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Department of Art History

Chair

  • Christine Mehring

Professors

  • Charles Cohen
  • Darby English
  • Tom Gunning
  • Christine Mehring
  • William J. T. Mitchell
  • Richard Neer
  • Joel M. Snyder
  • Yuri Tsivian
  • Wu Hung

Associate Professors

  • Niall Atkinson
  • Persis Berlekamp
  • Claudia Brittenham
  • Chelsea Foxwell
  • Cécile Fromont
  • Matthew Jesse Jackson
  • Aden Kumler
  • Wei-Cheng Lin, Director of Graduate Studies
  • Andrei Pop
  • Katherine Taylor
  • Martha Ward

Assistant Professors

  • Patrick Crowley
  • Seth Estrin
  • Megan Sullivan

Harper Schmidt Collegiate Assistant Professor

  • TBD

Emeritus Faculty

  • Neil Harris
  • Reinhold Heller
  • Robert S. Nelson
  • Linda Seidel
  • Barbara Stafford

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 and theory of art, leading to the degree of Doctor of Philosophy. We provide a forum for exploring the visual arts of European, Near Eastern, Asian, African, and American civilizations. The department seeks to cultivate knowledge of salient works of art, of the structures within which they are produced and used, and of the ways in which the visual environment in the broadest sense generates, acquires, and transmits meaning. We encourage the exploration of diverse approaches. Ways of addressing and analyzing the range of materials that constitute visual culture are emphasized in lectures, seminars, and workshops through the oral and written presentation of research and inquiry into specific objects, periods, and issues.

Admission

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 normally 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 M.A. 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 online at: http://humanities.uchicago.edu/students/admissions.

Questions pertaining to admissions and aid should be directed to humanitiesadmissions@uchicago.edu or (773) 702-1552.

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). (Current minimum scores, etc., are provided with the application.) For more information, please see the Office of International Affairs website at https://internationalaffairs.uchicago.edu, or call them at (773) 702-7752.

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.

ABD

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 “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 for the 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 at http://maph.uchicago.edu/

Courses

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

Art History Courses

ARTH 30612. Early Christian and Late Ancient Jewish Art. 100 Units.

This course will explore the rise of both Christian and Jewish art in the context of the Roman Empire - both in the eastern Mediterranean and in the city of Rome itself - from minority and subaltern contexts to the rise of Christian hegemony. It will examine the formation of characteristic religious iconographies and visual identities in response to those available in the material and visual culture of the Roman world, and will explore the ways these experimental and often surprising visual forms were ultimately transmuted into what are now the recognizable models for these religions. The course is intended for both undergraduates and graduate students, and 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): Jas' Elsner     Terms Offered: Spring
Equivalent Course(s): ARTH 20612, RLVC 30612

ARTH 30700. Understanding the Built Environment. 100 Units.

This course aims to equip students with the basic skills and knowledge required to analyse architecture and the urban 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 context through urban design issues, such as street networks and public spaces. At a broader level, the course will involve critical discussions about the relationship between architecture and society, the building as a historical object, cultural representations of architecture, and modes of perceiving/experiencing the built environment. The course will operate through a combination of in-class seminars and site visits to buildings in Chicago. This course is specifically geared to introducing the fundamentals of architectural history to those undergraduate students seeking a minor in architectural studies. However, MA and PhD students in other fields are welcome to register.

Instructor(s): N. Atkinson     Terms Offered: Spring
Equivalent Course(s): ARTH 20700

ARTH 31320. Philippe Parreno's Media Temporalities. 100 Units.

In the 2013 exhibition "Anywhere, Anywhere Out of the World, the French artist Philippe Parreno (b. 1964) turned the monumental space of the Palais de Tokyo in Paris into a living, evolving organism, where music, light, films, images, and performances led visitors through a precisely choreographed journey of discovery, based on the idiosyncratic body of work that he had created since the early 1990s. This course is devoted to an in-depth study of Parreno's work and the highly original form of media thinking that informs it. Rather than focusing on the properties of distinct media or on multimedial forms or presentation, his works explore the new forms of life and social existence that result from the various ways in which 20th- and 21st-century media technologies store, manipulate, and produce time. This is a form of thinking and artistic creation that addresses the realities of formats, programs, and platforms rather than media apparatuses and messages, and that engages everything from architecture and design to social situations, natural worlds, and virtual beings. (The course will be taught in collaboration with Jörn Schafaff).

Instructor(s): I. Blom     Terms Offered: Autumn
Equivalent Course(s): CMST 33412, CMST 23412, MAAD 21320, ARTH 21320

ARTH 31511. Image, Spectacle, and Sound. 100 Units.

Focusing on the pre-modern city primarily in Italy, this seminar seeks to introduce upper level undergraduate and graduate students in the humanities to the way in which art and architecture were elements within a comprehensive urban system that included civic, religious, and daily rituals, both modest and spectacular. The pre-modern city was the site of a whole range of practices in which art played an important but integrated role. The assumption of such a course is that the paintings, sculptures, and artifacts that remain in museums and collections today are only a part of what was once a whole set of social relations between the individual and the collective, between the sacred and the profane. Consequently, through a series of readings that will focus on experience rather than aesthetic production, students will be encouraged to develop research projects that go beyond the frame of the work of art in order to see how it was intimately connected to the structure of urban life and how it profoundly affected the lives of its audience.

Instructor(s): N. Atkinson     Terms Offered: Autumn

ARTH 31810. Post-War American Avant-Garde. 100 Units.

