ousmane Sembène and Souleymane Cissé alongside contemporary voices such as Abderrahmane Sissako, Wanuri Kahiu, and Baloji. The course covers major film movements including Nollywood's commercial revolution, the author-driven traditions of West African cinema, and more recent experimental films from Central and Southern Africa. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2480	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location Gene Siskel Film Center 203
History of Film Animation	2598 (001)	James Trainor	Mon 12:15 PM - 3:00 PM In Person
Description This course covers the history of animated film, from its pre-cinematic beginnings to the beginning of the television era (ca. 1960). It traces the development of the Hollywood studio cartoon, along with parallel developments in European and Japanese animation and experimental and abstract works. Special emphasis is given to the evolution of formal animation techniques and their role in the shaping of the animation aesthetic. Much attention is given to the groundbreaking work of Disney, the Fleischer studio, and the cartoons of Tex Avery and Chuck Jones. European animators are represented by Lotte Reiniger, Oskar Fischinger, and other experimenters. All films are screened chronologically, with a mix of short works and a handful of features. There are weekly readings on the history of animation; a ten-page paper; and a final multiple-choice exam. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1042	Credits 3	Department Art History, Theory, and Criticism Location MacLean 1307
History Of Performance	2610 (001)	Chris Reeves	Fri 8:30 AM - 11:15 AM In Person
Description This course surveys performance as art throughout the Modern and Postmodern periods?including contemporary and non-Western incarnations?and covers roughly the last one hundred fifty years. Areas of historical and theoretical focus include the philosophy of performance, ethnography, feminism, and the interface of performance with film, video, dance, sculpture, theater, technology, and popular culture. Movements like Futurism, Dada, and Fluxus are explored alongside themes like endurance, performance in everyday life, the culture wars and censorship, performance and AIDS, and postcolonial uses of performance. Key figures such as Carolee Schneemann and Marina Abramovic are analyzed through comparison of documentaries about their work. Any number of seminal performance pieces are screened, including ones by Yoko Ono, Linda Montano, Diamanda Galas, Guillermo Gomez-Pe?a & Coco Fusco, and Anna Deavere Smith. Further historical context comes from essays and movies about AIDS activism and Punk & New Wave. Readings include primary sources, artist interviews, C. Carr's reviews, and noted works in Performance Studies from Richard Schechner, Peggy Phelan, Amelia Jones, and others. Students will attend two performances and write reviews, an annotated bibliography assignment provides opportunity to explore historical and non-western performance topics, and there will be much discussion. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1055	Credits 3	Department Art History, Theory, and Criticism Area of Study Gender and Sexuality Location Lakeview - 1608
20th Century Photography	2622 (001)	Alice Maggie Hazard	Fri 12:15 PM - 3:00 PM In Person
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 1073	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
History of Modern Graphic Design	2730 (001)	Michael Golec	Mon 8:30 AM - 11:15 AM In Person
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 2220	Credits 3	Department Art History, Theory, and Criticism Area of Study Graphic Design Location Lakeview - 1608
Art Crit:Write for Mag/News	2751 (001)	Margaret Hawkins	Fri 12:15 PM - 3:00 PM In Person
Description Using the works of established critics and writers as models and using the museum and Chicago galleries as subject matter, students learn to write concise reviews and essays. Class time is spent discussing art, assigned readings, and students? writing. Students are required to turn in one short written work at the beginning of each class. The goal of the course is to develop students? powers of observation, clarity of language and ability to form and defend opinions about works of art. Readings include Kimmelman, Berger, Schjeldahl, Hickey, Lippard, Barnet, Fried, Wolfe. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1056	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 203
Writing Art History	2901 (001)	Annie Bourneuf	Mon 12:15 PM - 3:00 PM In Person
Description The main aim of this intensive course is to learn how to write art history by doing it. Each student will write an original research paper investigating a single, particularly compelling object of her choosing in scaffolded stages over the course of the entire semester, while drawing on a range of library and museum resources and responding to constructive criticism from the teacher and from peers. The course guides students to pose generative questions of their objects, to find and analyze sources, and to make persuasive arguments. We will also at times study the study of art, examining the history of the museum as a framework for such study, and reflecting on as well as using some key analytical moves often used by art historians. We will not only study statements by scholars reflecting on their own methods, but also exemplars of analysis, which we will in turn take apart to figure out how to do such analysis ourselves. While this course is required for the BA in Art History and BFA with Art History Thesis, any undergraduate who wants to write art history is warmly welcome. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1068	Credits 3	Department Art History, Theory, and Criticism Location MacLean 816
