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11 - 20 of 34 results for: ARTHIST ; Currently searching winter courses. You can expand your search to include all quarters

ARTHIST 290: Curricular Practical Training

CPT course required for international students completing degree.
Terms: Aut, Win, Spr, Sum | Units: 1-3 | Repeatable for credit

ARTHIST 294: Writing and the Visual: The Art of Art Writing

This course, Writing the Visual: The Art of Art Writing, will explore the relationship between writing and visual art, which has been theorized as everything from an act of translation and interpretation to one of collaboration or competition. Oscar Wilde even suggested that, "criticism is itself an art." Students will study these varied approaches to art writing and put them into practice by responding to artworks seen in person around the Bay Area, with the goal of publishing a print journal of student writing at the end of the quarter. Through direct engagement with these writerly modes, students will also develop a personal stance on writing about art, championing one form of art writing in a scholarly essay.This year's topic: What is Contemporary Art? Focus on the production, criticism, and curating of contemporary art. Through a series of required readings, intensive class discussions, class trips, and first-hand encounters with art objects and exhibitions, we will investigate current understandings of contemporary art. We will also consider the history of contemporary art by looking at how art of the past was understood in its own moment, when it was new and now.
Terms: Win | Units: 5 | Repeatable 2 times (up to 10 units total)

ARTHIST 295: Visual Arts Internship

Professional experience in a field related to the Visual Arts for six to ten weeks. Internships may include work for galleries, museums, art centers, and art publications. Students arrange the internship, provide a confirmation letter from the hosting institution, and must receive consent from the faculty coordinator to enroll in units. To supplement the internship students maintain a journal. Evaluations from the student and the supervisor, together with the journal, are submitted at the end of the internship. Restricted to declared majors and minors. May be repeated for credit.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable 3 times (up to 15 units total)

ARTHIST 297: Honors Thesis Writing

May be repeated for credit.
Terms: Aut, Win, Spr, Sum | Units: 1-7 | Repeatable 3 times (up to 10 units total)

ARTHIST 298: Individual Work: Art History

Prerequisite: student must have taken a course with the instructor and/or completed relevant introductory course(s). Instructor consent and completion of the Independent Study Form are required prior to enrollment. All necessary forms and payment are required by the end of Week 2 of each quarter. Please contact the Undergraduate Coordinator in McMurtry 108 for more information. May be repeated for credit.
Terms: Aut, Win, Spr | Units: 1-5 | Repeatable for credit

ARTHIST 388B: From Shanghai Modern to Global Contemporary: Frontiers of Modern Chinese Art (ARTHIST 188B)

Chinese artistic developments in an era of revolution and modernization, from Shanghai Modern and New National Painting though the politicized art of the Cultural Revolution and post-Mao era re-entry into international arenas.
Terms: Win | Units: 4

ARTHIST 405A: Graduate Pedagogy

This course is designed for graduate students in Art History and Film Studies preparing to work as teaching assistants in the Department of Art and Art History. The seminar will focus on a range of theoretical and practical concerns pertaining to the successful conceptualization, organization, and execution of class lectures and discussion sections. Students will be exposed to a variety of perspectives and strategies related to quality teaching at the college level.
Terms: Win | Units: 2
Instructors: Iyer, U. (PI)

ARTHIST 408: Hagia Sophia (ARTHIST 208, CLASSICS 173, CLASSICS 273)

This seminar uncovers the aesthetic principles and spiritual operations at work in Hagia Sophia, the church dedicated to Holy Wisdom in Constantinople. Rather than a static and inert structure, the Great Church emerges as a material body that comes to life when the morning or evening light resurrects the glitter of its gold mosaics and when the singing of human voices activates the reverberant and enveloping sound of its vast interior. Drawing on art and architectural history, liturgy, musicology, and acoustics, this course explores the Byzantine paradigm of animation arguing that it is manifested in the visual and sonic mirroring, in the chiastic structure of the psalmody, and in the prosody of the sung poetry. Together these elements orchestrate a multi-sensory experience that has the potential to destabilize the divide between real and oneiric, placing the faithful in a space in between terrestrial and celestial. A short film on aesthetics and samples of Byzantine chant digitally imprinted with the acoustics of Hagia Sophia are developed as integral segments of this research; they offer a chance for the student to transcend the limits of textual analysis and experience the temporal dimension of this process of animation of the inert.
Terms: Win | Units: 5

ARTHIST 427: Artists and Empire in India's Eighteenth Century

This seminar addresses Europe's aesthetic encounter with South Asia in the age of mercantile imperialism and colonial expansion in the long 18th century. It unravels how artists operated within a complex network of Enlightenment-era exploration, maritime commerce, and the growing military dominance of trading corporations such as the British and French East India Companies. The seminar examines how images underpinned Europe's paternalistic quest for knowing India, fostering a teleology of decline of the Mughal State through the lens of cultural and geographic determinism. It will further unpack the ways in which local artists resisted and reframed these prerogatives. Landscape views, natural history drawings, and genre portraits depicting castes and occupations will be assessed not only as documentary accounts of Indian life and landscape, its history, laws, and religions - but as indices of commerce, collecting, fashion, dispossession, and violence. Topics will cover the dialogue of aesthetic theories between Europe and India through the idea of Company Painting - a postcolonial term that sits squarely within the nexus of commerce and colonialism in India's 18th century.
Terms: Win | Units: 4
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