Graduate Courses

Graduate Courses for 2017-2018

FALL 2017

9500A – Research Methods and Practices (MA & MFA)
Prof. Kelly Jazvac
Wednesday 2:30 – 5:30pm; VAC 247

The Master’s seminar in research methods is the foundational course for the MFA in studio and the MA in art history. The course is an integrated context for reading, analysis of art works, and engagement with relevant practices by studio and art history students, in a shared context. It combines a theoretical component involving a survey of some key movements in contemporary critical theory with a methods component focusing respectively on the development of tools for art making, related writing, and the use of professional skills by artists; and on art historical research methods and the development of critical writing skills, and the use of professional tools by art historians.

9540A/9543A – MFA Studio Seminar
Prof. Sky Glabush
Friday 10:00 – 1:00 pm; VAC 247

This course is designed to provide an opportunity for MFA students to participate in an exchange dedicated to the research and development of their studio practice. Students will be asked to participate by contributing to informal studio reviews that will be scheduled throughout the term. These group meetings may review work-in-progress; access ongoing technical concerns; assist with immediate needs of a project’s concept and execution; develop an appropriate language for evaluation and critique; and involve discussion on related issues. Each student will be required to submit a detailed dossier that will provide information about studio visits with faculty as well as meetings with visiting speakers. Students will be required to present their work for critique to a committee at the end of the year.

9561A/9661A – Race & Gender in the Americas
Prof. Cody Barteet
Tuesday 11:30 – 2:30pm; VAC 148

Overview: This course explores how the visual arts were used to document and present racial and gender concerns during the pre-modern era in North and South America. We begin by establishing a theoretical framework for exploring gender and race. Next, we examine specific studies, beginning with conceptions of gender and race among some pre-contact Indigenous cultures in comparison to select European cultural traditions. From, here shift our focus to the colonial era by considering the cultural conceptions and stereotypes developed about colonial peoples, whether European, Indigenous, or African. As such we will be considering how women, Amerindians, and African peoples were represented in and how they affected pre-modern art production in the Colonial Americas, whether as subjects, creators, patrons, etc.

9551A – Seminar in Medieval Art
(Cross-listed with undergraduate course VAH4451F)
Prof. Kathy Brush
Thursday 11:30 – 2:30 pm; VAC 247

This seminar explores the collecting, display, and representation of medieval art in the USA and Canada during the past century. In 1914, less than a year after the Armory Show introduced North Americans to the art of the European avant-garde, Europe’s Middle Ages “arrived” in New York in a Metropolitan Museum of Art exhibition that featured the collection of the banker-philanthropist J. Pierpont Morgan. In Manhattan that same year the sculptor George Gray Barnard opened his “Cloisters,” an evocatively staged collection of medieval architectural and sculptural fragments which the artist believed would demonstrate “the power of the medieval chisel” to Americans. These early public displays of medieval objects did much to promote the appreciation, collecting, and study of medieval art and visual culture on this side of the Atlantic.

The seminar analyzes a wide range of ideologies and tensions that have animated the display and representation of displaced objects from medieval Europe in North American contexts. In addition to evaluating the idiosyncracies of collecting at individual institutions, the seminar will focus on issues of cultural transfer, reappropriation, and reinterpretation. How, for example, has the public (visual) consumption of medieval art been valued and positioned in relation to objects and ideas from other historical eras and geographies, including those of non-Western cultures and the modern age? How and why have collections of medieval art been employed in the past and present to articulate distinctly American and/or Canadian concerns and identities, whether public, private, individual, or collective? Strategies of arrangement and display, both historical and contemporary, at selected institutions will be given critical consideration. In 2017 the Middle Ages continue to figure prominently in the North American popular imagination: in what ways might exhibitions of “authentic” medieval objects build on and complicate such popular culture projections? How can museums and educational institutions employ new technologies to help interpret medieval visual culture in more accessible and “experienceable” ways? A field trip to relevant collections in Toronto will offer seminar participants real-life insight into current debates about the collecting, display, and representation of medieval visual culture.

9600A – PhD Research Methods
Prof. Sarah Bassnett
Wednesday, 11:30 – 2:30 pm; VAC 148

This seminar is the foundation course for the PhD program in Art and Visual Culture. The theoretical component of the course aims to develop proficiency in critical theory. It prepares students for the comprehensive exams and helps them establish the theoretical framework for their thesis prospectus. The research methods module of the course examines a variety of methodologies for studying art and visual culture. Students learn to situate their research within their field of study and begin work on a literature review for their thesis prospectus. The course also addresses professional practices, such as grant writing and pedagogy.

