Art History Undergraduate Course Descriptions

Term:

Spring Quarter

Dept Course No and Title Instructor
ART HIS (S24)30  LATIN AMERICAN ARTLAPIN DARDASHT, A.
This course charts the history of Latin American art and architecture from the invasion of the Americas in 1492 to the present. Covering a broad range of media including painting, sculpture, photography, performance, installation, and printmaking as well as architecture and urbanism, this course investigates transnational exchanges with West Africa, East and Southeast Asia, Western Europe, and North America; protest and resistance; migration; racism; the erasure of Blackness; Indigeneity; gender; sexuality; regionalism; and the relationship of the fine arts and popular culture. Aiming to challenge the whitewashed history of Latin American art, this course focuses on racial and ethnic identity formation in artistic production. We will examine the production of art in relation to shared issues of colonization, imperialism, and migration, understanding international exchange and racial formation through shifts in artistic production.
ART HIS (S24)42C  ARTS OF JAPANWINTHER TAMAKI, B.
This course examines compelling images and objects of spirit and power created in Japan over many centuries, presenting an overview of developments in art in the Japanese archipelago from prehistoric times to the present day. Topics include Buddhist icons, narrative illustration, popular prints, architecture, manga, and the avant-garde. Japanese interactions with Korea, China, and Europe are emphasized. We will see dramatic changes in images of the body, forms of the built environment, and techniques of aesthetic expression.
ART HIS (S24)100  ANC EGYPTIAN ARTOSORIO G. SILV, L.
This upper division course will explore, in detail, ancient Egyptian art from the Predynastic period (ca. 4000 – 3200 BCE) through the New Kingdom (ca. 1550 – 1069 BCE). Beyond discussing the major categories of art for each period and some of the more famous pieces of ancient Egyptian art, such as Khafre’s statue or Nefertiti’s bust, students in this class will become familiar with the varied contexts, purposes, and audiences of distinct categories of ancient Egyptian art through the discussion of thematic topics such as identity, propaganda, and ideology. Together, we will interrogate how ancient Egyptian art (and ancient art more generally) compares to our modern understanding of “art” and think about the place of ancient Egyptian art in the modern world as compared to how it functioned in the past.
ART HIS (S24)103  GREEK CERAMICSACOSTA, 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 (S24)107  ANCIENT DEATH ARTACOSTA, C.
The art of death is one of the most important sources of information available to archaeologists and art historians for reconstructing the lives of ancient people. This course will explore the art and architecture of death and burial in ancient Greece and Rome, focusing on themes such as the function of rituals in society, religion and the afterlife, gender and status in life and death, and the political uses of funerary monuments. These topics will be contextualized in relation to the broader social and historical developments of early Greece, the Classical Athenian democracy, the Roman Republic, and the Roman Empire. Related issues in archaeology such as bioarchaeological analyses of skeletal material, ancient DNA studies, and the ethics of excavating human remains will also be considered.
ART HIS (S24)128  NORTHRN BAROQUE ARTFUGFUGOSH-MUNO, S.
This course will explore Northern European visual traditions by examining the artwork of Dutch Golden Age and Flemish Baroque artists in the seventeenth century. We will consider the social and economic structures that contributed to expanding genres and new subjects, and the continued use of historical themes by northern and southern Netherlandish artists, respectively. Topics will include: secular genre and religious imagery, commodities of trade and global expansion, development of the art market, cityscapes and landscape, private and public portraiture, feasting and flower culture in still-life paintings.
ART HIS (S24)145B  MODERN ARCHITECTUREDIMENDBERG, E.
This course will survey of principal developments in architecture and urbanism from 1933 to the present. It will begin with a consideration of the role of architecture in Nazi Germany and Stalinist Russia and then explore the global diffusion of western modernism, the development of the metropolis and megalopolis, suburbanization, the emergence of postmodernist and critical regionalist traditions, the quest for sustainability and green buildings, and the imbrication of the built environment in the political, social, and cultural changes accompanying the coldwar, the civil rights and anti-war movements, the counterculture, and decolonization. Architects and urbanists to be studied include Mies van der Rohe, Le Corbusier, Frank Lloyd Wright, Louis Kahn, Walter Gropius, Oscar Niemeyer, Robert Venturi, Denise Scott-Brown, Gunther Behnisch, Alvar Aalto, Alison and Peter Smithson, Archigram, Superstudio, Frei Otto, Alvaro Siza, Gunnar Asplund, Jorn Utzon, Frank Gehry, Carlo Scarpa, Buckminster Fuller, Clorindo Testa, Lina Bo Bardi, Charles and Ray Eames, Richard Rogers, Renzo Piano, Richard Meier, Aldo Van Eyck, Peter Eisenman, Bruce Goff, Paul Rudolph, Norman Foster, Tadao Ando, Charles Correa, Arthur Erickson, Paolo Solieri, Constant, Robert Moses, Jean Nouvel, James Stirling, Wang Shu, Charles Moore, Michael Graves, Kongjian Yu, Balkrishna Doshi, Kenzo Tange, Steven Holl, Kengo Kuma, Francis Kere, Herzog and de Meuron, Peter Zumthor, Arata Isozaki, Zaha Hadid, Rem Koolhaas, Enrique Norton, Diller Scofidio + Renfro, and Candilis, Josic, and Woods. Assignment structure: Weekly reading assignment questions, take-home midterm, and final research paper.
