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

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

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

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

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

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

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

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

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

This is an advanced section of the survey of world art and culture, prehistory to 1850. It is intended for BAAH students, Scholars Program students, and students interested in the history of writing about art (and teaching the survey). We will begin at 500,000 BC, and cover approximately 50 cultures; the list is at ow.ly/Y902K. In each case we will also question the ways historians describe the culture; we will study the ways art history textbooks promote certain senses of art and national identity; and we will consider how other institutions have tried to teach the global survey. The class is difficult, and requires a lot of memorization. Concurrent Registration in one ARTHI 1101: Discussion Section for Advanced Survey of World Art Prehistory to 1850 is required.

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

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

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

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

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

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

In this course, students will learn the basics of film language, cover the evolution of various stylistic and ideological trends throughout the medium, and gain a core understanding of how to critically analyze film and other media forms from formal, historical, and cultural theoretical perspectives. While the specific films screened may vary, course screenings and readings generally cover the development of Hollywood and studio-based filmmaking practices, diasporic and exilic models of filmmaking, European New Waves, televisual practices of media making, and topics in new media. Students will complete quizzes and a comprehensive final exam to demonstrate their understanding of course terminology, concepts, and themes, as well as a number of short written analyses to exhibit their competency and skill in constructing original scholarly argumentation.

Students will review the materials from the previous week's lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations. Concurrent Registration with 1353: ARTHI 1001 005: Advanced Survey of World Art From Prehistory to 1850 section required.

Students will review the materials from the previous week's lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations. Concurrent Registration with 1353: ARTHI 1001 005: Advanced Survey of World Art From Prehistory to 1850 section required.

Students will review the materials from the previous week's lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations. Concurrent Registration with 1353: ARTHI 1001 005: Advanced Survey of World Art From Prehistory to 1850 section required.

Students will review the materials from the previous week's lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations. Concurrent Registration with 1353: ARTHI 1001 005: Advanced Survey of World Art From Prehistory to 1850 section required.

This course plunges students into content and ideas that universities often leave until graduate school, as we consider the role played by the 'critical' in 'visual and critical studies.' For the past ten years, it has been referred to as 'a primer for the art world.' It will still, mostly, provide you with a working vocabulary and crash course as to bodies of knowledge integral to the study of visual culture. At the same time, to productively engage in a reflective critique of society and culture, it will consider 'texts' from as diverse and contemporaneous a group of scholars, theorists, critics, and cultural producers as possible, from both inside and outside the academic institution.

This course plunges students into content and ideas that universities often leave until graduate school, as we consider the role played by the 'critical' in 'visual and critical studies.' For the past ten years, it has been referred to as 'a primer for the art world.' It will still, mostly, provide you with a working vocabulary and crash course as to bodies of knowledge integral to the study of visual culture. At the same time, to productively engage in a reflective critique of society and culture, it will consider 'texts' from as diverse and contemporaneous a group of scholars, theorists, critics, and cultural producers as possible, from both inside and outside the academic institution.

Since the Exposition des arts incoherents in 1882, the orthodox story of art has been pre-figured, parodied, or echoed by ideas and activities which are less well-known but nevertheless informative about the state of the arts through modernism to today. Including Hydropaths, `pataphysicians and members of groups called Lettrisme or Neoism, propagating ideas ranging from transmental to pandrogenic, this course identifies and contextualizes some of the salient adventures of those who ignore convention to create and play before the vanguard and behind the canon.

This course surveys the history and production of clay and ceramics, from one of the earliest ceramic objects known, dating back some 20,000 years, to the present use of clay in contemporary art, design and craft. The course will take us through every continent and be looking at the use of ceramic in different cultures at different times though history. Attention will be given to the role clay and ceramic plays in our human development both as ritualistic, artistic and functional handmade and mass-produced objects. From ceramic in an ancient caves to NASA and the use of ceramic in space and everything in between.

