History of Art and Visual Culture
2015-16 General Catalog
D-201 Porter College
(831) 459-4564
havc@ucsc.edu
http://havc.ucsc.edu
Lower-Division Courses
7. Climate Justice Now! Arts, Activism, and Enviroment Today. S
Interdisciplinary examination of various topics and issues in the arts featuring invited guest speakers. Part of the spring quarter Arts Division Dean's Lecture Series. (Formerly Issues in the Arts.) May be repeated for credit. (General Education Code(s): IM.) E. Cameron
10. Introduction to African Visual Culture. *
An interdisciplinary approach to the study of the basic structures (gender, art within political sphere, and spiritual aspects of visual culture) and cultural institutions (initiations, closed associations, kingship, title association, etc.) around which the study of African visual culture revolves. (General Education Code(s): CC.) E. Cameron
20. Visual Cultures of Asia. F
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. (Formerly course 10D, Presence and Power in the Visual Cultures of Asia.) (General Education Code(s): CC, IH, A.) B. Ly
22. 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. (Formerly course 80G.) (General Education Code(s): CC, A, E.) R. Birnbaum
24. Southeast Asia Visual Culture. *
Introduces the visual cultures of Southeast Asia. Topics include indigenous megalithic art, textiles, and jewelry, as well as Hindu and Buddhist art and architecture. Also considers shadow play and dance performance as alternative lenses to looking at ritual and visual narratives rendered on stone temples. (Formerly course 10C.) (General Education Code(s): CC, IH, A, E.) B. Ly
27. Image and Ideology in Indian Art. S
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. (Formerly course 80N, Indian Art: Image and Ideology.) (General Education Code(s): IM, A, E.) K. Thangavelu
30. Introduction to European Visual Culture. *
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. (Formerly course 10G, Europe.) (General Education Code(s): IM, IH, A.) A. Langdale
31. 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. (Formerly course 10F.) (General Education Code(s): IM, IH, A.) D. Hunter
40. Museum Cultures: The Politics of Display. W
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. (Formerly course 80D.) (General Education Code(s): IM, A.) J. Gonzalez, The Staff
41. Modern Art in Context. *
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. (Formerly course 80V.) (General Education Code(s): IM, A.) M. Berger
43. History of Modern Architecture. *
Examines the origins and development of modern architecture, from the Enlightenment and the Industrial Revolution to the 20th Century and beyond. Buildings, urban plans, and works of art and design are discussed in relation to political, social, and cultural currents. (Formerly course 46.) (General Education Code(s): IM, IH, A.) A. Narath
44. Design and Environment in the American West. S
Introduces the complex interplay between design--including architecture, art, engineering, and city planning--and conceptions of environment during the 20th Century in the American West. (General Education Code(s): PE-E.) A. Narath
45. Photography Now. W
Explores recent methods and approaches in photography. Surveys significant aesthetic, conceptual, and theoretical shifts occurring in the photographic medium and related discourses. Special attention given to the "current" landscape of contemporary photography (1980-present). (General Education Code(s): IM.) D. Murray, The Staff
46. Introduction to U.S. Art and Visual Culture. S
Overview of U.S. art and visual culture from the late 18th Century to the present. Examines art as evidence for understanding evolving beliefs and values of Americans. Explores the social and political meanings of art, and pays particular attention to how artists, patrons, and audiences have constructed nationalism, race, class, sexuality, and gender. (General Education Code(s): ER.) M. Berger, The Staff
47. Introduction to Global Architecture. F
Introduces the study of architecture and the built environment from a global perspective, focusing on architecture's relation to themes, such as ritual, power, the city, technology, and climate. (General Education Code(s): CC.) A. Narath
50. Ancient Mediterranean Visual Cultures. F
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. (Formerly course 80E.) (General Education Code(s): IM, A.) The Staff
51. Greek Eyes: Visual Culture and Power in the Ancient Greek World. W
The central role of visual communication in ancient Greek civilization: examines the construction of cultural, social, political, religious, and gender identities through material objects and rituals. Includes discussions of images of the public and private sphere, athletic and theatrical performances, mythology, pilgrimage, and magic. (Formerly course 80X, Greek Eyes: Visual Culture and Power in the Ancient Greek.) (General Education Code(s): IM, A.) M. Evangelatou
58. Gardens of Delight: Fifteen Centuries of Islamic Visual Culture. *
Examines some of the most representative creations of Islamic visual culture from the 7th Century to the present in order to appreciate the richness of this tradition and its extensive influence on other cultures. Focuses on the social, political, and religious role of a variety of materials, from mosques, palaces, and gardens to visual narratives, ceremonies, dance, and contemporary films. (Formerly course 180.) (General Education Code(s): CC, A, E.) M. Evangelatou
60. 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. (Formerly course 80M.) (General Education Code(s): ER, A, E.) C. Dean
70. 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. (Formerly course 105P.) (General Education Code(s): CC, A, E.) S. Kamehiro, The Staff
80. Colonial Histories and Legacies: Africa, Oceania, and the Indigenous Americas. S
