Museums and Society

This class is an occasion for speculative anthropology, a chance to reimagine this place (an American city on the Jones Falls river) in a future beyond the bustle of our fossil-fueled present. What culture might people of that distant time produce, and how might they make creative use of the many things we leave behind? In this class, we will work together as anthropologists and artists of another time, crafting an inventive and collaborative story about a culture to come, and the material artifacts of a very different collective life. The class will be co-taught by anthropologist Anand Pandian and visual artist Jordan Tierney. We will nurture our imaginations through experiential practices of observing nature, collecting materials, and assembling artifacts. What we build will serve as the core of a spring 2025 local museum exhibition we will plan together.

AS Foundational Abilities: Culture and Aesthetics (FA3)

This class is an occasion for speculative anthropology, a chance to reimagine this place (an American city on the Jones Falls river) in a future beyond the bustle of our fossil-fueled present. What culture might people of that distant time produce, and how might they make creative use of the many things we leave behind? In this class, we will work together as anthropologists and artists of another time, crafting an inventive and collaborative story about a culture to come, and the material artifacts of a very different collective life. The class will be co-taught by anthropologist Anand Pandian and visual artist Jordan Tierney. We will nurture our imaginations through experiential practices of observing nature, collecting materials, and assembling artifacts. What we build will serve as the core of a spring 2025 local museum exhibition we will plan together.

This seminar investigates the Eastern Mediterranean as a space of intense cultural interaction in the Late Bronze Age, exploring how people, ideas, and things not only came into contact but deeply influenced one another through maritime trade, art, politics, etc. In addition to class discussion, we will work hands-on with artifacts from the JHU Archaeological Museum, focusing on material from Cyprus.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Citizens and Society (FA4)

Writing Intensive

Students interested in black print culture will engage in intensive archival research, both collaborative and individual, using the Sheridan Library’s Rare Book and Manuscript collections. Texts include poems, printed lectures, pamphlets, novels, periodicals, ephemera, correspondence, etc., alongside relevant critical and theoretical reading.

Distribution Area: Humanities

Writing Intensive

From the women who created the Museum of Modern Art in New York City to the "Because of Her" working group across the Smithsonian’s museums, this First-Year Seminar investigates the hidden women of many distinct social positions, racial and ethnic identities whose labor shaped the museums we know today and considers how museums tell the stories of women, including transgender women, in the arts, sciences, and history.

Distribution Area: Humanities

Using maps from the 17th century to the present, students in this First-Year Seminar will explore the historical and contemporary landscape of their new hometown -- Baltimore. These primary sources will show how Baltimore was invented and developed in popular imagination to become the most vital port on the US Eastern Seaboard, but also a symbol American post-industrial decline. Students will have the chance to map how they see Baltimore, by learning and applying Geographic Information Systems (GIS) and converting geospatial data into visual stories. With the goal of fostering a deeper understanding of this complex city, and a student’s place in it, the class will include explorations outside of the classroom. The course will culminate with the creation of a small exhibit whose content and venue will be decided upon mutually by students during the course of the semester.

Distribution Area: Humanities

Despite its association with distant regions and time periods, Islamic art has a flourishing presence in today’s America, represented by rich museum collections, modern buildings designed in historical styles, and vibrant scholarly networks. This seminar explores how we, from the vantage point of twenty-first-century Baltimore, might experience works of Islamic art in ways that are informed by their own cultural contexts while also acknowledging the challenges involved in bridging this gap. We will spend much of the course engaging with objects and architecture in person, with visits planned to the recently reinstalled Islamic galleries at the Walters Art Museum in Baltimore, the Islamic Center of Washington, DC, and the Metropolitan Museum of Art in New York. You will be invited to handle artifacts in person and to try your hand at calligraphy, one of the most distinctive and esteemed Islamic artforms. In the classroom setting, we will read and discuss translations of primary sources written by historical practitioners and consumers of Islamic art, along with examples of modern scholarship that seek to understand the Islamic tradition from a variety of perspectives. As well as learning about such perspectives, you will be encouraged to develop and share—in presentations and written assignments—your own ideas about Islamic art, building on the close, firsthand encounters that run throughout the seminar.

