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Winter 2002 Course Descriptions FOR OFFICE HOURS AND CONTACT INFORMATION, TO ACCESS CLASS HOMEPAGE, CLICK ON TITLE
(If available). COURSE CHANGES ARE NOTED IN RED Last Updated 03.01.02 |
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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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| 1 | INTRODUCTION TO ART | ||
| Carole Paul | TR 1230-145 | IV THEA 1 | |
| This course is intended for students
who have not taken classes in Art History, and may or may not do so
again. It is designed to develop basic visual skills and introduce
students to the wide range of issues, works, and themes with which
Art History is engaged, varying from year to year. Not open to art
history majors. GE: F ENROLLMENT BY DISCUSSION SECTION |
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| 6B | ART
SURVEY II: RENAISSANCE - BAROQUE ART |
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| Nuha Khoury | TR 930-1045 | CAMPB HALL | |
| Renaissance and Baroque art in a globalizing context. GE: F, E, E-1, WRT ENROLLMENT BY DISCUSSION SECTION |
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| 6E | SURVEY: ARTS OF AFRICA, OCEANIA, AND NATIVE NORTH AMERICA | ||
| Sylvester Ogbechie | TR 330-445 | BUCHN 1940 | |
| A conceptual, cross cultural introduction to Amerind,
Eskimo, African, and Oceanic arts: artists, sculpture, festivals,
body decoration, masking, architecture, and painting will be seen
in the context of social and religious values. Films, slides, and
museum tours. GE: F, NWC, ETH ENROLLMENT BY DISCUSSION SECTION |
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| 45MC | THE UNIVERSITY: MICROCOSM OF KNOWLEDGE | ||
| Mark Meadow | TR 200-315 | HSSB 1174 | |
| This course introduces undergraduates to the university
as a place of knowledge production through a combination of lecture
and hands-on field research. Topics include the history of universities
and the change of disciplinary approaches to research, evidence, and
knowledge. GE: E-2, WRT ENROLLMENT BY DISCUSSION SECTION |
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| UPPER DIVISION COURSES Back to top | |||
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| 101B | CLASSICAL
GREEK ART (480 TO 320 B.C.E.) |
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| Rainer Mack | TR 500-615 | ARTS 1241 | |
| Painting, sculpture, and architecture in Greece from c480 to c320 B.C.E. considered in their social and cultural contexts. Emphasis on fifth-century Athens. Prerequisite: not open to freshman. Not open for credit to students who have completed Art History 152F. | |||
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| 103B | ROMAN ART: FROM THE REPUBLIC TO THE EMPIRE (509 B.C. TO A.D. 337) | ||
| Fikret Yegül | TR 1230-145 | ARTS 1241 | |
| Painting, sculpture, and decorative arts of the Romans from the Republic to the Empire, from Romulus to Constantine. Social, economic, and cultural background emphasized. Prerequisite: Art History 6A recommended. Not open to freshmen. Not open for credit to students who have completed Art History 152I. GE: F | |||
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| 103C | ANCIENT ART: GREEK ARCHITECTURE | ||
| Fikret Yegül | TR 930-1045 | ARTS 1241 | |
| The architecture of the Greek world from the archaic period through the Hellenistic Age. Prerequisite: not open to freshmen. Not open for credit to students who have completed Art History 152J. GE: F | |||
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| 105C | MEDIEVAL ARCHITECTURE: FROM CONSTANTINE TO CHARLEMAGNE | ||
| Edson Armi | TR 11-1215 | ARTS 1426 | |
| A survey of the architecture in Italy, France, Spain, Germany, and England from the Early Christian through the Carolingian periods. Prerequisite: upper-division standing. Strongly Recommended: Art History 6A, 6F, 105E, or 105G. Not open to students who have completed Art History 153L. GE: F | |||
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| 105G | LATE ROMANESQUE AND GOTHIC ARCHITECTURE | ||
| Edson Armi | TR 1230-145 | ARTS 1426 | |
| Twelfth-century architecture in Europe. Prerequisite: upper-division standing. Art History 6A, 105C, or 105E. Not open to students who have completed Art History 153N. GE: F | |||
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| 105H | MEDIEVAL ART: GOTHIC | ||
| Larry Ayres | TR 200-315 | ARTS 1426 | |
| rchitecture, sculpture, and
painting of the Gothic period in Western Europe from 1150 - 1400 A.D.
