Undergraduate Overview

Art History is a central part of all students’ education at the School of the Art Institute of Chicago (SAIC). The Department of Art History, Theory, and Criticism offers courses that examine how current and future practices are informed by the histories and theories of art. 

From comprehensive surveys of modern and contemporary art at the introductory level to advanced undergraduate seminars, all courses prepare students to speak, write, and think about art and design. Classes address art of all media, design and architecture, visual and material cultures, and contemporary theories of art and culture. The international networks for contemporary art are an important part of the course offerings, and we offer a wide range of classes in Asian, African, Latin American, European, and North American Art.

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Contemporary Practices Requirements

All Contemporary Practices students and transfer students must complete: ARTHI 1001, World Cultures and Civilizations: Pre-History-Nineteenth Century, and one other 1000-level Introductory Survey of Modern and Contemporary Art History course before taking more advanced courses within the department.

Bachelor of Arts in Art History

The BA in Art History draws on the depth and diversity of offerings in the scholarly study of art practices that only a major art school connected with a world-class museum can offer. Substantial coursework in Art History, supported by additional coursework in Liberal Arts and in studio departments define the course of study. In their first year, students complete the studio-intensive Contemporary Practices program and introductory Art History surveys as a foundation for beginning their advanced Art History coursework in their second year. In addition to a sequence of research, theory, and methods courses, BA in Art History students choose two (out of three possible) geographic-area pathways on which to focus (with at least three courses in each area).

The degree culminates in the fourth year with a significant research project written in the two-semester senior research methods capstone seminar. In addition to external applicants and transfer students, interested SAIC students from other degree programs may apply for admittance to the BA in Art History program, usually before the beginning of their junior year. Please refer to the BAAH Credit Worksheet.

 

  • To apply to the School of the Art Institute of Chicago (SAIC), you will need to fill out an application and submit your transcripts and letters of recommendation. And most importantly, we require a portfolio of your best and most recent work—work that will give us a sense of you, your interests, and your willingness to explore, experiment, and think beyond technical art, design, and writing skills.

     In order to apply, we must have the following items:

    • Online application
    • Artist’s Statement
    • Transcripts
    • Letter of Recommendation
    • Portfolio
    • Test Scores

    The BA in Art History program has a special application procedure for both external and internal candidates. All applicants must supply a writing sample (see below) to be considered.

    Incoming First-Year Students

    The application for incoming first-year students requires a five- to seven-page (1,250–1,750 words) writing sample, TOEFL scores when required (min. 96), letter of recommendation, a high school transcript (min unweighted GPA 3.0), a portfolio of five to 10 pieces of visual work, and a personal statement.

    For their first year, BA in Art History students take primarily studio courses as part of the year-long Contemporary Practices program. These courses provide students with foundations in art practice and visual thinking that grounds advanced-level coursework in Art History, which begins in the sophomore year. 

    Transfer Students

    The application for incoming transfer students requires a five- to seven-page (1,250–1,750 words) writing sample, TOEFL scores when required (min. 96), letter of recommendation, transcript of courses taken at other institutions (min. unweighted GPA 3.0), a portfolio of five to 10 pieces of visual work, and a personal statement. Transfer applicants are considered individually with regard to the acceptance of previous credit and studio requirements.

    A minimum of 66 credit hours are required in residence at SAIC, so most transfer students will apply before their junior year. On admittance, transfer students may petition for Contemporary Practices studio courses to be substituted with other coursework. Most transfer students, however, will take at minimum the core and research studio courses designed for transfers by the Contemporary Practices department. 

    SAIC Students from Other Degree Programs

    Internal applicants are also required to submit a writing sample five- to seven-page (1,250–1,750 words) writing sample, a personal statement, and a transcript of courses at SAIC in order to be considered for a degree change to the BA in Art History. In some cases, an interview may be required.

    Because the BA in Art History is substantially different in its credit makeup than other programs at SAIC, most students will have applied for an internal transfer before the end of their sophomore year. Only in exceptional cases will junior-level students be considered for internal transfer.

    Internal transfer applicants must submit a single PDF document with contact information, student ID number, personal statement, transcript of courses transferred into and taken at SAIC, and writing sample with illustrations. Unofficial transcripts from the registrar or academic advising are acceptable and should include all courses taken at SAIC as well as those transferred from other institutions. Screen shots or other lists will not be accepted. The transcript should be incorporated into your single application PDF after your cover page with identification, personal statement, and writing sample. This should be sent to the Department of Art History, Theory, and Criticism’s Undergraduate Coordinator (jlee241@saic.edu).