The arts and visual cultures of selected cultures that developed outside the spheres of influence of major European and Asian civilizations, with an emphasis on the history and influence of colonialism in creating current ethnic and racial categories. (General Education Code(s): ER, IH, E.) E. Cameron
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. Approaches to Visual Studies. 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. Course 100A is a prerequisite for all History of Art and Visual Culture seminars. (Formerly Methods in History of Art and 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 and minors. (General Education Code(s): W,A.) E. Cameron
Africa and Its Diaspora
110. Visual Cultures of 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 10 or 80 recommended. (Formerly course 107B, West Africa.) (General Education Code(s): CC, A, E.) E. Cameron
111. Visual Cultures of Central Africa. *
Examination of visual cultures of Central Africa within a historical sequence from the Sanga archaeological excavations to contemporary easel painting. (Formerly course 107A, Central Africa) Prerequisite(s): course 80 suggested. Enrollment restricted to sophomores, juniors and seniors (recommended). (General Education Code(s): CC, A, E.) E. Cameron
115. Gender in African Visual Culture. *
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? (Formerly course 185B, Gender.) (General Education Code(s): A, E.) E. Cameron
116. 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. (General Education Code(s): PE-E.) E. Cameron
117. 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. (Formerly course 185D.) Enrollment restricted to sophomores, juniors, and seniors. (General Education Code(s): IM, A, E.) The Staff
118. 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. (Formerly course 189Y.) Recommended: background in art history. Enrollment restricted to sophomores, juniors, and seniors. (General Education Code(s): A.) D. Murray
Asia and Its Diaspora
122. Visual Cultures of China.
122A. 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. (Formerly course 154A.) Enrollment restricted to sophomores, juniors, and seniors. (General Education Code(s): CC, A.) R. Birnbaum
122B. 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. (Formerly course 155.) (General Education Code(s): CC, A, E.) R. Birnbaum
122C. 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. (Formerly course 159D.) (General Education Code(s): A.) The Staff
122D. Chinese Landscape Painting. F
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. (Formerly course 159B.) (General Education Code(s): IM, A.) The Staff
123. Visual Cultures of South Asia.
123A. 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. (Formerly course 189D.) (General Education Code(s): A, E.) K. Thangavelu
123B. Religions and Visual Culture of South Asia. W
South 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 course 106A.) Enrollment restricted to sophomores, juniors, and seniors. (General Education Code(s): CC, A, E.) B. Ly
Visual Cultures of Southeast Asia
124A. Arts of Ancient Southeast Asia. *
Focuses on Hindu and Buddhist arts of ancient Southeast Asia (Indonesia, Cambodia, Vietnam, and Thailand). Materials covered include indigenous megalithic arts, stone sculptures, and monumental temple architecture such as Angkor Wat, Borobudur, Prambanan, and the Bayon. Enrollment restricted to sophomores, juniors, and seniors. (General Education Code(s): CC.) B. Ly
124B. History of Photography in Southeast Asia. W
Examines how photography was used in Southeast Asia to document the racial difference and the exotic "Others" under the regime of colonialism. Considers the role photography played in "documenting" the Vietnam-American War and how contemporary Southeast Asian-American artists challenge this photographic history in their art. Enrollment restricted to sophomores, juniors and seniors. (General Education Code(s): CC.) B. Ly
124C. Arts and Politics in Theravada Traditions. F
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. (Formerly course 163B.) Enrollment restricted to sophomores, juniors, and seniors. (General Education Code(s): CC, A.) B. Ly
124D. Contemporary Art of Southeast Asia and its Diaspora. *
Examines the respective national notions of modernity in the region through a comparative lens. How global capital flow and transnational cultural exchanges impact the production of arts of Southeast Asia and its diaspora. Themes and issues include: colonialism and art education; nationalism; identity politics; memory; trauma; gender; race; sexuality; and the body. Enrollment restricted to sophomores, juniors, and seniors. (General Education Code(s): CC.) B. Ly
Topics in Cross-Regional Studies in Visual Cultures of Asia
127A. 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. (Formerly course 114.) Enrollment restricted to sophomore, junior, and senior students. (General Education Code(s): CC, A.) R. Birnbaum
127B. 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. (Formerly course 154D.) (General Education Code(s): CC, A.) R. Birnbaum
127C. 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. (Formerly course 105E.) (General Education Code(s): IM, A, E.) The Staff
127D. 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. (Formerly course 160.) (General Education Code(s): A, E.) The Staff
127E. Modern/Contemporary Architecture of the Asia Pacific. *
Examines 20th- and 21st-century architecture in China, Japan, Korea, Australia, New Zealand, Papua New Guinea, Hawaii, Samoa, and the Philippines. Examines how aesthetic, socio-political, economic, and technological networks have contributed to Asia Pacific's dynamic and experimental approaches to contemporary architecture. (General Education Code(s): IM.) The Staff
Europe and the Americas
133A. 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. (Formerly course 129.) (General Education Code(s): IM, A.) The Staff
