Winter 2021 Class Schedule
|Course #||Course Title||Instructor||Day/Time||Location|
|ART_HIST 255||Introduction to Modernism||Kiaer||MW |
ART_HIST 255 Introduction to Modernism
|ART_HIST 319/HUM 370-4-22||Special Topics in Ancient Art: Constructing Identity in the Ancient Mediterranean World||Gunter||TR |
ART_HIST 319/HUM 370-4-22 Special Topics in Ancient Art: Constructing Identity in the Ancient Mediterranean World
How did individuals define themselves in the ancient Mediterranean world, and how did they express their affiliation with multiple and diverse ethnic, religious, linguistic, and other collective social identities? How did groups portray perceived differences between themselves and others? What do we know of the construction of gender identities, race, age, and class distinctions? What dynamic roles did dress, hairstyle, body decoration or ornament, and personal possessions play in establishing and expressing individual and collective identities?
This course explores evidence for self-and group-fashioning in Greece, Rome, and their neighbors in Egypt, Mesopotamia, and Persia. We examine a wide range of textual and material sources, including works of art, archaeological contexts such as burials and religious institutions, biographies, autobiographies, and legal documents, including dowries. We also consider culturally significant modes of self-representation and commemoration, such as portraits and funerary monuments, along with the collecting and transfer of objects that represented accumulated social entanglements, such as heirlooms.
|ART_HIST 367/ENVR_POL 390-0-25||Special Topics in American Art: The Visual Language of Protest||Zorach||MW |
ART_HIST 367/ENVR_POL 390-0-25 Special Topics in American Art: The Visual Language of Protest
|ART_HIST 369/ITAL 377||Special Topics in 20th and 21st Century Art: Feminist Utopias and Dystopias in Art, Literature, and Film||Zorach/Torlasco||TR |
ART_HIST 369/ITAL 377 Special Topics in 20th and 21st Century Art: Feminist Utopias and Dystopias in Art, Literature, and Film
|ART_HIST 391||Art Historical Methods Seminar||Caticha||F |
ART_HIST 391 Art Historical Methods Seminar
|ART_HIST 395||Chicago Object Study Initiative Undergraduate Seminar: Modern American Art in Crisis: The World War II Years||Schapiro||F |
ART_HIST 395 Chicago Object Study Initiative Undergraduate Seminar: Modern American Art in Crisis: The World War II Years
This seminar will utilize the Art Institute of Chicago’s vast collection of American art made during World War II, as well as other local collections, to question why the war is ignored in most scholarship on art of this period. The course will bypass the traditional teaching of modern American art that pits “realism” against “abstraction.” Instead, we will study works from across the aesthetic and ideological spectrum to underscore how all artists in the United States were impacted by the national and global upheaval brought about by World War II.
Each week will focus on a different topic, medium, or artistic style through the close analysis of specific art objects selected to ground our conversation. We will critically assess art ranging from iconic works like Edward Hopper’s Nighthawks and Jackson Pollock’s abstract drawings to lesser-known Surrealist objects, wartime photographsand prints, and government-sponsored posters to better understand how American artists responded to the conditions of war in their artistic practices. Artists whose work will be discussed include Marcel Duchamp, Kay Sage, Max Ernst, Margaret Bourke-White,Ansel Adams, Isamu Noguchi, Charles White, Thomas Hart Benton, Norman Rockwell, Yasuo Kuniyoshi, John Woodrow Wilson, Ben Shahn, William Gropper, and Barnett Newman. Through object-focused case studies, we as a class will model the importance of recontextualizing wartime American art within the specific social, historical, and political circumstances of World War II; a period marked by the lingering effects of the Great Depression, the country’s long history of racism, antisemitism, and xenophobia, and themilitary industrial complex at large during a time of existential crisis at home and abroad.
The course will be taught remotely and synchronously. Students on campus will be encouraged to visit the Art Institute of Chicago and other local collectionsin Evanston and Chicago.
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|ART_HIST 402||Writing Seminar||Normore||R |
ART_HIST 402 Writing Seminar
This course is intended to aid second-year Art History graduate students in the writing of the required QP. It is organized around a series of assignments to facilitate and prompt reflection on the key tasks of art historical writing including the translation of the visual into the verbal, the framing of a question, structuring of a research agenda, proper use of primary and secondary source materials and self- and peer-editing. While our primary purpose is the production of a strong QP final draft, secondary benefits include critical engagement with strategies of writing pedagogy and consideration of our individual priorities and voices as writers.
|ART_HIST 420||Decolonizing the Medieval Wing||Normore||W |
ART_HIST 420 Decolonizing the Medieval Wing
This course considers the past and future of European medieval collections in light of recent critical museology and curatorial practice. Through thematic discussions and selected case studies, we will examine the longer history of the ‘medieval wing’ in encyclopedic museums and dedicated museums of medieval art alongside more recent debates concerning the presentation of the art and artifacts of Indigenous and other marginalized groups in museum contexts. We will interrogate some of the modern uses of the medieval as a category and European medieval art as materials in the formation of national, imperial and White racial identities in the nineteenth, twentieth and twenty-first centuries. We will also consider the future of medieval collections and their display, particularly in light of the current calls for a ‘global medieval’. Our goal will be to find a path forward that resists the supposed universalism and neutrality of the presentation of the European past and the colonial and neocolonial projects in which medieval art has been enmeshed. To this end, for their final project students may write a traditional research paper or offer a proposal for the reinstallation of a section of a current medieval collection.
|ART_HIST 440||Studies in Baroque Art: Empire of Cities||Escobar||T |
ART_HIST 440 Studies in Baroque Art: Empire of Cities
This seminar will examine recent and past scholarship on the built environment of the transnational and transatlantic Spanish Habsburg monarchy (c. 1500 to c. 1700), with special consideration given to spatial theory and comparative history astools for reimagining an architectural history of thepolitical domain. Following an introduction to important writings by Fernand Braudel and Henri Lefebvre, the seminar will focus on key cities of the empire including Santo Domingo, Cuzco, Seville, Madrid, Naples, and Mexico City. We will consider monuments and public spaces in each of these places as products of a vast network of people, ideologies, and aesthetic principles that circulated in multiple directions.
Each week, the seminar will meet synchronously for two hours and asynchronously for one hour. Students will write weekly responses to readings and prepare two or three presentations that will be posted for viewing and commentary by all members of the seminar.Reading knowledge of Spanish or Portuguese would be beneficial but is not required.
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