History of Art and Visual Culture

D-201 Porter College
(831) 459-4564
havc@ucsc.edu
http://havc.ucsc.edu

Lower-Division Courses

10. Introduction to Visual Culture.
An introduction to the history of art and visual culture. Need not be taken in sequence. The Staff

10D. Presence and Power in the Visual Cultures of Asia. S
An introduction to the art and architecture of East Asia, including China, India, Southeast Asia, and Japan. In order to achieve a fuller understanding of the arts of these countries a historical, cultural, and religious context is provided. (General Education Code(s): IH, A.) The Staff

10E. Africa, Oceania, and the Americas. W
A comparative study of the arts of selected cultures which developed outside the spheres of influence of the major European and Asian civilizations. Emphasis is on the function of the arts in these disparate geographic regions. Students cannot receive credit for this course and course 100E. (General Education Code(s): IH, A, E.) E. Cameron, C. Dean, S. Kamehiro

10F. The Nude in the Western Tradition. F
The human body without clothing in European and European-American art and visual culture from ancient Greece to the present day. Among the themes to be addressed: gender, youth and age, sexuality and sexual preference, fecundity and potency, erotic art and pornography, primitivism and the naked body of the non-European. (General Education Code(s): IH, A.) D. Hunter

10G. Europe. *
An introduction to the European tradition in visual culture, from antiquity to the present, but not in chronological order. All media, including the fine arts, architecture, film, video, and installation and performance work are incorporated. Presents the major visual regimes of representation while it probes the meanings and limits of Europe and the European tradition in the context of the visual. (General Education Code(s): IH, A.) The Staff

80A. Introduction to Architecture. F
Introduction to elements, technology, concepts, and semiotics of architecture in its buildings, functions, environments, societies, and history. (General Education Code(s): T5-Humanities and Arts or Social Sciences, A.) S. Crane

80D. Museum Cultures: The Politics of Display. *
Explores the history of collecting and displaying art (museums, galleries, fairs) since the mid-19th century and the effect of institutional changes on aesthetic conventions. Follows the history from the origins of museums and collections to contemporary critiques of institutional exclusion and misrepresentation. (General Education Code(s): T5-Humanities and Arts or Social Sciences, A.) J. Gonzalez

80E. Ancient Mediterranean Visual Cultures. *
The role that ancient art and visual culture play in constructing social identities, sustaining political agendas, and representing various cultural, ritual, and mythological practices in Mesopotamia, Egypt, Greece, and Rome, including the sociology of ancient cultures, mythology, religious studies, gender studies and history. (General Education Code(s): T5-Humanities and Arts or Social Sciences, A.) The Staff

80F. Form and Feeling in Indian Art. *
Rasa is the juice of something, its essence or flavor. In the arts of India, the theory of rasa unites all media. Using rasa theory to examine Indian visual culture, this course looks at painting, sculpture, film, performance, and literature. (General Education Code(s): T5-Humanities and Arts or Social Sciences, A, E.) K. Thangavelu

80G. Religion and Visual Culture in China. S
Introduction to the study of religious currents and practices in China and their visual expression. In addition to "religious art," topics include such pivotal matters as body concepts and practices, representations of the natural world, and logics of the built environment. (General Education Code(s): T5-Humanities and Arts or Social Sciences, A, E.) R. Birnbaum

80J. Visual Cultures of the Middle Ages. W
Images of power, piety, and belief of the European Middle Ages, circa 200-1450 A.D., from late Roman to late Gothic developments; mosaics, sculpture, pilgrimage tokens, reliquaries, manuscripts, monasteries, stained glass, cathedral architecture, and other media. (General Education Code(s): T5-Humanities and Arts or Social Sciences, A.) V. Jansen

80K. Constructing Home, 1900-1960. *
Examines ways in which architects in Europe and U.S. created not only modern houses but also blueprints for modern living. Focuses on issues of gender, domesticity, public versus private sphere, and mass housing versus single-family home. (General Education Code(s): T5-Humanities and Arts or Social Sciences, A.) The Staff, S. Crane

80L. Saints and Sites in Medieval Visual Culture. *
What makes a body holy? How were the saints of Christianity created? What prompted travel across hundreds of miles to venerated sites throughout Europe and the Mediterranean? How did the commercial trade in relics develop, and why was it sanctioned? (General Education Code(s): T5-Humanities and Arts or Social Sciences, A.) The Staff

80M. Indigenous American Visual Culture. S
Selected aspects of art and architecture of the first peoples of the Americas, north, central, and south, from ca. 2000 B.C.E. to present. Societies to be considered may include Anasazi, Aztec, Inca, Northwest Coast, Maya, Navajo, Plains, and others. (General Education Code(s): T5-Humanities and Arts or Social Sciences, A, E.) C. Dean

80N. Indian Art: Image and Ideology. *
Examination of the ways social, religious, and political patronage have affected the production and reception of art in the Indian subcontinent. The course is designed as a series of case studies from different periods of Indian history. (General Education Code(s): T5-Humanities and Arts or Social Sciences, A, E.) The Staff

80S. Western Culture and the Human Visual Imagination. W
Survey of critical themes and theoretical topics central to historical situations and visual character of Western culture from Early Modern period to present. Addresses issues of particular concern to the visual tradition in Europe and the U.S.: the beginning and end of art, visual regimes of looking and seeing, the idea of the artist, the art market, media and technologies, the role of museums and other exhibition practices. (General Education Code(s): T5-Humanities and Arts or Social Sciences, A.) C. Soussloff

