| Course | Title | Instructor | Description |
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| ART HIS 40C | HIST OF WESTERN ART | HERBERT, J. | Less a comprehensive survey than a collection of historical vignettes, this segment of the course explores the meaning and function of works of art---painting, sculpture, architecture---in Europe and America at various moments in time from the mid- seventeeth century to the late-twentieth century. In each case study, we will examine the mechanisms through which works of art formulated, preserved and propagated certain ideas, social and political as well as artistic.
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| ART HIS 42C | HIST OF ASIAN ART | WINTHER, D. | This course presents an overview of developments in art in the Japanese archipelago from ancient times to the present day. Focus will be placed on religious expression, artistic technologies, urban design, painting formats, political functions of art, and art historical methodology. Topics include the transmission of continental culture to Japan, castles and other monuments of the age of the warrior, mass print culture of the 17th and 18th centuries, and modern developments of visual culture of the 19th and 20th centuries. Students will be responsible for a midterm exam, writing assignment, and final exam.
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| ART HIS 112 | MEDIEVAL & LATE BYZ | GONOSOVA, A. | This course will examine the art in the service of the state and the church in the Medieval Eastern Roman Empire (Byzantine Empire) from the defeat of iconoclasm in the 9th Century to the fall of Constantinople in 1453. Short class quizzes, two short papers, mid-term and final examinations.
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| ART HIS 114 | MED ARCH 900-1200 | GONOSOVA, A. | This survey will explore the dramatic developments in architecture of the Central Middle Ages in Western Europe from cathedrals to pilgrimage centers, and from monastic complexes to fortified castles as represented by monuments from ca. 900 to 1200. Short class quizzes, two short papers, mid-term and final examinations. (Same as Humanities 110.)
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| ART HIS 125 | CARRAV. TO BERNINI | BAUER, G. | This lecture course on 17th century Italian art examines some of the ways in which the making and use of art were shaped by the new centralized authority of the Baroque Church and State. It will include both transgressors, like Caravaggio and Borromini, who nevertheless find way to articulate the new, religious exigencies, and conformists, like Bernini and Cortona, who invent ways to aggrandize the new ideal of absolute power. |
| ART HIS 140C | POSTMOD ART & ARCH | DAWSEY, J. | It has been three decades since debates surrounding “postmodernism” first emerged in the visual arts, questioning the doctrines of visual purity at the core of modernism. This class will begin by asking: What is postmodernism? Does it describe a period of time? A set of stylistic developments? Does postmodernism suggest that modernism is over and done with, or is it really an extension of certain modernist projects? We will try to answer those questions and others by looking at the early visual and theoretical texts and that shaped postmodern ideas. Initially, we will focus on architecture, given that many of the debates surrounding postmodernism first emerged in and around that discipline. We will also explore postmodern ideas about representation, including the “anti-aesthetic” and the “critique of vision” that grew from artwork of the late 1970s and 1980s. Finally, we will discuss postmodernism’s apparent rejection of many Enlightenment ideals. Are these ideals now obsolete, or might we want to reclaim some of them for the present? Other topics will include: the question of authorship; pastiche and quotation; postcolonial and feminist theories of the subject; the spectacle and the simulacrum; the postmodern city; processes of globalization. |
| ART HIS 164B | AFAM ART: 1930-PRES | COOKS CUMBO, B. | This course is part two of a two part investigation of the history and aesthetics of African American art with a particular focus on the politics of African American representation. Beginning chronologically with the beginning of government sponsored artworks in the 1930s and ending with contemporary art of the twenty-first century, students will study artworks created by African Americans. Course readings and class discussions are the primary means of investigating the topics discussed. (Same as AFAM ART 111B.)
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| ART HIS 183A | 19TH CENT PHOTO HIS | STEIN, S. | This course provides an introduction to key questions and debates, as well as images, in the emergence and diffusion of photography throughout the 19th century. The course focuses upon major examples of the diverse uses of photography--as a medium of portraiture, informational record, form of political and commercial promotion—while also considering the controversial reactions that the new medium provoked. Historical questions we will repeatedly consider include: What motivated the invention of photography? Whose interests has it served? How did it depart from the fine arts tradition? How did it conform to that tradition and in what ways did it transform that tradition? How has photography since its initial appearance in the 1830s significantly alter the way we see and the way we evaluate both vision and visual representation; likewise what individual photographs and types of images proved especially influential in that process of transforming the realm of visual representation?
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| ART HIS 190W | PRACTCUM FOR MAJORS | COOKS CUMBO, B. | A required course for junior and senior art history majors, the practicum cultivates basic skills and knowledge necessary for specialized study in art history. We shall concentrate on basic bibliographic research skills and analytic reading skills in the field, while constantly honing skills in writing about art, and writing about writing on art. Accordingly, students should expect to write, edit, and revise numerous descriptive, technically oriented, and analytically oriented reading and research assignments.
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