printer friendly pageNATIVEAM 134: Museum Cultures: Material Representation in the Past and Present (AMSTUD 134, ARCHLGY 134, ARCHLGY 234, ARTHIST 284B, CSRE 134, EDUC 214)
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-CE, WAY-A-II
| Repeatable
3 times
(up to 15 units total)
Instructors:
Hodge, C. (PI)
OSPFLOR 41: The Florentine Sketchbook: A Visual Arts Practicum
The ever-changing and multifaceted scene of contemporary art through visual and sensorial stimulation. How art is thought of and produced in Italy today. Hands-on experience. Sketching and exercises on-site at museums and exhibits, plus workshops on techniques. Limited enrollment.
Terms: Aut
| Units: 4
| UG Reqs: WAY-CE
Instructors:
Rossi, F. (PI)
OSPFLOR 69: Abstract Art: Creativity, Self-Expression and Depicting the Unimaginable
Overview of the birth and evolution of abstract art with visual background necessary to produce works of art free of a realistic representation. Movements and trends in abstract art; experimentation with different media and techniques.
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
Instructors:
Rossi, F. (PI)
OSPFLOR 71: A Studio with a View: Drawing, Painting and Informing your Aesthetic in Florence
Recent trends in art, current Italian artistic production, differences and the dialogue among visual arts. Events, schools, and movements of the 20th century. Theoretical background and practical training in various media. Work at the Stanford Center and on site at museums, exhibits, and out in the city armed with a sketchbook and camera. Emphasis is on drawing as the key to the visual arts. Workshops to master the techniques introduced. Limited enrollment.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE
Instructors:
Rossi, F. (PI)
OSPFLOR 77: The Convergence of the Arts and Sciences Since the Renaissance
The integration of scientific inquiry and artistic expression is widely considered to be a principal feature of the Renaissance. Anatomical drawing melded scientific and aesthetic goals. New astronomical and physical theories demanded novel means of representation and expression. Complex geometric proportions became integral to architecture, painting, and music. We will explore aesthetic, scientific, and perceptual principles that arose in 15th century Florence ¿ with particular focus on music, architecture, and the visual arts. Students' residency in Florence provides a distinct and unique opportunity to combine historical, cultural, and aesthetic perspectives on the arts and sciences. We will make full use of the city, with regular visits to museums and architectural landmarks, and attendance at concerts and performances. Students will conduct acoustic experiments to replicate and validate renaissance principles including the visual and musical representations developed by Galileo and Kepler. We will study basic perceptual principles in vision and audition as understood in Renaissance Italy and their neuro-scientific correlates as understood today.
Terms: Aut
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II, WAY-CE
Instructors:
Berger, J. (PI)
;
Berger, T. (PI)
OSPGEN 32: The Amsterdam Trans-Idiomatic Arts Practicum
Reflection on the difference between "home" and "away" through the prism of art. Review arts events throughout Amsterdam in varying media and create similarly varied original art projects in response. Lectures, discussion, "atelier laboratories," walking tours, and regional field trips. Location: Amsterdam, The Netherlands
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
Instructors:
Applebaum, M. (PI)
OSPGEN 77: The Other France: Troubadours and the Politics of Cultural Heritage
The study of troubadours and medieval cultural heritage in southern France and northern Spain. Readings include troubadour poetry, histories of medieval France (Catharism and the Albigensian Crusade) and articles on modern interpretations of medieval culture. Meetings in Narbonne, France, with visit to sites associated with the troubadours in southern France and Catalonia, Spain.
Terms: Sum
| Units: 2
| UG Reqs: WAY-A-II, WAY-CE
Instructors:
Galvez, M. (PI)
OSPMADRD 46: Drawing with Four Spanish Masters: Goya, Velazquez, Picasso and Dali
Approaches, techniques, and processes in drawing. Visits to Madrid museums to study paintings and drawings by Goya, Velázquez, Picasso, and Dalí and to explore the experience of drawing. Subject matter: the figure, still life, interiors, landscape, and non-representational drawing. No previous experience required. Enrollment limited.
Terms: Aut
| Units: 3
| UG Reqs: WAY-CE
Instructors:
Sanchez Fuster, O. (PI)
OSPPARIS 12: Paris Photography Workshop
Exploration of Paris through camera and lab techniques. Both theoretical and practical aspects of creative photography. Extensive field work. Students must bring camera or phone with camera. Enrollment limited. Taught in English.
Terms: Win
| Units: 3
| UG Reqs: WAY-CE
Instructors:
Villegas-Paez, O. (PI)
PWR 91CL: Intermediate Writing: Creative Inquiry: New Genres for Science Writing
Despite the widespread assumption that scientists are weak communicators, many of today¿s most celebrated essayists hail from backgrounds in the hard sciences. Physician, poet and essayist, Lewis Thomas inspires readers to delve into the etymology of scientific discovery, and, in doing so, prompts radical reconsiderations of the cultural significance of innovation. Similarly, neurologist and writer, Oliver Sacks¿ compassionate ruminations on mental disability advance fresh thinking on the nature of difference. Inversely, many essayists hailing from ¿fuzzy¿ backgrounds, deploy techniques usually associated with scientific observation to electrify their prose: To wit, the works of brilliant stylists like Annie Dillard, Chang-rae Lee, and Mark Doty are characterized by the kind of deep observation that underpins scientific inquiry. These writers, like scientists, are first and foremost good at really looking.
nnIn this course, we will delve into a fluid, yet rigorous, research process based on the art of observation. Each student will begin the quarter by posing a question of personal or professional significance about how some aspect of the natural, social, technological or cultural world works. Using these questions as a starting point, students will then design a research process to first complicate, and then perhaps also answer, their initial question. The end product of the inquiry will be a self-fashioned experimental essay that can engage a discerning public audience. This is the perfect class for techies, wonks, and data junkies who want to cultivate the poet¿s cherished sensibilities.
nnIn this course, we will delve into a fluid, yet rigorous, research process based on the art of observation. Each student will begin the quarter by posing a question of personal or professional significance about how some aspect of the natural, social, technological or cultural world works. Using these questions as a starting point, students will then design a research process to first complicate, and then perhaps also answer, their initial question. The end product of the inquiry will be a self-fashioned experimental essay that can engage a discerning public audience. This is the perfect class for techies, wonks, and data junkies who want to cultivate the poet¿s cherished sensibilities.
Last offered: Spring 2015
| UG Reqs: WAY-CE
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