    Writing Sample

    The writing sample is one of the most important parts of the application and should demonstrate applicants' ability to express their ideas and knowledge in written form. Successful writing samples will demonstrate clarity of argument, facility with written language and grammar, and an ability to incorporate and cite research materials. Any expository essay that incorporates research will be considered, and a writing sample in art history is not required (though it is encouraged, especially for transfer applicants). Writing samples should be five to seven pages in length (1,250–1,750 words) for incoming first-year applicants and transfers at the freshman or sophomore level. Any student who wishes to apply for transfer into the BA in Art History program at the level of junior should submit a writing sample of at least seven to 10 pages (1,750–2,500 words). Relevant illustrations and bibliography should be included with the text but are not considered when calculating page limits.

    Personal Statement

    The personal statement is a short statement (around a page) explaining your curiosities, interests, and plans (in intellectual and/or career terms) and why you think the BAAH program would be a good fit for you.

    Portfolio

    External students must include a visual portfolio as part of their application. In addition to the writing sample, five to 10 pieces of your best and most recent work must be submitted as part of the portfolio. This collection should reflect your interests, skills, and willingness to explore, experiment, and express yourself.

    The BA in Art History program incorporates studio practice as essential knowledge for work in art history, and all BA in Art History students take studio classes while at SAIC. Because the first-year studio foundations experience is shared with all SAIC BFA students, incoming applicants should expect to be immersed in visual and creative practices. While the writing sample and transcript are the most important parts of a BA in Art History application, applicants should use the portfolio to demonstrate their facility with visual making. In addition to conventional studio and design work, students may also submit alternative creative practices (for instance, video blogging, website design, or online curation). Transfer applicants with little experience in studio or design practices are encouraged to consider these alternatives. Questions about what can be part of the visual portfolio should be addressed to the Admissions office.

    The Admissions office at the School of the Art Institute of Chicago (SAIC) is dedicated to assisting you and your family through every step of the college selection process. We are interested in getting to know you—your work, your expectations for college, and your ambitions for the future. We seek students who wish to immerse themselves in an intense interdisciplinary environment, and we hope to challenge the very notion of what art means to you and to our society. SAIC provides a sophisticated education that hones your unique abilities as a contemporary thinker and maker in a global community.

  • Studio18
    • CP 1010 Core Studio Practice I (3)
    • CP 1011 Core Studio Practice II (3)
    • CP 1020 Research Studio I (3)
    • CP 1022 Research Studio II (3)
    • Studio electives (6)
    Art History, Theory, and Criticism51
    • Foundations
      • ARTHI 1001 Introduction to Art History: Ancient to Modern (3)
      • ARTHI 1002+ Any Introduction to Art History: Modern and Contemporary (3)
    • Research, Theory, and Methods
      • SOPHSEM 2900 Sophomore Seminar in Art History (3)
      • PROFPRAC 3900 Art History Junior Proseminar * (3)
      • ARTHI 4899 Art History Research Methods I: Thesis Methodology Seminar (3)
      • CAPSTONE 4900 Art History Research Methods II: Thesis Writing Seminar (3)
      • Completion of written thesis
    • Area Pathways *
      Two complete 9 credit hour (3 courses) sequences from three possible areas of focus:
                1. Asia
                2. Europe and America
                3. Southern Continents (Africa and Latin America)
      • Area Pathway I
        ARTHI 2000-level survey (3)
        ARTHI 3000-level intermediate course (3)
        ARTHI 4000-level advanced course (3)
      • Pathway II
        ARTHI 2000-level survey (3)
        ARTHI 3000-level intermediate course (3)
        ARTHI 4000-level advanced course (3)
    • Additional courses
      • Art History courses in pre-modern topics, ARTHI 2000-4000 level* (6)
      • Intermediate or Advanced Courses, ARTHI 3000-4000 level (9)

    PROFPRAC and CAPSTONE are now required for new incoming students beginning in the 2015-16 academic year.

    * A list of courses that fulfill this requirement is supplied by the Department. Each semester, the Department offers two smaller seminar-style courses focused on the application of research methods. These can be in any topic, but professors focus on the practice of research and writing with students in this smaller setting.

