Archived: 2021-2022 Graduate Course Listings
Fall 2021-Winter 2022
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- PROFESSOR: Stéphane Roy
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- PROFESSOR: Carol Payne and Stéphane Roy
- DESCRIPTION: ARTH 5010 is a full-year course for incoming MA students in Art History. The course combines critical theory with practical skills, both aimed to provide students with a solid foundation for graduate study in Art History.
- METHOD OF EVALUATION: Over the course of the year, you will read widely in current Art Historical theory, produce a research paper drawing on theory, encounter key research resources and tools, produce a catalogue entry based on primary and secondary research, write a detailed research proposal, and learn to write and present an academic conference paper.
- READINGS: TBA
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- PROFESSOR: Birgit Hopfener
- DESCRIPTION: What are multiple concepts of time, plural and entangled temporal structures and regimes that constitute the present and our contemporary conceptual frameworks of knowing, being, creating art and cultural artifacts, and relating to each other and the world? This reading intensive, interdisciplinary seminar takes this question as the starting point to “unlearn” (G. Spivak) the universalized modern Western temporal framework and its ongoing effects on ways of knowing, being and creating and to explore the long ignored cultural and historical multiplicity of temporalities of the present through critical engagements with scholarly writings and art (visual art, film, music, literature etc.). The seminar takes the new critical attention to temporality and the heightened temporal and historical consciousness evident in current theoretical and artistic conceptualizations of what constitutes or could constitute our world temporally now and in the future as the starting point, to uncover, map and transform contemporary temporal frameworks and their effects on concepts and practices of knowledge, art, self and social relations.
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- PROFESSOR: Jill Carrick
- DESCRIPTION: This course focuses on art produced in France during the swinging ‘Sixties’. Found-object art, performance work, painting and sound-poetry were just a few of the genres experimented with by artists keen to engage with the pressing issues of their time. Emphasis is placed on the social, historical, and artistic contests of production of art in France, and on contemporary re-readings of its theoretical and historical significance. Key themes: Neo-Dada, Nouveau réalisme, Food Art, found-object art, art and politics, art and memory.
- METHOD OF EVALUATION: Active seminar participation, including weekly preparation for assigned readings, class facilitations, and a short presentation on end of semester research paper.
- READINGS: TBD
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- PROFESSOR: Carmen Robertson
- DESCRIPTION: Indigenous stories of the past, present, and future are shared through intergenerational knowledge transmission. This course explores how Indigenous ways of knowing are expressed in embodied stories in Indigenous arts today. Critical examinations of Indigenous art exhibitions serve as a platform for analysis.
- METHOD OF EVALUATION: Oral and written assignments
- READINGS: Variety of readings by Indigenous scholars and writers related to storytelling and Indigenous ways of knowing.
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- PROFESSOR: Carmen Robertson
- DESCRIPTION: Indigenous curators have formulated new ways to display Indigenous arts through applications of Indigenous ways of knowing. This course charts not only directions in Indigenous curation, it also involves a hands-on curatorial experience by mounting an exhibition based on a premier collection of Indigenous art.
- METHOD OF EVALUATION: Experiential learning project and written assignments
- READINGS: Course text: Nagam, Julie, Lane Carly, Tamati-Wuennell (eds). Becoming Our Future: Global Curatorial Practice. (Winnipeg: ARP, 2020) & readings by Indigenous scholars related to Indigenous curatorial practice
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- PROFESSOR: Gül Kale
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