FALL 2004
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.
Last Updated: 10.11.2004
| Course # | Title | Instructor |
| LOWER DIVISION
COURSES |
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| 5A | SURVEY: Introduction to Architecture and Environment
Note-time change for honors section |
Volker Welter |
| 6A | ART SURVEY I: ANCIENT-MEDIEVAL Note section change |
Sarah Thompson |
| 6G | SURVEY: HISTORY OF PHOTOGRAPHY | Barbara Vilander |
| UPPER
DIVISION COURSES |
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| 101B | CANCELLED | |
| 103A | ROMAN ARCHITECTURE | Fikret Yegül |
| 103B | ROMAN ART: FROM THE REPUBLIC TO THE EMPIRE (509 B.C. TO A.D. 337) |
Fikret Yegül |
| 105C | MEDIEVAL ARCHITECTURE: FROM CONSTANTINE TO CHARLEMAGNE | Edson Armi |
| 105E | THE ORIGINS OF ROMANESQUE ARCHITECTURE | Edson Armi |
| 105F | CANCELLED | |
| 107A | PAINTING IN THE FIFTEENTH-CENTURY NETHERLANDS | Mark Meadow |
| 108PB | CANCELLED (Moved to Winter 2005) | Mark Meadow |
| 109E | CANCELLED (Everyone enrolled in 109E has been moved to 109G.) | |
| 109G | LEONARDO DA VINCI: ART, SCIENCE,AND TECHNOLOGY IN EARLY MODERN ITALY EC# 68924 |
Robert Williams |
| 113F | BERNINI AND THE AGE OF THE BAROQUE | Carole Paul |
| 115B | EIGHTEENTH CENTURY ART; 1750 TO 1810 | Ann Bermingham |
| 115C | EIGHTEENTH CENTURY BRITISH ART & ARCHITECTURE | Ann Bermingham |
| 134B | CANCELLED replaced by 134D | |
| 134D | ART AND MODERN CHINA LATE ADDITION EC#58479 |
Peter Sturman |
| 136A | 19TH CENTURY ARCHITECTURE | Swati Chattopadhyay |
| 137BB | CANCELLED | |
| 144A | AVANTGARDE IN RUSSIA | Sven Spieker |
| 184C | THE PALACE AND VILLA IN EARLY MODERN EUROPE | Carole Paul |
| GRADUATE
COURSES |
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| 200A | PROSEMINAR: INTRODUCTION TO ART-HISTORICAL METHODS | Abigail Solomon-Godeau |
| 255D | SEMINAR: TOPICS IN EARLY MODERN ART IN NORTHERN
EUROPE LATE ADDITION EC#70664 |
Mark Meadow |
| 260D | SEMINAR: TOPICS IN EUROPEAN ART OF THE TWENTIETH CENTURY Note day/time change | Laurie Monahan |
| 261A | SEMINAR: TOPICS IN AMERICAN ART | Bruce Robertson |
| 265 | SEMINAR: TOPICS IN ARCHITECTUAL HISTORY | Swati Chattopadhyay |
| 275E | CANCELLED moved to Winter 2005 | Nuha Khoury |
| 292E | SEMINAR: TOPICS IN COMPARATIVE STUDIES will meet in ARTS 2622 |
Robert Williams |
| RELATED
COURSES IN OTHER DEPARTMENTS |
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| CH ST 125B | CONTEMPORARY CHICANO AND CHICANA ART | Guisella Latorre |
| CH ST 148 | CHICANO/A ART | Guisella Latorre |
| INT 94EB | FRESHMAN SEMINARS: Experiencing Architecture |
Swati Chattopadhyay |
Examines the history of built and natural environments as inter-related
phenomena, and explores how human beings have positioned themselves
architecturally in relation to nature and the environment at various
moments in history. Focuses primarily on the 19th & 20th century
and the scope is global. Strongly recommended preparatory reading:
Christine Macy and Sarah Bonnemaison. Architecture and Nature. Creating
the American Landscape. (New York: Routledge, 2003) Note: honors section moved to T 9:00-9:50 ARTS 2622 Instructor office hoursCourse Website | |||
| Instructor | Days | Hours | Room |
| Volker M. Welter | MW | 200-315 | HSSB 1174 |
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History
of Western art from its origins to the beginnings of the Renaissance.
