SPRING 2003
(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 |
||
| 6C | ART SURVEY III: MODERN - CONTEMPORARY note section changes |
Laurie Monahan |
| 6D | SURVEY: ASIAN ART | Peter Sturman |
| UPPER
DIVISION COURSES |
||
| 101C | HELLENISTIC GREEK ART | John Senseney |
| 105B | MEDIEVAL ART: BYZANTINE | Christina Nielsen |
| 105C | MEDIEVAL ARCHITECTURE: FROM CONSTANTINE TO CHARLEMAGNE | Edson Armi |
| 105F | MEDIEVAL ART: ROMANESQUE | Larry Ayres |
| 106AA | SPECIAL TOPICS IN MEDIEVAL ART | Larry Ayres |
| 107B | PAINTING IN THE SIXTEENTH-CENTURY NETHERLANDS | Gregory Harwell |
| 109D | ART AND FORMATION OF SOCIAL SUBJECTS IN EARLY MODERN ITALY | Gregory Harwell |
| 109E | MICHELANGELO | Robert Williams |
| 117C | NINETEENTH-CENTURY BRISTISH ART AND CULTURE | Ann Bermingham |
| 117F | FRENCH IMPRESSIONISM AND POST-IMPRESSIONISM room change | Abigail Solomon-Godeau |
| 119D | ART IN THE POST-MODERN WORLD | Anette Kubitza |
| 121A | AMERICAN ART FROM THE REVOLUTION TO THE CIVIL WAR | Bruce Robertson |
| 124G | SPECIAL TOPICS IN LATIN AMERICAN ART: THE MEXICAN MURAL MOVEMENT |
Catha Paquette |
| 128AA | SPECIAL TOPICS IN AFRICAN ART | Sylvester Ogbechie |
| 130A | PRE-COLUMBIAN ART OF MEXICO | Catha Paquette |
| 132A | MEDITERRANIAN CITIES | Nuha Khoury |
| 136I | THE CITY IN HISTORY | Swati Chattopadhyay |
| 138D | HISTORY OF PHOTOGRAPHY | Barbara Vilander |
| 150 | ART HISTORICAL METHODS AND WRITING | Elizabeth Schott |
| 186S | SEMINAR IN ARCHITECTURAL HISTORY | Kurt Helfrich |
| GRADUATE
COURSES |
||
| 252B | SEMINAR: TOPICS IN ROMAN ARCHITECTURE AND URBANISM | Fikret Yegül |
| 253E | SEMINAR IN ROMANESQUE ARCHITECTURE AND SCULPTURE | Edson Armi |
| 257A | SEMINAR IN BAROQUE ART | Ann Jensen Adams |
| 266 | SEMINAR: TOPICS IN MODERN ARCHITECTURE | Volker Welter |
| 275E | SPECIAL TOPICS IN ISLAMIC ART & ARCHITECTURE | Nuha Khoury |
| 282A | SEMINAR ON EAST ASIAN ART | Peter Sturman |
COURSES
IN RELATED FIELDS |
||
History of Western art from the eighteenth century to the present. GE: WRT, E, E1, F. ENROLLMENT BY DISCUSSION SECTION 6C SECTION CHANGES 01495 (was T 300-350 ARTS 2324) moved to T 330-420 ARTS 2622 01503 (was T 400-450 ARTS 2324) moved to F 200-250 ARTS 2324 01628 (was R 200-250 ARTS 2622) moved to W 400-450 ARTS 2324 01685 (was F 1000-1050 ARTS 2324) moved to F 1000-1050 ARTS 1234D Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Laurie Monahan | TR | 1100-1215 | CAMPB HALL |
| back to top | |||
| The
arts of India, China, and Japan. GE: WRT, NWC, F ENROLLMENT BY DISCUSSION SECTION Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Peter Sturman | TR | 930-1045 | IV THEA2 |
| back to top | |||
| Sculpture,
painting, architecture and urbanism of the Mediterranean world from
the conquests of Alexander the Great to Rome's annexation of Ptolemaic
Egypt in 30 B.C.E. Examines artistic styles, art and intellectual
currents, cultural hybridity in the arts of the Hellenized East, and
the Hellenistic transformation of Roman Republican artistic patronage.
Prerequisite: not open to freshman. Not open for credit to students
who have completed Art History 152F. GE: F Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| John Senseney | TR | 930-1045 | ARTS 1426 |
| back to top | |||
| This
class will examine the art of the Early Christian era and the Byzantine
Empire from 330-1453 AD. This course will provide students with
a broad understanding of the role and function that major architectural
monuments, painted icons, mosaics, frescoes, illuminated manuscripts,
luxurious gold and silver objects, ornamented textiles, stone sculptures
and carved ivories played within their original courtly and ecclesiastical
settings. We will also consider related themes such as funerary/commemorative
art, the role of art in religious conversion and pilgrimage, and
the artistic and diplomatic exchanges between Byzantium and contemporaneous
Christian empires in Western Europe and Islamic N. Africa and Middle
East. Grades will be based primarily on three short writing assignments,
the midterm examination, and the final examination. Prerequisite:
upper-division standing. Not open to students who have taken ArtHi153B.
