221 - 230 of 239 results for: ARTHIST

The intersection of politics, aesthetics, and new media technologies in the U.S. between the end of WW II and the fall of the Berlin Wall. Topics include the aesthetics of thinking the unthinkable in the wake of the atom bomb; abstract expressionism and 'modern man' discourse; game theory, cybernetics, and new models of art making; the rise of television, intermedia, and the counterculture; and the continuing influence of the early cold war on contemporary media aesthetics. Readings from primary and secondary sources in art history, communication, and critical theory.

This course explores the rich history and contemporary state of ceramic production by Asian American/diasporic makers. It is also about the way history, culture, and emotion are carried by process, technique, and materials. Taught by an art historian and a physicist/ceramist, the course will privilege close examination of works of art at the Cantor Arts Center, and will also include artist studio visits, discussions with curators and conservators, demonstrations of and experimentation with technical processes of studio ceramics. This course is designed for students with interests in making, art history, engineering, intellectual history, and Asian American studies. Limited enrollment with applications due on Wed 8 March 2023; to receive application instructions please email the course instructors.

This seminar explores the visual legacy of civil unrest in the United States. Focusing on the 1965 Watts Rebellion, 1992 Los Angeles Riots, 2014 Ferguson Uprising, and 2020 George Floyd Uprisings students will closely examine photographs, television broadcasts, newspapers, magazines, and film and video representations of unrest. Additionally, students will visually analyze the works of artists who have responded to instances of police brutality and challenged the systemic racism, xenophobia, and anti-Black violence leading to and surrounding these events.

This seminar explores the sonic and visual aesthetics of punk rock since the 1970s. While studying music, videos, zines, and album covers, students will examine the convergence of art with politics among artists, such as Lydia Lunch and Vaginal Davis, and bands, including Crass and Los Illegals, as well as punk subgenres, like No Wave, Riot Grrrl, and Queercore. Likewise, students will consider how issues of identity, race, gender and sexuality informed artists and their work.

This seminar focuses on the contributions people of color, women, and queer artists have made to Minimalism, a popular and influential style of art defined by sleek geometric forms. Students will critically engage canonical texts, which often privileged the work of white male artists, and consider how race, gender, and sexuality have informed these narratives. Students will also examine the understudied historical events that have influenced artists and their work, such as the Civil Rights Movement, Vietnam War, and AIDS Epidemic.

India is the world's largest producer of films, with Bollywood and other popular film cultures more recently being most visible on the festival and academic publishing circuit as well as university curricula. This seminar brings a rare focus instead to the various "art cinemas" of India, revisiting an extraordinary but neglected moment, extending from 1969 to the 1980s, when a constellation of alternative film practices emerged at the intersection of state interventions, oppositional politics, and a range of regional and transnational influences and exchanges. This upsurge in filmmaking outside mainstream cinema was dubbed the "Indian New Wave" or "parallel cinema." The goals of this graduate seminar include: Exploring the heterogeneous film cultures of the New Waves across multiple languages, categories of documentary and fiction, experimental and political cinema; Studying the relationship of the Indian New Waves to Third Cinema and other global art cinema traditions; Disrupting and expanding Eurocentric histories of art and political cinema; Examining the afterlives of the Indian New Waves through contemporary films and critical discourses on caste, gender, and sexuality; Cross-pollinating approaches that have traditionally been binarized across the art-popular cinema divide to foreground questions of dis/pleasure, cinephilia, stardom, labor networks, and the potential of gossip and anecdote as methodological approaches. For participants whose area of focus lies outside of South Asia, the seminar aims to discuss broader questions of cinema in relation to institutional networks in postcolonial contexts, state patronage and censorship, transnational influences and affiliations, infrastructures of canon formation, and new approaches to studying cinematic "new waves."

This course approaches art history as practice rather than method. Students will receive instruction and opportunities to practice close looking, description, archival research, and oral histories, among other processes. The aim of this course is to approach art history as a practice that is to be nurtured rather than performed. How does the way we practice scholarship shape what we write? How might practice orchestrate relationships among artist, scholar, work, and world? What does it mean to write with rather than about art and artists? This course is limited to 10 students; priority will be given to graduate students in the Department of Art & Art History. The course includes a mandatory oral history training with VoCA (Voices in Contemporary Art) on January 25-26.

This course examines the role of the senses in art and architecture to move beyond conceptions of art history that prioritize vision. While the experience of art is often framed in terms of seeing, the other senses were crucially involved in the creation of buildings and objects. Textiles and ceramic vessels invite touch, gardens involve the smell of flowers, sacred spaces were built to amplify the sound of prayers and chants. The focus will be on the medieval and early modern Mediterranean, which forays into other regions. Readings will range from medieval poetry and multisensory art histories to contemporary discussions of the senses in design and anthropology.

This course introduces graduate students to a range of interpretive methods within art history and visual culture studies. In addition to scrutinizing multiple schools of thought and critical debates within the field, the seminar pays particular attention to the style and strategies of writing taken up by individual critics and scholars. How and to whom does the art historian's voice speak in different moments, visual contexts, and interpretive communities?