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Department of Art History


  • TBD


  • Darby English
  • Christine Mehring
  • William J. T. Mitchell
  • Richard Neer
  • Wu Hung

Associate Professors

  • Niall Atkinson
  • Persis Berlekamp
  • Claudia Brittenham
  • Chelsea Foxwell
  • Matthew Jesse Jackson
  • Wei-Cheng Lin
  • Andrei Pop
  • Katherine Taylor
  • Martha Ward

Assistant Professors

  • Seth Estrin
  • Tamara Golan
  • Megan Sullivan

Harper Schmidt Collegiate Assistant Professor

  • Dario Donetti

Emeritus Faculty

  • Charles Cohen
  • Tom Gunning
  • Neil Harris
  • Reinhold Heller
  • Robert S. Nelson
  • Linda Seidel
  • Joel Snyder
  • Barbara Stafford
  • Yuri Tsivian

Visiting Professors

  • Ina Blom, Department of Philosophy, Classics, History of Art, and Ideas, University of Oslo
  • Jas' Elsner, Corpus Christi College, University of Oxford

The department offers a program for the study of the history of art, leading to the degree of Doctor of Philosophy. Our program distinguishes itself with a combination of global scope, object-driven research, and committed interdisciplinarity. Students pursue research spanning five continents, including Asian, European, Islamic, Latin American, and North American art, as well as the relations between these and other areas traditionally treated in isolation. Object-, material-, and site-based research and teaching are often large-scale and collaborative and include annual traveling seminars, conservation classes, as well as instruction and training at the Smart Museum and Art Institute. Interdisciplinary commitments manifest in faculty’s co-teaching, cross-appointments, and involvements in other departments, centers, and initiatives across campus, in the multiple workshops faculty and students in art history sponsor and participate in, and in the coursework students are encouraged to pursue beyond art history.


A student wishing to enter the graduate program should have a sound undergraduate education in the humanities and liberal arts, preferably but not necessarily with a major in the history of art. It is highly recommended that students have usable skills in French, German, or other major languages relevant to the student’s area of focus. More specific information about appropriate languages can be found on the department’s website. Applicants are required to submit Graduate Record Examination (GRE) aptitude scores. Both applicants with a BA and applicants who bring an MA in Art History from another institution are welcome to apply for admission to the PhD program. The department grants MA degrees but does not have an independent MA program.

Information on how to apply

The application process for admission and financial aid for all graduate programs in the Humanities is administered through the divisional Office of the Dean of Students. The Application for Admission and Financial Aid, with instructions, deadlines and department specific information is available on the Humanities Division website.

Questions pertaining to admissions and aid should be directed to 

International students must provide evidence of English proficiency by submitting scores from either the Test of English as a Foreign Language (TOEFL) or the International English Language Testing System (IELTS). The minimum required TOEFL score is 104, with 26 on each subsection. The minimum IELTS is 7.0, with 7.0 on each subsection. For more information, please visit the Office of International Affairs website.

The Degree of Doctor of Philosophy

The doctoral program in art history typically involves two years of coursework, the completion of a qualifying paper, preliminary exams in three fields, a dissertation prospectus, and a dissertation. Following their coursework, students also learn to teach by serving as a teaching assistant for faculty-taught undergraduate courses and taking the department’s teaching colloquium. After advancing to ABD status, students research and write their dissertation, usually combining time in Chicago with traveling abroad.

Students should refer to the Graduate Student Handbook for details on all requirements.

Course Requirements

In general terms, the doctoral program requires two years of full time coursework. Students typically enroll in three courses each quarter during their first two years, and courses are selected with the guidance of the student’s doctoral advisor and in consultation with the Director of Graduate Studies in the department.

All students take ARTH 40200 Art History Proseminar and ARTH 44002 COSI Objects & Materials Seminar in the Autumn and Winter Quarters, respectively, of their first year. Among the other 18 courses required for the doctoral degree are two courses each for distribution requirements and for the student’s minor field. The qualifying paper, completed by the end of Winter Quarter of the second year, is researched and written within the framework of two Qualifying Paper Reading Courses typically supervised by the doctoral advisor and/or another faculty member. Finally, students enroll in a Preliminary Exam Directed Reading Course in the Spring Quarter of their second year.

All students must demonstrate competency in languages determined by their chosen field. Depending on the language and level, up to three language courses may be counted toward the total number of courses required for the degree.

Given the department's strong history of and continuing commitment to interdisciplinary inquiry and intellectual formation, the doctoral program allows for as many as 8 of the total 18 courses required for the PhD to be taken outside the Department of Art History.

In their third year, students are required to take the Teaching Colloquium and Dissertation Proposal Workshop offered yearly by an art history faculty member. These courses do not count toward the 18 courses required for the PhD. Students also prepare for and take their preliminary exams, and typically hold their first teaching assignments in their third year.


Upon successful completion of all coursework requirements, the qualifying paper, the relevant language requirements, and the preliminary exams, each student prepares a dissertation proposal that must be approved by three committee members. Upon that approval and an administrative review of the student's file, the student formally advances to the status of “PhD Candidate” and All But Dissertation (ABD) status.

In subsequent years, students research and write the dissertation while further developing their teaching skills (in keeping with the doctoral program’s teaching requirement). Following the submission and successful defense of the dissertation, the doctoral degree is conferred. The current expectation, in general terms, is that completion of the PhD in Art History requires approximately seven years, but time to degree will vary: some students may graduate in less than seven years, others may find they need an additional year.

While all doctoral students must fulfill the requirements sketched above, the different fields of art historical study that are represented in the Department of Art History each have their own particular scholarly requirements. With the aim of providing graduate students with the most rigorous formation in their chosen area of specialization, the department has made various structural provisions to ensure that students can receive the additional training required by their chosen field (including additional language study, training in specialized research skills, and curatorial formation). As these scholarly requirements vary from field to field, so too—within limits set by the Department of Art History and the Division of the Humanities—the pace of each student’s progress through the doctoral program will necessarily be shaped by the requirements of his/her chosen area of study, in consultation with the art history faculty.

Joint and Dual PhDs

Select students may pursue joint PhD degrees with art history and another department or program. Joint PhD programs at the University of Chicago are of two types, "standing" and "ad hoc."

A standing joint degree program has been established between Art History (ARTH) and the Committee on Theater and Performance Studies (TAPS). It allows students to complement their doctoral studies in Art History with a program of study in TAPS that reflects their particular training and interests, encompassing both academic and artistic work. Students apply to this standing program at the time of their application to the University, which is submitted to the art history department.

Students may petition for an ad-hoc joint PhD with another department or program according to guidelines set by the Humanities Division. Generally, admitted students must separately meet the requirements of both programs, but any overlapping requirement need only be met once if each department would otherwise consider it met were that student not in the joint degree program. Recent art history students have completed joint PhDs with Cinema and Media Studies and with Social Thought.

Under a new initiative, some students may simultaneously pursue PhD studies at the University of Chicago and at a degree-granting institution of higher learning in France, leading to two PhD degrees – one from each of the two institutions. Students approved for this initiative pursue a specific course of study depending on their research and professional interests, must satisfy all the requirements of both doctoral programs, and must write and defend a single dissertation that meets the requirements for each degree.

The Degree of Master of Arts

The objective of the program is the PhD degree. Doctoral students in the program are eligible to receive an MA degree after completing the following requirements: one foreign language required for the student’s field; nine one-quarter courses at the University of Chicago which meet the first-year distribution requirements, including ARTH 40200 Art History Proseminar and ARTH 44002 COSI Objects & Materials Seminar; and approval of the qualifying paper from both readers. 

Students seeking a master’s degree should apply to the Master of Arts Program in the Humanities (MAPH), a three-quarter program of interdisciplinary study in a number of areas of interest to students. Further details about the MAPH program are available on their website.


For more information on recently taught courses, please see the course description page of the departmental website

Art History Courses

ARTH 30033. Iconology East and West. 100 Units.

Iconology is the study of images across media and cultures. It is also associated with philosophical reflections on the nature of images and their relation to language-the interplay between the "icon" and the "logos." A plausible translation of this compound word into Chinese would describe it as "Words in Pictures, Pictures in Words":  诗中有画,画中有诗. This seminar will explore the relations of word and image in poetics, semiotics, and aesthetics with a particular emphasis on how texts and pictures have been understood in the Anglo-European-American and Chinese theoretical traditions. The interplay of painting and poetry, speech and spectacle, audition and vision will be considered across a variety of media, particularly the textual and graphic arts. The aims of the course will be 1) to critique the simplistic oppositions between "East" and "West" that have bedevilled intercultural and intermedial comparative studies; 2) to identify common principles, zones of interaction and translation that make this a vital area of study. (Theory; 20th/21st)

Instructor(s): WJT Mitchell     Terms Offered: Winter
Prerequisite(s): Enrollment in the course will be with the consent of instructor; it is open to students at all levels, but enrollment will be limited to 15. Students should send a one page statement of their interest to W. J. T. Mitchell (
Equivalent Course(s): CMLT 20230, ARTV 20033, ENGL 20230, ARTH 20033, CMLT 30230, ENGL 30230, ARTV 30033

ARTH 30228. William Blake: Poet, Painter, and Prophet. 100 Units.

A survey of the major poetic and pictorial works of William Blake, centrally focussed on his illuminated books, from the early Songs of Innocence and Experience to The Marriage of Heaven and Hell, and the books of the revolutionary period of the 1790s: Europe, America, Visions of the Daughters of Albion, and The Book of Urizen. We will also consider the later prophecies, Milton: A Poem and Jerusalem, along with Blake's work as an illustrator of Milton, Chaucer, and the Bible. Blake's engagement with the political and religious controversies of his time will provide context, along with his pioneering exploration of dialectical modes of thought and radical forms of humanism (Poetry, 1650-1830, Theory; 18th/19th)

Instructor(s): W. J. T. Mitchell     Terms Offered: Spring
Equivalent Course(s): ENGL 30228, ARTH 20228, FNDL 20228, ENGL 20228

ARTH 30304. Ancient Stones in Modern Hands. 100 Units.

Objects from classical antiquity that have survived into the modern era have enticed, inspired, and haunted those who encountered or possessed them. Collectors, in turn, have charged ancient objects with emotional, spiritual, and temporal power, enrolling them in all aspects of their lives, from questions of politics and religion to those of race and sexuality. This course explores intimate histories of private ownership of antiquities as they appear within literature, visual art, theater, aesthetics, and collecting practices. Focusing on the sensorial, material, and affective dimensions of collecting, we will survey histories of modern classicism that span from the eighteenth century to the present, from the Mediterranean to the Pacific. Historical sources will include the writings of Johann Gottfried Herder, Johann Joachim Winckelmann, Emma Hamilton, Vernon Lee, and Sigmund Freud, among others; secondary source scholarship will draw from the fields of gender studies, the history of race, art history, and the history of emotions. We will supplement our readings with occasional museum visits and film screenings.

