| Course | Title | Instructor | Description |
|---|---|---|---|
| ART HIS 40C | MODERN ART EUR&AMER | NISBET, J. | This course is an exploration of visual modernity in Europe and the United States. It will examine the conditions of modern life that have transformed the visual arts from the Industrial Revolution to the present day. We will consider the themes of labor, colonialism, political revolution, the natural environment, and image technologies as they inform topics such as Rembrandt, the invention of photography, Impressionism, Picasso, abstraction, the environmental movement, and Andy Warhol. This visual art registers the dramatic and fundamental changes that have shaped the globalized, multi-mediated world in which we now live. |
| ART HIS 42C | ARTS OF JAPAN | WINTHER TAMAKI, B. | |
| ART HIS 145A | MODERN ARCHITECTURE | DIMENDBERG, E. | ART HIS 145A. Studies in Modern Architecture. 4 Units. The emergence of the industrial revolution and large cities permanently changed the relation of human beings to nature and created the modern built environment. This course will introduce the principal developments in architecture, urbanism, and design from the French Revolution to 1945. It will treat advances in engineering, rapid scientific progress, the emergence of the railroad, and later, the automobile, as preconditions for the development of the metropolis, the skyscraper, the factory, public housing, and the suburb. We will consider canonical designs by international architects such as Ledoux, Boullée, Berlage, Schinkel, Sullivan, Behrens, Gilbert, Wright, Gaudi, Sant’Elia, Rietveld, Le Corbusier, Melnikov, Ginzburg, Mies, Gropius, Mendelsohn, Speer, and Aalto. The aesthetic projects of William Morris, art deco, futurism, the German Werkbund, De Stijl, the Bauhaus, streamlining, and Russian constructivism will be approached as varied responses to the perceived need for an appropriate style in the machine age. Finally, we will track the shifting agency of the architect, a figure often associated with change and social improvement, in a period marked by war, colonialism, revolution, totalitarian society, the onset of consumerism, and large-scale patronage by government and institutional clients. Course requirements: Take-home midterm and final research paper. The course will include several field trips. Instructor: Edward Dimendberg |
| ART HIS 145C | LA URBANISM | DIMENDBERG, E. | AH 145C Los Angeles Urbanism Perhaps the most remarkable artifact in Los Angeles is the city itself, an improbable creation wrested from the desert in which most buildings are the first structures built on their land. The purpose of this class is to consider the history and social and cultural meanings of the city's infrastructure and varied spatial forms. We will consider the legacies of the Spanish Mission style alongside the emergence of modernism. Street networks, water works, transportation routes, and neighborhoods will also be addressed. A varied range of urban thinkers and historians will provide points of reference for this exploration. Our goal will be to consider the metropolis in its complexity and to understand its unique features as well as the ways in which it shares the problems and possibilities of other cities and is becoming paradigmatic of the urban condition in the twenty-first century. Assignment structure: Take-home midterm and final research paper. Instructor: Edward Dimendberg |
| ART HIS 167 | MEXICAN MURALISM | 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 185 | MODRN ART & SCIENCE | IQBAL, S. | This class explores the interrelated histories of modern art and modern science in the United States and Europe from the late nineteenth through twentieth centuries. Beginning with the impact of developments in optical science on Impressionist and Neo-Impressionist artists in France, the course will investigate how specific artists and art movements engaged with scientific theories and discoveries in visual artwork from the 1870s through the 1970s. Lectures and reading assignments will highlight specific artworks, practitioners, and scientific concepts while also examining the broader historical, cultural, and philosophical frameworks shaping the work of both artists and scientists during this period. |
| ART HIS 198 | SIMULACRAL SPACES | BETANCOURT, R. | |
| ART HIS 298 | SIMULACRAL SPACES | BETANCOURT, R. | |
| ART HIS 299 | MA THESIS RESEARCH | WUE, R. | |
| ART HIS 299 | MA THESIS RESEARCH | WINTHER TAMAKI, B. | |
| ART HIS 299 | MA THESIS RESEARCH | PATEL, A. | |
| ART HIS 299 | MA THESIS RESEARCH | NISBET, J. | |
| ART HIS 299 | MA THESIS RESEARCH | MASSEY, L. | |
| ART HIS 299 | MA THESIS RESEARCH | LAPIN DARDASHT, A. | |
| ART HIS 299 | MA THESIS RESEARCH | COOKS, B. | |
| ART HIS 299 | MA THESIS RESEARCH | CANEPA, M. | |
| ART HIS 299 | MA THESIS RESEARCH | BETANCOURT, R. | |
| ART HIS 399 | UNIVERSITY TEACHING | NISBET, J. | |
| ART HIS 399 | UNIVERSITY TEACHING | WINTHER TAMAKI, B. |