In the 1940's the American avant garde cinema gained a new identity with the work of filmmakers like Maya Deren, and Kenneth Anger. Working primarily in 16mm, exhibiting mainly in non-commercial theaters, pursuing new models of sexuality, perception and political action, a generation of filmmakers formulated an alternative cinema culture and a new visionary aesthetic. This tradition gained further definition in the following, with journals, new critical discourses and a network of exhibition. Film modes moved through the mythic and dream-like cinema of Stan Brakhage, Bruce Baillie, the underground cinema of Ken Jacobs, Andy Warhol and Jack Smith, and the structural films of Hollis Frampton, Michael Snow and Ernie Gehr. The course will trace these develops and examine its legacy.

Instructor(s): T. Gunning     Terms Offered: Autumn
Prerequisite(s): CMST 10100, ARTH 20000, ENGL 10800, ARTV 25300, or consent of instructor.
Equivalent Course(s): CMST 31810, CMST 21810, ARTH 21810

ARTH 32020. Contemporary Art from Latin America. 100 Units.

This seminar examines developments in art from Latin American since the 1960s. A set of questions will guide our investigation: What is contemporary art? How has globalization affected the production and reception of art from Latin America in recent decades? What are the advantages and disadvantages of hanging on to regional or national frameworks in the study of contemporary art?

Instructor(s): M. Sullivan     Terms Offered: Spring
Equivalent Course(s): LACS 22020, ARTH 22020, LACS 32020

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

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

ARTH 32302. Byzantium: Art, Religion, Culture. 100 Units.

IIn this introductory seminar we will explore works of art and architecture as primary sources for Byzantine civilization. Through the close investigation of artifacts of different media and techniques, students will gain insight into the artistic production of the Byzantine Empire from its foundation in the 4th century AD to the Ottoman conquest in 1453. We will employ different methodological approaches and resources that are relevant for the fruitful investigation of artifacts in their respective cultural settings. In order to fully assess the pivotal importance of the visual arts in Byzantine culture, we will address a wide array of topics, including art and ritual, patronage, the interrelation of art and text, classical heritage, art and theology, Iconoclasm, etc.

Equivalent Course(s): ARTH 22302, RLVC 32302, HCHR 32302

ARTH 32402. Perspective as a Challenge to Art History. 100 Units.

Equivalent Course(s): SCTH 32402, ENGL 22402, ARTH 22402, ENGL 42412

ARTH 32405. Perspective: Rhetoric & Poetic. 100 Units.

By reading classic texts and analyzing works of art deploying linear perspective, from paintings to the built environment and photography, this course will examine ways that perspectival projection functions as a poetics--as a purportedly coherent system of organizing form--and as a rhetoric--as a means of persuading viewers of perspectivally informed works of art to perceive them in particular terms. To this end, it will necessarily also consider the history of the rise and uses of perspective, and place texts and works of art within that history.

Instructor(s): J. Snyder & K. Taylor     Terms Offered: Winter
Equivalent Course(s): ARTH 22405

ARTH 33807. Rhoades Seminar: Art, War, & Pageantry in Medieval & Early Modern Europe. 100 Units.

Today war is often thought of as the antithesis to art and culture, but in the medieval and early modern world it was a great stimulus to the arts in all media. Weapons were adorned like jewelry, while armor could imitate the fashion of the finest silks. This seminar will study the material remains of this culture of conflict and pageantry as it influenced technology, costume design, architecture, visual culture, the art of the book, and especially metalwork in medieval and early modern Europe. Themes include the pageantry of tournaments, the art of heraldry, the visual culture of war-its glories and miseries, the image of noble princes, music, the birth of martial art manuals, fashion on the battlefield, fortification technology and the engineer. With a focus on object-based study, lectures will analyze the collections at the Art Institute of Chicago including: armor, edged weapons, textiles, prints, rare books and many other facets of this martial culture. Students will be encouraged to engage with this cultural history of warfare and pageantry as it relates to their own fields of interest and explore the broad and definite impact of conflict on the arts of design.

Instructor(s): Staff     Terms Offered: Autumn
Note(s): Students must attend first class to confirm enrollment. This course will meet at the Art Institute of Chicago; plan accordingly.
Equivalent Course(s): ARTH 23807

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

Writing about the arts has long been a way for writers to investigate the wide world and to look inward. In this course, we'll be focusing on the visual arts, and we'll try to see how reflecting on painting, photography, installation art, and those arts that get called "decorative" gives us ways to consider the object in space, and also history, war, friendship, education, material culture, aesthetics, and coming-of-age. In writing, we will practice all kinds of forms: lyric fragments; polemics; reviews; catalog essays; museum wall texts; personal meditations on a single work; documentation of lost techniques and lost works; and history, criticism, and biography written for readers outside the academy. Students will also write a longer essay to be workshopped in class. We'll read and discuss writers such as Susan Sontag, Geoff Dyer, Claudia Rankine, Tiana Bighorse, Rebecca Solnit, Zbigniew Herbert, Donald Judd, Octavio Paz, Mark Doty, Hervé Guibert, Kevin Young, Lawrence Weschler, and Walter Benjamin. Students will make some guided and some independent visits to museums, including the Art Institute, DuSable Museum of African American History, Smart Museum of Art, Oriental Institute, and National Museum of Mexican Arts.