Latinx/e Art and Visual Culture	3020 (001)	Deanna Ledezma	Mon 12:15 PM - 3:00 PM In Person
Description This course examines the dynamism and complexities of Latinx artistic and cultural production in the United States from the mid-twentieth century to the present. An imperfect yet ultimately generative identifier, Latinx is a gender-neutral term for people of Latin American and/or Caribbean birth or descent living in the United States. In addition to studying the formation of Latinx identities among artistic and creative practitioners, the course will study the context-specific histories that have shaped the aesthetics, ideological frameworks, and socially engaged practices of Latinx art and visual culture. We will read a variety of texts and publications that debate, conceptualize, and critique Latinx art and visual culture, including academic essays and book chapters, interviews and dialogues, exhibition catalogues, primary documents and manifestos, artists¿ books, and zines. Throughout the class, we will investigate issues concerning race and ethnicity, gender and sexuality, intersectionality, migration and diaspora, social and political activism, family and kinship, religion and spirituality, art markets, and cultural reclamation. Students can expect to complete weekly reading responses, a midterm exam, a 3-5-page essay on an exhibition or artwork, a final research paper, and a class presentation about their final paper topic. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1057	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Community & Social Engagement, Art/Design and Politics Location MacLean 920
Lit Art: Literary styles of describing, interpreting, and explaining works of art.	3025 (001)	David Raskin	Thurs 12:15 PM - 3:00 PM In Person
Description This museum-based seminar welcomes writers of all kinds, including creative writers, critics, and scholars. We explore literary forms, including poetry, short stories, personal essays, plays, and songs, along with their connections to visual art at the Art Institute of Chicago. Each week, we analyze literary pieces inspired by a work of art and then visit the museum to discuss that art in person. We will examine how the readings enhance or challenge the artwork and debate the impact of the words and images. Additionally, we will hold weekly writing workshops to provide feedback on each other¿s work, focusing on prompt-based assignments that directly engage with the art in the collection while developing both visual acuity and writing craft skills. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2363	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Museum Studies, Gender and Sexuality Location Lakeview - 205
Africa and West Asia: Decolonization and Art	3031 (001)	Tina Barouti	Tues 12:15 PM - 3:00 PM All Online
Description What is artistic decolonization? How can art be used as a tool for decolonizing culture? In this course, students will explore ways of approaching these questions through specific case studies that look at artistic practices of Africa and West Asia (Middle East), particularly from the mid-twentieth century to the present. Together we will examine how colonialism affected fine arts pedagogy and the response of visual artists, both modern and contemporary, to this violent encounter. We will analyze how artists engaged with multidisciplinary networks working across ¿non-Western¿contexts to reclaim their identity from colonizers and to envision alternative futures. Students will explore how art is intertwined with socio-political issues and how it can amplify Indigenous, feminine, and queer perspectives. Each week will typically focus on an artistic group or a country-specific case study from Africa and West Asia (Middle East). There will be several guest lectures by curators, academics, and artists. Course work will include written weekly responses to assigned readings, presentations, and a final essay or exhibition project proposal. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1066	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Art/Design and Politics, Museum Studies Location Online
The invisible Cinema: Asian American Cultural Diaspora	3153 (001)	Tatsu Aoki	Tues 12:15 PM - 3:00 PM In Person
