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141 - 150 of 162 results for: ARTHIST

ARTHIST 458: Warhol and After

This seminar focuses on the wide-ranging career of Andy Warhol as a means to consider the broader history of American art and culture since 1950. It examines little-studied aspects of Warhol¿s visual production (e.g. his career as a commercial artist in the 1950s, his everyday photographs of the 1970s and 1980s) as well as now-canonical Pop paintings of the early-to-mid 1960s. Warhol¿s critical and scholarly reception will be scrutinized in detail, as will published interviews of and writings by the artist. Finally, we will consider Warhol¿s legacy and influence on American art in the decades since his death in 1987.
Terms: Spr | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: Meyer, R. (PI)

ARTHIST 461: The American Civil War: An Experiential History

Can one write a history of lived experience, of ephemeral states that never were represented? Can one look at representations of paintings, photographs, and literature to see where these ephemeral states might be trapped, or might otherwise be pictured? Feeling that the real war did not get in the books (for the most part), the course examines those books and other representations and so many things that never attained so exalted a form to look at the war anew. Methodological readings as well as readings about the Civil War.
Terms: not given this year | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 463: Grad Seminar: American - Ekphrasis

Description is a prime skill for an art historian.  How to make a reader (or listener) see a work, whether it is illustrated or not, is arguably the most fundamental and important task and pleasure in this discipline.  How to make a world--both for oneself and for one's audience--is the larger purpose of such imagistic writing.  Considering historical and more recent examples of ekphrasis, the course will concentrate on works of art in the Cantor Arts Center, requiring each student to select a work that will become the basis for a quarter-long writing project.
Terms: Aut | Units: 5 | Grading: Letter or Credit/No Credit
Instructors: Nemerov, A. (PI)

ARTHIST 465: Media Technology Theory (COMM 384)

This course surveys major theoretical approaches to the study of media technologies, including Frankfurt School critical theory, media archaeology, actor network theory, science and technology studies, platform studies and theories of critical making. By the end of the course, students should have a rich familiarity with the literature in this area, as well as with exemplary empirical studies conducted within each tradition. Preference to Ph.D. students in Communication and Art and Art History. Consent of instructor required for non-PhD students.
Terms: Win | Units: 3-5 | Grading: Letter (ABCD/NP)

ARTHIST 470: Globalization and the Visual Arts

Enrollment restricted to graduate students. Globalization as the most important paradigm for the production, circulation, and reception of contemporary art since the 1990s. The expanding terrain of the art world; biennial culture; new economies of scale and the art market along with its critique in the discourses of empire and multitudes. Debates on the thematics of hybridity; post-Fordism; the flat world and capital flows; exteriority and site specificity; and new models of collectivism in recent art.
Terms: not given this year | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 484A: Studies in Chinese Painting of the Yuan and Ming Eras

Selected topics in studies of Yuan and Ming dynasty Chinese painting, print culture, and art theory: the impact of collecting on art production, interplays of print imagery and painting, and relationships between cultural and discursive geographies..
Terms: not given this year | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 484B: Studies in in Yuan and Ming Dynasty Chinese Painting

Selected topics in studies of Yuan and Ming dynasty Chinese painting, print culture, and art theory: the impact of collecting on art production, interplays of print imagery and painting, and relationships between cultural and discursive geographies.
Terms: Win | Units: 1-5 | Grading: Letter (ABCD/NP)
Instructors: Vinograd, R. (PI)

ARTHIST 485: The Situation of the Artist in Traditional Japan (JAPANGEN 220)

Topics may include: workshop production such as that of the Kano and Tosa families; the meaning of the signature on objects including ceramics and tea wares; the folk arts movement; craft guilds; ghost painters in China; individualism versus product standardization; and the role of lineage. How works of art were commissioned; institutions supporting artists; how makers purveyed their goods; how artists were recognized by society; the relationship between patrons¿ desires and artists¿ modes of production.
Terms: not given this year | Units: 5 | Grading: Letter or Credit/No Credit

ARTHIST 485A: Exhibiting East Asian Art

This seminar will explore the history, conceptual approaches, design, and practicalities of museum-based exhibitions of East Asian art. Through readings, field trips, and site-based exercises the seminar will look to inform the planned reinstallation of the Cantor Center's East Asian galleries. Open to graduate and undergraduate students with interests in art history, museology, design, and cultural representation. Permission of the instructor required.
Terms: Spr | Units: 1-5 | Grading: Letter (ABCD/NP)
Instructors: Vinograd, R. (PI)

ARTHIST 487X: Pictures of the Floating World: Images from Japanese Popular Culture (ARTHIST 287, JAPANLIT 287)

Printed objects produced during the Edo period (1600-1868), including the Ukiyo-e (pictures of the floating world) and lesser-studied genres such as printed books (ehon) and popular broadsheets (kawaraban). How a society constructs itself through images. The borders of the acceptable and censorship; theatricality, spectacle, and slippage; the construction of play, set in conflict against the dominant neo-Confucian ideology of fixed social roles.
Terms: Win | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: Takeuchi, M. (PI)
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