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| Instructor | Days | Hours | Room |
| Sarah Thompson | TR | 1100-1215 | CAMPB HALL |
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| A
critical survey of the history of nineteenth- and twentieth-century photography as an art form. The course will focus on the technical, social/historical and aesthetic aspects of the medium. GE: WRT, F. ENROLLMENT BY DISCUSSION SECTION Instructor office hours Course Website |
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| Instructor | Days | Hours | Room |
| Barbara Vilander | TR | 1230-145 | IV THEA2 |
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The architecture and urban image of Rome and the Empire from the Republic through the Constantinian era. Prerequisite: Not open to freshmen. Recommended: Art History 6A. GE: F Instructor office hours |
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| Instructor | Days | Hours | Room |
| Fikret Yegül | TR | 930-1045 | ARTS 1245 |
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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: Not open to freshmen. Recommended: Art History 6A. GE: F Instructor office hours Course Website |
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| Instructor | Days | Hours | Room |
| Fikret Yegül | TR | 1230-145 | ARTS 1241 |
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A survey of the 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 GE: F |
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| Instructor | Days | Hours | Room |
| Edson Armi | TR | 200-315 | ARTS 1426 |
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Eleventh century architecture in France, Italy, Spain, Germany, and England. Prerequisite: upper-division standing. Recommended: 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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| Instructor | Days | Hours | Room |
| Edson Armi | TR | 1230-145 | ARTS 1426 |
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| 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. GE: F Instructor office hours Course Website |
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| Instructor | Days | Hours | Room |
| Mark Meadow | TR | 1230-145 | ARTS 1245 |
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The life and work of Leonardo Da Vinci and a consideration of their place in the history of art as well as in the development of early modern science and technology. Not open to freshmen. GE: F, E-2. EC# 68924 |
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| Instructor | Days | Hours | Room |
| Robert Williams | TR | 330-445 | EMBAR HALL |
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| This
course will examine the life and work of Gianlorenzo Bernini, best
known as a brilliant and innovative sculptor, in their historical
context. We will also consider the international influence that Bernini
exerted on seventeenth- and eighteenth-century art. Not open to freshmen. Instructor office hours Course Website |
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| Instructor | Days | Hours | Room |
| Carole Paul | MW | 1230-145 | ARTS 1245 |
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Painting, sculpture, and architecture in Europe from 1750 to 1810. Topics will change but may include art and the French Revolution and neoclassicism. Prerequisite: not open to freshmen. GE: F, WRT. Instructor office hours Course Website |
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| Instructor | Days | Hours | Room |
| Ann Bermingham | TR | 1100-1215 |
ARTS 1245 |
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| An
interdisciplinary study of British art and culture in the eighteenth
century. Topics may include: the art market and art public; portraiture
and autobiography; images of the family; landscape gardening and poetry;
sentimentalism; the Royal Academy and the ordering of the arts. Not
open to freshmen. GE: F, WRT Instructor office hours Course Website |
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| Instructor | Days | Hours | Room |
| Ann Bermingham | TR | 200-315 | ARTS 1241 |
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| An
exploration of trends and issues in nineteenth and twentieth century
Chinese art, as China awakens and responds to the challenges of modernity
and The West. Topics include the continuity of tradition, the exile
identity, and trends after Tiananmen (1989). Prerequisites: Not open
to freshmen. Recommended preparation: Art History 6D Instructor office hours Course Website |
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| Instructor | Days | Hours | Room |
| Peter Sturman | TR | 930-1045 | ARTS 1241 |
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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. GE: F, WRT Instructor office hours Course Website |
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| Instructor | Days | Hours | Room |
| Swati Chattopadhyay | TR | 330-445 | ARTS 1241 |
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| During
the first two decades of the 20th century, Russian art went through
a series of dramatic changes which reflected the political and social
upheavals of the country. These changes produced--for a brief and
very exciting period--a body of "avantgarde" work whose
influence would eventually be felt throughout the world. In this class
we examine the works of artist such as Rodchenko, El Lissitzky, Popova,
Malevich, and many others. We will also read programmatic statements
("manifestoes") by the various groupings and movements that
make up the Russian avantgarde. Prerequisite: upper-division standing
or consent of instructor. (Cross listed with SLAV 144A) GE: F, WRT Instructor office hours |
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| Instructor | Days | Hours | Room |
| Sven Spieker | MW | 330-445 | HSSB 1174 |
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| An
examination of the ways in which the design and decoration of these
building types relates to their functions as residences, museums,
theatres of power, etc., and reflects particular ideologies. Works
studied may or may not be regionally and chronologically delimited.
