2017-2018 Courses - Spring

Undergraduate

6C   Art Survey III: Modern - Contemporary - Sorkin
6DS   Survey: History of Art in China - Sturman
6E   Survey: Arts of Africa, Oceania, and Native North America - Ogbechie
6H   Survey: The Arts of Precolumbian America - Buono
6L   Playful Spaces: A Cultural History of Games - White

109B   Italian Renaissance Art: 1500 - 1600 - Williams   [CANCELLED]
115E    The Grand Tour: Experiencing Italy in the Eighteenth Century - Paul
120CV   Coloring Vision: the Meanings and Markings of Color in Modern Culture - Monahan
121B   Reconstruction, Renaissance, and Realism in American Art: 1860 - 1900 - Dini
121C   Twentieth-Century American Art: Modernism and Pluralism, 1900 - Present - Robertson
127B   African Art II: Modern and Contemporary African Art - Ogbechie
132I   Art of Empire - Khoury
134A   Buddhist Art - TBA   [CANCELLED]
134F   The Arts of Japan - TBA   [CANCELLED]
136B   Twentieth-Century Architecture - Chattopadhyay
138C   Social Documentary Photography - McLemore
185AE   Art and its Environments in Brazil - Buono
186F   Seminar in Fifteenth and Sixteenth Century Southern Renaissance - Williams   [CANCELLED]
186SJ   Seminar in American Architecture: Isla Vista - White
187W   Coming Home: The House Museum as Cultural Encounter - White
187Z   Museum Studies Seminar - White   [CANCELLED]

Graduate

263   Topics in Contemporary Art: The 1970s: Feminist Art, Culture and Thought - Sorkin
266   Topics in Early Modern Architecture: Capital Cities in Europe from Napoleon to 1848 - Wittman
275E   Topics in Islamic Art - Khoury
282A   Topics on East Asian Art: Methods and their Anxieties - Sturman


6C   Art Survey III: Modern - Contemporary     TR   1100-1215   IV THEATER 1     Sorkin

History of Western art from the eighteenth century to the present.

GE: AREA E, AREA F, EUROPEAN TRADITIONS, WRITING
ENROLLMENT BY DISCUSSION SECTION
     HONORS SECTION:   T   200-250   ARTS 2622
     To enroll in the 6C Honors Section, contact Savannah Sharp Parison, Program Advisor

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6DS   Survey: History of Art in China     MW   200-315   HSSB 1174     Sturman

The History of Art in China is a survey course that introduces the major traditions and monuments of Chinese art from Neolithic times to the modern (20th-21st centuries). The course generally follows a chronological trajectory but with a thematic matrix. The first part of the course, from Neolithic to Han (ca. 5000 BC - AD 220) concerns the formation of culture and civilization and covers early pottery and bronze traditions as well as the beginnings of pictorial art. Objects and pictures are placed into their historical, philosophical, and social contexts. The second part of the course focuses on the importation and development of Buddhist art, from ca. AD 200 - 1000. The third part of the course interweaves the painting, calligraphy, and ceramic traditions of imperial China, from the Song dynasty to the near contemporary. Garden design and imperial architecture are also introduced. One of the aspects of the course that will be emphasized is regional diversity and intercultural encounters (India and Central Asia in particular). The title, History of Art in China, as opposed to something like The Arts of China, is intended to convey awareness of the fact art is a conceptual and subjective term and that objects have histories that extend beyond national borders.

