| Title | Instructor | Location | Time | All taxonomy terms | Description | Section Description | Cross Listings | Fulfills | Registration Notes | Syllabus | Syllabus URL | Course Syllabus URL | ||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| ARTH 0221-401 | Material Wrld Arch Sci |
Deborah I Olszewski Marie-Claude Boileau Vanessa Workman |
TR 10:15 AM-11:44 AM | By focusing on the scientific analysis of inorganic archaeological materials, this course will explore processes of creation in the past. Class will take place in the Center for the Analysis of Archaeological Materials (CAAM) and will be team taught in three modules: analysis of lithics, analysis of ceramics and analysis of metals. Each module will combine laboratory and classroom exercises to give students hands-on experience with archaeological materials. We will examine how the transformation of materials into objects provides key information about past human behaviors and the socio-economic contexts of production, distribution, exchange and use. Discussion topics will include invention and adoption of new technologies, change and innovation, use of fire, and craft specialization. | ANTH2221401, ANTH5221401, CLST3302401, MELC2960401, MELC6920401 | |||||||||
| ARTH 1010-001 | World Art Before 1400 | Ivan Drpic | MW 12:00 PM-12:59 PM | This course serves as a double introduction to art history. First, it surveys the visual arts in a global context from prehistory to the dawn of the modern era. Focusing on multiple premodern cultures and traditions, the course examines a wide variety of art forms, from public monuments and architecture to paintings, textiles, and illustrated books. We will consider this rich material in its historical context and ask how art was made, used, seen, and valued by people in the past. Special emphasis will be placed on cross-cultural connections, interactions, and analogies. Second, the course will introduce you to the practice of art history. You will develop the skills of visual analysis and critical reading and learn the basic methods that scholars employ to interpret works of art and architecture. In the process, you will gain a deeper understanding of the intersection of art, society, and human experience at large. Lectures and group discussions will be complemented by visits to museums and other collections on campus and beyond. | Arts & Letters Sector (all classes) | |||||||||
| ARTH 1040-401 | Art of Global Asia | Sonal Khullar | MW 10:15 AM-11:14 AM | This course surveys flows of ideas, images, and objects across, within, and beyond Asia. It considers how the art of Asia is and has been global from antiquity through the present, and introduces 'Asia,' 'globality,' and 'art' as key terms and concepts that shift over time and place. Artistic traditions are presented within broader historical, cultural, social, and economic frameworks, with attention to their local and regional significance. Trade, exchange, and interaction between cultures and groups, including but not limited to artists, pilgrims, merchants, warriors, and rulers, and the transmission of concepts through languages, religions, and philosophies, will be highlighted throughout. We shall address problems of iconophilia and iconoclasm, narrative and temporality, archeology and historiography, ritual and religion, sovereignty and kingship, gender and sexuality, colonialism and nationalism, diasporas and migration as they pertain to the images, objects, and sites of our study. We shall make use of local resources at the Penn Museum and Penn Libraries, as well as other sites, to show how objects retain and inflect these ideas. The course builds out from a central focus on the arts of South Asia or the arts of East Asia, depending upon the specialty of the faculty member teaching the course, with additional faculty offering guest lectures as available. Students with a background in art history, studio art, architecture, history, religion, literature, anthropology, and/or South or East Asian Studies are especially welcome. | VLST2340401 | Arts & Letters Sector (all classes) | https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do | |||||||
| ARTH 1060-601 | Architect and History | R 5:15 PM-8:14 PM | Architecture is never neutral. It reflects and shapes how we live, think, and imagine our place in the world. This course introduces students to the intertwined histories of architecture, art, and urbanism by examining how monuments and cities from antiquity to the present and across global contexts have been designed, represented, and experienced. We will approach architecture not only as a product of design and craftsmanship, but also as a social, intellectual, and political practice. Throughout the semester, we will consider the architect’s role in mediating between nature, power, and imagination, and explore how architecture has been entangled with histories of colonialism, extraction, racialization, capitalism, and utopian thought. By analyzing form, structure, and representation through lectures, discussions, and sketchbook exercises, including the use of 3D and virtual reconstructions, students will develop a critical understanding of how architecture constructs meaning and how it continues to shape cultural and environmental futures. | Hum & Soc Sci Sector (new curriculum only) | ||||||||||
