A team-taught course led by the DGS based on exemplary readings designed to introduce students to a wide range of art-historical methods. Course is required of HAA G1s and open solely to HAA G1s
Individual work in preparation for the General Examination for the PhD degree or, by arrangement, on special topics not included in the announced course offerings.
Required of juniors concentrating in History of Art and Architecture. A group tutorial consisting of weekly meetings with a graduate student, with regular reading and writing assignments. HAA 98 offers concentrators the choice of several study groups investigating a particular field or topic in art history, including each year: museums and collections; race and aesthetics; the art of looking and writing, and; architectural methods. Concentrators select two of the group tutorial topics.
For AY 24-25, the following topics will be offered:
Required of juniors concentrating in History of Art and Architecture. A group tutorial consisting of weekly meetings with a graduate student, with regular reading and writing assignments. HAA 98 offers concentrators the choice of several study groups investigating a particular field or topic in art history, including each year: museums and collections; race and aesthetics; the art of looking and writing, and; architectural methods. Concentrators select two of the group tutorial topics.
For AY 24-25, the following topics will be offered:
Required of all History of Art and Architecture concentrators in their sophomore year. An introduction to the practice of art and architectural history through object-based teaching led by faculty members in HAA.
The practice of architecture fundamentally asks us to continuously engage with, and re-conceptualize, the world for which we are designing. As such, architecture as a discipline is not only about designing buildings, but also about challenging us to imagine new ways of seeing the world. This studio takes on the challenge through a series of design exercises focused on understanding, engaging with, and reimaging the urban condition. Throughout the course, we will approach architectural design as both a method of producing urban environments, and also as an avenue...
Architecture assembles multiple models, surfaces, and materials; it is not a single monolithic thing, rather it is comprised of disparate parts and organizational systems operating at different scales. Design, the bringing together of these elements, requires sensitivity, registers scale, and renders perceptual effect. This course is an introductory architectural design studio focused on building foundational architectural concepts and design methodologies studied through a process of making. A series of physical modeling/fabrication assignments explore spatial...
Seminar offered under special arrangements consisting of weekly meetings with designated faculty, where regular reading and writing assignments are focused on a topic of mutual interest.
Limited to juniors and seniors. Students wishing to enroll must petition the Head Tutor for approval, stating the proposed project, and must have the permission of the proposed instructor.
The Chinese stupa-tower is a distinct architectural medium. It stages and choreographs disparate images either through its external or internal decorative programs or the deposits interred inside. More importantly, it is keyed to the conceptual core of a biological extinction and imaginary postmortem scenography. The course follows the development from early memorial towers in Buddhist caves to stupa-towers in the Forbidden City.
Practicing art history in today's increasingly mobile art world—whether as a field curator, academic researcher, critic, or other professional specialism—requires museum literacy, intellectual empathy, and the ability to work in multiple voices and mediums, in addition to art historical expertise. This object- centered seminar will introduce students to the central competencies required of art historians working in or with museums today, ranging from skills for assessing the quality and authenticity of objects on the market, to tools for working with...
Without starting from pre-determined categories (e.g. eco-art), how might we map artists' multiple, conflicting, and changing engagements with the more-than-human world? By thinking through a range of critical approaches, could we reframe art as a natural-cultural process? And, by researching specific practices of art-making, institution-building, or exhibition-creation, past, present, or even future, can we make tangible what it would mean to reframe art this way? The syllabus will focus on the period from the 1960s to the present, but students'...
This course explores art history through the idea of refuge, with particular emphasis on imaginative or contemplative means of freeing oneself temporarily from unhappy circumstances. Two related doubts inform the course: that the refuge today is an endangered resource, and that our electronic devices are more refuge-seeming than refuge-serving. The course will aim at developing a stronger theorization of the refuge than presently exists and putting that theorization into dialogue with the history of art. Cognate concepts such as sanctuary, retreat, haven, escape,...
