| Introduction to Art: Ways of Seeing |
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
1027
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
MacLean 302
|
| Introduction to Art: Ways of Seeing |
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
1028
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
MacLean 302
|
| Introduction to Art: Ways of Seeing |
1001 (003) |
Joana Konova |
Tues
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
1029
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
MacLean 302
|
| Issues in Modern and Contemporary Art |
1002 (002) |
David Raskin |
Thurs
3:30 PM - 6:15 PM
In Person
|
|
Description
This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art.
Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.
|
Class Number
1031
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
MacLean 302
|
| Issues in Modern and Contemporary Art |
1002 (003) |
Deanna Ledezma |
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
1035
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
MacLean 302
|
| Issues in Modern and Contemporary Art |
1002 (004) |
Chris Reeves |
Wed
8:30 AM - 11:15 AM
In Person
|
|
Description
This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art.
Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.
|
Class Number
1040
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
MacLean 302
|
| Issues in Modern and Contemporary Art |
1002 (005) |
Daniel Ricardo Quiles |
Wed
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
1037
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
MacLean 302
|
| GLOBAL: Survey Mod to Cont Art/Arch |
1002 (006) |
Rhoda Rosen |
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
1066
|
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
1038
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
Lakeview - 1608
|
| Issues in Visual Critical Studies |
2001 (001) |
Patrick Durgin |
Tues
12:15 PM - 3:00 PM
In Person
|
|
Description
This course plunges students into content and ideas that universities often leave until graduate school, as we consider the role played by the 'critical' in 'visual and critical studies.' For the past ten years, it has been referred to as 'a primer for the art world.' It will still, mostly, provide you with a working vocabulary and crash course as to bodies of knowledge integral to the study of visual culture. At the same time, to productively engage in a reflective critique of society and culture, it will consider 'texts' from as diverse and contemporaneous a group of scholars, theorists, critics, and cultural producers as possible, from both inside and outside the academic institution.
Prerequisites
Prerequisite: Art History Survey Requirement
|
Class Number
2148
|
Credits
3
|
Department
Art History, Theory, and Criticism
Area of Study
Theory
Location
Lakeview - 202
|
| 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
1085
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
Lakeview - 202
|
| 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
1047
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
Lakeview - 202
|
| 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
1032
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
Lakeview - 202
|
| 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
1083
|
Credits
3
|
Department
Art History, Theory, and Criticism
Area of Study
Art/Design and Politics, Costume Design, Museum Studies
Location
Lakeview - 203
|
| History of Korean Art |
2460 (001) |
Yeonsoo Chee |
Wed
8:30 AM - 11:15 AM
In Person
|
|
Description
This course introduces Korean visual culture by examining images and objects in their historical, social, religious, and philosophical contexts. It covers key examples of paintings, ceramics and Buddhist art from the Three Kingdoms period to the Choson dynasty, through Modern Korean art, This course helps students gain a comprehensive understanding of traditional Korean visual culture and its modern legacy.
Prerequisites
Prerequisite: Art History Survey Requirement
|
Class Number
2374
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
MacLean 301
|
| Cinema Histories |
2588 (001) |
Anahita Ghazvinizadeh |
Tues
6:00 PM - 9:00 PM
In Person
|
|
Description
Please see topic description for more information.
Prerequisites
Prerequisite: Art History Survey Requirement
|
Class Number
2098
|
Credits
3
|
Department
Art History, Theory, and Criticism
Area of Study
Theory
Location
Gene Siskel Film Center 203
|
| 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
1044
|
Credits
3
|
Department
Art History, Theory, and Criticism
Area of Study
Gender and Sexuality
Location
Lakeview - 202
|
| 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
1056
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
MacLean 707
|
| 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
1072
|
Credits
3
|
Department
Art History, Theory, and Criticism
Area of Study
Graphic Design
Location
MacLean 707
|
| 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
1045
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
Lakeview - 1608
|
| 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
2024
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
Lakeview - 206
|
| 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
1080
|
Credits
3
|
Department
Art History, Theory, and Criticism
Area of Study
Gender and Sexuality, Class, Race, Ethnicity, Museum Studies
Location
MacLean 707
|
| Africa and West Asia: Decolonization and Art |
3031 (001) |
Tina Barouti |
Fri
3:30 PM - 6:15 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
1053
|
Credits
3
|
Department
Art History, Theory, and Criticism
Area of Study
Art/Design and Politics, Class, Race, Ethnicity, 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
1039
|
Credits
3
|
Department
Art History, Theory, and Criticism
Area of Study
Class, Race, Ethnicity, Community & Social Engagement, Playwriting/Screenwriting
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
1055
|
Credits
3
|
Department
Art History, Theory, and Criticism
Area of Study
Books and Publishing, Comics and Graphic Novels, Illustration
Location
Online
|
| Art of the 1980s |
3310 (001) |
Simon Anderson |
Thurs
12:15 PM - 3:00 PM
In Person
|
|
Description
In assessing currents and concepts in contemporary art, this course examines the various elements in all media that have come to define postmodernism. The course places special emphasis on women artists during the 1980s, the European contribution to contemporary art, and the exploration of recent art in Chicago.