Is it possible to have, or should we even want, an African American Art Historical canon?This class argues that the history of African American Art offers us, in practice and theory, resistant histories of 'high' and 'low' art, everyday objects, and ways of seeing. By conducting a chronological approach to African American Art, we will trace moments of historical continuity as well as emerging practices in order to better understand how the methods, materials, and meanings bracketed under the category of African American Art have been a site of innovation, experimentation, and avant-garde practice. We will spend this semester juxtaposing conventional approaches to art (painting, sculpting, line drawing, installation) with innovative approaches to visual culture (found objects, everyday materials, contemporary performance). Artists of inquiry include Augusta Savage, Aaron Douglass, Hale Woodruff, Charles White, Elizabeth Catlett, Faith Ringgold, Sam Gilliam, Alma Thomas, David Hammons, Senga Nengudi, Marlon Riggs, Arthur Jafa, Rashid Johnson, Sadie Barnette. We will also discuss author-less works, collectives, and collaborate projects. Students are required to complete an annotated bibliography, weekly in-class assignments, and a 3 hour final examination.

This seminar examines inter-related practices of bookmaking, drawing, painting, and printmaking from Mexico-Tenochtitlan, Renaissance Venice, Safavid Isfahan, Mughal Delhi, Ottoman Jerusalem, colonial Ireland, Baroque Rome, Qing Wutaishan, and Tokugawa Edo. We scrutinize octavos, folios, codices, and albums. We look at how graphite, ink, watercolor, and engraving tools were used to embellish images, and alter the boundaries separating prints, drawings, and paintings. Writing assignments emphasize close looking, close reading, and careful revision. Class discussions focus on representations of architecture, paying particular attention to innovations in visual form and their cultural and political meanings. Students are expected to write and revise short essays responding to texts and images produced by architects.

This course surveys the history of architecture and design, including furnishings, decorative arts and interiors, from the earliest settlements of the Neolithic Era until the onset of Neoclassicism in the late Eighteenth Century. Special attention is given to the developments that have remained most influential within the architecture and design of today, with particular emphasis on ancient Greece and Rome, Early Christian, Byzantine and early Islam, the European Middle Ages, and the Renaissance, Baroque and Rococo cultures. Through extensive lectures and readings, special focus in this class is devoted to the art of the Greek temple, Roman civil engineering, the rise of monasticism in the early Middle Ages, early Byzantine and early Islamic religious design, pilgrimage and Romanesque church building, Gothic Europe and the age of cathedrals, Italian Renaissance architecture and the rise of Humanism, Baroque churches and papal patronage, French chateaux and absolute monarchy, and the origins of Modernism during the eighteenth-century Enlightenment. Students will complete a combination of in-class and take-home exams along with a final research paper on a topic chosen in consultation with the instructor.

This is an undergraduate survey of modernism and postmodernism in Latin America from the 1920s through the present. Topics will include national identity and 'anthropophagy' in the first wave of modernism in the region, debates over Surrealism and realism in the 1930s, the transition from 'concrete to 'neo-concrete' form and the link between architecture and developmentalism in the 1940s, 1950s and 1960s, conceptual art and politics in the 1960s and 1970s, and more recent sculptural, photographic, performance, and relational practices. Specific topics include the cosmopolitan avant-garde that appeared in Mexico at the start of the 1920s, the theorization of anthropofagia in Brazil and indigenismo in Peru, Cuba?s Grupo Minorista, Mexican muralism and surrealism, Joaquin Torres-Garcia?s introduction of abstraction to Uruguay and Argentina, links between art and architecture in Venezuelan and Brazilian developmentalism, the rise of kinetic and participatory approaches in the 1950s and 1960s, conceptual art as a response to the dictatorships of the 1960s and 1970s, Latinx and Chicanx actions and performance in the United States, the politics of memory in post-dictatorship/violence art in Chile and Colombia, persistent questions of borders and internationalism in contemporary approaches to ?relational aesthetics? in Central America and the Caribbean, and many other examples. This course requires weekly reading responses, two papers, and a final exam.

