{"id":15232,"date":"2026-02-16T12:17:53","date_gmt":"2026-02-16T17:17:53","guid":{"rendered":"https:\/\/docinterhar.ca\/?page_id=15232"},"modified":"2026-05-05T23:05:37","modified_gmt":"2026-05-06T03:05:37","slug":"2026-2027-seminars","status":"publish","type":"page","link":"https:\/\/docinterhar.ca\/fr\/seminars\/2026-2027-seminars\/","title":{"rendered":"S\u00e9minaires 2026-2027"},"content":{"rendered":"\n

BLOCK A – Theory and Methodology<\/mark><\/strong><\/mark><\/strong><\/p><\/blockquote><\/figure>\n\n\n\n

Fall 2026<\/mark><\/strong><\/h2>\n\n\n\n
ARTH809 – Plant-thinking and the discipline of art history<\/strong>
Prof. Cynthia Hammond
Concordia University
Mardi\/Tuesday 2.45-5.45 p.m.
Language(s) of instruction : English
Language(s) of discussion : English and French<\/summary>\n

What is the relevance of \u201cplant thinking\u201d for art history, architectural history, and visual culture? This seminar explores an emergent framework and its import for how art and architectural historians approach their research. Drawing from key literature of the past 20 years, this course takes the stance that plants \u2013 long treated as decorative, peripheral, and (in architecture) a design afterthought \u2013 are in fact active agents in history, culture, and in the production of meaning and form. The Anthropocene (a contested term) has created the current era of climate change, disaster, and unprecedented species loss; unsurprisingly, contemporary artists across the world are foregrounding vegetal presences and processes in their work. But plants have figured in the arts of almost all world cultures throughout history. How can the \u201cbotanical emergence\u201d in contemporary art and criticism (Aloi) help turn our attention to an ontology of vegetal life and interconnectedness in not-so-recent art and architecture?<\/p>\n\n\n\n

This seminar will look in and outside our discipline for answers to this question, attending to how Indigenous, Black, and global south perspectives (Emanuele Coccia, Marisol De La Cadena, Arturo Escobar, Robin Wall Kimmerer, Rosalyn La Pierre, Kathryn Yusoff), provide insight into multispecies entanglements that provide new frameworks for rethinking art and architecture as ecological practices. We will turn to scholars such as Elizabeth Grosz, Donna Haraway, Anna Lowenhaupt Tsing, Michael Marder, and Natasha Myers to understand how \u201cplant thinking\u201d is both entwined with, and different from, the \u201cposthuman turn\u201d of the early 2000s. And we will read selectively from recent science that delves into the extraordinary world of plant sentience, communication, community, adaptation, and mutualism, as well as the ways that \u201cthey\u201d act upon \u201cus\u201d (Daniel Chamovitz, Charles and Francis Darwin, Richard Karban, Eduardo Kohn).<\/p>\n\n\n\n

Using a variety of instances in cultural history where vegetal life has shaped aesthetic, architectural, and representational imaginaries, the seminar will attend to colonial histories of plant migration; modernist appropriations of vegetal form in architecture; and contemporary artistic practices that mobilize plants as collaborators rather than motifs. Students will be invited to consider how \u201cplant thinking\u201d not only reshapes theoretical frameworks but also transforms disciplinary practices of visual analysis, archival interpretation, and historiography.<\/p>\n\n\n\n

Bibliography<\/summary>\n

ALOI, Giovanni. Why Look at Plants? The Botanical Emergence in Contemporary Art. Leiden: Brill, 2018.<\/p>\n\n\n\n

ALOI, Giovanni, ed. Botanical Speculations: Plants in Contemporary Art. Cambridge, MA: MIT Press\/Leonardo Series, 2018.<\/p>\n\n\n\n

BROCKWAY, Lucile H. \u201cScience and Colonial Expansion: The Role of the British Royal Botanic Gardens.\u201d American Ethnologist 6, 3 (1979), 449-465.<\/p>\n\n\n\n

CHAMOVITZ, Daniel. What a Plant Knows: A Field Guide to the Senses. New York: Farrar, Straus, and Giroux, 2012.<\/p>\n\n\n\n

CHAMOVITZ, Daniel. \u201cPlants are Intelligent; Now What?\u201d Nature Plants 4, 9 (2018), 622-23.<\/p>\n\n\n\n

COCCIA, Emanuele. The Life of Plants: A Metaphysics of Mixture. Trans. Dylan J. Montanari. Cambridge: Polity, 2019.<\/p>\n\n\n\n

DARWIN, Charles, and Francis Darwin. The Power of Movement in Plants. London: John Murray, 1880.<\/p>\n\n\n\n

DE LA CADENA, Marisol. Earth Beings: Ecologies of Practice across Andean Worlds. Durham: Duke University Press, 2015.<\/p>\n\n\n\n

DIXON HUNT, John. The Afterlife of Gardens. Philadelphia: University of Pennsylvania Press, 2004.<\/p>\n\n\n\n

ESCOBAR, Arturo. Designs for the Pluriverse: Radical Interdependence, Autonomy, and the Making of Worlds. Durham: Duke University Press, 2018.<\/p>\n\n\n\n

GROSZ, Elizabeth. Chaos, Territory, Art: Deleuze and the Framing of the Earth. New York: Columbia University Press, 2008.<\/p>\n\n\n\n

GROSZ, Elizabeth. Becoming Undone: Darwinian Reflections on Life, Politics, and Art. Durham: Duke University Press, 2011.<\/p>\n\n\n\n

HARAWAY, Donna. Staying with the Trouble: Making Kin in the Chthulucene. Durham: Duke University Press, 2016.<\/p>\n\n\n\n

HARAWAY, Donna. When Species Meet. Minneapolis: University of Minnesota Press, 2008.<\/p>\n\n\n\n

KARBAN, Richard. Plant Sensing and Communication. Chicago: University of Chicago Press, 2015.<\/p>\n\n\n\n

KIMMERER, Robin Wall. Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants. Milkweed Editions, 2013.<\/p>\n\n\n\n

KOHN, Eduardo. How Forests Think: Toward an Anthropology Beyond the Human. Berkeley: University of California Press, 2013.<\/p>\n\n\n\n

LA PIERRE, Rosalyn. Invisible Reality: Storytellers, Storytakers, and the Supernatural World of the Blackfeet. Lincoln: University of Nebraska Press, 2017.<\/p>\n\n\n\n

LATOUR, Bruno, and Peter Weibel, eds. Making Things Public: Atmospheres of Democracy. Cambridge, MA: MIT Press, 2005.<\/p>\n\n\n\n

LITTLE BEAR, Leroy. \u201cJagged Worldviews Colliding.\u201d In Reclaiming Indigenous Voice and Vision. Ed. Marie Battiste. Vancouver: UBC Press, 2000. 77\u201385.<\/p>\n\n\n\n

MANCUSO, Stefano. The Nation of Plants. New York: Other Press, 2021.<\/p>\n\n\n\n

