151 - 160 of 162 results for: ARTHIST

Michelangelo's long career in light of recent scholarship. Topics include the status of the cult image, the paragon between poetry and the pictorial arts, painting and questions of literary genre, and Counter Reformation reactions to his art.

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.

The theoretical terrain of narrative studies in literary criticism and historiography. The critical implications of narrative analysis for the writing of history in general. Readings integrated with students' current research projects.

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.

This seminar focuses on American art as a history of migration (of people but also of visual objects) across national and continental boundaries. We examine trans-Atlantic and trans-Pacific dialogues and consider how anxieties about foreigners, immigrants, and political dissidents shaped American art and culture at particular moments in the 20th century. In the second half of the course, we consider a series of museum exhibitions that repositioned American art as a history of social conflict and exclusion.

This course taught by Professor Nancy J. Troy (aka Nancy de Wit) is designed to anticipate an exhibition, also entitled "Flesh and Metal" of works by major European and American modern artists, ca. 1914-1955, from the collection of the San Francisco Museum of Modern Art that will be on loan to the Cantor Art Center from November 2013 to March 2014. Artists include Bellmer, Brancusi, Calder, Dali, De Kooning, Duchamp, Gorky, Moholy-Nagy, Mondrian, Picasso, Man Ray, Rodchenko, Sheeler, Taueber-Arp, among many others. Inspired by the concept of institutional critique, the seminar will examine theoretical and historical problems of exhibition installation, presentation, display, labeling, funding, etc. The reconstruction of historical works (e.g., Duchamp's Fountain and Dali's Surrealist object that functions symbolically- Gala's Shoe, both in the show) will also receive attention. The conventions and possibilities of museum-based art history will be interrogated in part through examination of museum records and research into the works of art to be included in the Cantor exhibition.

Following in sequence from the winter seminar ARTHIST 449, this course entails all aspects of research and planning for the loan exhibition from SFMoMA to take place at Cantor Arts Center from November 2013 to March 2014. Working with major early 20th century European artworks by painters, sculptors, and photographers including Brancusi, Dali, Duchamp, Mondrian, Picasso, Man Ray, and Rodchenko, students with the Cantor staff and other professionals will determine the exhibition's organization, themes, educational materials, programming, and installation. Pre-requisite ARTHIST449, or permission of instructor.

Selected topics in studies of Yuan and Ming dynasty Chinese painting, print culture, and art theory: the impact of collecting on art production, interplays of print imagery and painting, and relationships between cultural and discursive geographies..

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.