department of history of art autumn 2017 coursebook · pdf filedepartment of . history of art...

DEPARTMENT OF HISTORY OF ARTAUTUMN 2017 COURSEBOOK

For further information on any course offered in Autumn 2017, or to schedule a class, please consult BuckeyeLink.

https://buckeyelink.osu.edu/

COURSE BY INSTRUCTOR

Andrews, Julia 4815 The Art of Modern China

8811 Studies in Chinese Art

Florman, Lisa

6001 Historical/Conceptual Bases

Fullerton, Mark

2001H Honors Western Art 1

5311 Art & Archaeology of Pre-Classical Greece

Haeger, Barbara

2001 Western Art 1: Ancient & Medieval Worlds

4531 17th Century Art of the Netherlands

Hamann, Byron

2005 History of Latin American Art

4016 Senior Research Seminar: Materialities

Kleinbub, Christian

5001 Sacred Images of the Italian Renaissance

8521 Materiality: Concepts and Case Studies

Kunimoto, Namiko

3605H Honors History of Photography

5002 Film in Post-War Japan

Levin, Erica

5910 Documentary Cinema

Marcus, Danny

4605 Aspects of Modernity 5622 From Dada to Dictatorship

Mathison, Christina

2003 Art & Visual Culture of East Asia 4005 Artistic Media & Techniques

Neumeier, Emily

8001 Orientalism/Occidentalism

Paulsen, Kris

5645 Video Art

8901 BecomingPicture:Mimesis,Camouflage,andtheArtsofInvisibility

Shelton, Andy

2002 Western Art 2: Renaissance to Present

8001 Orientalism/Occidentalism

Lecturers TBD

2901 Intro to World Cinema

3901 World Cinema Today

Department of History of Art

5036 Smith Lab

174 W. 18th Ave.

614-292-7481

history-of-art.osu.edu

WESTERN ART I: THE ANCIENT & MEDIEVAL WORLDS

Professor Barbara Haeger

HISTORY OF ART 2001

This course examines the history of Western Art (architecture, painting and sculpture) from the third millennium BCE through the fifteenth century CE. Rather than a complete “survey” of that period, the course will concentrate its attention on a select group of representative monuments. We will examine not only the monuments themselves, but also the historical context in which they were produced in order to explore their purpose and the way that they functioned. There will be a strong emphasis on visual analysis and understanding how visual forms convey meaning and relate to the viewer. Our goal is to impart not only a body of knowledge but also a set of critical tools, which you should be able to apply to even material not specifically covered in this course.

AUTUMN 2017 Class # 16013

(+ RECITATION)

Fulfills these GE requirements:

Diversity (Global) Studies; Historical

Studies; VPA.

LECTURE Mon & Wed 9:10-10:05

RECITATION Thurs or Fri 9:10-10:05

HISTORY OF ART 2001D

This course examines the history of Western Art (architecture, painting and sculpture) from the third millennium BCE through the fifteenth century CE. Rather than a complete “survey” of that period, the course will concentrate its attention on a select group of representative monuments. We will examine not only the monuments themselves, but also the historical context in which they were produced in order to explore their purpose and the way that they functioned. There will be a strong emphasis on visual analysis and understanding how visual forms convey meaning and relate to the viewer. Our goal is to impart not only a body of knowledge but also a set of critical tools, which you should be able to apply to even material not specifically covered in this course.

AUTUMN 2017

Class # 25192


Diversity (Global) and either Historical

Studies or Arts & Humanities VPA.



Studies; VPA.

ONLINE

WESTERN ART I: THE ANCIENT & MEDIEVAL WORLDS

(DISTANCE LEARNING)

ONLINE!

WESTERN ART I: THE ANCIENT & MEDIEVAL WORLDS (HONORS)

Professor Mark Fullerton

AUTUMN 2017

Class # 33910

HISTORY OF ART 2001H

This course examines the history of Western Art (architecture, painting and sculpture) from the Ancient and Medieval eras. We will examine not only the monuments themselves, but also the historical context in which they were produced. There will be a strong emphasis, too, on questions of analysis and interpretation. Our goal is to impart not only a body of knowledge but also a set of critical tools, which you should be able to apply also to material not specifically covered in this course.



Studies; VPA.