135. History of Art and Visual Culture in Europe.
135B. 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. (Formerly course 136.) (General Education Code(s): IM, A.) D. Hunter
135D. 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. (General Education Code(s): IM, A.) D. Hunter
135E. 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 172.) Enrollment restricted to juniors and seniors. (General Education Code(s): IM, A, E.) The Staff
135H. Topics in European and Euro-American Visual Culture. *
Consideration of how and why Europeans in Europe and Europeans and European-Americans in North America blended nature and human response between 1600 and the present in a variety of media and practices (painting, maps, photography, tourism, film, scouting, artist colonies). May be repeated for credit. (General Education Code(s): IM.) D. Hunter
135P. Paris, "Capital of the 19th Century". *
Examines the places, spaces, practices, and representations of Paris in the 19th century. Tracing the changing face(s) of Paris by way of its literary and visual representations, students consider the experiences and constructions of the modern city. (General Education Code(s): IM.) The Staff
Renaissance
137A. 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. (Formerly course 105R.) (General Education Code(s): A.) The Staff
137B. Italian Renaissance: Art and Architecture. 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. (Formerly "Italian Renaissance: Representation and Institutions.") (General Education Code(s): IM, A.) A. Langdale
137C. 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. (Formerly course 168.) (General Education Code(s): IM, A.) The Staff
137D. Art of the Venetian Renaissance. *
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. (Formerly course 189V.) (General Education Code(s): IM, A.) A. Langdale
137E. Renaissance Prints. W
Examines the issues surrounding the technology and uses of printed images from the early Renaissance through the end of the early modern period. Topics may include the political, religious, and satirical uses of prints and the representation of women in prints. (General Education Code(s): IM, A.) A. Langdale
History of Art and Visual Culture in the U.S.
140A. 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. (Formerly course 126.) (General Education Code(s): IM, A.) M. Berger
140B. 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. (Formerly course 178A.) (General Education Code(s): ER, A.) M. Berger, The Staff
140C. Race and American Visual Arts. *
Investigation of the role played by visual arts in fashioning the racial identities of European-Americans, African Americans, Asian Americans, Native Americans, and Latinos in the United States. (General Education Code(s): ER, A, E.) M. Berger
140D. Chicano/Chicana Art: 1970-Present. F
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. (Formerly course 182.) (General Education Code(s): ER, A, E.) J. Gonzalez, The Staff
140E. Art and Science in America: "Contact" to circa 1900. *
Examines the relationship between art and scientific inquiry in American visual culture from earliest European exploration through the 19th century, when new scientific theories and technological advancements challenged earlier modes of understanding vision, spirituality, and the physical world. (General Education Code(s): PE-T.) The Staff
140P. Pop Culture as High Art. *
Examines how Pop Art and popular culture in the Untied States were (re)formulated into public icons that challenged the visual and ideological associations between "high" and "low" art. (Formerly Pop and Popular Culture.) (General Education Code(s): IM.) The Staff
Modern Art and Visual Culture in Europe and the Americas
141A. Modern Art: Realism to Cubism. F
Modern art in Europe and America, 1848-1914. Consideration of painting, graphic arts, and sculpture in Realism, Impressionism, Post-Impressionism (Symbolism) Art Nouveau, Fauvism, and Cubism as well as exploration of photography's changing status and influence. (General Education Code(s): IM, A.) D. Hunter, The Staff
141B. Modern Art: Cubism to Pop. W
From Paris to New York, cubism to conceptual art, an introduction to visual arts and theories of representation produced in the U.S. and Western Europe between 1910 and the 1960s, with attention to the social and political role of the art market, criticism, and censorship. Students cannot receive credit for this course and Digital Arts New Media 241B. (General Education Code(s): IM, A.) J. Gonzalez, The Staff
141C. Modern Art: Pop to Present. S
Surveys major art forms and critical ideas that have shaped artistic practice from the 1950s to the present, including an overview of the socio-political, economic, and cultural forces that inspire artists to articulate human experience in visual form. (General Education Code(s): IM.) D. Murray, The Staff
141E. 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. (Formerly course 149A.) (General Education Code(s): IM, A.) J. Gonzalez, The Staff
141F. 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. (Formerly course 180.) (General Education Code(s): IM, A.) J. Gonzalez
141H. 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. (Formerly course 131.) (General Education Code(s): IM, A.) The Staff
141I. 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. (Formerly course 181.) Enrollment limited to 35. (General Education Code(s): IM, A.) J. Gonzalez
141J. Critical Issues in Contemporary Art and Visual Culture. F