Prerequisite: upper-division standing. GE: F, WRT Instructor office hours Course Website |
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| Instructor | Days | Hours | Room |
| Carole Paul | MW | 930-1045 | 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. Instructor office hours |
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| Instructor | Days | Hours | Room |
| Abigail Solomon-Godeau | T | 200-450 | ARTS 2622 |
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| BREAKING
THE FRAME This seminar examines the role of frames and framing, both physical and conceptual, in the perception and interpretation of art. We will read broadly in art history, philosophy and sociology, among other disciplines, in order to construct a working conceptual model of framing. We will consider questions of frames as spatial and perceptual mediators, the construction of multiple levels of reality and the special effects of disrupting the frame. We will begin with examples of 15th and 16th-century Netherlandish art, but students will be welcome to work on projects relating to their own areas of study. Prerequisite: graduate standing. Instructor office hours |
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| Instructor | Days | Hours | Room |
| Mark Meadow | M | 1100-150 | ARTS 2622 |
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MYTH AND MODERNITY This seminar examines the resurgence of myth as a representational and political strategy among artists in France during the interwar period (1918-1938). There was at this moment widespread concern that France had "lost its way," a situation exacerbated by the stagnant political system. Similarly, many intellectuals on both the Left and the Right were increasingly convinced that capitalism had transformed culture into a purely materialist enterprise with little meaning. Myth played an important role in artists' and writers' attempts to address these problems. Artists such as Picasso, Matisse, Corbusier, and the Surrealists began focusing their attention on myth - particularly tragic and violent myths. The seminar will set about examining the ways in which myth was used as a critical tool in relation to social analysis and political positions. Our collective efforts will be structured around an imaginary exhibition; that is to say, our readings will provide common research ground to be honed more particularly by individual focus on a particular artist or theme. Through these efforts, the seminar aims to produce a "package" of images, themes, and history, produced in the format of an "exhibition." The idea is to produce a coherent package of research, focused both on texts and images. Readings will include a range of texts by authors from a variety of perspectives: Friedrich Nietzsche, Roger Caillois, Jean-Pierre Vernant, Georges Bataille, André Breton, René Girard. A reading knowledge of French is highly recommended. In addition to discussions of readings, the seminar will serve to keep all members up to date on the overall progress of the "exhibition" by presenting short reports on their research focus. This will include selection of particular works, "wall label" information, and a short catalogue essay presented at the end of the seminar (approx. 15 pages, double spaced). All work will be peer reviewed as the "exhibition" proceeds, with a final critique of the overall project on the final day of the seminar. Required Texts: a) A Course Reader will be available at Grafikart, 6550 Pardall Road, Isla Vista. Tel: 968-3575 b) Friedrich Nietzsche, The Birth of Tragedy and the Case of Wagner, trans. Walter Kaufmann, (Random House/Vintage Books: 1967). c) The Chicago Manual of Style (available at the UCSB Bookstore for this course) Prerequisite: Graduate standing. Prerequisite: Graduate standing. Instructor office hours |
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| Instructor | Days | Hours | Room |
| Laurie Monahan | M | 500-750 Note day/time change |
ARTS 2622 |
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GENRE AND NARRATIVE: THE LONG NINETEENTH CENTURY
In this seminar we will examine what constitutes "story-telling" in American painting, from just before the Revolution to just before World War I. The reasons for these dates is that I wish to examine continuities and differences over a long-enough period that there are major cultural and artistic changes, so that we move from a period in which portraiture carried the burden of narrative in the 18th-century, to a point in which painting seeks to become anti-narrative, surrounded as it was by new story-telling media like movies. We'll be examining three inter-related issues. The first is: what constitutes genre painting? What are the components of the "everyday", in terms of realism, the community of viewers, the hierarchy of genres, and so on. The second is: what constitutes narrative? Here we will be examining critically literary theories of narrative and how they might apply to painting. Finally, I want to explore the relationship between narrative and the community that produces narrative and consumes it. In other words, I want to examine the cultural work that narrative painting does. Who is being told what, and to what effect? The seminar will concentrate on a handful of major American painters, some less obviously genre painters than others: Copley, Mount, Bingham, Eakins, Homer, Sargent, Cassatt, Sloan and Bellows. Prerequisite: Graduate standing. Instructor office hours |