Description A marginal cinema and history; a course designed for an undergraduate level art history. This course looks at Asian American Cinema experience and historical development as Asian American ethnic cultural diaspora and visionally representations. From political to imaginary, this course will look at works of Asian American representation through cinema and examine the Asian American & pacific Islander American experience as told though cinematic expression such as documentary, short films, feature length narratives, experimental films and mainstream Hollywood releases. Along with weekly viewings of films and excerpts, the course will also discuss Asian American collective identity and social issues, historical background, economy of film production, racism, negative stereotyping, Hollywood whitewashing, cultural appropriation, and media activism. Historically significant artists, filmmakers and producers will be presented for weekly discussion. Some of the artists introduced in the class are: the matinee idol Sessue Hayakawa (1889?1973), to Anna May Wong (1905?1961), Winifred Eaton Reeve, Renee Tajima, Steven Okazak, Wayne Wang, Kelly Saeteurn, Quentin Lee, Justin Lin and others. Weekly viewings of films and journals, One Midterm assignment and one final Paper. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1049	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Playwriting/Screenwriting, Community & Social Engagement Location MacLean 1307
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 1070	Credits 3	Department Art History, Theory, and Criticism Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location Online
Architecture and Art of the Islamic World	3482 (001)	Maggie Schuster	Mon 8:30 AM - 11:15 AM In Person
Description This course is a survey covering the major works of architecture and art from the Islamic world. It discusses the architecture of this civilization in greater depth than many surveys of Islamic art, over a period ranging from the beginnings of Islam in the 7th century up to and including the 20th century. Emphasis will be on the major stylistic differences between the building traditions of the Medieval Spain, the Maghreb region, Egypt and Syria, the Seljuq and Ottoman empires in Turkey, Persian and Central Asian architecture, the Mughal empire and lastly Islamic architecture as it has developed in the Far East, in countries such as China, and Malaysia. In addition, the course will also cover the applied arts in Islam, such as ceramics, carving, Oriental carpets, calligraphy and miniature painting. Required work consists of three quizzes and three short research papers of 5-6pages in length each. Two assignments will involve analyzing Arab architecture and non-Arab monuments. The third will cover an area in the decorative arts/painting. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1054	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Modern European Architecture and Theory: 1890-1965	3502 (001)	Timothy Wittman	Tues 8:30 AM - 11:15 AM In Person
Description This course surveys the development of commercial, institutional and residential architecture and interiors in Europe from 1890 to 1965. It examines significant movements and individuals that shaped modern architecture's history through an analysis of the theoretical literature that accompanied the built forms now understood as 'modern.' Seminal texts analyzed include those by Morris, van de Velde, Loos, Gropius, van Doesburg, Le Corbusier, Aalto, Rowe, Stirling and Rossi, among others. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1060	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
The Prairie School And Frank LLoyd Wright	3504 (001)	Timothy Wittman	Mon 12:15 PM - 3:00 PM In Person
Description This course examines the career of America's best known architect alongside the work of his followers. Consideration is given to the origins of the Prairie School, how it achieved broad patronage, and why its popularity declined after World War I. Also examined are the Prairie School's eclecticism, its relationship to modernism, and its principles of organic design. On-site explorations include Wright's Oak Park Home and Studio and the Wright Prairie School Historic District in Oak Park. Other architects considered for their interpretations of the style are W.B. Griffin, B. Byrne, Tallmadge and Watson, W. Drummond, and G.W. Maher. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1086	Credits 3	Department Art History, Theory, and Criticism Area of Study Sustainable Design Location MacLean 608
Surface Tensions: Taxidermy and Contemporary Art	3652 (001)	Giovanni Aloi	Tues 8:30 AM - 11:15 AM In Person
Description Taxidermy became the most important tool of knowledge of natural history museums during the Victorian period when it fascinated audiences with its hyperrealist aura. Yet, it was never considered a form of fine art. Today taxidermy has entered the gallery space, but not on the merit of its accurate realism. The opposite is true: unrealistic taxidermy is the symptom of a difficult relationship with nature and alterity that marks today's ecological and capitalist global crises. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1096	Credits 3	Department Art History, Theory, and Criticism Location MacLean 920
Rock and Roll vs. Modern Life	3663 (001)	Seth Kim-Cohen	Wed 12:15 PM - 3:00 PM In Person
Description In the mid-1960s, artists and musicians ran away from home, thumbing their collective nose at the structure and security provided by their modernist parents. On the road and in the streets, in dive bars and coffeehouses, on records and off the record, artists and musicians re-wrote not just the rules of art, but the rules that structured values, ideas, and lives. Rock and roll wasn?t just the soundtrack for these changes, but an active participant. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1065	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
