Course Descriptions
Fall Quarter
| Dept | Course No and Title | Instructor |
|---|---|---|
| ART HIS (F24) | 40A ANCIENT GREECE ROME | ACOSTA, C. |
| No detailed description available. | ||
| ART HIS (F24) | 40C MODERN ART EUR&AMER | NISBET, J. |
| No detailed description available. | ||
| ART HIS (F24) | 110 MEDIEVAL MATERIALTY | STAFF |
| No detailed description available. | ||
| ART HIS (F24) | 134D CUBISM TO SURREALSM | ROBEY, E. |
| An investigation of visual arts and design in Europe circa 1905-1940. The course follows European artistic and intellectual developments from the radical dissolution and reassembly of the visual field offered by the Cubists in the first decade of the century to the Surrealists’ explorations of unconscious desire on the eve of World War II. The period covered is one of extreme dislocation, including the breakup of the Victorian social order, the horrors of World War I, the Russian Revolution, the promises of new technology, the chaos of economic panics, and the deadly rise of totalitarian governments around Europe. Against that background, artists used their media to investigate the nature of representation, propose new expressions of male and female sexuality, adapt popular and consumer culture into the fine arts, combat social norms, celebrate the machinery of the modern world, advocate revolution, resist (and promote) Fascist authoritarianism, and model utopian societies. The course will primarily examine painting and sculpture, but will also introduce students to developments in industrial and graphic design, architecture, photography, and film of the era. | ||
| ART HIS (F24) | 140B ENVIRONMENTAL ART | NISBET, J. |
| No detailed description available. | ||
| ART HIS (F24) | 150 DISASTER ART JAPAN | WINTHER TAMAKI, B. |
| How are disasters such as earthquakes, atomic bomb detonations, tsunami, landslides, and nuclear reactor meltdowns visualized in the arts? Three catastrophic events had extraordinary impacts on developments of Japanese art over the past century: the Great KantÅ Earthquake which destroyed Tokyo in 1923, the even greater magnitude of destruction of urban Japan at the end of World War II including the atomic bombs dropped on Nagasaki and Hiroshima, and the Triple Disaster of 2011. Still more horrendous levels of destruction have been conjured in science fictional imagery. This course examines diverse functions of the arts of disaster including journalism, sensationalism, warning, reconstruction, mourning, and commemoration. Media covered include architecture, manga, painting, photography, and printmaking. | ||
| ART HIS (F24) | 151C MODERN CHINA | WUE, R. |
| No detailed description available. | ||
| ART HIS (F24) | 167 MODERN LATIN A/LTNX | LAPIN DARDASHT, A. |
| This course charts the history of the modernist art movement Mexican Muralism as well as its impact throughout the Americas on a variety of media including large-scale painting on canvas and public walls, performance, film, photography, and video. By positioning Mexican Muralism as a springboard for subsequent artistic practices and modernist movements in the Americas, this course highlights its legacy as an influential modernist movement, despite its marginalization from histories of global modernism. We will look at how the formal innovations and revolutionary practices of Mexican Muralists like Diego Rivera, José Clemente Orozco, and David Alfaro Siqueiros, among other artists, bled into modernist practices such as Social Realism, Abstract Expressionism, and experimental performance throughout the continent. The course includes a special focus on Mexican American and Chicano/a/x art in California, which highlights the powerful development of Mexican Muralism’s ideas into the contemporary period. It features a workshop with a mural artist in collaboration with the UCI Latinx Resource Center as well as a field trip to Los Angeles to see a variety of murals. | ||
| ART HIS (F24) | 165C MODERN AMERICAN ART | STAFF |
| No detailed description available. | ||
| ART HIS (F24) | 190W ART HISTORY METHODS | ROBEY, E. |
| This writing-intensive course surveys major approaches and methodologies in art history to guide students in developing their own perspectives and voices in their art-historical writing. It has two interrelated themes: the practical and the historical. Students will practice skills of research and persuasive writing for various audiences. The class will also survey the history of art history itself and its various critical approaches. Historians, philosophers, collectors, and artists have been cataloguing and discussing the arts since antiquity, and a formalized academic discipline of art history has developed since about the late 18th century. We will be readings historians’ statements of method and exemplar analyses of particular artists and artworks. Much of the course content comes from the past half century, a period that has seen art historians expanding the methodology and purview of the discipline in many directions, sometimes by borrowing from other fields, such as linguistics or psychoanalysis. In this period, art history has come to encompass wider fields of production, more types of cultural objects, and a more critical understanding of the relationship between the arts and social structures. The course will explore these developments and address ongoing debates within the discipline. | ||
| ART HIS (F24) | 197 AH SOCIAL HOUR | STAFF |
| No detailed description available. | ||
| ART HIS (F24) | 198 CARIBBEAN ART | LAPIN DARDASHT, A. |
| This course explores the history of modern and contemporary Caribbean art, focusing on movement and migration around the archipelago as well as local theoretical and artistic exchanges. Understanding the relationship of the Caribbean to the rest of Latin America, this course takes the image, writing, and thinking about the sea as an art historical method to understand Caribbean art. It extrapolates the complications in narrating the art history of a region with distinctive spoken languages, fractured colonial histories, and continued imperialism. In addition to looking at artistic production in the Caribbean, we will also explore the vaivénof artists living in the diaspora in the Americas and Europe. Importantly, the course includes an experiential learning trip to Martinique, which will feature visits to artists' studios, private collections, museums, and explorations of the sea. | ||
| ART HIS (F24) | 198 MEDIEVAL TOPICS | STAFF |
| No detailed description available. | ||
| ART HIS (F24) | 199 INDEPENDENT STUDY | ACOSTA, C. |
| No detailed description available. | ||
| ART HIS (F24) | 199 INDEPENDENT STUDY | BETANCOURT, R. |
| No detailed description available. | ||
| ART HIS (F24) | 199 INDEPENDENT STUDY | CANEPA, M. |
| No detailed description available. | ||
| ART HIS (F24) | 199 INDEPENDENT STUDY | COOKS, B. |
| No detailed description available. | ||
| ART HIS (F24) | 199 INDEPENDENT STUDY | JUNG, G. |
| No detailed description available. | ||
| ART HIS (F24) | 199 INDEPENDENT STUDY | LAPIN DARDASHT, A. |
| No detailed description available. | ||
| ART HIS (F24) | 199 INDEPENDENT STUDY | MASSEY, L. |
| No detailed description available. | ||
| ART HIS (F24) | 199 INDEPENDENT STUDY | NISBET, J. |
| No detailed description available. | ||
| ART HIS (F24) | 199 INDEPENDENT STUDY | OSORIO G. SILV, L. |
| No detailed description available. | ||
| ART HIS (F24) | 199 INDEPENDENT STUDY | PATEL, A. |
| No detailed description available. | ||
| ART HIS (F24) | 199 INDEPENDENT STUDY | WINTHER TAMAKI, B. |
| No detailed description available. | ||
| ART HIS (F24) | 199 INDEPENDENT STUDY | WUE, R. |
| No detailed description available. | ||
For the most up-to-date information, check the Schedule of Classes.