| ARTH 2170-401 | Chinese Painting | Nancy R S Steinhardt | MW 1:45 PM-2:44 PM | Study of Chinese painting and practice from the earliest pictorial representation through the late twentieth century. Painting styles are analyzed, but themes such as landscape and narrative are considered with regard to larger social, cultural, and historical issues. The class will pay particular attention to the construction of the concepts of the "artist" and "art criticism" and their impact on the field into the present. Visits to study paintings at the University of Pennsylvania Museum and Philadelphia Museum of Art. | EALC1127401, EALC5127401 | |||||||||
| ARTH 2260-401 | Hellenistic and Roman Art and Artifact | Stephanie Anne Hagan | TR 10:15 AM-11:44 AM | This lecture course surveys the political, religious and domestic arts, patronage and display in Rome's Mediterranean, from the 2nd c. BCE to Constantine's 4th-c. Christianized empire. Our subjects are images and decorated objects in their cultural, political and socio-economic contexts (painting, mosaic, sculpture, luxury and mass-produced arts in many media). We start with the Hellenistic cosmopolitan culture of the Greek kingdoms and their neighbors, and late Etruscan and Republican Italy; next we map Imperial Roman art as developed around the capital city Rome, as well as in the provinces of the vast empire. | AAMW6260401, ARTH6260401, CLST3402401, CLST5402401 | |||||||||
| ARTH 2500-401 | Michelangelo and the Art of the Italian Renaissance | David Young Kim | TR 5:15 PM-6:44 PM | An introduction to the work of the Renaissance artist Michelangelo (1475-1564)-his sculptures, paintings, architecture, poetry, and artistic theory-in relation to his patrons, predecessors, and contemporaries, above all Leonardo and Raphael. Topics include artistic creativity and license, religious devotion, the revival of antiquity, observation of nature, art as problem-solving, the public reception and function of artworks, debates about style, artistic rivalry, and traveling artists. Rather than taking the form of a survey, this course selects works as paradigmatic case studies, and will analyze contemporary attitudes toward art of this period through study of primary sources. | ARTH6500401, ITAL2550401, ITAL6500401 | |||||||||
| ARTH 2610-401 | Northern Renaissance Art | Shira N. Brisman | MW 10:15 AM-11:44 AM | This course critically examines concepts traditionally associated with the Renaissance by focusing on the exchange of artistic ideas throughout the Holy Roman Empire and across different media, such as the altarpieces of Jan van Eyck, the expressive drawings of Albrecht Durer and Hans Baldung Grien, the peasant studies of Pieter Bruegel and the prints of satirists who wished to remain anonymous. The material is organized thematically around four topics: religious art as piety and politics; antiquity as a source of tradition and imagination; the formulation of a public discourse that exposed social threats; and the distinctiveness of artistic claims of individual achievement. A motif throughout the course is the question of how the survival of fragments may be presented in museum contexts as parts standing in for an absent whole. We will also consider how historians approach designs for works of art now lost or never completed. Encouraging encounters with art and artifacts around the city, assignments focus on objects in Philadelphia collections. | ARTH6610401, GRMN1301401, GRMN5780401 | |||||||||
| ARTH 2873-401 | Postmodernism | Jonathan D Katz | MW 12:00 PM-1:29 PM | The establishment of postmodern art as a chronological development is built into the very term postmodern, but unfortunately chronology gets everything about postmodernism wrong. It is not born after modernism but is rather coterminous with it and a product of the same forces. Nor does it succeed modern art, but rather in some fundamental ways instead critiques it, for the postmodern is more concerned with what infects art from outside its frame-including history, society, gender, racial and sexual politics, etc.-- than anything that develops within it. This course is thus concerned with the heyday of postmodern art from roughly the 1950 through the 1980s, although we begin in the early 20th century with the work of Marcel Duchamp. We will look at artists as different as Cindy Sherman, Felix Gonzalez-Torres, John Cage, Andy Warhol, and Kara Walker, and pay particular attention to art about AIDS. Roughly evenly divided between art and theory, the course presumes no prior knowledge of either. Still, as Jacques Derrida explained, binaries such as modernism and postmodernism remain extremely useful to power, because they uphold the status quo, circumscribing the field of contestation to either one pole or the other, and thus eliminating other possibilities. This course is concerned with these other possibilities. | ARTH6873401, GSWS2873401, GSWS6873401 | |||||||||
