Art History

Museum Studies, sometimes called Museology, deals with the birth, development, and operation of the public museum as one of the key institutions of the modern world. Starting in the eighteenth century, museums became one of the instruments whereby nation-states created and democratized national pasts using a repertoire of images and objects that were displayed in purpose-built or adapted architecture (such as the British Museum and the Louvre). Musealization involves removing artworks and other objects from the original context of manufacture or use and re-installing them in a new order according to criteria such as chronology, school, genre, or theme. Since the inception of the public museum, ideas and practices of the exhibition (as well as storage, preservation, classification, and public education) have undergone continuous transformation. The course examines several approaches to key players – director, curator, patron, architect – through case studies, site and/or virtual visits, analyses, review-writing, and a practical exercise in curating. Part I departs from the concept of museum script to consider the agency of curatorship. Part 2 considers forms of agency exercised by modern patrons in public museums. Students research an aspect of curatorship for their term paper.

This course offers a study of European and Mediterranean art of the 4th through 15th centuries.  

What is at stake in reading, writing, depicting and telling the histories of Berlin’s architectural and urban landscape? How do historical and analytical frameworks shape scholarly understandings of the city? How does the architecture of Berlin shape its history and theory? Conducted as a discussion seminar, this course uses recent architectural and urban histories of 20th century Berlin to explore different ways of narrating the city’s history. Each week, students will approach Berlin’s urbanity through different textual and visual media to discuss the themes and methods—from femininity to migration, politics to privatization—by which they narrate the entanglement of Berlin’s physical and social landscape. Over the course of the semester, students will develop their scholarly reading techniques, and their fluency in the multipolar and manifold circumstances of the city. The premise of the course is that engaging the narrative can lead to ‘changing the narrative,’ thereby opening the door for students to develop an original final project, situating their worldly experience in the past, present and future of Berlin.

How does racial difference teach us to see, or not to see? This seminar examines the intersection of Modernist aesthetics and racial formation, with a focus on the United States and Europe in the 20th century. From monochrome painting and mid-century furniture to Josephine Baker and Isamu Noguchi, we will analyze how race materializes through form and style. Topics and themes will include: race and abstraction; primitivism in 20th century art; formalism and art historiography; exhibition history. By the end of this course, students will gain an interdisciplinary foundation in conducting aesthetic analysis from a critical race viewpoint. Readings include Clement Greenberg, “Towards a Newer Laocoon [1940],” in Clement Greenberg: The Collected Essays and Criticism (Chicago and London: University of Chicago Press, 1986); Richard Dyer, White: Essays on Race and Culture (London: Routledge, 1997); Frantz Fanon, “The Fact of Blackness [1952],” in Black Skin, White Masks, trans. Charles L. Markmann (New York: Grove Press, 1967); Stuart Hall and Sarat Maharaj, "Modernity and Difference: A Conversation," in Modernity and Difference, ed. Gilane Tawadros and Sarah Campbell (London: Institute of International Visual Arts, 2001).

For this excursion-based course, we will visit the Museum of Modern Electronic Music (MOMEN), considering questions around legacy,  historiography, and representation in the telling of electronic dance music’s histories. We will also avail ourselves of experiential opportunities on offer at the museum, such as DJ workshops and artist talks. In addition, we will visit the Robert Johnson nightclub in nearby Offenbach, which will afford firsthand experience as well as an opportunity to think about nightlife ethnography. In the seminar leading up to the excursion, we will explore the histories of German popular electronic music and Detroit techno, discuss nightlife fieldwork, and consider what might happen when museums and electronic music meet.

This course on Japanese art focuses on historical contexts, discussing the ideas and feelings conveyed by the art, and probing the aesthetic and philosophical concepts behind the art.  Students learn about (1) ancient and medieval art and sculpture, (2) arts of the early modern period, and (3) modern artistic trends since the Meiji Restoration. 

