History of Art

Loria Center, Rm. 251, 203.432.2668
http://arthistory.yale.edu
M.A., M.Phil., Ph.D.

Chair
Milette Gaifman (Loria 557, 203.432.2687, milette.gaifman@yale.edu)

Director of Graduate Studies
Nicola Suthor (Loria 655, 203.432.7210, nicola.suthor@yale.edu)

Professors Carol Armstrong, Tim Barringer, Marisa Bass, Edward Cooke, Jr., Milette Gaifman, Jacqueline Jung, Pamela Lee, Kishwar Rizvi, Nicola Suthor, Mimi Hall Yiengpruksawan

Associate Professors Craig Buckley, Jennifer Raab

Assistant Professors Nana Adusei-Poku, Alexander Ekserdjian, Joanna Fiduccia, Morgan Ng, Quincy Ngan, Catalina Ospina

Fields of Study

African art; African American art; American art; Asian art; British art; Byzantine art and architecture; Caribbean art; colonial Latin American art; contemporary art; eighteenth-century art; film and media; Greek and Roman art and architecture; history of photography; Native North American Art; Islamic art and architecture; Italian Early Modern Renaissance art and architecture; material culture and decorative arts; medieval European art and architecture; modern architecture; modern art; Netherlandish, Dutch, and Flemish art; nineteenth-century art; Northern Renaissance art; Pre-Hispanic art; seventeenth-century-European art and architecture; Slavic art.

Special Requirements for the Ph.D. Degree

All students must pass examinations in at least two languages pertinent to their field of study, to be determined and by agreement with the adviser and director of graduate studies (DGS). One examination must be passed during the first year of study, the other not later than the beginning of the third term. During the first two years of study, students typically take twelve term courses. In March of the second year, students submit a qualifying paper that should demonstrate the candidate’s ability successfully to complete a Ph.D. dissertation in art history. During the fall term of the third year, students are expected to take the qualifying examination. Candidates must demonstrate knowledge of their field and related areas, as well as a good grounding in method and bibliography. By the end of the second term of the third year, students are expected to have established a dissertation topic. A prospectus outlining the topic must be approved by a committee at a colloquium by the end of the third year. Students are admitted to candidacy for the Ph.D. upon completion of all predissertation requirements, including the prospectus and qualifying examination. Admission to candidacy must take place by the end of the third year.

The faculty considers teaching to be an important part of the professional preparation of graduate students. Students are required to complete four terms of teaching. This requirement is fulfilled in the second and third years. Students may also serve as a graduate research assistant at either the Yale University Art Gallery or the Yale Center for British Art. This can be accepted in lieu of one or two terms of teaching, but students may accept a graduate research assistant position at any time after the end of their first year. Application for these R.A. positions is competitive.

Combined Ph.D. Programs

History of Art and Black Studies

The Department of the History of Art offers, in conjunction with the Department of Black Studies, a combined Ph.D. in history of art and Black studies. Students in the combined-degree program must take five courses in Black studies as part of the required twelve courses and are subject to the language requirement for the Ph.D. in history of art. The dissertation prospectus and the dissertation itself must be approved by both History of Art and Black Studies. For further details, see Black Studies.

History of Art and Early Modern Studies

The Department of the History of Art offers, in conjunction with the Early Modern Studies Program, a combined Ph.D. in the History of Art and Early Modern Studies. For further details, see Early Modern Studies.

History of Art and English

The Department of the History of Art also offers, in conjunction with the Department of English Language and Literature, a combined Ph.D. degree in History of Art and English Language and Literature. The requirements are designed to emphasize the interdisciplinarity of the combined degree program.

Coursework In years one and two, a student in the combined program will complete sixteen courses: ten seminars in English, including The Teaching of English (ENGL 9090) and one course in at least three out of four designated historical periods (Medieval, Renaissance, eighteenth–nineteenth century, twentieth–twenty-first century), and six in history of art, including HSAR 5500 and one course outside the student’s core area. Up to two cross-listed seminars may count toward the number in both units, reducing the total number of courses to fourteen.

Languages Two languages pertinent to the student’s field of study, to be determined and by agreement with the advisers and directors of graduate studies. Normally the language requirement will be satisfied by passing a translation exam administered by one of Yale’s language departments. One examination must be passed during the first year of study, the other by the end of the third year.

Qualifying Paper History of Art requires a qualifying paper in the spring term of the second year. The paper must demonstrate original research, a logical conceptual structure, stylistic lucidity, and the ability to successfully complete a Ph.D. dissertation. The qualifying paper will be evaluated by two professors from History of Art and one professor from English.

Qualifying ExaminationWritten exam: addressing a question or questions having to do with a broad state-of-the-field or historiographic topic. Three hours, closed book, written by hand or on a non-networked computer. Oral exam: given one week after the written exam, covering four fields, including two in English (question periods of twenty-five minutes each, covering thirty texts each, representing two distinct fields of literary history) and two in history of art (twenty-five minutes each, fields to be agreed on in advance with advisers and DGS). Exam lists will be developed by the student in consultation with faculty examiners.