WEDS & FRI 11:10-12:30

HISTORY OF ART 2001

WESTERN ART I: THE ANCIENT & MEDIEVAL WORLDS (NIGHT)

This course examines the art of the United States and Europe from about 1500 to the present, with an emphasis on painting. It will concentrate on a select group of represen-tative works that shaped—and were shaped by—developments in western social, polit-ical, and intellectual history and that participated in individual and community identity formation. There will be a strong emphasis on questions of analysis and interpretation, as the goal is to impart not only a body of knowledge but also a set of critical tools that you should be able to apply to a wide range of material not specifically covered in the course.

AUTUMN 2017

Class # 16057






Studies; VPA.

TUES & THURS 5:30-6:50

WESTERN ART II: THE RENAISSANCE TO THE PRESENT

Professor Andrew Shelton


(+ RECITATION)

HISTORY OF ART 2002

This course examines the art of the United States and Europe from about 1500 to the present, with an empha-sis on painting. It will concentrate on a select group of representative works that shaped—and were shaped by— developments in western social, po-litical, and intellectual history and that participated in individual and commu-nity identity formation. There will be a strong emphasis on questions of analy-sis and interpretation, as the goal is to impart not only a body of knowledge but also a set of critical tools that you should be able to apply to a wide range of material not specifically covered in the course.

LECTURE: M & W 10:20-11:15

RECITATION: Th or F 10:20-11:15



Studies; VPA.

WESTERN ART II: THE RENAISSANCE TO THE PRESENT

(NIGHT)

HISTORY OF ART 2002

This course examines the art of the United States and Europe from about 1500 to the present, with an emphasis on painting. It will concentrate on a select group of represen-tative works that shaped—and were shaped by—developments in western social, polit-ical, and intellectual history and that participated in individual and community identity formation. There will be a strong emphasis on questions of analysis and interpretation, as the goal is to impart not only a body of knowledge but also a set of critical tools that you should be able to apply to a wide range of material not specifically covered in the course.

AUTUMN 2017

Class # 20788






Studies; VPA.


EAST ASIAN ARTProfessor Christina Mathison

This course introduces students to the major media and techniques used by artists in Asia. We will examine in-depth the practical aspects of the production of sculptures, paintings, prints, drawings, mandalas, and other media. This emphasis on technique will be balanced by discussions of the ways that a work’s materiality shapes and activates its meaning.

HISTORY OF ART 2003






Studies; VPA.

This course offers an introduction to the visual arts in East Asia, from the Neolithic through today. The course examines in particular the relationship between cultural production and changing notions of authority in East Asia in a comparative historical perspective. Case studies will be drawn from China, Japan, and neighboring regions. Issues examined in-clude: religion and early state formation; courtly culture and monumentality; the develop-ment of urban popular culture; the age of empire; art and modernization.


(+ RECITATION)

LECTURE Mon & Wed 11:30-12:25

RECITATION Thurs or Fri 11:30-12:25

LATIN AMERICAN ART

Professor Byron Hamann

AUTUMN 2017

Class # 24200

HISTORY OF ART 2005

This course examines the art of Latin America

from about 1500 BC to 1821, surveying both

prehispanic civlizations as well as the era of

Spanish and Portuguese rule from first en-

counters in 1492 to the wars of independence

in the early nineteenth century. A wide range

of objects and images will be discussed, from

painting, sculpture, and architecture to ceram-

ics, featherwork, and textiles. These artifacts

will be studied both for how they reflect the

aesthetic ideals of different peoples from

different cultures and backgrounds (indig-

enous American, European, African) in the

past, as well as for how they illuminate social,

political, and economic themes in the cultures

they were made for. The course’s main goal

is to teach not only a body of knowledge but

also a set of critical tools that you should be

able to apply to a wide range of material not

specifically covered in the course.

TUES & THURS 11:10-12:30





Diversity (Global) and Arts &

Humanities VPA.


Historical Studies; VPA.

INTRO TO WORLD CINEMA

HISTORY OF ART 2901


Diversity (Global) Studies; VPA.

This course will introduce students to the principal films, directors, and movements of World Cinema from the beginning of the twentieth century to the present day. Emphasis will be on helping students acquire and develop the requisite skills for analyzing the for-mal and stylistic aspects of specific films, and on helping students understand those films in their social and historical contexts.

AUTUMN 2017

Class # 16030TUES & THURS 9:35-10:55

INTRO TO WORLD CINEMA

(NIGHT)

HISTORY OF ART 2901



This course will introduce students to the principal films, directors, and movements of World Cinema from the beginning of the twentieth century to the present day. Emphasis will be on helping students acquire and develop the requisite skills for analyzing the for-mal and stylistic aspects of specific films, and on helping students understand those films in their social and historical contexts.