Distribution Area: Humanities

This First-Year Seminar offers an in-depth exploration of Baltimore’s queer and trans archives, expansively defined, engaging with interdisciplinary scholarship on "the archive" within queer and trans studies. Beginning with a brief survey of U.S. LGBTQ history, students delve into archival research methods and hands-on explorations in JHU Special Collections. We then engage with queer theory, performance studies, and public humanities scholarship to ask what we can know of the recoverable past and what silences the archive might contain, approaching the queer archive as a complex record of activity that includes ephemera of events, shows, and collective affect; innuendo and gossip; residues of queer nightlife; performance and gesture. We ground these theoretical explorations by visiting Baltimore-based institutional and non-institutional archives, where we engage with 1970s LGBT newspapers and 1960s medical documents, oral histories recorded by local trans artists, street youth photography, and the embodied archives of vogue performance. Throughout the course, we underscore the transformative potential of engaging with the queer and trans past to forge solidarities in the present and map more just and gorgeous futures.

This course investigates the confluence of archaeology as a discipline, collecting of cultural heritage, and their ongoing roles in the socio-politics of the Western world and Middle East. It focuses primarily on the Middle East, first tracing a narrative history of archaeology in the region during the 19th and early 20th centuries, with its explorers, diplomats, missionaries and gentlemen-scholars. It then examines the relationship of archaeology to the creation of the encyclopedic museum and collecting practices more generally, considering how these activities profoundly shaped the modern world, including the antiquities market and looting. A central theme is the production of knowledge through these activities and how this contributes to aspects of power and (self-)representation.

Distribution Area: Humanities

AS Foundational Abilities: Culture and Aesthetics (FA3), Ethics and Foundations (FA5)

This course offers a critical introduction to modernist painting and its eurocentric art history by focusing on the work and reception of Pablo Picasso. At the center of the course is Picasso’s celebrated yet controversial painting Les Demoiselles d’Avignon of 1907. Our point of departure is the recent rehang of the New York MoMA’s historical Cubism gallery. For decades, Picasso’s Les Demoiselles d’Avignon was positioned there as the prescient “masterwork,” surrounded by other cubist paintings. In 2019, however, the painting was thought-provokingly juxtaposed with Faith Ringgold’s work American People Series #20: Die of 1967, a figurative painting responding to civil rights struggles in the United States. What occasioned this curatorial intervention? Why does Picasso’s painting remain such a point of contention in exhibiting modern and contemporary art today? And what other curatorial and art historical strategies might be used to continue to decenter the canon? We will deepen our discussions with close-looking and collaborative visual analysis of paintings in the Phillips Collection and the National Gallery in Washington D.C. as well as local collections. We will also consult online collections and, in our course readings, consider formalist, social, feminist, and decolonial approaches to modern art. No prior familiarity with Picasso or modern art is necessary. Students from all fields are welcome.

Distribution Area: Humanities

AS Foundational Abilities: Culture and Aesthetics (FA3)

This research-driven course focuses on joining together and mapping the largest known corpus of mosaic fragments (1st-6th centuries CE) from the heterogenous ancient city of Antioch at the mouth of the Orontes river (modern Antakya, Turkey). These mosaic fragments have been dispersed to institutions and museums across the globe, and their reunifications tell a series of stories about ancient Mediterranean diversity, early 20th century archaeology, and contemporary collection histories. Building from work completed in Phase I (Spring 2020) and Phase II (Fall 2021) and in conversation with a global network of Antioch researchers, students in this course will continue to research and digitally reunite mosaic fragments, including those in the collection of the Baltimore Museum of Art, delve deeper into the archival record associated with the early 20th century excavations, of which Baltimore was among the sponsors, and explore contemporary object biographies of the corpus, part of which remains in the region devastated by the earthquakes in Turkey and Syria in Spring 2023. Our research will center questions of craft, trade, materials and labor in ancient Antioch, modern archaeological practice, and contemporary museums. No prerequisites required and students from all majors welcome.

