students with a solid liberal arts background and MINOR IN VISUAL ARTS
is preparatory training for careers as artists, art
The Department of Visual Arts offers minors
historians, filmmakers, video artists, photographers,
in seven areas of study: studio painting/drawing/
digital media artists, and art critics. It also provides
sculpture, photography, computing, art history, his-
students the initial skills required for teaching and
tory and criticism of film and video, digital video and
work in museums, television, and the commercial
PROFESSORS film production, and ICAM. A minor consists of seven
film, photography, and internet industries.
specific courses, of which at least five must be upper-
David Antin, M.A., Emeritus By its composition, the Department of Visual Arts
division. Because the requirements differ for each
Eleanor Antin, B.A., Emerita is biased in the direction of actively producing artists
minor, prospective visual arts minors should consult
Sheldon G. Brown, M.F.A. and critics whose presence at the center of the
with the departmental advisor for a complete list of
Norman Bryson, Ph.D. contemporary art world necessitates reconsideration
appropriate classes acceptable for the minor.
Harold Cohen, Diploma of Fine Arts, Emeritus and reevaluation of artistic productions, their infor-
Students are advised to begin their program
Steve Fagin, M.A. mation structure, and significance. Consequently, a
in the second year; otherwise, they cannot be
Anya Gallaccio, B.A. flexible introductory program of historically based
guaranteed enough time to complete the classes
Jean-Pierre Gorin, Licence de Philosophie courses has been devised mainly to provide the
required for a minor.
Helen Mayer Harrison, M.A., Emerita student an opportunity to concentrate on areas
Newton A. Harrison, M.F.A., Emeritus involving significantly different aesthetic and com-
Art History (VA26)
Louis J. Hock, M.F.A. munication structures. A series of studio courses,
Fred S. Lonidier, M.F.A. in which painting and sculpture are included, is Required Courses
Kim R. MacConnel, M.F.A., Emeritus presented to bring the student into direct contact
Babette M. Mangolte with the real contingencies compelling redistribu- 20. Introduction to Art History
Lev Manovich, Ph.D. tion of aesthetic attitudes and reinterpretation of Choose one from
Sheldon A. Nodelman, Ph.D. genres. Because of the exploratory nature of our 21A. Introduction to Art of the Americans or Africa
Rubén Ortiz-Torres, M.F.A. program, the department is prepared to emphasize and Oceania
Patricia A. Patterson, Emerita new media that would traditionally be considered to 21B. Introduction to Asian Art
Faith Ringgold, M.A., Emerita have scant relation to the visual arts. Thus, courses Choose one course from three of the five
Jerome Rothenberg, M.A., Emeritus in theatrical events, linguistic structures, etc., are Distribution areas A–E.
Kuiyi Shen, Ph.D. provided. In this context, theoretical courses with a Please refer to the Art History major for the
Ernest R. Silva, M.F.A. media orientation, as in film, video, photography, or course options in each area:
Haim Steinbach, M.F.A. computing, are also offered. • European Pre-Modern: Ancient and Medieval
Lesley F. Stern, Ph.D. The Department of Visual Arts is located in the • European early Modern: Renaissance and
John C. Welchman, Ph.D. Mandeville Center for the Arts. In addition, the mas- Baroque
ter of fine arts program office, as well as faculty and
A S S O C I AT E P R O F E S S O R S graduate students’ studios/research spaces are lo- • Modern and Contemporary
cated in the Visual Arts Facility sited in Sixth College. • Arts of the Americas
Amy Adler, M.F.A.
Ph.D. student offices are located in the Literature
Amy J. Alexander, M.F.A. • Arts of Asia
Building. Facilities and equipment are available to
Benjamin Bratton, Ph.D.
undergraduates in both the Mandeville Center and Choose two additional Art History courses from
at the campuswide Media Center, providing the op- any area A–E.
Edwin Teddy Cruz, M.Des.S.
portunity to study painting, drawing, photography,
Ricardo Dominguez, M.A.
computing in the arts, 16mm film, performance, Studio Minor (VA28)
Jack M. Greenstein, Ph.D.
sculpture, and video. Facilities at the Media Center
Grant Kester, Ph.D.
include portable video recording equipment, video Required Courses
Standish D. Lawder, Ph.D., Emeritus
and audio editing suites, non-linear editing, and pro-
Elizabeth Newsome, Ph.D. 22. Formations of Modern Art
duction studios. Additional film equipment available
Kyong Park, B.S. 111. Structure of Art
includes an animation stand, optical printer, two
Jennifer Pastor, M.F.A. Choose one course from
sound-mixing studios, and numerous film editing
Cauleen Smith, M.F.A., Acting 1. Introduction to Art-Making: Two-Dimensional
suites. Courses in computing in the arts take place in
Susan L. Smith, Ph.D. Practices
the Silicon Graphics/Mac/NT lab located at the Visual
Phel Steinmetz, Academic Senate Distinguished 2. Introduction to Art-Making: Motion- and Time-
Arts Facility, the INTEL-shared lab in the Applied
Teaching Award Based Art
Physics and Mathematics building, and a dedicated
ICAM lab in building 201 University Center. 3. Introduction to Art-Making: Three-Dimensional
LECTURERS WITH SECURITY OF Practices
The University Art Gallery displays a continually
E M P LOY M E N T Choose four courses from:
changing series of exhibitions, and the Mandeville
Claudio Fenner-Lopez, M.A., Emeritus Annex Gallery, located on the lower level, is directed 104A. Performing the Self
Brett Stalbaum, M.F.A. by visual arts undergraduate students. A gallery and 104BN. Verbal Performance
performance space, located in the Visual Arts Facility, 104CN. Personal Narrative
L E C T U R E R W I T H P OT E N T I A L F O R are directed by graduate students. 105A. Drawing: Representing the Subject
S E C U R I T Y O F E M P LOY M E N T 105B. Drawing: Practices and Genre
T H E U N D ERGR ADUATE PROGR AM 105C. Drawing: Portfolio Projects
Michael Trigilio, M.F.A. 105D. Aesthetics in Chinese Calligraphy
OFFICE: 216 Mandeville Center for the Arts 105E. Chinese Calligraphy Installation
http://visarts.ucsd.edu 106A. Painting: Image Making
The Department of Visual Arts teaches courses 106B. Painting: Practices and Genre
The Department of Visual Arts offers courses in
applicable toward the Muir, Sixth, and Warren 106C. Painting: Portfolio Projects
painting, drawing, sculpture, performance, comput-
general-education requirements, the Marshall 107A. Sculpture: Making the Object
ing in the arts, film, video, photography, and art
humanities requirement, the Eleanor Roosevelt and 107B. Sculpture: Practices and Genre
history/criticism (including that of film and video).
Revelle fine arts requirements. Optional minors may 107CN. Sculpture: Portfolio Projects
A bachelor’s degree from this department provides
be taken within any college.
2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS 1
ICAM: Interdisciplinary Computing History and Criticism of Film and taken at other colleges and universities for major
and the Arts (VA29) Video (MO72) requirements.
Visual Arts 111, Structure of Art, must be taken at
Required Courses Required courses UCSD by all students, including transfer students, in
ICAM 40/VIS 40. Introduction to Computing in the 70N. Introduction to Media the art history, media, and studio majors.
Arts 84. History of Film HONORS PROGR AMS
ICAM 110. Computer Arts: Current Practice 111.* Structure of Art
ICAM 150/VIS 159. History of Art and Technology Choose four upper-division courses in the The department offers honors programs in art
Choose one from history and/or criticism of film and video. (Courses history, in media, and in studio for outstanding
1. Introduction to Art-Making: Two-Dimensional numbered 150–157 except 156N) students.
Practices *Five unique upper-division courses in media his- The art history honors program will provide
2. Introduction to Art-Making: Motion and Time- tory/criticism are required if you are also completing outstanding students with pre-professional
Based Art a Visual Arts major or minor. experience. It consists of an issue-oriented seminar
3. Introduction to Art-Making: Three-Dimencional followed by a directed group study and will result in
Practices Digital Video and Film Production an exhibition with catalogue, a scholarly conference
MUS 4. Introduction to Western Music (MO71) with a mock publication and/or series of research
Choose one from papers. Students who meet the criteria may, with
ICAM 101/VIS 140. Digital Imaging: Image and Required courses permission of the art history faculty advisor or the
Interactivity art history honors seminar instructor, enroll in the
70N. Introduction to Media art history honors program during the last quarter
ICAM 103/MUS 170. Musical Acoustics 84. History of Film
Choose two from of their junior year or as a senior. This program is
111.* Structure of Art open to juniors and seniors who meet eligibility
ICAM 102/VIS 145A. Time and Process Based Digital 174. Media Sketchbook
Media I requirements: minimum major GPA of 3.5 (3.3
Choose one upper-division course in digital video overall), completion of all lower-division art history
145B. Time and Process Based Digital Media II and film production listed below:
ICAM 120. Virtual Environments requirements, completion of all upper-division art
171. Digital Cinema: Theory and Production history distribution requirements, and completion
ICAM 130/VIS 149. Seminar in Contemporary 175. Editing: Theory and Production
Computer Topics of Art Historical Methods (VIS 112) and at least one
176. 16 mm Filmmaking additional art history seminar. The level of distinction
MUS 171. Computer Music I 177. Scripting Strategies
MUS 172. Computer Music II will be determined by the faculty committee on
178. Sound: Theory and Production the basis of work in the honors seminar and on the
MUS 176. Music Technology Seminar Choose two upper-division courses in the history