MARDER, Michael. Plant-Thinking: A Philosophy of Vegetal Life. New York: Columbia University Press, 2013.<\/p>\n\n\n\n

MARDER, Michael. The Philosopher\u2019s Plant: An Intellectual Herbarium. New York: Columbia University Press, 2014.<\/p>\n\n\n\n

MACAULAY, David, and Laura Pustarfi. The Wisdom of Trees: Thinking through Arboreality. New York: State University of New York Press, 2025.<\/p>\n\n\n\n

MONTGOMERY, Beronda L. Lessons from Plants. Cambridge, MA: Harvard University Press, 2021.<\/p>\n\n\n\n

MYERS, Natasha. Rendering Life Molecular: Models, Modelers, and Excitable Matter. Durham: Duke University Press, 2015.<\/p>\n\n\n\n

MYERS, Natasha. \u201cConversations on Plant Sensing: Notes from the Field.\u201d NatureCulture 3 (2015): 35\u201366.<\/p>\n\n\n\n

NEALON, Jeffrey T. Plant Theory: Biopower and Vegetable Life. Stanford: Stanford University Press, 2015.<\/p>\n\n\n\n

POLLAN, Michael. The Botany of Desire: A Plant\u2019s Eye View of the World. New York: Random House, 2021.<\/p>\n\n\n\n

TALLBEAR, Kim. \u201cBeyond the Life\/Not Life Binary: A Feminist-Indigenous Reading of Cryopreservation, Interspecies Thinking and the New Materialisms.\u201d In Cryopolitics: Frozen Life in a Melting World. Ed. Radin. MIT Press, 2017.<\/p>\n\n\n\n

TSING, Anna Lowenhaupt. The Mushroom at the End of the World: The Possibility of Life in Capitalist Ruins. Princeton: Princeton University Press, 2015.<\/p>\n\n\n\n

VIEIRA, Patricia, Monica Gagliano, and John Ryan, ed. The Green Thread: Dialogues with the Vegetal World. London: Lexington Books, 2016.<\/p>\n\n\n\n

YUSOFF, Kathryn. A Billion Black Anthropocenes or None. Minneapolis: University of Minnesota Press, 2018.<\/p>\n<\/details>\n<\/details>\n\n\n\n

Winter 2027<\/mark><\/strong><\/h2>\n\n\n\n
HAR7008 – Approches th\u00e9oriques et critiques en histoire de l\u2019art<\/strong>
Prof. Ersy Contogouris
Universit\u00e9 de Montr\u00e9al
Mercredi\/Wednesday 12.30-3.30 p.m.
Language(s) of instruction : French and English
Language(s) of discussion : French and English<\/summary>\n

Ce s\u00e9minaire a pour objectif de permettre aux \u00e9tudiant\u00b7es de d\u00e9velopper leur projet de recherche en lien avec la ou les approches th\u00e9oriques et critiques qu\u2019iels utiliseront dans leur th\u00e8se. Il vise ainsi \u00e0 familiariser les \u00e9tudiant\u00b7es avec (et\/ou \u00e0 approfondir leurs connaissances de) diff\u00e9rentes approches th\u00e9oriques et critiques en histoire de l\u2019art, dont les th\u00e9ories f\u00e9ministes, 2SLGBTQIA+, postcoloniales et d\u00e9coloniales, ainsi qu\u2019aux \u00e9tudes sur la race, le capacitisme, les animaux et l\u2019environnement dans leur application \u00e0 l\u2019histoire de l\u2019art et \u00e0 l\u2019analyse d\u2019\u0153uvres d\u2019art ; nous \u00e9tudierons \u00e9galement des concepts de base dans les approches li\u00e9es aux \u00e9tudes visuelles et \u00e0 la culture mat\u00e9rielle. Les \u00e9tudes propos\u00e9es inclueront des textes fondamentaux de ces diff\u00e9rentes approches th\u00e9oriques et critiques, des textes en histoire de l\u2019art adoptant ces diff\u00e9rentes approches, ainsi que des \u0153uvres d\u2019art cr\u00e9\u00e9es en lien avec celles-ci, afin de consid\u00e9rer les enjeux \u00e9pist\u00e9mologiques qu\u2019iels soul\u00e8vent. L\u2019objectif du s\u00e9minaire est ainsi d\u2019offrir \u00e0 chaque \u00e9tudiant\u00b7e la possibilit\u00e9 de r\u00e9fl\u00e9chir \u00e0 ces diff\u00e9rentes approches, \u00e0 se positionner par rapport \u00e0 celles-ci, et ainsi \u00e0 avancer dans le d\u00e9veloppement de son propre cadre th\u00e9orique.<\/p>\n\n\n\n

Bibliography<\/summary>\n

ADAMS, Carol J. La politique sexuelle de la viande : une th\u00e9orie critique f\u00e9ministe v\u00e9g\u00e9tarienne<\/em> [1990]. Paris : L\u2019\u00e2ge d\u2019or, 2016. \/ The Sexual Politics of Meat : A Feminist-Vegetarian Critical Theory<\/em>. New York : Bloomsbury, 2015 [1990].<\/p>\n\n\n\n

AHMED, Sara. Living a Feminist Life<\/em>. Durham, NC : Duke University Press, 2017.<\/p>\n\n\n\n

ALFONSI, Isabelle. Pour une esth\u00e9tique de l\u2019\u00e9mancipation : construire les lign\u00e9es d\u2019un art queer<\/em>. Paris : B42, 2019.<\/p>\n\n\n\n

BHAMBRA, Gurminder K. \u00ab Postcolonial and Decolonial Dialogues \u00bb. Postcolonial Studies<\/em>, vol. 17, no. 2, 2014, pp. 115-121.<\/p>\n\n\n\n

BOIDY, Maxime. Les \u00e9tudes visuelles<\/em>. Saint Denis : Presses universitaires de Vincennes, 2017.<\/p>\n\n\n\n

CHARE, Nicholas et Ersy CONTOGOURIS (dir.). On the Nude : Looking Anew at the Naked Body in Art<\/em>. New York et Londres : Routledge, 2022.<\/p>\n\n\n\n

CLAUSTRES, Annie (dir.). Le tournant populaire des Cultural Studies : l\u2019histoire de l\u2019art face \u00e0 une nouvelle cartographie du go\u00fbt (1964-2008)<\/em>. Dijon : Les Presses du r\u00e9el, 2013.<\/p>\n\n\n\n

COLIN, Philippe et Lissell QUIROZ. Pens\u00e9es d\u00e9coloniales. Une introduction aux th\u00e9ories critiques d\u2019Am\u00e9rique latine<\/em>. Paris : La D\u00e9couverte, 2023.<\/p>\n\n\n\n

COLLINS, Lisa Gail. The Art of History. African American Women Artists Engage the Past<\/em>. New Brunswick, NJ, et Londres : Rutgers University Press, 2002.<\/p>\n\n\n\n