Prerequisite: upper-division standing. Not open for credit to students
who have completed Art History 153D. GE: F, WRT |
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| 107B | PAINTING
AND PRINTMAKING IN THE SIXTEENTH-CENTURY NETHERLANDS (1500 TO 1600) |
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| Emily Peters | TR 930-1045 | ARTS 1426 | |
| Painting and printmaking of the Low Countries from c1500-c1600, placed in its social and cultural contexts. Artists studied include Bosch and Bruegel. Prerequisite: Not open to freshmen. Not open for credit to students who have completed Art History 156B. Recommended: 6A or B. GE: F | |||
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| 109A | ITALIAN
RENAISSANCE ART (1400 TO 1500) |
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| Robert Williams | TR 330-445 | HSSB 1174 | |
| Developments in painting and sculpture, with attention to issues of technique, iconography, patronage, workshop culture and theory. Prerequisite: not open to freshman. Not open for credit to students who have completed Art History 155C. | |||
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| 111C | DUTCH ART OF THE SEVENTEENTH CENTURY II | ||
| Ann Jenson Adams | MW 200-315 | ARTS 1241 | |
| Visual culture produced in the Northern Netherlands between 1648 and1700 (the Peace of Munster of 1648 at which the Northern Netherlands was formally recognized as an independent nation, and the end of Hollands Golden age around 1700 after the invasion by France). Classes will be devoted to individual artists (e.g. Rembrandt, Jacob van Ruisdael, Johannes Vermeer) and genres (e.g. landscape, portraiture, history painting) in relation to material culture and thought of the period. Particular attention will be paid to the different approaches employed by later scholars of the period. Prerequisite: At least one art history course. Not open to freshmen. Art History 111B is recommended, but not required. GE: F | |||
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| 116AA | SPECIAL TOPICS IN 18TH CENTURY ART: ARCHITECTURE, URBANISM, AND PUBLIC CULTURE IN EIGHTEENTH-CENTURY PARIS | ||
| Richard Wittman | MW 11-1215 | ARTS 1241 | |
| An examination of how a more modern practice and cultural
understanding of architecture emerged between 1715 and 1793 against
a backdrop of profound change in the structure of public life. Consideration
of buildings, theory, unbuilt projects, contemporary polemics and
criticism, and the changing function of architecture within the absolutist
state. Prerequisite: Not open to freshmen May be repeated for credit to a maximum of 12 units provided letter designations are different. |
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| 118CC | SPECIAL TOPICS IN NINETEENTH-CENTURY ART | ||
| Rachel Lindheim | MW 930-1045 | ARTS 1241 | |
| REPRESENTING THE NATION: FRANCE 1789-1914 Special topics in nineteenth-century art. Prerequisite: not open to freshmen. May be repeated for credit to a maximum of 12 units provided letter designations are different. |
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| 119A | ART IN THE MODERN WORLD | ||
| Laurie Monahan | TR 930-1045 | IV THEA 2 | |
| An examination of art of the last 100 years. Treats painting , architecture, and sculpture in a manner that emphasizes the social, economic, and cultural background. Prerequisite: upper-division standing. Not open for credit to students who have completed Art History 150. GE: F, WRT | |||
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| 121B | RECONSTRUCTION, RENAISSANCE, AND REALISM IN AMERICAN ART (1860 TO 1900) | ||
| Nancy Arnold | MW 1230-145 | ARTS 1241 | |
| This course investigates American painting and photography from the Civil War to the beginning of the twentieth century. We will consider the changing role of art in this country with regard to various cultural factors such as race, nationality, and gender, as well as war, capitalism, and politics. Prerequisite: not open to freshman. Not open for credit to students who have completed Art History 161A. GE: F, AMH, WRT | |||
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| 123A | MODERN LATIN AMERICAN ART | ||
| Ramón Favela | TR 200-315 | ARTS 1241 | |
| A survey of Euro-American concepts of Modernism in Latin America from the 1850's to the 1950's. Examines the painting, sculpture, architecture and graphic arts of Latin American elites within their social-cultural contexts. Prerequisite: Upper-Division Stranding. GE: F | |||
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| 123B | CANCELLED | ||
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| 138C | SOCIAL DOCUMENTARY PHOTOGRAPHY | ||
| Ulrich Keller | TR 930-1045 | ARTS 1245 | |
| This course traces the interrelationship between photographic art history and social history. Topics include American Indian tribes, metropolitan slums, Dust Bowl farm conditions, and present-day minorities such as Blacks and women. Prerequisite: not open to freshman. GE: F | |||
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| 143C | GENDER AND REPRESENTATION | ||
| Rachel Lindheim | MW 330-445 | ARTS 1241 | |
| Focus on the construction of gender identities thorugh high art and popular media. Topics will vary with instructor. Prerequisite: not open to freshmen. Not open for credit to students who have completed Art History 191B. GE: F | |||
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| GRADUATE SEMINARS Back to top | |||