    BA in Art History students must take at least one of these courses in their Junior year, which will be designated on the course schedule as ARTHI 3900/PROFPRAC 3900. Courses fulfilling the Junior Proseminar requirement cannot also be used to fulfill the Area Pathways requirements. Students may, however, take more than one Junior Proseminar in their time at SAIC, and any additional proseminars may be used to fulfill other degree requirements.

    Liberal Arts39
    • ENGLISH 1001 First Year Seminar I (3)
    • ENGLISH 1005 First Year Seminar II (3)
    • Humanities (6)
    • World History (6)
    • Social Science (6)
    • Natural Science (6)
    • Foreign Language (6)
    • Liberal Arts Electives (3)
    General Electives12
    • Advanced elective courses (2000–4000 level), any department

    In addition to courses in studio, Liberal Arts, of Art History, other opportunities such as internships taken through SAIC's Cooperative Education may count as electives.

    Other Requirements

    • BA in Art History students must complete at least 3 credit hours in a class designated as “off-campus study.” These credits can also fulfill any of the requirements listed above and be from any of the divisions (Art History, studio, Liberal Arts, or general electives).
    Total Credit Hours120

  • The minimum number of credits required in residence at SAIC is 66 of the total 120 credit hours. Of those 66 required residence credits, transfer students must take, at minimum, the following at SAIC.

    Art History
    • Two Area Pathways (18)
    • ARTHI Junior Proseminar (3)
    • Senior Thesis Course Sequence (ARTHI 4899 and CAPSTONE 4900) (6)
    • Intermediate or Advanced Courses, 3000-4000 level (12)
    Studio
    • Studio Electives (3)

Bachelor of Fine Arts with Art History Thesis

The Department of Art History, Theory, and Criticism newly offers SAIC BFA students the option to supplement their studio curriculum with an Art History Thesis. This BFA with Art History Thesis (BFAAHT) is not a distinct degree, but a variant of the BFA degree that students can opt into, enabling their immersion in the faculty and resources of the Art History Department's programs, including the well-known Master of Arts in Modern and Contemporary Art History (MAAH) and Dual-Degree Graduate Program in addition to our existing Bachelor of Arts in Art History (BAAH). BFAAHT students can expect to receive specialized, individual attention in intensive Art History seminars as they develop original thesis projects exploring questions and topics of their own devising. In their senior year, BFAAHT students will take the year-long Art History Senior Thesis seminar that culminates in the Undergraduate Art History Thesis Symposium.

  • Students who are interested in the BFA: Studio Art with Art History (AH) Thesis should complete the steps outlined below, ideally by the end of the spring semester of their freshman year or in fall semester of their sophomore year:

    Step 1: Student confirms with an Academic Advisor that they have at least 12 credits of Art History and/or General Electives remaining to use for the thesis sequence.

    Step 2: Student meets with the Art History, Theory, and Criticism Undergraduate Program Director by the end of their freshmen year or beginning of sophomore year.

    Step 3: Student applies to the BFA AH Thesis Program by submitting to the AH Undergrad Program Director: 1) their SAIC transcript showing at least 12 credits of Art History and/General Electives remaining; 2) a writing sample that shows the student’s research, writing, and citation ability; and 3) a brief description (1 page) of the student’s proposed thesis topic.

    Step 4: If the student is accepted into the program, they should enroll in:

    • ARTHI 2900 Sophomore Seminar in their sophomore year (3 credit hours)
    • ARTHI 3900 Junior Proseminar in their junior year (3 credit hours)
    • CAPSTONE 4899 AH Undergraduate Thesis Seminar I in fall of their senior year; as well as 4900 AH Undergraduate Thesis Seminar II in spring of their senior year (6 credit hours)    

    Step 5: Completion of thesis must be approved by both the Thesis II instructor and the AH Undergraduate Coordinator. Students are required to make a formal presentation and participate in the Undergraduate Art History Thesis Symposium in the senior year.