Instructor(s): S. Estrin & A. Goff     Terms Offered: Autumn
Prerequisite(s): Instructor consent required. Email both instructors describing your interest in the course, how it fits into your broader studies, and any relevant background ( & by the Friday before Aut pre-registration (undergrad) or the Friday before Aut registration (grad). This is a traveling seminar that includes a 5-day trip to visit California museum collections.
Note(s): Assignments: Active participation in discussion, in-class presentation, collection review, and final paper.
Equivalent Course(s): HIST 39422, CLAS 31019, CLCV 21019, HIST 29422, ARTH 20304

ARTH 30700. Understanding the Built Environment. 100 Units.

This course aims to equip students with the basic skills and knowledge required to analyze architecture and the built environment. It offers an introduction to the methods and procedures of the architectural historian. These include practical tasks such as understanding architectural terminology, reading and interpreting architectural drawings, engaging with buildings "on site," and studying buildings in urban context, relative to surrounding buildings, street networks and public spaces. At a broader level, the course will entail critical discussion about the relationship between architecture and society, the building as a historically specific object that also changes over time, the cultural representation of architecture, and modes of perceiving/experiencing the built environment.

Instructor(s): Wei-Cheng Lin      Terms Offered: Winter
Note(s): Students must attend first class to confirm enrollment. Please note that the course entails an 80-minute meeting on Tuesdays and a 170-minute meeting on Thursdays. The long meetings accommodate off-campus field trips and allow for some travel time. Field trips will be scheduled so students can get back to campus for classes starting at 12:30.
Equivalent Course(s): ARCH 20000, ARTH 20700, CHST 20700

ARTH 31205. From the Non-Object to the End of Art: The South American 1960s. 100 Units.

Beginning with the 1959 publication of the "Neo-Concrete Manifesto" in Rio de Janeiro, this course traces the radical transformations of art objects and artistic practices in South America (especially Brazil and Argentina) over the course of the 1960s. Through the study of both works of art and the writings of artists and critics, we will investigate new definitions of the art object, revolts against existing institutions of art, and the emergence of performance, media, and conceptual art. These developments will be read against social and political changes in the region, including the impasse of mid-century modernization efforts and the rise of repressive dictatorships.

Instructor(s): M. Sullivan     Terms Offered: Autumn
Equivalent Course(s): ARTH 21205, LACS 21205, LACS 31205

ARTH 31313. Video Art: The Analog Years. Theory, Technology, Practice. 100 Units.

The course gives a critical introduction to early video and television art - from the proto-televisual impulses in the historical avant-gardes to the increasing proximity between analog and digital technologies in video art in the late 1970's and early 1980's. We will focus on the various technical aspects of analog video, as well as on artistic practice and early writings on the subject. Topics will include the technics and politics of time; video, feedback systems and ecology; the reconfiguration of the artist's studio; guerilla politics and alternative TV; video and autobiography; the relation between video and painting; the musical history of video; the invention of new machines; and video as a "television viewer".

Instructor(s): I. Blom     Terms Offered: Autumn
Equivalent Course(s): CMST 38703, CMST 28703, ARTH 21313, MAAD 18703

ARTH 31325. Monochrome Multitudes. 100 Units.

This seminar traces modern monochrome art as a fundamental if surprisingly expansive artistic practice. Discussions will center on artworks in the eponymous fall 2022 exhibition at the David and Alfred Smart Museum of Art curated by the instructors. We will revisit classic North American Modernism-"essentialist" flatness, idealized form, and color theories-while opening monochrome art up to culturally resonant color, a range of media, and global influence. Student research will enrich and expand existing histories of "the monochrome" by articulating cultural, political, racial, or gendered meanings of monochrome art; emphasizing the significance of materials and media; and engaging North American art in a global dialogue. Students will have the opportunity to contribute their research and writing to the exhibition's web-based audio app and to a research symposium and possible publication.

Instructor(s): O. Cacchione & C. Mehring     Terms Offered: Autumn
Prerequisite(s): consent only
Equivalent Course(s): ARTV 20941, ARTH 21325, KNOW 21325, KNOW 31325, ARTV 30941

ARTH 31333. (Re)Branding the Balkan City: Comtemp. Belgrade/Sarajevo/Zagreb. 100 Units.

The course uses an urban studies lens to explore the complex history, infrastructure and transformations of cities, mainly the capitals of today's Serbia, Bosnia and Hercegovina, and Croatia. There is a particular need to survey this region and feed the newfound interest in it, mainly because Yugoslav architecture embodied one of the great political experiments of the modern era. Drawing on anthropological theory and ethnography of the city, we consider processes of urban destruction and renewal, practices of branding spaces and identities, urban life as praxis, art and design movements, film, music, food, architectural histories and styles, metropolitan citizenship, and the broader politics of space. The course is complemented by cultural and historical media, guest speakers, and virtual tours. One of them is a tour through the 2018 show at MoMA "Toward a Concrete Utopia: Architecture in Yugoslavia 1948-1980" a project curated with the goal to find a place for Yugoslav Modernism in the architectural canon. Classes are held in English. No knowledge of South Slavic languages is required.

Instructor(s): Nada Petkovic     Terms Offered: Spring
Equivalent Course(s): HIST 24008, ARCH 21300, ARTH 21333, BCSN 21300, GLST 21301, BCSN 31303, REES 21300, REES 31303

ARTH 31506. Medieval Visions. 100 Units.

This seminar will introduce students to key medieval theories of vision in western Europe ranging from the theological to the scientific. We will explore the ways in which beholders approached and interacted with images, as well as how they understood and theorized these visual experiences. Ultimately, this course will interrogate the overlaps and gaps between theories of looking and practices of looking in order to better understand what looking at an image in the Middle Ages entailed. Topics will include, but are not limited to: visionary experience; optical science; female mystics; devotional images; the Book of Revelation; dream theory; and changes in pre-modern "visuality" on the eve of the Reformation.

Instructor(s): T. Golan     Terms Offered: Spring
Equivalent Course(s): ARTH 21506

ARTH 32106. Introduction to the Study of Iconography. 100 Units.


Equivalent Course(s): HCHR 32106, ARTH 22106, RLST 28320, RLIT 32106

ARTH 32115. Iconoclasm. 100 Units.

The recent removal of Confederate statues in the US and ISIL's destruction of ancient sites in Iraq and Syria, while motivated by different aims, find a common solution in dealing with images deemed inappropriate. Context is crucial to understanding what is at stake in these different iconoclastic acts: What is being destroyed? Who is destroying it and why? Although the term "iconoclasm" initially was used to describe the violent clashes between rival Christian ideologies over the status of images in a religious context in the 8th century, scholars now use it more capaciously and it refers to any movement dedicated to the destruction of images, be it in ancient Mesopotamia, Reformist Europe, or Talibanist Afghanistan. While the term offers syntactical clarity, it simultaneously obscures the various processes that go into practicing iconoclasm; for example, what motivated Byzantine destruction of icons is distinct from why European colonizers destroyed Native American heritage. This seminar proposes a broad and historically contingent study of iconoclasm. By looking at a range of examples from different periods and geographical contexts, we will examine the ways in which images have been perceived as threats, aberrations, seductions, or inconveniences best removed. We will also explore the various ways in which removed images continue to resonate with new meanings. The seminar spends a week defining the key terms before delving into particular case studies of iconoclasm.

Instructor(s): M. Manohar     Terms Offered: Spring
Equivalent Course(s): ARTH 22115

ARTH 32123. Ecopoetics: Literature and Ecology. 100 Units.

This course will introduce students to recent debates in the environmental humanities and simultaneously to a range of creative responses across fiction, documentary, poetry, and the visual arts spurred by the effects of what has come to be called the Anthropocene epoch (despite substantive challenges to the term that we will address)-in a period of perceived grave environmental crisis. Students will be asked to respond critically to the works at hand, but also to conduct their own research and on-site fieldwork in Chicago on an environmental issue of their choosing. Students must be available for several field trips. (20th/21st) Undergraduates must email Prof. Jennifer Scappettone for consent.

Instructor(s): Jennifer Scappettone     Terms Offered: Winter
Equivalent Course(s): ARTH 22123, ARCH 22123, ENGL 32123

ARTH 32305. Rhoades Seminar. Protection, Aggression, Deflection: The Spiritual Lives of Objects in African Art. 100 Units.

This seminar explores visual culture and historical arts of Africa primarily from the nineteenth and early twentieth centuries. It is not an exhaustive geographical and temporal survey of the continent's object-making traditions, but rather, an introduction through a number of case studies highlighting religious practices and uses for art and objects of devotion and everyday life. Investigations will consider objects' tangible and intangible elements to examine their spiritual and protective dimensions through various lenses: organized religions, including Islam and Christianity, local belief systems and ritual practices, social or political organizations, and other cultural distinctions. Such contextualization will contribute to students' recognition of the diversity and historical depth of the continent's arts and cultures. We will visit objects in local museums and special exhibitions for in-person, close looking and to fuel discussions surrounding the role of museums and museum display and interpretation.

Instructor(s): J. Purdy     Terms Offered: Winter
Prerequisite(s): Consent only
Equivalent Course(s): ARTH 22305

ARTH 32606. Renaissance on Foot. 100 Units.

This course traces the movements of foreigners who explored, imagined, represented, and reinterpreted the Italian Renaissance from the late sixteenth century to the Enlightenment. In texts and images, both Italian and transalpine visitors began to construct our modern understanding of Renaissance urban culture, its monumental achievements, its artistic, economic, and political experiments, and its heroic failures, while they also began to tell the story of its inevitable decline and ultimate descent into decadence. In many ways these narratives of the Renaissance began their own complementary itinerary across Europe, detached from the rough and tumble conflicts in which it was born and entering into a discursive realm of increasingly erudite reflection by travellers from all over Europe.

Terms Offered: Autumn
Note(s): This is a 3-week long traveling seminar. The course has a trip to Italy.
Equivalent Course(s): ARTH 22606, ARCH 22606

ARTH 32650. Luxury and Crisis. 100 Units.

What role have those objects considered superfluous, lavish, personal, and fashionable played in sculpting our collective social, political, and economic worlds? Furnishings, tapestries, silverware, porcelain, and jewelry are often cast as superficial indulgences of the elite, existing outside the space and time of historical change. Yet such items have of course permeated all classes of society and processes of production, promotion, consumption, disparity, power, exploitation and campaigns to resist it. Some historians have understood crisis as integral to capitalist modernity and its rupture, while theorists of artistic and architectural modernism have paradoxically imagined luxury as instrumental in building socially equitable futures. In this course, we will investigate moments in which luxury and crisis, these seemingly opposed terms, were negotiated and galvanized by makers, wearers, collectors, and the objects in their possession. This seminar will work intensively with the Chipstone Foundation for the Decorative Arts in Milwaukee. Our objects of study will include silverware from the trans-Atlantic slave trade; a political manifesto of "communal luxury;" furniture crafted by a free cabinetmaker of color in North Carolina; and modernist residential architecture in Chicago, among others.

Instructor(s): A. Fraser     Terms Offered: Spring
Note(s): Registration by consent, only.
Equivalent Course(s): ARTH 22650

ARTH 32812. Making art for the princely court in fifteenth-century France and the Burgundian Netherlands. 100 Units.