Instructor(s): R. Cohen     Terms Offered: Spring
Prerequisite(s): Submit nonfiction writing sample when applying to register for the course.
Equivalent Course(s): CRWR 24002, ARTH 24002, CRWR 44002

ARTH 34170. Research the Chicago Cityscape. 100 Units.

This course has three goals: (1) To support artist Theaster Gates's renovations of South Side Chicago buildings for civic uses with student research on the architectural and social history of prospective buildings and their environs. The Stony Island Arts Bank and the Arts Incubator at the University are examples of Gates's work: https://rebuild-foundation.org/ (2) To develop research skills, which can be adapted to other built environments. (3) To develop an understanding of Chicago's built environment and its social history. We meet twice a week, once to discuss common readings and once for a longer session to enable field trips (a tour of Gates's area; visits to research archives) and collaborative research work among students. Students will work together to produce historical reports. Permission of instructor required. Please send an email explaining your interest in the course and any relevant background experience (e.g., previous course work in architectural or urban history, urban problems, or experience with any aspect of the built environment or Chicago history). Although the course does not require significant background, ideally it will include students with diverse pockets of expertise.

Instructor(s): K. Taylor     Terms Offered: Spring
Note(s): Permission of instructor required.
Equivalent Course(s): ARTH 24170, AMER 34170, AMER 24170

ARTH 34615. Modern & Contemporary Materialities (Suzanne Deal Booth Conservation Seminar) 100 Units.

This course aims to explore the links between materiality, making, and meaning of modern art and investigate how surface, form, texture, and color are localized in particular artistic or historical contexts. It can be argued that the discipline of art history still remains substantially divided between those who study what objects mean and those who study how objects are made, where 'meaning' typically derives from cultural hermeneutics, while 'madeness' remains the province of technical analysis. The course will discuss the methods, theory, and strategies of a material-based approach, its forms of writing and claims to meaning. Readings will be drawn from a variety of disciplines, including art history, visual and material culture, anthropology, philosophy, and material science.

Instructor(s): M. Kokkori     Terms Offered: Autumn
Equivalent Course(s): ARTH 24615

ARTH 34625. Chinese Art & Material Culture in the Field Museum Collection. 100 Units.

Most classes will be held in the galleries of Cyrus Tang Hall of China and the Elizabeth Hubert Malott Hall of Jades on the second floor in the Field Museum. Class attendance and participation in class discussion are mandatory. The installation introduces objects in historical and anthropological contexts in keeping with the Field Museum's history and mission. It features objects made for and used by people of diverse social strata, geographies, and ethnicities and features particular types of materials used from the Neolithic through Early Modern periods of Chinese history. The class will examine artworks from perspectives of material culture, media, and image-making. Assigned readings will provide historical information and scholarly perspectives on objects in cultural contexts of production, function, religious worship, and burial in tombs. Students will closely study individual objects from these perspectives, discuss them with the class, and write about them, focusing on the significance of certain visual and material elements, their continuing use, and innovations and changes that occurred over time. The classes will also include meetings with curatorial and research staff members who will introduce their work on the collections-research, installation, and history of acquisitions. Visits will include access to conservation and storage areas.

Instructor(s): K. Tsiang     Terms Offered: Autumn
Note(s): Most courses will meet off campus at the Field Museum; plan accordingly.
Equivalent Course(s): EALC 34625, EALC 24625, ARTH 24625

ARTH 34810. The Body and Embodiment in Ancient Greek Art. 100 Units.

Whether naked or clothed, male or female, mortal or divine, the body takes pride of place in the visual worlds constructed by ancient Greek artists. Yet this emphasis on depicting the body begs the question: What is a body that exists as an image? What, in other words, is a body that is not embodied? This problem, articulated already in our ancient sources, serves as the starting point for this course's investigation of the relationship between images of the body in Greek art and the experiences such images solicited from their viewers. It examines, on the one hand, how Greek art promoted the body as a social construct--through artistic practices that configured the body's appearance, like distinctive techniques, styles, and iconography; through conceptual categories that ascribed identities, like gender, class, and race; and through contexts that integrated depictions of the body into lived experience, like sanctuaries, cemeteries, and domestic settings. But we will give equal attention to the viewer's subjective experience of embodiment, including its sensorial and affective dimensions, and the ways in which that experience is negotiated and articulated as a function of works of art. Finally, we will turn to the legacy of the Greek body in more recent centuries and consider its enduring impact as a visual paradigm today.

Instructor(s): S. Estrin     Terms Offered: Winter
Equivalent Course(s): CLCV 24818, ARTH 24810, CLAS 34818

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.

Equivalent Course(s): SCTH 35001

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.

Instructor(s): Andrei Pop     Terms Offered: Autumn
Prerequisite(s): German reading competence helpful, but NOT required.
Equivalent Course(s): CLAS 35014, KNOW 35000, GRMN 25015, ARTH 25115, SCTH 35000, GRMN 35015

ARTH 35202. Visual Encounters in the Global Renaissance. 100 Units.

This course examines the visual, material, and political encounters between the peoples of Europe, Africa, Asia, and the Americas between the era of European expansion inaugurated circa 1450 to the abolitionist period of the mid eighteen hundreds. It seeks to bring a multicultural framework to the understanding of the early modern period. We will examine the role of images, material exchange and visual reckoning in the early modern institutions and endeavors that helped shape our current world: the Atlantic slave trade, envisioning the other in European and non-European art, religious encounters and conflicts, visual and material exchange in scientific explorations, imperialism and colonialism. Special attention will be given to the enduring effects of these interactions in contemporary European societies and emphasis brought to a critical consideration of the idea of the Renaissance as a keystone of histories of 'Western' art, culture, and science.