GE: AREA F, WORLD CULTURES, WRITING
ENROLLMENT BY DISCUSSION SECTION

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6E   Survey: Arts of Africa, Oceania, and Native North America     MW   930-1045   HSSB 1174     Ogbechie

This course provides a general introduction to the indigenous and contemporary arts of Africa, Oceania, and Native North America. In these vast locales of human culture, we will study how art provides concrete conceptual and visual structures around which social, political, cultural aesthetic and ritual institutions are constructed. The art object, imbued with several meanings, is essential to the human lifecycle, charged with political, economic and spiritual connotations and instrumental to rituals of birth, death and all the stages of transition in between. In such contexts, art operates within spaces of performance and individual art objects are imbued with multiple meanings. We will investigate the historical nature of different art traditions in these cultures and evaluate specific art forms like painting, sculpture, mural painting, textiles and decorative arts, body adornment, masquerade performances, royal/leadership arts, and sacred, secular and vernacular architecture.

GE: AREA F, WORLD CULTURES
ENROLLMENT BY DISCUSSION SECTION

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6H   Survey: The Arts of Precolumbian America     MW   500-615   HSSB 1174     Buono

Visual Culture or "Art," that is to say architecture, sculpture and mural painting as well as textiles, metallurgy and ceramics, played a central and powerful role within the Precolumbian civilizations that produced them. Visual messages were encoded in the ways cities were built, stone and wood were carved, and leaders had themselves ornamented and buried. Using interdisciplinary methods, our goal will be to reconstruct (to the degree that is possible), the meaning and function of the visual arts in multiple, interlocking economic, political and sacred spheres. As an introduction to the ancient Americas, this course will focus on seven major cultures in Mesoamerica (Olmec, Teotihuacan, Maya, Aztec) and Andean South America (Chavín, Moche, and Inka).

GE: AREA F, WORLD CULTURES, WRITING
ENROLLMENT BY DISCUSSION SECTION

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6L   Playful Spaces: A Cultural History of Games     MW   800-915   HSSB 1174     White

This course introduces students to the history of games. It is organized chronologically as a global survey. We study games and the social, political,and economic conditions that support them, as well as the interface between the human player and the imagined world of the game. Taking as its premise that games are artifacts of culture, this course focuses on the visual and spatial practice of games in social context.

ENROLLMENT BY DISCUSSION SECTION

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109B   Italian Renaissance Art: 1500 - 1600     Williams

   [CANCELLED]

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115E   The Grand Tour: Experiencing Italy in the Eighteenth Century     MW   1230-145   ARTS 1341     Paul

Prerequisite: not open to freshmen.

In the eighteenth century, Italy was a mecca for European travelers who sought to enjoy its culture, diversions, landscape, and society. This course will examine the multifaceted experiences of these travelers and the ways in which they constitute the beginnings of the phenomenon of modern tourism.

GE: AREA E

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120CV   Coloring Vision: the Meanings and Markings of Color in Modern Culture     MW   1100-1215   ARTS 1332      Monahan

Prerequisite: not open to freshmen.
May be repeated for credit to a maximum of 12 units provided letter designations are different.
By invitation only for Pass 1 and 2; any unclaimed seats will be opened up for registration for Pass 3.

How do we understand the color red, or green, or blue, or yellow? We might argue that red is red, a consistently. But how does red – or any color – change across time? When is red understood as anger while elsewhere it is seen as warmth? Consider that white is often associated with purity, yet it can also signify mourning and death. How do these meanings develop? What are the circumstances that create such shifts? This course will look at the meanings of color as it appears in everything from marketing strategies to artistic expression, and how these meanings shift across time. We will investigate why cars and refrigerators were suddenly produced in colors. How does society perceive color, such that our understanding of a person can change depending on the color of his hair or her skin? Or a wall painted blue changes the mood of a room that had previous been yellow? What are “happy colors”? How does a depressed person get characterized as “blue,” and what does it mean to “see red”? We will look at the way color is woven into the cultural fabric of societies, and how our vision registers color in a myriad of ways, as for example in art, fashion, mood, photography, or advertising.

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121B   Reconstruction, Renaissance, and Realism in American Art: 1860 - 1900     TR   330-445   ARTS 1341     Dini

Prerequisite: not open to freshmen.

Painting within the context of the human-made environment, from the onset of the Civil War to just before World War I, tracing the role of art in the rise of modern, corporate and industrial America.