132. Installation Production and Studio research project.
and/or criticism of film and video listed below: The media honors program will help students
141A. Computer Programming for the Arts I 150. History of Silent Cinema
141B. Computer Programming for the Arts II develop high-quality professional portfolios. The
151. History of Experimental Film honors thesis project is a sequence of individual
147A. Electronic Technologies for Art I 152. Film in Social Context
147B. Electronic Technologies for Art II studies that runs the length of an academic year
153. The Genre Series to provide sufficient time for ideas to develop and
154. Hard Look at the Movies critically aware work to be produced. Students may
Computing (MO53) 155. The Director Series arrange to work with different faculty advisors each
157. Video History and Criticism term or may engage a single advisor for the year. To
194S. Fantasy in Film be eligible for the honors thesis sequence, students
22. Formations of Modern Art *Five unique upper-division courses in media are must have at least a 3.5 GPA in the major and have
VIS 40/ICAM 40. Introduction to Computing in the required if any of these courses overlap with your approval of all the advisors with whom they will
Arts major or minor. work. Qualified students may begin their sequence
111. Structure of Art **Students may not major in Visual Arts the last quarter of their junior year or during their
VIS 159/ICAM 150. History of Art and Technology Media (VA27) and minor in Digital Video and Film senior year. At the end of the third quarter, all
Choose three upper-division Computing courses: Production. involved media faculty will meet to critique the
ICAM 101/VIS 140. Digital Imaging: Image and overall quality of the final thesis work to determine
EDUC ATION ABROAD PROGR AM
Interactivity level of distinction.
ICAM 102/VIS 145A. Time and Process Based Digital Students are often able to participate in the UC Through exhibition, verbal and written
Media I Education Abroad Program (EAP) and UC San Diego’s presentations and course work, the studio honors
145B. Time and Process Based Digital Media II Opportunities Abroad Program (OAP) while still program is intended to give the student as strong a
147A. Electronic Technologies for Art I making progress toward completing their major. technical, critical, and theoretical base as possible.
147B. Electronic Technologies for Art II Financial aid is applicable to study abroad and spe- The program is open to juniors and seniors with a
cial study abroad scholarships are readily available. minimum 3.5 GPA in the major (3.0 overall), who
Photography (MO54) Students considering this option should discuss have completed all lower-division studio require-
their plans with an Education Abroad advisor before ments and all upper-division groups I, II, III, and IV
Required courses going abroad, and courses taken abroad must be (subgroup A) requirements.
22. Formations of Modern Art approved by the departmental faculty advisor. More Students interested in participating in an honors
60. Introduction to Digital Photography information on EAP/OAP is detailed in the Education program should consult with the departmental
111. Structure of Art Abroad Program of the UC San Diego General Catalog advisor.
158. Histories of Photography or on their Web site http://programsabroad.ucsd.
edu/pao/. Interested students should contact the DOUBLE MA JOR WITHIN THE
VIS 159/ICAM 150. History of Art and Technology
Programs Abroad Office in the International Center. DEPARTMENT
164. Photographic Strategies
165. Camera Techniques RESIDENC Y REQUIREMENTS There are three double majors within the
Department of Visual Arts: Art History/Theory/
A minimum of two-thirds of the course work Criticism paired with either studio, media, or ICAM.
completed for the major must be taken at UCSD. Students interested in a double major within the
Students who transfer to UCSD in their second department must have at least ten upper-division
or third year may petition to substitute courses
2 2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS
courses that are unique to each departmental major *VIS 40, 60, or 70N can be taken to fulfill Group II 154. Hard Look at the Movies
and the remaining courses may overlap with other entry level studio requirements, but will not count 157. Video History and Criticism
major requirements. Students should consult with toward the fifteen upper-division courses needed to 158. Histories of Photography
the departmental advisor for additional information. fulfill the major requirements. 159/ICAM 150. History of Art and Technology
194S. Fantasy in Film
MA JOR REQUIREMENTS
Group III: Upper-Division *seminar
Twenty courses are required in studio, media, and
ICAM and eighteen courses in art history for the at- Intermediate Level Honors Program in Studio
tainment of the bachelor of arts degree. A minimum Two courses required. 110M. Studio Honors I
of twelve of these courses must be upper-division, 104BN. Verbal Performance 110N. Studio Honors II
however, some majors may require more upper- 105B. Drawing: Practices and Genre The Studio Honors I and the attached Studio
division courses. 105D. The Aesthetics of Chinese Calligraphy Honors II count as one course towards the fulfillment
All courses taken to satisfy major requirements 106B. Painting: Practices and Genre of a Group IV requirement.
must be taken for a letter grade, and only grades of 107B. Sculpture: Practices and Genre
C– or better will be accepted in the visual arts major. 140/ICAM 101. Digital Imaging: Image and ART HISTORY/THEORY/CRITICISM MA JOR
STUDIO MA JOR Interactivity The major in art history, theory, and criticism is
147A. Electronic Technologies for Art I designed both for students who desire a broadly
The studio major is aimed at producing a
based education in the humanities and for those
theoretically based, highly productive group of Group IV: Upper-Division who plan to pursue a career in an art-related
artists. Lower-division courses are structured to
profession. In both cases, the foundation for study
expose students to a variety of ideas in and about Advanced Level is proficiency in the languages of artistic expression.
the visual arts. Introductory skills are taught, but
Five courses required. Through the study of art history, students learn
their development will occur at the upper-division
to treat works of art as manifestations of human
level in conjunction with the student’s increasing
Group A belief, thought, and experience in Western and
awareness of the range of theoretical possibilities in
non-Western societies from prehistory to the present
the field. The curriculum includes courses in drawing, Choose two from day. Courses in criticism review the theoretical
painting, sculpture, performance, photography, 104CN. Personal Narrative approaches that are used to understand artistic
video, 16mm film, many offerings in art history/ 105C. Drawing: Portfolio Projects achievement. By combining art historical and
criticism, as well as new courses in digital imaging 105E. Chinese Calligraphy as Installation critical study, the program promotes in the student
and electronics. 106C. Painting: Portfolio Projects an awareness of the cultural traditions that have
107CN. Sculpture: Portfolio Projects shaped his or her intellectual outlook and provides
Group I: Lower-Division 147B. Electronic Technologies for the Art II a framework for informed judgment on the crucial
Foundation Level issues of meaning and expression in contemporary
Group B society.
Five courses required. Group A must be completed before Group B can Majors are encouraged to take relevant courses
1. Introduction to Art Making: Two-Dimensional be taken. in allied disciplines such as history, communica-
Practices Choose three from tion, anthropology, and literature, and in such area
2. Introduction to Art Making: Motion and Time 108. Advanced Projects in Art programs as classics and Italian studies. In addition,
Based Art 110A. Contemporary Issues and Practices students who plan to apply to graduate schools are
3. Introduction to Art Making: Three-Dimensional 110B. New Genres/New and Old Technologies strongly advised to develop proficiency in one or
Practices 110C. Proposals, Plans, Presentations more foreign languages, as is dictated by their area
22. Formations of Modern Art 110D. Visual Narrative/Tableau of specialization.
Choose one from 110E. Art in Public Places/Site Specific Art
20. Introduction to Art History 110F. Installation: Cross-Disciplinary Projects FOUNDATION LEVEL—Lower-Division
21A. Introduction to the Arts of the Americas or 110G. The Natural and Altered Environment
Africa and Oceania Five courses required.
110H. Image and Text Art 20. Introduction to Art History
21B. Introduction to Asian Art 110I. Performing for the Camera
84. History of Film 22. Formations of Modern Art
110J. Ritual Performance 23. Information Technologies in Art History
110K. Installation Performance Choose one from21A. Introduction to the Art of the
Group II: Upper-Division 130. Special Projects in Visual Arts Americas or Africa and Oceania
132. Installation Production and Studio 21B. Introduction to Asian Art
Five courses required. Group V: Upper-Division Choose one from
111. Structure of Art 1, 2, 3. Introduction to Art-Making
Non-Studio 60. Introduction to Digital Photography
Choose four from 70N. Introduction to Media
40/ICAM 40.* Introduction to Computing in the Three courses required.
Note: VIS 23 should be completed by the end
Arts Upper-division art history, film history, and
of the sophomore year or taken the first time it is
60.* Introduction to Digital Photography theory/ criticism courses such as
offered after a junior declares an art history major or
70N.* Introduction to Media 113CN.* History of Criticism III: Contemporary
transfers into the program. VIS 23 is a prerequisite
104A. Performing the Self (1950–Present)
for VIS 112.
105A. Drawing: Representing the Subject 117B.* Theories of Representation
106A. Painting: Image Making 117I.* Western and Non-Western Rituals and
107A. Sculpture: Making the Object Ceremonies
124CN. Nineteenth-Century Art Thirteen courses required.
