FALL 2002
(This is a tentative list of classes. This page will be updated as the quarter approaches. Please check back for updates.)
(This is a tentative list of classes. This page will be updated as the quarter approaches. Please check back for updates.)
| Course # | Title | Instructor |
LOWER DIVISION
COURSES |
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| 6A | ART SURVEY I: ANCIENT-MEDIEVAL | Fikret Yegül |
| 6G | SURVEY: HISTORY OF PHOTOGRAPHY | Ulrich Keller |
UPPER DIVISION
COURSES |
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| 101A | ARCHAIC GREEK ART | Rainer Mack |
| 104AA | CANCELLED | |
| 105C | CANCELLED | |
| 105E | CANCELLED | |
| 105J | GOTHIC PAINTING | Larry Ayres |
| 110CC | CANCELLED | |
| 111B | 17TH C DUTCH ART | Ann Jensen Adams |
| 111E | GENDER AND POWER | Ann Jensen Adams |
| 113A | 17TH C EUROPEAN ART | Carole Paul |
| 117B | NINETEENTH-CENTURY ART: 1848-1900 | Abigail Solomon-Godeau |
| 118RR | CANCELLED | |
| 119B | CONTEMPORARY ART | Abigail Solomon-Godeau |
| 120HH | CANCELLED | |
| 121D | AFRICAN-AMERICAN ART TO CIVIL WAR: 1700-1860 |
Sylvester Ogbechie |
| 123C | MODERN ART OF MEXICO | Catha Paquette |
| 125A | CHICANO ART: SYMBOL AND MEANING |
Catha Paquette |
| 130E | ART AND EMPIRE IN THE AMERICAS: AZTEC, INKA, SPANISH | Jeanette F. Peterson |
| 132D | ISLAMIC ARCHITECTURE 650-1400 | Nuha Khoury |
| 134F | THE ART OF JAPAN | Peter Sturman |
| 136A | 19TH CENTURY ARCHITECTURE | Swati Chattopadhyay |
| 136E | MODERN DESIGN | Mary Winder |
| 137AA | CANCELLED | |
| 138C | SOCIAL DOCUMENTARY PHOTOGRAPHY | Ulrich Keller |
| 184B | ROME: IMAGE & IDEOLOGY | Carole Paul |
GRADUATE
COURSES |
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| 200A | GRADUATE PROSEMINAR | Robert Williams |
| 253A | SEMINAR IN MEDIEVAL ART | Larry Ayres |
| 254 | SEMINAR PC/COLONIAL ART | Jeanette F. Peterson |
| 260D | TOPICS IN EUROPEAN ART OF THE 20TH CENTURY | Laurie Monahan |
| 261A | SEMINAR: TOPICS IN ART RACE AND AUTHORSHIP |
Bruce Robertson |
| 265 | SEMINAR: TOPICS IN ARCHITECTURAL HISTORY | Swati Chattopadhyay |
| 294 | SEMINAR IN MUSEUM PRACTICES EC#64188 | Mark Meadow |
RELATED
COURSES IN OTHER DEPARTMENTS |
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| GENED 1FW | GE FRESHMAN SEMINAR EC#58511 | Mark Meadow |
| CH ST 148 | CHICANO/A ART EC#54189 | Staff |
| History of
Western art from its origins to end of the Middle Ages. GE: WRT, E,
E1, E2, F. ENROLLMENT BY DISCUSSION SECTION. Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Fikret Yegül | TR | 1100-1215 | CAMPB HALL |
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| A critical
survey of nineteenth- and twentieth-century photography as an art
form. GE: WRT, F. ENROLLMENT BY DISCUSSION SECTION Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Ulrich Keller | MW | 330-445 | BUCHN 1940 |
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| Painting,
sculpture, and architecture in Greece from c750 to c480 B.C.E. considered
in their social and cultural contexts. Emphasis on the emergence of
representational practices during a time of social formation. Prerequisite:
not open to freshmen. Not open for credit to students who have completed
Art History 152E. GE: F, WRT Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Rainer Mack | TR | 500-615 | ARTS 1241 |
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| The origins
and development of Gothic painting in France, England, and the Lower
Rhineland with special reference to Parisian manuscript illumination
and to the influence of Italian art in the north during the fourteenth
century. Prerequisite: upper division standing. Not open for credit
to students who have completed Art History 153F. GE: F, WRT. Instructor Office Hours |
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| Instructor | Days | Hours | Room |
| Larry Ayres | TR | 200-315 | ARTS 1426 |
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| THE AGE OF
REMBRANDT AND VERMEER, part I This course is Part I of a two-course