  • Research, Theory, and Methods: 12
    • SOPHSEM 2900 Sophomore Seminar in Art History (3)
    • PROFPRAC 3900 Art History Junior Proseminar* (3)
    • ARTHI 4899 Art History Research Methods 1: Thesis Methodology Seminar (3)
    • CAPSTONE 4900 Art History Research Methods II: Thesis Writing Seminar (3)
    • Completion of Written Thesis

Course Listing

Title Catalog Instructor Schedule

Description

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

Class Number

1016

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

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

Class Number

1017

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

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

Class Number

1018

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

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

Class Number

1019

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

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

Class Number

1020

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

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

Class Number

1029

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 707

Description

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

Class Number

1034

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

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

Class Number

1042

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

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

Class Number

2206

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 707

Description

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

Class Number

2534

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 707

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

1031

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

Description

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

Class Number

1021

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 1608

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

1038

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

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

1071

Credits

0

Department

Art History, Theory, and Criticism

Location

Lakeview - 1427

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

1072

Credits

0

Department

Art History, Theory, and Criticism

Location

MacLean 919

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

2484

Credits

0

Department

Art History, Theory, and Criticism

Location

Lakeview - 205

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

2485

Credits

0

Department

Art History, Theory, and Criticism

Location

MacLean 501

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

2502

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Theory

Location

MacLean 919

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

2101

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Class, Race, Ethnicity, Community & Social Engagement, Economic Inequality & Class

Location

Lakeview - 1608

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

1063

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 920

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

1022

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 302

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

2314

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Costume Design, Class, Race, Ethnicity, Museum Studies

Location

MacLean 707

Description

This course surveys the history of architecture and design, including furnishings, decorative arts and interiors, from Napoleonic Europe until the onset of Globalism in the early Twenty-First Century. Special attention is given to the developments that have remained most influential within the architecture and design of today, with particular emphasis on: nineteenth-century revivalism and industrial architecture; Chicago School, early skyscrapers and the designs of Frank Lloyd Wright; the Arts & Crafts and Art Nouveau movements; early twentieth-century Modernism in Europe; Art Deco, the Bauhaus and the International Style; Late Modernism and New Brutalism; Postmodernism; and contemporary twenty-first century Global movements. Through extensive lectures and primary source readings, special focus in this class is devoted to the pioneering and influential architects from the nineteenth, twentieth and twenty-first centuries, including Friedrich Schinkel, Joseph Paxton, Louis Sullivan, Frank Lloyd Wright, Greene and Greene, Charles Rennie Mackintosh, Adolph Loos, Walter Gropius, Mies van der Rohe, Le Corbusier, Alvar Aalto, Eero Saarinen, Philip Johnson, Louis Khan, Adrian Smith and S.O.M., Robert Venturi, I.M. Pei, Frank Gehry, Renzo Piano, Norman Foster, Rem Koolhaas and Zaha Hadid. 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

1023

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 1608

Description

This introductory course surveys the arts of Africa from prehistoric times to today. Focusing on the region south of the Saharan desert, the course will cover a range of media and practices, including painting, architecture, textile, ceramics, metalwork, and body art from across various cultures on the continent. We will consider major movements in the development of African civilizations, the spread of Islam, colonialism and westernization from the perspective of African artistic initiatives and responses. The course will consider ancient African kingdoms and empires, early contacts with Europeans in the fifteenth century, and problems related to African contemporary art and African artistic identities within a globalized art world.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1024

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Class, Race, Ethnicity

Location

Lakeview - 1608

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

1925

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 1608

Description

An introduction 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) as well as genealogies of specific media technologies (i.e. cameras, computers and software; electric lights, radio and sound; chemical, magnetic, and digital forms of storage and the industrial and capitalized structures that they require). These interwoven histories of shared theory/practices are investigated in relationship to independent/experimental/art media in contemporary cultures by asking: How do artists develop methods to work with, against, and around these techno-social forms? Readings will include Kittler, Zelenski, Grau, Gunning, Gaudreault, Musser, Schivelbusch, Auge, Adorno, Kluge, and Krackauer.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

2236

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Theory

Location

MacLean 1307

Description

This course is a comprehensive survey of the history of furniture, including relevant information on residential architecture, the decorative arts and interior design, from the Neolithic Era until the Twenty-First Century. Special attention is given to the developments that have remained most influential within furniture design today, with particular emphasis on the ancient Egyptians, Greeks and Romans, the Middle Ages and the Renaissance, the Baroque, Rococo and Neoclassical eras, revivalism in the Nineteenth Century, early Modernism in the Arts & Crafts and Art Nouveau movements, Art Deco, the Bauhaus and the International Style, Mid-Century Modernism, Late Modernism and Postmodernism. Through extensive lectures and readings, special focus in this class is devoted to the relationships between furniture and societal customs throughout history, the rise of furniture?s status as a fine art during the Baroque, Rococo and Neoclassical periods, the influence of industrialization, mass production and new technologies and materials on furniture manufacturing in the nineteenth and twentieth centuries, furniture?s role in helping to create and define architectural space within interiors of the twentieth and twenty-first centuries, and the role of individual narratives in developing unique identities and meanings for furniture throughout history. Students will complete a series of in-class exams along with a final research assignment analyzing a single object chosen from the Art Institute?s furniture collection.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1025