Note: Required for Visual Arts studio, media, and art 125A. Twentieth-Century Art
history majors. GROUP I—Required Courses
125BN. Contemporary Art
152. Film in Social Context Two courses.
2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS 3
These two courses are required for all art history 128D. Topics in Art History of the Americas • two two-unit curatorial practices workshop
and criticism majors: 129D.* Seminar in Art History of the Americas courses (VIS 128P) count as one course towards
111. Structure of Art* the fulfillment of an elective.
112. Art Historical Methods E. Arts of Asia
Note: Majors must complete VIS 112 by the end
127B. Arts of China Honors Program in Art History
of their junior year and are strongly advised to do
127C. Arts of Modern China
so earlier. 129G.* Art History Honors Seminar
127D.* Early Chinese Painting
*Required of Visual Arts art history, media, and 129H.* Art History Honors Directed Group Study
127E.* Later Chinese Painting
studio majors. *seminar
127F.* Japanese Buddhist Art
GROUP II—Distributional Requirement The completion of both the Art History Honors
127G.* Twentieth-Century Chinese Art
Seminar and the Art History Honors Directed Group
Six courses. 127N. Twentieth-Century Art in China and Japan
Study counts as one course towards the fulfillment
Choose one course from each of the following 127P. Arts of Japan
of the Group III requirement.
areas: 127Q.* Japanese Paintings and Prints
Students who meet the criteria may, with
128E. Topics in Art History of Asia
permission of the art history faculty advisor or the
A. European Pre-Modern: Ancient and Medieval 129E.* Seminar in Art History of Asia
Art History Honors Seminar instructor, enroll in the
120A. Greek Art Art History Honors Program during the last quarter
120B. Roman Art of their junior year or as a senior. This program is
120C. Late Antique Art 113BN.* History of Criticism II: Early Twentieth open to juniors and seniors who meet eligibility
120D. Prehistoric Art Century (1900–1950) requirements. Please consult with the departmental
121AN. The Idea of Medieval Art 113CN.* History of Criticism III: Contemporary advisor for these requirements.
121B. Castles, Cathedrals, and Cities (1950–Present)
MEDIA MA JOR
121D.* The Illuminated Manuscript in the Middle 117A.* Narrative Structures
Ages 117B.* Theories of Representation With a visual arts foundation, the program
128A. Topics in Pre-Modern Art History 117E.* Problems in Ethnoaesthetics is designed for students who want to become
129A.* Seminar in Pre-Modern Art History 117F. Theorizing the Americas creative videomakers, filmmakers, photographers,
117G. Critical Visual Theory and Practice since 1980 and computer artists, encouraging the hybridity
B. European Early Modern: Renaissance and 117H. Constructing Gender in Fifth-Century BC of media. The curriculum combines hands-on
Baroque Athens and Eighteenth-Century France experience of making with practical and theoretical
117I.* Western and Non-Western Rituals and criticism, provides historical, social, and aesthetic
122AN. Renaissance Art Ceremonies backgrounds for the understanding of modern
122CN. Defining High Renaissance Art 128F. Topics in Art Theory and Criticism media, and emphasizes creativity, versatility, and
122D. Michelangelo 129F.* Seminar in Art Theory and Criticism intelligence over technical specializations. It should
122GS. The City in Italy *seminar allow students to go on to more specialized gradu-
122F.* Leonardo’s La Gioconda Students must take at least three upper-division ate programs in the media arts, to seek careers in
123AN. Between Spirit and Flesh: Northern Art of seminars in addition to VIS 112. These three ad- film, television, computing, or photography, or to
the Early Renaissance ditional seminars may come from any area and be develop as independent artists. All media majors
123BN.* Jan van Eyck taken in fulfillment of the distribution requirements should see the Visual Arts Undergraduate advisor
124AN. Baroque Art or as open electives. upon entrance into UCSD.
128B. Topics in Early Modern Art History In accordance with standard university policy, the
129B.* Seminar in Early Modern Art History department requires that students take two-thirds FOUNDATION LEVEL—Lower-Division
of the upper-division courses in their major at UCSD.
C. Modern and Contemporary Six courses required.
The distribution requirement must be fulfilled with
124BN. Art and the Enlightenment courses taken at UCSD. Courses taken abroad or at
124CN. Nineteenth Century Art other U.S. institutions do not count towards, and will
125A. Twentieth Century Art not be substituted for, the six-course distribution 1 or 2 or 3. Introduction to Art Making
125BN.* Contemporary Art requirement. 22. Formations of Modern Art
125DN.* Marcel Duchamp GROUP III—Electives 84. History of Film
125F. Latin American Film
Five courses. Group B
128C. Topics in Modern Art History
Students are required to take five upper-division
129C.* Seminar in Modern Art History 40/ICAM 40. Introduction to Computing in the Arts
courses in addition to VIS 111, VIS 112, and those
158. Histories of Photography 670. Introduction to Digital Photography
used to fulfill the distribution requirements. At
159/ICAM 150. History of Art and Technology 70N. Introduction to Media
least three of these must be courses in art history
or theory. For the remaining two, choose from the All six courses listed under Groups A and B
D. Arts of the Americas above are required. VIS 70N is prerequisite for use
126AN. Pre-Columbian Art of Ancient Mexico and • Any upper-division art history course(s) in history of the Media Center facilities; no further production
Central America or theory courses may be taken until VIS 70N is completed.
126BN. The Art and Civilization of the Ancient Maya
• any upper-division course(s) in media history and INTERMEDIATE LEVEL—Upper-Division
126C.* Problems in Mesoamerican Art History
criticism (e.g., VIS 150, 151, 152, 153, 154, 155,
126D.* Problems in Ancient Maya Iconography and Nine courses required: six from Group A and
Inscriptions three from Group B.
126HN. Pacific Coast American Indian Art • up to two upper-division courses in studio or
126I. Southwest American Indian Art media production; or Group A
126J. African and Afro-American Art
• with permission of art history faculty advisor, one Two courses required. Required courses for all
126K. Oceanic Art
upper-division course in a related department or emphases:
126P. Latin American Art, 1890–1950
program such as anthropology, history, literature, 111. Structure of Art
126Q. Latin American Art, 1950–Present
or critical gender studies. 174. Media Sketchbook
126R. Latin American Photography
4 2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS
Choose One Emphasis Electives • to give students necessary technical, theo-
retical, and historical backgrounds so they can
Four courses required. Three courses required.
contribute to the development of new aesthetics
Computing Emphasis Computing Emphasis for computer media
Three courses plus one from photography or Three courses required. • to prepare students to mediate between the
video and digital cinema. 145B. Time- and Process-Based Digital Media II worlds of computer science and technology, the
140/ICAM 101. Digital Imaging: Image and 147B. Electronic Technologies for Art II arts, and the culture at large by being equally
Interactivity 149/ICAM 130. Seminar in Contemporary Computer proficient with computing and cultural concepts
145A/ICAM 102. Time- and Process-Based Digital Topics
Media I • to give students sufficient understanding of the
Photography Electives trajectories of development in computing so
147A. Electronic Technologies for Art I
Two courses required. they can anticipate and work with the emerging
Photography Emphasis trends, rather than being locked in particular
166. Advanced Camera Techniques
Two courses plus two from computing or video 167. Social Engagement in Photography software currently available on the market
and digital cinema. 168. Color Techniques in Photography
164. Photographic Strategies Video and Digital Cinema Electives Lower-Division
165. Camera Techniques
Two of the courses below required. Eight courses required.
Video and Digital Cinema Emphasis
181. Sound and Lighting Arts
Three courses plus one from computing or 182. Advanced Editing
photography. 184. Advanced Scripting Four courses required.
171. Digital Cinema—Theory and Production If not taken previously, one of the 180A, 180B, MUS 4. Introduction to Western Music
175. Editing—Theory and Production 183A, or 183B courses may be used toward the VIS 1. Introduction to Art-Making: Two-dimensional
176. 16mm Filmmaking upper-division elective requirement. Practices
177. Scripting Strategies Students must have senior standing before any VIS 22F. Formations of Modern Art
178. Sound—Theory and Production of the following four courses may be taken and VIS 77N. Introduction to Media
instructor approval is required to enroll. Computer Science
GROUP B—History, Criticism, and Theory 109. Advanced Projects in Media
131. Special Projects in Media One course required.
Three courses required. CSE 11. Introduction to Computer Science: JAVA
132. Installation Production and Studio
113BN. History of Criticism II: Early Twentieth Note: CSE 11 is an accelerated course in the JAVA
197. Media Honors Thesis
Century (1900–1950) programming language. CSE 8A/8L and 8B, which
Note: Enrollment in production courses is
113CN. History of Criticism III: Contemporary cover the same material in a non-accelerated format,
limited to two per quarter. Production courses are
(1950–Present) may be substituted.
numbered VIS 109, 131, 132, 140/ICAM 101, 145A/
117B. Theories of Representation
ICAM 102, 145B, 147A-B, 164–184. Mathematics
150. History of Silent Cinema
151. History of Experimental Film INTERDISCIPLINARY COMPUTING AND Two courses required.
152. Film in Social Context THE ARTS (IC AM) Math. 20A. Calculus for Science and Engineering
153. The Genre Series Math. 20B. Calculus for Science and Engineering
The Interdisciplinary Computing and the Arts
154. Hard Look at the Movies Note: MATH 20A and 20B are accelerated calculus
major in the Departments of Music and Visual Arts
155. The Director Series courses for Science and Engineering. MATH 10A, 10B,
draws upon, and aims to bring together, ideas and
156N. Special Problems in Film History and Theory and 10C, which cover similar material in a non-
paradigms from computer science, art, and cultural
157. Video History and Criticism accelerated format, may be substituted.
theory. It takes for granted that the computer has
158. Histories of Photography Computing and the Arts
become a metamedium and that artists working
159/ICAM 150. History of Art and Technology
with computers are expected to combine different One course required.
