History of Art and Visual Culture

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

Lower-Division Courses

Upper-Division Courses

100A. Methods in History of Art and Visual Culture. F,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. 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.) C. Soussloff

104A. Byzantine Visual Culture: Politics and Religion in New Rome, 300-1453 A. D.. F
Examines the power of the visual in the empire of Constantinople (330-1453 A. D.); the transition from ancient Rome to medieval Byzantium; politics and religion in courts and church ceremonial; visual expressions of Christian faith; and cultural interactions with Western Europe, Islam, and the Slavic world. Recommended: course on ancient Greek/Roman or medieval art and visual culture. (General Education Code(s): A.) The Staff

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

105P. Visual Cultures of the Pacific Islands. F
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

105R. Northern Renaissance Art. *
Considers the painting and prints produced in Northern Europe in the 15th and 16th centuries. Major issues include the status of realism and classicism, the role of religion and religious reform, and the rise of popular imagery. (General Education Code(s): A.) The Staff

106. Topics in Visual Culture.

106A. Religions and Visual Culture of Southeast Asia. F
Southeast Asia is the home of many religions (Hinduism, Buddhism, Jainism, Islam, and Sikhism). Introduces the role images (painting, sculpture, architecture, photography, film) play in shaping these diverse religious traditions. (Formerly Religious Traditions in Indian Art.) Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 80. (General Education Code(s): A, E.) B. Ly

106I. Myth in Greek and Roman Art. *
Examines how myths were represented in the visual culture of the Greeks and Romans. Analyzes, in its cultural context, the formal language invented by artists to create narratives and identify characters. Recommended: History 21/Literature 61M; Greek and /or Roman history; and classical language courses. (General Education Code(s): A.) M. Evangelatou

106X. Histories of Video in the U.S.. *
Introduces students to video art and documentaries from the 1960s to the present. Topics include experiments with multi-channel and installation spaces, community television, new documentary practices, questions of interactivity and narcissism, video's role in democratizing image making by women and people of color, and the digital turn in video. Enrollment restricted to sophomores, juniors, and seniors; previous art history course strongly recommended. (General Education Code(s): A.) The Staff

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. F
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.) The Staff

110. Topics in Pre-Hispanic Visual Culture.

110A. Mexico. W
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. *
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. W
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. F
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. (General Education Code(s): A.) The Staff

124. Contemporary Architecture and Critical Debates. *
Examination of practitioners, projects, issues, and theories in contemporary architecture circa 1968 to the present. Topics include the architecture of aftermath, the ethics of memory and memorialization, the corporatization of museums, the role of criticism and exhibitions, and the cult of the brand-name architect. (Formerly Contemporary Architecture, 1968–Present) (General Education Code(s): A.) The Staff

126. America in Art. *
Introduction to American visual arts: architecture, painting, photography, sculpture, and performance art, from the nineteenth through the twenty-first 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

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. (General Education Code(s): A.) C. Soussloff, The Staff

136. German Art, 1905–1945. *
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.) The Staff

138. Modern Architecture, 1880–1968. *
Examines the rise of international modernism in the 20th Century and the complex political/social motivations behind its ideologies/movements. Topics include the legacy of the Beaux-Arts tradition, Expressionism, Constructivism, the primacy of Le Corbusier, Weimar Germany, Fascist architecture, Corporate Modernism, Socialist Realism, Post-Modernism, among others. (General Education Code(s): A.) The Staff

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. *
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

142. Activist Art Since 1960: Art, Technology, Activism. S
Students explore art and technology produced for social change since 1960 within the context of major historical ruptures, such as the Vietnam War, the women's movement, environmental protection, AIDS activism, anti-capitalist, and international human rights movements. (General Education Code(s): A, E.) The Staff

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. *
The art and architecture of the Maya of southern Mesoamerica from the first century C.E. to ca. 1500. Courses 10E, 80M, 100E or 110A recommended as preparation. Enrollment limited to 35. (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. *
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