Teaching Two years of teaching—one course per term in years three and four—are required: two in English (up to two sections per course) and two in History of Art.

Prospectus The dissertation prospectus must be approved by both English and History of Art. The colloquium will take place in the spring term of the third year of study. The committee will include at least one faculty member from each department. As is implied by its title, the colloquium is not an examination, but a meeting during which the student can present ideas to a faculty committee and receive advice from its members. The colloquium should be jointly chaired by the directors of graduate studies of both departments.

First Chapter Reading Students will participate in a first chapter reading (also known as a first chapter conference) normally within a year of advancing to candidacy (spring term of year four). The dissertation committee, including faculty members from both programs, will discuss the progress of the student’s work in a seminar-style format.

Dissertation Defense The hour-long defense is a serious intellectual conversation between the student and the committee. Present at the defense will be the student’s advisers, committee, and the directors of graduate studies in both English and History of Art; others may be invited to comment after the committee’s questioning is completed.

History of Art and Film and Media Studies

The Department of the History of Art offers, in conjunction with the Film and Media Studies Program, a combined Ph.D. in the History of Art and Film and Media Studies. Students are required to meet all departmental requirements, but many courses may count toward completing both degrees at the discretion of the directors of graduate studies in History of Art and Film and Media Studies. For further details, see Film and Media Studies.

The Center for the Study of American Art and Material Culture

The Center for the Study of American Art and Material Culture provides a programmatic link among the Yale faculty, museum professionals, and graduate students who maintain a scholarly interest in the study, analysis, and interpretation of American art and material culture. It brings together colleagues from a variety of disciplines—from History of Art and American Studies to Anthropology, Archaeological Studies, and Earth and Planetary Sciences—and from some of Yale’s remarkable museum collections, from the Yale University Art Gallery and Peabody Museum to the Beinecke Library. Center activities will focus upon one particular theme each year and will include weekly lunch meetings in which a member makes a short presentation centered on an artifact or group of artifacts followed by lively discussion about methodology, interpretation, and context and an annual three-day Yale-Smithsonian Seminar on Material Culture.

Master’s Degrees

M.Phil. See Degree Requirements under Policies and Regulations.

M.A. Students who withdraw from the Ph.D. program may be eligible to receive the M.A. degree if they have met the requirements and have not already received the M.Phil. degree. For the M.A., students must successfully complete eight term courses and have proficiency in one required foreign language. Candidates in combined programs will be awarded the M.A. only when the master’s degree requirements for both programs have been met.


Program materials are available online at http://arthistory.yale.edu.

Courses

HSAR 5500a, First-Year ColloquiumPamela Lee

The focus of the first-year colloquium is to analyze and critique the history of art history and its methodology from a variety of disciplinary perspectives. The seminar discusses foundational texts as well as new methods relevant to the study of the history of art and architecture today, notably those concerned with issues of race, gender, and representation. It also engages with debates about museums and the ethics of collecting and display. The seminar is structured around selected readings and includes workshops with guest speakers. It also includes an option to conduct in-person research in the Yale University Art Gallery.
M 9:25am-11:15am

HSAR 5506a, Teaching Art HistoryMarisa Bass

Directed seminar on pedagogy focused on the genre of the introductory lecture course in the history of art. Topics include how to teach visual analysis and close looking, how to encourage participation, grading and giving written feedback, and addressing student concerns and contingencies. By invitation of the instructor only.
HTBA

HSAR 6526a / AMST 6636a, Art and ExtractionJennifer Raab

This graduate seminar examines the relationship of art with extraction: as visual representation and material condition, as shaping political consensus or giving form to dissent, as imagining land and geological time, and as naturalizing—or revealing—the violences of settler-colonialism and racial capitalism. We think about gold, silver, oil, and water, about mines, mills, rocks, and rivers, about empire and enslavement, about golden myth and toxic dust. Classes often revolve around works of art and visual culture held in Yale collections and museums. Instructor permission required.
Th 1:30pm-3:20pm

HSAR 6529b / AMST 6630b / RLST 8190b, Museums and Religion: The Politics of Preservation and DisplaySally Promey

This interdisciplinary seminar focuses on the tangled relations of religion and museums, historically and in the present. What does it mean to “exhibit religion” in the institutional context of the museum? What practices of display might one encounter for this subject? What kinds of museums most frequently invite religious display? How is religion suited (or not) for museum exhibition and museum education? Enrollment is by permission of the instructor; qualified undergraduates are not only welcome but also encouraged to join us. There are no set prerequisites, but, assuming available seats, permission is granted on the basis of response to three questions: Why do you wish to take this course? What relevant educational or professional background/experience do you bring to the course? How does the course help you to meet your own intellectual, artistic, or career aspirations?
W 1:30pm-3:20pm