The Dematerialization of the Art Object	3710 (001)	Simon Anderson	Thurs 12:15 PM - 3:00 PM In Person
Description This course charts the demise of the object and image in the work of modern and contemporary art. Known in various guises as concept or conceptual art, process art, information or idea art, this apparent assault on the visual nature of art was undertaken by many artists who were to become very well regarded in the sixties and seventies-and their influence is still felt today. The course will attempt to identify different strands within this general trend in terms of aesthetic, political, and historical precession; and consideration will be given to the possible reasons behind the ramifications of the dematerialization of the art object. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2121	Credits 3	Department Art History, Theory, and Criticism Location MacLean 608
Design Discourses	3740 (001)	Michael Golec	Wed 8:30 AM - 11:15 AM In Person
Description This class examines diverse perspectives on the production, consumption, and use of design. Reading key primary writings by designers and observers, we will consider topics such as the role of technology in design change, the uses and functions of design in relations to commerce and social reform. Readings will include written texts by modern and post-modern designers; as well as well as critics, historians, and theorists responding to design and the designed environment. Course work typically includes responses to readings in relation to object analysis, a modest research paper, and mid-term and final exams. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2117	Credits 3	Department Art History, Theory, and Criticism Location MacLean 920
Contemporary Art House Cinema: Fugue States	3818 (001)	Melika Bass	Wed 12:15 PM - 3:00 PM In Person
Description Through screenings, lectures, and readings, this course will provide students with an introduction to key filmmakers and films of contemporary international art house cinema. In particular, this class will explore feature-length fiction films that revolve --thematically or structurally--around the idea of the psychological fugue state (a form of amnesia), and/or the fugal musical structure of theme-repetition-variation. Films will be screened and discussed in their relation to national cinemas, cultural histories, genre, and primarily, film form. Through their critical writing, students will explore the ways those films and filmmakers utilize formal elements of cinema, narrative, characterization, thematic elements, and ideological perspectives, and demonstrate how those elements are used both for aesthetic purposes and to create meaning within a film Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1075	Credits 3	Department Art History, Theory, and Criticism Location MacLean 1307
Botanical Revolutions: The Emergence of Plants in Contemporary Art	4021 (001)	Giovanni Aloi	Tues 12:15 PM - 3:00 PM In Person
Description The perceived passivity and resilient silence of plants have relegated the vegetal world to the cultural background of human civilization. However, the recent emergence of plants in the gallery space is an invitation to reappraise this relationship at a time of deep ecological and social crisis. This course focuses on plants to unravel histories of colonialism, address gender biases, racial discrimination, and social injustice. We explore how artists and scholars working at the intersection of art, science, philosophy, and indigenous knowledge are rethinking our relationships with plants in order to envision more sustainable and fairer futures. This course proposes a rich, diverse, and multicultural perspective on the many roles plants play in our lives. It inlcudes lectures, close readings, screenings, museum visits, discussions, collaborative coursework, and contributions by Chicago-based organizations working with local communities and plants. The work of scholars and artist Yota Batsaki, Elain Gan, Vivien Sansour, Vandana Shiva, Mogaje Guihu, Anna Tsing, Monica Gagliano, Eduardo Kac, Jamaica Kinkaid, Derek Jarman, Wangari Maathai, Zayaan Khan, Kapwani Kiwanga, Maria Thereza Alves, Shela Sheikh, Michael Marder, Monica Galliano, Rashid Johnson, Uriel Orlow and many more will provide students with a comprehenisve and global and very contemporary perspective on the subject. Coursework includes weekly reading responses, a formal/final research paper, a test, and a presentation. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1002	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Economic Inequality & Class, Art and Science Location MacLean 920
Tragic Beauty: English Gardens, Settler Colonialism and Trans-Atlantic Slavery	4024 (001)	Rhoda Rosen	Tues 3:30 PM - 6:15 PM In Person