80T. Art of the Body in Oceania. *
Explores "art of the body," defined broadly, from various perspectives. Examines colonial representations of Oceanic bodies, self-representation through bodily adornment and display (including tattoo, scarification, body painting, ornament, and dress), and bodily metaphors in Oceanic visual cultures. (Formerly Art of the Body in the Pacific Islands.) (General Education Code(s): T5-Humanities and Arts or Social Sciences, A, E.) S. Kamehiro

99. Tutorial. F,W,S
Supervised study for undergraduates. Students submit petition to sponsoring agency. May be repeated for credit. The Staff

Upper-Division Courses

100A. Methods in History of Art and Visual Culture. W
Introduction to major issues of method and critique in study of art and visual culture. Focuses on understanding disciplinary and critical modes of scholarly inquiry in the visual arts, including role of historical research. Emphasizes intensive reading, discussion, and writing. (Formerly Readings in Visual Culture.) Prerequisite(s): satisfaction of Entry Level Writing and Composition requirements. Enrollment restricted to sophomore, junior, and senior History of Art and Visual Culture majors. Enrollment limited to 18. (General Education Code(s): W,A.) (W) The Staff

100E. Introduction to Visual Culture: Africa, Oceania, and the Americas. W
A comparative study of the arts of selected cultures which developed outside the spheres of influence of the major European and Asian civilizations. Emphasis on the function of the arts in these disparate geographic regions. Students cannot receive credit for this course and course 10E. Designed for selected students who need upper-division credit to complete certain majors; contact the History of Art and Visual Culture office for information. (General Education Code(s): A, E.) E. Cameron, C. Dean, S. Kamehiro

105. Topics in Art History.

105E. Ritual in Asian Religious Art. *
Examination of interaction between image and ritual in Asian religious art. Case studies from different historical periods and geographical locations (e.g., China, Tibet, Japan, Indonesia, India). Examples include mandalas, ritual bronzes, tankas, sacred caves, temples, tea ceremonies, and calligraphy. (General Education Code(s): A, E.) The Staff, K. Thangavelu

105P. Visual Cultures of the
Pacific Islands. W
Interdisciplinary course examines visual cultures of Australia, Melanesia, Micronesia, and Polynesia from the archaeological past through contemporary periods. (General Education Code(s): A, E.) S. Kamehiro

106. Topics in Visual Culture.

106A. Religious Traditions in Indian Art. *
Examines ways in which religious traditions are embedded in (or embodied within) art of the Indian sub-continent. Topics include Hindu temples; Jain art; Buddhist sacred narratives and cosmology; royal elite and popular patronage; and functions of icons. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 80. (General Education Code(s): A, E.) K. Thangavelu

106B. Building the California Dream. *
From colonial architecture of Spanish missions to Daniel Libeskind's Jewish Cultural Center; Case Study Houses to Watts Tower; and Hearst Castle to Disneyland, students examine architecture, landscapes, cities, and spaces of California. (General Education Code(s): A.) The Staff, S. Crane

106D. Architecture as Visual Culture. *
Focusing on designers who have challenged the boundaries of architecture through the incorporation of and experimentation with diverse media, including drawing, photography, film, and new media, this course examines architecture as a critical paradigm for visual culture. (General Education Code(s): A.) The Staff, S. Crane

107. Topics in African Visual Culture.

107A. Central Africa. *
Examination of visual cultures of Central Africa within a historical sequence from the Sanga archaeological excavations to contemporary easel painting. Prerequisite(s): course 10E suggested. Enrollment restricted to sophomores, juniors and seniors (recommended). Enrollment limited to 90. (General Education Code(s): A, E.) E. Cameron

107B. West Africa. *
Explores visual cultures of West Africa through time (Nok to present). Attention paid to relationships between peoples and impact of European/Arab presence on visual cultures. Prerequisite(s): course 10E recommended. (General Education Code(s): A, E.) E. Cameron

110. Topics in Pre-Hispanic Visual Culture.

110A. Mexico. *
Art and architecture of selected pre-Hispanic cultures from the gulf coast, central, western, and southern Mexico including the Olmec, Zapotec, Toltec, Mixtec, Mexica (Aztec), and others. Offered in alternate academic years. (General Education Code(s): A.) C. Dean

110B. The Andes. F
The art of selected pre-hispanic cultures of Colombia, Ecuador, Peru, and Bolivia including the Nazca, Moche, Chimu, and Inca. (General Education Code(s): A.) C. Dean

114. Buddhist Visual Worlds. F
Introduction to the study of Buddhist visual traditions, from their beginnings to the present day. Case studies examined with careful attention to historical, social and cultural contexts; particular emphasis on the relation of visual traditions to Buddhist practices. Enrollment restricted to sophomore, junior, and senior students. (General Education Code(s): A.) R. Birnbaum

115. Italian Renaissance: Representation and Institutions. *
Lives of Italian Renaissance people from birth to death, examining the nature and roles of the institutions which defined human existence in this period. Uses visual arts both illustratively and to study how institutions fashioned their images through art and architecture. (Formerly course 80I.) (General Education Code(s): A.) The Staff