Considers the relationship between art, cinema, and postmodernism. Specific, thematically oriented topics are considered including: the impact of cinema aesthetics on contemporary art; film and digital technology; cinematic structure as cultural critique; and filmic strategies as an ideological tool. (General Education Code(s): IM.) D. Murray
141K. Activist Art Since 1960: Art, Technology, Activism. F
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. (Formerly course 141C.) (General Education Code(s): IM, A, E.) T. Demos
142. Contemporary Art and Ecology. *
Investigates contemporary art and the politics of ecology. Examines the intersection of art criticism, politico-ecological theory, environmental activism, and postcolonial globalization, considering geopolitical areas diverse as the Arctic, Nigeria, Bangladesh, India, Europe, and the Americas. (General Education Code(s): PE-E.) T. Demos
Architecture
143A. 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 course 124.) (General Education Code(s): IM, A.) The Staff
143B. History of Urban Design. *
Examines urban design from the Renaissance to the present, including Latin American colonial cities, Utopian plans, and sites such as Brasilia and Chandigarh. The course focuses on social justice, diversity, and the role of art and architecture. Enrollment restricted to juniors and seniors. (General Education Code(s): IM.) The Staff
143C. Latin American Modern Architecture. *
Presents Latin America's modern architecture with relation to colonization; the influence of immigrants from Europe, Africa, and Asia; the presence of indigenous cultures; and the search for autonomy. Case studies include Argentina, Brazil, Chile, Mexico, Venezuela, and Uruguay. (General Education Code(s): CC, A, E.) The Staff
143D. Architecture and the City in Modern and Contemporary Visual Culture. *
Examines the modern and contemporary depictions of cities in visual and material culture, from paintings and photographs to logotypes and souvenirs. Also examines the roles of narrative in spatial representations, including literature, film, and television productions. Enrollment restricted to juniors and seniors. (General Education Code(s): IM.) The Staff
143E. History of Design: The Objects of Technology, 1850-The Present. *
Traces the connections between key movements in modern design and the evolution of technology in society. Also provides a framework for engaging critically with the proliferation of technology in society today. (General Education Code(s): PE-T.) A. Narath
143F. 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 174C.) Enrollment restricted to sophomores, juniors, and seniors. Enrollment limited to 35. (General Education Code(s): A.) The Staff
143G. After Utopia: Architecture and the City, 1968-Present. W
Explores critical issues in the history of architecture and urbanism from 1968 to the present. Major themes in the development of contemporary architecture are introduced, including the uneven legacy of modernism, the growth of cities, changing technologies, environmental issues, and the social and political context of design. (General Education Code(s): PE-E.) A. Narath
The Mediterranean
151. Greek Myths Antiquity to the Present. S
Myths dominated the culture and visual production of the ancient Greek world, and their presence is still strong today. How did they codify social, political, and religious realities and needs? How were they perceived in different time periods? In addition to ancient Greek and Roman and later European sculptures and paintings, this course considers less conventional sources, such as modern films, comics, and advertisements. Course 51 recommended as preparation.. (Formerly course 106I, Myth in Greek and Roman Art.) (General Education Code(s): IM, A.) M. Evangelatou
152. Roman Eyes: Visual Culture and Power in the Ancient Roman World. *
Visual culture in the ancient Roman world, from temples and public monuments to houses and tombs, performances, and rituals. Examines the construction of social and cultural identities, including class, gender, and sexuality, through architecture, sculpture, painting, household objects, jewelry, etc. (Formerly Images in the Roman World.) (General Education Code(s): IM, A.) The Staff
154. Byzantine Visual Culture: Politics and Religion in the Empire of Constantinople, 330-1453 A. C. *
Centered on the capital city of Constantinople (modern Istanbul), the Hellenized and Christianized Roman Empire of the Easter Mediterranean today known as Byzantium played a major, yet often overlooked, role in European history for more than a millennium. This course examines its visual production and relation to politics and religion in court and church ceremonial, expressions of Christian faith, and cultural interactions with Western Europe, Islam, and the Slavic world. (Formerly course 104A, Byzantine Visual Culture: Politics and Religion in New Rome, 300-1453 A. D.) (General Education Code(s): IM, A.) M. Evangelatou, The Staff
155. Constructing Cleopatra: Power, Sexuality, and Femininity Across the Ages. *
The construction of female identity and the "production" of history through the myth of Cleopatra. Critical analysis of archeological data and ancient sources, later sculptures and paintings, and contemporary films, movies posters, Internet sites, advertisements, comics, games, dolls, and household objects. (General Education Code(s): IM.) M. Evangelatou