GE: F, WRT Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Christina Nielsen | TR | 1230-145 | ARTS 1426 |
| back to top | |||
| A
survey of architecture in Italy, France, Spain, Germany, and England
from the early Christian through the Carolingian periods. Prerequisite:
upper-division standing. Recommended: Art History 6A, 6F, 105E, or
105G.Not open for credit to students who have completed Art History
153L. GE: F Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Edson Armi | TR | 1100-1215 | ARTS 1426 |
| back to top | |||
| 105F
MEDIEVAL ART: ROMANESQUE |
|||
| 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 Instructor office hours |
|||
| Instructor | Days | Hours | Room |
| Larry Ayres | TR | 200-315 | ARTS 1426 |
| back to top | |||
| Special
topics in medieval art. . Prerequisite: upper division standing. May
be repeated for credit to a maximum of 12 units privided letter designations
are different. Instructor office hours |
|||
| Instructor | Days | Hours | Room |
| Larry Ayres | W | 200-450 | ARTS 1234D |
| back to top | |||
| Painting
of the Low Countries from c1500-c1600, placed in its social and cultural
contexts, from Bosch and Bruegel to Wtewael and Rubens. Prerequisite:
Not open to freshmen. Not open for credit to students who have completed
Art History 156B. GE: F Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Gregory Harwell | MW | 330-445 | ARTS 1241 |
| back to top | |||
|
BECOMING CLASSIC: RENAISSANCE ART AND ITS RECEPTION IN LIGHT OF NEW
RESEARCH Examines what Wölfflin called a century ago the "Classic Art" of the Italian Renaissance in light of recent research following the cleaning of the Sistine Chapel ceiling and the Last Supper mural, and the completion of Leonardo's bronze horse in Milan. This approach examines Florentine art from around 1500 and how it attained iconic status. Prerequisite: not open to freshmen. GE: F Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Gregory Harwell | MW | 200-315 | ARTS 1241 |
| back to top | |||
| The
career and achievement of the artist, with particular attention to
issues surrounding his treatment of the human body. Prerequisite:
Not open to freshmen. Not open for credit to students who have completed
Art History 156E. GE: F Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Robert Williams | TR | 330-445 | EMBAR HALL |
| back to top | |||
| An
Interdisciplinary study of British art and culture in the nineteenth
century. Topics may include: romantic landscape painting and poetry;
art and the industrial revolution; London and Victorian images of
the city; images of childhood; romanticism in Britain; and more. Prerequisite:
not open to freshmen. Not open for credit to students who have completed
Art History 159H. GE: F, WRT. Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Ann Bermingham | TR | 330-445 | ARTS 1241 |
| back to top | |||
| 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 Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Abigail Solomon-Godeau | TR | 200-315 | IV THEA 2 note room change |
| back to top | |||
| An
examination of the concepts of "Postmodernism" in art from
the late 1950s to today. Apart from painting, sculpture, and architecture,
attention will be given to so called non-traditional media and genres
such as happening, performance, body art, installations, billboard
art, film, video, and digital art. We will discuss art and actions
that, in various ways, challenge conventional notions about art, art
contexts, and "appropriate" social behavior. Questions of
gender, racial identity, and the complex politics involved in visual
representation will be discussed. Prerequisite: Upper division standing.
GE: F Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Anette Kubitza | MW | 1100-1215 | ARTS 1241 |
| back to top | |||
|
Painting, sculpture, architecture, and decorative arts in the original
13 colonies, through the formation of the United States, to the crisis
of the Civil War. Particular attention paid to environmental and social
issues. The course takes a holistic approach to the ways in which Europeans first understood the American environment on the East Coast-how and what they built, what things they made, how they saw themselves. Out of this visual culture comes the foundation of the United States. Many of the traits we think of as quintessentially American today-individualism, entrepreneurship, environmentalism, racism-are formed and developed in the years just before and after the Revolution. We will look at silver and furniture, homes and statehouses, portraits and landscapes. It is through these visual products that the first citizens of the United States explored the West, came to terms with slavery, understood the place of women, glorified the landscape, and worried about their place in the world. We still do. Not open to students who have completed Art History 161A. GE: F, WRT, AMH Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Bruce Robertson | MW | 330-445 | HSSB 1174 |
| back to top | |||
|
Instructor office
hours class website |
|||
| Instructor | Days | Hours | Room |
| Catha Paquette | TR | 500-615 | ARTS 1241 |
| back to top | |||
| This
course evaluates the ideologies, forms and contexts of practice of
modern and contemporary African Art. Despite a century's worth of
history, modern and contemporary African art receives little attention
from art history and its divergent practices are often derided as
an imitation of outmoded European tendencies because of its origins
in the colonial era of African history. Contemporary African artists
derived modes of representation from European forms of expression
in the same manner and roughly at the same time that European artists
appropriated African art and aesthetic traditions to transform their
own visual traditions. In spite of this obvious cross-pollination,
art history narrates the European context as a triumph of genius and
denigrates the African context as mere mimicry of moribund ideals.
