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Course Plan for Spring 2002 FOR OFFICE HOURS AND CONTACT INFORMATION, TO ACCESS CLASS HOMEPAGE, CLICK ON TITLE
(If available). COURSE CHANGES ARE NOTED IN RED Updated 2/21/02 | |||
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| LOWER DIVISION COURSES UPPER DIVISION COURSES GRADUATE SEMINARS |
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| LOWER DIVISION COURSES Back to top | |||
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| 6C | ART SURVEY III: MODERN - CONTEMPORARY | ||
| Ann Bermingham | TR 11-1215 | CAMPB HALL | |
| History of Western art from
the eighteenth century to the present. GE:
WRT, F, E, E1 ENROLLMENT BY DISCUSSION SECTION |
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| 6F | SURVEY: ARCHITECTURE & PLANNING |
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| Richard Wittman | TR 200-315 | ARTS 1245 | |
| A wide-ranging introduction
to architecture and urban design, via case studies chosen from different
periods in predominantly Western but also non-Western cultures, from
the Greek temple to the palace of Versailles, from Arab Muslim urbanism
to Mussolini's new towns, and from Frank Lloyd Wright's Fallingwater
to the Batammaliba houses of Togo and Benin. Examination of local
architecture and planning in and around Santa Barbara as well.
GE: WRT, F. ENROLLMENT BY DISCUSSION SECTION |
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| 6G | SURVEY: HISTORY OF PHOTOGRAPHY | ||
| Ulrich Keller | TR 930-1045 | BUCHN 1910 | |
| A critical survey of nineteenth-
and twentieth-century photography as an art form.
GE: WRT, F ENROLLMENT BY DISCUSSION SECTION. |
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| UPPER DIVISION COURSES Back to top | |||
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| 101D | ANCIENT EGYPTIAN ART | ||
| Rainer Mack | TR 500-615 | HSSB 1174 | |
| Painting and sculpture in Egypt from the fourth millenium to the first century BCE. Emphasis on the relations between visual representation and religious and political practice, including special attention to the formation and maintenance of the canonical tradition. Prerequisite: not open to freshman. Not open for credit to students who have completed Art History 152A. GE: F, WRT | |||
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| 105E | THE ORIGINS OF ROMANESQUE ARCHITECTURE |
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| Edson Armi | TR 1230-145 | ARTS 1426 | |
| Eleventh century architecture in France, Italy, Spain, Germany, and England. Prerequisite: upper-division standing. Art History 105C or 105G or consent of instructor. Not open for credit to students who have completed Art History 153M. GE: F | |||
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| 105F | MEDIEVAL ART: ROMANESQUE | ||
| Larry Ayres | TR 200-315 | ARTS 1426 | |
| Architecture, sculpture, and painting of the Romanesque period in Western Europe from 1050 to 1200 A.D. Prerequisite: upper division standing. Not open for credit to students who have completed Art History 153C. GE: F, WRT | |||
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| 105M | THE DESIGN, CONSTRUCTION & STRUCTURE OF MEDIEVAL ARCHITECTURE | ||
| Richard Wittman | TR 1100-1215 | ARTS 1245 | |
| FRENCH GOTHIC ARCHITECTURE, C. 1140-1350:
FORM AND MEANING Looking at buildings both big and small, both famous and obscure, we will investigate not only the technical, social, and economic conditions that shaped French Gothic architecture, but also the diverse meanings (intended and unintended) of these structures in medieval and modern culture. Prerequisite: not open to freshmen. Not open for credit to students who have completed Art History 153O. GE: F. |
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| 107A | PAINTING IN THE FIFTEENTH-CENTURY NETHERLANDS | ||
| John Decker | MW 200-315 | ARTS 1241 | |
| Netherlandish painting from c1400-c1500 examined in its social, religioius, and cultural contexts. Van Eyck, Rogier, Bouts and Memling, among others. Prerequisite: Not open to freshmen. Not open for credit to students who have completed Art History 155B. GE: F. | |||
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| 108PB | CANCELLED | ||
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| 109B | ITALIAN RENAISSANCE ART | ||
| CLASS LIMITED TO ART HISTORY MAJORS | |||
| Robert Williams | TR 1230-145 | ARTS 1241 | |
| Developments in painting and Sculpture, with attention to issues of technique, iconography, patronage, workshop culture and theory. Prerequisite: Not open to freshmen. Not open for credit to students who have completed Art History 156A. GE: F, WRT | |||
