Not all courses listed are offered each year. Supplementary information including a timetable showing course offerings, instructors, integration with undergraduate courses, times, and places is available at York University - Registrar's Office.
This course introduces and discusses various aspects of working in a museum or gallery environment, including organization, documentation, curatorial responsibilities, financial and budgetary matters, ethical and legal implications, and conservation. The issues and procedures of mounting an exhibition are also covered.
This course integrates both theoretical and practical aspects of curatorial practice. Curatorial engagements from an array of theoretical perspectives and methodologies such as cultural analysis, collaboration, institutional critique, performative interventions and networked interactivity
are investigated. Current debates concerning how exhibitions function as forms of research and knowledge production, as well as their ideological and social conditions are also examined.
This course critically analyses issues in the history and theory of representation and visual culture. The emphasis is on aspects of visual culture in Europe and North America from the 18th century to the present and its role in the (re)production, mediation and contestation of contemporary knowledge. Topics include: public education in institutions of culture display, the construction of local knowledge through ritual and spectacle, and the inscription of history through monuments and public memory.
This course introduces and discusses the historiography of the discipline and the more recent methodological and theoretical developments in art history. Students also learn practical bibliographical and research methods. (Required in First term of First Year).
This seminar provides an overview of key theories and themes that form the foundation of contemporary critical design studies. Drawing on theories from a broad range of disciplines, it employs close readings of selected texts and works to explore design as a product, a practice, and a mode of social communication. Specific topics may vary with the instructor.
“When We Were Fab” Expo 67, the Arts in Canada, and the Utopian Moment
Course Director: Dr. Leslie Korrick
Brief Course Description:
This course explores Expo 67, Canada’s “universal and international” exhibition (or world’s fair) mounted in Montreal to celebrate the country’s 100th birthday in 1967, and especially its embrace of the arts and their technologies as the primary means through which to animate this event in a global context toward the end of the Modern period. More specifically, the course critically reconstructs the image of Canada presented through its multi-faceted artistic production for and activity at Expo 67, and reassesses it in this fiftieth-anniversary year alongside the images of the sixty-two other countries that presented themselves in relation to Canada through their national pavilions erected on the exhibition site.
Students with a wide variety of interests can be accommodated within the course but its content will be especially pertinent for those whose interests include the arts and politics, the arts in larger cultural contexts, world’s fairs and universal expositions, curatorial practices, histories of Modernism, and/or histories of Canada and Canadian identity.
SOUND (IN) ART: THEORIES AND PRACTICES
Course Director: Dr. Leslie Korrick
This seminar will consider art that is centrally engaged with sound. Taking into account the historical development of art for the ear beginning in the later nineteenth century as well as the recent proliferation of such projects within the domain of the visual arts, we will investigate contemporary practices of production, installation, reception, and documentation to theorize what is now frequently referred to as sound art. Working with a range of examples and ideas drawn from an international context, our investigation will require us to challenge the ongoing primacy of the visual in art theory and practice and, by extension, to visit the entire body as a conduit for perception; to explore the impact of various technologies in locating the aural within (and outside) the visual tradition; to reconsider the role of the museum/gallery as a place in which to present sound and to listen; and to rethink the form and functions of the art exhibition catalogue with respect to the sonic. Throughout, we will keep in mind the still problematic question within Art History and beyond: “What exactly is sound art?”
This course examines recent theoretical interventions in the formulation of critical practice in the field of the visual arts. Working from the premise that art and theory are social constructions and therefore, are historically specific practices. This course addresses the intersection between theory and practice at particular moments in time, taking into consideration the implicit and explicit references to artists, critics, historians, and contemporary cultural theorists.
This is an independent study/practicum carried out at an accredited institution or organization (i.e., museum, gallery, archive) supervised by a graduate faculty advisor and conducted in cooperation with an on-site supervisor.
A supervised reading course on a topic for which there is no current course offering. Permission of the Graduate Director is required.
This course provides a critical analysis of a range of themes in visual anthropology including the production and use of visual materials such as photographs and film by anthropologists, the epistemological basis on which authority is accorded/denied to the visual in the human sciences, the role of the visual in the formation and articulation of self, community and the other, and the differential impact of visual technologies on human societies. The seminar will also include a number of practical sessions on the ethics and use of visual technologies for research.
This course examines anthropological theories of art, aesthetics and material culture including regimes of value, materiality, exhibition, repatriation, production, consumption and exchange with particular emphasis on artistic work produced and circulated in national, religious and scientific contexts. Seminars are supplemented by visits to artists' studios, galleries, museums, and performance venues.
Archival encounters offers an opportunity for students to explore conceptual, institutional, informal and individual archives to develop questions, strategies and an understanding of the archive for a variety of purposes: research, methodological design, creative interaction, theories of knowing and remembering. Readings on the theoretical, conceptual and ethical significance of archivization, i.e. the act and intention behind collecting and preserving are discussed alongside a variety of texts about archival practices.
The Art and Culture Studies Summer Institute is structured around a specific thematic focus each year and features international and nationally renowned art historians and cultural theorists whose work is the subject of a faculty directed seminar.