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21 - 30 of 175 results for: ARTHIST

ARTHIST 135: William Blake: A Literary and Visual Exploration of the Illuminated Poetry

An introduction to the illuminated world of William Blake¿poet, prophet, revolutionary, and visionary artist. The course will address Blake's visual iconography, belief system and ideology, unique mythology, and method of relief etching that allowed him to make every illuminated book a unique work of art, among them, The Songs of Innocence and Experience; The Marriage of Heaven and Hell; The Book of Thel; Visions of the Daughters of Albion; The Book of Urizen; America a Prophecy; and Europe a Prophecy.
Last offered: Winter 2018

ARTHIST 142: Architecture Since 1900 (CEE 32G)

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.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Beischer, T. (PI)

ARTHIST 142A: The Architecture of Thought: Artists and Thinkers Design for Themselves (ARTHIST 342A)

This course investigates houses, hideaways, and studios that artists and thinkers have designed for themselves with varying degrees of self-consciousness, from subconscious images of the self to knowing stages for the contemplative life. Case studies range from antiquity to the present, from the studio-house of Peter Paul Rubens to that of Kurt Schwitters; from the house-museum of Sir John Soane to the Vittoriale of Gabriele D'Annunzio; from the philosophical dwelling of the Emperor Hadrian to that of Ludwig Wittgenstein.
Terms: Spr | Units: 3-5
Instructors: Barry, F. (PI)

ARTHIST 143A: American Architecture (AMSTUD 143A, ARTHIST 343A, CEE 32R)

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.
Last offered: Autumn 2019 | UG Reqs: GER:DB-Hum, WAY-A-II

ARTHIST 146: American Dream, American Nightmare: A History of the United States in Art and Literature

Studying the American past, a person could despair or dream or both. In this course, we will move chronologically from the Revolutionary War to the present to consider artists and writers--some famous, some obscure--who've portrayed hope, who've portrayed anger and grief, who've taken it upon themselves to make contact with life as they've experienced and imagined it. Throughout, we will treat art and literature not as an illustration of facts, and not as a solution to social problems, but as a touchstone to who Americans have been and who they might become.
Terms: Sum | Units: 4

ARTHIST 147: Modernism and Modernity (ARTHIST 347)

This course focuses on European and American art and visual culture between the mid-nineteenth and the mid-twentieth centuries. We will begin and end in Paris, exploring visual expressions of modernism as they were shaped by industrialization and urban renewal, the fantasies and realities of Orientalism and colonial exploitation, changing gender expectations, racial difference, and world war. Encompassing a wide range of media, the course explores modernism as a compelling dream of utopian possibilities challenged by the conditions of social life in the context of diversity and difference.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

ARTHIST 151: Migration and Diaspora in American Art, 1800-Present (AMSTUD 151, ARTHIST 351, ASNAMST 151D, CSRE 151D)

This lecture course explores American art through the lens of immigration, exile, and diaspora. We will examine a wide range of work by immigrant artists and craftsmen, paying special attention to issues of race and ethnicity, assimilation, displacement, and political turmoil. Artists considered include Emmanuel Leutze, Thomas Cole, Joseph Stella, Chiura Obata, Willem de Kooning, Mona Hatoum, and Julie Mehretu, among many others. How do works of art reflect and help shape cultural and individual imaginaries of home and belonging?
Last offered: Winter 2019 | UG Reqs: WAY-A-II, WAY-ED

ARTHIST 152: The American West (AMSTUD 124A, ENGLISH 124, HISTORY 151, POLISCI 124A)

The American West is characterized by frontier mythology, vast distances, marked aridity, and unique political and economic characteristics. This course integrates several disciplinary perspectives into a comprehensive examination of Western North America: its history, physical geography, climate, literature, art, film, institutions, politics, demography, economy, and continuing policy challenges. Students examine themes fundamental to understanding the region: time, space, water, peoples, and boom and bust cycles.
Terms: Spr | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-SI

ARTHIST 153: Warhol's World (AMSTUD 153, ARTHIST 353, FEMGEN 153, TAPS 153W, TAPS 353W)

Andy Warhol's art has never before been more widely exhibited, published, or licensed for commercial use, product design, and publication than it is today. For all Warhol's promiscuous visibility and global cachet at the current moment, there is much we have yet to learn about his work and the conditions of its making. This course considers the wide world of Warhol's art and life, including his commercial work of the 1950s, Pop art and films of the 1960s, and celebrity portraiture of the 1970s and 80s. Of particular interest throughout will be Warhol's photography as it reflects his interest in wealth and celebrity on the one hand and on the everyday life of everyday people on the other. The course will include multiple visits to Contact Warhol: Photography without End, an exhibition co-curated by Prof. Meyer on view throughout the quarter at the Cantor Arts Center.
Last offered: Autumn 2018

ARTHIST 154C: American Art Since 1776

How have artworks and artifacts shaped life and culture in the United States? This course considers a variety of objects, from canonical eighteenth-century paintings to decorative art, children's books, outsider art, and other creative expressions often overlooked in traditional surveys. How do art historians come to know such objects and, importantly, the past with them? How might we understand the historical implications of visual and material culture and share them in our writing? Close and creative looking, methodologies from art history and material culture studies, and an engagement with the wider visual, material, and literary worlds of these years will help us explore these and other questions. A final paper produced in stages throughout the term will afford students an opportunity to produce a six-page art historical essay of their own on an artwork or artifact of their choosing, preferably in a local collection. What might these objects and their study reveal to us about our history, present, and future?
Last offered: Summer 2017
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