GE: AREA F

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121C   Twentieth-Century American Art: Modernism and Pluralism, 1900 - Present     TR   1100-1215   ARTS 1341     Robertson

Prerequisite: not open to freshmen.

American painting in the twentieth-century, from the advent of modernism to yesterday.

GE: AREA F

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127B   African Art II: Modern and Contemporary African Art     TR   930-1045   ARTS 1341     Ogbechie

Prerequisite: not open to freshmen.

This course provides an introduction to Modern and Contemporary African Art through an evaluation of its ideologies, forms and contexts of practice. It 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. It focuses on different kinds of artworks produced by African artists in the 20th and early 21st Centuries and how these artists and they have been used to constructed modern, contemporary and African identities. It also investigates the the impact of curatorial practices and strategies of new media representation on the location of Africa in Global Contemporary Art.

GE: AREA F, WORLD CULTURES

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132I   Art of Empire     MW   1100-1215   ARTS 1341     Khoury

Prerequisite: not open to freshmen.

Studies the visual culture of different empires, alone or in a comparative fashion. For example, Ottoman and Hapsburg; Ottoman, Safavid, and Mughal; Mughal and British India; or the earlier empire of the Fatimids, Abbasids, and Umayyads of Syria and Spain.

GE: AREA F

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134A   Buddhist Art

   [CANCELLED]

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134F   The Arts of Japan

   [CANCELLED]

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136B   Twentieth-Century Architecture     MW   930-1045   ARTS 1341     Chattopadhyay

Prerequisite: not open to freshmen.

The history of architecture from 1900 to the present. Examination of modern and post-modern architecture and city planning in its social, political, and artistic context. The scope is global.

GE: AREA F

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138C   Social Documentary Photography     TR   200-315   ARTS 1341     McLemore

Prerequisite: not open to freshmen.

This course takes seriously Susan Sontag's question "is it possible to be educated by photography?" In doing so, it will explore photography's role as a record, document, and evidence; and as a visual argument. Focusing on the mid-19th century to the present-day, it will address photographic representations of US western expansion, war, violence, poverty, politics, and national and global events. Throughout the course, we ask how and why we look to documentary photography as a way of understanding the past and present and what constitutes photographic knowledge?

GE: AREA F

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185AE   Art and its Environments in Brazil     TR   1230-145   ARTS 1341     Buono

Prerequisite: not open to freshmen.
May be repeated for credit to a maximum of 12 units provided letter designations are different.

From the first moment of contact between Amerindians and Europeans in 1500 through the end of the colonial regime in 1822, Brazil’s nature has been variously seen as Amazonian paradise, as a resource-rich Atlantic forest, as “green hell.” Through such media as earthworks, featherwork, body arts, performance, landscape painting, sculpture, and architecture, this course examines the mediation of art and nature in Colonial Brazil. We will consider how this intersection of the cultural and the natural have shaped not only our understanding of Colonial Brazil, but have had a profound impact on eco- and ethno-political debates today.

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186F   Seminar in Fifteenth and Sixteenth Century Southern Renaissance     Williams

   [CANCELLED]

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186SJ   Seminar in American Architecture     M   300-550   ARTS 1332     White
     Topic: Isla Vista

Prerequisite: upper-division standing.
May be repeated for credit to a maximum of 8 units with different topic. Open only to History of Art & Architecture majors during Pass 1.

Isla Vista is a unique architectural landscape. Subdivided in the early twentieth century as a resort town on the outskirts of Santa Barbara, the U.C. Regents transformed it into a bedroom town for its students. That transformation commenced in the late 1950s and continues into the new century. As the university’s growth outpaced the construction of housing units, that college town developed a population density unusual in North American suburbia. Today, Isla Vista is considered notoriously deviant, and some critics assign blame to its residents. This course explores how that alleged behavioral deviance stems from residents’ varied and often creative strategies for coping with this particular built environment. Thus, this course studies Isla Vista as an intersection of landscape, planning, and behavior.