154D. Buddhist Pure Lands. *
Conceptions of "pure lands" have engaged the imaginations of Mahayana Buddhists for more than two millennia. Course considers literary and visual representations of pure lands and their inhabitants, as well as related practice traditions. Special emphasis on Chinese traditions. Previous courses in Asian visual cultures and/or Buddhist studies recommended. Enrollment limited to 35. (General Education Code(s): A.) R. Birnbaum

155. Constructing Lives in China: Biographies and Portraits.
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. *
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.) The Staff

159D. Writing in China. *
Examines material and conceptual phenomena of writing in Chinese visual culture. Focuses on the intersections of places and practices of writing through various inscribed sites, ranging from oracle bones, seals, and mountain facades to hand scrolls, architecture, and contemporary art. Enrollment limited to 35. (General Education Code(s): A.) The Staff

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.) The Staff

163. Early Medieval Visual Culture.

163A. Early Medieval Visual Culture: 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.) M. Evangelatou

163B. Arts and Politics in Theravada Traditions. S
Consideration of the arts and architecture in Theravada Buddhist traditions in Sri Lanka and Southeast Asia. Topics and themes include ritual, relics, visual narrative, mural painting, contemporary art, mass-meditation movement, and political protest. Enrollment limited to 35. (General Education Code(s): A.) B. Ly

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.) The Staff

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

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. Enrollment restricted to juniors and seniors. Enrollment limited to 35. (General Education Code(s): A, E.) C. Soussloff

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. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 35. (General Education Code(s): A.) The Staff

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

177. French Painting, 1780–1855. W
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. *
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

179. The Megastructure. *
Explores the political, social, and cultural discourse surrounding the megastructure from its origins in visionary projects of the early 1960s to reactionary projects of the late 1970s. Students read architectural theory, film criticism, political commentary, and sociological critique. Previous courses in architecture recommended. Enrollment limited to 35. (General Education Code(s): A.) The Staff

180. The Camera and the Body. *
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

183. Mahayana Buddhist Visual Culture: Problems and Perspectives. *
Introduces the historical, social, and religious foundations of Mahayana Buddhism in Asia as well surveying the art and architecture it inspired. Enrollment limited to 35. (General Education Code(s): A.) The Staff

185. Topics in African Art.

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. *
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

185D. Contemporary Art of Africa. *
Examines contemporary arts in post-colonial Africa, 1960-present, including new popular cultural forms; arts resulting from new class and national structures; commodification of culture; Pan-Africanism; exhibitionism; and questions of destiny. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 35. (General Education Code(s): A, E.) E. Cameron

186B. Baroque Art and Architecture. *
Examines central figures in Italian, French, and Spanish art and architecture of the 18th and 19th centuries, from Caravaggio to Piranesi. Topics include: the legacy of the Renaissance; transformations of classical mythology and the erotic idea; the role of the female hero and martyr; changes in the nature of religious experience and the role of the spectator in the encounter with art; the image of absolutism; and the Grand Tour. Enrollment limited to 35. (General Education Code(s): A.) The Staff

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.

189D. Modernity 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

189V. Art of the Venetian Renaissance. S
Considers Venetian art in the 15th and 16th centuries. Topics include major artists (the Bellini, Carpaccio, Titian, Tintoretto, Veronese, Palladio) and the relationship of the city to outside forces (Byzantine Empire, Turkish Empires) and other Italian cities. Enrollment limited to 35. (General Education Code(s): A.) The Staff

189Y. Art of the Contemporary African Diaspora. W
Considers contemporary art by African artists operating in metropolitan centers, as well as Afro-British, Afro-Caribbean, and African-American production. Topics are organized thematically and address constructing and deconstructing the idea of Africa; cultural authenticity; diaspora; Creolité and creolization; hybridity; cosmopolitanism; post-black; and globalism in the arts. Recommended: background in art history. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 35. (General Education Code(s): A.) S. Murray