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| Instructor | Days | Hours | Room |
| E. Bruce Robertson | M | 200-450 | ARTS 2622 |
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TERRITORIALITIES This graduate seminar will explore the writing of history as a problem of territoriality. We will examine cultural and geo-political imaginations of the 19th and 20th centuries through the following concepts: universalism, imperialism, nationalism, and globalism. The objective is to understand how notions of territory and territory-based identity have shaped historical imagination, the changing contours of such imagination, and the territorial paradigms within which we perform our historical writing. We will do a set of comparative readings beginning with Hegel and Marx, then continue with Pateman, Chakrabarty, Harvey, Lloyd, Said, Bhaba, Anderson, Chatterjee, Spivak, Taussig, Jameson, Appadurai, Gilroy, Mignolo, and Ong. Requirements: Conscientious and intensive reading; 2-3 page response papers each week. Prerequisite: Graduate standing. Instructor office hours |
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| Instructor | Days | Hours | Room |
| Swati Chattopadhyay | W | 1000-1250 |
ARTS 2622 |
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| VENICE: PARADIGMS OF MODERNITY, 1500-1900
Venice occupied a unique position in the cultural life of early modern Europe. Exquisitely poised between land and sea, it also served as a conduit between West and East. A city-state with distinctive political and social structures, it was also a powerful maritime empire, a major publishing center and a lively international hub of commerce and cultural exchange, attracting the ambitious, creative, and independently-minded from all over Europe and the Mediterranean world. A bastion of republican liberty in an age of absolutism, Venice had a long tradition of active public life, of "virtue". It was also associated, however, with potentially dangerous forms of free-thought, sensuality, and sexual libertinism. Long famous for its artistic output (opera, painting, decorative arts, theater, architecture), Venice has increasingly been recognized by scholars as a place where a distinctly liberated and aestheticized mode of life, important for subsequent modernism, was first created and sustained in Europe. We will survey these different aspects of Venetian culture and its influence, but also attempt to integrate them in an effort to establish what Venice reveals about early modern culture as a whole. The working hypothesis of the seminar is that Venice offers a privileged vantage point from which to view the various modes of production of early modern subjectivity. Course readings will be drawn from the fields of history, urban studies, environmental studies, art history, theater studies and literary criticism. All texts will be in English. Requirements: two brief class presentations and a final research paper. Prerequisite: graduate standing. Same course as Comp Lit 200 Instructor office hours |
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| Instructor | Days | Hours | Room |
| Robert Willliams | W | 100-350 | ARTS 2622 |
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| Examination
and appraisal of the Chicano art movement within the context of contemporary
American art and the contempoorary art of Mexico. A survey of major
Chicano and Chicana artists and developments in Chicano painting,
sculpture, graphic, and conceptual art from the last 199960-s to the
present. Prerequisite: upper division standing. Not open to students
who have completed Art History 125B or 146. (Can be petitioned to
apply to Area A-5, C or D of the Art History major requirements.)
GE: F, ETH |
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| Instructor | Days | Hours | Room |
| Guisella Latorre | TR | 330-445 | BREN 1414 |
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| 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 C or D of the Art History major requirements.) | |||
| Instructor | Days | Hours | Room |
| Guisella Latorre | TR | 1100-1215 | NH 1109 |
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| Instructor | Days | Hours | Room |
| Swati Chattopadhyay | T | 1000-1150 | ARTS 2622 |
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