100
Level and 200 Level Art History Lecture Courses
Note: No prerequisites are needed for these courses. Courses
are open to on-line registration.
ART H 101 LEC
A1 – Introduction to the History of Art I
T R 11:00 – 12:20, TL 12
Instructor: TBA
This course will survey the painting, sculpture and architecture
of the western world from prehistoric times to the beginning
of the fifteenth century.
ART H 101 LEC
A2 – Introduction to the History of Art I
T R 14:00 – 15:20, FAB 2-20
Instructor: TBA
This course will survey the painting, sculpture and architecture
of the western world from prehistoric times to the beginning
of the fifteenth century.
Art H 102 LEC B1 – Introduction
to the History of Art II
T R 11:00 – 12:20, TL 12
Instructor: TBA
This course will survey the painting, sculpture and architecture
of the western world from the fifteenth century to the present.
Art H 102 LEC
B2 – Introduction to the History of Art II
T R 14:00 – 15:20, FAB 2-20
Instructor: TBA
This course will survey the painting, sculpture and architecture
of the western world from the fifteenth century to the present.
ART H 202 LEC A1- Survey of Renaissance Art
T R 1230-1350, FAB 2-20
Instructor: TBA
History of the visual art and culture in the 15th and 16th centuries. Not open to students with credit in ART H 252.
ART H 205 LEC S1 - Survey of 18th and Early 19th Century Art
M W 1830-1950, FAB 2-20
Instructor: TBA
History of the visual arts of the 18th and first half of the19th century in Europe.
ART H 206 LEC A1 - Survey of 20th-Century Art I
T R 1100-1220, FAB 2-20
Instructor: TBA
History of the visual arts up to World War II in Europe and North America.
ART H 207 LEC B1 - Survey of Early Canadian Art
M W 1400-1520
Instructor: TBA
History of the visual arts from the 17th century to the end of the 19th century in Canada.
ART H 209 LEC B1 - Survey of the History of Design
T R 1100-1220
Instructor: TBA
Introduction to the development of design since the Industrial Revolution.
ART H 210 LEC Q1 - Survey of the History of Photography
M W 1830-1950
Instructor: TBA
A study of photography from its invention in the 19th century to its impact in the 20th century.
ART H 212 LEC A1 - Survey of Asian Art
T R 0930-1050
Instructor: TBA
History of art and visual culture in Asia.
ART H 251 LEC B1 - Survey of Romanesque and Gothic Art
T R 1230-1350
Instructor: TBA
History of the visual arts in Europe from the 11th to the 14th century.
ART H 255 LEC A1 - Survey of Art from the Second Half of the 19th Century
M W 1100-1220
Instructor: TBA
History of the visual arts of the second half of the 19th century in Europe.
ART H 256 LEC B1 - Survey of 20th-Century Art II
M W 1230-1350
Instructor: TBA
History of the visual arts of the 20th century from World War II to the present, in Europe and North America.
ART H 257 LEC A1 - Survey of 20th-Century Canadian Art
M W 1230-1350
Instructor: TBA
History of the visual arts of the 20th century in Canada.
300 Level and 400 Level Art History Seminar Courses
NOTE: All non-BFA/BDES students require consent of the department to register in the following courses. Please refer to the following Art and Design web pages for registration instructions:
ART H 301 A1 Geographies of Art, Design and Visual Culture: American Art from the Colonial Period to World War II
M W 12:30-13:50, FAB 2-24
Instructor: Betsy Boone
This course examines the history of art the United States from the colonial period to the Second World War, giving careful consideration to major artists, stylistic movements, and cultural trends. Lectures and readings will explore the development of American national identity and its relationship to such issues as race, class, gender, politics, religion, the natural world, and industry.
Prerequisites: Consent of Department. Students are normally expected to have completed two 200 level Art History courses with a minimum grade of B- in both.
ART H 306 B1 Modernism and Modernity in Twentieth-Century Chinese Art
T R 11:00 - 12:20, FAB 2-24
Instructor: Walter Davis
This course will consider how Chinese artists of the twentieth century created works of and for their time, abandoning, modifying, and preserving native artistic traditions and concerns. The course will examine not only formal and material developments but also social and political factors that guided the course of modern Chinese art.
Prerequisites: Consent of Department. Students are normally expected to have completed two 200 level Art History courses with a minimum grade of B- in both. ArtH 212 strongly recommended.