190. Seminars in Visual Culture.

190A. Theories in Architecture. S
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? This course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to junior and senior history of art and visual culture majors and minors. Enrollment limited to 18. May be repeated for credit. (General Education Code(s): A.) The Staff

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 junior and senior history of art and visual culture majors and minors. Enrollment limited to 18. (General Education Code(s): A, E.) C. Dean

190C. Subalternatives: Representing Others. *
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 18. (General Education Code(s): A, E.) C. Dean

190D. The World of the Lotus Sutra . S
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 or permission of instructor. Enrollment limited to 18. (General Education Code(s): A.) R. Birnbaum

190I. Huayan Visions. *
Explores the distinctive conceptual world of the Buddhist Huayanjing (Avatamsaka-sutra) and its expression in visual forms. This long text, composed in Sanskrit and later translated into Chinese, is a principal scripture of the international Mahayana Buddhist traditions of Asia. This course can be taken for senior exit credit only by permission of the instructor. Prerequisite(s): course 114, an upper-division course in Buddhist studies is recommended, or permission of the instructor. Enrollment restricted to junior and senior history of art and visual culture majors and minors. Enrollment limited to 18. (General Education Code(s): A.) R. Birnbaum

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." This course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to junior and senior history of art and visual culture majors and minors. 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. Course can be taken for senior exit credit only by permission of instructor. Prerequisite(s): prior course work related to Oceania recommended. Enrollment restricted to junior and senior history of art and visual culture majors and minors, or by instructor permission. Enrollment limited to 18. (General Education Code(s): A, E.) S. Kamehiro

190P. Death and Patriotism: The Case of the French Revolution. W
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. This course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to junior and senior history of art and visual culture majors and minors. Enrollment limited to 18. (General Education Code(s): A.) D. Hunter

190Q. Portraiture: Europe and America, 1400–1990. *
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

190R. Word and Image in Illuminated Byzantine Manuscripts. *
Religious, scientific, and secular manuscripts of Byzantium: how words and images interact to express and promote concepts of Byzantine culture; serve liturgical needs of private devotion; reflect imperial ideals; diffuse moral values and knowledge; and proclaim social status and cultural affiliations. Prerequisite(s): course 104A or permission of instructor. Enrollment restricted to juniors and seniors. Enrollment limited to 18. (General Education Code(s): A.) M. Evangelatou

190S. Semiotics and Visual Culture. W
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. This course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to junior and senior history of art and visual culture majors and minors. 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. This course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to junior and senior history of art and visual culture majors and minors. Enrollment limited to 18. (General Education Code(s): A, E.) K. Thangavelu

190Y. Image and Gender. W
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. This course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to junior and senior history of art and visual culture majors and minors. Enrollment limited to 18. (General Education Code(s): A.) M. Berger

191. Seminars in Art History.

191A. Visual Cultures of the Vietnam-American War. W
Examines the visual culture of the Vietnam-American war and its legacy in contemporary art of Southeast Asia. Considers representations in different media: painting, drawing, photography, film, novels, and material cultures. Issues addressed include memory, trauma, identity politics, body, race, gender, pornography, and prostitution. This course can be taken for senior exit credit only by permission of the instructor. Prerequisite(s): courses 10C or 10D, and 100A. Enrollment restricted to junior and senior history of art and visual culture majors. Enrollment limited to 18. (General Education Code(s): A, E.) B. Ly

191B. The Life/Sculpture of Gianlorenzo Bernini, Master of the Roman Baroque. *
Sculptures, performances, and art theory of Roman Baroque artist Gianlorenzo Bernini. Early modern sources on Bernini's life and recent art history used to assess issues in cultural theory: embodiment, performance/performativity, visual and textual genres, space/time in sculpture. This course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to junior and senior history of art and visual culture majors and minors. Enrollment limited to 18. (General Education Code(s): A.) C. Soussloff

