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231 - 240 of 258 results for: ARTHIST

ARTHIST 470: Globalization and Contemporary Art

Enrollment restricted to graduate students. Globalization as the most important paradigm for the production, circulation, and reception of contemporary art since the 1990s. The expanding terrain of the art world; biennial culture; new economies of scale and the art market along with its critique in the discourses of empire and multitudes. Debates on the thematics of hybridity; post-Fordism; the flat world and capital flows; exteriority and site specificity; and new models of collectivism in recent art.
Last offered: Spring 2016

ARTHIST 471: Art & Fashion

This course will engage the interface between art and fashion through the lens of a Cantor Arts Center 2018 exhibition: The Art of the Brand: Mondrian, Saint Laurent and Pop Art in America. Students will write essays on objects in the exhibition for publication in the accompanying catalogue and for wall texts. The course explores the concept of branding as a means to organize new thinking about the relationship between classic modernism, fashion, and the ways in which pop artists (Lichtenstein, Segal, Warhol, Wesselmann) dealt with abstraction and figuration, originality and reproduction, elite and mass culture, in the process reinventing Mondrian¿s style as a brand that brings Warhol¿s Campbell¿s treatment of soup cans to mind.
Terms: Win | Units: 5
Instructors: Troy, N. (PI)

ARTHIST 472: Mellon Curating Course

This course focuses on the production, criticism, and curating of art. It encompasses both the study of curatorial work and the organization of an exhibition at the Cantor. Through a series of required readings, intensive class discussions, class trips, guest lectures, and first-hand encounters with art objects and exhibitions, we will investigate the history and contemporary practice of curating. Our work together will culminate in an exhibition at the Cantor organized by class members in close consultation with Cantor staff. The show will open in late fall 2015-16 and will be on view for approximately 12-15 weeks. Students are expected to enroll in both the Spring 2014-15 and Fall 2015-16 quarters. For graduate students only and with the approval of the faculty. Course will be co-taught by Richard Meyer and Connie Wolf.
Last offered: Autumn 2015

ARTHIST 475: Media Cultures of the Cold War (COMM 386)

The intersection of politics, aesthetics, and new media technologies in the U.S. between the end of WW II and the fall of the Berlin Wall. Topics include the aesthetics of thinking the unthinkable in the wake of the atom bomb; abstract expressionism and 'modern man' discourse; game theory, cybernetics, and new models of art making; the rise of television, intermedia, and the counterculture; and the continuing influence of the early cold war on contemporary media aesthetics. Readings from primary and secondary sources in art history, communication, and critical theory.
Last offered: Winter 2016

ARTHIST 477: Folk, Outsider, Self-Taught

This seminar will consider the subject of self-taught artists, who form a shadow history of American art. We will examine their work and reception by fine artists and institutions in the United States, looking specifically at how they aligned with, departed from, or helped define received art historical narratives. Special attention will be paid to issues of collecting and display, the shifting terms used to designate "self-taught," and theoretical and ethical concerns raised by the study of self-taught artists. Key themes will include theories of the archive, race, spirituality and enchantment, and disability. How might study of self-taught artists transform our understanding of canonical art historical movements? How does self-taught art challenge what it means to write about, research, and encounter objects in the world?
Last offered: Spring 2017

ARTHIST 478: Problems in the History of Collecting, Circulation and Display

This graduate seminar involves intensive study of art collecting, circulation and display through the lens of one of the principal institutions of art history: the museum. It will include a site visit to the Solomon R. Guggenheim Museum to gain a comprehensive view of this complex institution as a basis for seminar-related research and writing. Limited to PhD students in Art History and Film Studies, or by permission of the instructor.
Last offered: Winter 2015

ARTHIST 479: The Days: On the Writing of Specific Dates in History

What is the value of writing a whole essay or dissertation or book on a specific date in history? What does such an approach reveal and obscure? What challenges does it place on the *writer* of history? Exploring a series of case histories in weekly meetings, the seminar will also ask that each student write a paper on a specific date, evoking that one day on the calendar as a moment of unforgettable importance.
Terms: Spr | Units: 5
Instructors: Nemerov, A. (PI)

ARTHIST 480B: The World of Chen Hongshou (1598-1652) (ARTHIST 280B)

Planned to coincide with a special international exhibition at the Berkeley Art Museum of works by the seventeenth century figure painter and print designer Chen Hongshou (1598-1652), this seminar will explore his art and cultural environment. Along with close study of his original paintings, we will study his connections with printmaking and publishing, fiction and drama culture, and his literary, social and patronage networks.
Terms: Aut | Units: 5
Instructors: Vinograd, R. (PI)

ARTHIST 482A: Approaching Dunhuang: Methods and Debates

This seminar will explore recent scholarly approaches to the visual arts of the Buddhist cave shrine complex at Dunhuang in northwest China between the 5th and 9th c. CE. Topics will include real and virtual spatiality of the cave shrines; questions of function (ritual, memorial, meditative, visualization); textual and doctrinal relationships of images and spaces; patronage and political contexts; production techniques; narrative and paradise iconographies; icons and illustrations. The seminar group will visit the concurrent major Dunhuang exhibition at the Getty Museum in Los Angeles and focus especially on banner paintings, sculptures, and replica cave shrines (275, 285, 320) represented in the exhibition.
Last offered: Spring 2016

ARTHIST 485: The Situation of the Artist in Traditional Japan (JAPANGEN 220)

Topics may include: workshop production such as that of the Kano and Tosa families; the meaning of the signature on objects including ceramics and tea wares; the folk arts movement; craft guilds; ghost painters in China; individualism versus product standardization; and the role of lineage. How works of art were commissioned; institutions supporting artists; how makers purveyed their goods; how artists were recognized by society; the relationship between patrons¿ desires and artists¿ modes of production.
Last offered: Spring 2008
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