Looking at the visual culture of fifteenth-century France and the Netherlands through the lens of the patronage of the kings of France and their ambitious cousins the dukes of Burgundy, we will consider palace design and decoration, the places for art in an itinerant court, and the central role of dynastic memory and ceremony in support of the ruler. The wide range of tasks performed by artists working for the rulers and their courtiers will highlight the interconnections between works in different media and bring out the complex role of artists like Jean Fouquet, Jan van Eyck, and Rogier van der Weyden, whose fame rests on their achievement as painters. Case studies of painting, tapestry, embroidery, and other media--where possible using objects in the collection of the Art Institute of Chicago--will be entry points for this exploration of the patron's needs and the artist's process.

Instructor(s): Martha Wolff     Terms Offered: Autumn
Equivalent Course(s): ARTH 22812

ARTH 33007. Authorities of Knowledge in Islamic Art. 100 Units.

In these times of profound challenge and change, questions of how art both confronts and asserts authorities of knowledge are manifold. In this course we will delve into varying historical iterations of the art - authority - knowledge trifecta, as they emerge from selected topics and case studies in Islamic art and architecture.

Instructor(s): P. Berlekamp      Terms Offered: Spring
Prerequisite(s): Students must attend first class to confirm enrollment.
Equivalent Course(s): ARTH 23007

ARTH 33008. Markets and Madrasas: Islamic Art beyond the Courts. 100 Units.

The history of medieval and early modern Islamic art has mostly been written around its most easily identified patrons, the princes of the courts; yet most surviving Islamic art was produced elsewhere. New scholarly approaches to Islamic art most likely produced for sale in open markets, or made in the context of non-courtly institutions such as madrasas (colleges), offer new insights. What can we learn about Islamic art by deliberately directing our attention beyond the courts? How might doing this change our broader perception of Islamic art?

Instructor(s): P. Berlekamp     Terms Offered: Winter
Equivalent Course(s): ARTH 23008

ARTH 33010. From Ground to Gallery: Visual Culture of the Ancient Near East. 100 Units.

What is the "ancient Near East"? What is its visual culture? This course explores the ancient art and architecture of Western Asia and North Africa-a corpus that includes the palaces, temples, ziggurats, carved reliefs, royal images, votive statues, cylinder seals, and cuneiform tablets crafted of clay, rock, semi-precious stones, metals, ivory, and pigments of Mesopotamia, Persia, Syro-Anatolia, the Levant, and Egypt dating from ca. 3500 to 330 bce. In addition to formal and stylistic qualities, we will consider craftsmanship and creative practices, the cultural value of raw materials, life histories and modes of circulatio­­­n, interactive and experiential potential, social and political contexts and the reception and treatment of these works of art in a modern context, including museum spaces. Class meetings-structured around thematic case studies of material groups generally presented in chronological sequence-address conceptual issues (agency, materiality, aesthetics, narrative, ideology, space, representation, style, sensory experience), theoretical and methodological considerations (archaeological, art historical, anthropological, philological, historical), and current topics and debates related to these fields of study and museum practice (colonialism, ownership, repatriation, stewardship).The course draws primarily on archaeological evidence and ancient textual sources with class meetings split between the classroom and the galleries of the Oriental Institute Museum.

Instructor(s): K. Neumann     Terms Offered: Winter
Equivalent Course(s): NEAA 30610, ARTH 23010, HIST 35624, NEAA 20610, HIST 25624

ARTH 33312. Visual Art and Technology: From the Historical Avant Garde to the Algorithmic Present. 100 Units.

This course tracks the entanglements of visual art and "technology," a term which took on an increasingly expanded set of meanings beginning in the early decades of the twentieth century. Focusing on the period between World War I and the present, we examine these expanded meanings and ask how the work of art fundamentally shifted with, extended, tested, or acted upon "technology." We consider cases from the art historical avant gardes, the impact of cybernetics and systems thinking on architecture and visual perception, midcentury collectives that sought to institutionalize collaborations between artists and engineers, as well as more subtle exchanges between art and technology brewing since the Cold War. We will conclude with a look at present-day practices that integrate visual art, design, and technology. Course readings drawn from art history and the histories of science and technology, as well as site visits to art collections and laboratories on campus, will inform our investigation. Students will gain historical insights into the relation between visual art and technology; develop analytical tools for critically engaging with the present-day interface of art, science, and engineering; and consider the implications for the futures we imagine.

Instructor(s): T. Shabtay     Terms Offered: Winter
Equivalent Course(s): KNOW 23312, MAAD 15312, ARTH 23312, KNOW 33312

ARTH 34002. Advanced Nonfiction Workshop: Writing About the Arts. 100 Units.

This workshop will support students in developing useful practices and experimenting boldly. Working with recent technological transformations in the visual arts world, we'll be keeping art notebooks in different forms (by hand, photographs, blog, instagram, collage). We'll begin with Walter Benjamin's classic essay about art and mechanical reproduction, and then work with some examples: 1. Virtually seen. Jennie C. Jones's show Constant Structure, hung at the Arts Club of Chicago via face time, with pamphlet-catalogue by poet and critic Fred Moten; 2. Unseen. Lori Waxman, long the art critic of the Chicago Tribune, and her pandemic 60 word / min art critic project in Newcity of art reviews for artists with canceled shows; 3. Explained / packaged. The instagram feeds of museums; 4. Technological diary / memory methods. Looking back to T.J. Clarke's book of 2006 The Sight of Death: An Experiment in Art Writing, and to Teju Cole's Blind Spot, which uses his own photographs, and looking now at instagram feeds of Cole and other art writers; 5. Collaborations. Artists working as collaborator-curators and self-interpreters, with reference to a recent Dawoud Bey show at the Art Institute and a Venice installation by iris Kensmil and Remy Jungerman. Each class will begin with student-led observation. Students will visit, in-person or on-line, five installations / exhibitions / events, and be workshopped twice. Final work, revised essay and looking notebook.

Instructor(s): Rachel Cohen     Terms Offered: Winter
Prerequisite(s): Instructor consent required. Apply via (writing sample required). Attendance on the first day is mandatory.
Equivalent Course(s): CRWR 44002, CRWR 24002, ARTH 24002

ARTH 34008. Advanced Nonfiction Workshop: Drawing from Life. 100 Units.

This is a course for students interested in developing their ability to write about the visual arts, as critics, appreciators, theorists, or memoirists, and, practically, for work in galleries, museums, journals, and magazines. A theme of the course will be to explore ways that art and life may interact, both in the work made by a visual artist, and in the nonfiction that arises in response to a visual artist or their work. Some students may be interested to write biographically about artists and their work, and we'll talk about how to make biography illuminating and not reductive; other students may be interested to draw on their own life experiences as they try to shed light on works of art; still others may be curious to see how certain artists themselves have viewed the questions and practices of drawing from life. We'll use ideas about drawing, and especially drawing repeatedly, as a model and a metaphor for thinking about writing. We'll have some occasions to look at works on paper held at the Smart Museum, and we'll visit some exhibitions and galleries, together and independently. Readings will include works such as James Lord's book A Giacometti Portrait, on being drawn by Giacometti, Maggie Nelson on the color blue in life and art from Bluets, John Berger on drawing, Rebecca Solnit on photographer Edweard Muybridge, Geoff Dyer on street photography from The Ongoing Moment, John Yau on Jasper Johns's practice and on those of contemporary artists, Zbigniew Herbert

Instructor(s): Rachel Cohen     Terms Offered: Spring
Prerequisite(s): Instructor consent required. Apply via (include writing sample). Attendance on the first day is mandatory.
Equivalent Course(s): CRWR 24008, ARTH 24008, CRWR 44008

ARTH 34615. (Suzanne Deal Booth Conservation Seminar) 100 Units.

Course description coming soon.

Instructor(s): H. Stratis     Terms Offered: Winter
Prerequisite(s): This course will be registered only with instructor consent. Consent requests must include why the student is interested in taking the course, any previous experience they have with the course topics, and how they envision contributing toward the conservation initiative’s goal of diversifying the field of conservation and conservation science.
Equivalent Course(s): ARTH 24615

ARTH 34616. Pop & Politics. 100 Units.

As Andy Warhol famously put it, Pop art is about "liking things." Derived from the word "popular" and suggesting the fizzy effervescence of soda, could Pop be anything other than easy and breezy and fun? Exploring Pop art creating across the Americas, this course will interrogate Warhol's sound-bite-turned-Pop-gospel and plumb beneath the slick surfaces of those objects and images that have come to define the genre. From Warhol's depictions of race riots, to Colombian artist Antonio Caro's appropriation of the Coca Cola logo as a critique of U.S. imperialism, to Brazilian painter Antônio Henrique Amaral's decades-long series of banana paintings that less and less subtly critiqued the military dictatorship, we will investigate the political stakes that motivated key examples of Pop art. What was lost and remained buried when early pop critics took Warhol's comment at face value? When they assumed pop art was easy, straightforward, and uncritical? How might those same assumptions have enabled artists across the Americas to hide political commentary in plain sight?

Instructor(s): M. Borotwitz     Terms Offered: Autumn
Equivalent Course(s): ARTH 24616

ARTH 34617. Modernism and its Others. 100 Units.

This course investigates modernism's relationship-both intimacy with and enforced distance from-a number of adjacent categories that were more often than not of modernism's own creation: primitive art, folk art, kitsch, art brut, arte popular, craft, and design. Case studies, drawn from Europe, North America, and Latin America, will include primitivism in early-twentieth-century Europe, displays of folk art at the Museum of Modern Art in New York, the study of arte popular in Mexico, Peru, and Brazil, and the formation of the Museo del Barro in Paraguay. Through these cases, we will ask how the ways in which artists and critics identified modernism's others and drew distinctions from those others might inform our understanding of modernism.

Instructor(s): M. Sullivan     Terms Offered: Winter
Equivalent Course(s): ARTH 24617

ARTH 35001. Theatricality in Modern Art from 1700 to the Present. 100 Units.

We examine the dramatic dimension of art in the modern era broadly speaking, paying attention to recurring themes like the Aristotelian theory of acton, the Diderotian theory of acting, and the linguistic theory of speech acts, as well as to momentous historical events like the French Revolution, the rediscovery of antiquity, and the advent of photography and motion pictures. Paradigms that have been influential in one or another discipline like Michael Fried's theory of theatricality (in art history), Heinrich Kleist's theory of puppets (In German literature and theatre theory) and Friedrich Nietzsche's theory of tragedy (in music and philosophy) and will also be scrutinized.

Instructor(s): Andrei Pop
Equivalent Course(s): TAPS 35001, SCTH 35001

ARTH 35003. Symbolism between Universality and Solipsism. 100 Units.

Symbolism in Western European literature and visual arts is usually seen as a triumph of the psychological, the navel-gazing, in the words of James Ensor, the "Moi universel". But it is as much a dogged search for objective grounds of expression and intelligibility amidst a sea of subjectivity: from Van Gogh's letters and Mallarme's poems to the new logical symbolism of Frege and the stream of consciousness of William James, the epoch saw an unprecedented effort to rationalize the private, the incommunicable, experience itself. This is a broad revisionist look at a transitional but key era in intellectual history, featuring some new material from the instructor's own work in progress.