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| 109F | ITALIAN JOURNEYS | ||
| Robert Williams | TR 330-445 | IV THEA2 | |
| Developments in painting and Sculpture, with attention to issues of technique, iconography, patronage, works hop culture and theory. Prerequisite: Not open to freshmen. Not open for credit to students who have completed Art History 156A. | |||
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| 117F | IMPRESSIONISM & POST-IMPRESSIONISM | ||
| Rachel Lindheim | TR 200-315 | IV THEA2 | |
| Impressionist and Post-Impressionist movements in France from 1863 through the turn of the century and the advent of Fauvism. Will include the work of Monet, Manet, Degas, Renoir, Pissarro, Van Gogh, Cezanne, Gauguin and Seurat. Not open to freshmen. GE: F | |||
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| 119G | CRITICAL APPROACHES TO VISUAL CULTURE |
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| CLASS LIMITED TO ART HISTORY MAJORS | |||
| Laurie Monahan | TR 1100-1215 | ARTS 1241 | |
| This course is designed to encourage you
to devise critical ways of approaching and understanding a wide range
of visual materials and images (paintings, ads, videos, etc.). Analytic
approaches to culture and representation will be used as a means of
developing descriptive and interpretive skills. Prerequisite: A prior
course in art history; not open to freshmen. GE: F, WRT |
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| 121C | MODERNISM AND PLURALISM, 1900-PRESENT | ||
| Kevin Murphy | MW 1230-145 | ARTS 1241 | |
| American painting in the twentieth-century, from the advent of modernism to yesterday. Prerequisite: not open to freshmen. Not open for credit to students who have completed Art History 161B. GE: F, WRT, AMH. | |||
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| 121E | AMERICAN THINGS: MATERIAL CULTURE & POPULAR ART | ||
| Nancy Arnold | MW 1100-1215 | ARTS 1241 | |
| This course investigates
the history of collecting in the United States, considering the accumulation
of everything from stamps to fine art, antiques to "Stuff" (internet
ephemera), as well as the individuals who collect them. As a framework
for understanding this human phenomenon, we will explore various ways
of describing the act of collecting: as epistemology, as narrative,
as identity formation, as pathology, as consumption, as nostalgia,
and as curiosity. In lieu of exams, students will be required to complete
an in-depth project relating to collecting. This might include researching
and writing about a particular collector and/or collection from the
past; conducting research and reporting about living collectors and
their collections; writing a scholarly description of one's own collection;
or producing a comparative paper about the various theoretical approaches
within collecting studies. Prerequisite: not open to freshmen. GE: F, WRT |
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| 124L | CANCELLED | ||
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| 125B | CANCELLED | ||
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| 127B | AFRICAN ART II | ||
| CLASS LIMITED TO ART HISTORY MAJORS | |||
| Sylvester Ogbechie | TR 1100-1215 | ARTS 1426 | |
| An in-depth continuation of Art History 127A in a seminar/discussion format. Selected topics. Prerequisites: Art History 6E. Not open to freshmen. Not open for credit to students who have completed Art History 151F. GE: F, ETH, NWC | |||
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| 130B | PRECOLUMBIAN ART OF THE MAYA |
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| Jeanette F. Peterson | TR 930-1045 | IV THEA2 | |
| Exploration of the arts of Maya-speaking cultures in southern Mesoamerica using archeological, epigraphic, and ethnographic data to help reconstruct Maya religion and civilization. Prerequisite: not open to freshmen. Not open for credit to students who have completed Art History 154C. GE: F, NWC, WRT | |||
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| 130C | THE ARTS OF SPAIN & NEW SPAIN |
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| Jeanette F. Peterson | TR 1230-145 | ARTS 1245 | |
| Beginning with the Islamic, Medieval and
Renaissance arts of Spain, this course will chart their influence
and transformation in the sixteenth and seventeenth-century arts of
the New World. Special emphasis will be placed on the creative interaction
of the European and indigenous traditions in the architecture, sculpture,
graphics, painting, and ritual practice of the colonial Americas.