ART HIS (S24)150  JAPANESE CERAMICSWINTHER TAMAKI, B.
This course explores evolving techniques, styles, and meanings of ceramic art and functional pottery in Japan. While famous ancient developments will be discussed, emphasis will be placed on modern and contemporary experimental and avant-garde approaches to firing clay. "Ceramics" is defined broadly to include a wide variety of media – sculpture, murals, installation, and performance – that employ clay and earth. Firing earthy materials for artistic purposes is considered from ecological perspectives such as global warming.
ART HIS (S24)150  MODERN KOREAN ARTJUNG, G.
This course introduces students to modern and contemporary art of Korea. The modernization of Korea was violent and volatile. In the twentieth century alone, the nation experienced colonization by Japan, partition by the US and the Soviet Union, a civil war, and dictatorships. Artists devised creative ways to respond not only to the Western modernism—and later postmodernism and other artistic trends—but also to the rapidly changing political, social, economic, and cultural circumstances. Beginning with the definition of modernity and modernism and its various iterations, we examine a wide range of media and genres. Alternative modernity (or modernities) and vernacular modernism, “Koreanness” and its construction, “spectacle” and consumption, the figure of female artist and representations of women, nation building and monuments, state propaganda, citizenship, and art as political activism are some of themes that will be studied.
ART HIS (S24)155B  MEDIEVAL INDIAPATEL, A.
This course will ask a fundamental question: Is the concept of the "Medieval," a European periodization disseminated to many global regions, applicable to the study of South Asia (India, Pakistan, Afghanistan (east), Bangladesh and Sri Lanka)? In the process, we will become familiar with the world's great religions of Buddhism, Hinduism, Jainism and Islam and their artistic traditions, challenging modern notions of religious and national identities. We will engage with the Guptas and their impacts in South Asia, Southeast Asia (Thailand, Cambodia, Vietnam, Malaysia) and China, while examining pre-modern globalization throughout the Indian Ocean. We will experience the incorporation of South Asia within the Perso-Islamic world via the Islamic Sultanates of thetwelfth-fifteenth centuries, and interrogate whether the magnificence of the Mughal Empire (1526-1857) was "Medieval."
ART HIS (S24)165C  MODERN AMERICAN ARTROBEY, E.
No detailed description available.
ART HIS (S24)185  IMAGERY OF VIOLENCEOSORIO G. SILV, L.
Images of violence and warfare are pervasive in the ancient Egyptian material record. Starting before the dawn of the Egyptian state and continuing throughout dynastic history, images of violence depicted and expressed different forms of power. The smiting king is one of the most well-known iconographic motifs from this ancient civilization. Despite their pervasiveness, the interpetation of violent images is not straightforward. What relationship is there between such images and historical events, ritual events, and royal ideology? How do such images function? In this class, we will take a contextual and comparative approach to understand how these images were used in the past. In doing so, we will also think about how we might disentangle ideology and historicity in imagery from other times and places.
ART HIS (S24)190W  ART HISTORY METHODSJUNG, G.
This course surveys major approaches and methodologies in art history to guide students to develop their own perspectives and voices in writing about art. Students will learn to read and analyze form, draw meanings from signs, situate the artwork in the given social and political contexts, and examine the conditions by which the figure of the author emerges and his/her/their relationship to art is formed. Feminism, queer theory, critical race theory, and postcolonialism will provide students with a critical tool kit to question the dominant narratives and canons.
ART HIS (S24)198  WORLD'S FAIRSROBEY, E.
No detailed description available.
ART HIS (S24)199  INDEPENDENT STUDYACOSTA, C.
No detailed description available.
ART HIS (S24)199  INDEPENDENT STUDYBETANCOURT, R.
No detailed description available.
ART HIS (S24)199  INDEPENDENT STUDYCANEPA, M.
No detailed description available.
ART HIS (S24)199  INDEPENDENT STUDYCOOKS, B.
No detailed description available.
ART HIS (S24)199  INDEPENDENT STUDYJUNG, G.
No detailed description available.
ART HIS (S24)199  INDEPENDENT STUDYLAPIN DARDASHT, A.
No detailed description available.
ART HIS (S24)199  INDEPENDENT STUDYMASSEY, L.
No detailed description available.
ART HIS (S24)199  INDEPENDENT STUDYNISBET, J.
No detailed description available.
ART HIS (S24)199  INDEPENDENT STUDYOSORIO G. SILV, L.
No detailed description available.
ART HIS (S24)199  INDEPENDENT STUDYPATEL, A.
No detailed description available.
ART HIS (S24)199  INDEPENDENT STUDYWINTHER TAMAKI, B.
No detailed description available.
ART HIS (S24)199  INDEPENDENT STUDYWUE, R.
No detailed description available.