Instructor(s): C. Fromont     Terms Offered: Winter
Equivalent Course(s): LACS 35202, ARTH 25202, LACS 25202

ARTH 35300. Pilgrimage in Antiquity and the Early Christendom. 100 Units.

This course will present an interdisciplinary interrogation into the nature of pilgrimage in pre-Christian antiquity and the rise of Christian pilgrimage in the years after Constantine. It will simultaneously be a reflection on the disciplinary problems of examining the phenomena of pilgrimage from various standpoints including art history, archaeology, anthropology, the history of religions, the literary study of travel writing, as well as on the difficulties of reading broad and general theories against the bitty minutiae of ancient evidence and source material. The core material, beyond the theoretical overview, will be largely limited to antiquity and early Christianity; but if students wish to write their papers on areas beyond this relatively narrow remit (in other religions, in the middle ages, modern or early modern periods), this will be positively encouraged!

Instructor(s): J. Elsner     Terms Offered: Spring
Note(s): This course will be taught in an intensive format twice per week, plus some individual discussion sessions to set up term papers, for the first five weeks of the quarter.
Equivalent Course(s): ARTH 25300, RLVC 38802

ARTH 35500. Avant-Garde in East Central Europe. 100 Units.

The avant-gardes of the "other" Europe are the mainstay of this course, which focuses especially, but not exclusively, on the interwar avant-gardes of Austria, Czechoslovakia, Hungary, Poland, Romania, Slovenia, and Yugoslavia. A comparative framework is employed whenever lucrative to comprehend the East/Central European movements in the wider context of the European avant-garde. The course also traces the development and legacy (political and artistic) of these avant-gardes in their contemporary scenes. Plastic, verbal, and performative arts (including film) are studied.

Instructor(s): Malynne Sternstein     Terms Offered: Spring
Equivalent Course(s): CMST 25100, CMST 35100, ARTH 25500, REES 23141, REES 33141

ARTH 35708. Imagining Private Life in Early Modern China. 100 Units.

This course examines how artists, poets, moralists, politicians, and philosophers painted, sang about, or legislated private life in early modern China. The paintings, poems, and documents we examine will allow us to peer deeply into the private lives of people speaking as intellectuals, monks, lovers, married couples, or parents. In addition to such private objects as pillows, mirrors, or personal fans, we'll also look at paintings about private matters intended for viewing in public. To prepare us for this voyeuristic voyage, we will read modern studies of early modern family life in China by historians, sociologists and anthropologists, as well as primary legal and philosophical arguments written in classical and early modern China. We will also read some primary and secondary materials relating to private life in early modern Europe. Students will acquire a basic understanding of moral, political, and legal issues relevant to the conduct of private life at the time. Along the way, students will learn the fundamentals of conducting social history research using primary materials, including visual art. We will view works at the Art Institute of Chicago as part of the class. Requirements include regular class participation, short class presentations, a longer presentation, and a final paper based on the longer presentation. Graduate students will be expected to write longer papers utilizing more advanced research methods, including the use of primary languages.

Instructor(s): M. Powers     Terms Offered: Spring
Equivalent Course(s): EALC 35708, EALC 25708, ARTH 25708

ARTH 35900. Theories of Media. 100 Units.

This course will explore the concept of media and mediation in very broad terms, looking not only at modern technical media and mass media, but at the very idea of a medium as a means of communication, a set of institutional practices, and a habitat in which images proliferate and take on a "life of their own." The course will deal as much with ancient as with modern media, with writing, sculpture, and painting as well as television and virtual reality. Readings will include classic texts such as Plato's Allegory of the Cave and Cratylus, Aristotle's Poetics, and modern texts such as Marshall McLuhan's Understanding Media, Regis Debray's Mediology, and Friedrich Kittler's Gramophone, Film, Typewriter. We will explore questions such as the following: What is a medium? What is the relation of technology to media? How do media affect, simulate, and stimulate sensory experiences? What sense can we make of concepts such as the "unmediated" or "immediate"? How do media become intelligible and concrete in the form of "metapictures" or exemplary instances, as when a medium reflects on itself (films about films, paintings about painting)? Is there a system of media? How do we tell one medium from another, and how do they become "mixed" in hybrid, intermedial formations? We will also look at recent films such as The Matrix and Existenz that project fantasies of a world of total mediation and hyperreality.

Instructor(s): W. J. T. Mitchell     Terms Offered: Winter
Prerequisite(s): Any 100-level ARTH or COVA course, or consent of instructor.
Equivalent Course(s): AMER 30800, ARTV 20400, ENGL 32800, CMST 37800, CMST 27800, ENGL 12800, ARTH 25900

ARTH 36110. Ways of Curating and Collecting. 100 Units.

This seminar takes stock of contemporary currents in curating and collecting practices at a time when we are experiencing rapid expansion of the museum sector internationally, and witnessing the growing ubiquity of "curation" within the spheres of leisure, culture, entertainment and tourism. Using institutions across campus, the city of Chicago and beyond as our primary locus, we will explore curatorial and collecting strategies employed by a variety of visual arts institutions and platforms from the scale of the single-room/single curator gallery, to the museum and the international biennial. We will consider how curatorial and exhibition-making practices have evolved from the latter half of the 20th century to the present day. We will consider the socio-cultural and political implications of curatorial work, and reflect on the shifting status of the art object within collecting and non-collecting institutions. Together we will explore significant curatorial projects at a local, national and international level; we will undertake site visits as well as play host to visiting curators, artists and thinkers. Course readings will feature the writings of seminal international curators as well as selections from historians and theorists in the field of curatorial studies. Students will work through a series of independent and collaborative assignments as well as a final project that integrates curatorial theory and practice.

