Spring 2024 Courses
A survey of architectural history, from ancient Egypt to contemporary America, that includes comparative material from around the world. This course stresses a critical approach to architecture through the analysis of context, expressive content, function, structure, style, building technology, and theory. Discussion will focus on key monuments and readings that have shaped the history of architecture.
What was the role of women in Chinese art? How did Chinese people think about this life and the afterlife? Why and how is calligraphy considered an art form in China? These are but three of the questions this course asks and endeavors to explore. Focusing on ten important and provocative topics, this course aims to provide a comprehensive but spotlighted picture of Chinese art and culture. Together the ten point to the interrelated nature of the visual and Chinese philosophical thought, aesthetic values, religious beliefs, social life, political expression and commercial practices.
The course explores how art worked in politics and religion from ca. 300-1200 CE in Europe, the Middle East and Africa. Students encounter the arts of Catholicism and Orthodoxy, Judaism and Islam, great courts and migratory societies; dynamics of word and image, multilingualism, intercultural connection, and local identity. We examine how art can represent and shape notions of sacred and secular power. We consider how the work of 'art' in this period is itself powerful and, sometimes, dangerous. Course format combines lecture on various cultural contexts with workshop discussion focused on specific media and materials, or individual examples.
This course will appeal to those interested in Mexican culture and politicized art practices. It will cover major events in Mexican art from approximately 1910 to 1970, ending with the struggles around Mexico '68. Mexican modernism circulated worldwide, and cultural pilgrims rushed to Mexico to learn from their example. For them, the Mexican Revolution was just beginning, having migrated from the political to the cultural realm. Throughout this course, we will consider the relationship of art to revolution and how history works to make meaning from the past.
Before the digital age, the production of prints, which allows multiple images and texts to be generated from a single matrix, revolutionized the spread of information and pictures throughout the world. Through close examination of works in the Princeton University Art Museum and Firestone Library, this seminar considers the origins, evolution of techniques, and impact of prints from the 15th century to the present, with a focus on Europe and the Americas. In addition to individual research projects, the class will also visit dealers in New York and select and purchase a print for the Museum's collection.
This course explores the basic ideas, works, and principles of Surrealism as it developed in France and around the world from the early 1920s into the present. A very wide array of material will cover diverse literary genres and media to show how the Surrealists wanted to revolutionize both art and life in its political and ethical dimensions, as well as the movement's ongoing impact. The course is highly interactive, built around two digital creative and critical projects, which will constitute the students' assignments throughout the semester.
This seminar will examine the historical concept of 'plague' from antiquity to the present using works of art, archaeological contexts, and bioarchaeology. Students will also learn the scientific principles behind each disease outbreak, including how the pathogen was first discovered; how it is currently understood by modern infectious disease experts; and how it functions within the human body and as part of ecosystems. The course will explore in particular the three pandemics of Y. pestis, malaria, and smallpox; the social impact of plagues during the ancient, medieval, early modern, and modern periods; and the history of medicine.
This course explores the different ways that medicine is represented in the fields of literature and the visual arts, using the concept of storytelling to examine themes that are at once medical and existential, and that are part of everybody's lives, such as death and dying, epidemics, caregiving, disability, and public health. Focusing on literary texts and art, we'll analyze how these themes are staged in the different sources. We'll develop a toolbox of concepts and techniques by which to investigate the narrative structures used to convey meanings about medicine, be it as a field of knowledge, a set of practices, or a mode of experience.
Born in the late 1800s, the New Negro movement demanded political equality, desegregation, and an end to lynching, while also launching new forms of international Black cultural expression. The visionary modernity of its artists not only reimagined the history of the Black diaspora by developing new artistic languages through travel, music, religion and poetry, but also shaped modernism as a whole in the 20th century. There are required museum trips, mostly to the Metropolitan Museum of Art's new Harlem Renaissance exhibition and to museums in Philadelphia. These trips will take place in lieu of a class meeting.
Belief in photography's indexicality has haunted the medium since its inception. Once understood to offer proof of something real, the idea that we might trust a photograph to relay anything genuine now feels absurd. Looking to shifting discourses regarding photography's relationship with objectivity, authenticity, and fact, this course examines the origins and evolution of our understanding of the medium's duplicity. Over the course of the semester, we will trace the historically erratic belief in photography's ability to document and attempt to think critically about the medium's capacity to create, reveal, and critique the real.
