Gina Junghee Choi

These courses offer detailed engagements with key works of art - masterpieces to material culture across a range of media from different times and places - to develop the critical apparatus of visual analysis. They introduce the methods and fundamental concepts of art history by taking one work of art and constructing around it a web of diverse objects and practices that allow us to grapple with the meanings of art and its histories within global and trans-historical perspectives. Among the questions we ask throughout the course are: What is art? What is art history? What are the institutions that shape the practice and dissemination of art? How is art affected by histories of cultural exchange? What is the nature of tradition? The course will be conducted through both lecture and discussion. Evaluation will be through written assignments, PowerPoint presentations, and active class participation. No previous knowledge of art history is required.

These courses offer detailed engagements with key works of art masterpieces to material culture across a range of media from different times and places to develop the critical apparatus of visual analysis. They introduce the methods and fundamental concepts of art history by taking one work of art and constructing around it a web of diverse objects and practices that allow us to grapple with the meanings of art and its histories within global and trans-historical perspectives. Among the questions we ask throughout the course are: What is art? What is art history? What are the institutions that shape the practice and dissemination of art? How is art affected by histories of cultural exchange? What is the nature of tradition? The course will be conducted through both lecture and discussion. Evaluation will be through written assignments, PowerPoint presentations, and active class participation. No previous knowledge of art history is required.

The surrealist movement began in early-twentieth century France as a revolutionary proposal to discard the rational foundations of Western knowledge and unleash humanity's fullest capabilities through the unconscious and dreams. In dynamic networks, surrealism expanded beyond Western Europe to other regions including Africa, the Americas, and Asia. Around the world, it was viewed as an aesthetic and political tool to combat colonialism and position indigenous forms of knowledge as counterpoints to Eurocentric ways of thinking. This course will examine these cultural intersections and creative crosscurrents in visual art, writing, and film from the 1920s-present. It will place special emphasis on surrealism's experimental practices - ludic activities often meant to encourage collaboration - and its innovative exhibition strategies. Students will explore the history of the movement and also practice its art techniques through hands-on workshops. Artists, writers, and filmmakers that will be considered include André Breton, Leonora Carrington, Aimé and Suzanne Césaire, Salvador Dalí, Frida Kahlo, Harue Koga, Ted Joans, Maria Martins, Jan Švankmajer, and Ramsès Younan.