Prerequisites
Prerequisite: Art History Survey Requirement
|
Class Number
2094
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
Lakeview - 203
|
| Modern and Contemporary Japanese Prints |
3311 (001) |
Mami Hatayama |
Thurs
3:30 PM - 6:15 PM
In Person
|
|
Description
This course surveys the history of Japanese prints of the late 19th and 20th centuries. Beginning from the last phase of the ukiyo-e woodblock prints, we will examine the two major art movements, shin hanga and sosaku hanga, and also some contemporary prints. The variety of expressions were cultivated by artists reviving and renewing traditional prints, reflecting social cultural changes, individual interests and styles, as well as by refining printing techniques. Alongside gaining understanding of historical developments, the course considers the wide array of ideas on what the print medium can characteristically express. The works we will examine range from the traditional print subjects such as landscapes or figures to completely abstract subjects such as emotions. Examples of the artists who might be studied include Hashiguchi Goyo, Ito Shinsui, Kawase Hasui, Kasamatsu Shiro, Yoshida Hiroshi, Yamamoto Kanae, Onchi Koshiro, Kawakami Sumio, Azechi Umetaro, Munakata Shiko, Hamaguchi Yozo, Saito Kiyoshi, Komai Tetsuro, Ikeda Masuo, and many others. Individuals, some artists' groups, and art magazines that were important to the development of the print history will be reviewed. There will be visits to the AIC to view the actual print examples of the artists we will study in the classes. Course work will vary but typically includes weekly reading, two writing assignments, presentation, and one exam.
Prerequisites
Prerequisite: Art History Survey Requirement
|
Class Number
2096
|
Credits
3
|
Department
Art History, Theory, and Criticism
Location
MacLean 707
|
| Slowness and Speed: Seeing, Making, and Thinking in a World of Acceleration |
3398 (001) |
James Elkins |
Wed
8:30 AM - 11:15 AM
In Person
|
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Description
Slowness and speed are universally applicable problematics in the creation, criticism, and historical understanding of artwork, especially in modernity and in contemporary culture. This class will help students understand how to articulate possibilities for their work (as artists) and meanings of their work (as critics and historians) based on a very wide range of cultural and historical precedents. Tehching Hsieh, Marina Abramovi¿, Francis Alÿs, William Pope L., Janine Antoni, philosophy of speed and slowness, art criticism by Grigely, Clark, Elkins, and others. Project I: Slow Life/Fast Life ¿ Exercises and artworks based on perception, observation, and time-intensive processes. Project II: Slowness as Resistance ¿ Works that consider slowness as protest, political gesture, or embodied practice. Project III: Final Project + Artist Talk ¿ A culminating work synthesizing studio practice with art-historical/theoretical research.
Prerequisites
Must have completed First Year ARTHI Survey Requirement; Must enroll in PTDW 3398 at the same time
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Class Number
2275
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Credits
3
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Department
Art History, Theory, and Criticism
Area of Study
Art/Design and Politics, Community & Social Engagement, Social Media and the Web
Location
280 Building Rm 325
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| Buddhist Ideas in South and Southeast Asian Art |
3473 (001) |
Nora Annesley Taylor |
Wed
12:15 PM - 3:00 PM
In Person
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Description
This class examines Buddhist art in India and Southeast Asia historically and conceptually from its early iconic representations to more recent works by contemporary artists who call themselves Buddhist or use Buddhist ideas in their work. We also question the use of the term 'Art' when used in a religious context.