Note: Any courses in the art history distributional
media forms in their works. All of this makes the pro- ICAM 40/VIS 40. Introduction to Computing in the
requirement may be taken to fulfill the Group B
gram unique among currently existing computer art Arts
or design programs which, on the one hand, usually
VIS 158 is required for all students with a photog-
focus on the use of computers for a particular media Upper-Division
(for instance, specializing in computer animation,
VIS 159/ICAM150 is required for all students with Twelve courses required.
or computer music, or computer design for print)
a computing emphasis.
and, on the other hand, do not enter into a serious Survey
dialogue with current research in computer science,
ADVANCED LEVEL—Upper Division One course required.
only teaching the students “off-the-shelf” software.
Five courses required. The program also recognizes that creating sophis- ICAM 110. Computing in the Arts: Current Practice
180A. Documentary Evidence and the Construction ticated artistic works with computers requires a new Foundation
of Authenticity in Current Media Practices model of the creative process, one which combines
Three courses required.
180B. Fiction and Allegory in Current Media traditional artistic procedures with the experimental
ICAM 101/VIS 140. Digital Imaging: Image and
Practices research characteristic of the sciences. All in all, it
183A. Strategies of Self aims to train a new type of cultural producer, who
ICAM 102/VIS 145A. Time-and Process-Based Digital
183B. Strategies of Alterity is familiar with art and media history, who is equally
Three of the above are required for the photogra- proficient with computer programming and artistic
ICAM 103/MUS 170. Musical Acoustics
phy and video and digital cinema emphases and two skills, who is always ready to learn new technologies,
are required for the computing emphasis. The A and and who is comfortable interacting with scientists Advanced
B portion of VIS 180 and VIS 183 courses cannot be and computer industry resources. Four courses required.
taken concurrently. The goals of the program are Choose three from
• to prepare the next generation of artists who will ICAM 120. Virtual Environments
be functioning in a computer-mediated culture
2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS 5
ICAM 130/VIS 149. Seminar in Contemporary to develop their intellectual and critical abilities and letters of recommendation must be sent
Computer Topics in working out their artistic positions. A body of electronically through the online application.
VIS 109. Advanced Projects in Media theory-oriented courses is required. Therefore, we
REQUIREMENTS FOR THE DEGREE
VIS 131. Special Projects in Media have no craft-oriented programs or facilities; nor do
VIS 132. Installation Production and Studio we have any courses in art education or art therapy. The M.F.A. is considered a terminal degree in
VIS 141A. Computer Programming for the Arts I The courses offered are intended to develop in the studio work, and is a two- to three-year program. The
VIS 147A. Electronic Technologies for Art I student a coherent and informed understanding following requirements must be completed in order
VIS 174. Media Sketchbook of the past and recent developments in art and art to receive the M.F.A.:
MUS 171. Computer Music I theory. The program also provides for establishing First Year Review—This review takes place in the
MUS 173. Audio Production: Mixing and Editing a confident grasp of contemporary technological third quarter in residence. Students make a formal
MUS 174A-B-C. Recording/MIDI Studio Techniques possibilities, including those involved in film, video, presentation of their work to a faculty committee;
MUS 175. Musical Psychoacoustics photography, and the electronic media. this includes a position paper and an oral examina-
MUS 176. Music Technology Seminar The program includes formal education in lecture tion. This presentation is considered a departmental
and seminar courses as well as study groups, studio examination, and if at its conclusion the student’s
Choose one from
meetings, independent studies, and quarterly work is judged to be inadequate, the student may
VIS 141B. Computer Programming for the Arts II
departmental critiques. Course work is intended to be dismissed regardless of GPA, or may be reviewed
VIS 145B. Time- and Process-Based Digital Media II
place art making in critical and intellectual context again in the fourth quarter.
VIS 147B. Electronic Technologies for Art II
but doesn’t underestimate the central importance Seventy-two units of course work, including a
MUS 172. Computer Music II
of the student’s own work. In fact, this aspect of the four-unit apprentice teaching course, are required.
Theory and History student’s activity is expected to be self-motivated Students may select sixteen of these units (four
Two courses required. and forms the core around which the program of courses) from upper-division undergraduate course
ICAM 150/VIS 159. History of Art and Technology study operates and makes sense. offerings. (See listings in this catalog.) There are six
No two students will necessarily follow the same required Visual Arts core seminars:
and one of path through the degree program, and the constitu- • Contemporary Critical Issues (VIS 201)
VIS 150. History of Silent Cinema tion of individual programs will depend upon the
VIS 151. History of the Experimental Film • Art Practice Seminar (VIS 202)
analysis of their individual needs and interests,
VIS 152. Film in Social Context worked out by students in collaboration with their • Working Critique Seminar (VIS 203)
VIS 153. The Genre Series individual faculty advisors.
VIS 154. Hard Look at the Movies • Introduction to Graduate Studies in Art Practice
VIS 155. The Director Series (VIS 205)
VIS 156N. Special Problems in Film History and • one course in either Art Practice/Theory group or
Theory Grade-Point Average—An overall GPA of 3.00
the Art History/Theory/Criticism group
VIS 157. Video History and Criticism and a 3.50 in a student’s undergraduate major is
VIS 158. Histories of Photography required. • one additional seminar in Art Practice/Theory
VIS 194. Fantasy in Film Art History—Students are expected to have had group (VIS 210-219)
MUS 111. Topics/World Music Traditions at least four semester courses or six quarter courses
Specific information on other course distribution
MUS 114. Music of the Twentieth Century in art history and/or film history/criticism at the un-
requirements can be obtained from the department.
dergraduate level. Those who have a broader art his-
Senior Project One additional graduate course is required and must
tory background will have a better chance of being
be taken in another department.
Two courses required. awarded teaching assistantships. Students without
Students who remain registered in the third
ICAM 160A. Senior Project in Computer Arts I this requirement can be admitted, but they may be
(optional) year must average one graduate course
ICAM 160B. Senior Project in Computer Arts II expected to make up the six courses in excess of the
Note: Enrollment in production courses is seventy-two units required for the degree. If there
limited to two per quarter. Production courses are are questions concerning this requirement, check THE M.F.A. FINAL PRESENTATION
numbered VIS 109, 131, 132, 140/ICAM 101, 141A-B, with the department student affairs advisor.
Presentation of Work—During the last quarter in
145A/ICAM 102, 145B, 147A-B, 174. ICAM 120, Statement—Students are required to submit
residence, each student is required to present to the
160A-B. an essay of one-to-three pages on the direction of
public a coherent exhibition or screening of his or
their work and its relationship to contemporary art.
MASTER OF FINE ARTS PROGR AM her work.
This essay should be critical in nature, refer explicitly
Oral Examination—A committee of three
The program is designed to provide intensive to the student’s own work, and may refer to other
Department of Visual Arts faculty members and
professional training for the student who proposes artists, recent events in art history, and issues in
one faculty member from another department will
to pursue a career within the field of art—including domains other than art that have bearing on the
administer an oral examination to each student
art making, criticism, and theory. The scope of the student’s process, thought, and work.
covering the student’s work and its relationship to
UC San Diego program includes painting, sculpture, Work—Students are asked to submit documen-
the field of art.
performance, installation art, public art, photogra- tation of their best work and upload images and
Thesis—Students are required to submit some
phy, film, video, and digital media. The program is files into our online portfolio Web site. Access to the
form of written work for the M.F.A. degree. Four
unique in that the course of study provides for and website is given once a UCSD online application has
options are available:
encourages student mobility within this range of been filed through the Office of Graduate Studies.
1. Catalog—The student would design and have
traditional and media-based components. It also REGUL AR UNIVERSIT Y ADMISSION printed an actual catalog. This would include a
offers opportunities for collaborative work. POLICIES critical essay of approximately 1,500 words.
The educational path of students is focused
around their particular interests in art. The Please note that no application will be processed 2. Critical paper—The student would write a critical
department seeks to provide an integrated and until all required information has been received. paper of 3,000 words analyzing his or her process
comprehensive introduction to the possibilities of Students should submit applications with the ap- and the relationship of his or her work to recent
contemporary art production, the intellectual struc- plication fee to the graduate admissions office using art history, with references to contemporary
tures that underlie them, and the “world view” which the UCSD online application on or before Tuesday, styles and specific artists.
they entail. All art-making activities are considered January 18, 2011. Official transcripts should be sent
3. Analytical essay on some phase of art—Students
serious intellectual endeavors, and all students in the directly to the department and postmarked no later
who have focused on both art production and art
program find themselves confronted by the need than January 18, 2011. The statement of purpose
6 2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS
criticism would write a 3,000 word critical essay specialized discourses used to describe and analyze cuts across the areas within the department (e.g., art
on any current art position. A brief discussion them? or media theory and criticism) or, with appropriate
(750 words) of the student’s work would also be Seminars in the Categories/Constructs group approvals, one that involves another department
included. are unique in the degree to which they foreground (e.g., early modern art history and history). Once
the self-critical turn in recent art and media history the field of emphasis is established, it will be the
4. Critical thesis—Students whose emphasis is
by making reflection upon the central concepts, con- responsibility of the student and his or her advisor
essentially criticism and who do not present an
structs, categories, and languages of art historical to devise a program of courses, independent study
M.F.A. exhibition would write a forty- to fifty-page
inquiry a key programmatic concern. They are also and outside reading, over and above the required
thesis—the topic to be decided by the student
distinctive in that they are designed to cut across program, that will ensure that the student will attain
and his or her advisor.
traditional categories of history and contemporane- command of the major field of emphasis.