Instructor(s): Andrei Pop     Terms Offered: Not offered 21-22.
Equivalent Course(s): SCTH 35003, ARTH 25003

ARTH 35009. Platonic Aesthetics. 100 Units.

The anachronism of the course title constitutes our program: to what extent can Plato's thinking about artworks, images, poets in the polis, beauty, the visual world, the senses, subjectivity and criticism be viewed coherently as an aesthetic theory? Does his style and dramatic mode of writing interact significantly with these views? How have they been received, and to what extent are they right?

Instructor(s): Andrei Pop
Equivalent Course(s): CLAS 38020, SCTH 35009, FNDL 29005

ARTH 35012. Caricature. 100 Units.

Though usually traced to Renaissance experiments with drawing deformed heads, caricature as a mode of parody, humor and invective has various roots, in ancient comedy, ancient modern physiognomy and psychology, the literature and (pseudo)science of social types, and above all in the rise of a public sphere of newspaper readers and broadsheet buyers avid for the ridiculing of public figures, beloved or otherwise. We approach caricature broadly, considering its inverse relation with a neoclassical aesthetics of the ideal body, its theorization around historically significant moments like 1848 and 1939, its relation to technological developments like the newspaper comic and the animated cartoon, and most recently, the viral meme.

Instructor(s): Andrei Pop     Terms Offered: TBD. Will not be offered 21-22 or 22-23
Equivalent Course(s): MAAD 13012, SCTH 35012

ARTH 35112. Objects of Andean Art. 100 Units.

This seminar introduces Pre-Columbian Andean material culture and built environments surveying the region from the early Chavín culture through the Incas. Readings and class discussions examining broad cultural issues will be elaborated by hand-on analysis of artifacts in the collection of the Art Institute of Chicago, as well as interactive explorations of art-making techniques. The course particularly seeks to develop understandings of the raw materials used to make objects in order to contextualize them within trade networks, the Andean landscape, and cultural value systems, as well as artistic knowledge and skills.

Instructor(s): A. Hamilton     Terms Offered: Winter
Note(s): This course will meet in the Art Institute of Chicago.
Equivalent Course(s): ARTH 25112

ARTH 35115. Winckelmann: Enlightenment Art Historian and Philosopher. 100 Units.

We approach the first great modern art historian through reading his classic early and mature writings and through the art and criticism of his time (and at the end, our own). Reading-intensive, with a field trip to the Art Institute.Please help - many questions.

Instructor(s): Andrei Pop
Equivalent Course(s): SCTH 35000, ARTH 25115, GRMN 25015, CLAS 35014, KNOW 35000, GRMN 35015

ARTH 35118. Color Everywhere: Synthetic Dyes and Modern Art. 100 Units.

This course will consider the profusion of new dyes (aniline, azo, and vat) available for coloring textiles, foodstuffs, and other materials in the second half of the nineteenth century and into the twentieth and ask if these industrial innovations, which fueled subsequent rapid shifts in fashion, paved the way for modernist experiments with color. Artists who engaged with various media, including Sophie Taeuber Arp, Sonia Delaunay, and Marguerite Zorach, will be central to the discussion. Modern artists' engagement with theories of color, particularly those expounded by specialists working in the textile industry, such as Michel-Eugène Chevreul, will also be examined.

Instructor(s): Erica Warren      Terms Offered: Autumn
Prerequisite(s): Consent is required to register.
Equivalent Course(s): ARTH 25118

ARTH 35140. Aesthetic Ecologies. 100 Units.

What would an intellectual history of the environment look like when told from the perspective of art history writing? The geographer Friedrich Ratzel, who first began using the term "Umwelt" ("environment") in a systematic way, claimed that, up to the end of the 19th century, the idea of environment had been primarily discussed not in scientific contexts but rather in aesthetic ones, by "artistically predisposed thinkers." In this course, we will take Ratzel's claim seriously and aim to recuperate the aesthetic side of theories of environment across diverse areas such as: notions of landscape ("the picturesque"); aesthetic and biological theories of milieu (Haeckel's "ecology," Taine's "milieu," Uexküll's "Umweltlehre"); Warburg's cultural history; the "sculpture of environment" (Rodin and Rilke); the "space-body" in modern dance (Laban). This course is about artworks that continue beyond their material confines into the space environing them. It focuses on evocations of air as the material space surrounding an artwork in texts that thematize the continuity between artwork as image and material object. Materials include: Aby Warburg, Rudolf Laban, Siegfried Ebeling, Camillo Sitte, Otto Wagner, Alois Riegl, R.M. Rilke, Wassily Kandinsky, Martin Heidegger, and others. MAPH and undergraduate students welcome.

Instructor(s): Margareta Ingrid Christian     Terms Offered: Autumn
Equivalent Course(s): ARTH 25140, GRMN 23523, GRMN 33523

ARTH 35213. Hermeneutics of the Image. 100 Units.

What does it mean to "read" an image? To achieve an understanding of its "meaning"? This is not an easy question since images don't directly offer propositional content, which is the usual habitat of meaning. In this seminar, we will approach this question by considering first some foundational contributions to hermeneutics (Gadamer, Hirsch) and to the theory of pictorial meaning (Wollheim). We will then dig into the tradition of pictorial interpretation as it unfolds starting with Winckelmann and Diderot and extending to the present day (Fried, Clark). Freudian hermeneutics (Freud, Adrian Stokes), iconology (Panofsky), and phenomenology (Merleau-Ponty, Heidegger) will also be considered. In each case, we will endeavor to test the claims and interpretive findings through close examination of the images involved. The emphasis will be on the tradition of European painting and sculpture, but the tools acquired in the seminar should also be applicable in other fields.

Instructor(s): David Wellbery     Terms Offered: Winter
Prerequisite(s): For advanced undergrads, consent of instructor required.
Equivalent Course(s): SCTH 38113, GRMN 35213, ARTH 25213, GRMN 25213

ARTH 35706. Public Land as Landscape: Ecosystems, Representation, and American Nation Building. 100 Units.

The history of landscape art in the United States has often been described as fundamentally intertwined with American identity and nation building. In many of these interpretations, a tension exists between reading landscape as purely symbolic representations of abstract ideals or as mere description of a physical place and its flora and fauna. This course will examine that tension by interrogating the history of public land and its representation in the United States, thinking through methods drawn from art history, indigenous critical theory, and the environmental humanities to understand landscapes both for their symbolic and ecological values. Federal land, like that managed by the National Park and Forest Services as well as state, county, and local parks will be analyzed. We will look at canonical works of the American landscape, including by artists such as Thomas Moran and Ansel Adams, photographs from 19th-century geological surveys, as well as contemporary artists' responses to these works. Additionally, we will visit local sites of public land as case studies such as Jackson Park, the Burnham Wildlife Corridor, and 'Site A' in Red Gate Woods (where UChicago housed a self-contained nuclear lab and buried the world's first nuclear reactor). The course will help students think through the ecology of public land and the ways in which historical understandings of habitat function, landscape, and American identity have shifted over time.

Instructor(s): J. Landau     Terms Offered: Spring
Note(s): Instructor's consent required.
Equivalent Course(s): ARTH 25706, CHST 25706

ARTH 36705. Approaches to Contemporary Chinese Art. 100 Units.

The aim of this course is to introduce a history of contemporary art from China since the 1970s. The course begins with a brief overview of modern art activities in China during the early 20th century along with art production amidst the Cultural Revolution era (1966-1976), under Mao. The course will then focus on contemporary avant-garde movements during the 1970s and 1980s, the response to urbanization in art at the onset of the new millennium, the influence of globalization since 2000, and a new generation of young artists from China as well as Chinese diasporic artists working transnationally. Critical attention will be paid to ways in which artists respond to the obsolescence of physical environments and interactions due to major investments in robotics, AI technologies, online communication platforms, and virtual monetary exchange applications. In addition to working with important secondary texts focused on contemporary art from China, students will have the unique opportunity to examine primary documents that I have obtained during my ongoing research activities in China. These include video footage, photo documentation, archival materials, and real artworks. We will also access Gao Minglu's extensive archives of contemporary Chinese art documents.

Instructor(s): E. Larson     Terms Offered: Autumn
Equivalent Course(s): EALC 26705, EALC 36705, ARTH 26705

ARTH 36710. Eisenstein. 100 Units.


Equivalent Course(s): FNDL 26504, ARTH 26710, CMST 36610, CMST 26610

ARTH 37032. Bodies, Objects, Cognition. 100 Units.

This course explores the differences between objects and embodiment as examined in varied historical periods and artistic genres. We will probe the ontological indeterminacy of embodied beings versus machines in terms of agency, autonomy, subjectivity, and artificiality. Our main operative mode is a visual-verbal comparison and its perception. Through discussions of such visual strategies as pareidolia, abstraction, bodyscape, as well as the scientific phenomena of cloning and humanoid robotics, the course will destabilize once fundamental epistemologies to present a cognitive moment when the traditionally stable object-body dichotomy is understood anew as a dynamic site of affective, biological, representational, and mechanical relations. Visual artists, writers and critics studied will include Leonardo da Vinci, Hans Holbein, Giuseppe Arcimboldo, Wassily Kandinsky, Kazimir Malevich, Tadeusz Borowski, Stanislaw Lem, Allan Teger, Magdalena Abakanowicz, W.T.J. Mitchell and others. All readings are in English.

Instructor(s): Bozena Shallcross     Terms Offered: Winter
Equivalent Course(s): ANTH 27032, KNOW 37032, KNOW 27032, ANTH 37032, REES 37032, ARTH 27032, REES 27032

ARTH 37303. The Body in Ancient Greek Art and Culture. 100 Units.

This course provides an introduction to the role of the human body in ancient Greek art. We will examine, on the one hand, the various ways in which Greek artists represented the body, and consider how forms of bodily identity such as gender and sexuality were constructed and articulated through artistic practice. But we will also consider the ways in which works of art themselves - statues, paintings, vessels - could function like bodies or in place of bodies, expanding the notion of what it means to be a living being. Our focus will be on works of Greek art in Paris collections, which will also enable us to explore the legacy of Greek constructions of the body in the 19th and 20th centuries. Readings will range from primary texts in translation to more theoretical writing on embodiment, gender, and sexuality.

Instructor(s): S. Estrin     Terms Offered: Spring
Note(s): Students must attend first class to confirm enrollment. This course meets the general education requirement in the arts.
Equivalent Course(s): CLCV 17319, ARTH 17303, GNSE 17303

ARTH 37440. Buddha Then and Now: Transformations from Amaravati to Anuradhapura. 100 Units.

The Buddhist sculptures in Amaravati are arguably the earliest to influence the early Buddhist art of the other parts of the sub-continent as well as south and southeast Asia. The course begins with the discussion of the context in which the Buddha images were made in Amaravati and the factors including Buddhist doctrinal developments that contributed to the spread of these images to various parts of Sri Lanka. Then it traces the course and function of Buddhist iconography in Sri Lanka until into the 21st century to assess the role of geopolitical factors. The positionality and portrayals of the images of Buddha are also considered and analyzed. The course traces the trajectories that transformed the image of the Buddha from a symbol of peace to jingoist assertiveness. Through the study of the images of the Buddha, the aim is to comprehend the ways Buddhism has changed over centuries from an inclusive posture which helped it sustain and spread to different parts of the world only later to become exclusionary.

