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Course Criteria
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5.00 Credits
Writing workshop and reading group. The relationship between publication and professionalization. Students submit publishable papers to an appropriate journal. Recommended: 430A. 5 units, not given this year
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5.00 Credits
Debates over the ontological status of the photograph as document from the 19th century to the present; archival conceptions of photographic meaning. Problems of realism, indexicality, positivism, tourism, social commentary, power, and subjectivity. Protagonists: Frith, Atget, Hine, Sander, Rodchenko, Siskind, Lange, Bernd and Hilla Becher, Richter, Rosler, Sekula. Readings: Warburg, Kracauer, Benjamin, Brik, Tret'iakov, Sontag, Barthes, Buchloh, Tagg, Nesbit, Armstrong, Stimson, Nickel, Kelsey. 5 units, Win (Gough, M)
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5.00 Credits
The emergence and proliferation of new intermedia practices in Weimar Germany, fascist Italy, and Soviet Russia as avant garde artists invented modes of agitation and propaganda appropriate to the protean ambitions of each state. Focus is on monumental photography, wherein the medium of photography was mobilized on an architectural scale in interior spaces, exhibitions, and urban environments, and on the photo essay, a radicalization of the traditional amalgam of pictures and text made possible by advances in printing technologies. The historical avant garde's significance for postwar debates about media hybridity and the society of the spectacle. 5 units, not given this year
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3.00 - 5.00 Credits
(Same as COMM 386.) The intersection of politics, aesthetics, and new media technologies in the U.S. between the end of WW II and the fall of the Berlin Wall. Topics include the aesthetics of thinking the unthinkable in the wake of the atom bomb; abstract expressionism andmodern man discourse; game theory, cybernetics, and new models of art making; the rise of television, intermedia, and the counterculture; and the continuing influence of the early cold war on contemporary media aesthetics. Readings from primary and secondary sources in art history, communication, and critical theory. 3-5 units, Spr (Turner, F; Lee, P)
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5.00 Credits
Collaborative planning, research, text writing, and design for the summer 2009 exhibition of recent acquisitions of East Asian art at the Cantor Center. Topics include exhibition theory and organization, connoisseurship issues, and practices of display. Students may prepare papers for publication in the Cantor Center's journal, and contribute introductory and label texts for the exhibition. Advanced undergraduates require consent of instructors. 5 units, Win (Vinograd, R)
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5.00 Credits
(Same as JAPANGEN 220.) Workshop production such as that of the Kano and Tosa families; the meaning of the signature on objects including ceramics and tea wares; the folk arts movement; craft guilds; ghost painters in China; individualism versus product standardization; and the role of lineage. How works of art were commissioned; institutions supporting artists; how makers purveyed their goods; how artists were recognized by society; the relationship between patrons' desires and artists' modes of production. 5 units, not given this year
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5.00 Credits
How the project of art history connects to general issues of historical writing and evidence. Focus is on modes of vision, such as the perceptual, conceptual, and historical, and the clusters of related limitations they bring to the problem of art history. The overlapping areas of blindness inherent in art-historical scholarship. How options within the field are conditioned and shaped by the central, founding activity of the discipline. 5 units, not given this year
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5.00 Credits
Restricted to graduate students. From the origins of the discipline in 19th-century Germany to recent debates on visual studies. Iconology, formalism, semiotics, psychonalysis, and Marxist and feminist approaches to the work of art. Limited enrollment. 5 units, Aut (Lee, P)
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5.00 Credits
The Middle Ages saw the development of a theoretical framework on visual representation in response to charges of idolatry. The defenders of religious images drew on the dogma of Incarnation; as the Virgin gave human flesh to the Logos/Christ, the image offered a material manifestation of the divine. Focus is on the change in perception and staging of the image. Early in the period, the icon or relic expressed the presence of the sacred; later in the period, visual representation was designed to trigger an emotional response that led the viewer to a union with the divine. 5 units, not given this year
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5.00 Credits
How artists, art historians, philosophers, and critics have theorized the temporality of the art object. Topics: the origin of the work of art, duration, repetition, entropy, kineticism, the monument, the end of death of art, schizophrenia. Writers: Bergson, Deleuze, Focillon, Fried, Hegel, Heidegger, Jameson, Kubler, Krauss, Riegl. 5 units, not given this year
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