Additional information can be obtained from the ity, art and media (film, video, photography, digital
graduate office of the Department of Visual Arts. media), history and theory, and to promote cross-
cultural inquiry insofar as they center on questions A normal full-time program consists of twelve
PH.D. P RO G R A M crucial to the study of art of diverse cultures as well units per quarter. Prior to the qualifying examination,
as diverse art forms and historical epochs. students will be expected to complete eighty-four
The Department of Visual Arts offers the Ph.D.
units, equivalent to twenty-one four-unit courses
degree in art history, theory, and criticism with ADMISSION
(normally accomplished in seven to nine quarters).
concentrations in any of the areas in which faculty
Applicants may apply to the Ph.D. program This twenty-one-course requirement will normally
do research (see below). Offering a distinct alterna-
only. The policy of UCSD is to admit in the fall be satisfied by a combination of graduate seminars,
tive to existing Ph.D. programs in art history, the
quarter only. Applications for admission must be reading courses, independent studies, and appren-
program centers on a unique curriculum that places
postmarked January and selections will be made by tice teaching. No more than three may be apprentice
art objects and practice at the center of inquiry, both
April 1. For circumstances under which the M.A. is teaching; no more than two may be reading courses;
past and present, and encompassing fine art, media,
granted, see below. Prior to matriculation, students and no more than two may be graduate seminars in
and mass culture, even as it encourages examination
must have obtained a bachelor’s or master’s degree art practice or art practice/theory. By reading course,
of the larger frameworks—historical, cultural, social,
in art history, art practice, or another field approved we mean an upper-division undergraduate course
intellectual, and theoretical—within which the
by the departmental committee on graduate that a student takes with additional reading and
category “art” has been contextualized in the most
studies, such as (but not limited to) history, literature, writing requirements. Full-time study is expected.
recent developments in the discipline.
anthropology, or philosophy. Graduate seminars in art history, theory, and
This program is also distinctive in that it is housed
Applicants must submit their academic tran- criticism should comprise the bulk of the student’s
within a department that has been for many years
scripts, scores on the Graduate Record Examination, twenty-one-course requirement.
one of the nation’s leading centers of art practice
three letters of recommendation, a statement of All students are required to take VIS 204, Re-
and graduate education in studio, media, and—most
purpose (no more than 750 words), and a sample of Thinking Art History, in their first year of study. For
recently—digital media. The offering of the Ph.D.
written work (e.g., senior honors thesis, M.A. thesis, students in the art practice concentration, VIS 206,
and M.F.A. degrees is based on the department’s
or other research or critical paper, preferably in art or Seminar in Art Practice Research, must also be taken
foundational premise that the production of art and
media history). An overall GPA of 3.00 and a 3.50 in a in their first year of study. Students must also take,
the critical, theoretical, and historical reflection upon
student’s undergraduate major are required. The Test at some point, two seminars from the Art Practice/
it inherently and necessarily participate in a single
of English as a Foreign Language (TOEFL) is required Theory group, VIS 210-VIS 219. One four-unit ap-
discursive community. This close integration of art
for international applicants. Applicants must have prentice teaching course, VIS 500, is also required.
history and art practice is reflected in the inclusion of
a good reading knowledge of at least one foreign In order to ensure that students attain a reason-
a concentration in art practice within the Ph.D. in art
language at the time they enter the program. able measure of historical and cultural breadth,
history, theory, and criticism.
Please note that no application will be processed all students are required to take one seminar from
The innovative character of this program is
until all required information has been received. at least four of the following areas: 1) ancient or
most evident in a unique curricular structure that
Students should submit applications with the medieval art; 2) Renaissance or early modern art; 3)
is broadly organized into three groups of seminars.
application fee to the graduate admissions office on modern or contemporary art; 4) media studies; 5)
The importance of critical theory to the field today
or before Tuesday, January 11, 2011. The Statement non-Western art.
is reflected in the seminars under the Theories/
of Purpose and letters of recommendation must be If a student has completed some graduate work
New Visions group, while the study of art in its
submitted online along with the application. Official in art history, theory, and criticism before entering
concrete historical, social, and cultural contexts,
transcripts should be sent directly to the department UCSD, there may be some appropriate adjustments
across different cultures and media, is emphasized in
and postmarked no later than Tuesday, January 11, in course work as approved by petition to the Ph.D.
time, place, and media specific seminars listed under
2011. Students are asked to upload their writing graduate advisor and the department chair.
samples and images (for art practice concentration)
The program builds most distinctively on FOREIGN L ANGUAGE REQUIREMENTS
into our online portfolio Web site. Access to the
recent developments in the field in the seminars
Web site is given once a UCSD online application has Students will be required to demonstrate reading
under the heading Categories/Constructs. These
been filed through the Office of Graduate Studies. knowledge of at least two of the foreign languages
seminars address the core questions about artworks
required for advanced study in art history, theory,
and practices that the department believes every AREAS OF CONCENTR ATION
and criticism. One should be the language most
doctoral student in art and media history, whatever
During the first year of study, each student must directly relevant to the student’s area of specializa-
his or her area of specialization, should engage. How
declare an area of major concentration in consulta- tion. The student and his or her individual advisor
is the category “art” itself produced, now and in the
tion with his or her individual faculty advisor and will jointly determine the examination languages.
past, in the urbanized West and in other cultures, in
with the approval of the Ph.D. graduate advisor. Foreign language requirements will normally
the context of ever-changing technologies? How are
The major concentration may be selected from the be satisfied by passing examinations requiring
artistic identities constructed across distinct epochs
following: ancient art; medieval art; Renaissance sight translation of texts in art history, theory, and
and societies, and with reference to categories such
art; early modern art; modern art (nineteenth and criticism. Students are required to pass their entering
as gender and ethnicity? What are the circumstances
twentieth centuries); contemporary art; media stud- language examination in order to be advanced
and contexts (social, intellectual, institutional, and
ies (film, video, photograph, digital media); Meso- to their second year in the program. The first-year
the like) within which art is both produced and
American art; and art practice. A student may also language examination will be offered during the fall
disseminated? What are the alternative modes of
choose, in consultation with his or her advisor and quarter of the entering year. The second required
engaging art objects and practices and what are
the Ph.D. graduate advisor, a field of emphasis that language examination will be offered during the fall
the histories and theoretical assumptions of the
2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS 7
quarter of the second year in the program. Students M.A. D EGREE the interests and expertise of instructor. Prerequisites:
none. Student may not receive credit for VIS 21 and VIS 21A.
must pass both language examinations by the end
All students will apply for and be admitted to the
of their second year to continue in the program. 21B. Introduction to Asian Art (4)
Ph.D. Program. An M.A. degree may be awarded to Survey of the major artistic trends of India, China, and
EXAMINATIONS continuing Ph.D. students upon successful comple- Japan, taking a topical approach to important develop-
tion of the following: (1) at least twelve four-unit ments in artistic style and subject matter to highlight the
No later than the first quarter of the third year, art of specific cultures and religions. Prerequisites: none.
courses, including VIS 204, Re-Thinking Art History,
the student, in consultation with his or her individual Student may not receive credit for VIS 21 and VIS 21B.
and two seminars from the group VIS 210–219; (2)
advisor, will form a qualifying examination commit-
a three-hour written examination in a designated 22. Formations of Modern Art (4)
tee that will consist of four members drawn from Wide-ranging survey introducing the key aspects of
field of emphasis (see “Examinations” above); (3) one
the visual arts department faculty and one tenured modern art and criticism in the nineteenth and twentieth
language examination; and (4) an M.A. thesis. The
faculty member outside the department. The com- centuries, including Neo-Classicism, Romanticism, Realism,
M.A. is not automatically awarded; students must Impressionism, Post-Impressionism, Symbolism, Fauvism,
position of the qualifying examination committee
apply in advance to the Ph.D. graduate advisor and Cubism, Dada and Surrealism, Abstract Expressionism,
and the dissertation defense for students in the Art
in accordance with university procedures, no later Minimalism, Earth Art, and Conceptual Art. Prerequisite:
Practice degree program is: four department faculty none.
than the first two weeks of the quarter in which they
(two art history, theory, and criticism faculty, and at
expect to receive the degree. 23. Information Technologies in Art History (4)
least one tenured studio faculty) and one tenured This seminar introduces fundamentals of art historical
Students interested in an M.A. only are not admit-
faculty member outside the department. This practice such as descriptive and analytical writing, compil-
ted to our program.
committee will conduct the qualifying examination ing annotated bibliographies with traditional and online
required by university policy and oversee comple- resources, defining research topics, and writing project
proposals. Prerequisite: none. Art history majors only.
tion of the dissertation. The membership of the COURSES
committee must be approved by the Ph.D. graduate Note: Prerequisite for VIS 112 and highly recommended for
For course descriptions not found in the UC San all other seminars. Must be taken within a year of declaring
advisor and ultimately the dean of Graduate
Diego General Catalog, 2010–11, please contact the major or transferring into the art history program.
Studies. The qualifying examination will consist of
department for more information.
a three-hour written examination, followed within 40. Introduction to Computing in the Arts (4)
the next two days by a two-hour oral examination, (Cross-listed with ICAM 40.) An introduction to the concep-
Note: The following list of courses represents all tual uses and historical precedents for the use of computers
in the student’s major field. A student must have
visual arts offerings; not all courses offered each year. in art making. Preparation for further study in the computer
completed all required course work and passed all arts area by providing overview of theoretical issues related
language examinations before taking the qualifying to the use of computers by artists. Introduces the students
LOW E R-DIVISION to the program’s computer facilities and teaches them basic
examination, which will be held no later than the
end of the third year. Upon successful completion 1. Introduction to Art-Making: Two- computer skills. Prerequisite: none. Materials fee required.