CONNELL, Raewyn. Masculinit\u00e9s. Enjeux Sociaux de l\u2019H\u00e9g\u00e9monie<\/em>. Paris : Amsterdam, 2014 [1995]. \/ Masculinities.  Cambridge : Polity Press, 2005 [1995].<\/p>\n\n\n\n

CUKIERMAN, Le\u00efla, Gerty DAMBURY et Fran\u00e7oise VERG\u00c8S (dir.). D\u00e9colonisons les arts !<\/em> Paris : L\u2019Arche, 2018.<\/p>\n\n\n\n

CVETKOVICH, Ann. An Archive of Feelings : Trauma, Sexuality, and Lesbian Public Cultures<\/em>. Durham, NC : Duke University Press, 2003<\/p>\n\n\n\n

DUBUISSON, Daniel et Sophie RAUX (dir.). \u00c0 perte de vue: Les nouveaux paradigmes du visual<\/em>. Dijon : Les Presses du reel, 2015.<\/p>\n\n\n\n

DUMONT, Fabienne (dir.). La r\u00e9bellion du deuxi\u00e8me sexe : l\u2019histoire de l\u2019art au crible des th\u00e9ories f\u00e9ministes anglo-am\u00e9ricaines (1970-2000)<\/em>. Dijon : Les Presses du r\u00e9el, 2011.<\/p>\n\n\n\n

FERDINAND, Malcolm. Une \u00e9cologie d\u00e9coloniale : Penser l\u2019\u00e9cologie depuis le monde carib\u00e9en<\/em>. Paris : Seuil, 2019. \/ A Decolonial Ecology : Thinking from the Caribbean World<\/em>. Cambridge, R-U : Polity Press, 2022 [2019].<\/p>\n\n\n\n

FICHERA, Giorgio et Chlo\u00e9 Clovis MAILLET (dir.). \u00ab Regard\u00b7s homo\u00e9rotique\u00b7s \u00bb, dossier de Images re-vues<\/em>, vol. 17, 2020.<\/p>\n\n\n\n

FOUCHER ZARMANIAN, Charlotte. Cr\u00e9atrices en 1900 : Femmes artistes en France dans les milieux symbolistes<\/em>. Paris : Mare & Martin, 2024.<\/p>\n\n\n\n

G\u00c9R\u00c9, Vanina. Les mauvais sentiments \u2013 L’art de Kara Walker<\/em>. Dijon : Les presses du r\u00e9el, 2019.<\/p>\n\n\n\n

GOSSETT, Reina, Eric A. STANLEY, et Johana BURTON (dir.). Trap Door : Trans Cultural Production and the Politics of Visibility<\/em>. Cambridge, MA, et Londres, R-U : The MIT Press, 2017.<\/p>\n\n\n\n

GRUSIN, Richard (dir.). Anthropocene Feminism<\/em>. Minneapolis, MN : University of Minnesota Press, 2017.<\/p>\n\n\n\n

HACHE, \u00c9milie. Reclaim : Recueil de textes \u00e9cof\u00e9ministes.<\/em> Paris : Cambourakis, 2016.<\/p>\n\n\n\n

HALBERSTAM, Jack. Trans* : A Quick and Quirky Account of Gender Variability<\/em>. Los Angeles : University California Press, 2018.<\/p>\n\n\n\n

IGLOLIORTE, Heather et Carla TAUNTON. \u00ab Introduction : Continuities Between Eras : Indigenous Art Histories \u00bb. RACAR<\/em>, vol. 42, no 2 (2016), pp. 5-8 ; \u00ab Introduction : Continuit\u00e9 entre les \u00e9poques : histoires des arts autochtones \u00bb, RACAR<\/em>, vol. 42, no 2 (2016), pp. 9-12.<\/p>\n\n\n\n

JONES, Amelia (dir.). The Feminism and Visual Culture Reader<\/em>. Londres et New York : Routledge, 2010.<\/p>\n\n\n\n

JONES, Amelia et Erin SILVER (dir.). Otherwise : Imagining Queer Feminist Art Histories<\/em>. Manchester : Manchester University Press, 2015.<\/p>\n\n\n\n

LAFONT, Anne. L\u2019art et la race \u2013 L\u2019Africain (tout) contre l\u2019\u0153il des Lumi\u00e8res<\/em>. Dijon : Les presses du r\u00e9el, 2019.<\/p>\n\n\n\n

LAFONT, Anne. Une Africaine au Louvre en 1800. La place du mod\u00e8le<\/em>. Paris : INHA, 2019.<\/p>\n\n\n\n

LOVELESS, Natalie. How to Make Art at the End of the World : A Manifesto for Research-Creation<\/em>. Durham, NC : Duke University Press, 2019.<\/p>\n\n\n\n

MALAMUD, Randy. An Introduction to Animals in Visual Culture<\/em>. Londres : Palgrave Macmillan, 2012.<\/p>\n\n\n\n

McMILLAN, Uri. Embodied Avatars : Genealogies of Black Feminist Art and Performance<\/em>. New York: NYU Press, 2015.<\/p>\n\n\n\n

McWILLIAM, Neil, Constance MOR\u00c9TEAU et Johanne LAMOUREUX (dir.). Histoires sociales de l\u2019art : une anthologie critique<\/em>. Dijon : Les Presses du r\u00e9el, 2016.<\/p>\n\n\n\n

MILLETT-GALLANT, Ann et Elizabeth HOWIE. Disability and Art History<\/em>. Londres et New York : Routledge, 2017.<\/p>\n\n\n\n

MIRZOEFF, Nicholas (dir.). The Visual Culture Reader<\/em>. Londres et New York : Routledge, 2013.<\/p>\n\n\n\n

MU\u00d1OZ, Jos\u00e9 Esteban. Cruising Utopia : The Then and There of Queer Futurity<\/em>. New York : NYU Press, 2009.<\/p>\n\n\n\n

PATEL, Alpesh Kantital. Productive Failure : Writing Queer Transnational South Asian Art Histories<\/em>. Manchester : Manchester University Press, 2017.<\/p>\n\n\n\n

PIEPZNA-SAMARASINHA, Leah Lakshmi. Care Work : Dreaming Disability Justice<\/em>. Vancouver : Arsenal Pulp Press, 2021 [2018].<\/p>\n\n\n\n

PINDER, Kymberly. Race-ing Art History : Critical Readings in Race and Art History<\/em>. Londres et New York : Routledge, 2002.<\/p>\n\n\n\n

PRECIADO, Paul B. Dysphoria mundi<\/em>. Paris : Grasset, 2023.<\/p>\n\n\n\n

VERG\u00c8S, Fran\u00e7oise. Un f\u00e9minisme d\u00e9colonial<\/em>. Paris : La Fabrique \u00e9ditions, 2019.<\/p>\n\n\n\n

WEXLER, Alice et John DERBY (dir.). Contemporary Art and Disability Studies<\/em>. Londres et New York : Routledge, 2020.<\/p>\n\n\n\n

YONAN, Michael. \u00ab Toward a Fusion of Art History and Material Culture Studies \u00bb. West 86th : A Journal of Decorative Arts, Design History, and Material Culture<\/em>, vol. 18, no. 2, 2011, pp. 234-248.<\/p>\n\n\n\n