Native Americas
160. Topics in Pre-Hispanic Visual Culture.
160A. Pre-Hispanic Visual Culture: Mexico. S
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. (General Education Code(s): CC, A.) C. Dean, The Staff
160B. Pre-Hispanic Visual Culture: The Andes. *
The art of selected pre-hispanic cultures of Colombia, Ecuador, Peru, and Bolivia including the Nazca, Moche, Chimu, and Inca. (Formerly Pre-Hispanic Andes.) (General Education Code(s): IM, A.) C. Dean
Advanced Studies in Pre-Hispanic Visual Culture
162A. The Maya. *
The art and architecture of the Maya of southern Mesoamerica from the first century C.E. to ca. 1500. Courses 80, 60, or 160A recommended as preparation. (Formerly course 150A) (General Education Code(s): CC, A.) C. Dean, The Staff
162B. The Inka. F
The visual culture of the Inka of the Andean region of western South America including textiles, metalwork, and the built environment. Courses 80 (formerly 10E) or 60 (formerly 80M) recommended as preparation. (General Education Code(s): CC.) C. Dean
163. The Native in Colonial Spanish America. S
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. (Formerly course 151A.) (General Education Code(s): ER.) C. Dean, The Staff
Oceania and its Diaspora
170. Art of the Body in Oceania. S
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): ER, A, E.) S. Kamehiro
172. 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: Prior coursework related to Oceania recommended. (Formerly course 187A.) (General Education Code(s): CC, A, E.) S. Kamehiro
179. Topics in Oceanic Visual Culture. F
Examines selected and changing topics in the study of oceanic visual culture. The specific topic varies with each offering in order to keep up with recent directions in scholarship. Possible topics include: archaeological material and visual cultures; colonial-era images, objects, and spaces; architecture and environments; performance; gender; race and ethnicity; modern/contemporary art and visual culture; and/or a regional focus. May be repeated for credit. (General Education Code(s): CC.) S. Kamehiro, The Staff
Cross-Regional Studies
180A. Global Contemporary Art. *
Examines selected and changing topics in the study of contemporary art in a globalized world but outside of Europe and Euro-America where contemporary arts forms move across discrete geographical areas along newly developing networks. The specific topic varies with each offering to keep up with recent directions in scholarship. May be repeated for credit. (General Education Code(s): CC.) The Staff
185. Critical Issues and Professional Practices in Visual Studies. S
Introduces the practices and production of art historical/visual cultural knowledge. Topics include: interdisciplinarity, pedagogy, museums, art criticism, digital humanities, cultural property, preservation, conservation, art/cultural organizations, art markets, archives, and the role of the humanities in contemporary life. Enrollment is restricted to history of art and visual cultural majors. S. Kamehiro
Seminars in the History of Art and Visual Culture
190A. African Art and Visual Culture. *
Advanced seminar requiring intensive research and writing on changing topics related to a specific area of African art and/or visual culture chosen to demonstrate critical mastery of this subject. Prerequisite(s): course 10 or 80. May be repeated for credit. (General Education Code(s): A, E.) E. Cameron
190B. Play and Ritual in 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. (Formerly course 191F.) (General Education Code(s): A, E.) E. Cameron
190C. The Mediterranean from the Rise of Christianity to the Rise of Islam. *
Examines the visual culture of the Mediterranean from the 3rd to the 7th centuries A.D., focusing on the historical and cultural developments which led to the survival of the Eastern Roman Empire and its transformation to what we call Byzantium. (Formerly course 153.) (General Education Code(s): IM, A.) M. Evangelatou