120. The Arts in Japanese History.

120A. Early Japanese Temples. W
The construction and images, and the liturgical, political, and social functions of the principal Japanese temples surviving from the formative period of Japanese history, from approximately 500 to 1100 C.E. These temples are all prime historical and social sites in modern Japan. Most of them are mainly Buddhist, but the religious context of the course will be the general one of Japan during this period, including Shinto. Enrollment limited to 35. (General Education Code(s): A.) J. Hay

121. The Arts in Chinese History.

121A. Early Chinese History. *
Neolithic to the first extended age of imperial China (the Han Dynasty, 206 B.C.-220 A.D.). Themes, such as ritual and technology in the language of form, within a cultural and historical framework concluding in the age when representation of everyday life first became prominent. (General Education Code(s): A.) J. Hay

121C. Later Chinese History. *
The arts of China, from the second century A.D. to the 20th century. Architecture, sculpture, ceramics, calligraphy, and painting, setting these in contexts of social structure, political, and cultural values. Enrollment limited to 45. (General Education Code(s): A, E.) J. Hay

121D. Twentieth-Century Chinese Art. *
Chinese art during the socially and politically tumultuous 20th century, a period when artists were challenged by an increased awareness of world art and the need to adapt to politically-motivated artistic constraints. General narrative history, leading artists, decisive moments, and poignant questions. (General Education Code(s): A, E.) J. Hay

124. Contemporary Architecture, 1968-Present. W
Examination of practitioners, projects, issues, and theories in contemporary architecture from 1968 to the present. Topics include pop culture and architecture, deconstructivist architecture, and questions of place and identity in recent architecture. Enrollment limited to 90. (General Education Code(s): A.) S. Crane

125. The Languages of Medieval Visual Culture, c. 300-1500. *
The visual culture of the European Middle Ages with emphasis on why certain formal languages were used and how they functioned in their societies. One course from the 10 or 80 series or a course in medieval culture is recommended as preparation. Enrollment restricted to sophomores, juniors, and seniors. (General Education Code(s): A.) V. Jansen

126. America in Art. S
Introduction to American visual arts: architecture, painting, photography, sculpture, and performance art, from the 19th through the 21st century. Explore social and political meanings of art and what art reveals about our nation's values and beliefs, in particular, gender and race. (General Education Code(s): A.) M. Berger

127. Campus Planning and Architecture. *
Campus planning and architecture from earliest beginnings in the Middle Ages at Oxford, Cambridge, and Winchester to the most recent university campuses, with particular emphasis on UCSC and other 1960s plans. Frosh should contact instructor if interested in enrolling. Enrollment restricted to sophomores, juniors, and seniors. Frosh should contact instructor if interested in enrolling. Enrollment limited to 90. (General Education Code(s): A.) V. Jansen

129. Themes in the Study of Medieval Visual Culture. *
Many issues associated with contemporary artistic production and visual culture originated in the Middle Ages. Themes to be considered: role of secular art; women as artists and patrons; aesthetic attitudes; relationship between cultures in holy war, crusade, and pilgrimage. (General Education Code(s): A.) V. Jansen

131. Media History and Theory. *
An introductory examination of the writing about the issue of "medium" and media theory in visual culture. Technologies, discourses, and practices from all periods that use the comparison of media as a major approach to understanding the problems of the visual are highlighted. New media, film, television, video, traditional arts are also treated. Prerequisite(s): course 10G, or any of the following courses from Film and Digital Media: 20A, 20B, 20C or 120. Enrollment restricted to sophomores, juniors, and seniors. (General Education Code(s): A.) C. Soussloff

136. German Art, 1905-1945. F
Expressionism, agitprop, the Bauhaus, New Objectivity, attacks on modernism, National Socialist realism. Painting, sculpture, graphic art, and some architecture and film, studied in the context of political events from the eve of World War I to the end of World War II. (General Education Code(s): A.) D. Hunter

137. Impressionism to Pop Art: Art in Modern Culture. *
Critical reading of modernism as a high art tradition. Emphasis on context: culture of capitalism, shift in power from Europe to the U.S., role of gender and race, and the aesthetic as either apolitical refuge or site of disruption and critique. Third in a sequence of three courses on French art and its historical context; see courses 176 and 177. (General Education Code(s): A.) D. Hunter, M. Berger

138. Modern Architecture, 1880-1968. *
Developments in 19th- and 20th-century architecture, focusing on issues of modernity, technology, and industrialization, new building types, competitions, and urban growth as well as on major movements, buildings, and architects. (General Education Code(s): A.) S. Crane

139. The Art and Architecture of Islam. *
Study of Islam as a religious and political entity and analysis of how the Islamic world has defined itself in the realm of cultural production. Presentation of a variety of Islamic artistic media from different historical periods and geographic areas provides a general overview of artistic production in diverse Islamic lands. (General Education Code(s): A, E.) The Staff

140. Surrealism to Postmodernism, Paris-New York. S
From Paris to New York, World War II to Vietnam, consumerism to conceptualism, an introduction to visual arts and theories of representation produced in the U.S. and Western Europe between 1930 and 1990, with attention to the social and political role of the art market, criticism, and censorship. (General Education Code(s): A.) J. Gonzalez

140A. The Power of Images in the Roman World. *
Exploration of major visual media of the Roman Republic and Empire focusing on political and social ideology that examines the context of artistic products. Examines public monuments, domestic architecture, funerary vocabulary, and plebeian images as examples of the imagery of Roman culture. (General Education Code(s): A.) The Staff