ZHONG MENGUAL, Estelle. Apprendre \u00e0 voir : Le point de vue du vivant<\/em>. Arles : Actes Sud, 2021.<\/p>\n<\/details>\n<\/details>\n\n\n\n

BLOCK B – <\/strong><\/mark>Questions<\/strong><\/mark> and Thematics<\/strong><\/mark><\/p><\/blockquote><\/figure>\n\n\n\n

Fall 2026<\/mark><\/strong><\/h2>\n\n\n\n
HAR7002 – Retour \u00e0 l\u2019objet \/ Return to the Object<\/strong>
Prof. Kristine Tanton
Universit\u00e9 de Montr\u00e9al
Mercredi\/Wednesday 9 a.m.-12 p.m.
Language(s) of instruction : French and English
Language(s) of discussion : French and English<\/summary>\n

This seminar recenters artworks as objects of knowledge. Anchored in key readings, especially recent returns to object histories, the seminar equips participants with frameworks for writing from, with, and about things. Core themes include formalism, craft and making, Thing Theory, the material turn, and the social life of things, and we ask how each reshapes evidence, interpretation, and argument in art history. Digital methods are one approach among many; they are useful but not the focus. When appropriate, we examine how tools such as 3D modeling can sharpen close looking and material analysis, and how research-creation can generate object-centered questions and forms of proof.<\/p>\n\n\n\n

The semester culminates in a research or position paper and a conference-style presentation that advance each participant\u2019s own project, ideally aligned with the doctoral thesis, by applying an object-focused lens to a single work, a corpus, or a crafted ensemble. The aim is to show how renewed attention to the object can yield new historical claims.<\/p>\n\n\n\n

The seminar is bilingual. The participants may express themselves freely in English or French for all presentations, class discussion, written work, and correspondence.<\/p>\n\n\n\n

Bibliography<\/summary>\n

ADAMSON, Glenn, and Julia Bryan-Wilson. Art in the Making: Artists and Their Materials from the Studio to Crowdsourcing<\/em>. London: Thames & Hudson, 2016.<\/p>\n\n\n\n

ALPERS, Svetlana. The Art of Describing: Dutch Art in the Seventeenth Century<\/em>. Chicago: University of Chicago Press, 1984.<\/p>\n\n\n\n

ANDERSON, Christy, Anne Dunlop, and Pamela H. Smith, eds. The Matter of Art: Materials, Practices, Cultural Logics, c. 1250\u20131750<\/em>. London: Manchester University Press, 2014<\/p>\n\n\n\n

APPADURAI, Arjun, ed. The Social Life of Things: Commodities in Cultural Perspective<\/em>. Cambridge : Cambridge University Press, 1986.<\/p>\n\n\n\n

BARAD, Karen. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning<\/em>. Durham, NC, and London: Duke University Press, 2007.<\/p>\n\n\n\n

BENNETT, Jane. Vibrant Matter: A Political Ecology of Things<\/em>. Durham, NC, and London: Duke University Press, 2010.<\/p>\n\n\n\n

BLEICHMAR, Daniela, and Peter C. Mancall, eds. Collecting Across Cultures: Material Exchanges in the Early Modern Atlantic World<\/em>. Philadelphia: University of Pennsylvania Press, 2011.<\/p>\n\n\n\n

BOGOST, Ian. Alien Phenomenology, or What It\u2019s Like to Be a Thing<\/em>. Minneapolis: University of Minnesota Press, 2012.<\/p>\n\n\n\n

BROOK, Timothy.  Le chapeau de Vermeer : le XVIIe \u00e0 l\u2019aube de la mondialisation<\/em>. Translated by Odile Demange. Paris: Payot, 2010. Originally published as Vermeer\u2019s Hat<\/em>. New York: Bloomsbury Press, 2007.<\/p>\n\n\n\n

BROWN, Bill. \u201cThing Theory.\u201d Critical Inquiry<\/em> 28, no. 1 (2001): 1\u201322.<\/p>\n\n\n\n

BRYANT, Levi R. The Democracy of Objects<\/em>. Ann Arbor, MI: Open Humanities Press, 2011.<\/p>\n\n\n\n

CANDLIN, Fiona, and Raiford Guins, eds. The Object Reader<\/em>. London and New York: Routledge, 2009.<\/p>\n\n\n\n

COOKE, Edward S., Jr. Global Objects: Toward a Connected Art History<\/em>. Princeton, NJ: Princeton University Press, 2022.<\/p>\n\n\n\n

DASTON, Lorraine, ed. Things That Talk: Object Lessons from Art and Science<\/em>. New York: Zone Books, 2004.<\/p>\n\n\n\n

DEBARY, Octave et de Laurier Turgeon, Objets & M\u00e9moires<\/em>. Paris: \u00c9ditions de la Maison des sciences de l\u2019homme et Qu\u00e9bec: Presses de l\u2019Universit\u00e9 Laval\u2014Qu\u00e9bec.<\/p>\n\n\n\n

DIDI-HUBERMAN, Georges. La ressemblance par contact<\/em> <\/em>: arch\u00e9ologie, anachronisme et modernit\u00e9 de l\u2019empreinte<\/em>. Paris : Les \u00c9ditions de Minuit, 2008.<\/p>\n\n\n\n

FRICKE, Beate, and Finbarr Barry Flood. Tales Things Tell: Material Histories of Early Globalisms<\/em>. Princeton, NJ: Princeton University Press, 2023.<\/p>\n\n\n\n

FRICKE, Beate, and Ann-Sophie Lehrmann, \u201cMaterials Matter.\u201d Kunstchronik. Monatsschrift f\u00fcr Kunstwissenschaft<\/em> 77\/77 (2024): 461-467.<\/p>\n\n\n\n

GELL, Alfred. Art and Agency: An Anthropological Theory<\/em>. Oxford : Clarendon Press, 1998.<\/p>\n\n\n\n

GUICHARD, Charlotte. La griffe du <\/em>peintre :<\/em> la valeur de l\u2019art (1730\u20131820)<\/em>. Paris : Seuil, 2018.<\/p>\n\n\n\n

\u2014\u2014\u2014. \u201cImage, art, artefact au XVIIIe si\u00e8cle: l\u2019histoire de l\u2019art \u00e0 l\u2019\u00e9preuve de l\u2019objet,\u201d Perspective : Actualit\u00e9 en histoire de l\u2019art<\/em> 1 (juillet 2015) : 95-112. DOI : 10.4000\/perspective.5805<\/p>\n\n\n\n

HEXAGRAM. \u201cWhat Is Research-Creation?\u201d 2017. https:\/\/hexagram.ca<\/a>. Accessed September 10, 2025.<\/p>\n\n\n\n

INGOLD, Tim. Making: Anthropology, Archaeology, Art and Architecture<\/em>. London and New York: Routledge, 2013.<\/p>\n\n\n\n

