printer friendly pageARTHIST 121: 18th-Century Art in Europe, ca 1660-1780 (ARTHIST 321)
Major developments in painting across Europe including the High Baroque illusionism of Bernini, the founding of the French Academy, and the revival of antiquity during the 1760s, with parallel developments in Venice, Naples, Madrid, Bavaria, and London. Shifts in themes and styles amidst the emergence of new viewing publics. Artists: the Tiepolos, Giordano, Batoni, and Mengs; Ricci, Pellegrini, and Thornhill; Watteau and Boucher; Chardin and Longhi; Reynolds and West; Hogarth and Greuze; Vien, Fragonard, and the first works by David. Additional discussion for graduate students.
Terms: Aut
| Units: 4
| UG Reqs: GER:DB-Hum
Instructors:
Brink, E. (PI)
;
Marrinan, M. (PI)
ARTHIST 122: The Age of Revolution (ARTHIST 322)
Painting in Europe during the French Revolution and the Napoleonic conquest. As political events altered social formations, practices in the visual arts were similarly affected by shifts in patronage, public, and the social function of image making. An attempt to align ruptures in the tradition of representation with the unfolding historical situation. The first manifestations of a romantic alternative to the canons of classical beauty and stylistic restraint.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Marrinan, M. (PI)
;
Greene, B. (TA)
ARTHIST 132: American Art and Culture, 1528-1860 (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: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Wolf, B. (PI)
;
Ronan, A. (TA)
ARTHIST 142: Architecture Since 1900 (ARTHIST 342)
The development of competing versions of modern and postmodern architecture and design in Europe and America, from the early 20th century to the present. Recommended: 141.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum
Instructors:
Beischer, T. (PI)
;
Tani, E. (TA)
ARTHIST 143A: American Architecture (ARTHIST 343A)
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
Instructors:
Beischer, T. (PI)
;
Newman, R. (PI)
ARTHIST 155: American Art Since 1945 (ARTHIST 355)
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
| UG Reqs: GER:DB-Hum
ARTHIST 158B: Photography and Its Histories (ARTHIST 358B)
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)
;
Greene, B. (TA)
ARTHIST 161: American Art 1900-1945 (ARTHIST 361)
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 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.
| UG Reqs: GER:DB-Hum
ARTHIST 182: Arts of China, 900-1500: Cultures in Competition (ARTHIST 382)
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
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom
Instructors:
Vinograd, R. (PI)
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