This course examines the emergence, growth and evolution of art by Asian Pacific Islander Americans throughout the twentieth century especially in the aftermath of the Civil Rights Movement that also spawned a genesis of Asian American identity, culture and activism to the late 1980?s during the apex of multiculturalism and the politics of representation to the transnationalism of the new millennium and beyond. Through readings, field trips, and film screenings, our class will consider the ongoing debate of what constitutes Asian American art by looking at artists including Isamu Noguchi, Roger Shimomura, Nam June Paik, Yoko Ono, Maya Lin, Tseng Kwong Chi and others within these historical, cultural and political contexts to discuss how questions related to stereotype, cultural difference, gender politics, and identity construction affected and shaped its development and meaning. Course work will include in-class presentation, two research papers as well as a mid-term and final exam.

This course introduces Korean visual culture by examining images and objects in their historical, social, religious, and philosophical contexts. It covers key examples of paintings, ceramics and Buddhist art from the Three Kingdoms period to the Choson dynasty, through Modern Korean art, This course helps students gain a comprehensive understanding of traditional Korean visual culture and its modern legacy.

This course examines significant developments in European architecture, with regard to structure, function, and style, from the Industrial Revolution in the late 18th century through the outbreak of World War I. Major architects and their works are dealt with in the context of pertinent practical, theoretical, and social issues, to assess the overall prominence of architecture in the period of emergent modernism in Europe.

This course is a chronological history of human dress from pre-history to the 20th century, and from archaeological remains of ancient cultures, through diverse global material technologies and markets influencing dress, through European monarchical and social class attire, to global exploration and colonialist effects upon worldwide human dress and ways of life. Portraiture, artistic dress and reform dress will be seen to evolve and transform long-standing gender binaries in human dress. Historic styles will be seen to continue to influence contemporary dress and fashions. The sartorial contributions of diverse historical and global human cultures also be appreciated for their innovations and ongoing influences. All students may become conversant with the anatomy, language and literature of dress. Learning experiences include lectures, readings, library and museum visits, observational sketching and noting from documents of dress, film viewing and spoken illustrated presentations in class. Focus on primary, secondary and tertiary sources of clothing information will be essential. Historical accuracy, creative anachronisms and research of period clothing will be expressed in film viewing and Ryerson Library antique costume books. Visits to Art Institute curatorial departments to view period armor, textiles and garments will provide essential experiences of historic dress. Assignments will include: self-introductory observations on a museum exhibition visit, a spoken presentation from a group of diverse Documents of Dress sketched and noted by each student on visits to about 6 libraries, museum installations and curatorial departments, and a final presentation/research paper of 10 pages on a Personification of Style, an individual whose attire and accomplishments made important cultural contribution in their time. Citations and bibliography are essential for credit. Knowing your sources is essential.

This course is designed to serve as an introduction to film analysis, in which students learn the basic concepts and vocabulary of film aesthetics and criticism. We examine different trajectories of film, studying mainstream film practices next to alternative ones. By studying the basics of film form and film style, through examples from different national cinemas, genres, and directorial oeuvres, students learn to analyze and write about films as both formal and cultural constructs. Along with questions of film technique and style, we study cinema's relationship to popular culture and fine art. The films discussed include works by Griffith, Eisenstein, Welles, Hitchcock, and Godard. This course does not assume any prior exposure to film studies.

This seminar is part of the 'Global Cinema Histories' film series at the Gene Siskel Film Centre, where we will meet to watch films and discuss them. The term propaganda, originally used for religious purposes to “propagate” faith, has historically been seen as a neutral or even positive tool to disseminate information, and is characterized by forceful messages and aesthetics. For both politicians and activists, propaganda has practical uses. More often than not, today the term elicits strong responses of wariness and dubious denial. The focus of this course is on the filmic output related to propaganda in the 20th and 21st centuries, when new technologies and the use of reproductive media met mass movements and big political shifts. We will cover Italian Fascism and German National Socialism’s “aestheticization of politics”, as Walter Benjamin described it. We will address Eastern European Socialist Aesthetics, revolutionary cinema in China and Hong Kong, the White Terror years in Taiwan, the pop culture of a divided Korea, and the revolutions in South America. We will explore the relationship of propaganda to colonialism, imperialism, and globalization. We will consider official politics, grassroots movements, and the blurred lines distinguishing these realms. Writing short reflections and reviews, some reading, and lots of time for discussion will structure the course.