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| 200B | PROSEMINAR: INTRODUCTION TO ART-HISTORICAL METHODS | ||
| Rainer Mack | M 500-750 | ARTS 2622 | |
| Introduction to art-historical
methods, with emphasis on the historical development of current practices,
critical theory, debates within the field, and cross-disciplinary
dialogues. Prerequisite: graduate standing. |
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| 251B | SEMINAR ON AFRICAN ARTS IN CONTEXT | ||
| Sylvester Ogbechie | W 100-350 | ARTS 2622 | |
| RETHINKING AFRICAN ART HISTORY This seminar evaluates the discipline and methodologies of African art history through analysis of its principal texts, images and discursive practices. In 1995, the exhibition "Africa: Art of a Continent" (London: Royal Academy of Arts) presented a comprehensive overview of objects that by default reflected the principal aesthetic paradigms that govern the collection and presentation of African art in Western spaces. Although the exhibition raised the usual questions of cultural patrimony and colonial plunder, it mainly elicited silence in the discourse of African art history apart from brief reviews in a few trade publications. The exhibition however constitutes a watershed moment in the discourse and exhibition of African art since it basically legitimizes the anthropological view of African cultural practices even as it delivered a century's worth of dubiously acquired, but now extremely valuable, works to the pristine discourse of museumized validation. This seminar will use the Royal Society's 1995 exhibition to analyze the constitution African art history and its location in contemporary discourses of art history in general. Prerequisite: graduate standing. |
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| 254 | SEMINAR PC/COLONIAL ART | ||
| Jeanette F. Peterson | T 200-450 | ARTS 2622 | |
| MAPPING THE SACRED: IMAGE, RITUAL AND PILGRIMAGE This seminar will examine the role of religious art and ritual within the processes of conquest and colonization. Moving from European antecedents to the pre-Hispanic and colonial Americas, we will explore how sacred images operate within a ritual context and, more broadly, within cultures in transition or under siege. Some of the questions that arise include: How do art and ritual together not only heighten experience with the numinous but also foster social memory and formulate collective identities? How and why does religious art perform an imperial agenda with icons transformed into political symbols? In what ways can pilgrimage define sacred geography as well as trace political hegemony? And, once Christianity is imposed on indigenous cultures, how does the native reclamation of new saints and performance spaces subvert the "official transcript?" |
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| 255A | SEMINAR: TOPICS IN ITALIAN RENAISSANCE
ART VASARI: HIS TIMES AND OURS |
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| Robert Williams | M 200-450 | ARTS 2622 | |
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| 258A | SEMINAR IN EIGHTEENTH-CENTURY ART | ||
| Ann Bermingham | T 1100-150 | ARTS 2622 | |
| THE GOTHIC: STYLE AND SENSIBILITY The seminar is intended to be an interdisciplinary examination of the Gothic revival in the eighteenth and nineteenth century Britain as both a style and a sensibility. As a style the Gothic is associated with a range of monuments from Horace Walpole's Strawberry Hill to Pugin and Barry's designs for the new Houses of Parliament. As a sensibility it is identified with such cultural phenomena as antiquarianism, the cult of ruins, the gothic novel, and the popular taste for sensationalism and terror. The course will survey these monuments and themes in the context of recent scholarship linking them to the period's preoccupations with sexual, racial, religious, political, and national identity. By focusing on the Gothic as a style and sensibility through which a variety of identities and identifications were expressed, we will attempt to come to an understanding of the Gothic's enduring importance (and appeal) for the modern period. Prerequisite: graduate standing. |
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| 260D | SEMINAR: TOPICS IN EUROPEAN ART OF THE TWENTIETH CENTURY | ||
| Laurie Monahan | R 200-450 | ARTS 2622 | |
| TO THE BARRICADES! THE CULTURE OF DISSENT, CIRCA 1968 The seminar looks at the ways in which artists and theorists situate themselves in relation to politics, social activism, and current events in the 1960s, focusing on 1968 particularly. We will examine a core of issues -- sexuality, class, generational "differences" and so on as they unfolded around events in 1968 in Paris, the United States, Mexico, South America, Japan, Germany, etc. Through discussion and readings, we will be looking at influential figures such as Herbert Marcuse ("Negations" and "One Dimensional Man"), Theodore Roszak ("The Making of a Counterculture"), Abbie Hoffman, Daniel Cohn-Bendit and others. Readings will be interdisciplinary in nature, aimed at gaining a fuller understanding of the ways in which visual culture as a whole was affected by and in turn inflected the dramatic events of the period. Oral presentations and a research paper will be required. Prerequisite: Graduate standing |
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