Prerequisite: not open to freshmen. GE: F |
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| 140A | PORTRAITURE | ||
| Rachel Lindheim | TR 930-1045 | ARTS 1241 | |
| Examination of the traditions and functions of portraiture with a focus on 18th-20th century art. Themes may include the creation of the self; art and propaganda; the self-portrait and artistic identity. Prerequisite: not open to freshmen. GE: F | |||
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| 140B | LANDSCAPE PAINTING AND DESIGN | ||
| Bryn Homsy | W 900-1200 | CCS Bldg. 494 RM 136 | |
| EC# 58941 Same course as CCS ART 107 ARCADIA EXPRESSED: ARTISTS AND LANDSCAPE DESIGNERS This course explores the development of the expression of Arcadia through the eyes of painters and landscape designers. Specific time periods will be examined for their cultural significance and relationship to our modern taste and aesthetics. At specific times in history artists, writers and designers expressed their passion through landscape painting and design concepts, 'pastoral' poetry, and contemporary philosophical ideals. Some time periods examined are: landscape painting of Italian Renaissance, the portraiture of 16th century England, and the 'Grand Tour' and how poetical and democratic ideals were expressed in the Landscape Tradition of 18th century England. These will be contrasted with the Hudson River School's depiction of the New World, and the creation of 'Paradise' in California. Other themes will be sought out such as the appreciation of Nature, the changes in social history, the origins of garden design, and how artists and landscape designers interacted to create our rich heritage. The course includes, class discussions, readings, and field trip, short weekly analyses, one mid-term and an individual project. Required Texts: Thacker, The History of Gardens Prerequisite: not open to freshmen. GE: F |
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| GRADUATE SEMINARS Back to top | |||
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| 252B | SEMINAR: TOPICS IN ROMAN ARCHITECTURE AND URBANISM | ||
| Fikret Yegül | F 900-1150 | ARTS 2622 | |
| Special research in Roman and late antique architecture, urbanism and arts. The city of Antioch will be highlighted. Prerequisite: graduate standing or senior art history majors with consent of instructor. | |||
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| 253E | SEMINAR IN ROMAN ARCHITECTURE AND SCULPTURE | ||
| Edson Armi | R 200-450 | ARTS 2622 | |
| Seminar on major topics and problems in the monumental arts of the eleventh and twelfth centuries in Europe. Prerequisite: graduate standing | |||
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| 257A | SEMINAR: TOPICS IN 17TH-CENTURY ART | ||
| Ann Jensen Adams | T 100-350 | ARTS 2622 | |
| SEMINAR: VISION, KNOWLEDGE, AND THE SCIENTIFIC
REVOLUTION "To see is to know", wrote Aristotle. Even today, "I see" can mean "I understand." Aristotle understood the connection between sight and knowledge to be physical, however. Before the seventeenth century, the eye was believed to be connected directly to the spirit: an impression of objects seen were understood as physically impressed upon the soul. Sight was, therefore, the most powerful and dangerous of senses; concepts lying behind the iconoclastic fury of the Protestants who destroyed images in Catholic churches in 1566. During the seventeenth century, in a paradigm shift sometimes termed the Scientific Revolution, a space was opened between vision and the soul, with new attention to the imperfect ocular apparatus, and such voluntary activities as reflection and reason, articulated memorably by Descartes' "I think, therefore I am." Empirical experience, enhanced by the invention of such optical devices as the microscope and telescope, took on new meaning, which in turn had a dramatic impact upon beliefs about the nature of images, their function in knowledge production, and the role of artists in their creation. Since Aristotle, these understandings were -- as they continue to be -- highly gendered: woman's imagination and uncontrollable passions were set against man's reason. Changed understandings of sight and reason, therefore, produced new understandings of male and female character. This course will investigate this moment crucial to our modern world view through the work of individual artists and authors including the closely observed natural studies of Jacques de Gheyn, the perspective manipulations of the church interiors of Pieter Saenredam, the recent revival of debates about Johannes Vermeer's use of the camera obscura, and the "Wonderous Perspective Boxes" of Samuel van Hoogstraten. In considering the changing conceptions of artistic practice and authorship, we will also look at artists' inscriptions on drawings, paintings, and prints. These will be examined in light of treatises on optics from Aristotle through Descartes, and the richly illustrated texts of authors such as Althanasius Kircher, inventor of the magic lantern in 1645. Students will be expected to write short weekly think-pieces, and a research paper. Prerequisite: graduate standing. |
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| 261E | SEMINAR IN HISTORY OF PHOTOGRAPHY | ||
| Ulrich Keller | T 400-650 | ARTS 2622 | |
| "The Visual Rhetoric of the American Presidency."
Prerequisite: graduate standing. |
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| 262C | CANCELLED | ||
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| 275E | SPECIAL TOPICS IN ISLAMIC ART & ARCHITECTURE | ||
| Nuha Khoury | R 100-350 | ARTS 2622 | |
| Special topics in Islamic art and/or architecture. Topics will vary. Prerequisite: graduate standing. | |||
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