Description This course contextualizes English gardens and their design features within larger ideas of land ownership at the level of private ownership, the nation, and Empire. It examines the way the design of 18th and 19th century British landscapes served the needs of early modern industrialists in England and shaped the identity of colonizer in relation to colonized subjects. In this course, we will study examples of private gardens, early botanic gardens, and other colonial gardens, including plantations, in order to explore at the critical way plants and gardens were used to dispossess people of land and culture in Europe and abroad. In Europe, we will look at the way land enclosure might be said to have produced a British working class. In the colonies, we will look at the role plants and gardens played in extending British authority over its colonial subjects and how the deep knowledge that indigenous and slave communities had about plants was stolen, lost or engaged in that process. There are weekly readings for this course, and a final scaffolded research paper. Although a final research paper is submitted, students are expected to submit along the way other smaller assignments related to that final research project, such as a paragraph thesis statement, a bibliography, an outline, a full draft and then the final revision. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1052	Credits 3	Department Art History, Theory, and Criticism Area of Study Economic Inequality & Class, Public Space, Site, Landscape, Art/Design and Politics Location Lakeview - 1608
We'll Fix It In Post: Postmodernism, Poststructuralism, Posthumanism	4030 (001)	Seth Kim-Cohen	Wed 8:30 AM - 11:15 AM In Person
Description What the heck is postmodernism? Why does it matter? This course will provide detailed answers to these questions while also reviewing crucial interventions in related 'posts' such as poststructuralism and posthumanism. We will examine the systems of thought that predate these posts ¿ modernism, structuralism, humanism ¿ in order to identify how and why thinkers and artists felt the need to push past these systems, inventing new ones. We will trace these legacies into our own moment of contested values and malleable truth in order to seek insights into how to live, make, and think in the twenty-first century. This course is reading-heavy and the readings are heavy readings. We will explore the most influential theorizations of the postmodern from writers including Jean-François Lyotard and Frederic Jameson. We will also read the heavy-hitters of poststructuralism and posthumanism. Folks like: Jacques Derrida, Judith Butler, Donna Harraway, Gilles Deleuze, Katherine Hayles, Michel Foucault, Roland Barthes, and Julia Kristeva. Course work will include weekly reading responses, intensive class discussion, and a final paper. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1081	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Economic Inequality & Class, Gender and Sexuality Location Sharp 404
New eco-models for sustainable artworlds	4044 (001)	Giovanni Aloi	Tues 3:30 PM - 6:15 PM In Person
Description The art world is a complex ecosystem. What should one know about its geographical and ecological dimensions in order to pursue a rewarding career? The rise of identity politics, diversity, and multidisciplinarity, as well as the growing importance of collaborative practices, calls to abolish museums, and intensifying criticism of our cultural institutions' colonialist foundations, have made it more challenging than ever to navigate this rapidly changing landscape. This course deconstructs the romantic myth of the artist to foreground alternative and sustainable eco-models and systems of interdependency. Together, through the analysis of case studies borrowed from posthumanism and specualtive philosophy, we map the contradictions and paradoxes that today shape the relationship between artists, institutions, and the art market, to help practitioners of all kinds redefine their identities and reposition themselves in the contemporary art world. The course will involve a range of sources and study materials including selected clips from films, novels, classic academic readings on the artworld, and current interviews with artists, curators, and museum directors. The course will address current urgent themes like social justice, equity, accessibility, marginalization, racism/sexism, institutional critique, etc. The work is based on my new book titled 'I'm not an artist: reclaiming creativity in the age of free content that will be published by Bloomsbury in Spring 2025. Important scholarly and professional voices included will feature: Sampada Aranke, James Elkins, Mark Dion, Timothy Morton, Anna Tsing, Donna Haraway, Mandy-Suzanne Wuong, Vivien Sansour, Edgar Heap of Birds, Cannupa Hanska Luger, Pamela Sneed, Anicka Yi, Cecilia Vicuna, Okwui Enwezor, Eyal Weizman, Robin Wall Kimmerer and many more. Course work will include weekly reading responses, an essay, a report, and a presentation. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1097	Credits 3	Department Art History, Theory, and Criticism Area of Study Economic Inequality & Class, Community & Social Engagement, Museum Studies Location MacLean 707
Art, Identity, Race	4046 (001)	Eddie Chambers	Thurs 3:30 PM - 6:15 PM In Person