This course challenges such characterization and seeks a conceptual
framework for evaluating modern and Contemporary African art that
recognizes its unique conceptual/formal structure and also its location
within an international discourse of art and visual culture. Prerequisite:
not open to freshmen. Instructor office hours |
|||
| Instructor | Days | Hours | Room |
| Sylvester Ogbechie | R | 1100-150 | ARTS 2622 |
| back to top | |||
|
The art and architecture of selected cultures in Mesoamerica from
1200 BC to the Conquest, with an emphasis on social, political, economic
and cultural contexts. Prerequisite: not open to freshmen. Not open
for credit to students who have completed Art History 154C. GE: F,
NWC, WRT Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Catha Paquette | TR | 1230-145 | ARTS 1241 |
| back to top | |||
| An
exploration of the most important medieval cities of the Mediterranean
world, their urban forms, layout, architecture, and physical patterns.
Venice, Cairo, and Baghdad will be among the cities discussed. Prerequisite:
not open to freshmen. Not open to students who have completed Art
History 175AC. GE: F, NWC, WRT. Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Nuha Khoury | TR | 1100-1215 | ARTS 1241 |
| back to top | |||
| An
historical introduction to the ideas and forms of cities with emphasis
on modern urbanism. Examination of social theory to understand the
role of industrial capitalism and colonialism in shaping the culture
of modern cities, the relationship between the city and the country,
the phenomena of class, race and ethnic separation. Prerequisite:
not open to freshmen. GE: F, E, E2, WRT Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Swati Chattopadhyay | TR | 930-1045 | ARTS 1241 |
| back to top | |||
| A
critical survey of nineteenth- and twentieth-century photography
from pre-photographic processes to the present. Significant individuals,
movements and themes in the history of the medium are examined within
their technical, social/historical and aesthetic contexts. Exams
consist of photo identifications, comparisons/contrasts between
images and essay questions. Prerequisite: not open to freshmen.
Not open to students who have completed Art History 170A. GE: F,
WRT. Instructor office hours class website |
|||
| Instructor | Days | Hours | Room |
| Barbara Vilander | MW | 1230-145 | ARTS 1241 |
| back to top | |||
| Art History 150 will introduce advanced art history majors to the research, analytic, and writing skills necessary to write upper-level art history papers and theses. Students will expand their ability to engage in visual analysis, encounter basic strategies for making and evaluating arguments, examine the methods particular to art historical argumentation, and will gain the research skills necessary for answering the primary questions art history poses. Emphasis will be placed on the writing and research process, with a focus on helping students develop drafting and revising practices that best serve each individual student. The class will be held, for the most part, in either a seminar or workshop format, with ample opportunity for students to meet one-on-one in conferences with the instructor. Recommended for art history majors, normally to be taken in the junior year. Prerequisite: Upper-division only. Consent of instructor. Enrollment limited to Art History majors. Instructor office hours |
|||
| Instructor | Days | Hours | Room |
| Elizabeth Schott | TR 930-1045 | 930-1045 | ARTS 2622 |
| back to top | |||
| TRADITION
AND INNOVATION IN SOUTHERN CALIFORNIA DESIGN, 1890-PRESENT This undergraduate
upper division seminar focuses on understanding how an architectural
archive documents the changes that have occurred during the last century
to Southern California's built environment. It will do so by giving
students a firsthand experience and practical knowledge of historic
materials from the archives of eight significant designers held in
the University Art Museum's Architecture and Design Collection. Selected
original historic drawings and photographs, as well as related materials
from these designers' archives will be used as tools in a focused
critical assessment of their careers addressing such broader issues
as the impact of the Modern Movement and technology on the region's
built environment, the development of Southern California's "designed"
identity, as well as the changing nature of architectural practice
in the region during the twentieth century. The designers featured
will include Irving J. Gill (1870-1936), Rudolph M. Schindler (1887-1953),
Lutah Maria Riggs (1896-1984), Albert Frey (1903-1998), Maynard Lyndon
(1907-1999), Gregory Ain (1908-1988), Cliff May (1908-1989), and Barton
Myers (born 1934). The course will require weekly readings and discussions
as well as a research seminar paper due at the end of the quarter.