Distribution Area: Humanities

AS Foundational Abilities: Culture and Aesthetics (FA3), Projects and Methods (FA6)

The Dutch East India Company, or VOC, is historically and art historically well documented and firmly understood. But the Dutch also had significant holdings to the west via the Dutch West India Company, or WIC. They operated and held outposts in the present-day United States (New York/New Amsterdam), Caribbean (Surinam, Curaçao, Bonaire), Latin America (Brazil), and West Africa. Despite the abundance of materials associated with the WIC from this wide geography, these have been scarcely assessed by art historians, and a defined and comprehensive corpus has never been assembled. This class will act as a research lab in which to do so. In research teams, students will map artworks and objects created from that broad, transnational cultural ambit—categories that might include maps, landscape paintings, still life paintings featuring American flora and fauna, botanical illustrations, plantation architecture, luxury objects made from precious raw materials gathered in the Americas, the urban environment of slavery—and develop individual research questions around them.The class will run with a partner lab in the form of a course led by Professor Stephanie Porras at Tulane University. The course will feature speakers; and there is potential for funded travel to conduct research. We will start at the ground level; no previous knowledge about the field is required. Students from all disciplines are welcome.

Distribution Area: Humanities

AS Foundational Abilities: Writing and Communication (FA1), Culture and Aesthetics (FA3), Projects and Methods (FA6)

Writing Intensive

This community-engaged course is co-created by a scholar and curator with expertise in religion, art, and material culture, and taught in partnership with the Baltimore Museum of Art (BMA), and centers how museums engage with the sacred. Recognizing that museums have traditionally been under-equipped to respond to the social concerns that animate their local communities, the BMA is rethinking how a twenty-first century civic museum engages the city in which it is located. Understanding the museum as a public space in which contemporary civic and social issues can be engaged, we will explore such questions as: how can a museum represent devotional objects while honoring a diversity of religious and spiritual perspectives and avoiding homogenous narratives about belief? How can a museum create relationships with religious communities to understand and interpret the objects in its collection, and navigate differences in faith-based communities with ethical care? How can a museum engage local communities in the process of writing labels for objects and in other acts of interpretation in a way that is not extractive and is genuinely value-aligned? In short, how can a museum truly become public? As a community-engaged course, students will build practically on their learning about museums, religion and public pedagogy to create and facilitate community listening circles at the BMA. The course will include visits to the BMA and other sites, guest visits on focused topics from museum professionals in other institutions, and training in listening and facilitation.

Distribution Area: Humanities, Social and Behavioral Sciences

AS Foundational Abilities: Culture and Aesthetics (FA3)

The museum boom of the last half-century has centered largely around museums dedicated to the culture and history of identity groups, including national, ethnic, religious, and minority groups. In this course we will examine such museums and consider their long history through a comparison of the theory and practice of Jewish museums with other identity museums. We will study the various museological traditions that engage identity, including the collection of art and antiquities, ethnographic exhibitions, history museums, heritage museums, art museums, and other museums of culture. Some of the questions we will ask include: what are museums for and who are they for? how do museums shape identity? and how do the various types of museums relate to one another? Our primary work will be to examine a variety of contemporary examples around the world with visits to local museums including the Jewish Museum of Maryland, the National Museum of African American History and Culture and the National Museum of the American Indian.

Distribution Area: Humanities

AS Foundational Abilities: Culture and Aesthetics (FA3), Citizens and Society (FA4), Democracy (FA4.1)

This seminar will be concerned with resonances between collectors, artists, poets, and other hallowed figures of modernity, and their less celebrated doubles: hoarders, bibliomaniacs, ragpickers, and gleaners. We will examine the material practices and psychic mechanisms that define these identities and authorize distinctions between them, as well as the historical contexts from which they emerge. More broadly, we will grapple with the relationships between objects and narrative. We will ask how the human-object practices of collecting, hoarding, gleaning, scavenge, misuse, and fetishism change when performed in the immaterial realm of language, and what these practices look like as rhetorical and narrative strategies.

