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Spring 2003
Course Offerings Spring 2003
| Course # |
Course |
Professor |
Days |
Time |
| AH 100 |
Introduction to Art & Art History |
Thompson |
M/W |
9:00am–10:15am |
| AH 100 |
Introduction to Art & Art History |
Katz |
T/Th |
12:00pm–1:15pm |
| AH 110 |
Art History II |
Hales |
M/W/F |
12:00pm–12:50pm |
| AH 160 |
Trends in International Contemporary Art since 1960 |
Higgins |
T/Th |
11:00am–12:15pm |
| AH 205 |
Roman Art & Architecture |
Tobin |
M/W |
1:00pm–2:15pm |
| AH 207 |
Topics in Architecture, Art, & Design: Black
Visual Culture |
Thompson |
M/W |
12:00pm–1:15pm |
| AH 210 |
The Art and Archaeology of Ancient Egypt |
Tobin |
M/W |
9:00am–10:15am |
| AH 221 |
Medieval Architecture |
Ehresmann |
T/Th |
1:00pm–2:15pm |
| AH 225 |
European Architecture: 1750–1900 |
Bruegmann |
T/Th |
11:00am–12:15pm |
| AH 231 |
History of Photography II: The 20th
Century |
Hales |
M/W |
9:00am–10:15am |
| AH 236 |
History of Design II: 1925 to the Present |
Margolin |
M/W |
9:30am–10:45am |
| AH 250 |
Italian Renaissance Art |
Munman |
T/Th |
9:30am–10:45am |
| AH 273 |
Pre-Columbian Art of South America |
TBA |
M/W |
10:30am–11:45am |
| AH 421 |
History of Architecture II |
Pollak |
T/Th |
1:00pm–2:15pm |
| AH 450 |
Topics
in Renaissance Art: Sacred
and Civic Luxury: Art of Renaissance Venice  |
Munman |
T/Th |
12:30pm–1:45pm |
| AH 481 |
Museum Practices |
Cameron |
M |
2:00pm–5:00pm |
| AH 511 |
Toward
New Histories of the Visual Arts: 1960
to the Present |
Fausch |
W |
6:00pm–9:00pm |
| AH 560 |
Seminar
in Modern Architecture, Art, & Design: Art
in Chicago |
Sokol |
M |
6:00pm–9:00pm |
| AH 560 |
Seminar
in Modern Architecture, Art, & Design: Russian
and Soviet Art and Design: 1900
to the Present |
Margolin |
T |
6:00pm–9:00pm |
| AH 560 |
Seminar
in Modern Architecture, Art, & Design: Public(s)
Art(s) |
Kirshner & Higgins |
W |
6:00pm–9:00pm |
| AH 562 |
Issues
in the Art of the Americas: Theories
of Experience |
Fausch & Higgins |
T |
2:00pm–5:00pm |
| AH 563 |
Seminar in North American Architecture and
Art: Constructing Hull House |
Schultz |
W |
2:00pm–5:00pm |
| AH 570 |
Seminar
in Non-Western Art and Architecture: Post-Colonial
Art in Africa and the Diaspora |
Thompson |
W |
6:00pm–9:00pm |
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AH 450 Topics in Renaissance Art
Sacred and Civic Luxury: The Arts of Renaissance Venice
Professor Munman
Tuesdays & Thursdays 12:30pm–1:45pm | 319 Stevenson Hall
“The richesse, the sumptuous buildinge, the religious houses,
and the stablisshinge of their justices and councilles with all other
things it maketh a citie glorious, surmonteth in Venise above all places
IT ever I sawe.”
Sir Richard Guylforde (1506)
The lure of Venice—the city known to its citizens as “La Serenissima” (the “most
serene”)—has justifiably lasted for a thousand years and more,
each age adding to its reputation as a unique city with unique delights.
By the fifteenth century Venice was famous for far more than its art;
its government and social institutions were widely admired as almost
Utopian in scope and function, and its (often mythical) history was viewed
with wonder and respect. But the art of Renaissance Venice was, and remains,
among the most esteemed, and pleasurable products of this city of water,
light and color.
AH 450 will present the development of Venetian painting and sculpture
of the fifteenth and sixteenth centuries, beginning with late Gothic
artists as Paolo Veneziano, and ending with Tintoretto and his contemporaries.