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 127A or by permission of instructor. (General Education Code(s): A.) R. Birnbaum
190E. 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. (Formerly course 190I.) Prerequisite(s): course 127A or by permission of instructor. (General Education Code(s): A.) R. Birnbaum
190F. 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. (Formerly course 191H.) Prerequisite(s): course 127A or by permission of instructor. (General Education Code(s): A.) R. Birnbaum
190G. 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. (Formerly course 191Z.) Prerequisite(s): course 127A or by permission of instructor. (General Education Code(s): A.) R. Birnbaum
190J. Visual Cultures of the Vietnam-American War. *
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. (Formerly course 191A.) (General Education Code(s): ER, A, E.) B. Ly
190K. Thematic Approach to Visual Cultures of Southeast Asia. *
Undergraduate seminar that takes topical and thematic approach to looking at ancient or modern and contemporary arts of Southeast Asia (e.g., textile, water in arts and architecture, comparative modernity, race, gender, and sexuality). The specific topic and theme varies from year to year. Enrollment limited to 18. B. Ly
190M. 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. (General Education Code(s): A, E.) K. Thangavelu
190N. Topics in Mediterranean Visual Culture. W
Examines selected and changing topics in the study of Mediterranean visual culture. Topics vary with each offering to keep up with recent directions in scholarship. Possible topics: Bronze Age Aegean cultures; myth, ritual, and religion in the Near East; Greek and Roman gender and sexuality; seafarers and cross-cultural interactions in the ancient Mediterranean; Islamic cultures of North African and Spain. May be repeated for credit. (General Education Code(s): CC.) M. Evangelatou, The Staff
190O. Berlin: History and the Built Environment. *
Explores Berlin's urban and architectural history through themes: the meaning of memory in architecture; the political and cultural implications of preservation, globalization, and tourism. Because these questions are relevant beyond Berlin, course draws comparisons with other cities. (General Education Code(s): A.) The Staff
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. (General Education Code(s): A.) D. Hunter
190Q. Portraiture: Europe and America, 1400–1990. F
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. (General Education Code(s): A.) D. Hunter, The Staff
190S. New Directions in Contemporary Art. *
Explores how critical theory illuminates forms of cultural production, from art and cinema to popular culture. Considers how scholars, artists, and filmmakers use critical theory both creatively and in the study of aesthetic objects and experiences. (Formerly Critical Issues in Contemporary Art and Visual Culture.) D. Murray
190T. Topics in Pre- and Post-Columbian Visual Culture. *
Seminar on changing topics related to the current scholarship on pre-Hispanic and colonial Spanish American visual culture. May be repeated for credit. The Staff
190U. Word and Image in Illuminated Byzantine Manuscripts. *
Religious, scientific, and secular manuscripts of Byzantium: examines how words and images interacted to express and promote central 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. (Formerly course 190R.) (General Education Code(s): A.) M. Evangelatou
190V. 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. (Formerly course 191X.) (General Education Code(s): A.) M. Evangelatou
190W. 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. Prior coursework related to Oceania recommended but not required. (General Education Code(s): A, E.) S. Kamehiro
190X. Art and Identity in Oceania. *
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.Prior course work related to Oceania recommended but not required. (General Education Code(s): ER, A, E.) S. Kamehiro, The Staff