| ARTH 2889-401 | Fashion and Modernity: From Marie-Antoinette to Rick Owens | Jean-Michel Rabate | TR 10:15 AM-11:44 AM | In this class we will study the emergence of the Modernist concept of the "new" as a term also understood as "new fashion." We will move back and forth in time so as to analyze today’s changing scene with a view to identify contemporary accounts of the "new" in the context of the fashion industry. Our texts will include poetry, novels, and films. See the English Department's website at www.english.upenn.edu for a description of the current offerings. | COML1072401, ENGL1071401, FREN1071401, GRMN1065401 | |||||||||
| ARTH 2990-401 | Radical Arts in the Americas | Jennifer Lyn Sternad Ponce De Leon | MW 1:45 PM-3:14 PM | This course explores the complex and fruitful relationship between literature and the visual arts, including painting, sculpture, installations, and performance art. See the English Department's website at www.english.upenn.edu for a description of the current offerings. | CIMS1261401, COML1261401, ENGL1261401, LALS1261401, THAR1261401 | |||||||||
| ARTH 3060-301 | Venice Biennale Spiegel-Wilks Seminar: In Minor Keys | Hannah Feldman | R 1:45 PM-4:44 PM | Founded in 1895, the Venice Biennale (La Biennale di Venezia) is one of the art world’s most prestigious venues for contemporary art. In this seminar, we will consider the history of the Venice Biennale, its curatorial process for group shows, the role of national pavilions, and related topics, within the larger frame of the international art world. How contemporary artists cross boundaries, challenge expectations, and respond to the site itself are also key issues. The seminar focus will be adapted in each iteration according to the expertise of the instructor, and students will be funded to travel with the instructor to Venice over fall break as part of this site seminar. This course is open to History of Art Juniors and Seniors, admission by permission only. | ||||||||||
| ARTH 3071-401 | What is an Image? | R 10:15 AM-1:14 PM | The course explores various concepts of images. It considers natural images (as in optics), images as artifacts, virtual images, images as representations, and works of art as images. Themes to include: the image controversy in cognitive science, which asks whether some cognitive representations are irreducibly imagistic; the question of whether some images resemble what they represent; the development of the concept of the virtual image and of three-dimensional images; the notions of pictorial representation and non-representational images in art. Readings from C. S. Peirce, Nelson Goodman, Robert Hopkins, Dominic Lopes, W. J. T. Mitchell, John Kulvicki, and Mark Rollins, among others. | VLST3050401 | ||||||||||
| ARTH 3091-401 | Black Visual & Performance Arts in Latin America & the Caribbean | Odette Casamayor | T 3:30 PM-6:29 PM | This course offers an interdisciplinary study of Black visual and performance arts in Latin America and the Caribbean, examining these creative practices as critical sites of knowledge production, identity formation, social resistance, and diasporic worldmaking. Centering Afro-Latin American and Afro-Caribbean artists and performance practitioners, students will investigate how visual and embodied practices confront coloniality, articulate and dismantle constructions of race and gender, interrogate experiences of migration and memory, and envision speculative and liberatory futures. Course materials include painting, drawing, printmaking, photography, sculpture, installation, performance, and new media practices from across the Caribbean, Latin America, and diasporic communities in the United States and Europe. These works are studied in conversation with art criticism, aesthetic theory, and critical frameworks that illuminate the epistemological dimensions of Afro-diasporic creative expression. Bringing together historical and theoretical frameworks on slavery, colonialism, creolization, global Afro-diasporic circulation, and performance as epistemology, the course pairs conceptual grounding with in-depth case studies of key historical and contemporary artists. | AFRC4525401, AFRC5525401, ARTH5091401, COML4525401, COML5525401, LALS4525401, LALS5525401 | |||||||||
| ARTH 3120-401 | Indian Art Seminar: History and Theory of the Museum in South Asia | Sonal Khullar | M 1:45 PM-4:44 PM | This seminar addresses topics in the art of India from antiquity to the present emphasizing global connections and comparisons. Topics vary from year to year and might include the arts of the book in South Asia; Indian painting, 1100-now; history and theory of museums in the colony, 1750-1950; photography, cinema, and performance art in South Asia; and art, ecology, and environment in South Asia. We shall explore objects in area collections and incorporate special excursions and programs when possible. A background in South Asian studies or languages is not required. Students from related disciplines such history, anthropology, literary studies, religious studies, feminist studies, cinema and media studies, and architecture are welcome. | SAST3120401 | https://coursesintouch.apps.upenn.edu/cpr/jsp/fast.do | ||||||||