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 1608

Description

Science fiction films imagine futures that often comment on the failures of the present. In recent years, “clif-fi,” or science fiction about climate change, has become an increasingly popular sub-genre, and some historical films have been newly understood within this framework. This class will study a wide range of historical and contemporary cli-fi films, including international films, experimental films, and blockbusters, in order to understand how they encourage us to see the escalating crisis of climate change. Each week a film will be screened at the Gene Siskel Film Center. Mad Max: Fury Road (2015, George Miller, Australia); Snowpiercer (2013, Bong Joon-ho, South Korea); Neptun Frost (2021, Saul Williams, Rwanda); Princess Mononoke (1997, Hayao Miyazaki, Japan) or The Day After Tomorrow (2004, Roland Emmerich, USA), to name a few. Students will be expected to read essays before class, attend film screenings, participate in conversations and other tasks.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

2300

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Theory

Location

Gene Siskel Film Center 203

Description

Science fiction films imagine futures that often comment on the failures of the present. In recent years, “clif-fi,” or science fiction about climate change, has become an increasingly popular sub-genre, and some historical films have been newly understood within this framework. This class will study a wide range of historical and contemporary cli-fi films, including international films, experimental films, and blockbusters, in order to understand how they encourage us to see the escalating crisis of climate change. Each week a film will be screened at the Gene Siskel Film Center. Mad Max: Fury Road (2015, George Miller, Australia); Snowpiercer (2013, Bong Joon-ho, South Korea); Neptun Frost (2021, Saul Williams, Rwanda); Princess Mononoke (1997, Hayao Miyazaki, Japan) or The Day After Tomorrow (2004, Roland Emmerich, USA), to name a few. Students will be expected to read essays before class, attend film screenings, participate in conversations and other tasks.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

2300

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Theory

Location

Gene Siskel Film Center 203

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

1026

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 1307

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

1058

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Gender and Sexuality

Location

MacLean 707

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

2113

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 707

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

2102

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Digital Communication

Location

Online

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

1738

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Graphic Design

Location

MacLean 707

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

1060

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 203

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

1934

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 1427

Description

Where is the Black Atlantic? What does it look, smell, taste, and feel like? How does it color our world? This class explores the visual and cultural history of the Black Atlantic?a phrase used to define the relationship between dissonant geographical locations that were forged into relationship with each other through the Transatlantic Slave Trade. We will forge an understanding of how vision, texture, touch, sound, and color owe their meanings through the Middle Passage and its production of arts of the Black Atlantic. Crucial to this class is the artwork of practitioners like Jacob Lawrence, Soly Cisse, AfriCOBRA, Aubrey Williams, Faustin Linyekula, Yinka Shonibare, and Renee Green. We will focus primarily on the visual history and cultural impact of the Middle Passage as discussed through the writings of Afro-Caribbean, West African, Black American, and Black British scholars. We will work with concepts like ?native? visual forms, the coloniality of painting, Negritude, and the anticolonial imagination.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

2277

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Class, Race, Ethnicity, Politics and Activisms

Location

Lakeview - 205

Description

Starting from a historical survey of socialist, feminist, and black radical critiques, this course explores the intensification of work in the 21st century. Course texts trace continuity and change in working conditions through (1) empirical studies and testimonials; (2) theoretical analysis and interpretation; and (3) depictions in art, writing, and film. Topics include waged and unwaged labor, automation and deskilling, and the growing precariousness of employment contracts. The course closes with a consideration of recent debates on creative work, care work, universal basic income, and “fully automated luxury communism.” Assignments include brief but regular written responses and a final paper.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1070

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Art/Design and Politics, Digital Communication, Economic Inequality & Class

Location

MacLean 920

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

1062

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Art/Design and Politics, Class, Race, Ethnicity, Community & Social Engagement