Winter 2018

9521B/9621B – Studio Elective: Art Practices and the Environment
Prof. Kim Moodie
, Wednesday 2:30 – 5:30 pm; VAC 247

This course examines both historical, and current depictions of natural and industrial scenes in which the use of material resources is clearly visible. It further investigates how art productions interact with the environment, both positively and negatively, while also addressing respective economic and social correlations. Ultimately, the course focuses on examinations of the practices of contemporary artists whose work attempts to address ecological concerns.

9582B/9682B – Contemporary Art and the Process of Witnessing
(Cross-listed with Womens’ Studies & Feminist Research)
Prof. Joy James
Monday, 2:30 – 5:30 pm; VAC 247

This graduate seminar will address specific exhibitions and works of art in relation to historical and contemporary ideas regarding 1) processes of witnessing, 2) notions of subjectivity, and 3) an ethics of difference. The capacity of art to bear witness, as this pertains to rapidly changing conceptions of human subjectivity, has been an important discussion in emerging aesthetic models. Moving from art’s engagements with radical crises of witnessing in the 20thC to recent re-conceptualizations of the relation between art, science, technology and the production of cultures, we will work with wonderfully challenging and provocative texts, art objects and exhibitions in an effort to understand the shape and significance of current concepts of witnessing. Questions of witness and the constitution of subjective states will allow us to delve deeply into a practical ethics of creative practice. A course bibliography and outline will be available at the beginning of the 2017-18 academic year.

9586B/9686B – Writing for the Arts
Prof. Sarah Bassnett
Tuesdays 11:30 to 2:30 pm; VAC 247

This is a practical course focusing on forms of writing common in the art world. We consider evaluative, expository, and narrative writing, with specific attention to exhibition reviews and catalogue essays. Concentrating on recent exhibitions and other art world events, we discuss how to write for various kinds of publications and different audiences. Students will learn about and apply techniques to improve aspects of writing such as structure, style, and narrative. Suitable for MA, MFA, and PhD students, the seminar format allows for group activities, discussion, and writing workshops.

2016-2017

9500A MA & MFA Research Methods

Prof. Patrick Mahon

9521B/9621B Studio Elective – Appropriation

Prof. Kim Moodie

9540A/9543A  MFA Studio Seminar 

Prof. David Merritt

9541B/9544B MFA Studio Seminar 

Prof. Christof Migone

9566A/9666A Graduate Seminar – Curatorial Project: The Cold War at Western 

Sarah  Bassnett

9567A/9667A Graduate Seminar – The City in Pre-Modern and Contemporary Society

Prof. Cody Barteet

9579B/9679B Graduate Seminar – Paracinema 

Prof. Christine Sprengler

9585B/9685B Graduate Seminar – Radical Museum II

Prof. Kirsty Robertson

2015-2016

9500A MA/MFA Seminar – Research Methods

Prof. Patrick Mahon

9600A PhD Seminar – Research Methods & Professional Practices
Prof. Patrick Mahon

9521B/9621B Graduate Studio Elective: LIVE (Improvise)
Prof. Christof Migone

9540A/9543A Studio Seminar
Prof. Sky Glabush

9541B/9544B Studio Seminar
Prof. Kelly Wood

9551A/9651A Graduate Seminar: Cathedrals, Castles, Cloisters, and UNESCO World Heritage:  The Fabled Cultural Landscape of the Middle Rhine
Prof. Kathy Brush

9578B/9678B  Graduate Seminar: Paracinema
Prof. Christine Sprengler

9582A/9682A Graduate Seminar- Contemporary Art and the Archive
Prof. Joy James

9585B/9685B Graduate Seminar:  Radical Museum
Prof. Kirsty Robertson

9586B/9686B Graduate Seminar: Writing for the Art World
Prof. Sarah Bassnett

2014-2015

9500A MA/MFA Seminar – Research Methods
Prof. Patrick Mahon
Wednesdays, 2:30 pm – 5:30 pm; Room 148

9540A/9543A Studio Seminar
Prof. Kim Moodie
Fridays 10:00 to 1:00 pm – Room VAC 247

9541B/9544B Studio Seminar
Prof. Sky Glabush
Fridays 10:00 am to 1:00 pm – Room VAC 135

9551A/9651A Graduate Seminar: The Monument in Early Modern and Modern Art
Prof. Cody Barteet
Tuesdays 2:30 to 5:30 pm – Room VAC 148

9551B/9651B Graduate Seminar: Medieval Art in North American Contexts: Collecting, Display, Representation, 1914-2014
Prof. Kathy Brush
Tuesdays 2:30 – 5:30 pm; Room VAC 247

9578A/9678A Graduate Seminar: Writing Without Words: The Critical and Curatorial Challenges of Arte Povera and Its Allies
Prof. John Hatch
Mondays, 8:30 am - 11:30 am; Room VAC 249

9582B/9682B Graduate Seminar- That Thinking Feeling: Engaging the Affective Capacities of Art
Prof. Joy James
Thursdays 11:30 am – 2:30 pm; Room 247