ART H 309 A1 Design History and Theory: Sustainable Design: 1848 - 2010
T R 11:00 – 12:20, FAB 2-24
Instructor: Joan Greer
The history and theory of sustainable design is a relatively uncharted area, a situation that this course will attempt to redress. Using an inclusive working definition of “design” as something that is created for a purpose and as the result of human activity, and of “sustainable” as meaning tenable in the long run from both social and environmental points of view, this course will consider the traditional fields of graphic design, industrial design, architecture and urban planning but also look beyond these to include other, less tangible design forms, such as digital information design and service design.
Prerequisites: Consent of Department. Students are normally expected to have completed two 200 level Art History courses with a minimum grade of B- in both.
ART H 330 B1 Art and Institutions: Museum Contexts
M W 11:00 – 12:20, FAB 2-24
Instructor: Anne Whitelaw
Museums have been the site of debates around art, the nation, race, gender and power since their formation in the late 18th century. This course will explore the changing role of the museum in the western world, addressing such topics as the establishment of museum collections, corporate sponsorship, the critique of the museum by artists, the changing nature of display paradigms throughout the last century, and the role of the museum in the establishment of artistic value.
Prerequisites: Consent of Department. Students are normally expected to have completed two 200 level Art History courses with a minimum grade of B- in both.
Seminar Courses
Art H 400/600
A1 - Theory and Method in the History of Art, Design and Visual Culture
Fall Term, Wednesday 9:30 – 12:20, FAB 2-30
Instructor: Steven Harris
This course aims to provide students with an introduction to theories and methodologies in the study of art history and visual culture. We will look at both formal and contextual approaches to art and cultural history, as well as at more recent uses of theoretical paradigms from outside the discipline. The readings will demonstrate that art history has had an exchange of ideas and approaches with other fields throughout its own history.
If this course aims to inform students about past and current approaches to the history of art and visual culture, it is also designed to help students learn how to do art history themselves. It is not focused on a single theoretical or methodological paradigm, but introduces students to a variety of approaches, some of which contradict each another. Students are expected to improve their reading and conceptual skills by engaging critically with these texts, and to improve their ability to look at and think about visual imagery by considering the analyses made by others.
Pre-requisites: Consent of Department. Open only to Majors, Honours and Masters students in History of Art, Design and Visual Culture.
ART H 406/506 B1 - Surrealism in the New World
W 12:30 to 15:20, FAB 2-30
Instructor: Steven Harris
With the crushing of the Spanish Republic by Franco in 1939, and the invasion and occupation of France by German forces in 1940, many surrealist artists and writers fled France and Spain and settled, whether temporarily or permanently, in the Caribbean, Mexico and the USA. Such figures include André Breton, Leonora Carrington, Aimé Césaire, Marcel Duchamp, Max Ernst, Wifredo Lam, André Masson, Roberto Matta, Wolfgang Paalen, Benjamin Péret, Man Ray, Yves Tanguy and Remedios Varo, to name only the best-known of those in exile. There were significant groups of surrealist artists and writers in New York, Mexico City, Santo Domingo and on the island of Martinique – not to mention those in Haiti and Cuba, or the automatistes in Montreal – all of whom were in contact with one another. Not only did the centre of gravity of the surrealist movement temporarily shift to the new world in the 1940s, but the experience of the new world had a profound effect on the surrealists in exile, as did they in turn on the North American artists and writers with whom they were in contact. In this course, we will investigate the changing ideas and interests of the surrealists in the Caribbean, Mexico, and the USA, in the context of a shared community of interests in poetry, myth, indigenous and popular arts, and revolutionary politics.
Prerequisites: Consent of Department. Students are normally expected to have completed one 300-level course with a minimum grade of B; either ArtH 206 or 256 required.
ART H 411/511 A2 Special Topics in History of Art Design and Visual Culture: Representation and Otherness
*3 (fi 6) (Fall term)
T 14:00 – 16:50, FAB 2-30
Instructor: Anne Whitelaw
With a particular focus on the work of artists in post-settler nations (i.e. Canada, the United States, New Zealand and Australia) this course examines historical and contemporary representations of indigenous peoples and cultures, as well as the representational strategies deployed by the “othered” to counter these hegemonic depictions. Representational forms that will be discussed include traditional modes of indigenous cultural expression, western art media, performance, academic writing and museum displays.
Prerequisites: Consent of Department. Students are normally expected to have completed one 300-level course (or its equivalent in Native Studies) with a minimum grade of B.