Instructor(s): Sree Padma Holt     Terms Offered: Winter
Equivalent Course(s): RLST 27440, SALC 37440, RLVC 37440, HIST 36704, ARTH 27440, HREL 37440, SALC 27440

ARTH 37490. Art as Buddhism in Ancient India: Explorations in the Stupa of Amaravati and Other Monuments. 100 Units.

This course will examine the visual construction of early Buddhism in India, focusing in particular on stūpas and especially on the art of the great stūpa (mahachaitya) at Amarāvatī in Andhra Pradesh. We will examine questions of Buddhology, of the diversity and range of conversations within early Buddhism, leading to the rise of the Mahāyāna, in relation to the visualization of Buddhist theory and narrative in the extensive and extraordinary decorations of the major sites. The course will introduce those taking it to the rich visual, material and epigraphic culture of the Buddhist stūpas as well as the vibrant textual world of Indian Buddhist writing - from stories to suttas to commentaries. Students will have the opportunity to develop their own final papers in relation to this material or comparatively with other material in which they also retain an interest (not necessarily only Buddhist).

Instructor(s): Jaś Elsner     Terms Offered: Spring
Note(s): The course will be taught over 5 weeks in the Spring Quarter on an intensive schedule. This course meets the HS or LMCS Committee distribution requirement for Divinity students.
Equivalent Course(s): ARTH 27490, RLVC 37490, RLST 27490, HREL 37490, SALC 37490, SALC 27490

ARTH 37724. Making States and Nations: Art and Material Culture in Latin America, ca. 1808-1880. 100 Units.

Covering the wars of Independence and the transition to Republican statehood, this course will address the continuities and ruptures affecting the visual traditions and material cultures of the Colonial period in this crucial period in Latin American history. Intended as a broad survey of the region, the course attempts to think through a political history of objects and images as a way to understand the process of nation-state formation.

Terms Offered: Autumn
Equivalent Course(s): LACS 27724, ARTH 27724, LACS 37724

ARTH 38330. Art and Religion from the Roman to the Christian Worlds. 100 Units.

This course will be an introduction to Roman and early Christian art from the early empire to late antiquity. It will explore the significance of the changes in visual production in relation to different attitudes to religion and society; its specific and conflictive historiography; the particular issues involved in the move to Christianity and a Christian visual culture. We shall veer between an empirical inductive approach, looking at lots of stuff and a more general account of theoretical overviews that have been offered for Roman and late art - overviews that have been influential in the broader historiography of art history as a discipline.

Instructor(s): Jaś Elsner     Terms Offered: Spring
Note(s): The course will be taught over 5 weeks in the Spring Quarter on an intensive schedule. This course meets the HS or LMCS Committee distribution requirement for Divinity students.
Equivalent Course(s): CLCV 28322, ARTH 28330, RLVC 38330, CLAS 38322, RLST 28330

ARTH 38500. History of International Cinema I: Silent Era. 100 Units.

This course provides a survey of the history of cinema from its emergence in the mid-1890s to the transition to sound in the late 1920s. We will examine the cinema as a set of aesthetic, social, technological, national, cultural, and industrial practices as they were exercised and developed during this 30-year span. Especially important for our examination will be the exchange of film techniques, practices, and cultures in an international context. We will also pursue questions related to the historiography of the cinema, and examine early attempts to theorize and account for the cinema as an artistic and social phenomenon.

Instructor(s): Allyson Field     Terms Offered: Autumn
Prerequisite(s): Prior or concurrent registration in CMST 10100 is required. Course is required for students majoring or minoring in Cinema and Media Studies.
Note(s): For students majoring in Cinema and Media Studies, the entire History of International Cinema three-course sequence must be taken.
Equivalent Course(s): ARTH 28500, CMST 48500, MAPH 33600, CMLT 22400, ENGL 29300, CMLT 32400, CMST 28500, ARTV 20002, ENGL 48700, MAAD 18500

ARTH 38600. History of International Cinema II: Sound Era to 1960. 100 Units.

The center of this course is film style, from the classical scene breakdown to the introduction of deep focus, stylistic experimentation, and technical innovation (sound, wide screen, location shooting). The development of a film culture is also discussed. Texts include Thompson and Bordwell's Film History: An Introduction; and works by Bazin, Belton, Sitney, and Godard. Screenings include films by Hitchcock, Welles, Rossellini, Bresson, Ozu, Antonioni, and Renoir.

Instructor(s): Daniel Morgan     Terms Offered: Winter
Prerequisite(s): Prior or concurrent registration in CMST 10100 required. Required of students majoring or minoring in Cinema and Media Studies.
Note(s): CMST 28500/48500 strongly recommended
Equivalent Course(s): ARTV 20003, ENGL 29600, MAAD 18600, CMLT 22500, REES 25005, REES 45005, CMST 48600, ENGL 48900, CMST 28600, ARTH 28600, CMLT 32500, MAPH 33700

ARTH 38605. Earthworks Revisited. 100 Units.

More than half a century after the first modern artworks were made using the land and earth as central materials, new understandings of this seemingly canonical phase in postwar Western art history are emerging from new questions, perspectives, and contexts. As these "earthworks" have found a place in the long history of art, what is their relationship to ancient and indigenous artistic and architectural practices? From the vantage of potential ecological destruction, might this "land art," makeable and reachable only by car and plane and sponsored in part by the De Menil family, be better understood as "oil art"? What new insights do newly accessible archives by now deceased artists yield, for example the estates of Walter De Maria and Robert Smithson? How have these works aged, and what is their longterm future from the perspectives of material, technical art history, and conservation?

Terms Offered: Spring
Prerequisite(s): This is a traveling seminar.
Note(s): Instructor's consent is required.
Equivalent Course(s): ARTH 28605

ARTH 39001. Painting and Description in the Roman World: Philostratus' Imagines - Religion, Education, Sexuality. 100 Units.

This course explores Roman art, especially painting, through the single most thoughtful, playful and creative text on naturalistic painting written in antiquity. Arguably, it is the most interesting examination of the brilliance and the problems of naturalism ever written in the Western tradition, creating a non-historicist, fictive and rhetorically-inflected model for thinking about art. Philostratus took the rhetorical trope of Ekphrasis to new heights, in an extraordinary intermedial investigation of textuality through the prism of visuality and of visual art through the descriptive prism of fictional prose. The course will involve close readings of Philostratus' descriptions of paintings alongside exploration of the Greek and Roman art of the imperial period from Pompeian paintings via floor Mosaics to sarcophagi. A reading knowledge of Greek could not be described as a disadvantage (!) but is not a requirement. The course will be taught over 5 weeks in the Spring Quarter on an intensive schedule. =Before the course begins, read the Imagines of the Elder Philostratus in the Loeb Classical Library translation (by Arthur Fairbanks, 1931, Harvard U.P., much reprinted). This book is not exorbitantly expensive and is worth buying, as we will all need a copy throughout.

Instructor(s): Jaś Elsner     Terms Offered: Spring
Prerequisite(s): Before the course begins, read the Imagines of the Elder Philostratus in the Loeb Classical Library translation (by Arthur Fairbanks, 1931, Harvard U.P., much reprinted).
Equivalent Course(s): GNSE 29001, ARTH 29001, GNSE 39001, RLST 29001, RLVC 39001

ARTH 39162. Masquerade as Critique. 100 Units.

Critique is most often figured as an act that reveals a reality that was previously hidden, as though one were pulling back a curtain or lifting a veil. But, as the critic Craig Owens points out, "in a culture in which visibility is always on the side of the male, invisibility on the side of the female…are not the activities of unveiling, stripping, laying bare…unmistakably male prerogatives"? This interdisciplinary seminar develops an alternate genealogy of critique informed by feminist, queer, and Black studies perspectives. It eschews the modernist drive toward transparency, instead examining tactics of resistance such as masquerade, disidentification, appropriation, drag, fugitivity, and critical fabulation. This course pairs readings by authors including Eve Sedgwick, bell hooks, José Muñoz, and Saidiya Hartman with art, performance, and films by figures like Claude Cahun, Carrie Mae Weems, Jack Smith, the Karrabing Film Collective, Cheryl Dunye, David Hammons, and Jennie Livingston. Together, we will ask: What is critique, and how does it relate to power? How have artists engaged strategically with visibility and invisibility, and what can their work teach us today? This course will incorporate guest lectures and fieldwork in museums and archives. Culminating in a creative final project, it aims to develop a toolkit for critique that thinks past the timeworn imperative to render the invisible visible.

Instructor(s): L. Pires     Terms Offered: Spring
Note(s): Registration by consent, only.
Equivalent Course(s): ARTH 29162, CRES 29162, GNSE 29162, GNSE 39162, MAPH 39162

ARTH 39800. Approaches To Art History. 100 Units.

This seminar will examine a range of methodological approaches to doing the work of art history. Through close reading of key texts, we will interrogate how various authors have constructed novel ways of seeing and understanding visual and material objects. Crucially, this course doesn't assume "theory" or "methodology" to be a set of texts we use to explicate or read works of art in specific ways. Rather, we investigate how each of our authors forges new concepts in response to an object's specific exigencies. Students need not self-identify as art historians to enroll in this seminar-it will be helpful for all students who want to think deeply and in self-reflexive ways about their own approaches to visual and material objects (still or moving images, sculpture, performance, architecture, etc.), particularly if those objects feel genre-bending, difficult to theorize, or recalcitrant in any way.

Instructor(s): Pires, Leah     Terms Offered: Winter
Prerequisite(s): Open to MAPH students concentrating in Art History. Others by consent only.
Equivalent Course(s): MAPH 39800

ARTH 39900. Methods and Issues in Cinema Studies. 100 Units.

This course offers an introduction to ways of reading, writing on, and teaching film. The focus of discussion will range from methods of close analysis and basic concepts of film form, technique and style; through industrial/critical categories of genre and authorship (studios, stars, directors); through aspects of the cinema as a social institution, psycho-sexual apparatus and cultural practice; to the relationship between filmic texts and the historical horizon of production and reception. Films discussed will include works by Griffith, Lang, Hitchcock, Deren, Godard.

Instructor(s): Daniel Morgan     Terms Offered: Autumn
Equivalent Course(s): ENGL 48000, CMST 40000, MAPH 33000

ARTH 40010. Ruins. 100 Units.

Ruins" will cover texts and images, from Thucydides to WWII, via the Reformation. We will include films (e.g. Rossellini's "Germany Year Zero"), art (e.g. H. Robert, Piranesi) archaeology, and the museum (Soane). On ruins writing, we will read Thucydides, Pausanias from within antiquity, the Enlightenment responses to the destruction and archaeological rediscovery of Pompeii, Diderot, Simmel, Freud on the mind as levels of ruins (Rome) and the analysis as reconstructive archaeologist as well as on the novel Gradiva and the Acropolis, the Romantic obsession with ruins, and the firebombing in WWII. We will also consider the photographing of ruins, and passages from the best-known works on photography (Benjamin, Sontag, Ritchen, Fried, Azoulay). The goal is to see how ruin gazing, and its depictions (textual, imagistic, photographic, etc.) change from the ancients (Greek and Roman), to the Romantic use of ruins as a source of (pleasurable) melancholy, to the technological "advances" in targeting and decimating civilian populations that describe the Second Word War.