Dimensional Practices (4)
of the qualifying examination, the student will be 60. Introduction to Digital Photography (4)
An introduction to the concepts and techniques of art
advanced to candidacy. An in-depth exploration of the camera and image utiliz-
making with specific reference to the artists and issues
A student who fails either the written or the oral ing photographic digital technology. Emphasis is placed
of the twentieth century. Lectures and studio classes
on developing fundamental control of the processes and
examination may petition the committee and Ph.D. will examine the nature of images in relation to various
materials through lectures, field, and lab experience. Basic
graduate advisor to repeat the examination. Any themes. Drawing, painting, found objects, and texts will
discussion of image making included. Prerequisite: none.
be employed. Prerequisite: none. This course is offered
student who fails a second time will not be advanced Materials fee required.
only one time each year.
to candidacy. In some cases, the committee and 70N. Introduction to Media (6)
graduate program director may judge such student 2. Introduction to Art-Making:
Operating as both a lecture and production course, this
Motion and Time Based Art (4)
eligible to receive a terminal M.A. (see below). introductory class provides a technical foundation and
An introduction to the process of art making utilizing
theoretical context for all subsequent production-oriented
DISSERTATION the transaction between people, objects, and situations.
film and video studies. In the laboratory, the student will
Includes both critical reflection on relevant aspects of
learn the basic skills necessary to initiate video production.
Following successful completion of the qualifying avant-garde art of the last two decades (Duchamp, Cage,
Completion of Visual Arts 70N is necessary to obtain a
examinations, the student will complete a doctoral Rauschenberg, Gertrude Stein, conceptual art, happen-
media card. Prerequisite: none. Materials fee required.
ings, etc.) and practical experience in a variety of artistic
dissertation in his or her field of emphasis. Upon se- exercises. Prerequisite: none. This course is offered only 84. History of Film (4)
lection of the dissertation topic, a colloquium will be one time each year. A survey of the history and the art of the cinema. The course
held at which the student will present a prospectus will stress the origins of cinema and the contributions of
3. Introduction to Art-Making: Three-
that outlines the topic and program of research for the earliest filmmakers, including those of Europe, Russia,
Dimensional Practices (4)
discussion by the graduate group and for approval and the United States. Prerequisite: none. Materials fee
An introduction to art making that uses as its base the
required. This course is offered only one time each year.
by his or her committee. After the committee has idea of the “conceptual.” The lecture exists as a bank of
reviewed the finished dissertation, the student knowledge about various art world and non-art world con- 87. Freshman Seminar (1)
ceptual plays. The studio section attempts to incorporate The Freshman Seminar program is designed to provide new
will defend his or her thesis orally. Students in the
these ideas into individual and group projects using any students with the opportunity to explore an intellectual
Art Practice concentration will submit a written “material.” Prerequisite: none. This course is offered only topic with a faculty member in a small seminar setting.
dissertation that observes the same regulations and one time each year. Freshman seminars are offered in all campus departments
conventions, except that its length may be reduced and undergraduate colleges, and topics vary from quar-
20. Introduction to Art History (4)
by one quarter. In addition, the student will present ter to quarter. Enrollment is limited to fifteen to twenty
This course examines history of Western art and archi-
students with preference given to entering freshmen.
the visual component, the nature of which will be tecture through such defining issues as the respective
decided by the student and his or her committee. roles of tradition and innovation in the production and
appreciation of art; the relation of art to its broader intel-
NORMATIVE TIME FROM MATRICUL ATION lectual and historical contexts; and the changing concepts
of the monument, the artist, meaning, style, and “art” itself.
Representative examples will be selected from different 104A. Performing the Self (4)
The student will normally advance to candidacy periods, ranging from Antiquity to Modern. Content will Using autobiography, dream, confession, fantasy, or other
in two and one-half to three years and must be vary with the instructor. Prerequisite: none. means to invent one’s self in a new way, or to evoke the
advanced to candidacy by the end of four years. He variety of selves in our imagination, the course experiments
21A. Introduction to the Art of the
with and explores the rich possibilities available to the con-
or she will normally complete the research for and Americas or Africa and Oceania (4)
temporary artist in his or her own persona. Prerequisites:
writing of the dissertation by the end of his or her Course offers a comparative and thematic approach to the
two from VIS 1, 2, 3 and 111.
artistic achievements of societies with widely divergent
sixth year of study. Total university support may
structures and political organizations from the ancient 104BN. Verbal Performance (4)
not exceed seven years, and total registered time at Americas to Africa and the Pacific Islands. Topics vary with The course is designed to introduce the student to the part
UCSD may not exceed eight years. played by language in contemporary performance art.
8 2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS
Monologues, musically derived sound poetry, vocalizations, 108. Advanced Projects in Art (4) calligraphies. Prerequisites: two from VIS 104CN, 105C,
verbally inscribed installations, and the uses of language A studio course for serious art students at the advanced 106C, 107CN and 147B.
and voice in film and video are some of the areas explored. level. Stress will be placed on individual creative prob-
Prerequisite: VIS 104A. lems. Specific orientation of this course will vary with the 110I. Performing for the Camera (4)
instructor. Topics may include film, video, photography, The dematerialization of the performer into a media based
104CN. Personal Narrative (4) painting, performance, etc. May be repeated twice for image—video, film, slides, still photographs, using the cam-
The course will explore primary experiential materials credit. Prerequisite: consent of instructor, department era as a spy, a co-conspirator, a friend or a foe—employing
to more fully understand the relationship of voice, style, stamp required. time lags, spatial derangement, image deconstruction,
language, and personality, to issues of memory, identity, along with narrative, text, history, to invent time based
self-awareness, and desire. Instructor and student will dis- 109. Advanced Projects in Media (4) pieces that break new ground while being firmly rooted
cuss student work as well as published personal narrative. Individual or group projects over one or two quarters. in an understanding of the rich body of work done in this
Prerequisite: VIS 104BN. Specific project organized by the student(s) will be realized area over the last three decades. Prerequisites: two from
during this course with instructor acting as a close advisor/ VIS 104CN, 105C, 106C, 107CN and 147B.
105A. Drawing: Representing the Subject (4) critic. Concept papers/scripts must be completed by the
A studio course in beginning drawing covering basic draw- instructor prior to enrollment. Prerequisites: VIS 180A 110J. Ritual Performance (4)
ing and composition. These concepts will be introduced and VIS 180B for media majors, or consent of instructor The course will explore forms of art making that use dream
by the use of models, still life, landscapes, and conceptual for ICAM majors. Open to media and ICAM majors only. and myth, body art, dance, social drama, happenings, story
projects. Prerequisites: two from VIS 1, 2, 3 and 111. Two production course limitation. telling, and enactments of contemporary and traditional
forms of performance art that involve a crossing of the lines
105B. Drawing: Practices and Genre (4) 110A. Contemporary Issues and Practices (4) between different arts and genres. Prerequisites: two from
A continuation of VIS 105A. A studio course in which the An examination of contemporary studio art practice. The VIS 104CN, 105C, 106C, 107CN and 147B.
student will investigate a wider variety of technical and course is divided among research, discussion, and projects.
conceptual issues involved in contemporary art practice Field trips to galleries and discussions with artists will com- 110K. Installation Performance (4)
related to drawing. Prerequisite: VIS 105A. bine with the students moving their work into a dialogue The artist as performer working with materials, objects,
with the issues raised. Prerequisites: two from VIS 104CN, props, technology, to create multi-layered, experimental,
105C. Drawing: Portfolio Projects (4) interesting three-dimensional art spaces in which the
A studio course in drawing, emphasizing individual creative 105C, 106C, 107CN and 147B.
artist’s body, voice, actions, or memory, moves through,
problems. Class projects, discussions, and critiques will 110B. New Genre/New and Old Technologies (4) enlivens, or haunts the physical space. Prerequisites: two
focus on issues related to intention, subject matter, and Advances the idea of different materials, methods, and from VIS 104CN, 105C, 106C, 107CN and 147B.
context. Prerequisite: VIS 105B. practices raised at the intermediate level in drawing,
painting, and sculpture, and explores and utilizes new and 110M. Studio Honors I (4)
105D. The Aesthetics of Chinese Calligraphy (4) An advanced studio course intended for the productive,
This course examines Chinese calligraphy as an art form. traditional media in studio production of work. Emphasis
on multiple media, combining traditional and electronic motivated, and self-disciplined student with a clear and
This conceptually based introductory course combines unified body of work. The intent is to help refine and ex-
fundamental studio exercises with creative explorations. media, as well as different genres, in an attempt to create
new directions for the student’s ideas. Prerequisites: two pand the student’s work and ideas towards an exhibition
Students are exposed to traditional and contemporary and verbal written position. Prerequisite: consent of the
forms of Chinese calligraphy while encouraged to ex- from VIS 104CN, 105C, 106C, 107CN and 147B.
instructor, department stamp required. Note: The Studio
periment with basic aesthetic grammars. Prerequisite: 110C. Proposals, Plans, Presentations (4) Honors I and the attached Studio Honors II count as one
VIS 105A. Explores the use of the maquette, or sketch, in the process course toward the fulfillment of a Group IV requirement.