This seminar is part of the 'Global Cinema Histories' film series at the Gene Siskel Film Centre, where we will meet to watch films and discuss them. The term propaganda, originally used for religious purposes to “propagate” faith, has historically been seen as a neutral or even positive tool to disseminate information, and is characterized by forceful messages and aesthetics. For both politicians and activists, propaganda has practical uses. More often than not, today the term elicits strong responses of wariness and dubious denial. The focus of this course is on the filmic output related to propaganda in the 20th and 21st centuries, when new technologies and the use of reproductive media met mass movements and big political shifts. We will cover Italian Fascism and German National Socialism’s “aestheticization of politics”, as Walter Benjamin described it. We will address Eastern European Socialist Aesthetics, revolutionary cinema in China and Hong Kong, the White Terror years in Taiwan, the pop culture of a divided Korea, and the revolutions in South America. We will explore the relationship of propaganda to colonialism, imperialism, and globalization. We will consider official politics, grassroots movements, and the blurred lines distinguishing these realms. Writing short reflections and reviews, some reading, and lots of time for discussion will structure the course.

This course discusses the development of photography as both an art and a tool, including its invention, the initial social reaction to the photograph, the careers of major photographers, movements, and commercial publishers. The interrelationships between photography, art, science, and society are emphasized.

In 1839 a new means of visual representation was announced to a startled world: photography. Although the medium was immediately and enthusiastically embraced by the public at large, photographers spent decades experimenting with techniques and debating the representational nature of this new invention. This course focuses on the more recent history of this revolutionary medium. From the technological advancements that characterized the rise of photography in the commercial world during the 20th century, and the acknowledgement of photography as an artistic medium in its own right, to the digital revolution and its social media applications, we will consider the technological, economic, political, and artistic histories of photography through selected works of art and seminal critical texts. This course considers photography in a global context. We focus on seminal texts and images in order to explore ethical, commercial, artistic, and political issues that make photography essentially important to our contemporary visual culture. The course explores broad range of photographic practices, techniques, and approaches including the work of Hannah Hoch, Martha Rosler, Hiroshi Sugimoto, Dawoud Bey, Gordon Parks, Nan Goldin, Cindy Sherman, William Eggleston, Shirin Neshat, Wolfgang Tillmans and many more. We regularly visit the collections of AIC and MCoP to enrich our class discussions with private print viewings and exhibition critiques. Students are expected to share an image of their choice in response to the assigned weekly reading. These images are used in class discussion. There also is a final paper, a final presentation, and an in-class test.

This course offers an historical survey of music as a sonic art form from the Futurists to the present day. Emphasis is placed on works that tune the performance environment, explore sound as sculpture, interact with the listener/viewer, and employ intermedia. Class discussions include topics such as basic psycho-acoustics, sound manipulation, conceptual art, installation techniques, and constructivist aesthetics.

This course is designed to provide a comprehensive introduction to the history of video art from its emergence in the late 1960s through our present moment. Students will examine key works and the major historical, cultural, and aesthetic influences on the form.

This general survey of graphic design between the 19th and 20th centuries maps the relationships between graphic design and various commercial and cultural institutions under the broad category of the modern. Students study the issues and problems that faced designers, their clients, and their audiences, in the negotiation of commercial and social changes. Through lectures, readings, discussions, and museum visits, the course examines the cultural, social, economic, political, industrial, and technological forces that have influenced the history of graphic design. Course work includes object analysis assignments, research paper, and mid-term and final exams.