Description How have or how do artists engage with the complexities of visualizing racial difference, racial experience and racial identities? These are the questions to be considered in this class. As much as `race¿ can be understood as a fiction, it also manifests its presence in the visual arts. From the hundreds of European portrait painters who have painted their white patrons in the subservient company of enslaved Black people, through to the many modern and contemporary artists whose work touches on or is grounded in ideas of racial experience and representation. The class asks, what happens when race, art, and identity collide or overlap? The class will use a variety of texts, most frequently catalogue essays relating to artists such as Barbara Walker, Chris Ofili, Yinka Shonibare, Renee Cox, and Mickalene Thomas, and others whose work can be seen as representing a confluence of art, identity and race-related considerations. 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 art, identity and race-related considerations are seemingly easily applied to certain artists, but presumed to be absent from certain other artists. Students are required to submit one short `reaction¿ paper each week, plus a longer 10-12 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 OR Graduate Student	Class Number 2263	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Museum Studies, Exhibition and Curatorial Studies Location MacLean 501
Art and Spatial Politics in Contemporary China	4047 (001)		Tues 8:30 AM - 11:15 AM In Person
Description This class surveys the development of contemporary Chinese art from the late 1970s to 2010s through the lens of space. In China, contemporary art forms such as abstract painting, video, installation, and performance have long existed in the margins, outside the mainstream system. We will examine the spatial politics of production, display and consumption of this art over several decades, tracking how art in China interacts with political spaces (state run institutions and venues), the private domain (ad-hoc and independent spaces) and finally purpose-built and commercial outlets (galleries, and museums). Studying the history and evolution of contemporary Chinese art, also referred to as `avant-garde¿ or `experimental¿ art, is to study its interactions with space, be it public or private, physical or discursive. Lectures and discussions will focus on key events such as the Stars Painting Group¿s 1979 exhibition, the ¿China/Avant-Garde¿ 1989 exhibition, and the 2000 Shanghai Biennale as well as peripheral events and select activities outside of China. Readings will include texts by Wu Hung, Peggy Wang, Rosalyn Deutsche and Miwon Kwon. Various exercises and writing assignment during the semester, in-class presentations, one research paper. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2490	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Museum Studies Location MacLean 617
Decolonizing the 19th Century	4111 (001)	Margaret MacNamidhe	Wed 12:15 PM - 3:00 PM In Person
Description This course will examine some of the ways in which the forces of late imperialism justified their campaigns of subjugation and the multi-layered ways in which those subjugated came to resist colonial rule. We will consider changes across the 19th century, including those in central Africa (Congo; especially the development of minkisi), Cameroon (particularly the distinctive architecture of Bamun), Ivory Coast (paying special attention to the sculptor Kuakudili) before moving onto Oceania (e.g., New Guinea, Australia, Tahiti), east and south-east Asia, and the Americas (among the highlights here are the Cheyenne, Arapaho, and Kiowa books of ledger drawings). The arts of 19th-century Europe will not be neglected, but they will be seen through the lens of the distortions and refractions that colonialism produced. Each study-intensive week, we will paying close attention to readings that take us from Walter Mignolo to Joaquín Barriendos Rodriguez. Frequent visits to the Art Institute of Chicago and the Field Museum with their global collections are a particular feature of this course, and we will make use of the valuable teaching resources offered by other institutions in the Chicago area, including some lesser-known destinations such as the Africa International House and Evanston¿s Mitchell Museum of the American Indian. This course privileges the practice of writing assignments and actively supports a multi-phased approach to a final submission by offering students a series of late-semester workshops that takes the research findings of the first part of the semester and translates them into polished and lucid discussions. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2126	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Economic Inequality & Class, Public Space, Site, Landscape Location MacLean 111
Sem:Trans* Pictures	4225 (001)		Mon 6:45 PM - 9:30 PM All Online
Description This seminar explores the history and culture of transgender and gender non-conforming communities and identities, with a particular focus on moving image work encompassing cinema, television, and new media. Themes and approaches include transfeminist, postgenderist, and queer/trans theories which challenge essentialized notions of gender and sexuality. The course consists of weekly discussions based on screenings of moving image work, as well as critical and theoretical texts that investigate identity, embodiment, technology, and representation as they relate to trans issues. Some of the scholars and artists we will study include Susan Stryker, David Valentine, Zachary I. Nataf, C. Riley Snorton, Paul B. Preciado, Helen Hok-Sze Leung, Sam Feder, Lilly Wachowski, Chase Joynt, Tourmaline, Wu Tsang, Silas Howard, Angelo Madsen Minax, Jules Rosskam, Annalise Ophelian, Zackary Drucker. Course work will include in-class discussions, reading assignments, reading/screening response essays, a midterm critical response essay, and a final research paper. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1044	Credits 3	Department Art History, Theory, and Criticism Area of Study Gender and Sexuality, Theory Location Online
