31 - 40 of 239 results for: ARTHIST

This course surveys modern African art across the colonial, independence, and post-independence eras. Modern artistic practices developed in Sub-Saharan Africa as early as the 1920s and '30s among scattered independent practitioners, and in workshops run by colonial educators. Following World War II, a new generation of artists and critics rose to prominence in conjunction with the pan-Africanist Negritude movement. By the 1960s and '70s, modernist movements flourished in some African cities with support from new national governments, while socialist cultural policies often sought to modernize and nationalize local art practices, even as alarms began to sound over new patterns of authoritarianism, state collapse, and foreign intervention. Because classificatory orders in Africa were never so commanding as they tend to be in the West, modernism stands to be studied in this context through a cross-genre and multi-media lens that examines drawing, painting, and sculpture alongside performance, photography, and film, recognizing how distinctions between 'high' and 'popular' forms often blurred or were nonexistent.

This course offers a sweeping view of contemporary fashion, dissecting not only the meaning of style but the intricate process of creation, and the ambitions and disquiet that define a global industry - one whose brilliance is too often overshadowed by its environmental toll. Led by a former Vogue journalist, students will engage with industry luminaries, gaining insight into the delicate balance of innovation, commerce, and sustainability that shapes the ever-evolving world of fashion.

This course chronologically surveys the visual and material culture of the Andes region of South America from approximately 3000 BCE to 1500 CE. We will study Indigenous Andean worldviews as conveyed through primary source materials, such as fiber objects, ceramics and stonework, metallurgy, the built environment, performance, ritual. A throughline in the class is how an attention to more-than-human or other-than-human entities and animal natures converged with human socio-cultural value systems - and how this comes across in visual culture. Within this scope we will discuss early Andean notions of sacred geography, spiritual and political power, tensions between individual and collective identity, labor and class hierarchies, legacy, and cultural memory. We will approach material through visual analysis, cultural context, ethnohistorical references, contemporary interdisciplinary scholarship, and popular media.

Starting with the French Revolution of 1789, this course will explore a radical change in European sensibility foregrounding the self. Whether as a political subject entailed with rights (or the lack thereof), or as an artist or poet gifted with powers of "projection" - of subjectively imagining the world as it might be and somehow actually is - the Romantic subject (in England, France, Germany, Spain, and the United States) became both "civic-minded" and "psychological," both hopeful and gothically depressed. Studying artists and poets such as Jacques-Louis David, William Wordsworth, Samuel Taylor Coleridge, William Blake, Caspar David Friedrich, Francisco Goya, J.M.W. Turner and Raphaelle Peale, we will investigate the place of Romanticism in our lives today.

This course explores major developments in modern art around the world, including historical avant-garde movements in Europe and their points of intersection with movements and practices from Latin America, the Caribbean, Africa, the Middle East, and Asia. While making no claim to comprising a totality, the course offers an introduction to modernism - mainly in painting, sculpture, photography, and critical writing - as a global phenomenon. While looking closely at a range of individual artists, artworks, and movements, the course contends with ways of conceptualizing modernism and modernity from the late 19th century through the mid 20th century in global terms, considering issues of periodization and temporal disjuncture, power asymmetry and decolonization, provincialism and cosmopolitanism, cultural particularity and comparison, international relations and exhibition politics.

An introduction to the history of architecture and engineering, and to basic concepts about how we construct the built environment. This course asks one simple question: what does it mean to "make place" during different moments in history? The class will attempt to answer this question through a series of case studies from around the world and from 3,500 BCE to the present. These buildings and sites will be examined through a global perspective that emphasizes the analysis of form, structure, and theory in their cultural contexts. The class will also establish connections, contrasts, and influences among different architectural movements and cultures.

This course chronologically surveys the visual and material culture of the Andes region of South America from approximately 3000 BCE to 1500 CE. We will study Indigenous Andean worldviews as conveyed through primary source materials, such as fiber objects, ceramics and stonework, metallurgy, the built environment, performance, ritual. A throughline in the class is how an attention to more-than-human or other-than-human entities and animal natures converged with human socio-cultural value systems - and how this comes across in visual culture. Within this scope we will discuss early Andean notions of sacred geography, spiritual and political power, tensions between individual and collective identity, labor and class hierarchies, legacy, and cultural memory. We will approach material through visual analysis, cultural context, ethnohistorical references, contemporary interdisciplinary scholarship, and popular media.

This course explores how Chinese Buddhist art adapts to changes in the religious visions, imagination, and practices of Buddhism in China. It focuses primarily on Buddhist paintings but will occasionally include other types of artistic devices, such as space for display, architectural design, and sculpture, to reach a better understanding of the viewing and the religious experiences. Striving beyond the discussion of style and iconography, we will broaden our pursuits by incorporating various issues such as the domestication of a foreign religion, the relationship between Buddhist literature and images, fusion with popular literature, social connections among eminent monks, scholars and artists, and political use of Buddhist images.

Art 142 is an introduction to the history of architecture since 1900 and how it has shaped and been shaped by its cultural contexts. The class also investigates the essential relationship between built form and theory during this period.