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CRASHING AN ART HISTORY COURSE The Department of Art History recognizes the difficulties that students face in adding courses. The Department recommends the following: To add a closed or full course: 1) Do not e-mail the instructor to determine if a wait list exists. 2) Instead, attend the first class meeting and first section meeting if applicable. Let the instructor know your name, major/minor, class year (junior, senior). Sign up on the waiting list. Continue to attend the lecture and discussion section if applicable. Priority of enrollment and distribution of add codes are at the discretion of the instructor. If you are unable to attend the first class meeting due to religious observance, illness, or other unavoidable conflict, do contact the instructor via e-mail. Add codes will not be distributed prior to completing this procedure. lower division courses graduate courses 5A Introduction to Architecture and Environment
6A Art Survey I: Ancient-Medieval Art ENROLLMENT BY DISCUSSION SECTION
6G Survey: History of Photography
6K Islamic Art and Architecture Khoury A survey of Islamic art and architecture.
103A Roman Architecture Yegül Prerequisite: not open to freshmen. Recommended preparation: Art History 6A. The architecture and urban image of Rome and the Empire from the Republic through the Constantinian era.
105C Medieval Architecture: From Constantine to Charlemagne Armi Prerequisite: upper-division standing. Recommended preparation: Art History 6A or 6F or 105E or 105G. A survey of the architecture in Italy, France, Spain, Germany, and England from the Early Christian through the Carolingian periods.
105E The Origins of Romanesque Architecture Armi Prerequisite: upper-division standing. Recommended preparation: Art History 6F or 105C or 105G. Eleventh century architecture in France, Italy, Spain, Germany, and England.
111B Dutch Art in the Age of Rembrandt Adams Prerequisite: a prior course in art history; not open to freshmen. Visual culture produced in Northern Netherlands between 1579 and 1648. Classes devoted to individual artists (e.g. Rembrandt, Frans Hals) and genres (e.g. landscape, portraiture, history, painting) in relation to material culture and thought of the period.
113B Seventeenth Century Art in Italy I Paul Prerequisite: a prior course in art history; not open to freshmen. Italian painting, sculpture, architecture, and urbanism from the late sixteenth to late seventeenth centuries examined in its cultural, political, and religious contexts, with emphasis on the relationship between the arts. Focus on the earlier seventeenth century, including the work of Caravaggio, Carracci, and the young Bernini.
115C Eighteenth Century British Art and Culture Bermingham Prerequisite: not open to freshmen. 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.
130D Pre-Columbian Art of South America Peterson Prerequisite: not open to freshmen. The architecture, sculpture, ceramics, textiles, and metalwork of the Andean civilizations from 3000 B.C. to A.D. 1532 examined within their archaeological and cultural contexts.
134C Chinese Painting Sturman Prerequisite: not open to freshmen. Recommended preparation: Art History 6D. Chinese painting and theory, from the tenth through the eighteenth centuries. Introduction to major schools and masters in their cultural context. Problems of appreciation and connoisseurship.
137DD Special Topics in Architecture White Prerequisite: not open to freshmen. May be repeated for credit to a maximum of 12 units provided letter designations are different. Special topics in architecture.
141D Birth of the Modern Museum Paul Prerequisite: not open to freshmen. Course examines 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 practices, such as tourism, that stimulated their growth.
144A The Avantgarde in Russia Spieker Prerequisite: upper-division standing. Same course as Slavic 130A. Not open for credit to students who have completed Russian 130A. The Russian avantgarde in its European context. The avantgarde and the revolution of 1917. Analysis of key figures and movements within the Russian avantgarde. Taught in English.