9586B/9686B Graduate Seminar: Writing for the Art World
Prof. Sarah Bassnett
Tuesdays from 11:30 to 2:30 pm in Room VAC 247

2013-2014

9500B/9600B MA/PhD Seminar – Theory and Methods
Instructor: Marielle Aylen
Tuesdays 2:30-5:30 pm – Room VAC 148

9521B Studio Elective – Research Methods
Prof. Kelly Jazvac
Thursdays 2:30 to 5:30 pm – Room VAC 148

9540A/9543A Studio Seminar
Prof. David Merritt
Fridays 10:00 to 1:00 pm – Room VAC 148

9541B/9544B Studio Seminar
Prof. Kelly Wood
Fridays 10:00 am to 1:00 pm – Room VAC 135

9551B/9651B Women in Renaissance and Baroque Art
Prof. Cody Barteet
Mondays 2:30 to 5:30 pm – Room VAC 247

9554A/9654A Graduate Seminar: The Work of Photography
Prof. Sarah Bassnett
Tuesdays 11:30 am to 2:30 pm – Room VAC 247

VISARTS 9555B Seminar in 20th Century Art
Prof. Bridget Elliott
Wednesdays 11:30 – 2:30 pm – Room VAC 249

9569 McIntosh Curatorial Internship

9578A/9678A Paracinema
Prof. Christine Sprengler
Wednesdays 8:30 to 11:30 am – Room VAC 247

9580 / 9680 McIntosh Artist in the Community

2012-2013

9500A Art Theory and Criticism
Prof. Joy James

9600A PhD Seminar: Theory and Methods
Prof. Sarah Bassnett

VAS 9521B/9621B – Recycler: Revision and Re-use in the Visual Arts
Prof. Kelly Wood

9540A/9543A – Graduate Studio Seminar
Prof. Patrick Mahon

9541B/9544B – Graduate Studio Seminar
Prof. Kelly Jazvac

9551A/9651A – Medieval/Modern: The Middle ages in Early Twentieth-Century Visual Culture
Prof. Kathryn Brush

 9554B/9654B – Documentary, Mockumentary, Forgery and Hoax
Prof. Bridget Elliott

 9555A/9655A – Echoes of the Baroque in the Last Century
Prof. John Hatch

9566B/9666B – The Archive in Contemporary Culture
Prof. Anthony Purdy

2011-2012

9500: Art Theory and Criticism in Western Culture
Prof. Patrick Mahon

9600: PhD Seminar: Art Theory and Criticism
Prof. Sarah Bassnett

9540A/9543A - Graduate Studio Seminar
Prof. Kim Moodie

9541B/9544B Graduate Studio Seminar
Prof. David Merritt

9551/9651 Visualizing Race and Class in the New World
Prof. Cody Barteet

9554/9654 Museums, Marginality and the Mainstream
Prof. Kirsty Robertson

9555/9655 That Thinking Feeling: Engaging the Affective Capacities of Art
Prof. Joy James

9581/9681 The Turn to the Object
Prof. Anthony Purdy

2010-2011

VAH/S 9500B: Art Theory and Criticism in Western Culture
Prof. Kirsty Robertson

9600B: PhD Seminar: Art Theory and Criticism
Prof. Bridget Elliott

9540A/9543A - Graduate Studio Seminar
Prof. David Merritt

9541B/9544B/9641B - Graduate Studio Seminar
Prof. Kelly Wood

9521A/9621A - Studio Elective - Work Ethic: Looking Like You’re Not Trying and Looking Like You Mean It
Prof. Kelly Jazvac

9551G/9651G - Graduate Seminar - Monuments
Prof. Cody Barteet

9555G/9655G - Art in Time and Space as Seen through a Telescope: Artistic Journeys through Modern Science
Prof. John Hatch

VAH 9578F/9678F - Modern - The Animal in Modernism
Prof. Marielle Aylen

9579F/9679F - Phenomenology and Art
Prof. Helen Fielding

9554F/9654F Seminar - Paper Politics: Printed Matter, Political Engagement and Avant-garde Practices
Prof. Patrick Mahon

9566G/9666G - Cultures of Memory
Prof. Anthony Purdy

2009-2010

VAH/S 9500A/9600A: Art Theory and Criticism in Western Culture
Prof. Christine Sprengler

VAS 9521B/9621B Studio Elective Course: Why make pictures?
Prof. Sky Glabush

VAS 9540A/9543A/96640A Graduate Studio Seminar
Prof. Patrick Mahon

VAS 9541B/9544B Graduate Studio Seminar
Prof. David Merritt

VAH 9551G/9651G Medieval Art- Mapping Medievalism at the Canadian Frontier
Prof. Kathy Brush