Exploring the art, fashion, music of the 'Jazz Age'this class reveals the enduring impact 1920's aesthetics has had on contemporary fashion, art and social customs. Starting with an exploration of the differing mind sets of Europeans versus Americans, this class then takes an in-depth look of the artists and lifestyles 1920's Paris that had been greatly impacted by the influx of Americans after the First World War. The class ends with the lasting legacy of the Jazz Age, which was seen particularly in the 1960's, but currently has resurfaced in contemporary issues of gender identity. More specifically, this class examines using film and texts the two key Jazz Age couples; F. Scott and Zelda Fitzgerald and Gerald and Sara Murphy. The former couple establishing the persona of 'the flapper' and the latter couple establishing a major link between American in France and the Famous School of Paris artists particularly Picasso. Other key figures are examined such as the first major Chinese American actress Anna May Wong and the black performer Josephine Baker as well as fashion designer Coco Chanel and film star Clara Bow. Course work revolves around two key texts as well as a reading the Great Gatsby. Reading questions accompany the 1st text and essay is required to explore the other text in relation to the Great Gatsby. There is also one final paper on one Jazz age artists of the student's choice.

This course examines secular art of Europe and the Mediterranean cultures. The traditions of epic story telling, fabliaux writings, popular and courtly narratives and political commentary are examined by looking at medieval tapestries, ceramic tiles, glass, wood sculpture, woven and embroidered textiles, enamels, ivories, metalwork, wall paintings, architecture and articles of dress. Students look at how the world of visual satire invades the sacred space of church and religious manuscripts and how the narrative image, public and private, religious and profane acts as text in a time before the printed book. The course includes two field trips to local museums.

This course explores the history of 20th century warfare through the lens of art and history, most especially photography. An upper-level undergraduate course, lectures and discussion likewise aim to introduce students to both the uncanny strangeness and implicit violence embedded in the photographic medium. In this way, the material of the class reaches beyond only explicit representations of war, and instead also considers how the medium of photography is today part and parcel with our modern, contemporary experience of witnessing violence. Chronologically structured, the course considers the ever-shifting ethos of representation and war with pictures beginning in 1898 and the American imperial projects across the Philippines. However, with the American Civil War looming in the immediate background of democratic identity and pictorial practice, the 1865 war photographs from Alexander Gardner and Timothy O'Sullivan unofficially commence our investigations. We then speedily arrive at the wars in the Pacific (1898) and slowly traverse through the long 20th century: WWI, the inter war years, WWII (Hiroshima; the death camps and Lee Miller's Hitler), Korea to Vietnam, Iraq and the 'Desert Storm' wars, 9/11, and Abu Ghraib--these are some of the historical markers structuring the material of the course. As we often traverse beyond the edges of mere binary and literal representations of war, the course will as importantly incorporate art photography from some of the most consummate American masters of the last century: Walker Evans, Robert Frank, Diane Arbus, Eugene Smith, Carrie Mae Weems, Diane Lawson, Dawoud Bey, An My Le and others comprise this short list. The ways in which pictures are often obliquely and subtlety inscribed with a pathos of war are always fundamentally at stake. Finally, the basement photography gallery at the Art Institute as well as rotating special exhibitions will offer the class firsthand opportunities to discuss photographic works of art in person. Moreover, their will be two film screenings across the term and students will be expected to attend the screenings and in turn contribute to related conversation. Students will be asked to complete one short (2-3 pages) and one long (6-8) end of the term paper. Topics may vary but all students will be asked to discuss their final project with the professor; most pressing at stake is the writing process, one's own art historical temperament, and perhaps most fundamentally: how can we (students and artists) learn to put words to images, going beyond blithe captions and ironically glib, disinterested tropes. Ideally there will also be a short final written exam (20% of the final grade): this will include two long essay questions; three short questions; and 15-20 works of photography to be identified.*I write this with hopes that a short exam, though challenging, will encourage students to truly engage with the material at hand--learning and memorizing and critically thinking that goes beyond rote knowledge.

