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161 - 170 of 251 results for: ARTHIST

ARTHIST 347: Modernism and Modernity (ARTHIST 147)

The development of modern art and visual culture in Europe and the US, beginning with Paris in the 1860s, the period of Haussmann, Baudelaire and Manet, and ending with the Bauhaus and Surrealism in the 1920s and 30s. Modernism in art, architecture and design (e.g., Gauguin, Picasso, Duchamp, Mondrian, Le Corbusier, Breuer, Dali) will be explored 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: Spr | Units: 4 | Grading: Letter or Credit/No Credit
Instructors: Troy, N. (PI)

ARTHIST 351: Migration and Diaspora in American Art, 1800-Present (AMSTUD 151, ARTHIST 151, 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?
Terms: Spr | Units: 4 | Grading: Letter (ABCD/NP)
Instructors: Kwon, M. (PI)

ARTHIST 354: The American Civil War: A Visual History (AMSTUD 154X, ARTHIST 154)

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.
Terms: not given this year, last offered Winter 2015 | Units: 4 | Grading: Letter (ABCD/NP)

ARTHIST 356: American and European Art, 1945-1968 (ARTHIST 156)

Examines the pivotal figures, movements, themes and practices of art in the United States and Europe, from the conclusion of World War 2 to the end of the 1960s. Emphasis is on the changed nature of the avant-garde after the catastrophic events of midcentury. Topics include: modern art, ideology and the Cold War; the rise of consumer society and the "Society of the Spectacle"; concepts of medium specificity; the impact of new media and technologies on postwar art making; the role of the artist as worker and activist. Movements include: Abstract Expressionism, Art Informel, Pop, minimalism, process, performance conceptual art. An introductory art history course is recommended.
Terms: not given this year, last offered Winter 2013 | Units: 4 | Grading: Letter (ABCD/NP)

ARTHIST 356A: Warhol: Painting, Photography, Performance (ARTHIST 156A, TAPS 156A, TAPS 356A)

This course focuses on the career of Andy Warhol as a means to consider the broader history of American art and culture since 1950. It examines little-studied aspects of Warhol¿s visual production (e.g. his career as a commercial artist in the 1950s and his everyday photographs of the 1970s and 1980s) alongside his now-canonical Pop paintings of the 1960s. Warhol?s critical and scholarly reception will be scrutinized in detail, as will published interviews of and writings by the artist. Finally, we will consider Warhol¿s legacy and wide-ranging influence on American culture in the decades since his death in 1987.
Terms: not given this year, last offered Winter 2017 | Units: 4 | Grading: Letter (ABCD/NP)

ARTHIST 357A: Histories of Photography (ARTHIST 157A)

This course investigates multiple histories of photography. It begins in early nineteenth-century Europe with the origins of the medium and ends in the United States on September 11, 2001, a day that demonstrated the limits of photographic seeing. Rather than stabilizing any single trajectory of technological iterations, the course is more interested in considering the ¿work¿ performed by photography. Through historical case studies, it considers how `to photograph¿ is to order and to construct the world; to incite action and to persuade; to describe and to document; to record and to censor; to wound; to heal.
Terms: not given this year, last offered Autumn 2013 | Units: 4 | Grading: Letter (ABCD/NP)

ARTHIST 359: American Photographs, 1839-1971: A Cultural History (AMSTUD 159X, ARTHIST 159)

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: not given this year, last offered Spring 2014 | Units: 4 | Grading: Letter (ABCD/NP)

ARTHIST 359B: American Photography Since 1960 (ARTHIST 159B)

Since the publication of Robert Frank's THE AMERICANS (1958), many distinguished American photographers have emerged, creating a density and power of expression that arguably rivals and even surpasses the extraordinary achievements of earlier photographers in this country. Garry Winogrand's street photography, Diane Arbus's portraits, Ralph Eugene Meatyard's grotesque masks, Danny Lyon's impassioned social outsiders, William Eggleston's deadpan sidewalks and suburban tables, and on to photographers of our moment--these are just a few of the topics the course will cover. Careful attention to individual pictures; careful consideration of what it is to be an artist, and a critic.
Terms: Win | Units: 5 | Grading: Letter or Credit/No Credit

ARTHIST 364A: Technology and the Visual Imagination (ARTHIST 164A, 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: not given this year, last offered Winter 2016 | Units: 4 | Grading: Letter or Credit/No Credit

ARTHIST 365A: Fashion Shows: From Lady Godiva to Lady Gaga (ARTHIST 165A, 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: not given this year, last offered Winter 2014 | Units: 4 | Grading: Letter or Credit/No Credit
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