KOPYTOFF, Igor. \u201cThe Cultural Biography of Things: Commoditization as Process.\u201d In The Social Life of Things: Commodities in Cultural Perspective<\/em>, edited by Arjun Appadurai, 64\u201391. Cambridge: Cambridge University Press, 1986.<\/p>\n\n\n\n

LATOUR, Bruno. Changer de soci\u00e9t\u00e9, refaire de la sociologie<\/em>. Translated by Nicolas Guilhot. Paris: La D\u00e9couverte, 2006. Originally published as Reassembling the Social: An Introduction to Actor-Network-Theory<\/em> (Oxford: Oxford University Press, 2005).<\/p>\n\n\n\n

LEHMANN, Ann-Sophie. \u201cHow Materials Make Meaning.\u201d Nederlands Kunsthistorisch Jaarboek (NKJ) \/ Netherlands Yearbook for History of Art<\/em>62 (2012), \u201cMeaning in Materials, 1400\u20131800\u201d: 6\u201327.<\/p>\n\n\n\n

LOVELESS, Natalie. How to Make Art at the End of the World: A Manifesto for Research-Creation<\/em>. Durham, NC, and London: Duke University Press, 2019.<\/p>\n\n\n\n

MATTERN, Shannon. \u201cMaintenance and Care.\u201d Places Journal<\/em>, November 2018. <\/p>\n\n\n\n

MILLER, Daniel, ed. Materiality<\/em>. Durham, NC, and London: Duke University Press, 2005.<\/p>\n\n\n\n

MUKERJI,<\/em> Chandra, \u201cThe Material Turn.\u201d In Emerging Trends in the Social and Behavioral Sciences<\/em>, edited by Robert Scott and Stephen Kosslyn, 1-13 (John Wiley & Sons, 2015).<\/p>\n\n\n\n

POMIAN, Krzysztof. Collectionneurs, amateurs et curieux<\/em> <\/em>: Paris, Venise, XVIe\u2013XVIIIe si\u00e8cle.<\/em> Paris : Gallimard, 1987.<\/p>\n\n\n\n

SOCIAL SCIENCES AND HUMANITIES RESEARCH COUNCIL (SSHRC). \u201cTerminology\u2014Research-Creation.\u201d Updated June 6, 2025. https:\/\/sshrc-crsh.canada.ca<\/a>. Accessed September 10, 2025.<\/p>\n\n\n\n

\u2014\u2014\u2014. \u201cPreparing an Application Involving Research-Creation for Insight and Insight Development Grants.\u201d Updated June 6, 2025. https:\/\/sshrc-crsh.canada.ca<\/a>. Accessed September 10, 2025.<\/p>\n\n\n\n

YONAN, Michael. \u201cTechnical Art History and the Art History Thing<\/a>.\u201d Materia: Journal of Technical Art History<\/em>, 1:1 (Spring 2021): 60-66.<\/p>\n\n\n\n

\u2014\u2014\u2014. Messerschmidt\u2019s Character Heads: Maddening Sculpture and the Writing of Art History<\/em>. New York: Routledge, 2018.<\/p>\n\n\n\n

\u2014\u2014\u2014. \u201cToward a Fusion of Art History and Material Culture Studies.\u201d West 86th<\/sup>: A Journal of Decorative Arts, Design History, and Material Culture<\/em>, Vol. 18, No.2 (Fall-Winter 2011): 23248.<\/p>\n\n\n\n

\u2014\u2014\u2014. \u201cThe Suppression of Materiality in Anglo-American Art-Historical Writing.\u201d In The Challenge of the Object\/Die Herausforderung des Objekts. Proceedings of the 33rd<\/sup> Congress of the International Committee of the History of Art (CIHA), N\u00fcrnberg, 15\u201320 July 2012, <\/em>edited by Georg Ulrich Gro\u00dfmann and Petra Krutisch, I:63\u201366. N\u00fcrnberg: Verlag des Germanischen Nationalmuseums, 2014.<\/p>\n<\/details>\n<\/details>\n\n\n\n

HAR920D – Appropriations, R\u00e9visions, Relectures : les usages politiques de l\u2019art du pass\u00e9<\/strong>
Prof. Itay Sapir
Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al
Lundi\/Monday 2-5 p.m.
Language(s) of instruction : French (mainly) and English
Language(s) of discussion : French and English<\/summary>\n

Au-del\u00e0 de sa valeur esth\u00e9tique, l\u2019art du pass\u00e9 est souvent \u00e9tudi\u00e9, enseign\u00e9, expos\u00e9 ou recycl\u00e9 dans le cadre de projets politiques, ouvertement ou de mani\u00e8re implicite. L\u2019histoire de l\u2019art s\u2019int\u00e9resse au pass\u00e9 (parfois tr\u00e8s r\u00e9cent), mais se fait toujours dans le pr\u00e9sent. L\u2019historiographie \u00e9tudie donc les ph\u00e9nom\u00e8nes du pass\u00e9 dans un contexte politique et social qui a chang\u00e9, et qui a un in\u00e9vitable impact sur la mani\u00e8re de raconter les \u00e9volutions artistiques. Ainsi, les \u00e9crits des historien.nes de l\u2019art sont, tout comme les \u0153uvres d\u2019art elles-m\u00eames, le lieu d\u2019\u00e9mergences, de revenances et de relectures incessantes du pass\u00e9. Ils sont l\u2019expression d\u2019une temporalit\u00e9 n\u00e9cessairement complexe, jamais lin\u00e9aire, et de la rencontre de multiples subjectivit\u00e9s et id\u00e9ologies. L\u2019histoire de l\u2019art est toujours, n\u00e9cessairement, anachronique, s\u00e9lective et int\u00e9ress\u00e9e (au sens fort du terme). Cela vaut \u00e9galement pour les pratiques expographiques et mus\u00e9ales.<\/p>\n\n\n\n

On conna\u00eet bien les usages du patrimoine artistique de groupes d\u00e9finis comme des \u00ab peuples \u00bb par des mouvements nationaux et nationalistes, et ce, depuis la naissance des nationalismes europ\u00e9ens (XIXe si\u00e8cle), en passant par la d\u00e9colonisation (XXe si\u00e8cle) et encore aujourd\u2019hui. Mais les \u0153uvres du pass\u00e9 surgissent parfois dans des contextes plus subtils, et n\u00e9anmoins fortement politiques : le canon artistique consid\u00e9r\u00e9 comme \u00ab universel \u00bb peut \u00eatre utilis\u00e9 pour promouvoir des id\u00e9ologies invent\u00e9es a posteriori; les mus\u00e9es oscillent entre pr\u00e9tentions encyclop\u00e9diques et revendications locales; et un pass\u00e9 (artistique) fantasm\u00e9 est cr\u00e9\u00e9 de toutes pi\u00e8ces pour justifier la cr\u00e9ation du neuf par les artistes des g\u00e9n\u00e9rations suivantes.<\/p>\n\n\n\n

