ÎÞÂëרÇø

• Ravi Binning
• Thursday 2:00 – 4:50 p.m., Owen Arts Center 1190

This course confronts how medieval art and architecture framed their own histories. We will examine how spaces such as churches, treasuries, and caves layer different temporalities, and how objects record their makers' decisions to integrate, assemble, frame or conspicuously cancel material traces of the deeper past. In the process, the course will also cover nearly a century's worth of art historical thought about phenomena such as temporal pastiche and anachronism, re-use/spoliation, conversion and "afterlife". The itinerary will cover familiar examples from Rome and Byzantium as well as lesser studied material from the medieval Caucasus, Nubia, Ethiopia and Egypt.

• Adam Jasienski
• Friday 2:00 – 4:50 p.m., Custard Institute Seminar Room, Meadows Museum

Organized in conjunction with the Meadows Museum exhibition Spectacles of Power and Faith: Colonial South American Art from the Thoma Foundation, this graduate seminar examines the visual culture of colonial Latin America between the 16th and 19th centuries. We read foundational texts and new scholarship in the field, and discuss topics such as originality, quality and identity. The seminar will take place in the museum and will include weekly visits to the galleries, as well as conversations with invited curators. Students should expect to attend all programming organized in conjunction with the exhibition, including three Thursday evening lectures and a scholarly study day. 

The location is listed as OAC 1190 but in the description, it says the seminar takes place at the Meadows Museum.

Image: Unidentified artist, Veil of Veronica, 17th century. South America. Oil on canvas. Collection of the Carl & Marilynn Thoma Foundation, 2023.20

• Stephanie Langin-Hooper
• Tuesday 2:00 – 4:50 p.m., Owen Arts Center 1190

This practicum seminar will address the urgent ethical issue of the display of the bodily remains of ancient people in art museums. Seminar readings will introduce students to the broad literature on this topic from ethical, archaeological and art historical perspectives. We will then address the specific case of the coffin and mummified body of an ancient Egyptian person that is owned by ÎÞÂëרÇø and currently on loan to, and displayed at, the Dallas Museum of Art. Drawing upon current best practices for the display of ancient human remains, students will develop real-world proposals for alternate curatorial strategies for exhibiting (or not) the remains of this ancient person.

• Adam Herring
• Wednesday 2:00 – 4:50 p.m., Owen Arts Center 1190

This seminar introduces principal movements, methods and writings of academic art history. Emphasis will fall on theory and practice of the discipline, though we will lend attention to broader questions of aesthetic discourse, historical interpretation, cultural critique, and scholarly exchange/intervention. Readings include studies both influential and topical, as well as the tendentious, the delightful and the well written. All are intended to equip students with a roadmap understanding of the art historical practice, and to help each student formulate her/his individual place within the evolving discipline. We will pay special attention to skills of critical practice and scholarly exposition. ARHS 6329 is as much about claiming one's own voice in the disciplinary conversation as it is an introduction to art-historical theory and historiography.

Image: Girolamo Benzoni, La Historia del Mondo Nuovo (Venice 1565), 166.