This course will survey a broad range of objects and settings, and attempt to familiarize students with relevant media and techniques, as well as important intellectual, social, and political developments that informed the production and reception of art in Italy from the 15th through the early 17th centuries. Students will gain exposure to original works through appropriate use of relevant collections. They will hone their skills in visual analysis and their ability to engage art and express positions and observations about art orally and in writing. The major assignments for the class will include a formal analysis paper, an object presentation, and an object response. Introductory context readings will be complemented by selected original readings (in translation) and exemplary art historical scholarship on the period. All readings will be available on Canvas.

This course offers a survey of the history of manga (Japanese comics) from its premodern predecessors to the present. Beginning with narrative picture scrolls in the medieval period, it will touch on forms of humor and political cartooning in the 19th and early 20th centuries, before moving onto multi-page stories, serials, and standalone books within the serially paneled comics medium. Related developments in non-Japanese comics and media like film, animation, illustration, and painting will also be considered. Among the major artists to be considered in this course are: Hokusai, Tagawa Suiho, Tezuka Osamu, Tatsumi Yoshihiro, Shirato Sanpei, Tsuge Yoshiharu, Hagio Moto, Otomo Katsuhiro, Takahashi Rumiko, and Tagame Gengoro. Students will be required to complete weekly readings, including translated manga and historical/interpretive essays, in addition to occasional reading responses, a research paper, and a final exam.

This course investigates the international art movements of the 1920s and 1930s such as Constructivism, Purism, the Bauhaus, De Stijl, Neoplasticism, and other movements that favored a nonobjective mode. After its initial development before World War I, how did nonobjective art develop, justify itself, change, and find new roles in the troubled period of the Roaring Twenties and the Fascist Thirties? These questions are explored in lectures and discussion.

This course surveys the history of Japanese prints of the late 19th and 20th centuries. Beginning from the last phase of the ukiyo-e woodblock prints, we will examine the two major art movements, shin hanga and sosaku hanga, and also some contemporary prints. The variety of expressions were cultivated by artists reviving and renewing traditional prints, reflecting social cultural changes, individual interests and styles, as well as by refining printing techniques. Alongside gaining understanding of historical developments, the course considers the wide array of ideas on what the print medium can characteristically express. The works we will examine range from the traditional print subjects such as landscapes or figures to completely abstract subjects such as emotions. Examples of the artists who might be studied include Hashiguchi Goyo, Ito Shinsui, Kawase Hasui, Kasamatsu Shiro, Yoshida Hiroshi, Yamamoto Kanae, Onchi Koshiro, Kawakami Sumio, Azechi Umetaro, Munakata Shiko, Hamaguchi Yozo, Saito Kiyoshi, Komai Tetsuro, Ikeda Masuo, and many others. Individuals, some artists' groups, and art magazines that were important to the development of the print history will be reviewed. There will be visits to the AIC to view the actual print examples of the artists we will study in the classes. Course work will vary but typically includes weekly reading, two writing assignments, presentation, and one exam.

Beginning with the Armory Show in 1913, this course examines the arts in America from the time of the Stieglitz circle's modernist views through the various strains of Regionalism leading up to the emergence of the first generation of Abstract Expressionists in the early 1940s. The artistic developments are considered in the context of the complex social and political issues of the period.

In this course, we will explore the ways in which the idea of persistence might be said to characterize modern and contemporary Native American and Indigenous arts practices--including performance, film, video, painting, sculpture, printmaking, and photography, among others. The artists we will examine employ a range of tactics to engage social, cultural, economic, and political relationships as they occupy and articulate Indigenous worldviews and systems of knowledge that are often incommensurable with Settler structures and ideologies.

This course explores African American art through a study of significant museum and gallery shows from the 1920s to the present. The course offers a survey of African American art through an examination of the institutions and also the conceptual contexts (or ideological framings) that have supported its presentation over the past 90 years. Exhibits such as 'Harlem on My Mind'; 'Freestyle'; 'Frequency'; 'Only Skin Deep'; and 'Let Your Motto Be Resistance,' among others, provide a context through culture.

