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ARTHIST 343A: American Architecture (ARTHIST 143A)

A historically based understanding of what defines American architecture. What makes American architecture American, beginning with indigenous structures of pre-Columbian America. Materials, structure, and form in the changing American context. How these ideas are being transformed in today's globalized world.
Terms: Spr | Units: 4
Instructors: Beischer, T. (PI)

ARTHIST 355: American Art Since 1945 (ARTHIST 155)

Major figures, movements, and concepts of American art with examples from Europe from WW II to the present. Topics: the ideology and aesthetics of high modernism, the relationship between art and popular culture, the death of painting, the question of postmodernism. Artists: Pollock, Newman, Stella, Johns, Warhol, Andre, Rainer, Smithson, Hesse, Serra, Kruger, Sherman.
Last offered: Autumn 2008

ARTHIST 358B: Photography and Its Histories (ARTHIST 158B)

Photography as a family of technologies and a range of cultural practices from 1839 to the present. The medium's diverse social uses, its integration with everyday experience, and its complex relationships to the history of art and the history of modernity. Topics drawn from fields including science, politics, sociology, journalism, medicine, and art, with emphasis throughout on how the varying functions and contexts for the photograph allow us to understand its dual status as picture and trace.
Terms: Aut | Units: 4
Instructors: Fay, B. (PI)

ARTHIST 361: American Art 1900-1945 (ARTHIST 161)

Course surveys US artistic production and aesthetic developments from the turn of the century until the end of World War II. Roughly chronological in scope, it eschews any single tendency or medium in order to elaborate the disjunctive formation of modernism in America. Painting and photography figure simultaneously; abstraction in its various guises, artists' films, the Armory Show, formations of race and gender, Black Mountain and MoMA all move through intransigent debates that pit social commitment against the pursuit of an ethos of autonomy.
Terms: Spr | Units: 4
Instructors: McManus, W. (PI)

ARTHIST 376: Feminism and Contemporary Art (ARTHIST 176)

(Same as ARTHIST 176) The impact of second wave feminism on art making and art historical practice in the 70s, and its reiteration and transformation in contemporary feminist work. Topics: sexism and art history, feminist studio programs in the 70s, essentialism and self-representation, themes of domesticity, the body in feminist art making, bad girls, the exclusion of women of color and lesbians from the art historical mainstream, notions of performativity.
Instructors: Lee, P. (PI)

ARTHIST 382: Arts of China, 900-1500: Cultures in Competition (ARTHIST 182)

The era from the Five Dynasties and Song to the mid-Ming period was marked by competition in cultural arenas such as between Chinese and formerly nomadic regimes, or between official court art modes and scholar-official and literati groups. Topics include: innovations in architectural and ceramic technologies; developments in landscape painting and theory; the proliferation of art texts and discourses; the rise of educated artists; official arts and ideologies of the Song, Liao, Jin, Yuan, and Ming regimes; new roles for women as patrons and cultural participants; and Chan and popular Buddhist imagery.
Terms: Spr | Units: 4
Instructors: Vinograd, R. (PI)

ARTHIST 385: Art in China's Modern Era (ARTHIST 185)

From the late Ming period to contemporary arts. Topics: urban arts and print culture; commodification of art; painting theories; self portrayals; court art, collection, and ideological programs; media and modernity in Shanghai; politics and art in the People's Republic; and contemporary avant garde and transnational movements.
Last offered: Winter 2009

ARTHIST 411: Animation, Performance, Presence in Medieval Art

Focus is on phenomenology and aesthetics. Rather than a mimesis understood as pictorial naturalism, Medieval art promoted mimesis as simulation of divine presence expressed through phenomenal changes. The shadow, sound, smell, taste, and touch moved the viewer/participant in ways richer than a reductive regime of the eye. Concepts of representation, lifelikeness, performance, and presence in the Byzantine East, Latin West, and Islam.
Terms: Win | Units: 5

ARTHIST 445A: Photography and Abstraction

Theories and strategies of abstraction and their reciprocal interchange with European and American photographic practices, c.1900-present. Primary emphasis on interwar and postwar avant-gardes and their treatment in critical and historical writing since the 1970s. Topics and themes include the photogram, the Equivalent, and their reception; problems of composition and noncomposition; questions of materiality and intentionality; patterns of recurrence, obsolescence and anachronism; and the status of the index in contemporary scholarship.
Terms: Win | Units: 5
Instructors: Fay, B. (PI)

ARTHIST 470: Globalization and the Visual Arts

Enrollment restricted to graduate students. Globalization as the most important paradigm for the production, circulation, and reception of contemporary art since the 1990s. The expanding terrain of the art world; biennial culture; new economies of scale and the art market along with its critique in the discourses of empire and multitudes. Debates on the thematics of hybridity; post-Fordism; the flat world and capital flows; exteriority and site specificity; and new models of collectivism in recent art.
Instructors: Lee, P. (PI)
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