191. Seminars in the History of Art and Visual Culture.
191A. 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. (General Education Code(s): A, E.) E. Cameron
191B. 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. (Formerly course 190B.) (General Education Code(s): A, E.) C. Dean, The Staff
191C. 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. (Formerly course 190C.) (General Education Code(s): ER, A, E.) C. Dean
191D. 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. (Formerly course 190S.) (General Education Code(s): A.) J. Gonzalez
191E. 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. (Formerly course 190T.) Enrollment limited to 18. (General Education Code(s): A.) J. Gonzalez
191F. 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. (Formerly course 190Y.) (General Education Code(s): A.) M. Berger, The Staff
191G. Art, Cinema, and the Postmodern. *
Explores how theory can illuminate various forms of cultural production from art and cinema to popular and material cultures. Considers how scholars and visual producers utilize theory creatively and in the study of aesthetic objects and experiences. D. Murray
191I. Topics in Architecture and Urban History. *
Focuses on selected topics in the history of art and visual culture. Topics vary depending on instructor. May be repeated for credit. The Staff
191M. Museum Exhibitions. *
Students create and install and exhibition. Students take the roles of museum departments, moving the project from concept to installation.The impact exhibitions make in culture and society is examined throughout each step of the process. Prerequisite(s): courses 100A and 141M. Enrollment restricted to History of Art and Visual Culture majors and minors. Enrollment by instructor permission. Prerequisite(s): course 141M or by permission of the instructor. E. Cameron
191N. Topics in Renaissance Art and Visual Culture. *
Seminar on changing topics related to the current scholarship on the art and visual culture of the Renaissance. May be repeated for credit. The Staff
191O. Topics in Oceanic Visual Culture. *
Seminar on current scholarship on Oceanic visual culture. Topics include pre-colonial, colonial, and post-colonial visualities; place and the built environment; performance; race; gender; travel and tourism; cultural institutions. Prior coursework related to Oceania recommended but not required. May be repeated for credit. (General Education Code(s): CC.) S. Kamehiro
191P. Topics in Contemporary Art. *
Addresses changing topics in contemporary art. The specific topic varies with each offering to keep up with new directions in scholarship. May be repeated for credit. (General Education Code(s): IM.) The Staff
191R. Art of the Book in Western Europe 500-1600. *
The history of European books circa 500-1600, primarily medieval, illuminated manuscripts and the first years of printing. Focuses on the relationship between text and image. Topics include techniques of book production, the "archeology of the book," and the life and travels of individual books. E. Remak-Honnef
191S. Topics in American Art and Visual Culture. *
Advanced seminar requiring intensive research and writing on changing topics related to a specific area of American art and/or visual culture chosen to demonstrate critical mastery of this subject. May be repeated for credit. (General Education Code(s): IM.) The Staff
193F. History of Art and Visual Culture Service Learning (2 credits). F,W,S
Integrates academic study with meaningful community service to enrich the learning experience, teach civic responsibility, and strengthen communities. Projects may serve non-profit agencies, schools, or art/culture institutions. Enrollment is restricted to junior and senior history of art and visual culture majors and minors. Enrollment is by instructor permission. May be repeated for credit. (General Education Code(s): PR-S.) The Staff
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
201A. Introduction to Visual Studies and Critical Theory. F
Introduces the visual studies discipline, providing students with an overview of the field's development, its primary texts, and its issues of central concern. Features intensive radings and student-led discussions.(Formerly course 201, Introduction to Visual Studies.) Enrollment restricted to graduate students. A. Narath
201B. Introduction to Visual Studies and Critical Theory. W
Introduces the visual studies discipline and primary texts that have made significant contributions to it. Explores theoretical discourses that have proven influential and productive for practitioners of visual studies, in a range of thematic foci and cultural contexts. Features intensive readings and student-led discussions. Students continue to work on the research topic they selected in course 201A. (Formerly course 202, Theories of the Visual Critical Theory.) Enrollment restricted to graduate students. M. Evangelatou
202. Introduction to Visual Studies Methods. S
Examines research methods and approaches in a variety of materials, cultures, periods, and subjects that are relevant in the discipline of visual studies. Discussions focus on research and readings by history of art and visual culture faculty who share practices, experiences, and advice. Enrollment is restricted to graduate students. J. Gonzalez
204. Grant Writing (2 credits). W
Devoted entirely to writing grant proposals. Students work on grants for educational support, their doctoral dissertation grants, or both. (Also offered as Film and Digital Media 204. Students cannot receive credit for both courses.) Enrollment restricted to visual studies and film and digital media graduate students. Enrollment limited to 15. May be repeated for credit. The Staff
212. Yoruba Visualities and Aesthetics. *
Yoruba conceptions of visuality are explored and compared to seeing through Western eyes. Critical reading focuses on Western and Yoruba scholars' work on visualities and complementary theoretical writings on Yoruba aesthetics and philosophy. Enrollment restricted to graduate students. E. Cameron
