191 - 200 of 239 results for: ARTHIST

The last few decades have seen growing interests in global studies, both in art history and in the humanities more broadly. Despite the frequently euphoric tenor of "global" discourses in the art world, which tend to celebrate more than critically assess a new era of interconnectedness, it is possible to trace global art history back to the late 19th century, when the world became linked in unprecedented ways through commerce and empire, and when modernist practices emerged outside the West in dialogue with parallel movements in Europe. Global histories of modernism require attending to the circulation of artworks and expressive forms across cultures, regions, political and religious ideologies, and time periods. Noting how objects and practices traveled between East and West, North and South, rural and urban areas, colonies and metropolitan centers - that is, across a spatially and culturally diffuse modernity, accompanied by inevitable time lags and interpretive discordances - this seminar deals with the theories, methods, and narratives of global modern art history, exploring a range of thorny issues. We will especially consider different ways of researching and constructing arguments about global modernisms in relation to complex historical phenomena - including the Cold War, decolonization, and globalization - whose power dynamics have often been difficult to decipher.

This seminar examines the art history of censorship in the United States. Paying special attention to the suppression of queer, Black, and Latinx visual and performance art, including efforts to vandalize works and defund institutions, students will explore a variety of writing such as news articles, manifestos, letters, protest signs, scholarly texts, and court proceedings. The course approaches censorship as an act to restrict freedom of expression and, however unwittingly, as a mode of provocation and publicity.

This course serves as the Core Seminar for the PhD Minor in Philosophy, Literature, and the Arts. It introduces students to a wide range of topics at the intersection of philosophy with literary and arts criticism. The seminar is intended for graduate students. It is suitable for theoretically ambitious students of literature and the arts, philosophers with interests in value theory, aesthetics, and topics in language and mind, and other students with strong interest in the psychological importance of engagement with the arts. In this year's installment, we will focus on issues about the nature of fiction, about the experience of appreciation and what it does for us, about the ethical consequences of imaginative fictions, and about different conceptions of the importance of the arts in life more broadly. May be repeated for credit.

TBD

The Swiss artist Paul Klee (1879-1940) is known for his small drawings, intricate motifs, and fantastical themes. His drawn and painted marks are personal hieroglyphs defying easy description. Drawing and painting in an age of epochal transformations (world war, economic collapse, the rise of Fascism), he persisted in an art of the small. Aligned with childhood, mental illness, and marginality in general, Klee's work still raises questions about the importance of unimportant art?a kind that pursues the private valor of an enchanted obscurity. Drawing on brilliant recent scholarship about Klee by Annie Bourneuf, as well as critical readings on childhood and modernism, mental illness and modernism, and the high melancholy theory of Walter Benjamin (whose Theses on the Philosophy of History derives from Klee's Angelus Novus, which Benjamin owned), the seminar will explore the value of the small and obscure not only in Klee's art and times but in our own.

Much scholarly and curatorial work in the field of global art history has focused on contemporary art, and on developments in the international art world under economic globalization, roughly since 1989. Yet the field's temporal frame has expanded over the last decade or so. Work in the field now includes scholarly articles and monographs, exhibition projects, and edited volumes that chart the international and transnational circuits of modern art since the end of World War II. Some of this work responds critically to an extensive literature on Cold War modernism whose most important hubs were never doubted to have been Paris and New York. This course engages an expanded history of modern art during the age of decolonization and the global Cold War, c 1945-1990.

This seminar follows the trajectory of the Crusades in Europe and the Middle East from the late eleventh to the fifteenth century. The first crusade, started at the initiative of pope Urban II in 1095, brought Jerusalem under Christian rule for the first time since the early seventh century. This event was perceived as crucial in both Muslim and Christian sources, and the transformation of the architecture of the city soon began, with mosques being converted to churches, some of them thus returning to their initial function. Other buildings, such as the Dome of the Rock, built as an Islamic sacred space, were given new meaning. The direct contact between Christians and Muslims also had an effect on Europe, which now increasingly heard first-hand reports from the Holy Lands, and received objects such as glass, metalwork, and textiles produced in Syria or Egypt for its church treasuries.

The legacy of Latinx isn't as centered at mainstream museums or galleries. Instead, this legacy is held by community centers, libraries, artist cooperatives, and other grassroots initiatives, which have nurtured the work and unique needs of Chicana/o/x and Latina/o/e/x artists as a response to their historical exclusion at major art institutions. From the Civil Rights Movement to our contemporary moment, this seminar explores how artists, activists, students, and faculty have developed both formal and informal programs to support art production, facilitate artist mentorship and networking, and build collections of art and archives. Additionally, this seminar aims to contribute to the documentation of these dynamic art legacies by creating educational resources, such as short didactic texts, oral history interviews, and other research-based and creative approaches.

Caravaggio was a murderer, Schiele a sex offender, and Picasso openly endorsed art theft (to say the least). Why do some artists seem to flout the law and ethics as if creativity demands a leap from mere rebellion to outright transgression? This course dives into the tangled web of art and morality, scrutinizing issues in representation and interpretation. Where should scholars stand today when art history often ends up excusing all sorts of behaviors? How has the discipline become a portmanteau for legitimizing various wrongdoings? How should emerging scholars navigate their careers in this moral minefield? These are some of the questions this experimental graduate seminar tackles, guiding its participants to pen reflections that will contribute to a published book.