We will study the history of suburbia in the United States and Isla Vista in particular, as well as explore architectural methods of analysis, and the practice and ethics of field-work. The emphasis will be on architectural documentation and analysis of the Isla Vista landscape, a hands-on opportunity for students to learn and apply architectural knowledge.  Readings will support the historical and architectural components of the course, as well as explore concepts of environmental psychology that relate to the problem of density. Ultimately, students will be asked to think about their own place and experience in that landscape.

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187W   Coming Home: The House Museum as Cultural Encounter     M   1100-150   ARTS 2622     White

Prerequisite: upper-division standing; designed for majors.
Open only to History of Art & Architecture majors during Pass 1.

This seminar studies the political and cultural history of the house museum in the United States, from its antebellum beginnings in the nineteenth century to the present. Explores a variety of issues related to the house museum, including curatorial and design choices, visitor experiences, and the House Museum Movement.

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187Z   Museum Studies Seminar     White

   [CANCELLED]

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263   Topics in Contemporary Art     W   1100-150   ARTS 2622     Sorkin
     Topic: The 1970s: Feminist Art, Culture and Thought

Prerequisite: graduate standing.

Arranged thematically, this course examines the development of feminist art and texts within a broad social and political context, exploring a range of American artists, writers, and thinkers from the period of the mid-1960s to the beginning of the 1980s. We will examine grassroots political organizing, theoretical influences on key feminist thinkers, cultural and radical separatist movements, and visual and literary representations. This course is intended to provide an introduction to the theoretical, historical, and aesthetic frameworks of the period.

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266   Topics in Early Modern Architecture     R   1230-320   ARTS 2622     Wittman
     Topic: Capital Cities in Europe from Napoleon to 1848

Prerequisite: graduate standing.

Christened the Sattelzeit ("Saddle Period") by Reinhart Koselleck for its overlapping feudal and industrial capitalist realities, the first half of the nineteenth century is often passed over in the rush to get from the French Revolution to the Crystal Palace and Haussmann. This seminar will instead linger, focusing (not exclusively) on London, Paris, Berlin, Rome, and Munich, to study the contemporary invention of the modern capital city in its social, political, economic, and cultural contexts.

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275E   Topics in Islamic Art     M   200-450   ARTS 2622     Khoury

Prerequisite: graduate standing.

Special topics in Islamic art and/or architecture. Topics will vary.

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282A   Topics on East Asian Art     R   900-1150   ARTS 2622     Sturman
     Topic: Methods and their Anxieties

Prerequisite: graduate standing.

If all acts of construction are guided by rules and methods, how does one account for variation and transformation? What were the limiting factors in the “making,” and to what degree were those limitations confronted and challenged by the maker? What are the boundaries for scholarly inquiry into how something was made? With what tools do we analyze creativity? This seminar will investigate methods from two perspectives. Our initial concern will be with methods at the making end of artistic production. Through the process of analyzing the parameters of that production we will then turn to our own methods in determining strategies for critical inquiry.

The scope of the seminar is global and open — each seminar participant will work on her or his subject of choice, which can be of any time period, culture, and medium. Professor Sturman will open the seminar with an introduction to the concept of methods in pre-modern China, where a particularly honed awareness of value in art resulted in increasing concern about proper rules, laws, and canons (hence anxieties). We will trace the concept of methods, fa 灋 (法), beginning with its origins through the etymology of the character, its place in early aesthetic and literary theory, and its application in different media, including calligraphy (shufa 書法, literally “the methods of writing”) and painting, by looking at select case studies. There will be guest speakers representing different artistic traditions. At the end of the quarter student participants will be responsible for leading shorter segments focused on their individual projects. This seminar should be particularly useful for students beginning to formulate ideas for their MA theses and dissertations.

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