105E. Chinese Calligraphy as Installation (4) of developing, proposing and planning visual works in
various media for public projects, site specific works, grants, 110N. Studio Honors II (4)
This course concerns East–West aesthetic interactions. The second advanced studio course in the Honors Program
What are the conceptual possibilities when calligraphy, an exhibition proposals, etc. The student will work on syn-
thesizing ideas and representing them in alternate forms in Studio, the successful completion of which will lead
ancient form of Chinese art, is combined with installation, a towards an honors degree in the studio major. The course
contemporary artistic Western practice? Emphasis is placed that deal with conception, fabrication and presentation.
Prerequisites: two from VIS 104CN, 105C, 106C, 107CN builds on the critical and technical issues raised in Studio
on such issues as cultural hybridity, globalization, multicul- Honors I. Prerequisite: VIS 110M.
turalism, and commercialization. Prerequisite: VIS 105D. and 147B.
110D. Visual Narrative/Tableau (4) 111. The Structure of Art (4)
106A. Painting: Image Making (4) This course will address the structure of signification in art.
A studio course focusing on problems inherent in paint- Examination and use of multimedia in exploring narrative
issues in art making. The identification of subject leads to We will consider the modes of signification in a wide range
ing—transferring information and ideas onto a two- of representational and nonrepresentational artworks from
dimensional surface, color, composition, as well as manual the determination of choice or mix of media and construc-
tion of narrative. Traditional studio practice surrounding architecture through drawing, painting, sculpture, pho-
and technical procedures. These concepts will be explored tography, video, and film to performance. Examples will
through the use of models, still life, and landscapes. narrative painting and sculpture, forms such as comic
drawing or story boards, and the use of photo, video, and be selected from various places and epochs. This course is
Prerequisites: two from VIS 1, 2, 3 and 111. required for transfer students. This course is offered during
computing. Prerequisites: two from VIS 104CN, 105C,
106B. Painting: Practices and Genre (4) 106C, 107CN, or 147B, or consent of instructor winter quarter only.
A continuation of VIS 106A. A studio course in which the 112. Art Historical Methods (4)
student will investigate a wider variety of technical and 110E. Art in Public Space/Site-Specific Art (4)
Course takes painting, sculpture, and related media out of A critical review of the principal strategies of investigation
conceptual issues involved in contemporary art practice in past and present art-historical practice, a scrutiny of
related to painting. Prerequisite: VIS 106A. the studio/gallery and into the public sphere by examining
the contemporary history of public artworks with tradi- their contexts and underlying assumptions, and a look at
106C. Painting: Portfolio Projects (4) tional and nontraditional site-specific work, focusing on alternative possibilities. The various traditions for formal
A studio course in painting emphasizing individual creative production, critical discussion, and writing. Prerequisites: and iconographic analysis as well as the categories of
problems. Class projects, discussions, and critiques will two from VIS 104CN, 105C, 106C, 107CN, or 147B, or con- historical description will be studied. Required for all art
focus on issues related to intention, subject matter, and sent of instructor. history and criticism majors. Prerequisites: VIS 23 and
context. Prerequisite: VIS 106B. one upper-division art history course; two recommended.
110F. Installation: Cross-Disciplinary Projects (4)
107A. Sculpture: Making the Object (4) Attempts to expand the idea contained in a singular work, 113AN. History of Criticism I: Early Modern (4)
A studio course focusing on the problems involved in or object, into the use of multiple objects, images, and Introducing Classical, Medieval, and Renaissance theories
transferring ideas and information into three-dimensions. media that redefines the idea as well as the space for of the image, we concentrate on developments in the
Course will explore materials and construction as dictated which it is intended. Examination of historic, modern, and eighteenth and nineteenth centuries: Neo-Classicism,
by the intended object. Specific problems to be inves- contemporary works would be brought into discussion of Romanticism, Realism, and Symbolism. Prerequisite:
tigated will be determined by the individual professor. project development and execution. Prerequisites: two one from VIS 20, VIS 21A, VIS 21B, VIS 22 or upper-division
Prerequisites: two from VIS 1, 2, 3 and 111. from VIS 104CN, 105C, 106C, 107CN and 147B. standing.
107B. Sculpture: Practices and Genre (4) 110G. The Natural and Altered Environment (4) 113BN. History of Criticism II: Early
A studio course in which the student will investigate a Explores the natural and altered environment as a basis Twentieth Century (1900–1950) (4)
wider variety of technical and conceptual issues as well as for subject as well as placement of work pertaining to the The principal theories of art and criticism from Symbolism
materials involved in contemporary art practice related to environment. Prerequisites: two from VIS 104CN, 105C, until 1945: formalism and modernism, abstraction,
sculpture. Prerequisite: VIS 107A. 106C, 107CN and 147B. Surrealism, Marxism, and social art histories, phenomenol-
ogy, existentialism. Prerequisite: none; VIS 112 or two up-
107CN. Sculpture: Portfolio Projects (4) 110H. Image and Text Art (4) per-division courses in art history strongly recommended.
A studio course in sculpture emphasizing individual cre- Devoted to the study and practice of the multiple ways in
ative problems. Class projects, discussions, and critiques which writing and other forms of visible language have 113CN. History of Criticism III:
will focus on issues related to intention, subject matter, been incorporated into contemporary and traditional Contemporary (1950–Present) (4)
and context. Prerequisite: VIS 107B. artworks, including artists’ books, collaging and poster art, Recent approaches to the image in art history and
visual and concrete poetry, typographical experiments, and visual culture: structuralism, semiotics, psychoanalysis,
2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS 9
post-structuralism, post-modernism, feminism, post- co- of form to meet the needs of a vast empire, a complex natural philosophy, optical principles, and humanist values,
lonialism, cultural studies. Prerequisite: none; VIS 112 and tumultuous society, and a sophisticated, intellectually which embodied the highest intellectual achievement and
or two upper-division courses in art history strongly diverse culture. An unprecedented architecture of shaped deepest spiritual beliefs of the age. Artists treated include
recommended. space used new materials and revolutionary engineering Giotto, Donatello, Masaccio, Brunelleschi, Jan van Eyck,
techniques in boldly functional ways for purposes of psy- Mantegna, Botticelli, Leonardo da Vinci, Michelangelo,
117A. Narrative Structures (4) chological control and symbolic assertion. Sculpture in the Raphael, Bramante, Durer, and Titian. Prerequisite: none;
How can a fixed image represent events in time? The strate- round and in relief was pictorialized to gain spatial effects VIS 20 recommended.
gies of storytelling and their consequences for the meaning and immediacy of presence, and an extraordinary art of
of works of art will be investigated. Content of the course portraiture investigated the psychology while asserting the 122CN. Defining High Renaissance Art (4)
will vary. May be repeated twice for credit with permission status claims of the individual. Extreme shifts of style, from Since the sixteenth century, the names of Leonardo da
of the instructor. Prerequisite: none; VIS 112 or two upper- the classicism of the age of Augustus to the expressionism Vinci, Raphael, and Bramante have conjured up images
division courses in art history strongly recommended. of the third century A.D., are characteristic of this period. of the highest artistic achievement. This course shows
The new modes of architecture, sculpture, and painting, the intellectual concerns common to the artist and
117B. Theories of Representation (4) scientific productions of Leonardo help illuminate the
A discussion of major Western theories of representation whether in the service of the rhetoric of state power or of
the individual quest for meaning, were passed on to the distinctive character of the art of two of his greatest con-
with a critique of their applicability to art. Material is drawn temporaries. Prerequisite: none; VIS 20, 122AN, or 122BN
from a wide variety of historical periods from Antiquity to medieval and ultimately to the modern West. Prerequisite:
none; VIS 20 recommended. recommended.
Modern. Emphasis is given to theories special significance
for art history, but some attention is given to representation 120C. Late Antique Art (4) 122D. Michelangelo (4)
theories in other contexts. Readings may include selections During the later centuries of the Roman Empire, the ancient This course offers new approaches to understanding
from such modern theorists as Peirce, Panofsky, Gombrich, world underwent a profound crisis. Beset by barbarian inva- Michelangelo’s greatest creations. By considering how
Bernheimer, Barfield, Barthes, Goodman, Foucault, Bryson, sions, torn by internal conflict and drastic social change, each work relates to the setting for which it was intended,
Summers, and Mitchell and from classic texts by Plato, inflamed with religious passion which was to lead to a by regarding critical literature and artistic borrowings as
Aristotle, John of Damascus, Alberti, and Leonardo. transformed vision of the individual, the world, and the evidence about the works, and by studying the thought
Prerequisite: none; one or more upper-division courses divine, this momentous age saw the conversion of the of the spiritual reformers who counseled Michelangelo,
in art history strongly recommended. Note: Majors must Roman world to Christianity, the transfer of power from new interpretations emerge which show the artist to be
have taken VIS 23. Rome to Constantinople, and the creation of a new society a deeply religious man who invested his works with both
and culture. Out of this ferment, during the centuries from public and private meanings. Prerequisite: upper-division
117E. Problems in Ethnoaesthetics (4) standing; or one of the following courses: VIS 20, 21, 22 or
This seminar will address and critique various approaches Constantine to Justinian, there emerged new art forms fit
to represent the new vision of an otherworldly reality: a 23; or any upper-division course in art history and criticism
to studying the art of non-Western societies with respect or in European history.
to their own aesthetic and cultural systems. Students vaulted architecture of diaphanous space, a new art of
are encouraged to explore comparative philosophies of mosaic which dissolved surfaces in light, a figural language 122F. Leonardo’s La Gioconda (4)
art and test paradigms of Western aesthetic scholarship. both abstractly symbolic and urgently expressive. The A critical, art historical look at the world’s most famous
Prerequisite: none; VIS 21A or 21B or 112 or two upper- great creative epoch transformed the heritage of classical painting and its interpretations. Prerequisite: VIS 23.
division courses in art history strongly recommended. Greco-Roman art and laid the foundations of the art of One upper-division course in art history (113AN–129F)
the Christian West and Moslem East for the next thousand is recommended.