How do films structure values and desires? What is propaganda? Is there a politics of narration? These and other deeply contemporary questions of media history and theory will be explored through an interdisciplinary interrogation of key works of expressionist, documentary, proletarian, avant-garde, queer, horror, and paranoid-thriller cinema (both silent and sound) produced in Germany during the Weimar Republic (1918-1933). Films and texts will be subjected to close readings, situated in their socio-political, media-historical and cultural context, and examined in light of the reigning debates in film criticism and aesthetics.
An interdisciplinary investigation of the status of the human body in the modern reinvention of space within the overlapping frames of art, architecture, and the performing arts from the 1890s to the present. Works by artists, architects, theater designers, and filmmakers will be supplemented by readings on architectural theory, intellectual and cultural history, psychoanalysis, anthropology, and aesthetics.
What does it mean to look at language? What does it mean to read art? Focusing on the intersection of language and visual art in modernist and avant-garde experiments of the 20th and 21st centuries, we study such phenomena as the global rise of concrete and visual poetry, language-based conceptual art, and score-based performances. Utilizing methods drawn from art history, literary studies, history, and philosophy, students explore close looking and reading in relation to such topics as medium, representation, abstraction, networks. Students also as engage material practices by realizing instruction pieces, assembling magazines, etc.
An introduction to the history, methodologies, and theories of archaeology. The seminar discusses topics and problems drawn from a wide range of cultures and periods. Issues include trade and exchange; the origins of agriculture; cognitive archaeology (the study of the mind); biblical archaeology (the use of texts); artifacts in their cultural contexts; and the politics of the past. Emphasis on what constitutes archaeological evidence, how it may be used, and how archaeologists think.
Connect contemporary American art and visual culture with environmental justice movements. Examines photographers, performers, filmmakers, writers, and other artists, with a focus on Indigenous and other BIPOC artists and media makers. Examines how artists engage with environmental justice movements around climate change and energy transitions, food and water security, land use and land back, biodiversity loss, and allied issues. What roles do the arts play in such movements?
Antioch was unique among the great cities of the classical world for its position at the crossroads between the Mediterranean and Asia. Students in this course will get exclusive access to the archives and artifacts from Princeton's mostly unpublished Antioch excavations of the 1930s. The focus of the 2024 course will be death and its aftermath in the Greek, Roman, and Islamic worlds, based on excavations in an area just outside the ancient walls of Antioch, which revealed burial remains and the famous and unparalleled Mnemoysne mosaic, which depicts a symposium of women participants.
This course considers the intersecting roles of gender and power, labor and knowledge, sacrifice and sustenance in the conception of Nahua femininity. Students who complete this course will gain familiarity with the culture of Nahuatl-speaking people of central Mexico and the representation of Nahua women. Special attention will be given to the changing perception of Aztec goddesses under colonialism and their Chicanx reclamation, as well as to historical figures such as Malinche, the "tongue" of Hernán Cortés, and Doña Luz Jiménez, muse to the Mexican Muralists following the Revolution.
Direct and regular contact between China and Europe in the early modern period brought new artistic forms and expressions to China and reconfigured the entire picture of Chinese art. Even though China appeared to have been the recipient of European art, it did not play a passive role; in fact, Chinese agents, including emperors, artists, literati, and merchants, appropriated European artistic resources according to their own agendas. This seminar will tackle the multiple dimensions of how European art worked at the Chinese imperial court and in local societies from the late sixteenth to the early nineteenth century.
ART 425 examines Japanese woodblock prints from the 17th - 19th century. We will consider the following: formal and technical aspects of prints; varied subject matter, including the "floating world" of the brothel districts and theatre; Japanese landscape and urban centers; and links between literature and prints, especially the re-working of classical literary themes in popular prints. The seminar will emphasize the study of prints in the university's Art Museum. Students will research Japanese prints from an art gallery in New York and recommend one for purchase for the Museum's collection.
Photography was invented simultaneously in England and France, but so complete was the US intervention in photographic history that by the late 1980s, it was possible to claim that 'even though Americans did not invent photography they should have.' Photography is as much a technological as a discursive invention, and the subject of American photographs have been continuously reinvented throughout the medium's history. This course frequently convenes around Princeton's holdings at Firestone Library.