AUTUMN 2017

Class # 16031TUES & THURS 5:30-6:50

HISTORY OF ART 3605H

EAST-WEST PHOTOGRAPHY(HONORS)

Professor Namiko Kunimoto

This course will explore major developments in Chinese art from 1850 to the present, with particular interest in how artists defined themselves in the context of radical social and economic changes, periods of destructive warfare, and an increasingly international art world.


This course will begin with the emergence of photography and will examine the medi-um’s pivotal role in shaping relations between Asia and the West. We will explore early portraiture, architectural sites, colonial tourism, popular culture, family photographs, and contemporary art photography. No previous experience in Asian art or photography required.

AUTUMN 2017



VPA.

WORLD CINEMA TODAY

This course will survey the best of world cinema within the past decade or two, includ-ing representative examples of national cinemas, such as (potentially, since the selections would change) Iranian, Chinese, Taiwanese, and Indian; ethnic cinemas, such as (potential-ly) Kurdish, Jewish diaspora, and Quebecois; regional cinemas, such as (potentially) East-ern European and Middle Eastern cinemas; continental cinemas, such as African and South American; global cinema, such as Euro-American, Hong Kong, and Dogme 95; and the cinemas of civilizations, such as Islamic, Judeo-Christian, and Confucian. Not all these cat-egories, or others that are possible, are represented in any given quarter.

HISTORY OF ART 3901

AUTUMN 2016

Call # 23681WEDS & FRI 2:20-3:40



This course will survey the best of world cinema within the past decade or two, including representative examples of national cinemas, such as (potentially, since the selections would change) Iranian, Chinese, Taiwanese, and Indian; ethnic cinemas, such as (poten-tially) Kurdish, Jewish diaspora, and Québécois; regional cinemas, such as (potentially) Eastern European and Middle Eastern cinemas; continental cinemas, such as African and South American; global cinema, such as Euro-American, Hong Kong, and Dogme 95; and the cinemas of civilizations, such as Islamic, Judeo-Christian, and Confucian. Not all these categories, or others that are possible, are represented in any given quarter.

AUTUMN 2017


Fulfills the GE requirement for Arts & Humanities -- Visu-al and Performing

Arts (VPA).



ARTISTIC MEDIA AND TECHNIQUES

Professor Christina Mathison

This course introduces students to the major media and techniques used by artists through-out history. We will examine in-depth the practical aspects of the production of sculptures, paintings, prints, mosaics, manuscripts, drawings, textiles, metalwork, and other media. This emphasis on technique will be balanced by discussions of the ways that a work’s ma-teriality shapes and activates its meaning.

HISTORY OF ART 4005

This course introduces students to the major media and techniques used in Asia throughout

history. We will examine the process and techniques involved in the production of Bamboo,

Ceramics, Drawing, Epigraphy, Ivory, Lacquer, Mandalas, Metals, Painting, Paper, Prints, Silk,

Stone, Textiles, and Wood. Lectures and coursework will center around understanding the

media and techniques of these art forms and analyzing the relationship between materials and

meaning. The course will also involve the study of the limitations of some of these media and

the approaches to conservation.

AUTUMN 2017

Class # 34000TUES & THURS 12:45-2:05

SENIOR RESEARCH SEMINAR: MATERIALITIES

Professor Byron Hamann

AUTUMN 2017

Class # 33928

HISTORY OF ART 4016

A seminar designed to perfect the re-

search and writing skills of advanced

majors in History of Art, this course is

reading and writing intensive. Initial

classroom meetings will be focused on

the discussion of key theoretical and art

historical texts, in which every student

will be required to participate; the over-

all arc of the class is centered around

the writing of a major research paper by

each student.

This edition of the course will ex-

amine material perspectives on objects

and images developed within and be-

yond the history of art, including sub-

stance symbolism, histories of the book,

media archaeologies, microhistory, and

thing theory.

WEDS & FRI 12:45-2:05


Diversity (Global) and Arts &

Humanities VPA.


Historical Studies; VPA.