VAH 9554/9654F Modern Art – A Stitch in Time Saves . . . Textiles, Technology and Contemporary Art
Prof. Kirsty Robertson

VAH 9555G/9655G Modern Art – Photography’s Discursive Spaces
Prof. Sarah Bassnett

VAH 9566F/9666F The Archive in Contemporary Culture
Prof. Anthony Purdy

VAH 9578F/9678F Modern – The maison d’artiste, 1880-2009
Prof. Bridget Elliott

VAH 9579G//9679G The Forensic Imagination: Evidence, Testimony, and the Material Witness
Prof. Susan Schuppli

2008-2009

VAH/S 9500A / 9600A Art Theory and Criticism in Western Culture
Prof. Christine Sprengler

VAS 9521B / 9621B Studio Elective Course: Extemporal
Professor David Merritt

VAS 9540A / 9543A / 96640A Graduate Studio Seminar
Professor Susan Schuppli

VAS 9541B / 9544B Graduate Studio Seminar
Professor Patrick Mahon

VAH 9551G / 9651G Medieval Art and Its Modern Interpreters
Professor Kathryn Brush

VAH 9554 / 9654G Modern Art – Economizing Culture: Globalization, Art and the Creative Industries
Professor Kirsty Robertson

VAH 9556G / 9656G The Palace in Latin America
Prof. Cody Barteet

VAH 9578F / 9678F: Modern Art - Rediscovering Nature andthe Body in a Post Industrial World: The Adventures of Arte Povera
Prof. John Hatch

VAH 9579F / 9679F
Modern Art - Photography and Social Crisis 
Professor Sarah Bassnett

VAH 9551F / VAH 9651F Transformations: the impact of the Women’s Movement on art and art history
Professor Madeline Lennon

VAH 9594F / 9694F Survey of Chinese Visual Art
Professor James Flath

2007-2008

VAH/S 500A/600A Art Theory and Criticism in Western Culture
Prof. Bridget Elliott

VAS 521A/621A Sonic Fictions
Prof. Susan Schuppli

526B/626B Studio Special Topic: Adaptation Nation: Modernism, Canadian Design and the Artist Multiple
Prof. P. Mahon

540A/543A/640A Graduate Studio Seminar
Prof. Sky Glabush

541B/544B/641B Graduate Studio Seminar
Prof. Kelly Wood

VAH 561F/661F Baroque Constructions: representation in the 17th century
Prof. Madeline Lennon

567B/667B Special Projects in Studio
Course title: “Advanced Seminar In Painting and Drawing”
Prof. Sky Glabush

VAH 584B/684B - After Images: Photography and Literature
Prof: Janelle Blankenship

VAH587A/687A Collecting Cultures
Prof. Tony Purdy

VAH 594B/694B Special Topic: Embodied Information: Researching the Sensuous and the Immaterial
Prof. Joy Parr

2006-2007

VAH/S 500A Art Theory and Criticism in Western Culture
Professor John Hatch

VAS 521B Studio Elective – Cultivators of Culture
Professor Colette Urban

VAS 540a/543a Graduate Studio Seminar
Professor David Merritt

VAS 541b/544b Graduate Studio Seminar
Professor Kelly Wood

VAH 551G - Seminar in Medieval Art
Topic: Medieval Art in North American Contexts
Professor Kathryn Brush

VAH 566B – Nineteenth Century Art History Seminar
Professor Lorenzo Buj

VAH 577G – Modern – Icon/Fetish
Professor Kajri Jain

VAH 578F - Modern - Paracinema
Professor Christine Sprengler

2005-2006

VAH/S 500A Art Theory and Criticism in Western Culture
Professor Sarah Bassnett

521B New Studio Elective - Vampire Picnic: A Reference Manual
Professor Kelly Wood

VAS 540a/543a Graduate Studio Seminar
Professor Patrick Mahon

VAS 541b/544b Graduate Studio Seminar
Professor Colette Urban

VAH 551G/ VAH 451G (Seminar in Medieval Art)
Topic: Patronage, Audience, and Engagement in Medieval Art
Professor Kathryn Brush

VAH 554b Modern - Ars Memoria
Professor Lorenzo Buj

VAH561F Baroque Art: Baroque Constructions
Professor Madeline Lennon

VAH 587G La Maison d'Artiste
Professor Bridget Elliott

2004-2005

500a Art Theory and Criticism in Western Culture
Professor John G. Hatch

526b Graduate Special Topics Course: Creative Critters Commune
Professor Colette Urban

540a/543a MFA Graduate Studio Seminar 2004
Professor Ben Reeves

541b/544b Graduate Studio Seminar
Professor Daniela Sneppova

551G Reading Medieval Art
Professor Kathryn Brush

577F A is for Art, H is for Heterotopia
Professor Bridget J. Elliott