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101 - 105 of 105 results for: ARTHIST

ARTHIST 415: Baroque: 1900-2000

The seminar, which is largely methodological and historiographic, problematizes issues of periodization. The course examines different approaches to the question of "what is baroque," from Alois Riegl and Erwin Panofsky to Michel Foucault, Svetlana Alpers and Giovanni Careri.
Instructors: Hansen, M. (PI)

ARTHIST 442: Looking at Violence

Violence in the media and its effects upon viewers, especially thennyoung, is an issue of national concern that has produced legislationnnfor the ratings of movies, television shows, and computer/video games. Parental control software makes it possible to program cable boxes andnncomputers to censor what broadcasts or websites are accessible tonnchildren. These are political and technical fixes to a perceivednnsocial problem. They do not ask why one is drawn to watch violence innnthe first place, nor why certain kinds of violent imagery is compelling. Debates about how such measures should be implemented usually proceed from the given that images of violence are subjectspecific, with little or no consideration of their formal qualities or visual protocols. This seminar assumes that the tools and categories of visual analysis specific to the History of Art might enrich our thinking about the attraction and impact of violence across media andnnacross time. The seminar proposes to situate its topic at the intersection of social, philosophic, and visual traditions so as to allow productive points of view to emerge. Readings will include texts from the history of aesthetics, psychology, and moral philosophy. Research projects will encourage analysis of all forms of visual media: painting, sculpture, prints, photographs, film, video, and computer graphics.

ARTHIST 485: The Situation of the Artist in Traditional Japan (JAPANGEN 220)

Topics may include: workshop production such as that of the Kano and Tosa families; the meaning of the signature on objects including ceramics and tea wares; the folk arts movement; craft guilds; ghost painters in China; individualism versus product standardization; and the role of lineage. How works of art were commissioned; institutions supporting artists; how makers purveyed their goods; how artists were recognized by society; the relationship between patrons¿ desires and artists¿ modes of production.

ARTHIST 490: Curatorial Activism in the Arts of Africa

Enrollment restricted to graduate students and advanced undergraduates. What is contemporary in African art and how does one curate the contemporary in and through African art? The course examines curatorial practices and activist projects. Topics include redefining museum exhibitions and collections of African art at the Cantor Arts Center and museums around the world; breaking away from stereotypical representations of the arts and cultures of Africa; controversial issues and dilemmas; curatorial activities directed toward cultural, social, and political activism; strategic modes of display and design; subjectivity vs. objectivity; and fostering critical dialogues about the arts and cultures of Africa.

ARTHIST 670: Dissertation Seminar

For graduate students writing and researching dissertations and dissertation proposals. How to define research projects, write grant proposals, and organize book-length projects.
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