This course is taught in the form of seminars. It requires active participation from students, and is intended for those in their fourth year who have already engaged seriously with art history during their previous study. It aims to deepen students’ understanding of the methods used by art historians by introducing various debates about interpretation. Students are expected to write a paper concerning an area of art history or visual culture of their own choice, in which they demonstrate their sensitivity to questions of method.
This seminar will focus in depth on one area of Asian art and visual culture, with an emphasis on art historical strategies. Students will prepare a seminar paper drawing on knowledge of a certain area, but will further be encouraged to demonstrate a critical approach to broader methodological and theoretical issues.
This seminar will focus in depth on one area of Western art and visual culture, with an emphasis on art historical strategies. Students will prepare a seminar paper drawing on knowledge of a certain area, but will further be encouraged to demonstrate a critical approach to broader methodological and theoretical issues. The topic for this semester is the Dutch Republic’s seventeenth-century global network.
This course, in the form of seminars, requires active participation from students. It is intended for students in their fourth year who have already engaged seriously with art history during their previous study. It aims to deepen students’ understanding of the discipline of art history. The course interrogates prevailing art historical scholarship by exploring both the parameters of the discipline in general and specific locations or eras. Case studies consider modes of interpretation in combination with primary documents, secondary interpretations, and historiography.
The internship programme gives a limited number of qualified students practical experience working in a professional setting. This enables them to apply academic skills learned in the classroom to concrete problems in the workplace and helps prepare them for museum or other arts-related careers. Selected interns will work with senior staff of the University Museum and Art Gallery or other art institutions in Hong Kong on a project or projects relating to professional museological or curatorial practice. Admission is selective, based on application and an interview. Students wishing to apply for the internship are strongly encouraged to first take FINE2056 (Museum studies workshop).
This course is intended for advanced students with a strong reason for researching a particular art historical topic in depth. Students undertake substantial original research and produce an extended essay, under the supervision of a teacher in the department. The supervising teacher’s approval must be secured before enrolling in this course.
This class is a thematic investigation into Indian art from the late colonial period through Independence in 1947. Over this span of roughly fifty years the politics of style sat at the hub of many debates about modern art. Given that India has a rich tradition of artistic expression, many asked whether modern art should look to India’s past or to the international for inspiration. Topics will include the rejection of European-style oil painting, the advance of a “new Indian” aesthetic, and how various social and political changes impacted artistic production.
The invention of printing with movable type, and the concurrent invention of printmaking technologies capable of reproducing images, marked an epochal development in European culture. This course investigates the ways in which these technologies arose and developed. We examine the new media that transformed visual culture in the 16th, 17th and 18th centuries, as well as the impact of printing on older forms of visual art, such as painting, sculpture and architecture, and on artistic training and collecting. In studying these developments, we will look at printmakers like Dürer, Marcantonio, Lucas van Leyden, Cort, Callot, Goltzius, Rosa and Rembrandt. This class incorporates a compulsory field trip.
This course examines key issues and debates about the production, exhibition and circulation of contemporary art within an increasingly interconnected, yet unevenly developed contemporary art world. Concentrating on key case studies, which engendered, framed, investigated and reflected on contemporary art historical knowledge, this course explores the social, cultural and political contexts where they were created and presented, analysing their form, content, reception and subsequent interpretation. Through the discussion of the legacies of these case studies, this course also interrogates the specific ways in which they have affected contemporary art and its display.