Equivalent Course(s): CMLT 40010, CDIN 40010, RLIT 40010

ARTH 40160. Writing on the Walls: Art and Poetry in the Streets of Early Modern Florence. 100 Units.

Street art inscribes a story across public surfaces and urban spaces, celebrated by some for its unique representation of cultural identity while criticized by others as vandalism. Such tensions associated with street art today were no less significant in early modern Florence, where the emerging presence of art in public spaces, from murals memorializing military victories, to portraits of criminals, and sculptures occupying strategic squares, engaged deeply with political, social, and economic structures of power while addressing a diverse network of viewers. How then, does public art embody complex systems of knowledge, power, and resistance in early modern Florence, and what does it look like for writers to adopt visual modes of representation to explore subversive tensions in both real and imaginary spaces? We will explore the influence of public visibility and environment on descriptions of public art in both fictional and historical sources. From Dante drawing in the Vita Nuova, to Boccaccio's tales in the Decameron, and the political staging of Cellini's Perseus, we will situate these images and texts within the cultural modes and means of representation that generated them to investigate how street art could create artistic and literary spaces of resistance and define or affirm cultural identity in the Renaissance. Finally, we will look at street art and graffiti in contemporary Florence as well as digital media to consider the legacy of these early modern tensions.

Instructor(s): Cosette Bruhns     Terms Offered: Spring
Equivalent Course(s): ITAL 23405, MAPH 40160, ITAL 33405, RLLT 33405, RLLT 23405

ARTH 40200. Art History Proseminar. 100 Units.

How do we do art history? What is it? What are its premises and where does it come from? This seminar will explore the historical foundations, formulations and applications of current art historical methods, as well as the foundations of the art historical discipline as it emerged from the late 19th and early 20th centuries. Both theory and practice will be considered through select texts, with special focus on art history as a distinct scholarly discipline today. Required of all first year ARTH PhD students.

Instructor(s): S. Estrin     Terms Offered: Autumn
Note(s): Open to and required of first year Art History PhD students only.

ARTH 40204. Destruction of Images, Books & Artifacts in Europe and S. Asia. 100 Units.

The course offers a comparative perspective on European and South Asian iconoclasm. In the European tradition, iconoclasm was predominantly aimed at images, whereas in South Asian traditions it was also enacted upon books and buildings. The combination of these traditions will allow us to extend the usual understanding of iconoclasm as the destruction of images to a broader phenomenon of destruction of cultural artifacts and help question the theories of image as they have been independently developed in Europe and South Asia, and occasionally in conversation with one another. We will ask how and why, in the context of particular political imaginaries and material cultures, were certain objects singled out for iconoclasm? Also, who was considered to be entitled or authorized to commit their destruction? Through a choice of concrete examples of iconoclasm, we will query how religious and political motivations are defined, redefined, and intertwined in each particular case. We will approach the iconoclastic events in Europe and South Asia through the lenses of philology, history, and material culture. Class discussions will incorporate not only textual materials, but also the close collaborative study of images, objects, and film. Case studies will make use of objects in the Art Institute of Chicago and Special Collections at the University Library.

Equivalent Course(s): HREL 50204, CMLT 50204, RLVC 50204, SALC 50204, CDIN 50204

ARTH 40307. Seeing and Knowing. 100 Units.

The concept of visuality attends to the ways in which things become seeable, knowable, and governable. Scholars who study optical instruments, architecture, cinema, and media have done much to show us how visual technologies change our ways of seeing. Others in the history of science study how practices of observation transform our understanding of nature-and ourselves. This comparative course analyzes regimes of visuality in different cultural and historical contexts. After a short introduction on the philosophy of visual experience and psychology of visual perception, we will investigate a series of configurations of seeing and knowing. These sites range from the history of disability to contemporary climate science, and students will be asked to contribute visual topics from their own research or disciplines for collective exploration in our seminar. Through comparative study, we will work to develop new categories or relationships for linking perception and knowledge.

Instructor(s): Alex Campolo     Terms Offered: Spring
Equivalent Course(s): CHSS 40307, KNOW 40307, CMST 47007

ARTH 40310. The Discovery of Paganism. 100 Units.

How do we know what we know about ancient religions? Historians of religion often begin by turning to texts: either sacred texts, or, in the absence of such scriptures, descriptions of belief and practice by observers from outside the faith. Archaeologists focus their attention on the spaces and traces of religious practice-or at least those that survive-while art historians begin by examining images of deities and religious rites. Yet we often fail to see the extent to which the questions which we ask of all of these diverse sources are conditioned by Christian rhetoric about pagan worship. In this course, we compare two moments when Christians encountered "pagans": during the initial Christian construction of a discourse on paganism (and, more broadly, a discourse on religion) during the late Roman empire and during the Spanish discovery of the New World. Our course examines silences and absences in the textual and material records, as well as the divergences between texts and objects, in order to further our understanding of ancient religious practice. We will begin to see the many ways in which, as scholars of religion, we are in effect still Christian theologians, paving the way for new approaches to the study of ancient religion.

Equivalent Course(s): ANCM 44916, HIST 64202, HREL 40301, CDIN 40301, CLAS 44916, KNOW 40301, LACS 40301

ARTH 40311. Technology and Aesthetics. 100 Units.

New technologies regularly enable new mediums, styles, genres, and narrative forms as they offer us new ways to record the world, express ourselves, and tell stories. But the advent of each new artistic and literary form raises anew fundamental theoretical questions: what is the difference between an objective record of the world and an artistic rendition of it? Is what makes something art the creator's intent or the viewer's perception of it as art? That is, can something be experienced as art if it is not intended as such? What, even, is a narrative, given our minds' tendency to resolve any random pattern into a coherent series of cause and effect? And, finally, as new technologies offer endless new creative possibilities, how can we continuously recalibrate how we define art and engage with it? This class will span the 19th through the 21st centuries to explore how technological innovation has produced new literary and aesthetic forms while addressing the above questions. Its aim is two-fold: to offer a deeper understanding of literary and artistic movements and (often-canonical) texts by relating them to technoscientific concerns and contexts, and to strengthen students' foundation in literary and aesthetic theory. Thus, we will read key works of fiction that represent new aesthetic paradigms alongside scholarship that puts them into context and theoretical texts, including those of Walter Benjamin, Michael Saler, Catherine Gallagher, and Henry Jenkins.

Instructor(s): Anastasia Klimchynskaya     Terms Offered: Spring
Equivalent Course(s): KNOW 40310, CHSS 40410, ARTV 40310

ARTH 40400. Ekphrasis: Art & Description. 100 Units.

This course explores the rich tradition of ekphrasis in Greco-Roman and Christian antiquity - as it ranges from vivid description in general to a specific engagement with works of art. While the prime focus will remain on texts from Greece and Rome (both prose and verse) - in order to establish what might be called the ancestry of a genre in the European tradition -- there will be opportunity in the final paper to range beyond this into questions of religious writing about art, comparative literature, art (history) writing and ekphrasis in other periods or contexts. The course is primarily intended for graduates - and a reading knowledge of Greek and Latin could not be described as a disadvantage! The course will be taught over 5 weeks in the Spring Quarter on an intensive schedule. It will be examined on the basis of a paper, due on a subject to be agreed and on a date to be agreed at the end of the Spring quarter.

Instructor(s): J. Elsner     Terms Offered: Spring
Equivalent Course(s): RLVC 40400, BIBL 40400, CLAS 42600, NTEC 40400

ARTH 40401. Ekphrasis: Description, Vision and Imagination in Art and Religion. 100 Units.

This course explores the rich traditions of the description - ekphrasis -- from Greco-Roman antiquity to modernity. It tackles texts (both prose and verse) in order to establish the ramifications of a genre in the European tradition, and its applications in particular to visual culture and religion. There will be opportunity in the final paper to range beyond these into questions of comparative literature, art (history) writing, religious imagination and ekphrasis in all periods or contexts, as well as into the use of images or films as themselves forms of descriptive response. The course is primarily intended for graduates but interested undergraduates are welcome. The course will be taught over 5 weeks in the Spring Quarter on an intensive schedule. It will be examined on the basis of a paper, due on a subject to be agreed and on a date to be agreed at the end of the Spring quarter.

Instructor(s): Jaś Elsner and Francoise Meltzer     Terms Offered: Spring
Prerequisite(s): Note: Consent of instructor required for undergraduates; email Professors Meltzer and Elsner a paragraph long description about what you bring and what you hope to get out of this seminar. (CDI seminar enrollment is capped at 18 students.)
Equivalent Course(s): RLVC 49002, DVPR 49002, CDIN 49002, CMLT 49002

ARTH 41150. Art & the World Religions: First Millennium from India to Ireland. 100 Units.

This course, building on the recent Empires of Faith project at the British Museum will explore the interface of visual and religious identity in the formative period when all the religions currently considered 'world religions' were developing their characteristic iconographies. The course will attempt to open comparative and historical perspectives on religion through material culture, interrogating the normative models of constructing religion through written rather than visual sources. Students will be encouraged to work from images as well as texts. The course is open to graduates as well as undergraduates, and will be taught in a speeded up form twice a week for the first five weeks of the quarter.

Instructor(s): Jas Elsner     Terms Offered: Spring
Equivalent Course(s): RLVC 41150

ARTH 41310. Images and Science. 100 Units.


Equivalent Course(s): CHSS 51310, ENGL 51310

ARTH 41313. Media Archeology vs. Media Aesthetics. 100 Units.

The course stages an encounter between media archeology and media aesthetics, two distinct but related research perspectives that are at times seen as incommensurable approaches to the media technological environment. Media archeology focuses on the non-human agencies and complex machinic arrangements that are at work in technologies whose microtemporal operations cannot be grasped by human perception: media archeology typically refuses phenomenological approaches. In contrast, media aesthetics focuses on the phenomenological interface between machine systems and human perception and sensation, and various forms of cultural and political negotiations of a lifeworld that is increasingly dominated by technologies that both store and produce time. We will read key texts from both fields and discuss how we may understand their differences as well as their points of intersection.

Instructor(s): I. Blom     Terms Offered: Autumn
Note(s): Students must attend 1st class to confirm enrollment.
Equivalent Course(s): CMST 47801

ARTH 41602. The Cult of Relics in Byzantium and Beyond. 100 Units.

The cult of relics played a vital role in Byzantine culture and, consequently, left a strong imprint on the artistic production. Not only did the veneration of relics find expression in personal devotion, but the image of the Byzantine court was largely modeled on the claim that the emperors possessed the most precious of all sacred remains, first and foremost those associated with the Passion of Christ and the Virgin Mary. The outstanding treasure of relics housed in the imperial palace significantly contributed to the understanding in the medieval Christian world of Constantinople as the "New Jerusalem. We will begin our investigation in the ancient Near East, where major centers of pilgrimage developed from the fourth century on. These sites considerably fueled the early Byzantine cult of relics and the associated artistic production. The chief focus of the seminar will be on the major urban centers of the Byzantine Empire, especially the capital city of Constantinople. We will closely study different types of reliquaries manufactured in the Byzantine Empire over the centuries and investigate how their design responded to devotional needs, ritual practice and political claims. Historical developments and primary texts (in English translation) will be addressed throughout to better understand the circumstances of the acquisition of relics and the motivations guiding their veneration.