185EE Seminar: Counter Spaces - Spatial Production and Politics Thun-Hohenstein Prerequisite: not open to freshmen. May be repeated for credit to a maximum of 12 units provided letter designations are different. This course is an introduction to spacial theory, which itself draws on philosophy, sociology, art and architectural theory. The seminar will examine how political and social space emerges in art production, and the capacity of artistic practices to recast existing relations between politics, power and space. A central theme for the seminar is the concept of the "performative," a concept that describes the mechanisms of gender relations as well as spatial structures, such as architecture and other elements of the built environment. By studying theories and practices of spatial production and politics, this seminar aims to encourage students to reflect on social mechanisms of inclusion and exclusion, including those that are based on gender-specific assumptions. The seminar's interdisciplinary approach is fundamental to the course; we will be reading philosophers such as Michel Foucault, Merleau-Ponty, Jacques Drrida, Henri Lebvebre; sociologists such as Richard Sennett, social geographers such as Edward Soja, architectural theorists such as Anthony Vidler. The class will consist of group discussions based on the readings as well as class presentations. course website W 1000 - 100 ARTS 1234D 185PP Performance and Performativity: A Transatlantic History of Performance Art Thun-Hohenstein Prerequisite: not open to freshmen. May be repeated for credit to a maximum of 12 units provided letter designations are different. The threshold to performance was crossed the moment Modernism placed the body at the center of aesthetic concepts. Equally signigicant was the influence of feminist movements on art production, one of the major factors shaping the performance practice that we will examine in the class. Performative bodily presence can be conveyed using many different kinds of artistic media and is not limited to the realm of performative art, such as appenings, actions or actual performance. This "performative turn" in the arts has brought about several key developments. These including the direct presence of a body or the representation of a body in its absence; investigations of how the body affects perception; how the so-called coordinates of the body come into being over time and space; and the realtionship of objects to the body. These have created a point of convergence where artistic forms of action and performativity meet with aspects of identity construction. Using these ideas as our base, we will embark on a journey that takes us from the 1960s, a time when the performativity of the body began to be considered, through an entire genealogy leading to post-avant-garde performance art. We will explore the accumulation of meanings and ideas concerning performativity by comparing European and American performance arts. This course will provide students with an understanding of performance art as flexible, lively and constantly developing artistic medium. In addition, this course provides insight into the development of performance art as a form of expression that is both different from yet still dependant upon both traditional and experimental ideas of theater and performance. This course is open to upper division students from all departments; requirements are active participation, class presentaions and a term paper.
186F Seminar in Fifteenth and Sixteenth Century Southern Renaissance Williams Prerequisite: upper-division standing. May be repeated for credit to a maximum of 8 units with different topic. Advanced studies in fifteenth and sixteenth century southern renaissance art. Topics will vary. This course requires weekly readings and discussion, and the writing of a research seminar paper. course website 186P Seminar in Pre-Columbian/Colonial Peterson Prerequisite: upper-division standing. May be repeated for credit to a maximum of 8 units with different topic. Advanced studies in pre-Columbian/colonial art. Topics will vary. This course requires weekly readings and discussion, and the writing of a research seminar paper. course website 186Z Museology Robertson Prerequisites: upper-division standing; art history majors only. May be repeated for credit to a maximum of 12 units. Examines the institutional museum from historical and theoretical perspectives. Among issues explored in the seminar are museums and ritual, museums and citizenship, how museums shape visitors’ experiences and museums as sites of ethnic, political and cultural contestation. course website 200A Proseminar: Introduction to Art-Historical Methods Adams 260D Seminar: Topics in European Art of the Twentieth Century Monahan Prerequisite: graduate standing. Special research in twentieth-century art. T 500 - 750 HSSB 6056 266 Seminar: Topics in Modern Architecture - Domesticity + Interiority Welter Prerequisite: graduate standing. Throughout the 19th and 20th centuries, the characterizations of the bourgeois home have oscillated between spaces of liberation and identity and places of alienation and supression. This seminar offers the opportunity to read architectural trastises on modern domestic architecture; to discuss contemporary depictions of bourgeois domesticity in literature, art and criticism; and to study historical accounts of the relationship between modernity and bourgeois domestic architecture. A preliminary reading list will be made available later in the summer, suggestions are welcome. Participants are expected to chair a discussion section including a presentation and to write a seminar paper or to conduct a research project; the exact requirements will be discussed and set individually.
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