Course Descriptions
Fall Quarter
| Dept | Course No and Title | Instructor |
|---|---|---|
| ART HIS (F25) | 40A ANCIENT GREECE ROME | CANEPA, M. |
| No detailed description available. | ||
| ART HIS (F25) | 44 IMAGE COLLISION | STAFF |
| No detailed description available. | ||
| ART HIS (F25) | 101 PYRAMIDS & POWER | OSORIO G. SILV, L. |
| Power in ancient Egypt had many different forms and could be wielded by a variety of actors: not only human and alive, but also divine and dead. This course offers an overview of distinct manifestations of power across a considerable portion of ancient Egyptian history (from the Predynastic period through the New Kingdom), primarily focusing on monuments of kings and gods. Beyond the famous Pyramids of Giza, we will think about the evolution of royal funerary structures over time, starting with very early burials surrounded by human sacrificial victims, to later tombs decorated with elaborate paintings and texts. By analyzing archaeological, art historical, and textual evidence, we will consider how these royal constructions worked alongside temples built for major gods and goddesses across periods—as well as how the distinction between “temple” and “tomb” is often much blurrier than we might think. Rather than simply examining these monuments on their own, we will think together through how they might have been experienced by distinct audiences: including not only kings and gods, but also non-royal Egyptians. | ||
| ART HIS (F25) | 140B ENVIRONMENTAL ART | STAFF |
| No detailed description available. | ||
| ART HIS (F25) | 150 KOREAN ART | STAFF |
| No detailed description available. | ||
| ART HIS (F25) | 150 JAPANESE PHOTOGRAPH | WINTHER TAMAKI, B. |
| Photography has served as an extremely versatile and expressive medium of Japanese visual culture. We will study photographic responses to and documentation of such varied phenomena as surrealism, war, and environmental pollution. Photography itself underwent dramatic transformations in Japan from the daguerrotype to the digital, and Japanese corporations were at the forefront of many of these technological developments. Focusing on Japanese photography from the end of WWII to the present, this course emphasizes the role of photographic imagery in shaping Japanese social and aesthetic experience. | ||
| ART HIS (F25) | 164D AFAM WOMEN IN ART | COOKS, B. |
| No detailed description available. | ||
| ART HIS (F25) | 165A EARLY AMERICAN ART | ROBEY, E. |
| No detailed description available. | ||
| ART HIS (F25) | 181 THE ART MUSEUM | COOKS, B. |
| No detailed description available. | ||
| ART HIS (F25) | 185 HIS MODERN DESIGN | STAFF |
| No detailed description available. | ||
| ART HIS (F25) | 185 ARTISTS ON THE MOVE | STAFF |
| No detailed description available. | ||
| ART HIS (F25) | 190W ART HISTORY METHODS | ROBEY, E. |
| No detailed description available. | ||
| ART HIS (F25) | 197 AH SOCIAL HOUR | NISBET, J. |
| No detailed description available. | ||
| ART HIS (F25) | 198 FROM DIG TO MUSEUM | OSORIO G. SILV, L. |
| Ancient Egyptian objects are common fixtures of modern art museums—but how did they get there? In this seminar, we will investigate the histories of Egyptian images in primarily modern American museums by tracing their journey from excavation, to study, to display. Both the Metropolitan Museum of Art (Met) in New York and the Museum of Fine Arts (MFA) in Boston house extensive collections of objects from Egypt actually discovered by the museums’ archaeological teams during work at a variety of sites, including the necropoleis of Giza and Thebes, in the 1900s. What is involved in the process of excavation? How are objects recorded, and what do those archives look like now? How have the meanings of those objects changed over time, and what do they mean now in the modern museum? What about those objects that do not come from secure excavations—how can we place them back in their ancient contexts? This class will feature a field trip to the east coast so that students can visit the Egyptian collections in the Met and the MFA, as well as other local museums, to better understand the place of ancient art in the modern world. | ||
| ART HIS (F25) | 199 INDEPENDENT STUDY | ACOSTA, C. |
| No detailed description available. | ||
| ART HIS (F25) | 199 INDEPENDENT STUDY | BETANCOURT, R. |
| No detailed description available. | ||
| ART HIS (F25) | 199 INDEPENDENT STUDY | CANEPA, M. |
| No detailed description available. | ||
| ART HIS (F25) | 199 INDEPENDENT STUDY | COOKS, B. |
| No detailed description available. | ||
| ART HIS (F25) | 199 INDEPENDENT STUDY | JUNG, G. |
| No detailed description available. | ||
| ART HIS (F25) | 199 INDEPENDENT STUDY | LAPIN DARDASHT, A. |
| No detailed description available. | ||
| ART HIS (F25) | 199 INDEPENDENT STUDY | MASSEY, L. |
| No detailed description available. | ||
| ART HIS (F25) | 199 INDEPENDENT STUDY | NISBET, J. |
| No detailed description available. | ||
| ART HIS (F25) | 199 INDEPENDENT STUDY | OSORIO G. SILV, L. |
| No detailed description available. | ||
| ART HIS (F25) | 199 INDEPENDENT STUDY | PATEL, A. |
| No detailed description available. | ||
| ART HIS (F25) | 199 INDEPENDENT STUDY | WINTHER TAMAKI, B. |
| No detailed description available. | ||
| ART HIS (F25) | 199 INDEPENDENT STUDY | WUE, R. |
| No detailed description available. | ||
For the most up-to-date information, check the Schedule of Classes.