ART H 455 B1 Constructions of Genius and Artistic Identity: 1848 - 2010
ART H 555 B1Constructions of Genius and Artistic Identity (1848 – 1914): Religion and Art
*3 (fi 6) (Winter term)
M 12:30 – 15:20, FAB 2-30
Instructor: Joan GreerArt History 455 Constructions of Genius and Artistic Identity: 1848 - 1914
In this seminar we will examine notions of genius and the image of the artist in the late nineteenth century. We will consider the role and position of the artist, as it was reflected in and constructed by theoretical and critical writings on art, artists' visual imagery and writings, literary representations of the artist and art marketing strategies.
As in Art History 455, in this seminar we will examine notions of genius and the image of the artist in the late nineteenth century. We will consider the role and position of the artist, as it was reflected in and constructed by theoretical and critical writings on art, artists’ visual imagery and writings, literary representations of the artist and art marketing strategies. The particular focus of this seminar at the graduate level, however, will be a consideration of the extent to which religious and artistic discourses converge in constructions of artistic genius. This will include: an investigation into how the image of Christ and of other religious figures are used to address the artist’s position and role an examination of artists’ interest in and identification with non-western religious traditions.
Prerequisites: Consent of Department. Students in ART H 455 are normally expected to have completed one 300-level course with a minimum grade of B;
ART H 255 strongly recommended.
ART H 456/556 A1: “Garbology” and the Work of Contemporary Art
*3 (fi 6) (Fall term)
R 12:30-15:20, FAB 2-30
Instructor: Amanda Boetzkes
This seminar examines the use and representation of garbage in contemporary art. In part, our task will be to consider the way that art history may be carried out as a form of “garbology”. We will study the material conditions, value systems, and visual spectacles that surround the production and use of garbage both within and beyond the domain of contemporary art practice. The class will also consider the historic precedents of the appearance of garbage in art, from the aesthetics of decay that have characterized many 20th-century artistic interventions from the ready-made, the combine, and art brut to earth art, abject art, and arte povera. However, it will also speculate on the discernable shift in recent decades towards art that addresses more enduring and spectacular forms of garbage such as plastics, kitsch, “e-waste” and toxic waste. Examples of such a paradigm shift can be found in the work of Vik Muniz, Mark Dion, Kelly Wood, Jeff Koons, El Anatsui, Brian Jungen, Francis Alÿs, Edward Burtynsky and Vivan Sundaram. In light of such developments, we will investigate the themes of accumulation, and excess and the question of how spectatorship is linked to the broader notion of consumption. To what extent does the uncanny return of garbage from social invisibility into public view challenge the model of infinite production that accompanies late capitalism? Do the highly aestheticized practices of contemporary art merely perpetuate a drive to consume? Under what circumstances can consumption be considered ethical?
Prerequisites: Consent of Department. Students are normally expected to have completed one 300-level course with a minimum grade of B; ART H 256 strongly recommended.
ART H 456/556 B1: The Technologies of Contemporary Art
*3 (fi 6) (Winter term)
R 12:30-1520, FAB 2-30
Instructor: Amanda Boetzkes
This course investigates the technologies of contemporary art. It seeks to define “technology” and to question how technology structures artistic practice, spectatorship and the aesthetic experience. Conversely, it will also examine how contemporary art is critical of the technologies it deploys and how it exposes the ideological underpinnings of technological development. We will discuss performance art, installation, photography, video art, as well as art that deals with biotechnologies, digital images and the internet.
Prerequisites: Consent of Department. Students are normally expected to have completed one 300-level course with a minimum grade of B; ART H 256 strongly recommended.
ART/DES 630 A1: MA/MFA/MDes Seminar: The Politics of Aesthetics
*3 (fi 6) (Fall term)
F 11:00-13:50, FAB 2-30
Instructor: Amanda BoetzkesIn his re-reading of the history of modernism, Jacques Rancière suggests that abstract painting laid the groundwork for an “anti-representative revolution” by which art became intertwined with the flatness of pages, posters, tapestries, and the decorative arts. This move to a shared realm of practice between art, text, and design was the context in which a relationship between aesthetics and politics could be forged. This course will examine Rancière’s proposition, through specific instances in which the “distribution of the sensible”—as it occurs in contemporary art, art history, architecture, design, and print media—unleashes a political potential.
Prerequisites: Consent of Department. Open to first year graduate students in the Department of Art and Design.
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