Despite its position at the center of the Mediterranean, Sicily has long been misunderstood. This seminar intends to provide a survey of the island's rich architectural history from Antiquity to present. Ravaged by volcanic eruptions, seismic activities, and droughts, Sicily has been forced to rebuild itself in the wake of devastation. Through close examination of building projects, visits to Firestone's Special Collections, and guest lecturers, the seminar seeks to provide a fresh look at a vibrant and diverse architectural center. To study the architecture of Sicily is to study architecture in and of the Mediterranean.
Apartheid, the political doctrine of separation of races in South Africa (1948-1990), dominated the (South) African political discourse in the second half of the 20th century. While it lasted, art and visual cultures were marshaled in the defense and contestation of its ideologies. Since the end of Apartheid, artists, filmmakers, dramatists, and scholars continue to reexamine the legacies of Apartheid and the social, philosophical, and political conditions of non-racialized South Africa. Course readings examine issues of race, nationalism and politics, art and visual culture, and social memory in South Africa.
This seminar examines the impact of the International Monetary Fund's Structural Adjustment Program, military dictatorships, and political crises on artistic production in the 1980s, and the dramatic movement of African artists from the margins of the international art world to its very center since the 1990s. How familiar or different are the works and concerns of African artists? What are the consequences, in Africa and the West, of the international success of a few African artists? And what does the work of these Africans at home and in the West tell us about the sociopolitical conditions of our world today?
This seminar focuses on the Netherlands in the late sixteenth early seventeenth centuries, when new scientific discoveries and geographical expansion challenged established worldviews. We examine how Netherlandish artists used elemental imagery to draw attention to the hidden forces of nature, the beginning and end of the world, the boundaries between the natural and the artificial, and the transformative powers of their own craft. How did they imagine and represent the elements and other ultimate particles of the material world at a time when the intersections of life and art were being redefined?
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.
This course on cartographic cinema explores the digital film archive as a trove of images that can be re-appropriated, re-mixed, re-assembled into new ways of thinking about and imagining cities. Cutting a horizontal trajectory across cities --- New York, Tokyo, Vienna, Paris, Hong Kong, Lagos, Calcutta --- the cinema has captured the dynamic force of urban mutations and disruptions. It has also imposed a vertical axis of memories, allowing time to pile up and overlap, confounding meaning and points of view, especially in cities of trauma.
What is 'banality', and why have so many artists, authors, architects, and others been drawn to it? How can we distinguish the banal from the commonplace, the everyday, the trivial, the vulgar, the vernacular, and related terms - and why do so? What aesthetics can be discovered in the banal? What politics?
This seminar probes the notion of 'the global contemporary' as an art historical, exhibitionary, and market phenomenon. Although widely critiqued from across a spectrum of political and methodological positions, the category has become firmly entrenched within vocabularies and institutional frameworks of art history and curation. How do we decenter Eurocentric formations of modern and contemporary art without reinscribing contemporary articulations of power that may be equally suspect? Conceived as a laboratory for teaching global contemporary art, particular attention is given to resources available at Princeton.
This seminar explores the politics of color in the work of artists, writers, and thinkers who create or engage images in ways that challenge us to see color as neither arbitrary nor neutral, but instead as portals that allow us access to powerful social and cultural dynamics. Our emphasis is on the resonances of dark color, specifically the varying intensities of blacks, browns, blues, and violets. We consider their extended manifestation in shadow, night and negative space, blind fields and color adjustments.
The course is designed for post-generals students who are currently working with their academic adviser on developing research for their dissertation. This course provides a platform for students who have been nominated/awarded an internship from another university, research institute, private foundation, or outside organization that is relative to the student's dissertation research topic. A summary of the research and its relevance to the student's dissertation is required no later than one week after the completion of the internship.
Architecture has always been deeply collaborative, like moviemaking or opera where the credits are long and layered. But in architecture there is a huge effort to credit a single figure. Why this pathological need to keep collaboration secret? What is so threatening about the collaborators? What are we afraid of? What is at stake? This seminar explores questions of authorship, the signature, copyright, the anonymous, networks, labor, etc. It also thinks through the ideological implications of this narrative and the implications of its undoing. What would a post-author discourse look like?