141. The Last Ten Years. *
Issues in recent visual art theory and practice are explored in light of contemporary exhibitions and publications. The course identifies themes and new media that have emerged or risen to prominence in museums and galleries over the past decade, nationally and internationally. (General Education Code(s): A.) J. Gonzalez

149A. Histories of Photography. *
Introduction to the histories of photography and the critical debates around different photographic genres such as medical photography, art photography, and political photography. Students will develop a critical language in order to analyze photographs while considering the importance of social and institutional contexts. (General Education Code(s): A.) J. Gonzalez

150. Advanced Studies in Pre-Hispanic Visual Culture.

150A. The Maya. W
The art and architecture of the Maya of southern Mesoamerica from the first century C.E. to ca. 1500. Prerequisite(s): course 10E or 100E or 110A. Enrollment limited to 40. (General Education Code(s): A.) C. Dean

151. Topics in Colonial/Postcolonial Visual Culture.

151A. The Native in Colonial Spanish America. *
Indigenous contributions to colonial Spanish American visual culture including architecture, manuscripts, sculpture, painting, textiles, feather-work, and metallurgy. Focus on colonial Mexico, the Andes, and California. Enrollment limited to 35. (General Education Code(s): A, E.) C. Dean

153. History of the Book. W
History of book production and use in the West from antiquity to modern times. Development from roll to codex and from script to print. Emphasis on the relationship between text and image. Class conducted in Special Collections, McHenry. Exhibition as class project. Enrollment limited to 25. (General Education Code(s): A.) E. Remak-Honnef

154. Environments and Religion in China.

154A. Sacred Geography of China. *
An examination of the close relationship of religious traditions and the natural world in China, and its expression in visual representation. Particular emphasis on the ways in which competing groups sought to define or re-envision an understanding of the terrain. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 35. (General Education Code(s): A.) R. Birnbaum

154B. Architecture and Religion in China. *
An examination of the built environment-houses and palaces, shrines and temples, walls and gates, monuments and tombs, village and city plans-in relation to cosmological views and religious traditions. Special focus on the Chinese Buddhist monastery. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 35. (General Education Code(s): A.)R. Birnbaum

154C. Chinese Buddhist Monasteries. *
Consideration of Buddhist monasteries in China: as built environments set within architectural traditions; as centers for the realization of specific religious aims and practices, with distinctive visual programs to support those aims; and as nodes within social and economic landscapes. Enrollment limited to 35. (General Education Code(s): A.) R. Birnbaum

155. Constructing Lives in China: Biographies and Portraits. S
Consideration of biographies and portraits in China as representations of human types and individuals, and the use of these representations as models for constructing lives. Attention to historical and social contexts, early times to present. Special focus on Chinese Buddhist traditions. A previous course that focuses on traditional China or Buddhist studies strongly recommended. Enrollment limited to 35. (General Education Code(s): A, E.) R. Birnbaum

156. Race and American Visual Arts. *
Investigation of the role played by visual arts in fashioning racial identities of European-Americans, African Americans, Native Americans, and Latinos in the United States. Enrollment limited to 35. (General Education Code(s): A, E.) M. Berger

159. Thematic Topics in Chinese Art.

159B. Chinese Landscape Painting. S
Examines the history and significance of the subjects most prominent in Chinese painting during the past one thousand years, focusing on the cultural factors that made landspace a fundamental value in the Chinese tradition and the methods whereby painters created pictorial equivalents. Enrollment limited to 35. (General Education Code(s): A.) J. Hay

160. Storytelling in Asian Art. *
Combination of theoretical perspectives on narrative from literary criticism, rhetoric, folklore, and film theory with art historical focus on images (cave temples, stone reliefs on stupas, scrolls, dance-drama, etc.) from India, Pakistan, China, Japan, Cambodia, and Indonesia. Enrollment limited to 35. (General Education Code(s): A, E.) K. Thangavelu

161. Japanese Arts and Crafts. *
Examines premodern and modern developments in the production, dissemination, and use of Japanese arts and crafts. Includes a unit focusing on the tea ceremony as a key site for shaping craft aesthetics. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 35. (General Education Code(s): A, E.) The Staff

163. Early Medieval Visual Culture.

163A. The Mediterranean. *
Visual culture from the late Roman Empire to the early Byzantine Empire. Imperial triumphal monuments, Roman, early Christian, and Jewish catacombs, frescoes, manuscripts, and mosaics. Enrollment restricted to sophomores, juniors, and seniors; other students should contact instructor. One quarter of a 10-series course or a course in ancient or medieval culture is recommended as preparation. Enrollment limited to 35. (General Education Code(s): A.) V. Jansen

164. Early Medieval and Romanesque Architecture. *
Meaning and form of building in western European society, 1000-1130, within monastic, imperial, ducal, and urban environments. Course 80A or one quarter of the course 10-series or a course in medieval studies is recommended as preparation. Enrollment restricted to sophomores, juniors, and seniors; other interested students should contact the instructor. Enrollment limited to 35. (General Education Code(s): A.) V. Jansen

165. Gothic Architecture.

165A. Cathedral Gothic. W
Theory, form, structure, and social conflict in the building of cathedrals and large churches in western European urban society, 1140-1300, with emphasis on northern France. Course 80A or one course from the 10-series or a course in medieval studies is recommended as preparation. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 35. (General Education Code(s): A.) V. Jansen