HSAR 6553a, Embodied Artisanal KnowledgeEdward Cooke

The development and transmission of knowledge during the early modern European world has lately been a dynamic subject of scholarly inquiry. Much of this work has focused upon the work of royal academies’ explorations of natural philosophy and the mechanical arts. This seminar seeks to move beyond that narrow geographic focus and descriptive taxonomies to consider embodied artisanal knowledge throughout the world in the period from 1500 to 1800. As Tim Ingold reminds us, embodied knowledge is a skilled, socially generated practice distinct from the innate talents of mechanical execution. It is a cognitive skill that prizes resourcefulness; efficiency of effort; and informed, intensive use of tools. This tacit knowledge, the intellect of the hand, is experienced and felt rather than written about and illustrated. Making things depends upon constant attention to the transmission of ideas from brain to hand and from tool to material, with feedback channeled back through the tool to the body and mind of the maker. This seminar combines reading, object-driven inquiry, and hands-on exercises to explore the role of materials, techniques, and human agency in the making of objects. Students expand their own approaches to the study of artisans and objects from many periods and places.
W 9:25am-11:15am

HSAR 6573a, Advanced Topics in ModernismJoanna Fiduccia

Reading seminar on the affordances and limitations of the monograph for the study of modernism today. What is the relationship between the shape of the book and the shape of arguments about modern art? What critical possibilities have been offered in recent decades by alternative book structures, such as the "anti-monograph"? What other models for reading can be ventured? In addition to pursuing answers to these questions, we cultivate a practice for reading and recalling what we have read, as well as what we have thought while reading. This course emphasizes recent scholarship that brings an interdisciplinary and/or trans-regional approach to modern art.
Th 9:25am-11:15am

HSAR 6594a / EAST 6423a, Chinese Paintings at the YUAGQuincy Ngan

This seminar explores the issue of authenticity in thirteenth through twentieth century Chinese paintings at the Yale University Art Gallery. Students become familiar with the different schools of connoisseurship and the major debates surrounding authenticity in the field of Chinese painting. Students learn about the methods for authenticating an attribution, as well as the rationale behind the dating provided by the gallery. Calligraphical inscriptions and seals on the works, as well as their physical condition, related conservation reports, and provenance are consulted as well. This class makes frequent visits to the gallery. Reading ability of Chinese is not required.
Th 1:30pm-3:20pm

HSAR 6720a / AMST 8805a / RLST 6990a / WGSS 7779a, Sensational Materialities: Sensory Cultures in History, Theory, and MethodSally Promey

This interdisciplinary seminar explores the sensory and material histories of (often religious) images, objects, buildings, and performances as well as the potential for the senses to spark contention in material practice. While course content focuses on United States things and religions (given the professor’s areas of expertise and academic appointments), the course also considers broader geographical and categorical parameters so as to invite intellectual engagement with the most challenging and decisive developments in relevant fields, including recent literatures on material agencies. The goal is to investigate possibilities for scholarly examination of a robust human sensorium of sound, taste, touch, scent, and sight—and even “sixth senses”—the points where the senses meet material things (and vice versa) in life and practice. Topics include the cultural construction of the senses and sensory hierarchies; investigation of the sensory capacities of things; and specific episodes of sensory contention in and among various religious traditions. In addition, the course invites thinking beyond the “Western” five senses to other locations and historical possibilities for identifying the dynamics of sensing human bodies in religious practices, experience, and ideas. Course is by permission of instructor; qualified undergraduates are welcome. In order to request permission, please email the professor (sally.promey@yale.edu) with responses to the following questions: (1) Why are you interested in taking this seminar?; (2) what educational, intellectual, artistic, or other experiences do you bring to the seminar’s subjects?; (3) how does the content of this course relate to your own career and/or personal aspirations?
W 1:30pm-3:20pm

HSAR 6841a and HSAR 6842b / ANTH 8897a and ANTH 8898b / HIST 5804a and HIST 5805b / HSHM 7691a and HSHM 7692b, Topics in the Environmental HumanitiesPaul Sabin

This is the required workshop for the Graduate Certificate in Environmental Humanities. The workshop meets six times per term to explore concepts, methods, and pedagogy in the environmental humanities, and to share student and faculty research. Each student pursuing the Graduate Certificate in Environmental Humanities must complete both a fall term and a spring term of the workshop, but the two terms of student participation need not be consecutive. The fall term each year emphasizes key concepts and major intellectual currents. The spring term each year emphasizes pedagogy, methods, and public practice. Specific topics vary each year. Students who have previously enrolled in the course may audit the course in a subsequent year. This course does not count toward the coursework requirement in history. Open only to students pursuing the Graduate Certificate in Environmental Humanities.  ½ Course cr per term
T 11:30am-1:20pm

HSAR 9512a, Directed ResearchStaff

By arrangement with faculty.
HTBA