sequence on Seventeenth-Century Dutch Art: Art History 111B -- The age of Rembrandt and Vermeer, part I. The Birth of a Nation: 1579-1648 Art History 111C -- The age of Rembrandt and Vermeer, part II. The Golden Age: 1648-1672 Each part may be taken independently. The first half of the seventeenth century in Holland, the period from the Union of Utrecht of 1579 and its declaration of independence from Spain, to the recognition of the Northern Netherlands as an independent nation in 1648, was part of a century that has come to be known as the Dutch "Golden Age" of Dutch art. This era witnessed the emergence of a Protestant mercantile culture in which the Catholic Church and the hereditary nobility were supplanted by democratic institutions and middle-class merchants as major patrons of the arts. These men and women supported such artists as Rembrandt van Rijn and Frans Hals, as well as a host of lesser known masters, who created a imagery employing the vocabulary of everyday life rather than the imaginary religious, historical, and mythological imagery of previous centuries. This course examines the cultural functions of this rich, apparently descriptive imagery as it helped to form the self-identify and goals of Europe's first middle-class capitalist society. We examine the aesthetics and content of this imagery through contemporary economic, historic, religious, and literary developments, and the emerging scientific revolution. The emphasis in this class is upon the social and intellectual issues engaged by Dutch painting: how they participated in the struggle between the values of a new middle-class and capitalist culture in conflict with an older way of life. At the same time, it examines the varieties of art historical methods employed by contemporary scholars, as well as those of the past, to understand these images. The goal of the course, then, is to both give students a solid grounding in knowledge about seventeenth century Dutch art and culture, as well as the tools with which to analize visual information encountered in contemporary life. Prerequisite: at least one art history course. Not open to freshmen. GE: F Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Ann Jensen Adams | MW | 330-445 | ARTS 1241 |
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| This course
examines images and texts produced in Europe between 1500 and 1750
from the perspective of gender identities and the cultural functions
to which they were put. Definitions of masculine and feminine are
in flux during this period, as images become sites of cultural debates.
These images were also used in considerations of apparently non-gendered
areas as politics and the economy. Subjects to be covered include
the changing understandings of the male and female body from a one-sex
model expressing a hierarchy of qualities, to a two-sex model of incommensurates;
how inversion, cross-dressing, and androgeny were used to reify or
subvert cultural norms; how beliefs about male and female psychology
were expressed in cultural debates, from the new science -- in for
example witchcraft and anchemy -- to the emergence of capitalist markets,
in attempts to make sense of the discoveries of the New World, and
in discourses about the artist and artistic production. Prerequisite:
At least one art history course. Not open to freshmen. GE: F Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Ann Jensen Adams | MW | 1230-145 | ARTS 1241 |
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| Painting
and sculpture from Italy and Spain as well as France and Flanders,
examined in its cultural, political, and religious contexts, with
particular attention to relationships between regional traditions
and international trends. Artists whose work will be studied include
Caravaggio, Bernini, Velazquez, Poussin, and Rubens. Prerequisite:
not open to freshmen. Not open for credit to students who have completed
Art History 157A. GE: F Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Carole Paul | MW | 1100-1215 | ARTS 1241 |
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| Painting,
sculpture, and architecture in Europe. Topics will change, but may
include art and the industrial Revolution, Impressionism, and Post-impressionism.