Instructor(s): Karin Krause     Terms Offered: Autumn
Note(s): This course meets the HS or SCSR Committee distribution requirement for Divinity students.
Equivalent Course(s): RLVC 41604, HCHR 41604

ARTH 41750. The Sacred Gaze: Beholding as a Spiritual Exercise in the European Artistic Tradition. 100 Units.

This course spans the history of Western Art from the ancient Greeks to the Early Modern Period. It explores the sacred gaze, construed as a series of technologies for constructing the relationship between images and their viewers and as a key piece of social equipment for the ethopoiesis of the human subject. It asks how vision became the object of a moral discourse in Greco-Roman antiquity in both sacred and 'philosophical' contexts, and what happened to this problematic in the historical emergence and development of Christianity. We will do some comparative work on similar processes in relation to Buddhism. Drawing on ideas in the philosophical work of Michel Foucault, Pierre Hadot and Arnold Davidson, our hypothesis is that these issues precipitate in encounters with visual representations, such that the beholding of inter alia statues and paintings became a topic of concern, with the implication that a suitably attentive and informed study of those images will be informative for prehistorians of the aesthetic subject. Although the course will give weight to description and theological/philosophical investigation, the principal focus will be on objects themselves and their own material/visual articulation of the conditions of seeing.

Instructor(s): Jaś Elsner, Richard Neer     Terms Offered: Spring
Equivalent Course(s): CDIN 41750, RLVC 41750

ARTH 42205. The Holy Land in the Middle Ages. 100 Units.

This course will examine written and visual material that testifies to the medieval encounters of the Abrahamic religions in a sacred landscape where the histories of Jews, Christians, and Muslims overlap. While bearing witness to the cultural wealth and religious pluralism that characterize the Holy Land during the Middle Ages, texts and visual artifacts likewise testify to religious competition, conflict, loss, and exclusion. Among the primary textual sources we will read (in English translation) are accounts by pilgrims and other travelers to the Holy Land, extracts from medieval chronicles, and eye-witness accounts from the period of the Crusades. In addition to the textual material, we will study art and architecture created for different religious communities (e.g., synagogues and their richly decorated mosaic floors, sites and souvenirs of Christian pilgrimage, major works of Islamic art and architecture). We will also investigate phenomena of the reception of the Holy Land's sacred sites and dynamic history in medieval Europe (e.g., replicas and evocations of the Holy Sepulchre, narratives of the "Holy Grail" and associated artifacts).

Instructor(s): Karin Krause     Terms Offered: Spring
Equivalent Course(s): HCHR 45200, RLVC 45200, ARCH 45200

ARTH 42605. Refashioning the Forbidden City: Emperor Qianlong and Qing Court Art and Interior Decoration. 100 Units.

During his long reign from 1735 to 1796, Qianlong made numerous innovations in Qing court art and interior decoration. This course investigates these innovations from two new perspectives. First, instead of studying them in the separated domains of architecture, object, and painting, it will explore the interconnections of these three visual forms within Qianlong's specific art/architectural projects. Second, after identifying these projects, the course will use "space" as the central analytical concept to reconstruct their content and process, and to explore Qianlong's intention, imagination, and experimentation.

Instructor(s): Wu Hung     Terms Offered: Spring
Prerequisite(s): Reading ability of Chinese, the instructor’s consent

ARTH 42820. Ekphrasis. 100 Units.

What happens when a text gives voice to a previously mute art work? Ekphrasis - the verbal representation of visual art - continues to be a central concern of word and image studies today. The understanding of ekphrasis as an often hostile paragone between word and image exists alongside notions of a more reciprocal model involving a dialogue or "encounter" between visual and verbal cultures. The affective dimension of the relationship -- ekphrastic hope, ekphrastic fear -- has also been prominent in recent scholarship. Drawing on literary works and theories from a range of periods and national traditions, the course will examine the long history of ekphrasis. Why are certain literary genres such as the novel or the sonnet privileged sites for ekphrasis? How can art history inform our understanding of such encounters, and to what extent can we say that it is a discipline based in ekphrasis? What can we learn from current work on description, intermediality, narrative theory, and translation theory? Readings from Homer, Philostratus, Lessing, Goethe, Keats, A.W. Schlegel, Kleist, Sebald, Genette, among others.

Instructor(s): Catriona MacLeod     Terms Offered: Winter
Equivalent Course(s): GRMN 42820

ARTH 42911. 21st Century Art. 100 Units.

This course will consider the practice and theory of visual art in the late twentieth and twenty-first centuries.We will read a variety of crucial contemporary texts, including those of Thierry De Duve, Boris Groys, Sianne Ngai, and Hito Steyerl, among others. Students should be prepared to produce a research paper at the conclusion of the seminar. Our first reading will be De Duve's Kant After Duchamp, which should be completed before our first day of class.

Instructor(s): M.J. Jackson     Terms Offered: Spring
Note(s): Instructor's consent is required.
Equivalent Course(s): ARTV 39901

ARTH 44002. COSI Objects & Materials Seminar. 100 Units.

Team-taught between Northwestern, the Art Institute of Chicago and University of Chicago, this course focuses on sustained, close engagement with art objects in the AIC collection and the methods and questions such inquiry raises. Students will be introduced to basic techniques of stylistic and scientific analysis as well as recent theoretical debates that resituate art history as a study of physical things as well as their disembodied images. Required for all first-year art history graduate students.

Instructor(s): Wei-Cheng Lin     Terms Offered: Winter
Note(s): Open to and required of first year art history PhD students only. This course will meet at the Art Institute of Chicago.

ARTH 44014. The Veneration of Icons in Byzantium: History,Theory, and Practice. 100 Units.

In order to appreciate the pivotal religious significance icons had in Byzantium for private devotion, in the liturgy, in civic ritual, and in military campaigns, we will survey the visual evidence along with a vast array of written sources. We will explore the origins of the Christian cult of icons in the Early Byzantine period and its roots in the Greco-Roman world of paganism. Through the close analysis of icons executed over the centuries in different artistic techniques, we will examine matters of iconography, style and aesthetics. We will also have a close look at image theory, as developed by Byzantine theologians and codified in the era of Iconoclasm. Typically, meetings will consist of both lecture and interactive discussion sections. Students are expected to prepare the mandatory readings for each week, which serve as a basis for an informed, and thus productive, classroom discussion.

Instructor(s): Karin Krause     Terms Offered: Spring
Prerequisite(s): This is a graduate course but advanced undergraduate students may enroll in exceptional cases (instructor's consent required). The course is not recommended for students without an at least basic familiarity with Christian culture and the major protagonists of the New Testament.
Note(s): This course meets the HS or CS Committee distribution requirement for Divinity students.
Equivalent Course(s): ARTH 24014, RLVC 44004, HCHR 44004, MDVL 28704, RLST 28704

ARTH 44502. The Aesthetics of Socialist Realism. 100 Units.

Socialist Realism was declared the official mode of Soviet aesthetic culture in 1934. Though it has been dismissed within the totalitarian model as propaganda or kitsch, this seminar will approach it from the perspective of its aesthetics. By this we mean not only its visual or literary styles, but also its sensory or haptic address to its audiences. Our premise is that the aesthetic system of Socialist Realism was not simply derivative or regressive, but developed novel techniques of transmission and communication; marked by a constant theoretical reflection on artistic practice, Socialist Realism redefined the relationship between artistic and other forms of knowledge, such as science. Operating in an economy of art production and consumption diametrically opposed to the Western art market, Socialist Realism challenged the basic assumptions of Western artistic discourse, including the concept of the avant-garde. It might even be said to offer an alternate model of revolutionary cultural practice, involving the chronicling and producing of a non-capitalist form of modernity. The seminar will focus on Soviet visual art, cinema and fiction during the crucial period of the 1930s under Stalin (with readings available in translation), but we welcome students with relevant research interests that extend beyond these parameters. Conducted jointly by professors Robert Bird (Slavic and Cinemaand Media Studies, University of Chicago) and Christina Kiaer, Art History, Northwestern University, course meetings will be divided evenly between the campuses of Northwestern Univ,Socialist Realism was declared the official mode of Soviet aesthetic culture in 1934. Though it has been dismissed within the totalitarian model as propaganda or kitsch, this seminar will approach it from the perspective of its aesthetics. By this we mean not only its visual or literary styles, but also its sensory or haptic address to its audiences. Our premise is that the aesthetic system of Socialist Realism was not simply derivative or regressive, but developed novel techniques of transmission and communication; marked by a constant theoretical reflection on artistic practice, Socialist Realism redefined the relationship between artistic and other forms of knowledge, such as science. Operating in an economy of art production and consumption diametrically opposed to the Western art market, Socialist Realism challenged the basic assumptions of Western artistic discourse, including the concept of the avant-garde. It might even be said to offer an alternate model of revolutionary cultural practice, involving the chronicling and producing of a non-capitalist form of modernity. The seminar will focus on Soviet visual art, cinema and fiction during the crucial period of the 1930s under Stalin (with readings available in translation), but we welcome students with relevant research interests that extend beyond these parameters. Conducted jointly by professors Robert Bird (Slavic and Cinemaand Media Studies, University of Chicago) and Christina Kiaer, Art History, Northwestern Univ

Instructor(s): Robert Bird     Terms Offered: TBD
Equivalent Course(s): REES 36067, CMST 44510

ARTH 45012. Materializing China's Cultural Ephemera. 100 Units.

This seminar explores how a wide range of texts, paintings, and calligraphy originally meant to be ephemeral gain multilayered cultural values over time through materialization in different media. In particular, we will focus on Song and Ming-Qing periods (before modern era) when learned people avidly amassed, compiled, and published these cultural ephemera, an interest further stimulated by the proliferation of printing and a pronounced nostalgia and resulting antiquarianism. The focus of our inquiry will be on the ways in which materiality and media played a critical role in not only transmitting but also enriching and recreating, intentionally or not, their cultural significance, even though the ephemera often survived only in fragments.

Instructor(s): Wei-Cheng Lin     Terms Offered: Spring
Note(s): Reading Chinese is required to register

ARTH 45885. Practices of Classicism in the French Seventeenth Century. 100 Units.

This seminar has two goals. One is to combine the text-based tradition of French literary studies with the image-based, comparative tradition of art history-and, in so doing, to change the taxonomies of both. The other is to re-evaluate French Classicism by attending to practices of reading, writing, performing, looking and making. The seminar's breadth is designed to appeal to all graduate students interested in the theory and history of aesthetics, and the interleaving of visual and literary evidence. Looking will be no less important than reading, as we will conduct sessions with original objects in the Art Institute and in Regenstein Special Collections. Authors studied will include Corneille, Molière, La Fontaine, Pascal, and Descartes; among the artists, Poussin, Claude Lorrain, La Tour, and Callot. Critical readings will range from Leo Spitzer to Louis Marin and Foucault. The seminar will be conducted in English; all primary texts will be made available in both English translation and, for those with reading knowledge, in the French original. This seminar will travel to Paris during exam week (March 13-21, 2020); airfare and lodging covered by university. Consent of instructors required.