Dans une perspective transhistorique, ce s\u00e9minaire cherchera \u00e0 r\u00e9fl\u00e9chir \u00e0 toutes ces questions en se penchant sur les explications th\u00e9oriques de tels usages et surtout en analysant de nombreuses \u00e9tudes de cas. Parmi ces derni\u00e8res, on s\u2019int\u00e9ressera \u00e0 la Renaissance (XVe-XVIe si\u00e8cle en Europe) comme exemple embl\u00e9matique de l\u2019exploitation du pass\u00e9 lointain pour des objectifs contemporains; \u00e0 l\u2019invention d\u2019un art \u00ab national \u00bb dans de nombreux \u00e9tats, souvent nouvellement cr\u00e9\u00e9s; \u00e0 la place et l\u2019importance du patrimoine artistique pour les r\u00e9gimes totalitaires du XXe si\u00e8cle, notamment le fascisme italien et le nazisme en Allemagne; aux r\u00f4les de l\u2019art du pass\u00e9 dans les efforts de propagande lors de la Guerre froide; et aux lectures subversives de l\u2019art colonial par des artistes actuel.les issu.es, souvent, du monde colonis\u00e9.<\/p>\n\n\n\n

Bibliography<\/summary>\n

ANDERSON, Benedict Imagined Communities: Reflections on the Origin and Spread of Nationalism. London : Verso, 1983.<\/p>\n\n\n\n

BAL, Mieke. Quoting Caravaggio : contemporary art, preposterous history<\/em>. Chicago & London: The University of Chicago Press, 1999.<\/p>\n\n\n\n

BAXANDALL, Michael. Patterns of intention: on the historical explanation of pictures<\/em>. New Haven & London: Yale University Press, 1985.<\/p>\n\n\n\n

BOHMAN, Stefan. \u00ab Nationalism and museology : reflections on Swedish experience \u00bb. In : Heritage and Museums. Shaping national identity<\/em>. Dorset : J.M. Fladmark, 2000, 275-296.<\/p>\n\n\n\n

BONFAIT, Olivier (ed.). Histoires de l\u2019art en France 1946-2024 : Lieux, questions, d\u00e9fis<\/em>. Paris : CFHA, 2024.<\/p>\n\n\n\n

CARTOLARI, Matilde. Ambassadors of Beauty. Italian Old Masters and Fascist Cultural Diplomacy (1930-1940)<\/em>. Unpublished doctoral dissertation, TU Berlin, co-tutelle with University of Udine, 2022.<\/p>\n\n\n\n

CASTELLS, Manuel. Le pouvoir de l’identit\u00e9<\/em>. Paris: \u00c9ditions Fayard, 1999.<\/p>\n\n\n\n

CONLIN, Jonathan. The nation\u2019s mantelpiece: a history of the National Gallery<\/em>. London: Pallas Athene, 2006.<\/p>\n\n\n\n

DIDI-HUBERMAN, Georges. Devant le temps<\/em>. Paris : Les \u00e9ditions de Minuit, 2000.<\/p>\n\n\n\n

FORTIN, Andr\u00e9e. Produire la culture, produire l\u2019identit\u00e9 ?.<\/em> Sainte-Foy : Presses de l\u2019Universit\u00e9 Laval, 2000.<\/p>\n\n\n\n

GELLNER, Ernest. Nations and Nationalism<\/em>. Ithaca, N.Y. : Cornell University Press, 2008\/1983.<\/p>\n\n\n\n

GOLAN, Tamara & Felix J\u00e4ger (eds.). East German Art History and Global Marxisms<\/em>, Selva<\/em> 5 (2024).<\/p>\n\n\n\n

HARO GARC\u00cdA, Noemi de . \u00ab Banal art history : Baroque, modernization and official cinematography in Franco\u2019s Spain \u00bb. In: Journal of art historiography<\/em>, 15 (December 2016).<\/p>\n\n\n\n

HOLLY, Michael Ann. Past looking : historical imagination and the rhetoric of the image<\/em>. Ithaca: Cornell University Press, 1996.<\/p>\n\n\n\n

LEVY, Evonne. Baroque and the Political Language of Formalism (1845\u20131945): Burckhardt, W\u00f6lfflin, Gurlitt, Brinckmann, Sedlmayr<\/em>. Basel: Schwabe Verlag, 2015.<\/p>\n\n\n\n

MAR\u00cdAS, Fernando, \u00ab L\u2019 histoire de l\u2019art en Espagne \u00bb. Revue de l\u2019art<\/em> 134 (2001), 5-7.<\/p>\n\n\n\n

MICHAUD, \u00c9ric. Un art de l\u2019\u00e9ternit\u00e9 : l\u2019image et le temps du national-socialisme<\/em>. Paris : Gallimard, 1996.<\/p>\n\n\n\n

MOLHO, Anthony. “American Historians and the Italian Renaissance: An Overview”. In: Schifanoia<\/em>, 8, 1989.<\/p>\n\n\n\n

MOLHO, Anthony & Gordon S. WOOD. Imagined histories: American historians interpret the past<\/em>. Princeton: Princeton University Press, 1998.<\/p>\n\n\n\n

MUIR, Edward. \u201cThe Italian Renaissance in America\u201d. The American Historical Review<\/em>, Oct. 1995, Vol. 100, No. 4, 1095-1118.<\/p>\n\n\n\n

PANOFSKY, Erwin. Renaissance and Renascences in Western Art<\/em>, New York: Harper & Row, 1960.<\/p>\n\n\n\n

PORT\u00daS, Javier. Sc.\u00e9nographies d\u2019un chef-d\u2019\u0153uvre : Vel\u00e1zquez et la salle des <\/em>M\u00e9nines au Mus\u00e9e du Prado. <\/em>Paris : \u00c9ditions 1 : 1 (ars<\/em>), 2025.<\/p>\n\n\n\n

PELLISTRANDI, Beno\u00eet. \u00ab Histoire et identit\u00e9 nationale en Espagne \u00bb. In : L\u2019histoire culturelle en France et en Espagne<\/em>, Beno\u00eet Pellistrandi & Jean-Fran\u00e7ois Sirinelli (ed.). Madrid : Casa de Vel\u00e1zquez, 2008, 247-287.<\/p>\n\n\n\n

RAMPLEY, Matthew (ed.). Heritage, Ideology, and Identity in Central and Eastern Europe: Contested Pasts, Contested Presents<\/em>. Woodbridge, Suffolk ; Rochester, NY: Boydell & Brewer, 2012.<\/p>\n\n\n\n

RAMPLEY, Matthew. The Vienna School of Art History: Empire and the Politics of Scholarship, 1847\u20131918<\/em>. University Park: Penn State University Press, 2013.<\/p>\n\n\n\n

WOOD, Christopher S. A History of Art History. Princeton: Princeton University Press<\/em>, 2019.<\/p>\n<\/details>\n<\/details>\n\n\n\n