Instructor(s): Y. Umolu     Terms Offered: Spring
Equivalent Course(s): ARTV 20008, ARTH 26110, ARTV 30008

ARTH 36114. Invention and Revival in European Prints, 1500-1900. 100 Units.

This course will offer a wide-ranging panorama of European printmaking using works exclusively drawn from the Smart Museum's permanent collection. We will be closely engaged with the historical development of print media and the technical advances that opened new possibilities to artists, while also addressing prints' relationship to other art forms. In addition, we will tackle broad thematic issues including originality and reproduction, dissemination and collecting, formats and genres, and markets and value. Grounded in the firsthand examination of original works of art, the course will encompass leading masters of printmaking such as Dürer, Callot, Rembrandt, Goya, and Whistler, as well as lesser-known figures and side currents in the European tradition. In concert with other course requirements, students will have the opportunity to help prepare a small exhibition of prints.

Instructor(s): A. Leonard     Terms Offered: Winter
Equivalent Course(s): ARTH 26114

ARTH 36200. Magic and the Cinema. 100 Units.

No description available.

Equivalent Course(s): CMST 35600, CMST 25600, ARTH 26200

ARTH 36790. A Curating Case-Study: The Hut. 100 Units.

This course - part curatorial practice, part art theory - will be taught in tandem with an exhibition titled "The Hut", opening at the Neubauer Collegium gallery in the spring of 2019. We will be using this exhibition project, originally conceived for the 2018 Venice architecture biennial, as a framework, test site and occasional hut-sized classroom for hands-on curatorial exercises as much as artistic and philosophical debate. Both seminar and exhibition center on three philosophers' huts; these act as platforms to discuss a wide range of issues pertaining to modern and contemporary art debates: Ludwig Wittgenstein's hut in Norway, Martin Heidegger's hut in the Black Forest, and a Ian Hamilton Finlay sculpture titled "Adorno's Hut" (after Theodor Adorno). The course will map the relationships between these three philosophers and the shadows they cast across 20th century aesthetics and art theory, as well as consider topics related to escape and escapism, exile and retreat, habitation and homelessness, as seen through the prism of architecturally inflected contemporary art practices. The seminar's bibliography will be shaped in large part by readings of said philosophers. We will also be studying artworks, meeting artists and visiting exhibitions and sites of architectural interest. A final project, consisting of writing & construction work, will seek to expand the scope of philosophical architecture and building philosophy.

Instructor(s): D. Roelstraete     Terms Offered: Spring
Equivalent Course(s): ARTV 30012, ARTH 26790, ARTV 20012

ARTH 37301. Aesthetics: Phil/Photo/Film. 100 Units.

Equivalent Course(s): ARTH 27301, PHIL 31301, CMST 39300, CMST 29300, PHIL 21100

ARTH 37304. Photo/Modernism/Esthetic. 100 Units.

The course presents the history of photographic practices in the United States, beginning in the late 19th century and extending into the 1980s, aimed at gaining an audience for photographs within museums of art. The issues under study include the contention over claims about medium specificity, notions of photographic objectivity, a peculiarly photographic esthetics, the division of photography into two categories-art vs. documentary-and the role of tradition and canon formation in the attempted definition of the photographic medium.

Instructor(s): J. Snyder     Terms Offered: Spring
Equivalent Course(s): ARTV 20704, ARTV 30704, ARTH 27304

ARTH 37420. Modernist Architecture on Campus. 100 Units.

How have universities brought modern architecture into campuses designed in traditional architectural styles, whether classical or medieval? How have they balanced architecture's capacity to exemplify a consistent institutional image and to symbolize innovative leadership? Can the two be integrated, whether in single new buildings, renovations of old buildings, or groupings of old and new? What effect do new building materials, methods, and technologies, as well as new purposes for buildings, have on these questions? While acknowledging other institutions, the course will focus on our own campus history, examining varied approaches to updating our collegiate Gothic campus architecture and layout from the construction of Levi Hall (the Administration Building) in the 1940s to the present. We will analyze buildings and campus plans in relation to the abundant and largely unstudied drawings and related building documents at Special Collections, and work together to interpret the histories we produce in the context of the broader, changeful history of modernist architecture and its debates. Our work will lay the foundation for a future architectural exhibition. This course is part of the College Course Cluster program: Urban Design.

Instructor(s): K. Taylor     Terms Offered: Autumn
Equivalent Course(s): ARTH 27420

ARTH 37800. The Material Science of Art (Suzanne Deal Booth Conservation Seminar) 100 Units.

This course will introduce students to the methods, theories, and strategies of scientific approaches to studying art objects and consider the meaning of different materials and surfaces across artistic media. It will showcase new scholarship generated in the field of conservation science and object-based art history that draws its strength from the collaborative work among scientists, conservators, art historians, and theorists. Conservation science draws on the applied sciences and engineering to understand how to preserve the world's cultural heritage and forge connections between making and meaning. The course will explore scientific examinations to investigate the production and use of art objects. Focusing on material studies of paintings and sculptures, pigments as well as their binding media, students will learn about the material make-up of art objects by employing visual analysis alongside practical studies using scientific analysis and imaging on campus and at the Art Institute of Chicago. Readings will be drawn from a variety of disciplines, including material science and chemistry, art history, visual and material culture, anthropology, and philosophy.

