printer friendly pageARTHIST 1A: Introduction to the Visual Arts: Prehistoric through Medieval (CLASSICS 56)
A survey of the art and architecture from the cave paintings of Lascaux to the Gothic Cathedrals of France; the material is organized both chronologically and thematically and covers a multiplicity of religions: pagan, Christian, and Islamic.
Terms: Win
| Units: 5
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-EDP
ARTHIST 2: Asian Arts and Cultures (JAPANGEN 60)
An introduction to major monuments, themes, styles, and media of East and South Asian visual arts, in their social, literary, religious, and political contexts. Through close study of primary monuments of architectural, pictorial, and sculptural arts and related texts, this course will explore ritual and mortuary arts; Buddhist arts across Asia; narrative and landscape images; and courtly, urban, monastic, and studio environments for art from Bronze Age to modern eras.
Terms: Win
| Units: 5
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II
Instructors:
Vinograd, R. (PI)
;
Kim, N. (TA)
ARTHIST 99A: Student Guides at the Cantor Center for the Visual Arts
This course prepares students to lead interactive public tours in the galleries of the Cantor Arts Center. Engaging directly with works of art, students will develop their personal responses to art, think critically about tour-leading methods, develop public speaking and research skills, and practice leading informative and engaging group discussions in the galleries. Guest presentations by museum staff will introduce students to a range of professional practices and standards in the art museum including curatorship, art conservation, and collections management.
Terms: Win
| Units: 2
Instructors:
Lampe, I. (PI)
;
Mansfield, K. (PI)
ARTHIST 102: Introduction to Greek Art II: The Classical Period (CLASSICS 162)
The class begins with the art, architecture and political ideals of Periclean Athens, from the emergence of the city as the political and cultural center of Greece in 450 to its defeat in the Peloponnesian War in 404. It then considers how Athens and the rest of Greece proceed in the fourth century to rebuild their lives and the monuments that define them. Earlier artistic traditions endure, with subtle changes, in the work of sculptors such as Kephisodotos. Less subtle are the outlook and output of his son Praxiteles. In collaboration with Phryne, his muse and mistress, Praxiteles challenged the canons and constraints of the past with the first female nude in the history of Greek sculpture. His gender-bending depictions of gods and men were equally audacious, their shiny surfaces reflecting Plato¿s discussion of Eros and androgyny. Scopas was also a man of his time but pursued different interests. Drawn to the inner lives of men and woman, his tormented Trojan War heroes and victims are still scarred by memories of the Peloponnesian War, and a world away from the serene faces of the Parthenon. His famous Maenad, a devotee of Dionysos who has left this world for another, belongs to the same years as Euripides' Bacchae and, at the same time, anticipates the torsion and turbulence of Bernini and the Italian Baroque. In the work of these and other fourth century personalities, the stage is set for Alexander the Great and his conquest of a kingdom extending from Greece to the Indus River. (Formerly
CLASSART 102)
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Maxmin, J. (PI)
ARTHIST 160N: The Sisters: Poetry & Painting (ENGLISH 51N)
Poetry and painting have often been called the "sister arts". Why? Sometimes a poem or a painting stands out to us, asking that we stay with it, that we remember it, although we cannot exactly say why. Poems have a way of making pictures in the mind, and paintings turn "rhymes" amid the people, places, and things they portray. Each is a concentrated world, inviting an exhilarating closeness of response: why does this line come first? Why does the artist include that detail? Who knows but that as we write and talk about these poems and pictures we will be doing what John Keats said a painter does: that is, arriving at a "trembling delicate and snail-horn perception of Beauty." Each week explore the kinship between a different pair of painter and poet and also focuses on a particular problem or method of interpretation. Some of the artist/poet combinations we will consider: Shakespeare and Caravaggio; Jorie Graham and (the photographer) Henri Cartier-Bresson; Alexander Pope and Thomas Gainsborough; William Wordsworth and Caspar David Friedrich; Christina Rossetti and Mary Cassatt; Walt Whitman and Thomas Eakins; Thomas Hardy and Edward Hopper.
Terms: Win
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Jenkins, N. (PI)
;
Nemerov, A. (PI)
ARTHIST 162B: Art and Social Criticism (AMSTUD 102, CSRE 102A)
Contemporary visual artists have long been in the forefront of social criticism in America and their key works have become anchors for discourses on racism, sexism, economic inequality, and immigrant rights. We will consider political art by artists such as ACT-UP, Judy Chicago, Fred Wilson, Guerilla Girls, Ai Weiwei and many others that raises social awareness, inspires social change and galvanizes activism. What makes their art enduring social criticism? How have they contributed to our understanding of American history?
Terms: Win
| Units: 5
| UG Reqs: WAY-A-II, WAY-EDP
Instructors:
Hertz, B. (PI)
ARTHIST 163: Queer America (AMSTUD 163, FEMGEN 163)
This class explores queer art, photography and politics in the United States since 1930. Our approach will be grounded in close attention to the history and visual representation of sexual minorities in particular historical moments and social contexts. We will consider the cultural and political effects of World War II, the Cold War, the civil rights movement, psychedelics, hippie culture and sexual liberation, lesbian separatism, the AIDS crisis, and marriage equality.
Terms: Win
| Units: 4
| UG Reqs: GER:EC-AmerCul
Instructors:
Meyer, R. (PI)
;
Pellolio, N. (TA)
ARTHIST 164A: Technology and the Visual Imagination (ARTHIST 364A, FILMSTUD 164A, FILMSTUD 364A)
An exploration of the dynamic relationship between technology and the ways we see and represent the world. The course examines technologies from the Renaissance through the present day, from telescopes and microscopes to digital detectors, that have changed and enhanced our visual capabilities as well as shaped how we imagine the world. We also consider how these technologies influenced and inspired the work of artists. Special attention is paid to how different technologies such as linear perspective, photography, cinema, and computer screens translate the visual experience into a representation; the automation of vision; and the intersection of technology with conceptions of time and space.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Kessler, E. (PI)
ARTHIST 165B: American Style and the Rhetoric of Fashion (AMSTUD 127, 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: 4-5
| UG Reqs: WAY-A-II
Instructors:
Kessler, E. (PI)
ARTHIST 176: Feminism and Contemporary Art (ARTHIST 376)
(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.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, GER:EC-Gender
Instructors:
Lee, P. (PI)
;
Johnson, L. (TA)
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