Winter 2027<\/mark><\/strong><\/h2>\n\n\n\n
ARTH 803 – New Diasporics: Current Discourses on Diaspora and Migrancy<\/strong>
Prof. Alice Ming Wai Jim
Concordia University
Jeudi\/Thursday 3-6 p.m.
Language(s) of instruction : English
Language(s) of discussion : English<\/summary>\n

This seminar examines the evolving narratives of diaspora and migrancy in contemporary art, emphasizing the most recent theoretical and methodological developments in the field. Participants investigate the intricate relationships between artists, their diasporic identities, and the socio-cultural landscapes that inform and transform their creative practices. The concept of the “new diasporic” extends beyond traditional understandings, encompassing the lived experience and evolving identity of communities situated outside their ancestral homelands. Once used primarily to describe Jewish, Greek, and Armenian dispersion, \u201cdiaspora\u201d now encompasses meanings within a larger semantic domain that includes words such as immigrant, expatriate, refugee, guest worker, exile, overseas or ethnic communities, and equity-seeking\/deserving groups. Shaped by global migration, digital networks, and emergent collective consciousness, these emerging plural and hyphenated identities challenge established paradigms of place and belonging. Participants will examine how contemporary artists navigate themes of migration, displacement, and cultural hybridity, operating from deterritorialized and decolonial perspectives. The course addresses fundamental questions of identity and belonging, interrogating the profound impact of geopolitical forces, transnational movements, and shifting cultural borders on artistic expression and sovereignty. By engaging with diverse case studies, participants will gain insight into how transnationalism, individual agency, and modes of cultural production influence and redefine artistic narratives, creating new forms of cultural expression that supersede colonial centres or national canons. This seminar invites participants to reflect on the complexities of diaspora and migrancy, fostering a nuanced understanding of contemporary art\u2019s role in shaping\u2014and being shaped by\u2014the intricate tapestry of global cultural exchange.<\/p>\n\n\n\n

Bibliography<\/summary>\n

Asgharzadeh, Alireza, Erica Lawson, Kayleen U. Oka, and Amar Wahab, eds. Diasporic Ruptures: Globality, Migrancy, and Expressions of Identity<\/em>, volumes 1 & 2. Sense, 2007.<\/p>\n\n\n\n

Bennett, Jill. \u201cMigratory Aesthetics: Art and Politics beyond Identity.\u201d Art and Visibility in Migratory Culture. Conflict, Resistance, and Agency<\/em>. Ed. Mieke Bal and Miguel \u00c1. Hern\u00e1ndez-Navarro. Amsterdam: Rodopi, 2011. 109-126.<\/p>\n\n\n\n

Bel\u00e7im Galip, \u00d6zlem. Art, Gender and Migration in the Kurdish Diaspora: Intellectual and Cultural Production in Europe<\/em>. I.B. Taurus, 2024.<\/p>\n\n\n\n

Brah, Avtar. Cartographies of Diaspora: Contesting Identities<\/em>. Routledge, 1996.<\/p>\n\n\n\n

Claramonte, M\u00aa Carmen \u00c1frica Vidal. Translation and Objects: Rewriting Migrancy and Displacement through the Materiality of Art<\/em>. Routledge, 2024.<\/p>\n\n\n\n

Demos, T.J. The Migrant Image: The Art and Politics of Documentary during Global Crisis<\/em>. Durham, NC: Duke University Press, 2013.<\/p>\n\n\n\n

Diaz, Robert, and Marissa Largo. Diasporic Intimacies: Queer Filipinos and Canadian Imaginaries<\/em>. Northwestern University Press, 2017.<\/p>\n\n\n\n

Gayed, Andrew. Queer World Making: Contemporary Middle Eastern Diasporic Art<\/em>. University of Washington Press, 2024.<\/p>\n\n\n\n

Gopinath, Gayatri. Unruly Visions: The Aesthetic Practices of Queer Diaspora<\/em>. Duke University, 2018.<\/p>\n\n\n\n

Ianniciello, Celeste. Migrations, Arts and Postcoloniality in the Mediterranean<\/em>. Routledge, 2021.<\/p>\n\n\n\n

Jafri, Beenash. Settler Attachments and Asian Diasporic Film<\/em>. University of Minnesota Press, 2025.<\/p>\n\n\n\n

Lawson, Dhyandra, ed. Imagining Black Diasporas: 21st-Century Art and Poetics.<\/em> DelMonico Books, 2024.<\/p>\n\n\n\n

Mathur, Saloni. The Migrant’s Time: Rethinking Art History and Diaspora<\/em>. Clark Art Institute, 2011.<\/p>\n\n\n\n

Miyamoto, B., & Ruiz, M. Art and Migration: Revisioning the Borders of Community<\/em>. Manchester University Press, 2021.<\/p>\n\n\n\n

Parre\u00f1as, Rhacel Salazar, and Lok C. D Siu. Asian Diasporas: New Formations, New Conceptions<\/em>. Stanford University Press, 2007.<\/p>\n\n\n\n

Peterson, Anne Ring. Migration into Art: Transcultural Identities and Art-making in a Globalised World<\/em>. Manchester University Press, 2017.<\/p>\n\n\n\n

Ross, Christine. Art for Coexistence: Unlearning the Way We See Migration<\/em>. MIT Press, 2022.<\/p>\n\n\n\n

Schramm, M., Moslund, S. P., Petersen, A. R., Gebauer, M., Post, H. C., Vitting-Seerup, S., & Wiegand, F.  Reframing Migration, Diversity and the Arts: The Postmigrant Condition<\/em> (1st ed.). Routledge, 2019.<\/p>\n\n\n\n

Shohat, Ella. Taboo Memories, Diasporic Voices<\/em>. Duke University Press, 2006.<\/p>\n\n\n\n

Steyn, Juliet and Nadja Stamselberg, eds. Breaching Borders: Art, Migrants and the Metaphor of Waste. <\/em>London; New York: I.B. Tauris, 2015.<\/p>\n<\/details>\n<\/details>\n\n\n\n

HAR912P – Mus\u00e9ologie d\u2019enqu\u00eate : la vie de l\u2019objet, ses expositions, sa circulation<\/strong>
Prof. Marie Fraser
Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al
Mardi\/Tuesday (schedule to be determined)
Language(s) of instruction : French (mainly) and English
Language(s) of discussion : French and English
<\/summary>\n