Location

MacLean 920

Description

This undergraduate seminar is for all types of writers (critics, creative writers, and scholars) who want to analyze the dimensions of literary and scholarly forms of description, interpretation, and explanation. Poetry, short stories, personal essays, passages from novels, and art-history articles will form the ground for weekly encounters with works of art in the Art Institute of Chicago, as we compare what we read to what we encounter in person. Each class meeting has a tripartite structure, as we compare a literary engagement with a work of art, evaluate a scholarly argument about the same piece or its creator, and personally engage the same or similar work in the Art Institute of Chicago. We will respond to the works of art currently on display, and, as warranted, pair the appropriate scholarship with creative works by writers such as Ada LimĂłn, Victoria Chang, Hilton Als, Diane Seuss, Mark Doty, Hanif Abdurraqib, Wayne Koestenbaum, Vivek Shraya, Cris Kraus, Ben Lerner, Teju Cole, Eileen Myles, Gwendolyn Brooks, Paisley Rekdal, Zadie Smith, Jeffrey Yang, and John Ashbery, among others. Students will write concise analyses of every reading assignment plus a weekly follow-up reflection as preparation for a final hybrid research paper that situates their personal moment of encounter with a work of art in the Art Institute of Chicago within art-historical scholarship. The goal is for students to probe their personal experiences with art for wider cultural implications.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

2328

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Gender and Sexuality, Class, Race, Ethnicity, Museum Studies

Location

Lakeview - 202

FAQs

  • Students only begin taking advanced Art History courses in their second year at SAIC. For the first year, BA in Art History students share the campus-wide, first-year student curriculum, which includes intensive foundational training in studio and in visual thinking, composition-based writing courses, and two introductory surveys in art history. The SAIC BA in Art History is unlike conventional majors at liberal arts colleges in its extensive art history requirements (at least 18 courses) and in its solid grounding in knowledge of studio practices. An understanding in how art is made is an essential part of its historical study. While BA in Art History students’ coursework is identical to BFA students in their first year, they will also be included in events organized for all BA in Art History students. All BA in Art History students are advised by a faculty member from the Department of Art History, Theory, and Criticism.

  • The BA in Art History program has significantly different degree requirements than SAIC’s other, studio- and design-based degrees. Because of this, there are no automatic degree transfers, and every case must be weighed individually with regard to applicable credits and research and writing skills. There are two deadlines for internal transfers every year: October 15 and March 15. Applications are only considered at these times.

  • No. SAIC does not have majors. The BA in Art History is a full-fledged degree in Art History, and it is the first nonstudio undergraduate degree at SAIC. It requires a minimum of 41 percent of credits (18 courses) to be taken in the Department of Art History, Theory, and Criticism—far more than a conventional major within a liberal arts degree (usually around 10 courses). Beyond that, the degree is made up of a minimum of 16 percent studio courses, which we believe to be an integral part of study of histories and theories of art.

  • The BA in Art History is designed to provide students with training in research and writing skills, and at least one class per year will focus on this area of study. A Sophomore Seminar, a Junior Proseminar, and the Senior Thesis Sequence are all required of BA in Art History students.

  • Sophomore Seminars are required courses for all SAIC undergraduates. They focus on preparing students to embrace a specific direction in their scholarship or in their studio practice. The seminars offer intensive faculty mentoring sessions that help students design a curricular pathway for the final two years of study at SAIC. Most departments at the institution offer Sophomore Seminars. BA in Art History students take the Sophomore Seminar designed by the Department of Art History, Theory, and Criticism to provide research skills in Art History and to train students to examine the role of art’s histories in light of current practices. Students from programs other than the BA in Art History may also take the Art History Sophomore Seminar.

  • Each semester, the department offers at least two smaller seminar-style courses focused on the application of research methods. These can be in any topic, but professors focus on the practice of research and writing with students in this smaller setting. BA in Art History students must take at least one of these courses in their junior year. Courses fulfilling the Junior Proseminar requirement cannot also be used to fulfill the Area Pathways requirements.

    Students may, however, take more than one Junior Proseminar in their time at SAIC, and any additional Proseminars may be used to fulfill other degree requirements. The Department of Art History, Theory, and Criticism distributes a list of Junior Proseminars each semester.