213. Theories and Visual Cultures of Iconoclasm. *
Examines theories that attempt to explain iconoclasm, the willful destruction of religious or political objects, by applying the theory to various case studies. The universal aspect of iconoclasm and the differences in understanding and practice are explored. Enrollment restricted to graduate students. E. Cameron
220. Topics in Asian Visual Studies. W
Examines selected and changing topics in the visual studies of Asia. The specific topic varies with each offering to keep up with recent directions in scholarship. Enrollment restricted to graduate students. May be repeated for credit. B. Ly
222. The Image of Arhat in China. *
Indian Buddhist sage-monks (arhats) are portrayed in China in ways that represent a remarkable variety of visual/historical/practice traditions. This seminar examines these depictions and explores the ranges of means and functions attached to this theme. Enrollment restricted to graduate students. R. Birnbaum
224. Engaged Buddhism and Visual Culture. *
Begins with an analysis of photography and films capturing the Gandhian and Dalit movement in India. Students then read key Buddhist texts on engaged Buddhism, and look at the rise of engaged Buddhism in Southeast Asia in the 1960s and how it impacted modern and contemporary art in Southeast Asia and its diaspora. Enrollment restricted to graduate students. B. Ly
232. The Monument Since 1750 in Relation to Nationhood and the Experience of War. *
Investigates modern monuments (1750 to present) and the creation or maintenance of a nation, especially in terms of war and its immediate aftermath. Destruction or alteration of monuments and production of anti- or counter-monuments are also examined. Enrollment restricted to graduate students. D. Hunter
233. Topics in Contemporary Art and Visual Culture. S
Examines selected and changing topics in the contemporary art and visual culture. The specific topic varies with each offering to keep up with recent directions in scholarship. Enrollment restricted to graduate students. May be repeated for credit. D. Murray
235. Photography and History. *
Investigates the complex relationship between photography and history. Considers the evolving perceptions of photography's capacity to capture reality, the discursive means by which photographic "truths" are produced, and the utility of photographs as primary evidence. Enrollment restricted to graduate students. The Staff
240. 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. M. Berger
241. Decolonizing Contemporary Art and Ecology. F
Considers how visual culture intersects with environment. Considers how, in the age of neoliberal globalization, documentary and neo-conceptual practices confront the biopolitics of climate change; the financialization and rights of nature; climate refugees; and indigenous ecologies. Enrollment is restricted to graduate students. T. Demos
243. Alternative Architecture. *
Focuses on what is commonly left out of architectural history: the ephemeral, informal, illegal, and uncertain. Topics include: anonymous and collective architecture; temporary interventions; everyday urbanism; and vestigial urban spaces. These topics are understood through theories of space as socially produced (Henri Lefebvre, Michel de Certeau, among others), and through cultural movements and manifestoes (Situationist International, Aesthetics of Hunger, etc.) Enrollment restricted to graduate students. The Staff
245. Race and Representation. *
Explores how human subjects come to be visually defined and marked by "race" discourse. Covers diverse theoretical literatures on the topic, primarily in visual studies, but also in cultural studies, post-colonial studies, and psychoanalysis. (Also offered as Feminist Studies 245. Students cannot receive credit for both courses.) Enrollment restricted to graduate students. J. Gonzalez
250. The Cult of Mary in Byzantium: Visualities of Political, Religions, and Gender Constructs. *
Through the study of the Byzantine cult of Mary, we examine diverse modalities in the construction and interaction of political, religious, and gender values, and we investigate the interrelated role of images, rituals, and text in human experience, expression, and communication. (Formerly The Cult of Mary in Byzantium.) Enrollment restricted to graduate students. M. Evangelatou
260. Visual Literacy in Spanish America, 1500-1800. *
Visual literacy is considered as a particular predicament of colonial societies. Students consider the legibility of artifacts in colonial Spanish American contexts given its culturally diverse audiences and examine specific instances of (mis)interpreted images and transcultured representations. Enrollment restricted to graduate students. C. Dean
270. Colonial Cultures of Collecting and Display. *
Examines collections and exhibitions of colonized people, places, and objects through primary sources, theoretical texts, and analytical case studies (with some emphasis on Oceania). Focuses on visual discourses of race, science, religious conversion, colonial settlement, nation-building, education, and entertainment. Enrollment restricted to graduate students. S. Kamehiro
280. Visual Studies Issues. *
Examines selected and changing issues in visual studies. The specific issue varies with each offering to keep pace with recent directions in scholarship. Enrollment restricted to graduate students. May be repeated for credit. C. Dean
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
295. Directed Reading. F,W,S
Directed reading that does not involve a term paper. Students submit petition to course-sponsoring agency. Enrollment restricted to graduate students. 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
297F. Independent Study (2 credits). F,W,S
Students submit petition to course-sponsoring agency. Enrollment restricted to graduate students. May be repeated for credit. The Staff
299. Thesis Research. F,W,S
Students submit petition to course sponsoring agency. Enrollment restricted to graduate students. The Staff
Revised: 09/01/15