Distribution Area: Humanities

AS Foundational Abilities: Culture and Aesthetics (FA3)

This course will present the Egyptological collections of the musée du Louvre in Paris, room by room, as in a real visit. From the Predynastic period, in the 4th millennium BC, to Roman time, the iconic “masterpieces” of this world-renowned art museum, as well as its little-known artifacts, will allow us to explore the history and material culture of ancient Egypt. We will also learn to observe, describe and analyze archaeological objects, in a global manner and without establishing a hierarchy between them, while questioning their place in the museum and its particular language. The objective will be to go beyond the objects themselves and answer, in fine, the following questions: What do these objects tell us about the men and women who produced them, exchanged them, used them, and lived among them in antiquity? What do they also reveal about those who discovered them in Egypt, several millennia later, about those who collected them and sometimes traded them, and what does this say about the relations between Egypt and the Western countries over time? The courses will be complemented by one visit to the JHAM and one visit to the Walters Art Museum; Dr. Aude Semat, curator at The Metropolitan Museum of Art (New York) will also give a lecture about the Egyptian Collections at the MET.

Distribution Area: Humanities

Archaeology was born out of Western Colonial endeavors into Africa, the Middle East, Asia, and the Americas. Large scale excavations conducted by the United Kingdom, France, Germany, Italy, and the United States resulted in the removal and transfer of valuable (culturally and monetarily) material culture from local stewards and stakeholders to the West. To this day the discipline of archaeology is still saddled by its colonial past and the Hollywood interpretation of archaeologists as saviors of ancient treasures. Today, most interaction between people and ancient objects is facilitated via the museum. In this course we will explore 19th- 21st century archaeological and museum practices and the role they play in modern narratives of identity and representation in the America and the Middle East. Students will engage with the historical, legal, economic, and ethical implications of archaeology and analyze how political, religious, cultural, and academic institutions have leveraged archaeology and cultural artifacts to reify and legitimize their pursuits and ideologies.

Distribution Area: Humanities

King Tut, Napoleon, Champollion, Ozymandias, Nefertiti: the history of Egyptology is filled with big characters, huge monuments, and glimmering objects. But it is also made up of colonialist practices, looted sites, and forgotten scholarly contributions. “Up the Nile” examines the antiquarian, colonialist, racist, Western-centric, and patriarchal roots of modern Egyptology and Nubiology, and addresses how scholars and enthusiasts alike are continuing to grapple with these lasting legacies and biases. This class investigates how the Egyptians and Nubians thought of their own histories, as well as how other ancient cultures viewed the cultures of the Nile. It moves roughly chronologically, tracing understudied and marginalized voices from the Islamic, Medieval, and Ottoman periods into the 20th and 21st centuries. It examines the origins of scholarship, modern collecting, Egyptomania, and museums, delving into the problems and repercussions that still haunt us today. “Up the Nile” will engage with important and difficult aspects regarding Egyptology’s and Nubiology’s colonialist, racist, and sexist past and present. It asks: who decides who writes history, then and now?

Distribution Area: Humanities

AS Foundational Abilities: Citizens and Society (FA4), Ethics and Foundations (FA5)

Introduces students to the intersections of queer theory, performance studies, and LGBTQ history with a focus on “queer worldmaking:” the ways in which performances—both theatrical and everyday rituals—have the ability to establish alternative views of the world. Case studies include the ballroom scene in Baltimore and beyond, migratory street youth subcultures, and queer nightlife. This course also offers a unique lens on the archive and historical research by approaching embodied memory, gestures, and ritual as systems for learning, storing, and transmitting cultural knowledge.

Distribution Area: Humanities

AS Foundational Abilities: Culture and Aesthetics (FA3), Ethics and Foundations (FA5)