This course introduces students to the mutually influential art of the East and the West. The first half of the course focuses on "Shosoin Treasures and Buddhist Art of Todaiji Temple," with the objective of fostering an interest in the origins of traditional designs and symbols in Japanese art. The second half of the course covers different topics, one of which is the visualization of the "Arabian Nights" and consideration of Orientalism and Japonisme in art.  The course also considers manuscript illustrations from the Islamic world and Japanese picture scrolls, comparing media and painting materials with the actual objects, while reviewing the history of printing technology using plant-fiber paper. 

This course covers the period between the Predynastic and the Middle Kingdom and includes: reliefs, statuary, architecture, and minor arts, illustrated with images. It focuses on learning how to look at and to analyze Egyptian art and to place it in its context. This course involves a significant amount of memorization to create a mental data-bank that is useful when putting excavated material in context and in analyzing Egyptian art. It includes field trips to the museum and to Giza and Saqqara.

This course seeks to examine the meaning and significance of “architecture” in one of the most historically marked cities of Europe. Berlin has been subject to many waves of renewal, some gradual, some democratic and some totalitarian. All of these have left their traces on the city’s buildings.

Although we may notice or like the appearance of particular buildings we see everyday or as tourists, their size often makes it seem as though “they have always been there.” Still, these buildings are the result of many individual, social and communal decisions. A building says a lot about the ideas held during the time it was built in. Therefore, the course will include formal and stylistic analysis of the architecture as well as focus on the historical, ideological and individual context of the works through the prism of the following question: What kind of message was this building meant to convey? In this perspective, the course gives a wide overview of the development of public and private architecture in Berlin during the 19th, 20th and 21st centuries.

Following an introduction to the urban, political and cultural development and architectural history of Berlin since the middle ages, the Neo-Classical period will be surveyed with special reference to the works of Karl Friedrich Schinkel. This will be followed by classes on the developments of the German Reich after 1871, which was characterized by both modern and conservative tendencies and the manifold activities during the time of the Weimar Republic in the 1920s such as the Housing Revolution. The architecture of the Nazi period will be examined, followed by the developments in East and West Berlin after the Second World War and the traces of the Berlin wall, which are partly re-enacted. The course concludes with a detailed review of the city’s more recent and current architectural profiles, including an analysis of the conflicts concerning the re-design of Berlin after the Cold War and the German reunification.

Several walking tours to historically significant buildings and sites are included (Unter den Linden, Gendarmenmarkt, Potsdamer Platz, Holocaust Memorial, Humboldt-Forum etc.). The course aims to offer a deeper understanding of the interdependence of Berlin’s architecture and the city’s social and political structures in its historical development. It considers Berlin as a model for the highways and by-ways of a European capital in modern times.

At the zenith of the civil rights movement in the USA and de-colonizing movements in Africa, the Carribean  and Asia, just prior to the advent of second wave feminism, gay and lesbian liberation, and other social movements linking political liberation to embodied physical differences, something new was born. There arose a new vision of the body as precisely the obverse of how we now consider it—a single, universal human body shared by all, ungendered, unraced, unsexed. This new body-in-common, unmarked even by such core physical differences as biological sex, became legible as radically dissident under a new political ideology that has thus far largely escaped historical attention: Eros. As a potent challenge to a number of repressive orthodoxies, not least capitalism, Eros was also, perhaps not surprisingly, a central theme in a number of art works of the period, from Carolee Schneemann’s nude performances to Claes Oldenburg’s erotic public sculpture, Yayoi Kusama’s immersive environments, Helio Oticica’s Tropicales and Kenneth Anger’s films. This course examines the relationship among art, sex, gender and revolution from the vantage point of Eros’ brief historical moment, a vista now largely obscured by our contemporary fixation on a politics of social distinction and bodily difference. Reading the work of Herbert Marcuse, Susan Sontag, Norman O Brown and others, we will also study the art, film and performance of such key figures as Yoko Ono, Jack Smith, Franz Erhardt Walters and Rebecca Horn.  As such, this period constitutes both the theoretical prehistory of the sexual revolution, as well as perhaps the defining episode in our ongoing transubstantiation of flesh into politics.