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AMSTUD 102: Art and Social Criticism (AFRICAAM 102B, ARTHIST 162B, CSRE 102A, FEMGEN 102)

Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, immigrant rights and climate change? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers Coalition¿s agit-prop opposing the Vietnam War and ACT-UP¿s emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago¿s The Dinner Party (1979), Fred Wilson¿s Mining the Museum (1992), and Glenn Ligon¿s paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy resisting marginalization. For three decades more »
Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, immigrant rights and climate change? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers Coalition¿s agit-prop opposing the Vietnam War and ACT-UP¿s emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago¿s The Dinner Party (1979), Fred Wilson¿s Mining the Museum (1992), and Glenn Ligon¿s paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy resisting marginalization. For three decades feminist artists Barbara Kruger and the Guerilla Girls have combined institutional critique and direct address into a provocative form of criticality. Recent art for social justice is reaching ever broadening publics by redrawing the role of artist and audience exemplified by the democratization of poster making and internet campaigns of Occupy and the Movement for Black Lives. We will also consider the collective aesthetic activisms in the Post-Occupy era including Global Ultra Luxury Faction, Climate Justice art projects, and the visual culture of Trump era mass protests. Why are each of these examples successful as influential and enduring markers of social criticism? What have these socially responsive practices contributed to our understanding of American history?
Terms: Aut | Units: 5 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Hertz, B. (PI)

AMSTUD 104: AMERICA AT PLAY: A HISTORY OF LEISURE IN THE UNITED STATES

What we call "free time" is actually the product of multiple constraints, from economics and gender roles, to trends, moral strictures, and more. This course studies leisure to explore American culture from the late 19th century to the present. We consider, for instance, how new forms of entertainment, such as movies and iPods, altered notions of community and ideals of personal expression. For historical context, the class draws upon popular and critical sources, conversations with guests, and hands-on activities.
Terms: Win | Units: 5 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Haring, K. (PI)

AMSTUD 117R: Christianity in 21st-century America (RELIGST 117)

As the largest religion practiced in the United States, Christianity not only shapes the lives of a large number of its citizens but also impinges on public discourse, policies, and debates. This course investigates the ways in which Christianity in America is changing and what these changes bode for its role in the public and private spheres. Issues include shifting demographics lead to declining numbers in 'mainline' denominations; the polarization of Christian conservatives and religious 'nones'; interfaith toleration and cooperation alongside interreligious conflict; the rise of 'spiritual, not religious' young adults; the effects of immigration; religion and science.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

AMSTUD 124A: The American West (ARTHIST 152, ENGLISH 124, HISTORY 151, POLISCI 124A)

The American West is characterized by frontier mythology, vast distances, marked aridity, and unique political and economic characteristics. This course integrates several disciplinary perspectives into a comprehensive examination of Western North America: its history, physical geography, climate, literature, art, film, institutions, politics, demography, economy, and continuing policy challenges. Students examine themes fundamental to understanding the region: time, space, water, peoples, and boom and bust cycles.
Terms: Spr | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-SI | Grading: Letter (ABCD/NP)

AMSTUD 127: American Style and the Rhetoric of Fashion (ARTHIST 165B, FILMSTUD 165B)

Focus on the visual culture of fashion, especially in an American context. Topics include: the representation of fashion in different visual media (prints, photographs, films, window displays, and digital images); the relationship of fashion to its historical context and American culture; the interplay between fashion and other modes of discourse, in particular art, but also performance, music, economics; and the use of fashion as an expression of social status, identity, and other attributes of the wearer. Texts by Thorstein Veblen, Roland Barthes, Dick Hebdige, and other theorists of fashion.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Kessler, E. (PI)

AMSTUD 132: American Art and Culture, 1528-1910 (ARTHIST 132, ARTHIST 332)

The visual arts and literature of the U.S. from the beginnings of European exploration to the Civil War. Focus is on questions of power and its relation to culture from early Spanish exploration to the rise of the middle classes. Cabeza de Vaca, Benjamin Franklin, John Singleton Copley, Phillis Wheatley, Charles Willson Peale, Emerson, Hudson River School, American Genre painters, Melville, Hawthorne and others.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II | Grading: Letter (ABCD/NP)

AMSTUD 133: Technology and American Visual Culture (FILMSTUD 133B)

An exploration of the dynamic relationship between technology and the ways we see and represent the world, with a focus on American visual culture from the 19th century through the present. We study the history of different tools from telescopes and microscopes to digital detectors that have changed and enhanced our visual capabilities; the way technological shifts, such as the introduction of electric lights or train travel, have shaped our visual imagination and aesthetic sensibilities; and how technology has inspired or responded to visual art. Special attention is paid to how different media, such as photography, cinema, and computer screens, translate the visual experience into a representation; the automation of vision; and the intersection of technology with notions of time and space.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Kessler, E. (PI)

AMSTUD 134: Museum Cultures: Material Representation in the Past and Present (ARCHLGY 134, ARCHLGY 234, ARTHIST 284B, CSRE 134, EDUC 214, NATIVEAM 134)

Students will open the "black box" of museums to consider the past and present roles of institutional collections, culminating in a student-curated exhibition. Today, museums assert their relevance as dynamic spaces for debate and learning. Colonialism and restitution, the politics of representation, human/object relationships, and changing frameworks of authority make museum work widely significant and consistently challenging. Through thinking-in-practice, this course reflexively explores "museum cultures": representations of self and other within museums and institutional cultures of the museum world itself.n3 credits (no final project) or 5 credits (final project). May be repeat for credit
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE | Repeatable for credit | Grading: Letter (ABCD/NP)
Instructors: Hodge, C. (PI)

AMSTUD 140: Stand Up Comedy and the "Great American Joke" Since 1945 (CSRE 140C)

Development of American Stand Up Comedy in the context of social and cultural eruptions after 1945, including the Borscht Belt, the Chitlin¿ Circuit, the Cold War, censorship battles, Civil Rights and other social movements of the 60s and beyond. The artistry of stories, monologues, jokes, impersonations, persona, social satire, scatology, obscenity, riffs, rants, shtick, and more by such artists as Lenny Bruce, Dick Gregory, Richard Pryor, George Carlin, Margaret Cho, Sarah Silverman, Jon Stewart, Stephen Colbert, as well as precursors such as Mark Twain, minstrelsy and vaudeville and related films, TV shows, poems and other manifestations of similar sensibilities and techniques.
Terms: not given this year | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

AMSTUD 143A: American Architecture (ARTHIST 143A, ARTHIST 343A, CEE 32R)

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 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Beischer, T. (PI)
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