Instructor(s): Larry Norman and Richard Neer     Terms Offered: Winter
Equivalent Course(s): TAPS 44420, FREN 34420, CMLT 44410, CDIN 44420

ARTH 46005. Algorithms and Aesthetics. 100 Units.

This class will explore questions raised by the use of algorithms, and similar systemic processes, in the arts. Recent developments in computational tools have dramatically increased the availability, and complexity, of algorithmic methods. This seminar will reach back to examine cases-with and without electronic computation-over the last century in a range of artistic fields, including architecture, painting, sculpture, music, and literature. We will consider the challenges that algorithmic methods present for concepts such as authorship, intentionality, originality, meaning, beauty, taste, and art itself.

Equivalent Course(s): CDIN 46005

ARTH 47211. What Was Mise-en-scène? 100 Units.

Mise-en-scène is often understood as a synonym for the act of directing, especially in theater. In film style it is associated with the importance accorded to the placement of props and characters within the film frame, usually in combination with camera movement. This concept was especially important in film criticism of the fifties and sixties and often connected with key post-WWII filmmakers such as Nicholas Ray, Douglas Sirk and Otto Preminger. This seminar will explore the concept both as historical critical concept, and as an ongoing way to discuss the nature of film style.

Equivalent Course(s): CMST 67211

ARTH 47219. The Romantic Book. 100 Units.

In his Gespräch über den Roman, Friedrich Schlegel declared programmatically: "Ein Roman ist ein romantisches Buch." The convoluted relationship between Roman and romantisch will give us the point of departure for the seminar - but is the third term, Buch, so obvious? We will thus also attempt to offer some definitions of what a book is in the period around 1800. To that end, we will consider works that reflect on Romantic scenarios of manuscript and book production (Schreibszenen) and collecting, as well as evolving forms of literary mixed media around 1800, such as the illustrated book and the Taschenbuch. Our readings will include works by F. Schlegel, A. W. Schlegel, Wackenroder and Tieck, Novalis, E. T.A. Hoffmann, Arnim and Brentano, the Grimms, Runge; and scholarly works by Kittler, Campe, Piper, Spoerhase, and others. The seminar will make use of the holdings of the Rare Book Collection and other area resources; and it will introduce students to working with material texts. Good reading knowledge of German required.

Instructor(s): Catriona MacLeod     Terms Offered: Spring
Prerequisite(s): Good reading knowledge of German required.
Equivalent Course(s): SCTH 47219, GRMN 47219

ARTH 47603. Public History Practicum I. 100 Units.

In this two-quarter course students will engage in the theory and practice of public history in partnership with organizations doing community-oriented work in a variety of areas. In the winter colloquium, we will read and discuss the theory and practice of public history as well as materials relevant to the projects you will pursue in the spring. In the spring practicum, you will work in groups of 3-5 directly with one of the partner organizations. All of the project-based work will be done collaboratively; working with partners means that there will be hard deadlines. Projects and coursework will be designed to be adaptable to current public health conditions. A showcase presentation of the projects is scheduled for the end of the spring quarter, by which time you will have become acquainted with current scholarship on public history and with experience in its actual practice. The final projects will be part of your portfolio and may be listed on your c.v.

Instructor(s): M. Rossi     Terms Offered: Winter
Prerequisite(s): Consent only; email Prof. Rossi by 7th wk of Aut qtr ( if interested in taking the course. Partner organizations/projects will be advertised in advance of that deadline; an info session will explain the sequence's details. The Win qtr counts as a History grad colloquia.
Note(s): Every effort will be made to place students in their first choice of project; contact Prof. Rossi for further information. The course is open to PhD students in the Social Sciences, Humanities, and Divinity School at any point in their residency as well as to MA students.
Equivalent Course(s): ANTH 54610, CHSS 67603, HIST 67603, SOCI 50126

ARTH 47604. Public History Practicum II. 100 Units.

See HIST 67603

Instructor(s): M. Rossi     Terms Offered: Spring
Prerequisite(s): HIST 67603
Equivalent Course(s): SOCI 50127, CHSS 67604, HIST 67604, ANTH 54611

ARTH 47606. Narrating the Artist in East Asia and Beyond. 100 Units.

For the past century, the artist's monograph -the 'life and works' account- has been a mainstay of museum research and art historical publication, even though the genre has been garnering criticism for some time. In the wake of the deconstruction of the author and the emergence of new theories of subjecthood, what is to be gained by writing an extended study of a single artist? Is the model hopelessly encumbered by assumptions about the artist as (white, male) creator-genius, or is there still something important to be accomplished by the intimate study of an individual and her works? How is this project affected as we turn our attention to artists in different centuries and locales?

Instructor(s): C. Foxwell     Terms Offered: Autumn
Prerequisite(s): Preferred: Arts of Japan or Art of the East: China
Note(s): Registration is granted by permission only. Students must attend first class to confirm enrollment.
Equivalent Course(s): EALC 47606

ARTH 48301. Aesthetics of French Classicism. 100 Units.

Though "aesthetic" philosophy first developed as an autonomous field in the mid-eighteenth century, it has important roots in earlier eighteenth- and seventeenth-century debates concerning literature and the arts. In the wake of Cartesian rationalism, could reasoned method be reconciled with non-rational creativity, or decorous order with the unruly "sublime"? Just what kind of "truth" was revealed by poetry or painting? We will consider the relation between literature and other media (including music, opera, and the visual arts) and gauge the impact of French classical criticism on the broader European scene. Readings will include works by Descartes, Pascal, Boileau, Molière, La Fontaine, Félibien, Du Bos, Addison, Hutcheson, Vico, Montesquieu.

Instructor(s): L. Norman     Terms Offered: Spring
Prerequisite(s): Undergrads admitted with permission of instructor.
Note(s): Course will be conducted in French; students not taking course for French credit may do written work and class presentations in English.
Equivalent Course(s): FREN 37000, SCTH 37000, REMS 37000, CMLT 38600

ARTH 48905. Style and Performance from Stage to Screen. 100 Units.

Actor is the oldest profession among arts. Cinema is the youngest art there is. What happens with faces, gestures, monologues, and voices; ancient skills like dance or mime; grand histrionics etc. when arts of performance hit the medium of screen? This course will focus on the history of acting styles in silent films, mapping "national" styles of acting that emerged during the 1910s (American, Danish, Italian, Russian) and various "acting schools" that proliferated during the 1920s ("Expressionist acting," "Kuleshov's Workshop," et al.). We will discuss film acting in the context of various systems of stage acting (Delsarte, Stanislavsky, Meyerhold) and the visual arts.

Equivalent Course(s): CMST 68400

ARTH 49700. The Archive: Materiality, Aesthetics, Visual Culture. 100 Units.

This graduate seminar will prepare students to conduct archival research, and to build a research archive from different historical, methodological, and theoretical perspectives. While we will engage a range of texts on archival methodology, theory, and the phenomenology of the archive, we will also examine questions concerning aesthetics, materiality, visual culture, and the digital that inform our understanding of archives today. The seminar will be partially organized around case studies that foreground different archival modes of discovery, evaluation, and interpretation-including those that constitute the "counter archive." Students will learn practical skills for conducting research in filmic, paper and print, and internet archives, and develop the investigative, analytical abilities that are necessary for building an archive around either material objects or theoretical questions.

Instructor(s): Jennifer Wild     Terms Offered: Winter
Equivalent Course(s): CMST 69110, FREN 49100

ARTH 49800. Independent Research: Art. 100 Units.

Individualized study focused on PhD research in Art History. This course can also be used as the preliminary exam reading course.

Instructor(s): Staff     Terms Offered: Autumn Spring Winter

ARTH 49808. Qualifying Paper Course I. 100 Units.

Individualized study for Art History students working on their Qualifying Paper; first of two quarters.

Instructor(s): Staff     Terms Offered: Autumn,Spring,Winter

ARTH 49809. Qualifying Paper Course II. 100 Units.

Individualized study for Art History students working on their Qualifying Paper; first of two quarters.

Instructor(s): Staff     Terms Offered: Autumn,Spring,Winter

ARTH 49820. Preliminary Exam Reading Course. 100 Units.

Individualized study for Art History students working on their Preliminary Exams.

Instructor(s): Staff     Terms Offered: Autumn Spring Winter

ARTH 50100. Teaching Colloquium. 100 Units.

ARTH 50101. Teaching Colloquium. 100 Units.

Led by a faculty member each fall, this seminar meets weekly for 80 minutes, to address various topics through discussion with visitors (especially department faculty members) and occasionally through discussion of assigned readings. On the premise that one learns the most about teaching not well in advance but rather by reflecting with peer and senior colleagues on techniques and problems when one is in the midst of the challenge, this forum is meant to address participants' specific concerns and experiences, especially those related to art history. The quarter's topics are determined with student input and may include: the structure of the art history college core course program in which all faculty and students teach; the jobs of course assistant and writing intern; instructor authority and classroom dynamics; leading discussion; effective lecturing; strategic use of pictures in classroom teaching; small-group class projects; designing and grading assignments; designing syllabi. From year to year, the colloquium may address similar topics but the emphasis and tips will change depending on the participants. The department requires third-year students to participate fully in the colloquium, register for credit, and earn a Pass. More advanced students who have previously taken the colloquium are welcome to return on an occasional or regular basis to share experiences, strategies, and to seek advice on new teaching challenges.

Instructor(s): TBD     Terms Offered: Autumn Winter
Note(s): Required of all third year ARTH PhD students.

ARTH 50200. Dissertation Workshop. 100 Units.

This course is conducted by a faculty member every spring to introduce third-year students to the tasks of preparing grant proposals and applications. The aim of the workshop is to help you produce a finished dissertation proposal by the early autumn of your fourth year and to prepare you to apply for grants at that time. The department requires third-year students to participate fully in the workshop, register for credit, and earn a Pass.

Instructor(s): TBD     Terms Offered: Spring
Note(s): Open to third year art history PhD students only.

ARTH 50400. Logic, Truth, and Pictures. 100 Units.

The course aims at the logic of pictures, but because it is controversial whether such a topic exists, or should exist at all (some arguing that pictures are alogical, others that they require a logic sui generis), the course will be less a primer in "visual logic" or "logic of artifacts" than a preliminary investigation of what sets pictures apart from and how they are like other modes of thinking. Resemblance, reference, and fiction will be recurring topics; we begin with questions about the nature and peculiarity of pictures and move on to the prospects of arguing about and through pictures, concluding with the questions of their relation to truth. We will actually look at pictures besides talking about them. We will also ask what kind of objects beside conventional two-dimensional images and sculptures might usefully be called pictures. Reading will include classics (Plato, Gombrich), as well as some of the instructor's own work in progress, based on the ideas of Gottlob Frege.

Terms Offered: Not offered 21-22.
Equivalent Course(s): SCTH 50400

ARTH 70000. Advanced Study: Art History. 300.00 Units.

Advanced Study: Art History