Fall 2023 Courses
Introduction to the histories of art and the practice of art history. You will encounter a range of arts (including painting, sculpture, architecture, photography, prints) and artistic practices from diverse historical periods, regions, and cultures. Faculty members of the Department of Art and Archaeology lecture in their fields of expertise; precepts balance hands-on work, readings, and student projects.
It can be remarkably easy to take the process of looking for granted. Each day, humans contend with an onslaught of visual information. Education primarily focuses on teaching people how to read, write, and deal with numbers. But what about learning how to look closely and critically at images, at the world around us, and at ourselves? In this transdisciplinary course, we will question common assumptions and our own about looking; interrogate the anatomy and physiology of vision; develop our looking muscles; practice visual problem-solving strategies; and together design new tools to help people engage with the visual world.
The course provides a general introduction to Roman art. It discusses various artistic media--portraiture, historical relief, etc.--and highlights important works. The goal is an attempt to understand the significance of the imagery that the Romans produced, which embellished all aspects of their world - that is, to understand the role of artworks in the Romans' lived experience.
A critical study of the major movements, paradigms, and documents of modernist art from Post-Impressionism to the "Degenerate" art show. Among our topics: primitivism, abstraction, collage, the readymade, machine aesthetics, photographic reproduction, the art of the insane, artists in political revolution, anti-modernism. Two lectures, one preceptorial.
What was the Renaissance, and why has it occupied a central place in art history? Major artistic currents swept Europe during the fourteenth through sixteenth centuries, an age that saw the rise of global trade, the development of the nation state, and the onset of mass armed conflict. To explore the art of this period, we consider themes including religious devotion, encounters with foreign peoples and goods, the status of women, and the revival of antiquity. We study artists including Michelangelo and Leonardo da Vinci as well as some who may be less familiar. Precepts visit campus collections of paintings, prints, drawings, and maps.
This course surveys history of African American art during the long 20th-century, from the individual striving of late 19th century to the unprecedented efflorescence of art and culture in 1920s Harlem; from the retrenchment in black artistic production during the era of the Great Depression, to the rise of racially conscious art inspired by the Civil Rights Movement; from black feminist art in the 1970s, to the age of American multiculturalism in the 1980s and 1990s; and finally to the turn of the present century when ambitious "postblack" artists challenge received notions of black art and racial subjectivity.
This course explores key moments in the history of photography from its inventions in the early nineteenth century to its omnipresence in the twenty-first. We will approach photography as a relational history: the product of collaborations, networks, and systems rather than select privileged makers. The course traces a loose chronology and examines case studies of and by practitioners on six continents, with attention to underrepresented groups and unknown makers. The course will culminate with students making unique contributions to a public-facing group project, enacting the individual-collective dynamic the course explores.
This course focuses on the networks, the imaginaries and the lives inhabited by Black artists, makers, and subjects from the 18th through 19th centuries. It revolves around the Caribbean (particularly the Anglophone Caribbean), North America and Europe. We will reflect on how pre-twentieth century Black artists are written into history or written out of it. We will explore the aesthetic innovation of these artists and the visionary worlds they created, and examine their travels, their writings, along with the social worlds and communities they formed. The course incorporates lectures and readings and, if possible, museum visits.
How did ancient Greeks respond to the trauma of death? In this class, we will look at the material culture from ancient Greek burials to discover what it can tell us about ancient Greek death, life, society, and beliefs. The rich and sometimes startling material includes grave markers, containers for the deceased, tomb offerings, and images. We will complement the material record with close reading of primary sources.
Art in late antiquity has often been characterized as an art in decline, but this judgment is relative, relying on standards formulated for art of other periods. Challenging this assumption, we will examine the distinct and powerful transformations within the visual culture of the period between the third and sixth centuries AD. This period witnesses the mutation of the institutions of the Roman Empire into those of the Christian Byzantine Empire. The fundamental change in religious identity that was the basis for this development directly impacted the art from that era that will be the focus of this course.
What does it mean to have taste? How is it formed? How does it relate to fashion? How dependent is it on money and education? What are the connections between the aesthetic and moral parts of so-called "good taste"? Can there be a pure judgment of taste free from questions of social positioning? Is taste regarding design different from taste regarding art? Is there such a thing as a taste that turns against the logic of taste? What does taste as a social and aesthetic category have to do with taste as a gustatory sense? This seminar will explore these and other aspects of the multi-facetted phenomenon of taste from a variety of perspectives.
