| Course | Title | Instructor | Description |
|---|
| ART HIS 40A | ANCIENT GREECE ROME | ACOSTA, C. | |
| ART HIS 55 | DISNEYLAND | BETANCOURT, R. | From Dole Whips to roller coasters, this course focuses on the innovations in industrial automation and manufacturing that made Disneyland’s attractions possible. Attention will be paid to fandom, guest experiences, operating procedures, technical and design patents, and how rides work. |
| ART HIS 103 | GREEK CERAMICS | ACOSTA, C. | Ancient Greek ceramics are a powerful tool for reconstructing the past: their surfaces preserve images of myths, gods and heroes, religious practices, theatrical scenes, athletics, daily life, and more. This class will trace the development of Greek ceramics from 800-400 BCE, unpacking their iconography to understand ancient Greek society, with a focus on how these images are used in different contexts, such as at funerals, as dedications to the gods, and at banquets. In addition, we will learn how these objects were made and how archaeological and scientific studies of ceramics can shed light on ancient trade, technology, foodways, and craft production. This course will also include hands-on activities to develop archaeological field skills for studying ceramics, including quantification, illustration, reconstruction, and conservation. |
| ART HIS 134C | IMPRSSNSM TO FAUVES | ROBEY, E. | Everyone loves a cheery Impressionist painting, but the style was once considered radical. This course will investigate the aesthetic innovations and social challenges surrounding Impressionism and other avant-garde art movements, from the mid nineteenth century to the early twentieth. We will examine the dangerous politics of the mid- nineteenth -century Realist school in France; the revolution in style and subject matter offered by the Impressionists; and the extension of the senses explored by the Post-Impressionists. We will also study other innovative art movements including: the British Pre-Raphaelites, who hoped to reform a world corrupted by industrialization; the cosmopolitan sensualism the Art Nouveau movement; the enigmas of the Symbolists; the anxieties of modernity explored by the German Expressionists; and the shocking early twentieth-century French colorists, known as the “wild beasts” (fauves). The course will consider not only stylistics, but also the effects of new technologies in the later nineteenth century such as the railroads, which helped spur the development of a middle-class leisure industry, as well as photography, electric light, new research in optics, and other developments, which reframed the nature of perception and representation itself. Similarly, the course will consider the fine arts in terms of social and political changes, including such issues as the waxing and waning power of state-controlled cultural authority; the roles of women as artists and as subjects of art, and the possibilities of both objectification and liberation through representation; and the relationship of Western Europe to the rest of the world, including the vogue for collecting Asian art, the symbolic power of Orientalism, depictions of racial difference, and the relation of the fine arts to Colonialism. Readings will include both primary texts from the period and critical reevaluations of nineteenth- and early twentieth-century art in recent scholarship. |
| ART HIS 150 | JAPANESE CERAMICS | WINTHER TAMAKI, B. | |
| ART HIS 164A | MODERN AFAM ART | COOKS, B. | |
| ART HIS 164E | AFAM & PHOTOGRAPHY | COOKS, B. | |
| ART HIS 167 | MEXICANMUR&LEGACY | LAPIN DARDASHT, A. | |
| ART HIS 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 reading 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 197 | AH SOCIAL HOUR | STAFF | |
| ART HIS 198 | ART AND AUTOMATION | BETANCOURT, R. | |
| ART HIS 199 | INDEPENDENT STUDY | WINTHER TAMAKI, B. | |
| ART HIS 199 | INDEPENDENT STUDY | OSORIO G. SILV, L. | |
| ART HIS 199 | INDEPENDENT STUDY | NISBET, J. | |
| ART HIS 199 | INDEPENDENT STUDY | MASSEY, L. | |
| ART HIS 199 | INDEPENDENT STUDY | LAPIN DARDASHT, A. | |
| ART HIS 199 | INDEPENDENT STUDY | JUNG, G. | |
| ART HIS 199 | INDEPENDENT STUDY | COOKS, B. | |
| ART HIS 199 | INDEPENDENT STUDY | CANEPA, M. | |
| ART HIS 199 | INDEPENDENT STUDY | BETANCOURT, R. | |
| ART HIS 199 | INDEPENDENT STUDY | ACOSTA, C. | |
| ART HIS 199 | INDEPENDENT STUDY | WUE, R. | |