| ARTH 3509-401 | Asian American Visual Culture |
David L Eng David Young Kim |
T 12:00 PM-2:59 PM | This experimental seminar will investigate Asian American visual culture from both art historical and cultural studies perspectives. Students will be introduced to the history, making, reception, curation, and circulation of Asian American art from the 1960s to the present. In addition to close readings and formal analyses of our chosen artworks, we will be reading broadly in Asian American history as well as studying artist bios, critical texts, and theories about race and art. A fundamental component of this seminar will be a number of mandatory museum, gallery, and studio visits. Students may therefore have to adjust their schedules to accommodate these obligations. | ASAM2271401, ENGL2271401 | |||||||||
| ARTH 3600-301 | Topic in Architectural History: Digital Media and Architecture After Comfort | R 10:15 AM-1:14 PM | This upper-level seminar explores the spatial, environmental, and political forces that shape architectural histories across time and place. Through close analysis of built and unbuilt environments, students will engage with architecture as a material practice and a reflection of broader cultural, ecological, and geopolitical dynamics. The course emphasizes critical approaches—including postcolonial, decolonial, and environmental frameworks—to examine how architecture participates in systems of power as well as in acts of resistance, transformation, and repair. Seminar topics will vary by year, allowing students to investigate specific historical contexts, regions, or themes in depth. | |||||||||||
| ARTH 3841-401 | Russian Modernism | Djamilia Nazyrova | TR 1:45 PM-3:14 PM | This course examines the history and core ideas behind major Russian modernist movements—including Symbolism, Futurism, Cubism, Cosmism, and abstract/non-figurative art—and explores how these movements differed from similar art styles and trends in other parts of the world. We will focus on understanding the Russian modernists’ relentless emphasis on the inner world, defiance of social and moral conventions, and drive to experiment in art and life. In Russian modernism, art held spiritual power more profoundly than in comparable Western movements and was tasked with engineering social change. Russian Symbolists and avant-gardists engaged with abstract themes—such as eternal beauty and immortality—as well as urgent societal issues tied to modernization, including gender, sexuality, family structure, feminism, and socialist communities. While the ideas developed by modernist movements often prioritized intellectual ideals over practical solutions, they remain essential for interpreting modernist art and connecting with its enduring emotional resonance. The readings include short literary works, philosophical fragments, and artistic manifestos. All materials and discussions are in English. | REES1173401 | |||||||||
| ARTH 3880-301 | Modern and Contemporary Theory Seminar: Andy Warhol | Jonathan D Katz | M 5:15 PM-8:14 PM | This seminar covers aspects of 20th and 21st century art theory and art practice in a global frame. | ||||||||||
| ARTH 3989-401 | In the Dark We Can All Be Free | Che Gossett | TR 1:45 PM-3:14 PM | If the afterlife of slavery, as Saidiya Hartman argues, is an aesthetic problem, what then is the relationship between abolition and aesthetics? How has the ongoing project of abolition been an aesthetic enterprise, and how does art shape its aims and horizon -- historically, presently and in afro-futuristic imaginary of the to come? How might the analytics of black studies, feminist theory, and trans studies, in their co-implicacy and entanglement, prompt a rethinking of aesthetics -- both its limits and possibilities? In this course we will consider the art(s) of the Black radical tradition, trans art, queer art and feminist art and theory, alongside a grounding in aesthetic theory, and explore the work of a constellation of scholars in Black studies, art history and artists including Saidiya Hartman, Laura Harris, Fred Moten, Huey Copeland, American Artists, fields harrington, Denise Ferreira da Silva, Tourmaline, Juliana Huxtable, Kiyan Williams, Simone Leigh, Alvin Baltrop, Tina Campt, (and more) to consider how abolition is activated in contemporary Black queer, trans and feminist visual art. | AFRC2800401, GSWS2800401 | |||||||||