The class surveys connections in art of different cultures and continents throughout the world from the first civilizations to the present. Attention will be paid to distinctive and related forms of culture and their expression in art and architecture that includes trade, migration, gift exchanges, war and economics.
This course introduces a history of architectural theory by way of architectural production in the "western" world from antiquity through 20th century modernism. While we will examine an evolution of architectural thought through architectural developments that occurred primarily in Europe and the Americas, those architectures will be contextualized within a broader global history of built environment traditions and practices, and framed around recurring themes in the history of architectural production.
Was Clio Hall built by the Ancient Greeks? Princeton Chapel by English masons of the Middle Ages? Some of the most recognizable architectural landmarks of Princeton's campus were built in reference to past architectural styles. This class will focus on the concept of "neo-styles" in the history of Western architecture, decoration and furniture, from the Renaissance to Postmodernism, interrogating the complex relationships between present needs and past dreams. Each week, students will confront the theoretical context of neo-styles with a series of American architectural case studies, mostly located on campus and in New Jersey.
Women and their associated symbolism are a perpetual presence across a wide range of mediums throughout Chinese art history. Spanning the longue durée from 1200 BCE to the twentieth century, this course focuses on how the production, mediation, and reception of gendered artistic symbols operate in various contexts. It proceeds chronologically and thematically. The instructors intend to incorporate novel formats, such as classroom interviews and VR headsets, in investigating Chinese artworks concerning women and their relevant discourses from the angles of gender politics and identity construction, with a special emphasis on women's agency.
A required seminar for Art and Archaeology Practice of Art majors and Program in Visual Arts certificate students emphasizing contemporary art practices and ideas. The course addresses current issues in painting, drawing, sculpture, film, video, photography, performance and installation. It includes readings and discussions of current contemporary art topics, a visiting artist lecture series, critiques of students' work, and an artist book project.
The Junior Seminar is an introduction to the myriad subjects, methods, and strategies of art history. The course examines the different kinds of evidence and methodological tools that have been used to identify, explain, and contextualize works of art as well as other kinds of objects, artifacts, and cultural phenomena. In other words, this seminar considers what art historians do, and how and why they do it. In addition, majors will learn how to use resources such as the library and the museum, and how to undertake substantive written research projects. Students begin their Junior Independent Work in this seminar.
This seminar is devoted to this history of portraiture in the Greek and Roman world. Emphasis will be given to artistic matters as opposed to issues of identity. Many of the seminar's sessions will be held in the Princeton University Art Museum, which holds a wide variety of examples. Course will also include a visit to the Metropolitan Museum of Art to study additional works.
Pottery is the most common discovery on a Greek archaeological site. What can it tell us about the ancient Greeks, their lives, and their arts? This class offers an in depth exploration of the major pottery shapes and styles produced in Greece, studying how and why vases were made and used. Most seminars will involve hands-on work with objects from the Princeton University Art Museum collection. In addition, the class will visit the ceramics studio and learn the principal techniques of pottery manufacture.
Unfinished art captivates by revealing its maker's creative processes, by leaving its subject matter open and unresolved, and by inviting its viewers to imagine its completion. This seminar examines the rise of unfinishedness as a central, and disruptive, new category of Renaissance art, and probes its meanings and implications. Incomplete paintings, statues, prints, and architecture by Donatello, Leonardo, Michelangelo, Titian, and others, will be brought into dialogue with incompleteness in art-theoretical, religious, literary, scientific, political, and theatrical contexts. This class will coincide with a major conference on the topic.
A century has passed since the term 'modernism' became current, and the argument about 'postmodernism' is now four decades old. What did these categories of art and culture mean then, and how do they signify today? Has modernism become 'our antiquity' as some have claimed, or has a global perspective renewed it as a framework for contemporary art and criticism? Is postmodernism a 'thing of the past', or might it too possess an unexpected afterlife? We will take up such questions with some of the crucial actors' artists, critics, historians, museum directors and curators in these debates.
