Studying the history and philosophy of art means dealing with two kinds of transformation at the same time. One is about the ways art has been made, perceived, organised by institutions, and understood over time. Another is about how we have understood the most fundamental concepts about art, nature, and our experience of the world. In this course, we will not make sense of these transformations chronologically by telling a linear story from the Renaissance to the present. We will, rather, approach the issue thematically, investigating how art has undergone “paradigm shifts” that can be compared to – but are not identical with – those we find in science, reflecting, refracting, contradicting, challenging, and supporting scientific discoveries, political ideologies, and dominant cultural forms. We will ground all this by bringing together the history and philosophy of art (“aesthetics”): looking for the philosophies assumed in histories of art, and art histories implied in philosophies of art, focussing on three themes – perception, beauty, and time. Each week we will critically read extracts from two “classics” – one from art history, the other from aesthetics – and think about what they imply, supplemented by more recent feminist, post-colonial, and decolonial responses, using examples that include paintings, sculptures, installations, architecture, photographs, and films to reflect on the relationship between theory, practice, and scientific and political change.

In this course, students have the option to choose between two forms of assessment: a 15-minute presentation and/or a written essay based on your interests, artistic or academic practice, and what you’re comfortable with.

By being flexible in assessment methods and evaluating both presentations and written work with the same criteria, we aim to accommodate diverse learning styles and backgrounds. Whether you are an art historian, philosopher, or practicing artist, your work will be evaluated for its depth of understanding, critical analysis, creativity, and engagement with relevant materials.

Students are encouraged to choose the format that best suits their strengths and to talk to me, Monika, or Mitra if they are unsure about which option aligns better with their skills.

The assessment will be graded according to the same grading system (1–5) and will be based on the following criteria, regardless of the chosen format.

The literature about the history and philosophy of art is vast and challenging, but always compelling. Readers working at any level can only be expected to deal with a small fragment of all the books and articles that are out there. Thus, each session will repeatedly return to the core ideas from the classics of art history and modern European aesthetics (extracts and passages will be provided). These texts will be supported and often challenged by critical sources, including feminist, queer, non-European, postcolonial, and decolonial responses.

Understanding these works and criticisms of them is a collective, collaborative effort. That means we will read and interpret extracts, passages, quotations, and ideas together in each session, supporting each other’s understanding and criticism. Students are not expected to have read any or all of them before the course starts, or even each session, but they will inform the notes and presentations that I make for our discussions (these will, of course, be provided). I will be available to discuss any problems after sessions, and by appointment in person or via Zoom.