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131 - 140 of 162 results for: ARTHIST

ARTHIST 423: The Material Imagination

This seminar deals with the materials that artists have chosen in art and construction from antiquity to the early modern era. The particular focus is upon pre-modern perceptions of the inherent properties of materials, from amber and ivory to marble and granite, as well as the diverse ways in which societies have associated particular substances with social and cultural values. Particular emphasis is laid upon the architectural use of materials.
Terms: Win | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: Barry, F. (PI)

ARTHIST 426: NARRATIVE THEORY & VISUAL FORM

The theoretical terrain of narrative studies in literary criticism and historiography. The critical implications of narrative analysis for the writing of history in general. Readings integrated with students' current research projects.
Terms: not given this year | Units: 5 | Grading: Letter or Credit/No Credit

ARTHIST 432: Rethinking American Art

A re-examination of American art of the 18th and 19th centuries, focusing on works in the collection of the de Young Museum, San Francisco. The class will meet weekly at the de Young, where we will be joined by Professor Margaretta Lovell and students from the University of California, Berkeley. Each student will pursue an in-depth study of a single work in the Museum's superb American collections, using documents of social and cultural history. We will pay particular attention to recent scholarship, questions of genre (landscape, portrait, still life and images of everyday life), and the "biography of objects" (the way works of art shift in context and interpretation over time).nnGraduate seminar open to advanced undergraduates with the instructor¿s approval.
Terms: Aut | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 440A: The Art Market

This seminar is designed to examine aspects of the art market in the current moment and since the mid 19th century. Participants will have an opportunity to engage with problems and perspectives that, until recently, have generally been overlooked or marginalized in narratives of the history of art. Each week, students will write a response to the readings to be shared in advance of the class meeting, and each week, discussion will be initiated by a different student. In individual research projects culminating in a seminar paper, students will be encouraged to focus on how the art market may have impacted the production, reception, and/or circulation of a work or works by a particular artist. 
Terms: Spr | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: Troy, N. (PI)

ARTHIST 442: Looking at Violence

Violence in the media and its effects upon viewers, especially thennyoung, is an issue of national concern that has produced legislationnnfor the ratings of movies, television shows, and computer/video games. Parental control software makes it possible to program cable boxes andnncomputers to censor what broadcasts or websites are accessible tonnchildren. These are political and technical fixes to a perceivednnsocial problem. They do not ask why one is drawn to watch violence innnthe first place, nor why certain kinds of violent imagery is compelling. Debates about how such measures should be implemented usually proceed from the given that images of violence are subjectspecific, with little or no consideration of their formal qualities or visual protocols. This seminar assumes that the tools and categories of visual analysis specific to the History of Art might enrich our thinking about the attraction and impact of violence across media andnnacross time. The seminar proposes to situate its topic at the intersection of social, philosophic, and visual traditions so as to allow productive points of view to emerge. Readings will include texts from the history of aesthetics, psychology, and moral philosophy. Research projects will encourage analysis of all forms of visual media: painting, sculpture, prints, photographs, film, video, and computer graphics.
Terms: not given this year | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 445: What's not American about American Art?

This seminar focuses on American art as a history of migration (of people but also of visual objects) across national and continental boundaries. We examine trans-Atlantic and trans-Pacific dialogues and consider how anxieties about foreigners, immigrants, and political dissidents shaped American art and culture at particular moments in the 20th century. In the second half of the course, we consider a series of museum exhibitions that repositioned American art as a history of social conflict and exclusion.
Terms: not given this year | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 447: Piet Mondrian: Art, History and Historiography

Taking Mondrian as a case study, this seminar will examine some of the salient factors that shape how a modern artist emerges into history. Participants will explore Mondrian's work and ideas, attending not only to his own self-fashioning but also to the myriad forces that have shaped his reception since his death in New York in 1944, including scholarship, museum exhibitions, the art market, the responses of innumerable subsequent artists, and the wide circulation of his work in popular culture.
Terms: not given this year | Units: 5 | Grading: Letter or Credit/No Credit

ARTHIST 449: Flesh and Metal: Art History in the Museum and the Academy

This course taught by Professor Nancy J. Troy (aka Nancy de Wit) is designed to anticipate an exhibition, also entitled "Flesh and Metal" of works by major European and American modern artists, ca. 1914-1955, from the collection of the San Francisco Museum of Modern Art that will be on loan to the Cantor Art Center from November 2013 to March 2014. Artists include Bellmer, Brancusi, Calder, Dali, De Kooning, Duchamp, Gorky, Moholy-Nagy, Mondrian, Picasso, Man Ray, Rodchenko, Sheeler, Taueber-Arp, among many others. Inspired by the concept of institutional critique, the seminar will examine theoretical and historical problems of exhibition installation, presentation, display, labeling, funding, etc. The reconstruction of historical works (e.g., Duchamp's Fountain and Dali's Surrealist object that functions symbolically- Gala's Shoe, both in the show) will also receive attention. The conventions and possibilities of museum-based art history will be interrogated in part through examination of museum records and research into the works of art to be included in the Cantor exhibition.
Terms: not given this year | Units: 5 | Grading: Letter or Credit/No Credit

ARTHIST 449A: Flesh and Metal: Anatomy of an Exhibition

Following in sequence from the winter seminar ARTHIST 449, this course entails all aspects of research and planning for the loan exhibition from SFMoMA to take place at Cantor Arts Center from November 2013 to March 2014. Working with major early 20th century European artworks by painters, sculptors, and photographers including Brancusi, Dali, Duchamp, Mondrian, Picasso, Man Ray, and Rodchenko, students with the Cantor staff and other professionals will determine the exhibition's organization, themes, educational materials, programming, and installation. Pre-requisite ARTHIST449, or permission of instructor.
Terms: not given this year | Units: 5 | Grading: Letter or Credit/No Credit

ARTHIST 453: Reading Walter Benjamin

Few cultural critics are so often cited by scholars in the humanities as Walter Benjamin. The impact of his writings has been decisive to some of the most influential art historians of recent memory, although usually based on a small number of texts (the Kunstwerk essay, the writings on photography, the flâneur, and cinema). Literary historians have turned to somewhat different studies with great profit, notably his writings on Baudelaire, translation, and German tragic drama. The publication of Benjamin¿s entire oeuvre in English has made his work more accessible to a broad range of scholars with diverse interests; one direction emerging from this familiarity is a deeper awareness of his commitment to materialist history. With the palpable collapse of ¿social art history¿ amongst younger art historians, dispersed ambitions of where ¿visual studies¿ might lead, and the return to aesthetic meditations derived from protracted analyses of single works, it may be the time to re-read Benjamin with an eye towards understanding his ambitions for a ¿materialist history.¿ That is the objective of this seminar : we will read deeply in Benjamin¿s writings, configure some ideas of what history meant to him, and attempt to export some of those practices to our current art-historical projects.
Terms: Spr | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: Marrinan, M. (PI)
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