Instructor(s): M. Kokkori     Terms Offered: Winter
Prerequisite(s): Students must have instructor consent to register for this course. Please email Dr. Kokkori at mkokkori@artic.edu by Friday, November 17 to express your interest.
Equivalent Course(s): ARTH 27800

ARTH 38002. Islamic Art and Architecture of the Medieval Perso-Turkic Courts. 100 Units.

This course considers art and architecture patronized by the Seljuk, Mongol, and Timurid courts from Anatolia to Central Asia from the eleventh to the fifteenth centuries. While the princes of these courts were of Turkic and/or Mongol origin, they adopted many of the cultural and artistic expectations of Perso-Islamicate court life. Further, many objects and monuments patronized by these courts belong to artistic histories variously shared with non-Islamic powers from the Byzantine Empire to China. Questions of how modern scholars have approached and categorized the arts and architecture of these courts will receive particular attention. Each student will write a historiographic review essay with a research component.

Instructor(s): P. Berlekamp     Terms Offered: Winter
Equivalent Course(s): ARTH 28002, NEHC 38002, NEHC 28002

ARTH 38405. The Films of Alfred Hitchcock. 100 Units.

No single filmmaker has equaled Alfred Hitchcock's combination of popular success, critical commentary and widespread influence on other filmmakers. Currently, his work is so familiar it threatens to be taken for granted. This course will reveal Hitchcock as the filmmaker who systematically used the stylistics of late silent film to forge a dialectical approach to the so-called Classical Style. Hitchcock devised a relation among narrative, spectator and character point of view, yielding a configuration of suspense, sensation and perception. Tracing Hitchcock's career chronologically, we will follow his intertwining of sexual desire and gender politics, and his reshaping of melodrama according to Freudian concepts of repression, memory, interpretation and ab-reaction, as he navigates from silent film to sound and from Great Britain to Hollywood.

Equivalent Course(s): ARTH 28405, FNDL 26501, CMST 36500, CMST 26500

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): A.Field     Terms Offered: Autumn
Prerequisite(s): Prior or concurrent registration in CMST 10100 required. Required of students majoring or minoring in Cinema and Media Studies.
Note(s): This is the first part of a two-quarter course.
Equivalent Course(s): ENGL 29300, ARTH 28500, CMST 48500, MAPH 33600, CMST 28500, ENGL 48700, ARTV 20002, CMLT 32400, CMLT 22400

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): R.Bird     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): ENGL 48900, ARTV 20003, REES 25005, CMLT 32500, CMST 28600, CMST 48600, REES 45005, ARTH 28600, CMLT 22500, ENGL 29600, MAPH 33700

ARTH 39410. Dimensions of Citizenship: The Venice Architecture Biennale 2018. 100 Units.

In conjunction with the US pavilion at the 2018 Venice Architecture Biennale - co-commissioned by the University of Chicago and co-curated by Professor Niall Atkinson - this Gold Gorvy Traveling Seminar will explore the multiple relationships between architecture and citizenship both in contemporary practice and in historical perspective. The course will be centered around the pavilion's theme of architecture and citizenship at seven spatial scales: Citizen, Civic, Region, Nation, Globe, Network, Cosmos. Through these scales, students will engage critically with the works of participating artists, architects, and designers, works that address the spatial dimensions of belonging in contemporary society. Students will also explore the historical dimensions citizenship through Venice's complex history as a globally connected maritime empire that incorporated multiple linguistic, ethnic, and religious communities. Finally, the seminar will take account of the politics of national display at the root of the biennale itself and the relationship between historical and contemporary spatial experiences of citizenship and rights of abode, belonging and exile, migration and refuge, and the design of liminal spaces such as ships, ports of entry, quarantine centers, and ghettoes as places of agonistic cultural exchange.

Instructor(s): N. Atkinson     Terms Offered: Autumn
Note(s): This is a traveling seminar; the course in its entirety will be taught Sept 4-25 in Venice. Registration is limited and by instructor consent only.
Equivalent Course(s): ARTH 29410

ARTH 39504. Art, Community, Activism. 100 Units.

Equivalent Course(s): ARTH 29504

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. Readings will include foundational texts by Erwin Panofsky, Alois Riegl, and Meyer Schapiro and more recent texts by Yves Alain Bois, Rosalind Krauss, T.J. Clark, Douglas Crimp, Anne Wagner, Darby English, and others (as determined by students' interests).

Instructor(s): Staff     Terms Offered: Winter
Prerequisite(s): Open to MAPH students concentrating in Art History. Others by consent only.

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.

Equivalent Course(s): CMST 40000, MAPH 33000, ENGL 48000

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 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): Required of all first year Art History PhD students.

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, SCTH 50204, RLVC 50204, CMLT 50204, CDIN 50204, SALC 50204

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): KNOW 40301, HREL 40301, LACS 40301, ANCM 44916, CDIN 40301, CLAS 44916, HIST 64202

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, NTEC 40400, CLAS 42600

ARTH 41350. Straight Lines and Infrastructural Sensibilities. 100 Units.

