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41 - 50 of 188 results for: ARTHIST

ARTHIST 166: Representing Fashion

Course on the representation of fashion in the 20th and 21st century, with focus on fashion photography. Topics include: history of fashion illustration, fashion photography, and fashion films; intersection of art and commerce; role of designers, photographers, editors, and models; studio v. street photography; the place of mass media, alternative magazines, and online publications; and use of media, photography, and design theory for interpretation of fashion representations. Illustrators and artists include Lepape, Erte, Avedon, Penn, Klein, Newton, Sherman, and Leibovitz.
Terms: Spr | Units: 4

ARTHIST 167: Beyond the Fuzzy-Techie Divide: Art, Science, Technology (ARTHIST 367, FILMSTUD 167B, FILMSTUD 367B)

Although art and science are often characterized as "two cultures" with limited common interests or language, they share an endeavor: gaining insight into our world. They even rely on common tools to make discoveries and visually represent their conclusions. To clarify and interrogate points of similarity and difference, each week¿s theme (time, earth, cosmos, body) explores the efforts of artists and scientists to understand and represent it and the role of technology in these efforts. Focus on contemporary examples.
Last offered: Spring 2014

ARTHIST 176: Feminism and Contemporary Art (ARTHIST 376)

(Same as ARTHIST 176) The impact of second wave feminism on art making and art historical practice in the 70s, and its reiteration and transformation in contemporary feminist work. Topics: sexism and art history, feminist studio programs in the 70s, essentialism and self-representation, themes of domesticity, the body in feminist art making, bad girls, the exclusion of women of color and lesbians from the art historical mainstream, notions of performativity.
| UG Reqs: GER:DB-Hum, GER:EC-Gender

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.
| UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED

ARTHIST 184: Aristocrats, Warriors, Sex Workers, and Barbarians: Lived Life in Early Modern Japanese Painting (ARTHIST 384, JAPANGEN 184, JAPANGEN 384)

Changes marking the transition from medieval to early modern Japanese society that generated a revolution in visual culture, as exemplified in subjects deemed fit for representation; how commoners joined elites in pictorializing their world, catalyzed by interactions with the Dutch.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum

ARTHIST 186: Theme and Style in Japanese Art (ARTHIST 386, JAPANGEN 186, JAPANGEN 286)

A mixture of lecture and discussion, this course presents a chronological introduction to some of the defining monuments in the history of Japanese visual culture from prehistory to the mid-19th century. This introductory class presumes no prior knowledge of art history or of Japan. We will emphasize certain overarching themes like religious life; notions of decorum appropriate to various classes (court, warrior, and commoner); the relationship between and among the arts, such as the visual and the verbal, or the symphonic assemblage arts as seen in the tea ceremony; pervasive cultural tropes like nostalgia, seasonality, or the sense of place; and broader issues such as censorship, patronage, gender issues, and the encounters between Japanese and foreign cultures.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum
Instructors: Takeuchi, M. (PI)

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.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II, WAY-ED

ARTHIST 189C: Global Currents: Early Modern Art Enterprises, Economies, and Imaginaries (ARTHIST 389C)

Episodes of global artistic exchange from the 16th to 19th centuries involving commodities (porcelains and textiles), technologies (printmaking, perspective, and cartography), and imaginaries (Chinoiserie, East Asian Occidenteries, Orientalism, Japonisme). The role of enterprises, institutions, and power relations in artistic economies, from the Portuguese Empire, Jesuit mission networks and East India Companies to imperialist systems.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-ED

ARTHIST 192B: Art of the African Diaspora

This introduction to the art of the African Diaspora uses art and visual culture as means to explore the history and impact of the global spread of African peoples from slavery until the present day. Lectures and discussions will examine a range of artistic practices from street festivals and Afro-Caribbean religious traditions to the work of studio-trained artists of international repute.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II
Instructors: Wofford, T. (PI)

ARTHIST 203: Greek Art In and Out of Context (CLASSICS 163)

The seminar considers Greek artifacts in the context of Greek life (including the life of the workshop), and the endless ways in which craftsmen served the needs of Greek society. Their foundries, factories and ceramic studios produced the material goods that defined Greek life: temples, statues and other offerings for the gods; arms and armor for warriors; sporting equipment and prizes for athletes; houses, clothing and crockery for the family; ships and sailcloth, wagons and ploughs, wine and oil-presses for a thriving domestic and overseas economy; gravestones and funeral vases for the dead. (Formerly CLASSART 109.) nMost of the antiquities exhibited in museums, or purchased by private collectors from galleries and auction houses, survive because they were buried with people who used and cherished them. The Greeks¿ belief that the artifacts they valued in life would serve them in the afterlife informs the second part of the seminar, which is devoted to the recent history of tomb looting and the illicit trafficking in antiquities.
Terms: Aut | Units: 4-5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Maxmin, J. (PI)
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