Art History

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.

In this course, we will address two related questions: 1) Why were queer creators largely responsible for the introduction of modernity in American art and 2) why do we so often find that queer social and political dissent found form in, and as, aesthetic dissent as well? In creating new forms for art that often seem far removed from any traditional definition of sexuality, queer artists pushed the boundaries of normativity, leading to new ways of seeing, hearing, feeling and thinking that often dared to encode queer meanings as part of their formal innovation. Were queer artists driven by a utopian hope that in a more modern world, the egregious homophobia/transphobia of the past would finally be no more? And finally we will ask about the social and political usefulness of forms of queer political dissent if those forms still remain illegible as queer to a wider audience. Throughout, new methods informed by queer, gender, and critical race theory will be utilized.

This course introduces oil painting, photography, printmaking, and sculpture that arrived in Japan and developed uniquely with modernization since the Meiji period. It also examines the history of modern art, which was a complex mix of old techniques and traditions amid the influx of new Western ideas, technologies, and systems, with a focus on the Meiji period.

This course concerns the architectural and urban heritage of Fustat - Cairo from 641 CE to the present. It introduces Islamic architecture and the major architectural works of Cairo from the introduction of Islam to the present day. With reference to the historical and social contexts, the course also considers how and why Islamic architecture changed in Cairo over the centuries, and deepen understanding of the culture in which students live and share with the Islamic world. The assignments provide an opportunity to learn how art historians think and argue with one another, and develop perceptual abilities, research, presentation skills, and critical thinking.

This course introduces the history of design in Italy from the post-war period to the present day and explores the connection between design and the rebuilding of Italy and the Italian economy, following the devastations of World War II. The link between Italian design and Italian identity, and the concept of ‘Made in Italy’, is explored through the study of design in different areas, including fashion, objects, transport, and furniture. By looking at the impact of Italian design outside of Italy and the emergence of global companies, including the main fashion houses, the course leads students to understand the importance of design both as part of the Italian economy and as a lens through which the world views Italy. Finally, through visits, lectures, case studies analyzed through a cross-cultural lens, and in-class discussions, the course builds awareness and inspires creativity for new projects in an ever-changing world and society, with an eye on sustainability, ethics, design justice, and life cycle assessment in today’s market. 

This course examines a new topic in modern art each time it is offered. Visit the Bocconi University course catalog for the current course topic. In spring 2023-24, the course focused on the visual representation of the human body in art. The course studies the visual representations of the human body in many guises: aesthetic, political, social, cultural, and erotic among others. It analyses the different strategies that artists deployed to develop rhetorics of the body both physical and emotional. This course proposes a dynamic approach of the body in art considered as a focus of a composition, an object of investigation, a locus of gender and racial understanding, a vehicle for physical and emotional experience, the cornerstone of our creative power and ability.  Students learn to visually and historically analyze works of art from various periods, the human body being the basis of visual representations and an object of aesthetic investigation; understand and be able to deploy in their own words major theoretical approaches used to interpret works of art; discuss the relationships between the real and the represented body through works of art conceived as the occasion, the site, and the condition of a process of historical, social and cultural construction.  The course includes visits to local museums, namely the Pinacoteca di Brera and the Museo Poldi-Pezzoli.

This course examines Spanish culture and society today through a study of its history and art. Topics include: Paleolithic, Neolithic, and Metal Age; Iberians and Celts; Roman Empire; Visigoths; Islam and Al Andalus; Christian kingdoms; late Middle Ages and Catholic Monarchs; empire of Charles I; Bourbons in Spain; Enlightenment; colonization and independence of American colonies; first and second republics; Franco dictatorship and transition to democracy; Spain and the European Union.

This course takes a loosely chronological approach to global moments of encounter, challenge, resistance, and transformation over the past 500 years. It looks closely at political events, and views them through images and objects, manifestos and interventions. The course pays attention to issues of propaganda, resistance, civil rights, protest, and crisis. We take care to address contemporary transformations happening in museum and gallery spaces due to issues of equity, race, gender, culture and class.