In this course, we will use the proliferation of straight lines in 20th century art as a point of departure for studying the changing relations between art and infrastructural frameworks - whether such frameworks are used as models or sources of inspiration, or are concretely deployed as a technical or material support. In this context, composer and Fluxus pioneer La Monte Young's 1960 Draw A Straight Line and Follow It (and a number related works) may be seen to signal a shift in the relation between art and infrastructure: Here, the industrial technologies evoked in the work of Bauhaus, Constructivism and Dada/Surrealism seem to have given way to the post-industrial infrastructures that become more socially and economically significant after 1945, with the emergence of electronic and digital networks. We will study the significance of the straight line across a wide range of media and expressions, including architecture, painting, drawing, film, video and computer art. More specifically, we will look at how the changing deployment of the straight line in art signals changes in the relation between bodies, sensation/sensibility and technical systems that operate at macroscale as well as microscale levels.

Instructor(s): I. Blom     Terms Offered: Autumn
Equivalent Course(s): CMST 55250

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

Equivalent Course(s): RLIT 41604, HCHR 41604

ARTH 42009. Art, Science, and Magic in the Pre-Modern Islamic World. 100 Units.

This seminar examines relationships between arts and the study of the cosmos in the pre-modern Islamic world. Our objects of study mediated human understanding of the cosmos, and/or offered humans the possibility of manipulating their position within it. The media in which these objects were made include manuscripts, textiles, ceramics, metalwork, and architecture. Recurrent questions of the seminar include the following. How closely can we define historically appropriate theoretical frameworks (eg., Neoplatonic, Hermetic, Aristotelean, Prophetic Medicinal) for particular objects? How do we explain objects of similar forms which might be theorized through divergent models, or objects of divergent forms which might be theorized through similar models?

Instructor(s): P. Berlekamp     Terms Offered: Autumn
Equivalent Course(s): NEHC 40723

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

This course will examine written and visual material testifying 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 from the period 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 travellers to the Holy Land written between the fourth and fifteenth centuries, extracts from medieval chronicles, and eye-witness accounts drawn up during the period of the Crusades. These writings illuminate how individuals of different religious backgrounds experienced sacred space and rituals performed at various holy sites. On a broader scale, they offer insight into perceptions of religious identity, superiority, and "otherness." Last, but not least, these texts inform us about the physical appearance of sites and buildings that no longer exist or have undergone multiple refurbishments. In addition to the textual material, we will study art and architecture created in the Holy Land 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). The sacred sites and dynamic history of the Holy Land have of course stimulated human imagination and creativity well beyond its geographical confines as well. We will thus also study phenomena of its reception in medieval Europe as manifest, for instance, in the illumination of manuscripts, stained glass windows, architectural replicas of the Holy Sepulchre, narratives of the "Holy Grail," or notions of the "Heavenly Jerusalem."

Equivalent Course(s): RLVC 45200, HCHR 45200

ARTH 42510. Renaissance Florence: New Works on Paper. 100 Units.

ARTH 42511. Origin of the Fetish. 100 Units.

Since the 17th century, the term fetish has been a key word in discourses about African visual, material, and spiritual culture. In fact, following the origins and evolution of the word and of the objects to which it has been attached along the centuries maps out a history of Atlantic Africa's relationship with the wider world. Bringing together African and European objects that participated in the construction of the term and its multivalent meanings, this graduate seminar investigates the origins and history of the fetish in Atlantic Africa.

Instructor(s): C. Fromont     Terms Offered: Winter

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.

Instructor(s): M.J. Jackson     Terms Offered: Spring
Equivalent Course(s): ARTV 39901

ARTH 43701. Neo-Avant-Wave: Post War Film Experiment in France. 100 Units.

The New Wave. The Neo-Avant Garde. Rarely have these film and art movements been placed into an explicit historical or theoretical dialog or dialectic. It will be the task of this seminar to do just that. We will begin our study with a brief look into the pre-WWII situation of radical art and film movements, and classic theories of the avant-garde and neo-avant-garde. Turning our attention to the rise of Lettrism within the context of post-war film and art culture, we will subsequently evaluate the conditions that surrounded the emergence of New Wave filmmaking and criticism, and that include the Situationist International and Nouveau Réalisme. As we move toward and beyond the events of May 1968, we will bring our study of social documentary, politically militant forms, collective film and art practices, and historiography to bear on purportedly stable understandings of the New Wave, its art historical forebearers, and its heirs. Reading knowledge of French is required. While some of our texts will appear in English translation, many will not. The seminar will be conducted in English, but the last thirty minutes of each session will be conducted in French. This component is intended to improve students' oral proficiency, but it will not be used in student evaluation. Screenings are mandatory. With some possible exceptions, films will be subtitled. Students enrolled in FREN 43713 will be required to complete all reading and writing in French.

Instructor(s): Jennifer Wild     Terms Offered: Autumn
Equivalent Course(s): CMST 63701, FREN 43713

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): C. Foxwell     Terms Offered: Winter
Note(s): Open to first year Art History PhD students.

ARTH 44013. Expanded Arts 1958-1978. 100 Units.

Equivalent Course(s): MAPH 44013

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

Equivalent Course(s): HCHR 44004, RLST 28704, RLIT 44004

ARTH 44616. Music and Images, 1450 - 1650. 100 Units.

Equivalent Course(s): MUSI 44616

ARTH 45006. Breakage & Fragments in China's Visual & Material Culture. 100 Units.