Prerequisites: Not open to freshmen. Not open for credit to students
who have completed Art History 159AB. GE: F, WRT Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Abigail Solomon-Godeau | MW | 1230-145 | ARTS 1245 |
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| Study of
recent artistic developments, from pop to contemporary movements in
painting, sculpture, and photography. Movements studied include minimal
art, postminimalism, process art, conceptual art, earthworks, pluralism,
neoexpressionism, and issues of postmodern art and criticism. Prerequisite:
not open to freshman. Not open for credit to students who have completed
Art History 159F. GE: F, WRT. Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Abigail Solomon-Godeau | MW | 330-445 | ARTS 1245 |
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| Examination
of three centuries of African-American art in North America, the Caribbean,
and Brazil, stressing the African Legacy. Colonial metalwork and pottery,
folk or outsider genres, and mainstream nineteenth- and twentieth-century
work are among traditions studied. Prerequisite: not open to freshmen.
Not open for credit to students who have completed art Art History
167. GE: F, ETH, WRT Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Sylvester Ogbechie | TR | 200-315 | ARTS 1241 |
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| A general
survey of the main developments of nineteenth-century and twentieth-century
Mexican art in its social context. Particular attention given to the
Mexican mural renaissance and the works of Posada, Rivera, Siquieros,
Orozco, Tamayo, and Frida Kahlo. Prerequisites: Upper Division only.
Not open to students who have completed Art History 161E. GE: F. Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Catha Paquette | TR | 1230-145 | ARTS 1241 |
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| This iconography
course traces the sources and historical development of symbols and
forms that originated in the art of New Spain and Mexico and became
crucial for the development of contemporary Chicano art. Emphasis
given to artistic conceptions of America and Azatlan by Mexican, Mexican
American, and Chicano artists. Prerequisite: Upper division only.
Not open to students who have completed Art History 145 or Chicano
Studies 145. GE: F, ETH Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Catha Paquette | TR | 330-445 | ARTS 1241 |
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| ENROLLMENT
BY DISCUSSION SECTION. (Sections not listed in schedule of classes. See dept or GOLD for section info.) Two powerful empires in the Americas at Conquest, the Aztecs and Inkas, controlled artistic production to sustain their hegemony. This course compares how urban planning, sculpture, textiles and murals functioned wihin political, economic and religious spheres and the Spaniards' similar exploitation of visual culture to advance imperial objectives. Not open to freshmen. GE: E, E-2, NWC, (WRT-approval pending) Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Jeanette F. Peterson | TR | 930-1045 | IV THEA 2 |
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| Islamic architecture
between 650 and 1400 in its historical context. Prerequisite: not
open to freshmen. Not open for credit to students who have completed
Art History 176A. GE:F, NWC, WRT Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Nuha Khoury | TR | 1230-145 | ARTS 1245 |
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| Native traditions
and foreign influences in the development of Japanese architecture,
sculpture, painting, and minor arts. Prerequisites: Art History 6D
or consent of instructor. Not open to freshmen. Not open for credit
to students who have completed Art History 183A. GE: F, NWC Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Peter Sturman | TR | 930-1045 | ARTS 1426 |
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| The history
of architecture and planning beginning with eighteenth-century architectural
trends in Europe and concluding with late-nineteenth-century efforts
to reform the city. Exploration of nineteenth-century modernity through
architecture and urban design, centered around the themes of industrialization,
colonialism, and the idea of landscape. The scope is global. Prerequisite:
not open to freshmen. Not open to students who have completed Arts
History 159C. GE: F, WRT Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Swati Chattopadhyay | TR | 930-1045 | ARTS 1241 |
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| A survey
of twentieth-century commercial arts, including cars, fashion, furniture,
graphic arts, industrial design, and architecture. Prerequisite: upper-division
standing. Not open for credit to students who have completed Art History
166. GE: F Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Mary Winder | TR | 1230-145 | IV THEA 2 |
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| 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. Not open
for credit to students who have completed Art History170C. GE: F Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Ulrich Keller | MW | 1230-145 | ARTS 1426 |
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| The image
and ideology of Rome as a cultural, political, and religious center
as expressed in its are, architecture, and urban structure from antiquity
to the present. Prerequisite: not open to freshmen. Not open for credit
to students who have completed Art History 164B. GE: F, WRT Instructor Office Hours Class Website |
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| Instructor | Days | Hours | Room |
| Carole Paul | MW | 200-315 | ARTS 1241 |
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| 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. Required