Among the painters and sculptors to be presented are the Vivarini and
Bellini families (with special emphasis on Giovanni Bellini), Vittore
Carpaccio, Pietro Lombardo and his sons, Tullio and Antonio, Antonio
Rizzo, Jacopo Sansovino, Giorgione, Sebastiano del Piombo, Paolo Veronese
and, of course Titian. Particular attention will be devoted to civic
and religious public commissions of the Venetian Scuole (confraternities)
and the official decoration of the Basilica of S.Marco and the Palazzo
Ducale. While this is a topics course (rather than a seminar), class
discussion, based on readings and the material presented in lecture,
will be encouraged.
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AH 511 Toward New Histories of the Visual Arts: 1960
to the Present
Professor Fausch
Wednesdays 5:30pm–8:15pm | 209 Jefferson Hall
The theoretical premises behind the study of the visual arts, architecture,
and design are rooted in a complicated interaction between the more general
historical vision of Western culture and the particular concern of an
object-oriented discipline. Since 1960, however, this uneasily achieved
synthesis has been prodded, provoked, interrogated, deconstructed, enriched,
and expanded, largely through the importation of ideas and philosophies
from outside the discipline.
This course will provide an opportunity to examine critically these
new “readings” of the visual arts. Topics covered will include
postwar Marxism and psychoanalytic theory, structuralism, post-structuralism,
the “New History,” post-colonial theory, multiculturalism,
and theories of vision.
Basic class requirements will include two-page summaries of the readings
for each seminar, and enthusiastic discussion of the readings. In addition,
each student will be in charge of the discussions for two seminars and
will submit a research or analysis paper, an MFA thesis paper, or an
art project.
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AH 560, AD
502, ARCH 524 Public(s) Art(s)
Professor Kirshner & Professor Higgins
Wednesdays 6:00pm–9:00pm | 1315 Art
and Architecture Building
In celebration of the construction of a significant work by Vito Acconci
at UIC as well as other forthcoming public art commissions here, Public(s)
Art(s) is an interdisciplinary seminar that explores major contemporary
expressions and investigations of public art and the relationship between
artists and their publics from Antonin Artaud’s “theater of cruelty” to
Vito Accconci’s public works. This contested territory is shaped by the
overlapping and contradictory desires of artistic expression, communication,
commemoration, and group experience as artists and curators have addressed
and altered the art public and vise versa.
We will address major controversies involving the hostile response,
the sexual and racial politics and poetics of the public and public art,
the landscapes of public art, and the different publics for art across
a wide range of cultures on both Europe and the US. In addition to controversial
exhibitions and the free speech issues that surround then, we will look
at the practical and theoretical issues surrounding work produced for
the public sphere by artists such as Vito Acconci, Gordon Matta Clark,
Fakir, Barry Flanagan, Jenny Holzer, Maya Lin, Charlotte Moorman, Richard
Serra and Robert Smithson. With particular emphasis on theory and practice,
the seminar will analyze the relationship between site specificity, community
involvement and contextualism as they relate to publics and arts.
The
course has strong theoretical and practical components. Visiting speakers
will include Vito Acconci, Doug Garofalo, and Tony Tasset among others.
Students will be required to do readings, present reports or projects
and attend frequent lectures and field trips in the Chicago area. There
will be a modest lab fee associated with the course for visiting lecturers
and field trips.
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AH 560 Seminar
in Modern Architecture, Art, & Design
Art
and Design in Russia and the Soviet Union, 1900–Present
Professor Margolin
Tuesdays 6:00pm–9:00pm | 209 Jefferson Hall
The course will cover Russian and Soviet art and design from the turn
of the century to the present. We will begin with the World of Art, the
Russian equivalent of Art Nouveau and then study the emergence of an
avant-garde in Russia before the Revolution. Special attention will be
given to the Russian Futurists and the Suprematists. Included will be
a viewing of the video production of Alexey Kruchonykh’s Victory over
the Sun with sets by Kasimir Malevich. The study of the avant-garde will
continue after the Revolution with the Constructivists although this
study will be framed by the work of realist groups who did not share
their values. Following the study of the 1920s, attention will be paid
to the rise of Socialist Realism from the 1930s to the 1950s. We will
then look at Russian samizdat or underground art of the 1950s and the
1960s and then work on Sots Art and the new artists who followed in the
1980s and 1990s. Media will include painting and sculpture, photography,
graphic and product design and some architecture. One session will also
be devoted to Zamyatin’s novel of the 1920s, We, which challenged the
utopian visions of the Constructivists.
