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) GE: WRT, F. ENROLLMENT BY DISCUSSION SECTION
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. The text for the course is the third
edition of Naomi Rosenblum's "A World History of Photography." Exams
consist of slide identifications, comparison/contrasts and essays (all
images are posed on the course website). A research paper or photography
project is required. GE: WRT, F. ENROLLMENT BY DISCUSSION SECTION
An introduction to selected art traditions in ancient
Mesoamerica and Andean South America. Major monuments of sculpture, architecture,
ceramics, and painting will be examined for their meaning and function
within socio-political, religious, and economic contexts. GE: F, WRT,
NWC. ENROLLMENT BY DISCUSSION SECTION.
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
Eleventh century architecture in France, Italy, Spain,
Germany, and England. Prerequisite: upper-division standing. Recommended:
Art History 105C or 105G or consent of instructor. GE: F
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
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. GE: F
The relationship of art to life in sub-Saharan Africa.
A cross-cultural survey of types, styles, history, and values of arts
ranging from personal decoration to the state festival, stressing Ashanti,
Ife, Benin, Yoruba, Cameroon. Prerequisite: Not open to freshmen. GE:
F, NWC.
This course will explore the arts of ancient Andean civilizations
from Chavin and Moche to the Inka empire. Focus will be on how ceramics,
textiles, metallurgy, monumental stone sculpture and architecture worked
for a political elite to convey and implement their ideology in interlocking
social, economic and religious realms. Prerequisites: Not open to freshmen.
GE: F, NWC, WRT.
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
Japanese paintings and woodblock prints of the sixteenth
through twentieth centuries, with a emphasis on cultural perspectives
and Japanese popular culture. Prerequisites: Not open to freshmen. Recommended
preparation: Art History 6D. GE: F, NWC
This course will examine the emergence and development
of museums of art in eighteenth-century Europe, tracing their origins
to the private collections from which they evolved and studying the cultural
practices, such as tourism, that stimulated their growth. Prerequisites:
Not open to freshmen.
This Course examines the ways in which ideologies of gender
are variously shaped and disseminated through visual culture. Although
the emphasis of the course will be on the fine arts--European painting
from the Renaissance on--we will also be considering modern mass media
as well. Course requirements are a midterm, a final, and a term paper.
Prerequisite: not open to freshmen.
Introduction to Russian art and aesthetic theory from
the beginning to the present. Readings and lectures in English. Prerequisite:
upper-division standing or consent of instructor. Not open for credit
to students who have completed Russian 118. Same course as Slavic 118.
GE: E, F.
MW
330-445
HSSB 1174
186F
Seminar in Fifteenth and Sixteenth Century Southern Renaissance:
Italian Renaissance Art
Soon, the movie version of Arthur Golden`s "Memoirs
of a Geisha" will be out. The goal of this seminar is to produce
a brochure and help prepare a small exhibition of paintings and woodblock
prints on geisha and other entertainers of the pleasure quarters at the
Santa Barbara Museum of Art. We will examine the stereotypes arising
from both Japanese and Western representations of geisha, and challenge
them by means of history and context. No prior experience in Japanese
art or culture is required, but those without will need to have a strong
commitment to acquire the necessary background. Reports on readings,
meetings at the SBMA, outside meetings, research, and much writing and
rewriting required. Each student will develop their own individual research
project. This could lead to further internships in preparation for the
show at the SBMA.
Advanced studies in art theory. Topics will vary. This
course requires weekly readings and discussion, and the writing of research
seminar paper. Prerequisite: Upper-division standing. Prerequisite: Upper-division
standing. GE: WRT.
Considered a revolt from worn-out architectural modes
and urban models, from middle-class conformity and redundant social codes,
the young architects who in the aftermath of World War One shaped Expressionism
in architecture hoped to transform society through their architectural
works.
Focusing on architecture and the city, including representations of
both in Expressionist art and literature as well as Expressionist film,
the seminar will analyze the ways in which Expressionism in architecture
is part of larger cultural, philosophical, and political frameworks.
Moreover, the methodologies of Expressionism will be investigated: What
strategies are used by historians of art and architecture to craft accounts
of Expressionism in early-twentieth-century architecture and art? Perquisite:
graduate standing.
Representations of Geisha Soon, the movie version of Arthur
Golden`s "Memoirs of a Geisha" will be out. The goal of this
seminar is to produce a brochure and help prepare a small exhibition
of paintings and woodblock prints on geisha and other entertainers of
the pleasure quarters at the Santa Barbara Museum of Art. We will examine
the stereotypes arising from both Japanese and Western representations
of geisha, and challenge them by means of history and context. No prior
experience in Japanese art or culture is required, but those without
will need to have a strong commitment to acquire the necessary background.
Reports on readings, meetings at the SBMA, outside meetings, research,
and much writing and rewriting required. Each student will develop their
own individual research project. This could lead to further internships
in preparation for the show at the SBMA.
Special graduate seminar offered at the Getty Research
Institute in Los Angeles, involving faculty and graduate students from
the five graduate programs in Art History of Visual Studies located in
southern California.
Prerequisite: graduate standing.
Recovering Antiquity
Professor Todd Olson, Associate Professor, 17th and 18th Century European
Art, University of Southern California and 2005-2006 Getty Consortium
Scholar
Early modern Europeans based the authority of their cultural, social,
and political institutions on comparative examples found in the ancient
world. While antique revivalism may seem to be inherently uniform and
conservative, ancient Empires and Republics provided radically different
models for bolstering regimes or for inciting revolutionary change
in later societies. Focusing on sixteenth- through eighteenth-century
Europe, this seminar will consider how different groups invested claims
for historical authority on the physical resilience of ancient objects,
sometimes construed as less corruptible than the written word. We will
examine the unanticipated consequences of the material and discursive
recovery of ancient objects and the effect they have had on the peripatetic
transmission of antiquity to the present. Participants may choose a
research topic based on an early modern case study, or they may select
a topic from their own area of specialization. Students will be encouraged
to make use of the Getty Research Institute’s holdings in the
Special Collections and the Photo Study Collection as well as the J.
Paul Getty Museum’s collections.
Orientation: Friday, December 9, 2005 (10am – 12 noon)
Course meeting dates: January 6, 13, 20, 27, February 3, 10, 17, March
3 (10am – 2pm)
Location: The Getty Research Institute
Note: Parking, lunch, and access to the library and collections will
be provided for students enrolled in this course.