17th CENTURY ART OF THE NETHERLANDS: SHAPING IDENTITIES,

RELIGIOUS BELIEFS, AND VALUES Professor Barbara Haeger

AUTUMN 2017

Class # 33930

HISTORY OF ART 4531

This course examines the major artists

and varied functions of paintings and

prints created in the northern and south-

ern Netherlands (what we know today as

The Netherlands and Belgium) during

the seventeenth century. The material

has been organized to explore the role

of art in propagating religious beliefs,

facilitating social cohesion, shaping val-

ues, and defining civic, national, and in-

dividual identities. We will also examine

the particular contributions of individu-

al artists (e.g. Rubens, Rembrandt, and

Vermeer) and issues of artistic theory

and practice.


ASPECTS OF MODERNITY

Professor Danny Marcus

AUTUMN 2017

Class # 25185

HISTORY OF ART 4605

This class explores the emergence of mass

culture and mass politics in Europe and

North America between the 1870s and the

1920s, a period during which many of the

key institutions of contemporary society—

from the ‘popular’ press and the democratic

franchise to technologized entertainment

and ready-to-wear fashion—were first intro-

duced on a large (but not universal) scale. In

lectures and discussions, we will investigate

the many, often divergent, strategies by

which artists sought to adapt to, and partic-

ipate in, the ‘modernization’ of culture and

society; to help direct our attention, we will

work through a handful of key texts by ma-

jor historians and theorists, all of which offer

original arguments about the relationship

between art and modernity. Students will

be asked to think critically about the shift-

ing significance of race, class, gender, and

sexuality during the period at issue, rooting

these concerns in close observation of art-

works and cultural artifacts.

WEDS & FRI 2:20-3:40


VPA.

THE ART OF MODERN CHINA: 1850 TO THE PRESENT

Professor Julia Andrews

AUTUMN 2017

Class # 25186

HISTORY OF ART 4815

This course will explore the ways in

which Chinese artists of the past cen-

tury have defined modernity and tradi-

tion against the complex background

of China’s history. A key issue is the

degree to which artists have chosen

to adopt or adapt Western conven-

tions and the extent to which they have

rejected them. We will examine art

works in different media, including oil

painting, Chinese ink painting, graphic

design, woodblock prints, and recent

installation and video art, along with

documentary and theoretical materials

to investigate the most compelling of

the multiple realities that Chinese art-

ists have constructed for themselves.

TUES & THURS 9:35-10:55


HISTORY OF ART 5001

AUTUMN 2016

Call # 23681WEDS & FRI 2:20-3:40



Many of the best-known artworks that we now display in museums were first produced not for artistic

appreciation but for prayer and worship in churches, monasteries, and other sacred settings. In fact,

some of the greatest artists who have ever lived, including giants like Botticelli, Leonardo da Vinci,

Michelangelo, Raphael, and Titian, created works first and foremost to invite spiritual contemplation. In

this class, we will seek to recover the original motivations behind the paintings and sculptures of the Ital-

ian Renaissance. Acknowledging that the vast majority of Italian Renaissance images were religious, this

class sees questions about their meaning as perhaps the central problem of image-making in the period

more generally. The course will be structured in two parts. Part 1 will survey some of the important cat-

egories of sacred images, studying both exemplary sacred images and period sources in relationship to

issues of context and patronage. Part 2 will treat several of the larger questions surrounding the theory of

the sacred image, with special attention to current debates about whether or not the period’s sacred im-

ages embody a gradual displacement of spiritual meanings by secular considerations. In this way, we will

discover that, even in the Renaissance, secular ideas were beginning to change the way art was thought

about and made, and that the struggle between religious and secular objectives in Italian Renaissance

art defines how art is made even today.

AUTUMN 2017 Class #

35615/35616

WEDS & FRI 3:55-5:15

SACRED IMAGES OF THE ITALIAN RENAISSANCE

Professor Christian Kleinbub

HISTORY OF ART 5002

FILM IN POST-WAR JAPAN Professor Namiko Kunimoto



In this course, we will consider how Japanese filmmakers contributed to – and were affected by – the fraught political environment of the 1950s, 1960s, and 1970s. We will explore themes such as trauma and war memory, gender and nationhood, American hegemony and the Cold War, the culture of high economic growth in the 1960s, political protest, and the bubble economy and its aftermath.

AUTUMN 2017 Class #

33947/33948

TUES & THURS 11:10-12:30

ART & ARCHAEOLOGY OF PRE-CLASSICAL GREECE

Professor Mark Fullerton

AUTUMN 2017 Class #

33949/33950

HISTORY OF ART 5311

This course will explore the art history,

archaeology, and material culture of

Ancient Greece from the early Bronze

Age (c. 3000 BCE) through the Archaic

period (c. 480 BCE). Students will be en-

couraged to consider the wide range of

disciplines and methodologies including

those of art history, archaeology, history

and philology.

