printer friendly pageARTHIST 147: The Visual Culture of Modernism and its Discontents (ARTHIST 347)
The development of modern art and visual culture in Europe and the US, beginning with Paris in the period of Haussmann, Baudelaire and Manet, and ending with Surrealism in the 1920s and 30s. Modernism in art, architecture and design (e.g., Gauguin, Picasso, Duchamp, Tatlin, Le Corbusier, Breuer, Dali) will be presented as a compelling dream of utopian possibilities involving multifaceted and often ambivalent, even contradictory responses to the changes brought about by industrialization, urbanization, and the rise of mass culture.
Terms: Aut
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Troy, N. (PI)
;
Simon, S. (TA)
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: 4
| UG Reqs: GER:EC-AmerCul, GER:DB-Hum, WAY-SI, WAY-A-II
Instructors:
Cain, B. (PI)
;
Freyberg, D. (PI)
;
Jones, G. (PI)
...
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Instructors:
Cain, B. (PI)
;
Freyberg, D. (PI)
;
Jones, G. (PI)
;
Kennedy, D. (PI)
;
Nemerov, A. (PI)
ARTHIST 154: The American Civil War: A Visual History (AMSTUD 154X, ARTHIST 354)
A painting of men charging across a field, a photograph of dead bodies in a ditch, a fragment of metal, a sliver of bone, and a brass button: how do we make sense of the visual record of the American Civil War (1861-65)? From the Capitol Dome to a skeleton dug up in a highway project a hundred years after the last battle, the course will consider the strange and scattered remnants of a famous era. Drawing on the poetry of Walt Whitman, Emily Dickinson, and Herman Melville, the paintings of Winslow Homer, the photographs of Alexander Gardner, and the oratory of Abraham Lincoln, the course will examine what cannot be portrayed: the trauma of war.
| UG Reqs: WAY-A-II
ARTHIST 159: American Photographs, 1839-1971: A Cultural History (AMSTUD 159X, ARTHIST 359)
This course concentrates on many important American photographers, from the era of daguerreotypes to near the end of the pre-digital era. We study photographs of the Civil War, western exploration, artistic subjects, urban and rural poverty, skyscrapers, crime, fashion, national parks, and social protest, among other topics. Among the photographers we study: Carleton Watkins, Eadweard Muybridge, Walker Evans, Dorothea Lange, Garry Winogrand, and Diane Arbus. Emphasis on developing students' abilities to discuss and write about photography; to see it.
Terms: Spr
| Units: 4
| UG Reqs: WAY-A-II
ARTHIST 160N: The Sisters: Poetry & Painting (ENGLISH 51N)
Poetry and painting have often been called the "sister arts". Why? Sometimes a poem or a painting stands out to us, asking that we stay with it, that we remember it, although we cannot exactly say why. Poems have a way of making pictures in the mind, and paintings turn "rhymes" amid the people, places, and things they portray. Each is a concentrated world, inviting an exhilarating closeness of response: why does this line come first? Why does the artist include that detail? Who knows but that as we write and talk about these poems and pictures we will be doing what John Keats said a painter does: that is, arriving at a "trembling delicate and snail-horn perception of Beauty." Each week explore the kinship between a different pair of painter and poet and also focuses on a particular problem or method of interpretation. Some of the artist/poet combinations we will consider: Shakespeare and Caravaggio; Jorie Graham and (the photographer) Henri Cartier-Bresson; Alexander Pope and Thomas Gainsborough; William Wordsworth and Caspar David Friedrich; Christina Rossetti and Mary Cassatt; Walt Whitman and Thomas Eakins; Thomas Hardy and Edward Hopper.
Terms: Win
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Jenkins, N. (PI)
;
Nemerov, A. (PI)
ARTHIST 164A: Technology and the Visual Imagination (ARTHIST 364A, FILMSTUD 164A, FILMSTUD 364A)
An exploration of the dynamic relationship between technology and the ways we see and represent the world. The course examines technologies from the Renaissance through the present day, from telescopes and microscopes to digital detectors, that have changed and enhanced our visual capabilities as well as shaped how we imagine the world. We also consider how these technologies influenced and inspired the work of artists. Special attention is paid to how different technologies such as linear perspective, photography, cinema, and computer screens translate the visual experience into a representation; the automation of vision; and the intersection of technology with conceptions of time and space.
Terms: Aut
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
ARTHIST 165A: Fashion Shows: From Lady Godiva to Lady Gaga (ARTHIST 365A, FILMSTUD 165A, FILMSTUD 365A)
The complex and interdependent relationship between fashion and art. Topics include: the ways in which artists have used fashion in different art forms as a means to convey social status, identity, and other attributes of the wearer; the interplay between fashion designers and various art movements, especially in the 20th century; the place of prints, photography, and the Internet in fashion, in particular how different media shape how clothes are seen and perceived. Texts by Thorstein Veblen, Roland Barthes, Dick Hebdige, and other theorists of fashion.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
ARTHIST 178: Ethnicity and Dissent in United States Art and Literature (AMSTUD 178, ARTHIST 378)
The role of the visual arts of the U.S. in the construction and contesting of racial, class, and gender hierarchies. Focus is on artists and writers from the 18th century to 1990s. How power, domination, and resistance work historically. Topics include: minstrelsy and the invention of race; mass culture and postmodernity; hegemony and language; memory and desire; and the borderlands.
Last offered: Spring 2004
| UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-EDP
ARTHIST 188B: From Shanghai Modern to Global Contemporary: Frontiers of Modern Chinese Art
Chinese artistic engagements with international arenas and with the cultural politics of modernity, from the late 19th century to the present. Topics will include Shanghai modernity and public media; artistic reform and political activism at the end of empire; competition between national style painting and international modernisms; politicized arts of resistance and revolution; post-Mao era experimental and avant-garde movements; transnational careers and exhibition circuits.
| UG Reqs: WAY-A-II, WAY-EDP
ARTHIST 203: Greek Art In and Out of Context (CLASSART 109)
The cultural contexts in which art served religious, political, commercial, athletic, sympotic, and erotic needs of Greek life.
Terms: Aut
| Units: 4-5
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Maxmin, J. (PI)
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