165B. Gothic Beyond. *
Parish, friar, and special-purpose churches, chapels, synagogues, and colleges within episcopal, royal, noble, burgher, merchant, and artisan societies throughout western Europe, c.1150-1500, with particular emphasis on Late Gothic structures. Course 80A or one course from the 10-series or a course in medieval studies is recommended as preparation. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 35. (General Education Code(s): A.) V. Jansen

167. Colonial and Postcolonial Cities: Morocco and Algeria. *
Through examination of architecture, urban planning, and images of cities in photography and film, considers the changing forms, representations, transformations, and experiences of cities in Morocco and Algeria during colonial and postcolonial periods. Enrollment limited to 35. (General Education Code(s): A.) S. Crane

168. High Renaissance. W
An investigation of the High Renaissance as a period and stylistic concept, using the major artists and monuments of the period 1480-1525 to discuss issues of theory, history, and art. Artists considered include Leonardo da Vinci, Michelangelo, and Raphael. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 35. (General Education Code(s): A.) C. Soussloff

169. Studies in 17th-Century Italian Art. *
Italian painting and sculpture of the 17th century in cultural and historical contexts, with special attention to figures such as Caravaggio, Carracci, Bernini, and Algardi, and places such as Bologna, Florence, Rome, Genoa, and Naples. Problems considered include the rise of the academies and connoisseurship, art theory, patronage, and definitions of style. Enrollment limited to 35. May be repeated for credit. (General Education Code(s): A.) C. Soussloff

170. The Image of the Artist in History and Fiction. *
Examination of the representation of the visual artist in historical writing and contemporary fiction and film. Investigation of the models, structure, and language of the biography of the artist. Enrollment restricted to juniors and seniors; other students should contact instructor. Enrollment limited to 35. (General Education Code(s): A.) C. Soussloff

171. Methods and Historiography: Aesthetics and Historicism. *
Examination of the representation of the visual artist and art in German historical and philosophical writing from 1790 to World War II. Focus on critical readings of texts for the purpose of analyzing and contextualizing them, both historically and theoretically. Enrollment limited to 35. (General Education Code(s): A.) C. Soussloff

172. Jewish Identity and Visual Representation. *
An exploration of the theoretical and practical or experiential applications of Jewish identity in European visual representation. Brief background on pre-emancipation textual and cultural issues followed by study of the Jewish subject and Jewish subjectivities in modernity. (Formerly course 190L.) Enrollment restricted to juniors and seniors. Enrollment limited to 35. (General Education Code(s): A, E.) C. Soussloff

173. Culture and Society in Early Modern Europe. *
Visual culture and representation explored through close study of texts, images, and institutions that register the fundamental theoretical and societal changes from the late Middle Ages through the 17th century. Readings in literature, drama, visual art, religion, science, philosophy, and politics. Enrollment limited to 40. May be repeated for credit. (General Education Code(s): A.) C. Soussloff

174B. Architecture as Collaboration: Shaping Modern Environments, 1910-1940. *
Critical examination of collaboration in projects and writings by selected architects. This course will consider disjunctions between actual practices and retrospective histories; questions of gender, sexuality, and creative processes; and relationships between architecture and the visual arts. Enrollment limited to 35. (General Education Code(s): A.) S. Crane

174C. Constructing Memory and Place in Postwar Architecture. *
How have architects engaged memory and place in architectural projects and built landscapes since World War II? Examines memorializing, memory, and erasure of place in reconstruction of cities, creation of memorials, and design of buildings. (Formerly course 191J.) Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 35. (General Education Code(s): A.) S. Crane

175. Feminism and Aesthetics. *
Addresses the feminist critique of art history and visual culture; queries the viability of a feminist sensibility or politics in visual representation and reception. Approaches these topics through the problem of the representation of the "woman artist" and the feminine/feminist voice in cultural institutions and discourse. Enrollment limited to 35. (General Education Code(s): A.) C. Soussloff

176. Spectacular Power: Versailles, 1660-1989. *
The palace and grounds of Versailles as a representation of the French state since the time of Louis XIV. Architecture, garden design, fountains, and fortifications; painting, sculpture, and court ceremony. The links between absolutism and the making of the "classic" French style are explored. First in a sequence of three courses on French art and its historical context; see courses 177 and 137. Enrollment limited to 35. (General Education Code(s): A.) D. Hunter

177. French Painting, 1780-1855. *
The art of David, Gros, Ingres, Gericault, Delacroix, the Barbizon School, and Courbet studied in relation to the changing status of the art and the political events from 1789 to 1848. Second in a series of three courses on French art and its historical context. See courses 176 and 137. Enrollment limited to 35. (General Education Code(s): A.) D. Hunter

178A. Victorian America. W
Examines how American writers and artists negotiated complexities of U.S. society during the 19th century. Emphasis on issues ranging from women's rights to laissez-faire capitalism, and from Reconstruction to manifest destiny. Considers how the era's cultural products provided artists, patrons, and audiences with metaphorical coping strategies to counteract what Victorians perceived to be the period's overwhelming social and political changes. Enrollment limited to 35. (General Education Code(s): A.) M. Berger