TUES & THURS 11:10-12:30

FROM DADA TO DICTATORSHIPProfessor Danny Marcus

HISTORY OF ART 5622

This course surveys developments in European art and culture between the two World Wars,

a period that saw the world order of the nineteenth century—defined, on one hand, by the

political arrangement of Great Powers, and on the other, by unbridled laissez-faire cap-

italism—succumb to a fatal crisis, in which the ultra-nationalist Right and communist Left

emerged as primary actors. Over the span of the semester, we will track the metamorphoses

of art and culture in France, Germany, Italy, Russia, and the United States, among other key

theaters of artistic experimentation, focusing on the interplay of art and radical politics, but

with an eye toward the global re-stabilization of political and cultural authority soon to follow

after World War II.

AUTUMN 2017 Class #

33954/33955

WEDS & FRI 11:10-12:30

VIDEO ARTProfessor Kris Paulsen

HISTORY OF ART 5645

This course will survey the history of Video Art from 1963 to the present, paying special atten-

tion to the cultural and political forces that shaped its form and content. We will trace Video

Art’s roots back to Pop, Minimalism and Conceptual Art, and examine its early identities as

“sculpture” or “performance document.” We will pay special attention to Video’s relationship

to its “parent” media – television – and study how artists used television broadcasts to distrib-

ute their work and to subvert the power of the mass media. The course will end with a series

of case studies on contemporary artists. Students will learn to analyze video art by engaging

with its specific formal and temporal structures, its relationship to social history and politics,

as well as its “cinematic” properties, such as narrative, shot and editing.

AUTUMN 2017 Class #

33945/33946

TUES & THURS 12:45-2:05

DOCUMENTARY CINEMAProfessor Erica Levin

HISTORY OF ART 5910

The artist Hito Steyerl observes, “The documentary form as such is now more potent than ever, even

though we believe less than ever in documentary truth claims.” This course explores the paradox she

identifies by looking closely at the history of documentary cinema, from the first film named to the genre

– Nanook of the North – to the present day, as it shapes a wide range of moving image practices. The

class follows an historical trajectory, but will encourage you to think comparatively and analytically about

documentary form, ethics, and aesthetics. We will examine the major modes of documentary filmmaking

including cinema verité, direct cinema, investigative documentary, ethnographic film, agit-prop, activist

media, autobiography and the personal essay. Through formal analysis, we will ask how these different

documentary modes generate or exploit a variety of “reality effects.” Along the way, we will consider

why the promise of documentary truth is always beset by uncertainty, or as Steyerl describes it, “a shad-

ow” of insecurity. Rather than accept this phenomenon as a constraint or a limit, we will explore how

artists like Steyerl help us to see the value and meaning of the “perpetual doubt” documentary inspires.

AUTUMN 2017 Class #

34947/34948

WEDS & FRI 9:35-10:55

THE HISTORICAL & CONCEPTUAL BASES OF ART HISTORY

Professor Lisa Florman

HISTORY OF ART 6001

The aim of this course is to offer a grounding in the history of the discipline of art history (in-

cluding its various philosophical engagements), so as to enable you to better understand the

current state of the field, and to assess the claims of current art history and theory. It is not a

“methods” course, insofar as a “method” is typically understood as a systematic procedure

that, once mastered, can be applied to a wide range of diverse objects. The majority of the

texts we’ll be examining assume instead that the art work itself largely determines—or should

determine—how it is to be interpreted. Typically, too, a “method” assumes the uncontested

availability of the object of study, whereas this course aims to put some pressure on precise-

ly that idea (i.e.: What is a work of art, and how do we recognize it? How does it differ—if it

does—from other sorts of man-made objects? What sort of access do we have to it? etc.).