| ARTH 5091-401 | Black Visual & Performance Arts in Latin America & the Caribbean | Odette Casamayor | T 3:30 PM-6:29 PM | This course offers an interdisciplinary study of Black visual and performance arts in Latin America and the Caribbean, examining these creative practices as critical sites of knowledge production, identity formation, social resistance, and diasporic worldmaking. Centering Afro-Latin American and Afro-Caribbean artists and performance practitioners, students will investigate how visual and embodied practices confront coloniality, articulate and dismantle constructions of race and gender, interrogate experiences of migration and memory, and envision speculative and liberatory futures. Course materials include painting, drawing, printmaking, photography, sculpture, installation, performance, and new media practices from across the Caribbean, Latin America, and diasporic communities in the United States and Europe. These works are studied in conversation with art criticism, aesthetic theory, and critical frameworks that illuminate the epistemological dimensions of Afro-diasporic creative expression. Bringing together historical and theoretical frameworks on slavery, colonialism, creolization, global Afro-diasporic circulation, and performance as epistemology, the course pairs conceptual grounding with in-depth case studies of key historical and contemporary artists. | AFRC4525401, AFRC5525401, ARTH3091401, COML4525401, COML5525401, LALS4525401, LALS5525401 | |||||||||
| ARTH 5231-401 | Archaeological Field Methods | Holly Pittman | F 8:30 AM-11:29 AM | This seminar will prepare students for participation in the excavations at the site of ancient Lagash, modern Tell al-Hiba, in southern Iraq that are scheduled to take place in the fall semester. The topics to be considered are introduction to the recording methods, use of equipment, review of the ceramic sequence, methods of recording, drawing, photography. Permission of the instructor required for participation in the class. | AAMW5231401 | |||||||||
| ARTH 5400-401 | Medieval Art Seminar: Global 13th Century | Sarah M. Guerin | T 5:15 PM-8:14 PM | This course focuses on issues relevant in medieval art history. Topics vary from semester to semester, and range from materiality, relics and reliquaries, to issues of facture and urban development. | AAMW5400401 | |||||||||
| ARTH 5760-401 | The Panorama Experience | Vance Byrd | W 12:00 PM-2:59 PM | Painted panoramas were one of the nineteenth century’s signature popular entertainments. Since its invention in 1787, audiences from cities and towns around the world have admired these circular landscape representations of nature, cities, and battles, which provide an opportunity to escape everyday life by witnessing scenes from the past and far-away places from an unfamiliar perspective. In this seminar, we will consider the phenomenon of the panorama, above all, as a political art form. We will examine the ways in which European and American artists since the nineteenth century have turned to panoramic forms to tell and call into question stories about empire and colonialism, enslavement and freedom struggles, the mastery of natural environments, as well as military victory and loss. As we debate the politics of panoramic forms, we will gain familiarity with a set of related topics from visual and material culture, including vedute, transparencies, magic lantern projections, panoramic wallpaper, dioramas, cartographic representation, history painting, illustrated print culture and pictorial journalism, travel literature and guidebooks, accordion folds and gatefolds, stereoscopes, panoramic photography, panoramic shots in cinema, and immersive environments. In addition to enriching your knowledge of nineteenth-century media history and how to conduct media archaeological research in libraries, archives, and museums, this seminar will offer an overview of approaches to visual culture from social history, gender, race, colonialism, museum studies, print history, sound studies, transnational history, and digital art history, which will be of use for work in a number of interdisciplinary fields. Students with a background in disciplines, such as architecture, literature, history, cinema studies, gender and sexuality studies, Africana Studies, and material texts, are welcome. | GRMN5760401 | |||||||||
| ARTH 6260-401 | Hellenistic and Roman Art and Artifact | Stephanie Anne Hagan | TR 10:15 AM-11:44 AM | This lecture course surveys the political, religious and domestic arts, patronage and display in Rome's Mediterranean, from the 2nd c. BCE to Constantine's 4th-c. Christianized empire. Our subjects are images and decorated objects in their cultural, political and socio-economic contexts (painting, mosaic, sculpture, luxury and mass-produced arts in many media). We start with the Hellenistic cosmopolitan culture of the Greek kingdoms and their neighbors, and late Etruscan and Republican Italy; next we map Imperial Roman art as developed around the capital city Rome, as well as in the provinces of the vast empire. | AAMW6260401, ARTH2260401, CLST3402401, CLST5402401 | |||||||||
| ARTH 6500-401 | Michelangelo and the Art of the Italian Renaissance | David Young Kim | TR 5:15 PM-6:44 PM | An introduction to the work of the Renaissance artist Michelangelo (1475-1564)-his sculptures, paintings, architecture, poetry, and artistic theory-in relation to his patrons, predecessors, and contemporaries, above all Leonardo and Raphael. Topics include artistic creativity and license, religious devotion, the revival of antiquity, observation of nature, art as problem-solving, the public reception and function of artworks, debates about style, artistic rivalry, and traveling artists. Rather than taking the form of a survey, this course selects works as paradigmatic case studies, and will analyze contemporary attitudes toward art of this period through study of primary sources. | ARTH2500401, ITAL2550401, ITAL6500401 | |||||||||