Although art historians mostly work with complete and fine artifacts, the same artifacts are subjected to breakage in one way or the other. After broken, while they may escape art historical scrutiny, most of the artifacts of our research don't just get discarded like trash; rather they solicit various cultural practices in order for people to come to terms or deal with the very existence of their fragments. Fragments of artifacts do not completely erase their past, but incompleteness nonetheless challenges their previous ontology. It is in this regard that breakage and fragments shift our focus from appreciating forms and functionalities of artifacts to reconciling with their terminations (death) and continuous survivals (afterlife), thus entailing our attention paid to their incomplete visual qualities and material properties. In this course, students will investigate ways in which breakage can be considered as an important cultural agency that could regenerate meanings and significance of fragments throughout the history of China's visual and material culture - in such forms as relics, ruins, memorabilia, etc.

Instructor(s): W. Lin     Terms Offered: Spring
Equivalent Course(s): EALC 45006

ARTH 45015. Miraculous Images, Animated Objects, & Enchanted Places in Chinese Art. 100 Units.

Through relating actual objects, paintings, religious icons, and constructed spaces to accounts in different literary genres, this course explores how imagination is connected to image-making, and how visual and architectural forms express desire and fantasy.

Equivalent Course(s): EALC 45015

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 47105. The End of Dharma & Buddhist Art in Medieval China. 100 Units.

According to a widespread belief in medieval China, Buddhism as a religion would go through three stages and end with the Age of Final Dharma (Mofa), when the Three Treasures (the Buddha, the Dharma law, and the monastic community) would be extinguished. This course explores the impact of this belief on artistic production in various forms of sculpture, sutra-engraving, and others.

Instructor(s): H. Wu     Terms Offered: Winter
Equivalent Course(s): EALC 47105

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 47300. -/+: Molding, Casting, and the Shaping of Knowledge. 100 Units.

Of all technologies of reproduction and resemblance, those of molding and casting are perhaps the most intimate. An object, a sculpture, a creature, a person is slathered in plaster (or some other form-hugging material), and the resulting "negative" image is rendered into a "positive" replica. This course explores the various historically and culturally contingent meanings that have been attached to these technical procedures-despite their ostensibly "styleless" or "anachronistic" character-from the ancient world to the present day. Used in practices ranging from funerary rituals to fine art, natural history to medicine, anthropology to forensics, molding and casting constitute forms of knowledge production that capture at once the real and the enduring, the ephemeral and fleeting, and the authentic and affective. Featuring a diverse set of readings by authors such as Pliny the Elder, Charles Sanders Peirce, Walter Benjamin, Oswald Spengler, Gilbert Simondon, and others, the colloquium will address theoretical and methodological questions pertaining to concepts of materiality, indexicality, tactility, scalability, and seriality. Besides plaster, the objects of our analysis will comprise a diverse range of media including but not limited to wax, metal, photography and film, synthetic polymers, and digital media.

Instructor(s): P. Crowley and M. Rossi     Terms Offered: Spring
Equivalent Course(s): CHSS 57000, HIST 57000, ANTH 54835, KNOW 57000

ARTH 47605. Photography and East Asian Art. 100 Units.

How does photography make art and architecture and shape our understanding of it? This course begins with the earliest years of photography in East Asia and covers both the photography of sites and artifacts and discourses surrounding photography's status as an art. Japan is the instructor's area of expertise, but efforts will be made to cover China and Korea as well. Students will pursue individual research projects and share them with the class.

Instructor(s): C. Foxwell     Terms Offered: Autumn
Equivalent Course(s): EALC 47605

ARTH 47911. Art and Public Life. 100 Units.

The aim of this seminar-colloquium will be to work through some of the most advanced thinking on ideas about publics and their relation to questions of community, politics, society, culture, and the arts. From John Dewey through Hannah Arendt and Jurgen Habermas, the notion of the public has remained central to a wide variety of debates in the humanities and social sciences. What is a public? How are publics constituted? What is the role of real and virtual space, architectural design, urban planning, and technical media, in the formation of publics? And, most centrally for our purposes, what role can and do the arts play in the emergence of various kinds of publics? The colloquium aspect of the course will involve visiting speakers from a variety of disciplines, both from the University of Chicago faculty, and from elsewhere.

Instructor(s): W.J.T. Mitchell, T. Gates     Terms Offered: Autumn
Equivalent Course(s): ARTV 37911, ENGL 32821, MUSI 35014, CMST 37802

ARTH 48215. Modernism into History. 100 Units.

How was the historical rupture that modernist art represented eventually written into history? And how was this once avant-garde art made into a museum mainstay? Concentrating on the reception of French impressionism and post-impressionism, this seminar will examine the processes by which the beginnings of modernism were critically defined, historically narrated, archivally documented, and eventually incorporated into museums. We will consider, too, how these critical and historical takes on modernist beginnings were themselves subject to revision in relation to developments in contemporary art, societal expectations and political imperatives. Key texts and exhibitions come from between 1900 and 1970, in France, Germany, England and the United States. Participants will be expected to develop a research presentation and paper on a topic of their choice related to the seminar.

Instructor(s): M. Ward     Terms Offered: Winter

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, CMLT 38600, REMS 37000, SCTH 37000

ARTH 48610. Pop Art, Then and Now. 100 Units.

Equivalent Course(s): AMER 48610

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 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 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): W. Lin     Terms Offered: Autumn

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): W. Lin     Terms Offered: Spring

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.

Equivalent Course(s): SCTH 50400

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

Advanced Study: Art History