AUTUMN 2017

Class # 16034MONDAYS 11:30-2:00

ORIENTALISM / OCCIDENTALISM Professors Andrew Shelton & Emily Neumeier

HISTORY OF ART 8001

The concept of Orientalism and its underlying premise—namely, the West observing and imagining the

East—has emerged as a veritable sub-field within the humanities, pointing to questions about imperi-

alism, race, gender, and transcultural encounter that are today more pressing than ever. In this seminar,

two art historians, one specializing in 19th-century European art and the other in the arts of the Islamic

world, aim to introduce students to the ways in which the modalities of Orientalism can be witnessed and

analyzed in both the fine arts and visual culture. While we will touch upon the legacies of Orientalist rhet-

oric in modern and contemporary art production, our primary focus will be the 19th and early 20th cen-

turies in Europe and the Ottoman Empire. Students will explore how the binary and mutually constitutive

relationship between the “West and the Rest” impacted European artists as well as their counterparts in

the Islamic world, who in many ways sought to speak back to this discourse. We will begin by exploring

the foundations of Orientalism laid by Edward Said and his critics as well as the work of post-colonialist

theorists such as Dipesh Chakrabarty and Gayatri Spivak. We will then consider both classic and more

recent work on the themes of Orientalism and Occidentalism in art history, including readings by Linda

Nochlin, Darcy Grimaldo Grigsby, Mary Roberts, Ali Behdad, and Edhem Eldem.

AUTUMN 2017

Class # 33944THURSDAYS 2:15-5:00


HISTORY OF ART 8521

AUTUMN 2016

Call # 23681WEDS & FRI 2:20-3:40



In recent years, the study of materiality – roughly defined as the examination of the nature, meaning, and

handling of materials – has become a dominant line of inquiry within the discipline of art history. Indeed,

materiality studies has opened a wide array of avenues for considering not only the intrinsic properties

and symbolic meanings of particular materials, but also their presumed sacred, scientific, philosophical,

or social importance. Other questions deal with how that material is worked (in some striking cases,

contemporary scholars have sought to learn by imitating the artist/artisans they study). Even the way in

which a material enters circulation has been used to map geographic and temporal connections through

the objects themselves. Simultaneous with the explosion of materiality studies, however, there has been

sometimes heard (although still faintly) a conceptual backlash from those who are seeking to move be-

yond this approach. Considering these things, this seminar will explore materiality and its discontents

in its widest permutations. Grounded in conceptual work, it will enrich this account through the reading

of case studies, focusing on what we might see as materiality flash points, including early modernity.

Among many other things, this seminar will seek to understand how we can conceive of artistic media

(e.g., sculpture, painting, architecture) in relation to their materiality, studying such recurrent themes of

medium fluidity and specificity, and how these have come to be historicized.

AUTUMN 2017

Class # 25191TUESDAYS 2:15-5:00

MATERIALITY: CONCEPTS AND CASE STUDIES

Professor Christian Kleinbub

SOCIAL NETWORKS IN 20th CENTURY CHINESE ART

Professor Julia Andrews

AUTUMN 2017

Class # 33943

HISTORY OF ART 8811

This graduate seminar will look at some

of the networks of relationships among

twentieth century Chinese artists and

beyond China’s borders that have re-

sulted in significant artistic movements

or events. Our preliminary readings will

include samplings from recent historical,

literary, art historical and social science

writings that take a similar approach.

For their final projects students are en-

couraged to follow their own interests,

which may include cross-cultural or in-

ternational linkages among artists, joint

exhibitions, collegial links that may take

place in art societies, colleges, and else-

where, to name only a few possibilities.

What impact did such connections have

on artistic practice and self-positioning?

WEDNESDAYS 2:15-5:00

BECOMING PICTURE: MIMESIS, CAMOUFLAGE,

AND THE ARTS OF INVISIBILITYProfessor Kris Paulsen


HISTORY OF ART 8901

AUTUMN 2016

Call # 23681WEDS & FRI 2:20-3:40



This course takes a long historical look at the tactics of camouflage, mimesis, and mimicry in

philosophy and aesthetics, as well as natural, military, and activist contexts. The trajectory of

the seminar will be to move these historical discussions into our contemporary biopolitical and

neoliberal moment to think about how we might actively resist the structures of power in the

age of mass surveillance, self-tracking, and endless quantification. We will look to artists and

activists – across periods and movements, form the ancient to the contemporary – to theorize

what it means to become invisible and to understand the power of disappearance. Thinkers

we will address in the seminar include Franz Fanon, Roger Caillois, Jacques Lacan, Maurice

Meleau-Ponty, Jean-Paul Sartre, Hanna Rose Shell, Michel Foucault, Zach Blas, Eyal Weizman,

Hito Steyerl, and Wendy Chun among others.

AUTUMN 2017

Class # 33956WEDNESDAYS 2:15-5:00

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