of all first-year M.A. and Ph.D. students. Instructor Office Hours |
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| Instructor | Days | Hours | Room |
| Robert Williams | T | 200-450 | ARTS 2622 |
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| Special research
in medieval art. Prerequisite: graduate standing. Instructor Office Hours |
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| Instructor | Days | Hours | Room |
| Larry Ayres | W | 300-550 | ARTS 2622 |
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| Special research
in pre-Columbian and colonial Latin American art topics. Prerequisite: graduate standing. Instructor Office Hours |
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| Instructor | Days | Hours | Room |
| Jeanette F. Peterson | W | 1200-250 | ARTS 2622 |
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| This seminar
will look closely at the often uneasy relationships between text and
objects, focusing on the ways in which theory and writing can be meaningfully
integrated into analyses of objects. We will be assessing strategies
used to incorporate theory into visual analyses, and work on developing
our own skills in this regard. The seminar aims to develop the productive
encounters between theory and visual material through our own experience
– working to apply theory to an analysis of a particular object,
and transforming the (visual) object into text. While terms like “discourse”
and “ideology” have slipped into academic prose, the very
ease with which they are used belies the complexities the terms demand
conceptually and materially. Thus the course will begin by revisiting
some of the theoretical texts that first introduced these terms to
art historical analyses, and encourage participants to think anew
how they might be implemented in research and writing. There is a heavy methodological component to this seminar, stressing writing and analysis rather than introduction to new theoretical models, although one does not necessarily preclude the other. Preferably participants will have a paper or project from a previous course that can be used to refine and rework particular theoretical claims in relation to visual evidence. The seminar will emphasize collective work among participants through editorial exchange, oral critiques and presentations. Each participant will present readings and/or their own papers to the class. In the case of papers, these will be circulated in advance to the entire class, and one person will be designated as a formal respondent to the presenter, outlining particular points of theory and analysis for discussion among the class as a whole. The author of the paper should suggest a theoretical text that served as inspiration, in part, for the paper – and the class can read this in conjunction with the paper. In the case of assigned readings, special attention should be paid to the ways in which these texts might be used in relation to developing a working methodology around an (art?) object. A final paper will be due Wednesday, December 11. Prerequisite: graduate standing. Instructor Office Hours |
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| Instructor | Days | Hours | Room |
| Laurie Monahan | M | 500-750 pm | ARTS 2622 |
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| This seminar
will focus on nineteenth-century and early twentieth-century depictions
of race in American art. I am concerned with how race is performed
visually, how it plays or is read in different communities. We will
concentrate on a few case-studies, on either side of the divide of
the Civil War, looking at the related but not entirely overlapping
issues of race, blackness and slavery; we will also look at other
racialized groups. Finally, we will consider closely the historiography
of this discussion and its concentration on the issue of the artist's
intent. Prerequisite: graduate standing. Instructor Office Hours |
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| Instructor | Days | Hours | Room |
| Bruce Robertson | M | 200-450 | ARTS 2622 |
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| Special research
in the history of architecture. Prerequisite: graduate standing. Instructor Office Hours |
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| Instructor | Days | Hours | Room |
| Swati Chattopadhyay | R | 100-350 | ARTS 2622 |
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| EC#64188 Methods in museum practice. Content will vary according to museum program and art exhibition involved. Prerequisite: graduate standing. Instructor Office Hours |
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| Instructor | Days | Hours | Room |
| Mark Meadow | T | 1100-150 | ARTS 2622 |
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| EC#58511 THE UNIVERSITY: MICROCOSM OF KNOWLEDGE 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. (Same course as ARTHI 45MC) Instructor Office Hours |
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| Instructor | Days | Hours | Room |
| Mark Meadow | TR | 200-325 | HSSB 1210 |
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| EC#54189 Chicano/a artists examine the development of Chicano/a art within the historical and socio-political context of the Chicano movement and the struggle for liberation. Emphasis on analysis and interpretation of historical and socio-political context in which Chicano/a artists live. Prerequiisite: Chicano Studies 1A or 1B or 1C or upper-division standing. Can be petitioned to apply to Area D (upper division elective) of the Art History major requirements. |
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| Instructor | Days | Hours | Room |
| Staff | TR | 1100-1215 | PHELP 1508 |
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