Art History

This hands-on course covers the theory and practice of calligraphy.  

Through the appreciation and practice of calligraphy, students enhance their eye for evaluating handwriting and learn practical applications for everyday life. 

Using direct engagement with Late Antiquity and medieval artworks housed in Berlin’s Staatliche Museen, this seminar introduces students to a solid method of interrogating images and objects. It focuses on the particularities of the Christian image, namely its capacity of figuring the invisible and its relationship with the Hebrew Scriptures. The way the Hebrew Scriptures were transformed into the “Old Testament” in images serves as the seminar’s guiding thread. By examining specific distinct objects, students trace the emergence of Christian imagery, explore the contradictions it struggled with, and consider the dynamics of artistic creation in the Middle Ages. The first sessions offer a brief introduction to the central themes. In the following sessions, students visit the Bode Museum and other state museums. During these sessions, each student presents an assigned object, followed by an open group discussion. The class also addresses questions regarding the ways of exhibiting medieval objects in museums.

This course critically examines key conceptual frameworks such as decolonization, postcolonialism and anti-colonialism - particularly in relation to art, museums and heritage. Emphasis is placed on challenging Western systems of knowledge and exploring alternative perspectives on seeing, curating and narrating. The course includes guest lectures from scholars and practitioners as well as field visits to museums and exhibitions.

This special topics course includes the following topics: How filmmakers use their depictions of robots, androids, and AI to comment on contemporary science, society and culture; How developments in real-world science and technology have influenced cinema, and how the real science of AI has been influenced by science fiction; How to analyze and interpret science fiction films in terms of their themes and symbolism (what is the message of this movie?) and historical significance (why was this film important, and what events from history influenced its creation?) 

Students explore film analysis, terminology, and methodology through films, readings, group discussions, and debates. 

This course focuses on ancient Mexican art throughout Mesoamerica and its diverse regions.  In ancient Mexico, works of art played a particularly important role in the diverse rituals associated with the earth, the underworld, and death, but also with fertility and political power. By associating works of art with their archaeological context and original ritual function, the course introduces students to the wealth of information that the study of artistic works offers.
 

This course introduces selected Japanese masterpieces in the hand-scroll (emaki ) format from the late-classical and medieval periods, while referencing other types of narrative imagery. The course considers how scholars approach these images from a variety of perspectives; how historical developments shape images and are reshaped by them, and visual storytelling techniques.

This survey course examines the visual and material culture of Korea from prehistoric times through the Joseon dynasty (1392-1910). It presents key artifacts and artistic traditions in a chronological framework, exploring them within their historical, cultural, religious, and social contexts. While the lectures primarily focus on the diverse works of art that emerged within the Korean peninsula, attention will also be given to the transcultural dynamics of East Asian art history. 

The course explores the unique landscape of sustainable fashion in Italy, highlighting the interplay between its rich historical, cultural, and artisanal heritage, and the contemporary surge in experimental and high-tech practices driven by R&D centers and emerging brands. Students examine how these two facets intertwine – both theoretically and in practice – shaping a dynamic and contemporary sustainable fashion scenario. Thus, the course delves into Italy’s artisanal legacy in fashion and textile, presenting case studies of local craftsmanship and companies, accompanied by an overview of contemporary cutting-edge experiences, to assess their role in the current sustainable paradigm.

To this extent, students are primarily introduced to the historical development and meaning of sustainable fashion in the Italian context, to then focus on more recent trends in material innovations, design, and production processes. The contents of the course also cover the foundations of sustainable fashion as a global phenomenon, to critically reflect on its definition and to explore key sustainability principles. Classes are scheduled according to macro themes and employ a hybrid approach, blending theoretical knowledge (traditional lectures) with practical application through class activities (hands-on or meta design projects). An interdisciplinary perspective is adopted to demonstrate the possibilities of integration of ecology, philosophy, science and art in the design perspective. The course features field visits to local museums, institutions, and designers’ studios to witness sustainability in action. Additionally, guest lectures from field experts and scholars provide specific insights or address key challenges.

Since the 1990s the term “new media” has become associated with digital media, but throughout the 20th century it was used to refer to any image technology of recent vintage. Thus, during the 1920s, artists would refer to photography or film as “new media.” This seminar picks up this history at a later point, in the late 1960s, when the “electronic” medium of video became available to visual artists. It traces how video was adopted by European and American artists and, in particular, how the medium was defined in relation to more conventional media, such as painting or sculpture, or in relation to television as a mass medium. Certain unique characteristics of video can be highlighted (e.g. liveness or feedback), however not all artists who used video were concerned with establishing a separate “discipline” of video art. Video was also instrumental to a form of “artivism” during the seventies, which mirrors comparable developments in contemporary art. Today, the terms “film” and “video” tend to be used interchangeably, but this is largely due to the introduction of digital video in the 1990s. The seminar pursues a genealogy of digital art, which originates in the 1960s, and trace it into the present, discussing the role of artistic practice within an “algorithmic culture” and the impact of artificial intelligence on the current status of the image.