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AH 560 Seminar in Modern Architecture, Art, & Design
Art in Chicago between the Wars
Professor Sokol
Mondays 6:00pm–8:45pm
“The Armory Show” was the opening event that introduced both
European and American modern art to Chicago in 1913. Although few Chicago
artists became immediate converts to modernism, the exhibit had a strong
and lasting impact on many important Chicago collectors. Three years
later, several of them founded The Arts Club of Chicago, an institution
founded to support and elevate taste in the arts. In the next several
years, several of the artists associated with the Palette and Chisel
Club begun to explore aspects of abstraction.
The Club began to show both European and American contemporary art in
1918, and, that very year, the longtime conservative Director of the
Art Institute of Chicago retired. The School of the Art Institute came
under new leadership and a more progressive curriculum was introduced.
In the 1920s and 1930s, modernism was advanced by some recent graduates
of the SAIC, by the exhibition programs of both The Arts Club and The
Renaissance Society, and via alternative venues for progressive artists.
Also important in this period were the most visible art critics, such
art dealers as Katherine Kuh and Increase Robinson.
The Great Depression impacted Chicago’s art world, and both traditionalists
and progressives worked on the Federal art projects. In addition to the
well-known murals, there were thousands of paintings sculpture, and prints
produced by the 775 Illinois artists on the Illinois Art Projects, from
1934–1943, the vast majority of those were Chicago artists. Worsening
conditions in Europe brought emigree artists here, and Maholy-Nagy and
Mies van der Rohe: their creation of the New Bauhaus nurtured a new generation
of artists and designers. Throughout the period, there were also links
to parts of the American West and Southwest, where many Chicago artists
visited and where some of them settled.
The course will discuss and illustrate the relationship between the
schools of art, the arts organizations, the artists’ associations and
the work produced by the artists, through text and the display of the
the works themselves. It is expected that our study will help develop
an exhibition of art of this period that the instructor will curate with
two other colleagues.
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AH 562 Issues
in the Art of the Americas
What is an Experience?
Professor Fausch & Professor Higgins
Tuesdays 2:00pm–5:00pm | 303 Henry
Hall
What is an experience? What makes it happen? Does experience belong
to architecture, art, nature, religion or psychology? These questions
are probably unanswerable, but they have fascinated philosophers, artists,
architects, and critics throughout the 20th century. This course will
examine several axes along which these questions have been approached.
We will survey a range of answers proposed by, among others, Theodor
Adorno, Henri Bergson, Pierre Bourdieu, Carlos Casteneda, Mihaly Csikszentmihalyi,
Guy Debord, John Dewey, Martin Heidegger, James Hillman, Amelia Jones,
Carl Jung, and Elaine Scarry. Approaches range from the Marxist to the
existential, the empirical to the psychological, and the social to the
spiritual.
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AH 562 Seminar
in Non-Western Art and Architecture
Caribbean Art: Contributions to the Modern and Postmodern
Professor Thompson
Wednesdays 6:00pm–9:00pm
In “Journey to the Center of the Earth: The Caribbean as Master
Symbol,” anthropologist Aisha Khan examines how the contempt of
creolization, which was first coined in regard to Caribbean cultures,
has profoundly influenced theories of postmodernism beyond the boundaries
of the region. This course examines the Caribbean as the “master
symbol” in the visual arts. The first part of the course explores
how the artistic sojourns of artists including Winslow Homer, Paul Gauguin,
and Andre Breton to the Caribbean informed their work or artistic philosophies.
Throughout the class we also examine various local artists’ attempts
to create national or local artistic expressions using various tenets
of modernism, primitivism, surrealism, and postmodernism in their work.
The artists Edna Manley, Wilfredo Lam, and Janine Antoni will be central
in these discussions. Lastly, the class looks at unique kinds of artistic
expression in the Caribbean. We investigate whether art forms like carnival
and cricket force us to rethink commonly accepted notions of art.
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