71 - 80 of 105 results for: ARTHIST

Changes marking the transition from medieval to early modern Japanese society that generated a revolution in visual culture, as exemplified in subjects deemed fit for representation; how commoners joined elites in pictorializing their world, catalyzed by interactions with the Dutch.

Focus is on the interrelation of art, architecture, verbal description, poetry, and music, including the singing of psalms and recitation of the Qur'an. How ekphrasis, the style of writing vividly intended to transform the listeners into spectators, structures the perception of and response to artistic production be it an art object, building, or a musical performance. The role of ekphrasis in animating the inanimate and the importance of breath and spirit, which become manifest in visual, acoustic, olfactory, and gustatory terms. Religious and courtly settings: Hagia Sophia, the Great Palace of Constantinople, the Dome of the Rock, the palaces of Baghdad and Samarra, the mosque at Cordoba, Medinat al-Zahra and the Alhambra. Greek and Arabic writers on ekphrasis in translation, juxtaposing the medieval material to the ancient theories of ekphrasis and modern scholarship.

The theoretical terrain of narrative studies in literary criticism and historiography. The critical implications of narrative analysis for the writing of history in general. Readings integrated with students' current research projects.

This seminar focuses on American art as a history of migration (of people but also of visual objects) across national and continental boundaries. We examine trans-Atlantic and trans-Pacific dialogues and consider how anxieties about foreigners, immigrants, and political dissidents shaped American art and culture at particular moments in the 20th century. In the second half of the course, we consider a series of museum exhibitions that repositioned American art as a history of social conflict and exclusion.

This course taught by Professor Nancy J. Troy (aka Nancy de Wit) is designed to anticipate an exhibition, also entitled "Flesh and Metal" of works by major European and American modern artists, ca. 1914-1955, from the collection of the San Francisco Museum of Modern Art that will be on loan to the Cantor Art Center from November 2013 to March 2014. Artists include Bellmer, Brancusi, Calder, Dali, De Kooning, Duchamp, Gorky, Moholy-Nagy, Mondrian, Picasso, Man Ray, Rodchenko, Sheeler, Taueber-Arp, among many others. Inspired by the concept of institutional critique, the seminar will examine theoretical and historical problems of exhibition installation, presentation, display, labeling, funding, etc. The reconstruction of historical works (e.g., Duchamp's Fountain and Dali's Surrealist object that functions symbolically- Gala's Shoe, both in the show) will also receive attention. The conventions and possibilities of museum-based art history will be interrogated in part through examination of museum records and research into the works of art to be included in the Cantor exhibition.

Following in sequence from the winter seminar ARTHIST 449, this course entails all aspects of research and planning for the loan exhibition from SFMoMA to take place at Cantor Arts Center from November 2013 to March 2014. Working with major early 20th century European artworks by painters, sculptors, and photographers including Brancusi, Dali, Duchamp, Mondrian, Picasso, Man Ray, and Rodchenko, students with the Cantor staff and other professionals will determine the exhibition's organization, themes, educational materials, programming, and installation. Pre-requisite ARTHIST449, or permission of instructor.

Can one write a history of lived experience, of ephemeral states that never were represented? Can one look at representations of paintings, photographs, and literature to see where these ephemeral states might be trapped, or might otherwise be pictured? Feeling that the real war did not get in the books (for the most part), the course examines those books and other representations and so many things that never attained so exalted a form to look at the war anew. Methodological readings as well as readings about the Civil War.

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.

This course focuses on taking connoisseurship out of the classroom and into the collecting world. With many classes being held at the Asian Art Museum and private collections in the Bay Area, students will learn not only what the role connoisseurship plays in the current art landscape, but how a museum works. Combines case studies in the field, reading material, eyes-on experience, and discussion, this class will address the topics of utilizing resources, conducting research, cultivating collectors, building collections, and curating exhibitions through the lens of connoisseurship.