This course surveys decorative and industrial arts and design in Europe and America from 1920 to 1949, in cities including Paris, London, Berlin, Munich, Prague, Budapest, Milan, Los Angeles, and Chicago. Styles ranging from Art Deco to Art Moderne are covered, with special focus on the impact of the Bauhaus and Cranbrook, as well as on the contributions of Mies van der Rohe, Gropius, Saarinen, Wright, and Loewy, et al. Textiles, furniture, ceramics, glass, interiors, and automobiles are among the topics discussed.

The U.S. gained status as a significant site of design culture in the 20th century due to factors including its industrial strength, an influx of immigrants bringing global influences, and its export of consumer culture and propaganda during and after the Cold War. This course covers key developments of an American design culture, with an emphasis on using local collections of architecture, furniture, products, graphic design, and fashion. Design movements and topics we will cover include: industrialization and the survival of craft (Louis Sullivan, Frank Lloyd Wright, Chicago's Columbian Exposition); the home as a site for technology and style (Christine Frederick, Le Corbusier, Bauhaus Dessau/Bauhaus Chicago); gender and race as represented in design (Bronzeville, Case Study Houses); activism within design and changing senses of design?s role in society (Buckminster Fuller, Victor Papanek, Robert Venturi/Denise Scott Brown). Assignments include research, writing, and class presentations on an object of design history in a Chicago collection (such as the Art Institute, Flaxman Special Collections, Fashion Resource Center, or a local significant building), and brief reading responses. The final project asks, ?what is 21st Century American Design Culture?? and asks students to compare a work from the turn of the millennium to a comparable object of today.

This class surveys the development of draftsmanship as the key element of workshop practice. This class exploring in-depth all the major drawing materials and their formulation; all of which are still used today. This class then looks at which major artists chose each of these media as an example to illuminate how students should also search for the proper drawing materials to express their own individual visions. Aspects of drawing such as history of caricature and self portrayal are also analyzed. Major artists are explored from post medieval age i.e. Jan Van Eyck to Renaissance masters such as Leonardo, Michelangelo and Raphael especially in regards to drawing materials, techniques and anatomy. Contemporary artists as diverse as David Hockney, and Jim Dine, William Kentridge are also examined through documentary films and discussed in relation to former art techniques. This class making the student aware of the ongoing impulse of mankind to draw and yet also makes the student highly aware how the discipline of drawing is key to a whole range of artists from fine artists, to architects to animators. There are weekly reading fromm a book on Old Master Drawings mostly in regards to materials, techniques and anatomy. But equally are many trips to the Art Institute museum to establish through discussions the learning of connoisseurship. Two papers: a mid-term and a final are written about specific drawing of a specific artist of the student's choice; one of which must be a class presentation.

The documentary, once regarded a vehicle for the heroic confrontation of artist and society, has been questioned in recent years. This course studies readings and selected documentaries that illustrate certain key issues: 1) truth claims: Does the documentary seek to validate its claim to truth or does it problematize such claims? 2) the authority of the documentaries: By what right do the makers speak for the subject of the documentary? How are subjects allowed or made to speak for themselves? How is the authority of the maker of documentaries undercut? and, 3) construction of the audience: Do the documentaries or their subjects seek to address or ignore the beholder/audience? How does it try to move its audience to action or participation? Recent feature-length works have included Yance Ford's 'Strong Island'; Kirsten Johnson's 'Cameraperson'; and works by Harvard University's Sensory-Ethnography Lab. Short works have included videos, photos and installations by Sky Hopinka, Beatriz Santiago-Mu?oz, Hito Steyerl, Kevin Lee, Shengze Tzu, Laura Huertas-Millan, Oli Rodriguez and Martine Syms. Student read large portions of Bill Nichols' 'Introduction to Documentary' in addition to a number of interviews with the artists to prepare for each class meeting. In addition to completing preparatory readings and participating in discussions during classtime, students will be required to complete 3 essay-form take-home exams, each 3-5 pages in length, in response to prompts about the course materials. Students may also be asked to make revisions on the exams. Some students may get approval to complete a 10-12 page research paper in lieu of exams 2 and 3.