| ARTH 6610-401 | Northern Renaissance Art | Shira N. Brisman | MW 10:15 AM-11:44 AM | This course critically examines concepts traditionally associated with the Renaissance by focusing on the exchange of artistic ideas throughout the Holy Roman Empire and across different media, such as the altarpieces of Jan van Eyck, the expressive drawings of Albrecht Durer and Hans Baldung Grien, the peasant studies of Pieter Bruegel and the prints of satirists who wished to remain anonymous. The material is organized thematically around four topics: religious art as piety and politics; antiquity as a source of tradition and imagination; the formulation of a public discourse that exposed social threats; and the distinctiveness of artistic claims of individual achievement. A motif throughout the course is the question of how the survival of fragments may be presented in museum contexts as parts standing in for an absent whole. We will also consider how historians approach designs for works of art now lost or never completed. Encouraging encounters with art and artifacts around the city, assignments focus on objects in Philadelphia collections. | ARTH2610401, GRMN1301401, GRMN5780401 | |||||||||
| ARTH 6873-401 | Postmodernism | Jonathan D Katz | MW 12:00 PM-1:29 PM | The establishment of postmodern art as a chronological development is built into the very term postmodern, but unfortunately chronology gets everything about postmodernism wrong. It is not born after modernism but is rather coterminous with it and a product of the same forces. Nor does it succeed modern art, but rather in some fundamental ways instead critiques it, for the postmodern is more concerned with what infects art from outside its frame-including history, society, gender, racial and sexual politics, etc.-- than anything that develops within it. This course is thus concerned with the heyday of postmodern art from roughly the 1950 through the 1980s, although we begin in the early 20th century with the work of Marcel Duchamp. We will look at artists as different as Cindy Sherman, Felix Gonzalez-Torres, John Cage, Andy Warhol, and Kara Walker, and pay particular attention to art about AIDS. Roughly evenly divided between art and theory, the course presumes no prior knowledge of either. Still, as Jacques Derrida explained, binaries such as modernism and postmodernism remain extremely useful to power, because they uphold the status quo, circumscribing the field of contestation to either one pole or the other, and thus eliminating other possibilities. This course is concerned with these other possibilities. | ARTH2873401, GSWS2873401, GSWS6873401 | |||||||||
| ARTH 7010-301 | Methods Seminar | Sarah M. Guerin | R 1:45 PM-4:44 PM | This course is designed to build skills of analysis and argumentation essential to the conduct of creative and responsible work in History of Art. Its goals include presenting the history of the field in a manner attentive to the complexities of its institutional and professional formations, purposes, and effects; encouraging appreciation of historiography, specifically the time, place, and political and social circumstances in which a given text was composed; promoting awareness of the ethics of scholarship (inclusive and expansive in every sense); familiarizing students with the strengths and weaknesses of distinct methodological traditions that have shaped the field; considering the audiences served by art historical scholarship (the academy, the museum, local and global publics) and the forms scholarship might take to effectively reach those audiences. The course is required for first-year graduate students in History of Art and open to others with permission of the instructor. | ||||||||||
| ARTH 7600-301 | Early Modern Art Seminar: Early Modern Utopias | Shira N. Brisman | M 5:15 PM-8:14 PM | This seminar takes a thematic approach to the study of European art produced between 1400-1800. Topics, which change annually, include such offerings as "Art and Law;" "Spectacle, Punishment, and Surveillance;" "Prints and Politics" and "The Subject of Nature." In a given year, we will approach a corpus of objects, images, and performances through a study of three kinds of text: primary sources, secondary art-historical scholarship, and critical theory. Discussions will convene around local museum and library collections. Assignments will develop skills in writing abstracts, preparing conference papers, and developing strong and publishable written work. | ||||||||||
| ARTH 7940-301 | Contemporary Art Seminar: Photography In Other Tongues | Hannah Feldman | T 1:45 PM-4:44 PM | This graduate seminar covers various topics and concerns with regards to the arts, visual and material cultures of the contemporary period, variously defined, and with differing regional and theoretical points of focus. |