Prerequisites
Prerequisite: Art History Survey Requirement
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Class Number
2091
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Credits
3
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Department
Art History, Theory, and Criticism
Location
Lakeview - 1608
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| Architecture and Art of the Islamic World |
3482 (001) |
Maggie Schuster |
Mon
8:30 AM - 11:15 AM
In Person
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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
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Class Number
1043
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Credits
3
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Department
Art History, Theory, and Criticism
Location
Lakeview - 1608
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| Chinese Cinema |
3491 (001) |
Jennifer Dorothy Lee |
Fri
3:30 PM - 6:15 PM
In Person
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Description
This course explores the expression of social imagination in modern China, from the early 20th century to the present day, through the cinematic medium. Taking a selection of representative films and film criticism particular to the mainland, the course will survey constructions of social space throughout distinct historical periods. These include the mise-en-scene of the 1930s silver screen (Wu Yonggang?' The Goddess), Maoist revolutionary representation (Jiang Qing's model opera-ballets), as well as critical portrayals of globalization in the 21st century (Jia Zhangke's The World).
Prerequisites
Prerequisite: Art History Survey Requirement
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Class Number
2093
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Credits
3
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Department
Art History, Theory, and Criticism
Location
MacLean 1307
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| Modern European Architecture and Theory: 1890-1965 |
3502 (001) |
Timothy Wittman |
Tues
8:30 AM - 11:15 AM
In Person
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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
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Class Number
1049
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Credits
3
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Department
Art History, Theory, and Criticism
Location
Lakeview - 1608
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| The Prairie School And Frank LLoyd Wright |
3504 (001) |
Timothy Wittman |
Mon
12:15 PM - 3:00 PM
In Person
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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
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Class Number
1061
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Credits
3
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Department
Art History, Theory, and Criticism
Area of Study
Sustainable Design
Location
Lakeview - 1608
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| Surface Tensions: Taxidermy and Contemporary Art |
3652 (001) |
Giovanni Aloi |
Tues
8:30 AM - 11:15 AM
In Person
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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
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Class Number
1064
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Credits
3
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Department
Art History, Theory, and Criticism
Location
MacLean 707
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| Rock and Roll vs. Modern Life |
3663 (001) |
Seth Kim-Cohen |
Mon
12:15 PM - 3:00 PM
In Person
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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
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Class Number
1052
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Credits
3
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Department
Art History, Theory, and Criticism
Location
MacLean 707
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| Design Discourses |
3740 (001) |
Michael Golec |
Thurs
8:30 AM - 11:15 AM
In Person
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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
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Class Number
2090
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Credits
3
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Department
Art History, Theory, and Criticism
Location
Lakeview - 1608
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| Botanical Revolutions: The Emergence of Plants in Contemporary Art |
4021 (001) |
Giovanni Aloi |
Tues
12:15 PM - 3:00 PM
In Person
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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
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Class Number
1002
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Credits
3
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Department
Art History, Theory, and Criticism
Area of Study
Class, Race, Ethnicity, Economic Inequality & Class, Art and Science
Location
MacLean 920
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| Tragic Beauty: English Gardens, Settler Colonialism and Trans-Atlantic Slavery |
4024 (001) |
Rhoda Rosen |
Wed
8:30 AM - 11:15 AM
In Person
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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
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Class Number
1042
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Credits
3
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Department
Art History, Theory, and Criticism
Area of Study
Art/Design and Politics, Economic Inequality & Class, Public Space, Site, Landscape
Location
MacLean 608
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| We'll Fix It In Post: Postmodernism, Poststructuralism, Posthumanism |
4030 (001) |
Seth Kim-Cohen |
Tues
8:30 AM - 11:15 AM
In Person
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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
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Class Number
1059
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Credits
3
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Department
Art History, Theory, and Criticism
Area of Study
Gender and Sexuality, Class, Race, Ethnicity, Economic Inequality & Class
Location
MacLean 620
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| New eco-models for sustainable artworlds |
4044 (001) |
Giovanni Aloi |
Tues
3:30 PM - 6:15 PM
In Person
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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
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Class Number
1065
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Credits
3
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Department
Art History, Theory, and Criticism
Area of Study
Community & Social Engagement, Economic Inequality & Class, Museum Studies
Location
MacLean 920
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