Art History

The course proposes a critical reflection on the relationships between technique and technology through cultural milestones such as myth, theater, writing, perspective, photography, museums, cinema, video games and all digital technology. In this way, this course aims to establish an interdisciplinary relationship between the areas of knowledge of science (technique and technology), arts and philosophy. Readings and discussions will be held on the ways in which technique, with the domain of the arts and their works, shapes and produces decisive changes in the political, ethical and aesthetic experiences and aspirations of human collectives.

This is an independent research course with research arranged between the student and faculty member. The specific research topics vary each term and are described on a special project form for each student. A substantial paper is required. The number of units varies with the student’s project, contact hours, and method of assessment, as defined on the student’s special study project form.

This course examines the history and theory of photography from the 19th century to the present. It considers several key critical debates on the role of photography as both an art form and a social medium of visual communication. It explores central figures and key episodes in photography's history giving particular emphasis to critics, photographers, scientists, media and art historians' writings on the medium. Students will consider seminal controversial debates about the ways in which photography has been historicized and conceptualized. Is photography an art or is it media? Is it evidence or fiction? Is photography an empowering medium? How can photography create change? The course includes an examination of the development of Australian photography in the 19th and 20th centuries and considers the new phenomenon of Instagram photography and its implications.

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.