180. The Camera and the Body. S
Through the study of historical and contemporary visual texts (from ethnography and portraiture to advertising and erotica), this course explores how photographic images of the body, while masquerading as "natural," "self-evident," or "scientific," participate in highly coded sign systems that influence who looks at whom, how, when, and why. Enrollment limited to 35. (General Education Code(s): A.) J. Gonzalez

181. Environments, Installations, and Sites. *
A study of conceptual and formal issues that have informed the production of temporary, site-specific art works since 1960. Works that seek to transform the role of the audience, to escape or remake museum and gallery spaces, to introduce environmental concerns, or to situate art in "the land" or in "the street" serve as a focus. Enrollment limited to 35. (General Education Code(s): A.) J. Gonzalez

182. Chicano/Chicana Art: 1970-Present. *
Taking the terms "Chicano" and "Chicana" as a critical framework, addresses cultural and conceptual themes in visual art production since 1970. Questions concerning aesthetics, identity, gender, and activism in painting, photography, murals, and installation art explored. (General Education Code(s): A, E.) J. Gonzalez

185. Topics in African Art.

185A. Royal Arts of Africa. F
Examination of the visual culture of selected African kingdoms, historical and contemporary. (Formerly, Royal Arts in West Africa.) Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 35. (General Education Code(s): A, E.) E. Cameron

185B. Gender. *
In Africa, relationships exist between gender and visual culture. Course examines where categories come from, differences in men's and women's visual cultures, and how visual cultures teach, reinforce, and negotiate gender definitions. When are male/female boundaries crossed, and why? Enrollment limited to 35. (General Education Code(s): A, E.) E. Cameron

185C. African Architecture. F
Study of the built environment in Africa. Focusing in depth on 10 major architectural forms or sites, this course explores the diversity of architectural types and how gender, politics, religion, and culture shape and are shaped by architectural spaces. Enrollment limited to 35. (General Education Code(s): A, E.) E. Cameron

187A. Textile Traditions of Oceania. *
Investigates how textiles contribute to cultural fabric of Oceania. Explores women's roles in socioeconomic exchanges and cultural production; gender issues regarding production and function of Oceanic textiles; and history of processes, functions, and aesthetics. Prerequisite(s): satisfaction of Entry Level Writing and Composition requirements. Prior coursework related to Oceania recommended. Enrollment restricted to juniors and seniors or by permission of instructor. Enrollment limited to 25. (General Education Code(s): W, A, E.) S. Kamehiro

189. Special Topics in Art History.

189C. Modern Architecture of Latin America. *
Examines Latin American architecture and urbanism during periods of social, political, and cultural transition from the early-19th to the mid-20th centuries. Topics include functionalism, nationalism, Brasilia, Buenos Aires, Habana, and the Caracas and Mexico City university cities. Prerequisite(s): course 80S, or 138, or 189B, or by permission of instructor. Enrollment limited to 35. (General Education Code(s): A.) The Staff

189D. Mdernity and Nationalism in the Arts in India. *
Deals with artistic responses to the forces of modernity, colonialism, industrialization and globalization in India during the 19th and 20th centuries. Addresses the complex and often painful climb toward re-establishing a truly Indian artistic identity. Enrollment limited to 35. (General Education Code(s): A, E.) K. Thangavelu

189N. Impressionism. *
Focusing on work of artists Monet, Degas, Morisot, Cassatt, Caillebotte, and others, course themes include development of a Parisian avant-garde, representing modernity, new art exhibition strategies, issues of gender in/and representation, and rise of landscape painting. Prerequisite(s): course 137 recommended. Enrollment limited to 35. (General Education Code(s): A.) The Staff

189O. Mediterranean Cities in the 19th and 20th Centuries. *
A study of architecture and urban landscapes in cities including Casablanca, Barcelona, Algiers, Marseille, Athens, and Istanbul. Considers myths and realities of Mediterranean identity in architecture through drawings and buildings, photography and film during colonial and postcolonial periods. Enrollment limited to 35. (General Education Code(s): A.) S. Crane

189W. Performance Anxiety in 17th-Century Dutch Painting: Portraits, Still Lifes, and Other Genres. *
The acts of posing and painting, called portraits, studied as aesthetic performances within a system of genres and as representational strategies that respond to peculiar instabilities-social, political, and economic-of the Dutch Republic during the Eighty Years' War. Enrollment limited to 35. (General Education Code(s): A.) H. Berger

190. Seminars in Visual Culture.

190A. Theories in Architecture. W
How do we construct architecture in words? Which discourses do we use, and what do they tell us about how we understand architecture? How are technology and the techniques of architectural representation understood? Enrollment restricted to juniors and seniors. Enrollment limited to 17. (General Education Code(s): A.) S. Crane

190B. The Virgin of Guadalupe: Images and Symbolism in Spain, Mexico, and the U.S. *
Focus on the histories of miraculous images of La Virgen de Guadalupe de Extremadura (Spain) and La Virgen de Guadalupe de Tepeyac (Mexico). The foundations and growth of the cult of the Mexican Guadalupe during the colonial period is examined along with the multivalent symbolism of her image. Considers contemporary "appearances" of the Virgin of Guadalupe, from the miraculous images on a tree in central California and the compositions of Chicano artists, to mass-produced kitsch. This course can be taken for senior exit credit only be permission of the instructor. This course can be taken for senior exit credit only be permission of the instructor. Enrollment restricted to juniors and seniors. Enrollment limited to 18. (General Education Code(s): A, E.) C. Dean

