What does it mean to be “Chinese,” when the term stands at once as a marker of nationality, ethnicity, language and culture? Through the lens of literature and film, this course looks into the rich histories and cultural diversities of Chinese communities beyond the borders of the People’s Republic of China and in different parts of the world. The stories and films the course features are grouped around three geographical foci: Hong Kong and Taiwan, Southeast Asia (in particular, Singapore and Malaysia), and the United States.

Preparation of a thesis or completion of a studio project which may be submitted to the Department for consideration for Honors.

Open to seniors with consent of the Department. Fall and Spring semester. The Department.

How to handle overenrollment: null

Students who enroll in this course will likely encounter and be expected to engage in the following intellectual skills, modes of learning, and assessment: Not applicable

This class is an exploration of the dialog between critical perspectives in contemporary art and the process of art-making. We will be looking at examples of current critical discourse in order to investigate how practicing artists' work can be seen in the context of aesthetic, political, social, environmental and cultural criticism. We will also examine how works of art invite, inspire, and provoke critical discussion. Through these examinations, students will consider how their own work can be enriched through engagement with critical discourse.

How do we pay attention to works of art and why do we think of attention as something that is paid? With what are we paying for it? This seminar incorporates a broad range of readings focusing on the topic of attention from fields such as philosophy, economics, history, neuroscience, and sociology and considers them alongside writing by art historians such as Claire Bishop and Jonathan Crary. Focusing on modern and contemporary art, how do artists

Why make art? How do we communicate what we do to ourselves and to others? How do we compose a life that keeps art at the center? How do we function professionally in the world as artists? How do we build holistic systems of support for ourselves and our work? What do we want as artists? What do we need?

(Offered as ARHA 359, ARCH, 359, BLST 359) This upper-level seminar is a global investigation of the urban built environments of black wealth and prosperity. Beginning with an investigation of the architecture of West African

(Offered as ARHA 347, FAMS 347, and THDA 147) What makes a creative gesture feel unmistakably one’s own? How do artists across disciplines—for example, visual artists, filmmakers, writers, musicians, designers, and performers—develop a perceptual “fingerprint,” a recognizable presence that carries across form, medium, and process? In this intermediate-level studio course, students will explore these questions through weekly experiments, critique, and reflection.

(Offered at ARHA 340 and FAMS 340) This class is an introduction to key concepts in sound design, with a primary (but not exclusive) focus on sound in relation to moving images. Students will gain significant technical training in sound recording, editing, and mixing. In addition, this class will use the act of listening as a point of departure to think about histories, theories, politics, and poetics of sound.

(Offered as ARHA 338 and EUST 338) What is the “work” of an artwork? What roles do labor and materials play in the meaning and aesthetics of art objects? This course will consider these questions in the art history of early modern Europe, Britain, and their burgeoning empires in the Americas and South Asia. From the harvesting and mining of raw materials to manufacturing by hand and machine, we will unpack examples of architecture, ceramics, furniture, paintings, sculptures, textiles, and works on paper.

Symbiosis is a close biological interaction between living organisms. It can be temporary or permanent; positive, neutral, or parasitic; and involve two or thousands of individuals. In this class we will explore a variety of relationships with and within nature through sculpture. Conceptual prompts will be accompanied by material experimentation with “biomaterials”: materials that are grown, cooked, or processed through collaborations with fungi, plants, and bacteria.

Requisite: ARHA 214 or consent of the instructor. Limited to 12 students. Spring 2026: Assistant Professor Monge.