Because of the fragility of handling these original historic materials,
the class will be limited to eight Art History third and fourth year
majors. The class will meet in the Museum's Architecture and Design
Collection. Prerequisite: Upper-division only. Enrollment limited
to Art History majors. Instructor office hours |
|||
| Instructor | Days | Hours | Room |
| Kurt Helfrich | W | 100-350 | ARTS 1332 |
back to top |
|||
| ARCHITECTURE
OF DEATH: focusing on, but not restricted to the Greco-Roman period,
the concept and customs of death and afterlife shaping funerary architecture
and its memory nexus. Prerequisite: graduate standing or senior art
history majors with consent of instructor. Instructor office hours |
|||
| Instructor | Days | Hours | Room |
| Fikret Yegül | F | 100-350 | ARTS 2622 |
| back to top | |||
| Seminar
on major topics and problems in the monumental arts of the eleventh
and twelfth centuries in Europe. Prerequisite: graduate standing. Instructor office hours |
|||
| Instructor | Days | Hours | Room |
| Edson Armi | T | 1230-330 | ARTS 2622 |
| back to top | |||
| IDENTITY,
REPRESENTATION, AND FACTICITY IN THE EARLY MODERN PORTRAIT Perhaps more than any other artistic genre, portraits focus issues of representation, for they are embedded in conflicting art historical and cultural discourses. Art theory celebrates portraiture as emblematic of the practice of painting itself: Alberti asserted that the first image produced by nature was a portrait, when Narcissus recognized his face reflected in a pool. At the same time, portraits are derided by art theory as being transparent to their subjects, necessitating no artistic contribution. The unique hold portraits have on our imagination, however, are attested to by the variety of physical acts performed upon them, from kissing them to iconoclast's slashing and destroying them. For both Protestants and Catholics, the Reformation placed images under a great deal of pressure, forcing a reevaluation of the very ontology of the image. Situated between the transcriptive and factual on the one hand, and the inventive on the other, portraits are a superb site for consideration of issues of identity, representation, and concepts of facticity in the early modern period (1500-1750). Genres to be covered, and possible paper topics include portraits of the individual, the family, social and civic groups, monarchs, popes, and institutional leaders, the deceased, saints, imaginary portraits, and the artist him- or herself. Themes may include the representation of character, psychology, and the passions; the relationship of the physical body to the mental image; the use of portraits in formulating memory and history; portrait conventions and the history of vision; questions of artistic authorship; the portrait's role in constructing conceptual boundaries between the public and the private, genders, classes and/ or races; portrait collections, display, patronage, and the market; questions of duplicates, copies, and originality. Central to all of these questions is both the personal, psychological use of portraits, and their public, social function in generating not only identities -- but more importantly -- the very concept of identity in the early modern period. Requirements: one seminar paper of about eighteen pages, an in-class presentation of your research in week ten, and the fulfillment of brief weekly assignments that will guide you through the process of writing your seminar paper. In addition, over the course of the quarter, each student will present to the class an analysis of one or two assigned images and lead a discussion of one or two assigned readings. Prerequisite: graduate standing Instructor office hours |
|||
| Instructor | Days | Hours | Room |
| Ann Jensen Adams | M | 200-450 | ARTS 2622 |
| back to top | |||
| GAZING
AT THE (URBAN) ENVIRONMENT 'Des yeux qui ne voient pas ...' Le Corbusier's criticized in 1923 the lack of many architects to engage visually with the built (urban) environment before embarking on a design project. This seminar will critically analyze the integration of visual survey/investigation of the (urban) environment into the architectural design process since the 19th century. Drawing mainly examples from the late 19th and the 20th century, the seminar will examine such three and two dimensional devices and tools for survey as, for example, outlook tower and camera obscura, topographical models, town planning exhibitions, aerial, pictorial as well as graphical surveys of urban development, grids, grilles, and other analytical diagrams. The focus of the examination will be the process of the visual analysis in its contemporary architectural, social, and ideological setting, as well as the consequences for the environment thus surveyed and framed. Prerequisite: graduate standing Instructor office hours |
|||
| Instructor | Days | Hours | Room |
| Volker Welter | M | 1100-150 | ARTS 2622 |
| back to top | |||
| Special
topics in Islamic art and/or architecture. Topics will vary. Prerequisite: graduate standing. Instructor office hours |
|||
| Instructor | Days | Hours | Room |
| Nuha Khoury | W | 100-350 | ARTS 2622 |
| back to top | |||
| Research
on select problems on the arts of China, Japan, or Korea. Prerequisite:
graduate standing. Instructor office hours |
|||
| Instructor | Days | Hours | Room |
| Peter Sturman | W | 1000-1250 | ARTS 2622 |
| back to top | |||