190C. Subalternatives: Representing Others. F
Explores how visual representation (in fine art, popular art, film, and television) encodes difference in selected cultural and historical contexts. Considers (post)colonial image-making both as a strategy of domination as well as resistance. This course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to juniors and seniors. Enrollment limited to 22. (General Education Code(s): A, E.) C. Dean

190D. The World of the Lotus Sutra . *
Close study of the principal text of East Asian Buddhism as a self-enclosed vision of reality, with careful consideration of the forms and functions of the world of visual and aural representation that it has inspired. Prerequisite(s): course 114. Enrollment limited to 17. (General Education Code(s): A.) R. Birnbaum

190F. Mountains and Religion in China. *
Topical approach to the visual culture of mountains in Chinese history-encompassing both imaginative constructions and physical realities-especially in relation to religious practices. Considers examples and contexts in relation to such topics as pilgrimage, local and state religion, and individual or group retreat and reclusion. Interview only: a previous course on Chinese history or culture (in such departments as history of art and visual culture, history, literature, or anthropology) or permission of instructor; instructor determines if prerequisite is met. Enrollment restricted to juniors and seniors. Enrollment limited to 17. (General Education Code(s): A.) R. Birnbaum

190G. Word and Image in Chinese Culture. S
The Chinese tradition, from the earliest material evidence to the most recent, has persistently emphasized a close relationship between written language and pictorial image. This concern has appeared equally in artifactual and theoretical form. Its best known representation is in the association of calligraphy with painting. Course examines the evolution and meaning of that association. A knowledge of the Chinese language is not necessary. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 18. (General Education Code(s): A.) J. Hay

190H. Representing Cultural Narratives: Japanese Handscrolls. *
Narrative handscrolls were one of the most characteristic and vivid productions of Japanese visual culture for over a thousand years. They were used to represent and re-represent almost every aspect of institutional and social history. Examines their cultural categories and historical development. This course can be taken for senior exit credit only by permission of the instructor. This course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to juniors and seniors. Enrollment limited to 18. (General Education Code(s): A.) J. Ha

190J. Built Environments of Medieval Cities. *
Roads, bridges, walls, market squares, civic buildings, hospitals, houses, churches, and districts in the economic, social, and political environments of the medieval urban fabric. Recommended for students with background in medieval, urban, or architectural studies. Course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to juniors and seniors. Enrollment limited to 17. (General Education Code(s): A.) V. Jansen

190K. Representations and Society in the Middle Ages: The Genealogy of the Modern. *
Physical images and monuments from the 12th through 15th centuries treated in their sociopolitical contexts examined from the perspective of issues important to late 20th-century American society through critical readings of texts. Student topics may focus on other places and times than the European Middle Ages. This course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to juniors and seniors. Enrollment limited to 18. (General Education Code(s): A.) V. Jansen

190M. History and Visual Culture. *
The literature on art and visual culture in the European tradition and the critiques that have emerged in postmodern theory, particularly as these pertain to the term and concept "history." Enrollment restricted to juniors and seniors. Enrollment limited to 18. (General Education Code(s): A.) C. Soussloff

190N. The Philosophy of Art. *
This course will examine the ways in which the work of art appears in philosophical writings in the European tradition from Greek times to the present. The readings will be chosen for the ways in which the ideological and theoretical aspects of art are addressed by philosophy. Enrollment restricted to junior and senior history of art and visual culture, art, literature, history, philosophy, history of consciousness, and politics majors. Can be taken for senior exit credit only by permission of instructor. Enrollment limited to 18. (General Education Code(s): A.) C. Soussloff

190O. Art and Culture Contact in Oceania. *
Examines impact of culture contact on Oceanic and Euro-American visual cultures in context of "discovery," colonialism, and "postcolonialism." Topics include 18th-century visual culture, colonial identities, primitivism, syncretism, impact of Christianity, contemporary art/market, media, tourism, transnationalism, and globalization. Prerequisite(s): prior course work related to Oceania recommended. Enrollment restricted to juniors and seniors. Enrollment limited to 17. (General Education Code(s): A, E.) S. Kamehiro

190P. Death and Patriotism: The Case of the French Revolution. *
What are the relations between the mortal body and politics in times of crisis? What purposes can death, or the threat of death, serve? Examines representations of executions, assassinations, and funerals during the French Revolution, with an emphasis on the Terror. Enrollment limited to 18. (General Education Code(s): A.) D. Hunter

190Q. Portraiture: Europe and America, 1400-1990. W
Western portraiture and self-portraiture at certain key moments (early modern Italy, 16th-century Germany, 17th-century Holland, France from the reign of Louis XIV to the Revolution, contemporary U.S.) are explored by reading 20th-century interpretations and some primary sources. This course can be taken for senior exit credit only by permission of the instructor. Enrollment limited to 18. (General Education Code(s): A.) D. Hunter

190S. Semiotics and Visual Culture. F
How can visual culture be understood as the production, circulation, and recirculation of signs? This course offers a history of semiotics and its methodological application in the analysis of images in popular culture and within the discipline of art history. This course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to junior and senior students. Enrollment limited to 18. (General Education Code(s): A.) J. Gonzalez