Ukrainian Art of the 20th and 21st Century	4349 (001)	Adrienne Kochman	Tues 12:15 PM - 3:00 PM In Person
Description This course investigates artistic expressions of national consciousness, modernism, ukrainizatsia of the 1920s and the Boychukysty, primitive and decorative folk painting, non-conformism, Socialist Realism, and contemporary art. Historical, political, and socioeconomic contexts will be addressed throughout the class, as will Ukraine's relationship with other European artistic centers, and their developments. Issues related to recovered art history, colonization and artistic training; national identity and oppressed regimes; and the role of the diaspora will be included throughout. Translations of documents will be provided. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2366	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 205
Better Homes and Gardens: Vernacular Art Environments	4512 (001)	Annalise Flynn	Fri 8:30 AM - 11:15 AM In Person
Description This course explores the rich genre of vernacular art environments' combinations of art, architecture and/or landscape architecture, including religious grottos, spiritual, devotional and mystical sites, gardens, ephemeral yard shows, architectural inventions, expressions of loneliness and survival, artist-built sites of conscience, homes fully transformed, artist's museums, and other created spaces that are site and life specific. The course examines historical and contemporary art environments and issues impacting art from beyond the academic mainstream and its evolving definitions, environments in their social, political and cultural contexts, home and landscape as studios, the viability and longevity of specific sites, and site preservation. Artists explored in this class include women, people of color, economically disadvantaged makers, farmers/rural dwellers, urban dwellers, and immigrants, among others. Artists' sites examined range from Sam Rodia's Watts Towers, Emery Blagdon's Healing Machine, Kea Tawana's Ark, to Ferdinand Cheval's Palais Ideal, and many more. Lectures are supported by video, audio, and a broad range of readings. Developing an awareness and appreciation for vernacular expressions in architecture, architectural cladding and ornament, garden ornament and yard shows, and other ordinary or beyond-ordinary visual arrangements in our shared, adorned environment is a subtext. Students complete readings and exploration and research projects. Add: Sign up for this class requires instructor consent and is by application to Professor Nicholas Lowe. For more details please email nlowe1@saic.edu. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2216	Credits 3	Department Art History, Theory, and Criticism Area of Study Museum Studies Location Sullivan Center 1241
The Shape of Contemporary Dress	4562 (001)	Gillion Carrara	Fri 8:30 AM - 11:15 AM In Person
Description Class content begins with the start of the youth quake of the 1960s and continues until the current day of designers? oeuvres, expanding to such arenas as video art, performance and creation of merchandise. On occasion, a select number of students will participate with an end of year presentation together with students of the Department of Fashion Design. This course is a chronological inquiry into fashion and dress and the relationship to a heritage of the visual arts, politics, literature, gender, and equality. Students will gain recognition of primary sources for analysis relating to art and dress in the Ryerson and Flaxman libraries. The SAIC Fashion Resource Center is a fully comprehensive venue as resource for any project. While individually and as a class, conversations are immediate, since surrounded by publications, garments and related materials in the F R C Study room and Wardrobe. Six assignments progress from the knowledge of history to lives and practices of global designers. Of significance is an exercise of garment examination in the F R C Wardrobe resulting in museum like documentation permitting students to learn vocabulary and accurate assessment. Emphasis is placed on students mastering the skills of writing, presenting visual arts and oral presentation. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2118	Credits 3	Department Art History, Theory, and Criticism Area of Study Costume Design, Gender and Sexuality Location MacLean 707
Walk That Way	4611 (001)	Lori Waxman	Wed 12:15 PM - 3:00 PM In Person