Ce s\u00e9minaire s\u2019inscrit dans le cadre d\u2019une recherche qui s\u2019intitule \u00ab Mus\u00e9ologie d\u2019enqu\u00eate \u00bb subventionn\u00e9e par le CRSH (2021-2026). \u00c0 la convergence de l\u2019histoire de l\u2019art, de la mus\u00e9ologie, des \u00e9tudes curatoriales et de l\u2019anthropologie, il vise \u00e0 complexifier l\u2019analyse des oeuvres d\u2019art en suivant leur trajectoire \u00e0 partir d\u2019une approche mat\u00e9rielle et discursive qui s\u2019inspire \u00e9galement des m\u00e9thodes d\u2019investigation judiciaire. Il s\u2019agira plus pr\u00e9cis\u00e9ment d\u2019\u00e9tudier comment, \u00e0 travers leur histoire, les oeuvres d\u2019art sont fabriqu\u00e9es, manipul\u00e9es, expos\u00e9es et d\u00e9plac\u00e9es. De quelles fa\u00e7ons sont-elles pr\u00e9sent\u00e9es et dans quels buts ? Comment sont-elles acquises pour constituer des collections ? Dans quelles circonstances voyagent-elles d\u2019un pays \u00e0 un autre pour \u00eatre expos\u00e9es dans diff\u00e9rents mus\u00e9es et contextes \u00e0 travers le monde ? Pourquoi traversent-elles des fronti\u00e8res g\u00e9ographiques et comment sont-elles appel\u00e9es \u00e0 participer \u00e0 des conflits g\u00e9opolitiques et aux violences coloniales ? Et, enfin, comment ces interactions les transforment-elles ? <\/p>\n\n\n\n

L\u2019approche m\u00e9thodologique du s\u00e9minaire est fortement inspir\u00e9e par la culture mat\u00e9rielle \u2013 plus particuli\u00e8rement par la \u00ab vie sociale des choses \u00bb et les \u00e9crits de l\u2019anthropologue Arjun Appadurai. Un des m\u00e9rites des \u00e9tudes mat\u00e9rielles est de d\u00e9finir la trajectoire, et je cite, comme une \u00ab m\u00e9thode particuli\u00e8re qui consiste \u00e0 suivre la trace des objets \u00e0 mesure qu\u2019ils franchissent les diff\u00e9rentes \u00e9tapes de leur existence, qu\u2019ils passent par diff\u00e9rents r\u00e9gimes de valeurs, qu\u2019ils sont construits de diverses mani\u00e8res au moment o\u00f9 ils franchissent les seuils qui s\u00e9parent des r\u00e9gimes diff\u00e9rents \u00bb (Appadurai, 1986 : 5). Cette approche doit toutefois \u00eatre adapt\u00e9e \u00e0 la sp\u00e9cificit\u00e9 des oeuvres d\u2019art. Pour Appadurai, les trajectoires sont h\u00e9t\u00e9rog\u00e8nes, les r\u00e9gimes de valeur sont fluctuants et pluriels pour un m\u00eame objet, mais les trajectoires sont toujours r\u00e9gul\u00e9es par des normes sociales et culturelles. Nous nous int\u00e9resserons aux moments et aux situations o\u00f9 les oeuvres d\u2019art changent de r\u00e9gime de valeur mais, au-del\u00e0 des approches anthropologiques, nous tenterons d\u2019ouvrir l\u2019\u00e9tude de la \u00ab biographie \u00bb de l\u2019objet \u00e0 un ensemble d\u2019\u00e9v\u00e8nements et de r\u00e9cits beaucoup plus vaste. Comme le sugg\u00e8re Bruno Latour, les objets ont leur propre vie construite d\u2019\u00e9changes et d\u2019interaction avec des humains et, plus largement, avec le vivant. <\/p>\n\n\n\n

Pour adapter l\u2019analyse de la trajectoire \u00e0 la sp\u00e9cificit\u00e9 de l\u2019oeuvre d\u2019art, nous nous int\u00e9resserons \u00e0 trois aspects de son existence : le cycle de vie de l\u2019objet, l\u2019historique de ses expositions et sa circulation. Sur le plan m\u00e9thodologique et \u00e9pist\u00e9mologique, nous r\u00e9fl\u00e9chirons aux r\u00f4les des archives, des sources primaires et secondaires dans la construction des savoirs sur l\u2019objet et \u00e0 la pertinence d\u2019ouvrir l\u2019histoire de l\u2019art \u00e0 d\u2019autres types sources politiques et juridiques. Nous r\u00e9fl\u00e9chirons \u00e9galement \u00e0 la pertinence de d\u00e9velopper des outils pour visualiser la recherche (cartographies, chronologies, reconstitutions, inventaires, listes, etc.) et nous nous int\u00e9resserons \u00e0 des artistes contemporains qui d\u00e9veloppent des pratiques d\u2019enqu\u00eate dans leurs oeuvres.<\/p>\n\n\n\n

Bibliography<\/summary>\n

APPADURAI, Arjun (dir.). The Social Life of Things<\/em>. Cambridge : Cambridge University Press, 1986.<\/p>\n\n\n\n

APPADURAI, Arjun. Modernity at Large: Cultural Dimensions of Globalization<\/em>. Minneapolis : University of Minnesota Press, 1996.<\/p>\n\n\n\n

ARONCZYK, Melissa et Alisa CRAIG. \u00ab Introduction: Cultures of circulation \u00bb. Poetics<\/em>, vol. 40, no<\/sup> 2, 2012, p. 93-100.<\/p>\n\n\n\n

BARRON, Stephanie (dir.). \u00ab Degenerate Art \u00bb: The Fate of the Avant-Garde in Nazi Germany<\/em>. Los Angeles et New York : Los Angeles County Museum of Art et H. N. Abrams, 1991.<\/p>\n\n\n\n

BEAUDRILLARD, Jean. Le Syst\u00e8me des objets<\/em>. Paris : Gallimard, 1968.<\/p>\n\n\n\n

BENNETT, Jane. Vibrant Matter: A Political Ecology of Things<\/em>. Durham : Duke University Press, 2010. BOLTANSKI, Luc. \u00c9nigmes et complots : une enqu\u00eate \u00e0 propos d’enqu\u00eates<\/em>. Paris : Gallimard, 2012.<\/p>\n\n\n\n

BOLTANSKI, Luc. \u00c9nigmes et complots : une enqu\u00eate \u00e0 propos d’enqu\u00eates<\/em>. Paris : Gallimard, 2012.<\/p>\n\n\n\n

CAILLET, Aline, L\u2019art de l\u2019enqu\u00eate : savoirs pratiques et sciences sociales<\/em>, Paris : \u00c9ditions Mimesis, 2019.<\/p>\n\n\n\n

CASEMAJOR-LOUSTAU, Nathalie. \u00ab Mat\u00e9rialisme num\u00e9rique et trajectoires d\u2019objets. Les art\u00e9facts num\u00e9riques en circulation \u00bb. French Journal for Media Research<\/em>, n\u00b0 1, 2014. http:\/\/frenchjournalformediaresearch.com\/index.php?id=263.<\/a><\/p>\n\n\n\n

DACOSTA KAUFMANN, Thomas, Catherine DOSSIN et B\u00e9atrice JOYEUX-PRUNEL. Circulations in the Global History of Art<\/em>. New York: Ashgate Book, 2015.<\/p>\n\n\n\n

DEURELL, Johan (dir.). Migration: The Journey of Objects<\/em>. Gothenburg (Su\u00e8de): Roehsska Mueseet, 2022.<\/p>\n\n\n\n

DOMINGUEZ RUBIO, Fernando. Still Life. Ecologies of the Modern Imagination at the Art Museum<\/em>. Chicago et Londres: University of Chicago Press, 2020.<\/p>\n\n\n\n

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