190T. Feminist Theory and Art Production. *
A close reading of works of art and theoretical texts by feminists working from 1970 to the present. The course encourages debate around the past, present, and future relevance of feminist theories to visual cultural studies, paying particular attention to issues of cultural and ethnic difference. Enrollment limited to 18. (General Education Code(s): A.) J. Gonzalez

190U. Representations of Women in Indian Art. *
Deals with representations of the female divinity in Indian religious imagery, and of women in secular and courtly paintings. Also examines roles women play in the production of art in the Indian subcontinent. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 17. (General Education Code(s): A, E.) K. Thangavelu

190Y. Image and Gender. *
Examines what visual representations (feminine and masculine) reveal of gender in 19th- and 20th-century European and American culture; how images reflect norms of gender; and how we are conditioned to read images in gendered terms. Explores how femininity and masculinity were conceived during historical periods and how gender ideals changed in response to social, political, and economic pressures. Students encouraged to consider the fluid nature of 21st-century notions of ideal femininity and and masculinity and possible alternatives. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 18. (General Education Code(s): A.)M. Berger

191. Seminars in Art History.

191C. Iconoclasm. F
What happens when, to control an object, it is destroyed? Examines destruction of art as a way of ending the object's life cycle, as a device of social tension/change, and as a colonial and post-colonial mechanism of religious/political control. (Formerly Iconoclasm in Africa.) Prerequisite(s): course 10E or permission of instructor. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 18. (General Education Code(s): A, E.) E. Cameron

191D. Spectacle, Ceremony, and Display in Medieval Pilgrimage and Contemporary Tourism. *
Medieval pilgrimage and contemporary tourism studied as social, cultural and economic phenomena with analogous structures. Examines some of the most significant medieval pilgrimage sites (Rome, Jerusalem, Santiago de Compostela) through contemporary literature on tourism. Enrollment limited to 18. (General Education Code(s): A.) The Staff

191F. Play and Ritual in African Visual Cultures. *
Compares how play and ritual construct worlds and regulate visual cultures-from dolls to "ritual" objects and performances. Attention given to areas where play and ritual overlap and the visual cultures that result. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 17. (General Education Code(s): A, E.) E. Cameron

191H. Chan Texts and Images. *
Examines selected issues in history of Chan (Zen) Buddhist traditions in China from medieval times to the present day. Concepts, methods, and visual expression of Chan practice situated through study of texts and visual materials. Prerequisite(s): course 114 or permission of instructor. Enrollment limited to 17. (General Education Code(s): A.) R. Birnbaum

191I. The Individual and Tradition in Chinese Painting of the
17th Century. *
Embracing the last great transition between imperial dynasties in China, the 17th century was a period of extraordinary creativity in Chinese painting. Both the proponents of traditional values and the seekers after viable individualism were equally vigorous and inventive. Much of their work still has a strong and immediate appeal to the eyes and minds of today. Explores both the working of this period and the nature of its continuing appeal. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 17. (General Education Code(s): A.) J. Hay

191K. Theories of Postmodernism and the Visual Arts. *
Discourse of postmodernism and the critical view of modernism that has emerged with it. Considers structuralism, poststructuralism, semiotics, and phenomenology along with three types of postmodernist discourse-poststructuralist, neo-Marxist, and art critical. Enrollment restricted to sophomore, junior, and senior history of art and visual culture majors. Enrollment limited to 18. (General Education Code(s): A.) The Staff

191P. Art and Identity in the Pacific: Creating and Challenging Ethnic and National Identities. W
Theoretical discussions and Pacific Basin case studies on 1) definitions of cultural, ethnic, and national identities; 2) relationship between art, museums, and construction of historical and cultural narratives; 3) ways "tradition" defined in art practices and used by groups to assert an identity in their present. Participants first develop a theoretical framework and vocabulary for analyzing artistic production in a variety of cultures. Through specific case studies, will explore how art, architecture, and museums actively contribute to define and challenge ethnic and national identities. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 17. (General Education Code(s): A, E.) S. Kamehiro

191R. Gothic Architecture Beyond Cathedrals. *
Seminar on medieval Gothic religious architecture beyond cathedrals: parish churches that structured the lives of ordinary people; friar churches that challenged the cathedral aesthetic; Mediterranean cathedrals, synagogues, special-use chapels, and nunneries-all of which deconstruct the historiography of Gothic. Prerequisite(s): courses 80A, 10F, or any course focusing on the Middle Ages recommended. Enrollment restricted to juniors and seniors. Enrollment limited to 18. (General Education Code(s): A.) V. Jansen

195. Senior Thesis. F,W,S
Students submit petition to sponsoring agency. May be repeated for credit. The Staff

198. Independent Field Study. F,W,S
Independent field study away from the campus. Students submit petition to sponsoring agency. The Staff

198F. Independent Field Study
(2 credits). F,W,S
Independent field study away from the campus. Students submit petition to sponsoring agency. The Staff

199. Tutorial. F,W,S
Individual study in areas approved by sponsoring instructors. Students submit petition to sponsoring agency. May be repeated for credit. The Staff

Graduate Courses

294. Teaching-Related Independent Study. F,W,S
Directed graduate research and writing coordinated with the teaching of undergraduates. Students submit petition to sponsoring agency. May be repeated for credit. The Staff

297. Independent Study. F,W,S
Independent study or research for graduate students. Students submit petition to sponsoring agency. May be repeated for credit. The Staff

*Not offered in 2006-07