  • The Department of Art History, Theory, and Criticism offers more than 200 courses a year, from introductory surveys to graduate seminars. Most of the course offerings are generally divided into three major geographic areas, which correspond to three area pathways in the curriculum: 
    •  Asia
    •  Europe and America
    •  Southern Continents (Africa and Latin America)

    BA in Art History students choose two of these areas on which to focus. In both of these two area pathways, students must complete a three-course sequence of 2000-, 3000-, and 4000-level courses. Students develop their thesis topic as the culmination of one of these two area pathways of study and pursue it during the Senior Thesis Sequence in their final year. Each pathway requires three courses (9 credit hours).

    For instance, a student who chooses a pathway in Asian art might fulfill its requirements by taking Survey of Asian Art (ARTHI 2450), Buddhist Ideas in South and Southeast Asian Art (ARTHI 3473), and Asian Art Now (ARTHI 4496). Once a pathway is completed, students may continue to take courses in that area with their art history elective credits. A list of courses in each pathway is distributed by the Department of Art History, Theory, and Criticism to BA in Art History students.

  • The Department of Art History, Theory, and Criticism focuses on modern and contemporary art in a global framework. While the majority of its offerings focus on art of the last 150 years, it also has a significant number of courses that address the longer histories of art. BA in Art History students are required to take at least six credit hours of courses that focus on topics before the mid-19th century in addition to ARTHI 1001: Introduction to Art History: Ancient to Modern. The Department of Art History, Theory, and Criticism distributes a list of premodern courses each semester.

  • In order to graduate with a BA in Art History, all students must complete a written thesis developed over the course of the fall-spring Senior Thesis Sequence. In the fall of their senior year, students take ARTHI 4011: Senior Thesis Methodology Seminar that focuses on advanced writing and research skills as well as topic development. In the spring, BA in Art History students work closely with a faculty member in ARTHI 4012: Senior Thesis Writing Seminar to complete and submit the written document. These classes cannot be taken out of sequence or substituted. They are only offered each once a year.

  • Any student who anticipates graduating mid-year should plan to take the Senior Thesis Sequence in preceding academic year. In other words, two of the three of a BA in Art History student’s last three semesters must be taken over a full academic year at SAIC.

  • Theses are generally 35 to 50 pages in length and should demonstrate the student’s deep knowledge on a topic in art history of their choosing. They should include all relevant images and be formatted according to established guidelines. All theses are due by the last day of the spring semester in order for the student to graduate.

  • Once admitted, all BA in Art History students will be advised by the Director of Undergraduate Programs in Art History or another faculty member from the department. BA in Art History students should meet each semester with their Art History adviser to determine course selections and discuss the development of their research interests. In addition, BA in Art History students are also encouraged to take advantage of SAIC’s Office of Academic Advising for any assistance with school-wide curricular requirements and credit audits. There will also be possibilities for graduate student mentors for advanced BA in Art History students.

  • Courses designated in the SAIC curriculum as “off-campus study” can be found in studio, Liberal Arts, and Art History. These credits can be taken in one of the many study abroad trips organized by SAIC each winter and summer term, in a designated class during the regular semesters that has a substantial off-campus component or be fulfilled through internships coordinated by SAIC’s Cooperative Education Program. BA in Art History students are required to take three of their credit hours in off-campus courses. These credits may come from any division and may also be used to meet other degree requirements.

  • SAIC is a non-grading institution, and students in the BA in Art History program will not receive traditional grades for coursework. Students may request written evaluations for each class, but this is the responsibility of the student to solicit and maintain these records. Any students applying for graduate school, internships, or other opportunities may request from the Department of Art History, Theory, and Criticism a statement of principle about its non-grading philosophy. Students who intend to make such applications are encouraged to keep copies of their research papers and exams for further information about their success at SAIC.

  • Existing students who are pursuing an exchange semester or summer courses abroad may petition Academic Advising to have foreign language courses transferred to SAIC to meet the 9-credit-hour language requirement. Final approval to take language classes off-campus is determined by the Department of Liberal Arts. During the semesters, students may also petition to take advanced foreign languages and foreign languages not offered by SAIC at nearby Roosevelt University. (Those students should contact the Study Abroad Office.)

  • No. The foreign language requirement is in place to insure that students have basic ability to engage with research materials in other languages. Consequently, only study in written languages fulfills this requirement.

Take the Next Step

For questions about applications for first-year and transfer students, visit the undergraduate admissions web page or contact SAIC's Office of Admissions at admiss@saic.edu or 800.232.7242. Current SAIC students should contact arthistoryba@saic.edu.

asking why detail

Freshman and Transfer Deadline: June 1