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.

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. *
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. F,S
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. *
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.) The Staff

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.) J. Darling

80G. Religion and Visual Culture in China. *
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

80M. Indigenous American Visual Culture. *
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. *
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. F
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. (General Education Code(s): T5-Humanities and Arts or Social Sciences, A, E.) S. Kamehiro

80V. Modern Art in Context. F
Examines the social, economic, and political significance of European and U.S. modernist art and architecture, moving from French realism to American minimalism. Provides the historical background and theoretical frameworks needed to make sense of modernist art and culture. (General Education Code(s): T5-Humanities and Arts or Social Sciences, A.) M. Berger

80X. Greek Eyes: Visual Culture and Power in the Ancient Greek. *
The role of visual communication in ancient Greek civilization. The construction of cultural, social, political, religious, and gender identities through material objects and rituals. Images of the public and private sphere, athletic and theatrical performances, mythology, pilgrimage, and magic. (General Education Code(s): T5-Humanities and Arts or Social Sciences, A.) M. Evangelatou

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,S
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.) 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

104A. Byzantine Visual Culture: Politics and Religion in New Rome, 300-1453 A. D.. *
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.) M. Evangelatou

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

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. 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

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

106I. Myth in Greek and Roman Art. W
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.) S. Murray

107. Topics in African Visual Culture.

107A. Central Africa. F
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. S
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.) The Staff, R. Birnbaum

115. Italian Renaissance: Representation and Institutions. W
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

120. The Arts in Japanese History.

120A. Early Japanese Temples. *
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.) The Staff

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.) The Staff

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.) The Staff

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.) The Staff

124. Contemporary Architecture and Critical Debates. S
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 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

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.) The Staff, C. Soussloff

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. S
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. F
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. S
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. W
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, J. Darling

142. Activist Art Since 1960. W
An examination of art produced for social change in the U.S. since 1960 focusing on five cases: the Vietnam war, Chicano civil rights, the women's movement, environmental protection, and AIDS activism. (General Education Code(s): A, E.) The Staff, J. González

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. González

150. Advanced Studies in Pre-Hispanic Visual Culture.

150A. The Maya. F
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. 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

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. 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. *
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.) 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. 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. W
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. *
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

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. F
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. *
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.) J. Lieber

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. González

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. González

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. González

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.

185A. Royal Arts of Africa. *
Examination of the visual culture of selected African kingdoms, historical and contemporary. 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. *
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

186B. Baroque Art and Architecture. W
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.) J. Lieber

187A. Textile Traditions of Oceania. S
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. S
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

189V. Art of the Venetian Renaissance. W
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. *
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

189Z. Time-Based Media and the Body, 1980-Present. F
Addresses relations between the body and video, film, and digital-based media, examining performance and embodiment as formulative elements of these works. Works are primarily from the 1980s to the present, looking back as necessary to understand contemporary practice. It is strongly suggested that students should have taken one or more art history courses. Enrollment limited to 35. (General Education Code(s): A.) S. Murray

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 18. (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 juniors and seniors. 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 .
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

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 18. (General Education Code(s): A.) R. Birnbaum

190G. Word and Image in Chinese Culture. *
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.) The Staff

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.) The Staff

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. Prerequisite(s): course 114, an upper-division course in Buddhist studies is recommended, or permission of the instructor. 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." Enrollment restricted to juniors and seniors. 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 18. (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. *
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. *
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. González

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. González

190U. Representations of Women in Indian Art. S
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 18. (General Education Code(s): A, E.) K. Thangavelu

190W. Pilgrimage in South Asian Religion. *
Examines the role of pilgrimage in Hindu and Buddhist religious practice from the ancient to the modern periods, emphasizing art historical material from a representative survey of sites located throughout South Asia. Enrollment limited to 18. (General Education Code(s): A.) The Staff

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.

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. Enrollment restricted to junior and senior majors in history of art and visual culture, art, literature, history, philosophy, politics, theater arts, and sociology. 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. 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. W
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 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. Prerequisite(s): course 114 or permission of instructor. Enrollment limited to 18. (General Education Code(s): A.) R. Birnbaum

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. Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 18. (General Education Code(s): A, E.) S. Kamehiro

191S. Gender and Sexuality in Italian Renaissance Art. *
Addresses how Renaissance art both constructed and reflected cultural notions of gender and sexuality. In particular, course focuses on ideals of women with relation to marriage and politics; notions of masculinity and the effeminate male; homosexuality; and pornography. Recommended: background in Renaissance art and/or culture. Enrollment restricted to juniors and seniors. Enrollment limited to 18. (General Education Code(s): A.) The Staff

191X. Cult of Mary in Byzantine Art. F
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. Prerequisite(s): course 104A, or juniors and seniors may enroll with permission of instructor. Enrollment limited to 18. (General Education Code(s): A.) M. Evangelatou

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

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 2008-09