191C. Iconoclasm. *
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. This course can be taken for senior exit credit only by permission of the instructor. Prerequisite(s): course 10E or permission of instructor. Enrollment restricted to junior and senior history of art and visual culture majors and minors. 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. This course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to junior and senior history of art and visual culture majors and minors. 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. This course can be taken for senior exit credit only by permission of the instructor. Enrollment restricted to junior and senior history of art and visual culture majors and minors. Enrollment limited to 18. (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. This course can be taken for senior exit credit only by permission of the instructor. Prerequisite(s): course 114 or permission of instructor. Enrollment restricted to junior and senior history of art and visual culture majors and minors. Enrollment limited to 18. (General Education Code(s): A.) R. Birnbaum

191O. African Art and Visual Cutlrue. F
Advanced seminar requiring intensive research and writing on changing topics related to a specific area of African art and/or visual culture chosen to demonstarte critical mastery of this subject. Prerequisite(s): course 10E. Enrollment restricted to juniors and seniors majoring or minoring in history of art and visual culture. Enrollment limited to 18. May be repeated for credit. (General Education Code(s): A, E.) E. Cameron, (F) The Staff

191P. Art and Identity in the Pacific: Creating and Challenging Ethnic and National Identities. F
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. Course can be taken for senior exit credit only by permission of instructor. Enrollment restricted to junior and senior history of art and visual culture majors, or by permission. Enrollment limited to 18. (General Education Code(s): A, E.) S. Kamehiro

191X. Cult of Mary in Byzantium. *
Why did the cult of the Virgin Mary become so important in Byzantine culture? Examines historical, cultural, theological, political, and social reasons for this development, seen through the interaction of Byzantine visual culture and literature. This course can be taken for senior exit credit only by permission of the instructor. (Formerly Cult of Mary in Byzantine Art.) Prerequisite(s): course 104A. Enrollment restricted to junior and senior history of art and visual culture majors and minors. Enrollment limited to 18. (General Education Code(s): A.) M. Evangelatou

191Z. Buddhist Wisdom Traditions. *
Careful study of Mahayana Buddhist perfection-of-wisdom traditions--texts and related material culture, including visual imagery and illustrated books--with focus on the particular vision of reality that they aim to produce or reveal. This course can be taken for senior exit credit only by permission of the instructor. Prerequisite(s): course 114. Enrollment restricted to junior and senior history of art and visual culture majors and minors. Enrollment limited to 18. (General Education Code(s): A.) R. Birnbaum

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. May be repeated for credit. 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

199F. Tutorial (2 credits). 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

201. Introduction to Visual Studies. *
Introduces the visual studies discipline and the History of Art and Visual Culture Department, providing students with an overview of the field's development, its issues of central concern, and its dominant research methods. Features intensive readings, student-led discussions, and exposure to some of the primary texts instrumental in the development of the field. Required seminar for all first-year visual studies graduate students. Enrollment restricted to graduate students. Enrollment limited to 15. The Staff

202. Critical Theory. *
Builds on the foundation establish by course 201. Offers more detailed theoretical readings to familiarize students with the methodological frameworks and debates that laid the groundwork for the field as well as those that have proven productive for practitioners of visual studies. Prerequisite(s): course 201. Enrollment restricted to graduate students. Enrollment limited to 15. The Staff

203. Theories and Histories of Seeing. *
Provides an in-depth case study of the visual practices and culture of a specific society. Builds on the foundation established by courses 201 and 202, offering sustained application of the general methods and theories to which students were previously introduced. The society under consideration rotates each year depending on the research interest of the faculty member teaching the course in any given spring. Prerequisite(s): courses 201 and 202. Enrollment restricted to graduate students. Enrollment limited to 15. May be repeated for credit. The Staff

224. Seeing Race. *
Investigates how discursive systems racialized the sight of various racial and ethnic groups in 19th- and 20th-century U.S. society. Focuses on the construction and maintenance of racial values systems and on the historically specific ways in which an eclectic assortment of visual artifacts have been read by groups over time. Considers the visual and material implications of race-based sight. Enrollment restricted to graduate students. Enrollment limited to 15. M. Berger

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 2009-10