A century has passed since the term “modernism” became current, and the argument about “postmodernism” is now four decades old. What did these categories of art and culture mean then, and how do they signify today? Has modernism become “our antiquity,” as some have claimed, or has a global perspective renewed it as a framework for contemporary art and criticism? Is postmodernism a “thing of the past,” or might it too possess an unexpected afterlife? We will take up such questions with some of the crucial actors—artists, critics, historians, museum directors and curators—in these debates.
Who were the Vikings, at home or abroad? How did their raiding and settlement change the history of the British Isles and western Europe? This course will study the political, cultural, and economic impact that Norse expansion and raiding had on early medieval Europe. It will also look at the changes in Scandinavia that inspired and resulted from this expansion. Sources will include contemporary texts, sagas and epic poetry, material culture, and archaeological excavations.
This course examines feminist critiques of art history and contemporary art. What challenges did they pose to the fields of art history and contemporary art? Drawing on artworks by Rosa Bonheur, Georgia O'Keeffe, Adrian Piper, Cindy Sherman, Shahzia Sikander, Andy Warhol and others from the Princeton University Art Museum, as well as readings in art history, art criticism, cultural criticism, literature and philosophy, we will see how the feminist critique transformed art history and contemporary art, and was itself transformed in the process.
What kinds of art issues forth from need? Taking its name from Brazilian film director Glauber Rocha's 1965 manifesto, this course investigates how artists, writers, and theorists have sought to understand political, social, economic, and material limitations as generative conditions for aesthetic form. Moving between Latin American debates of the 1960s and 70s and the contemporary global moment, we examine such concepts as hunger, scarcity, imperfection, reproduction, and ecological justice though works by Cecilia Vicuña, Steve McQueen, Maria Thereza Alves, Silvia Rivera Cusicanqui, Jumana Mana and others.
The literature of art, architecture, and archaeology until the institutionalization of art history in universities and museums in Europe and the United States. The historiography of the field, including recent interpretations and analyses. Depending on student interest attention is given to modern, contemporary, Islamicate, and Chinese traditions.
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.
The seminar explores key texts of the Russian avant-garde, looking specifically at the ways Russian Formalists and Constructivists theorized the importance of form for their art and scholarship. Essays written by Shklovsky, Jakobson, Rodchenko, Vertov, Lissitzky, and Tatlin are contextualized within the field of contemporary critical theory. This is an interdisciplinary seminar, and during the semester, we oscillate between literature and cinema, linguistics and photography, architecture and painting. No Russian language skills are required.
A seminar covering the basic methodology of numismatics, including die, hoard and archaeological analysis as well as a survey of pre-modern coinages. The Western coinage tradition is covered, from its origins in the Greco-Persian world through classical and Hellenistic Greek coinage, Roman imperial and provincial issues, Parthian and Sasanian issues, the coinage of Byzantium, the Islamic world, and medieval and renaissance Europe. Students research and report on problems involving coinages related to their own areas of specialization. Open to undergraduates by permission of the instructor.
This seminar focuses upon the visual imagination in Byzantium. Dreams and visions serve as subjects and models for our enquiry into this topic. The imagination is distinct from perception or intellection. As such, it need not adhere to the expectations of representation. Phantasia tests our common expectations of Byzantine image making, and so merits analysis. Primary sources (texts and images) from the third to the sixteenth century are discussed.
Heritage structures represent an important cultural legacy. First, this course identifies particularities relative to structural analysis of heritage structures; it correlates the space and time (where and when the structure was built, used, upgraded, damaged, repaired), with construction materials, techniques, and contemporary architectural forms. Second, the course presents the methods of structural analysis that take into account the identified particularities, that are efficient in finding solutions, and that are simple and intuitive in terms of application and interpretation.
This course focuses on European maps, globes, and architectural drawings and prints produced in the period before aerial cartography and puts into dialogue cartography and architecture by interrogating their respective solutions to figuring space. Students interrogate the ways these graphic objects render complex and invisible realities through a mix of natural and conventional signs. Most of the sessions take place in the Special Collections classroom in Firestone Library in front of historical maps, atlases, globes, books, and architectural drawings and prints.
The course focuses on the intellectual stock of the field of Chinese painting. It offers an opportunity to rethink the topics and issues that important studies in the field have addressed. The goal of the seminar is to guide the Ph.D. students on how to tackle these topics and issues raised by previous scholarship.