What is the value of a manifesto? This course examines the difference between published proclamations by artists and the work they produce. Using contemporary and current criticism, the course will scrutinize, compare, and contrast a limited number of texts, objects, and activities within and since the Modern era. Students will not only learn more of the perceived-or misperceived-aims of given artists or movements, they will also learn more about the continuing conversation between theory and practice.

In 2015, migration leapt into the headlines, becoming a topic of contemporary discussion like never before. From the plight of refugees attempting to cross the Mediterranean into Western Europe to 'illegal immigration' as a campaign issue in the last U.S. elections, the world's attention is focused on people on the move, often in quite desperate situations. Yet migration has been with us for a long time-- some would say, for much of human history-- and it has not always been linked to crisis. Migrants have included intellectuals who have exported ideas from country to country, as well as today's nomadic artists who journey around the world to exhibit and develop their practices. Starting from the era of World War II, this course investigates connections between artistic practice and migration over time, integrating historical case studies with critical theory to evaluate how contemporary art might continue to engage this topic in the 21st century. We will consider and differentiate different types of subjects on the move, among them migrant, nomad, emigre, exile, refugee, tourist, expatriate, and guest worker, and consider the implicit hierarchies that can subject them to drastically different institutional responses. At the center of our discussions will be questions of the personal and the affective. How might we responsibly address migration as contemporary subject-matter, and how might our own migration stories be made relevant for others?

These courses use case studies and themes as a context for examining the role of methodology and the practice of writing in the history of art. The topics of these writing-intensive seminar vary according to the instructor. These courses fulfill the Junior Proseminar requirement for the Bachelor of Arts in Art History.

This course looks at America's perceptions of Asians through their portrayal in American mainstream media in contrast to those made in Asia by Asian filmmakers. By comparing films made by Asians and those produced by the American mainstream, we find major differences in their perspectives and approaches. In doing this, we investigate issues of representation and misrepresentation in mass culture stereotypes of Asians to show how they have been rooted in confusions surrounding cultural differences between Asians and Asian Americans. The course presents Hollywood films, mainstream Asian films, as well as independent works from both the Asian and Asian American communities. Weekly readings and short journal. One Midterm and One final Paper

This survey class of Modern and Contemporary Indian art from the 20th century to date examines the rich and complex art practices which emerged from pre-independent India to its transition as an independent nation in 1947. We will discuss the works of the most significant Indian artists and unpack the concepts of tradition/ modern, nationalism/internationalism and, globalization, to investigate the same through the writings of eminent postcolonial scholars such as Geeta Kapur, Homi Bhabha, Partha Mitter, Gayatri Spivak, and Saloni Mathur to name a few. The course gives a critical insight into India as a nation, the challenges it faces including the socio-political climate that is reflected in the artist's work and practices that make Indian art distinct. The class examines Indian art from the early 20th century including the works of Raja Ravi Varma and Amrita Sher-Gil to the currently contemporary emerging avant-garde art practices today. This includes the work of the Progressive Artist Group; such as Maqbool Fida Husain, Syed Haider Raza, and Francis Newton Souza amongst others, to other prominent artists such as K. G. Subramanyan and Bhupen Khakhar. We will examine the first wave of the feminist artist's as Nalini Malani, Nilima Sheikh, Arpita Singh, and Madhvi Parikh, moving to the more contemporary art practices such as Subodh Gupta, Anita Dube, Bharti Kher, Jitish Kallat, Nikhil Chopra, Mithu Sen, and Shilpa Gupta to name a few. The course work will include weekly readings a mid- term paper and a final paper. Class participation and discussion is encouraged.