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161 - 170 of 205 results for: ARTHIST

ARTHIST 430B: Image and Text in Chinese Painting (ARTHIST 230B, CHINA 230, CHINA 430)

An examination of many types of interactions between images and texts in Chinese painting. These include poetic lines inscribed on paintings (as response or as a theme given to the artist to paint), paintings that emulate or transform ancient poetic couplets, or illustrate poetic and literary narratives, and calligraphic inscriptions. Attention will be given both to comparative perspectives and to the special aesthetic and intellectual consequences that the conjunction of the literary and visual modes give to Chinese artistic expression. [Undergraduate enrollment with consent of one of the instructors]
Last offered: Winter 2020 | Repeatable 4 times (up to 20 units total)

ARTHIST 440: Millennium Approaches: The Art of the 1990s (ARTHIST 240)

This seminar will examine the art historical legacy of the 1990s, the decade of Bill Clinton, Beavis and Butthead, and Y2K. By placing art in conversation with music, popular culture, and political events, we will explore the dark underbelly of the decade's facade of sunny optimism. Key topics will include the the end of the Cold War, multiculturalism, American interventionism, the AIDS crisis, and early internet culture. Artists covered will include Felix Gonzalez-Torres, Kim Gordon, Mike Kelly, the Young British Artists, Gregg Bordowitz, Lorna Simpson, Zoe Leonard, Byron Kim, and Glenn Ligon. What is the relationship between art, popular culture, and history? How did the 1990s help shape our current culture?
Last offered: Autumn 2019

ARTHIST 441: Overlooked/Understudied

This seminar focuses on overlooked artists and understudied artworks in the U.S. from the late 19th century to the present. Rather than reclaiming marginality for its own sake, we will consider how the practice of looking at the overlooked art changes familiar narratives of canonical art.
Last offered: Winter 2021

ARTHIST 442: Art History in the First Person

Course Description: This seminar considers the use of the first person voice in a wide range of writings about art, from fiction to criticism to scholarship. Insofar as graduate students have typically been discouraged from using the first person voice in their scholarly work, we will question the benefits and drawbacks of doing so in particular cases. To what ends have different writers put the first person voice and how do they integrate it with others strategies of written expression? How might we distinguish among different forms of speaking from the position of ¿I¿ in art-historical writing? What kind of ¿I¿ is at stake¿personal, professional, intellectual, imaginary, or otherwise?nnRequirements: Students will be required to attend all seminar meetings and participate actively in discussion. They will submit two types of writing assignments: The first, which each student will prepare on a rotating basis, will be a 2-page response to a selected reading that will serve to launch discussion of that text in seminar. The second, longer paper (12-15 pages) will involve original research on a selected object or exhibition and the writing of a paper that adopts the first person voice to some degree or explains its necessary rejection.
Last offered: Winter 2020

ARTHIST 443: Networks: A Visual History

Networks are maps for thinking. They illustrate connections while shaping mental journeys, transforming our self-reflexivity along the way. In this course, we will study the metamorphoses of networks, from medieval genealogies to Renaissance cartographic systems and from modern mnemotechnic diagrams to today's visualizations of brain connectivity to ask questions about the politics of connectivity, the deceptions of graphic simplicity, and the capacity of infographics to turn into art.

ARTHIST 444: Counter-Institution: Performance and Institutional Critique (TAPS 342)

What are institutions? How do they think? What motivates their actions? What is their relationship to communities and individual artists? Do they promote or constrain free artistic exploration? These are some of the questions that have been animating critique of institutions in Western art over the past several decades. Contemporaneous with performance art, institutional critique transformed and expanded the very idea of this art practice. In asking, for example, how a museum performs, what it performs, and for whom, institutional critique points to its own position inside complex institutional web generated by modern capitalist society. In this class, we will look at sources of institutional critique in the work of Kazimir Malevich and Marcel Duchamp, the representatives of the first generation such as Adrian Piper, Hans Haacke and Art & Language, and the second generation, such as Fred Wilson and Andrea Frazer, to recent engagements with institutional critique by artists such as Hito Steyerl.
Last offered: Spring 2021

ARTHIST 446: Duchamp Then and Now

This seminar provides an opportunity to explore not only the familiar though endlessly fascinating episodes of Duchamp's career (Nude Descending a Staircase; the readymade; the Large Glass; the Boite-en-valise; the persona of Rrose Sélavy, his films and exhibition designs, for example), but also works such as Etant Donnés, which has received renewed attention in what is now an extensive recent literature on this work and on Duchamp more generally that will provide a platform for drawing connections with issues, media, critical literatures and artists of students' own choosing.
Terms: Win | Units: 5
Instructors: Troy, N. (PI)

ARTHIST 448: The Body in Film and other Media (FILMEDIA 448)

In this seminar, we will consider the body on screen as well as the body before the screen i.e. the spectator but also the profilmic body of the actor to examine corporeal performance and reception. The dancing body, the comic body, dead and live bodies, the monstrous body, the body in pain, the virtual body all raise questions about embodiment, liveness, and performance. We will read the body in audiovisual culture through an engagement with affect theory, focusing on the labor of performance, the construction of stardom, spatial and temporal configurations of the performing body, and the production of affect and sensation in the spectating body. Through a discussion of make-up, fashion, the labor of producing the idealized star body from the meat-and-bones body of the actor, or body genres where the spectator's body is beside itself with sexual pleasure, fear and terror, or overpowering sadness, we will inquire into ideologies of discipline and desire that undergird mediatized bodies more »
In this seminar, we will consider the body on screen as well as the body before the screen i.e. the spectator but also the profilmic body of the actor to examine corporeal performance and reception. The dancing body, the comic body, dead and live bodies, the monstrous body, the body in pain, the virtual body all raise questions about embodiment, liveness, and performance. We will read the body in audiovisual culture through an engagement with affect theory, focusing on the labor of performance, the construction of stardom, spatial and temporal configurations of the performing body, and the production of affect and sensation in the spectating body. Through a discussion of make-up, fashion, the labor of producing the idealized star body from the meat-and-bones body of the actor, or body genres where the spectator's body is beside itself with sexual pleasure, fear and terror, or overpowering sadness, we will inquire into ideologies of discipline and desire that undergird mediatized bodies. nnNo prior engagement with film studies is required. Students are encouraged to write seminar papers that build on current research interests.nnNOTE: Instructor consent required for undergraduate students (only seniors may enroll). Please contact the instructor for permission to enroll if you're an undergraduate senior.
Last offered: Winter 2020

ARTHIST 450: Art in the Age of Precarity

Art and precarity in the age of neoliberalism. How artists and critics engage questions of immaterial labor, human capital, structural racism, environmental crisis, the anthropocene and other current issues in their work. The question of art as activism and social practice relative to such themes. Enrollment contingent upon permission of instructor; permission numbers will be provided by staff upon professor's approval.
Last offered: Spring 2018

ARTHIST 451: Warhol's World (ARTHIST 251)

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.
Terms: Aut | Units: 5
Instructors: Meyer, R. (PI)
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