Graduate Courses

ART 501 F2016
ART 502D

The Graduate Seminar

Charlie Barber

This course is intended to ensure a continuing breadth of exposure to contemporary art-historical discourse and practices. It requires attendance and participation in the department lecture/seminar series. Students must take the course sequentially in each of their first four semesters and take the appropriate letter version of the course (A,B,C,or D) based on their semester of study. The course is taken in addition to the normal load of three courses per semester and is for first- and second-year graduate students only. Topics discussed cover all fields of Art History and address current questions and practices.

4:30 pm–6:00 pm
Art 513
ART 513CLA 518

Seminar in Roman Art: Historical Reliefs

Michael Koortbojian

The seminar focuses on Roman historical representations - an innovation of the Romans - and addresses not only the problem of their historical reference but, in many cases, their reconstruction from the fragmentary remains.

W 1:30 pm–4:20 pm
ART 540 S20
ART 540

Color and Technology in the Arts

Basile Baudez

Course addresses relationship between color and technology in the arts. It questions the proprieties of color materiality, nature of pigments and their usage. Quest for natural and synthetic colors emerging from laboratory research by alchemists and chemists. Hazardous scientific discoveries impacting the artistic field. Economic implications of color discovery and patenting. Color trends indicating social changes. Links between light and vision theory and applications in the arts. Recreation of artistic technology as a community self identification. Global exchange of color technology. Problems in conservation and display of colored objects.

W 1:30 pm–4:20 pm
ART 541 S20
ART 541

Seminar in Renaissance Art

Peter Parshall

During the Renaissance, printmaking emerged as a powerful and pervasive mode of artistic expression that redefined originality and transformed visual communication. Variously experimental, documentary, propagandistic, proto-scientific, and illustrational objects, prints were market-sensitive as well as aesthetically adventurous and often elitist in their content. Centered as much as possible on prints from the collection, this course considers material and technical issues as well as broader historical and interpretive topics. Artists include Schongauer, Dürer, Lucas van Leyden, Bruegel, Mantegna, and Raphael.

Th 10:00 am–12:50 pm
ART 565 S20
ART 565GER 564 / HUM 565

Seminar in Modernist Art and Theory: The Avant-Garde in a State of Emergency

Devin A. Fore
Hal Foster

In this seminar we investigate the interpenetration of aesthetics and politics in the interwar period, structuring our conversation around particular debates, such as the question of violence in Sorel and Marinetti, the problem of sovereignty in Schmitt and Benjamin, the polemics about modernism and realism around Lukacs, the base materialism of the Collège de Sociologie, the rise of factography in the USSR, and the return to dis/order in France and Italy.

T 1:30 pm–4:20 pm
ART567S20
ART 567MOD 567

Seminar in History of Photography: The Naked and the Nude in Photography

Anne McCauley

The undressed human form has been a major subject in Western art since the classical period, but presented particular challenges to photographers, who depicted "real" rather than idealized bodies. This course explores the practices of fine arts, pornographic, medical, and ethnographic representations of the body, with particular emphasis on artists' responses to nude photographs; photography's contribution to new "scientific" typologies of race, criminality, and health; and ongoing debates over censorship, pornographic, and privacy.

W 10:00 am–12:50 pm
ART 575 S20
ART 575EAS 571

Antiquarianism in Chinese Art

Cheng-hua Wang
Ya-hwei Hsu

Scholars have long recognized the importance of the theme of antiquarianism in Chinese art. However, recent scholarly interest in the issues associated with copying, replication and multiple temporalities in art provides new perspectives on and approaches to this old theme and greatly enriches related discussions on it. This seminar takes a new look at the recurring tendency of antiquarianism in Chinese art by engaging with four important mediums (painting, calligraphy, bronzes and ceramics) and their frequent incidents of transmediality.

Th 9:00 am–11:50 am