Description Walking is the most obvious thing in the world. We all do it. In fact it is a primary way to differentiate human beings from other sentient creatures. And yet, for the past century, artists have made revolutionary, romantic and aesthetic use of this most commonplace gesture. In this class, we consider groups like the Surrealists, the Situationist International and Fluxus, all of whom walked in cities as a means of making vanguard art. We explore the flaneurs who came before them and contemporary artists like Francis Alys and Janet Cardiff, who came after. We look outside urban limits too, at Richard Long and the long history of Romantic walkers and traditional nomads that preceded him. Course work includes a midterm exam and a final paper?and maybe, just maybe, we will go on a couple of walks ourselves. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1059	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Advanced History Of Video	4670 (001)	Bruce Jenkins	Wed 8:30 AM - 11:15 AM In Person
Description This course is designed to provide an in-depth encounter with video art from its emergence in the 1960s through its divergent pathways over the past six decades as both a form of art-making and a mode of socio-political engagement. Particular attention is paid to the role that art institutions (museums, biennials, festivals) have played in reframing that history and to the continuing impact of technological change. We focus as well on the work of non-Western artists and the theoretical lenses that highlight alternative cultural genealogies. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1061	Credits 3	Department Art History, Theory, and Criticism Location MacLean 1307
Seeing Hitchcock	4685 (001)	Patricia Erens	Mon 8:30 AM - 11:15 AM In Person
Description This is a discussion-based seminar aimed at upper-level students. The goal is to introduce students to the cinema of Alfred Hitchcock, one of the great masters of 20th century cinema, whose themes and filmic techniques influenced modern artists, as well as other film directors. The course will offer students an opportunity to do in-depth critical analysis using various methodologies, such as the auteur theory, feminism and psychoanalysis. Class time will be devoted to exploring themes such as crime, guilt, marriage, the double, voyeurism, the male gaze and meta cinema. The course will cover many of Hitchcock¿s most important works, including Strangers on a Train, Rear Window, Vertigo and Psycho. Students are expected to see these works on their own and write a weekly response paper based on their viewing and the assigned readings. In place of exams, students will produce a final research paper and a class presentation. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1094	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 202
Pop Culture Theory: Adorno 'Culture Industry'/Art as Social Experience	4804 (001)	Christopher Cutrone	Mon 12:15 PM - 3:00 PM In Person
Description Adorno is well known for his scathing critique of 'culture industry.' But what is usually missed is that Adorno's critique of 20th Century cultural forms was dialectical, concerned with their potential for both emancipation and domination, and was aimed equally at modern practices of 'hermetic' art as well as those of 'popular' culture, anticipating issues in 'post'-modernist cultural criticism. In this course we address the Frankfurt School critical theory of experience and aesthetic subjectivity in modern social life in context, reading works by Benjamin, Kracauer and Marcuse, and then focusing on works by Adorno in considering the analytical and explanatory as well as critical power of certain enduring if problematic and contested categories such as 'commodification' and 'democratization' for a dialectic of modern forms of art and culture as forms of social subjectivity. 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 1046	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics Location MacLean 301

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Learn how to prepare a competitive application, meet with faculty and staff, and explore our programs and facilities. LEARN MORE

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MA Modern and Contemporary Art History Admissions Information

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

A photo of a woman interacting with an art installation in a gallery setting

Oct18

Chicago Graduate Portfolio Day and Open Studio Night

Graduate Portfolio Day provides the opportunity for prospective students to receive immediate feedback on their portfolios, as well as have the opportunity to learn more about the curricula, faculty, and application procedures from a number of colleges.

Participants who attend Graduate Portfolio Day are also invited to join us for Graduate Open Studios! Graduate studios and galleries across campus will be open to the SAIC community and GPD attendees. Meet with and view the work of more than 300 students pursuing graduate degrees at SAIC! Maps and more info will be available at the GPD.

Saturday, October 18 10:00 a.m. - 2:00 p.m. CDT at School of the Art Institute of Chicago 280 S. Columbus Dr. Chicago, IL 60603

Graduate Overview

Art History Graduate Overview

Reduced Application Fee Deadline: December 1Application Deadline: January 10

Art History Master's Degree Programs

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Reduced Application Fee Deadline: December 1
Application Deadline: January 10