117F. Theorizing the Americas (4) years. Prerequisite: none; VIS 20 or 120B recommended.
Examines the philosophical debates that locate the 123AN. Between Spirit and Flesh: Northern
Americas in relation to the modern world. Prerequisite: 120D. Prehistoric Art (4) Art of the Early Renaissance (4)
upper-division standing. Tens of thousands of years before the dawn of history, The art of the Early Renaissance in Northern Europe is
the hunting peoples of Ice Age Europe invented the first marked by what appears to be striking conflict: on the one
117G. Critical Theory and Visual Practice since 1980 (4) language of visual images. Their painted cave sanctuaries, hand, a new love of nature and of the pleasures of court
This seminar will examine key moments in the interaction such as Lascaux and Altamira, are dazzling in their expres- society; and on the other, an intensified spirituality and
between the world of art and the world of ideas: the goal sive vitality and mystifying in meaning. This course link cave focus on personal devotion. This course explores these pro-
is to get you thinking about the whole theory/practice art with what is known about contemporary conditions of vocative cross-currents in works by master painters like Jan
relation, as it connects with your own projects and research. nature, society, and human life. Prerequisite: none; VIS van Eyck and Hieronymous Bosch as well as in lesser known
Prerequisite: upper-division standing. 20 recommended. mass-produced objects of everyday use. Prerequisite:
117H. Constructing Gender in Fifth-Century BC 121AN. The Idea of Medieval Art (4) none; VIS 20, 121AN, and/or 122AN recommended.
Athens and Eighteenth-Century France (4) This course introduces the art and architecture of Western 123BN. Jan van Eyck (4)
Ideas concerning gender and sexuality are crucial in every Europe from the fourth through the thirteenth centuries. Intensive study of the career of Jan van Eyck, whose magical
human society, but there are enormous shifts between A leading theme is the changing idea of what “medieval” paintings have always fascinated viewers with their micro-
cultures and historical periods. This course examines the has come to mean, from the coining of the terms “Middle scopically detailed naturalism and subtly disguised spiritual
changing cultural constructions of sexuality by examining Ages” and “Dark Ages” by Renaissance humanists, to the meanings. Masterpieces such as the Arnolfini Wedding are
in detail two very different epochs. Prerequisite: upper- Romantic fascination with Gothic ruins, and finally to the emphasized. Prerequisite: none; VIS 112 or two upper-
division standing. fantasy medievalisms of twentieth century popular culture division courses in art history recommended.
and current approaches to medieval art in art historical
117I. Western and Non-Western 124AN. Baroque Art (4)
scholarship. Prerequisite: none; VIS 20 recommended.
Rituals and Ceremonies (4) This course discusses the achievement of such major
This course will examine the process of image-making 121B. Castles, Cathedrals, and Cities (4) artists as Caravaggio, Gentileschi, Bernini, Borromini,
within specific ceremonies and/or rituals. Selected ceremo- This course explores European art and architecture of Rubens, Rembrandt, Velasquez, and Vermeer within a
nies from West Africa, Melanesia, Nepal, and the United the twelfth through the fourteenth centuries against the culture marked by increasing intellectual specialization,
States, including both Christian and non-Christian imagery, background of the rituals of chivalry, church, and civic life the entrenchment of modern national boundaries, the
will be considered. Performance art and masquerade will be that made a dazzling spectacle of art and life in the High co-existence of rival religious organizations, the formations
analyzed within a non-Western framework. Prerequisite: Middle Ages. Prerequisite: upper-division standing; VIS of artistic academies, and the rise of an art market serving
upper-division standing. VIS 21A recommended. Student 20 recommended. the flourishing middle class. Prerequisite: none; VIS 20
may not receive credit for VIS 126F and VIS 117I. recommended.
121D. The Illuminated Manuscript
120A. Greek Art (4) in the Middle Ages (4) 124BN. Art and the Enlightenment (4)
Greek classical civilization was a turning point in the history This seminar charts the changing pictorial problematics Eighteenth century artists and critics were convinced
of humanity. Within a new kind of society, the idea of the presented by the illuminated manuscript from its origins in that art could be a force to improve society. This course
individual as free and responsible was forged, and with it late antiquity to the disintegration of the manuscript tradi- places Roccoco and Neo-Classical artists such as Watteau,
the invention of history, philosophy, tragedy, and science. tion under the impact of the first printed books. Works such Fragonard, Tiepolo, Hogarth, Reynolds, Vigee Lebrun, Blake,
The arts which expressed this cultural explosion were no as the Book of Kells and the Tres Riches Heures of the Duke and David, within the context of art academies, colonialism,
less revolutionary. The achievements of Greek art in archi- of Berry, among the most brilliant achievements of Western the Grand Tour, Enlightenment conceptualizations of his-
tecture, sculpture, and painting will be examined from their painting, are among those considered. Prerequisite: none; tory and nature, and the American and French Revolutions.
beginnings in the archaic period, to their epoch-making VIS 112 or two upper-division courses in art history strongly Prerequisite: none; VIS 20 or 22 recommended.
fulfillment in the classical decades of the fifth century B.C., recommended.
to their diffusion over the entire ancient world in the age 124CN. Nineteenth-Century Art (4)
of Alexander and his successors. Prerequisite: none; VIS 122AN. Renaissance Art (4) A critical survey discussing the crisis of the Enlightenment,
20 recommended. Italian artists and critics of the fourteenth through sixteenth Romanticism, Realism and Naturalism, Academic Art and
centuries were convinced that they were participating in History Painting, representations of the New World, the
120B. Roman Art (4) a revival of the arts unparalleled since Antiquity. Focusing Pre-Raphaelites, Impressionism, international Symbolism,
Roman art was the “modern art” of antiquity. Out of their primarily on Italy, this course traces the emergence in Post-Impressionism, and the beginnings of Modernism.
Italic tradition and the great inheritance of Greek classic painting, sculpture and architecture, of an art based on Prerequisite: none; VIS 20 or 22 recommended.
and Hellenistic art, the Romans forged a new language
10 2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS
125A. Twentieth-Century Art (4) 126J. African and Afro-American Art (4) 127P. Arts of Japan (4)
A critical survey outlining the major avant-gardes after The dynamic, expressive arts of selected West African soci- Course is a survey of the visual arts of Japan, considering
1900: Fauvism, Cubism, Metaphysical Painting, Futurism, eties and their subsequent survival and transformation in how the arts developed in the context of Japan’s history
Dada, Surrealism, Neo-Plasticism, Purism, the Soviet the New World will be studied. Emphasis will be placed on and discussing how art and architecture were used for
avant-garde, Socialist Realism, and American art before Afro-American modes of art and ceremony in the United philosophical, religious, and material ends. Prerequisite:
Abstract Expressionism. Prerequisite: none; VIS 20 or 22 States, Haiti, Brazil, and Suriname. Prerequisite: upper- upper-division standing. VIS 21B recommended.
recommended. division standing. VIS 21A recommended. Student may
not receive credit for VIS 126DN and VIS 126J. 127Q. Japanese Painting and Prints (4)
125BN. Contemporary Art (4) Explore major trends in Japanese pictorial art from the
Art after Abstract Expressionism: Happenings, Post- 126K. Oceanic Art (4) seventh century to the nineteenth century, with focus
painterly Abstraction, Minimalism, Performance, Earth Art, An examination of the relation of art to ritual life, mythol- on function, style and subject matter, and with particular
Conceptual Art, Neo-Expressionism, Post-Conceptualism ogy, and social organization in the native Polynesian and emphasis on the relationship between Japanese art and
and development in the 1990s, including non-Western Melanesian cultures of Hawaii, New Guinea, the Solomon that of continental Asia. Prerequisite: upper-division
contexts. We also explore the relation of these tendencies Islands, and Australia. Prerequisite: upper-division stand- standing. VIS 21B recommended.
to Postmodernism, Feminism, and ideas of Postcoloniality. ing. VIS 21A recommended. Student may not receive credit
Prerequisite: none; VIS 20 or 22 recommended. for VIS 126E and VIS 126K. 128A–F. Topics in Art History and Theory (4)
These lecture courses are on topics of special interest to vis-
125DN. Marcel Duchamp (4) 126P. Latin American Art: Modern to iting and permanent faculty. Topics vary from term to term
A critical examination of the work of one of the most radical Postmodern, 1890–1950 (4) and with instructor and many will not be repeated. These
twentieth century artists. In Duchamp’s four dimensional A survey of major figures and movements in Latin American courses fulfill upper-division distribution requirements.
perspective, the ideas of art-object, artist, and art itself art from the late-nineteenth century to the mid-twentieth As the courses under this heading will be offered less
are deconstructed. The Large Glass and Etant Donnees . century. Prerequisite: upper-division standing. frequently than those of the regular curriculum, students
. . are the twin foci of an oeuvre without boundaries in are urged to check for availability and descriptions of these
which many twentieth-century avant-garde devices such 126Q. Latin American Art: Modern to supplementary courses in the annual catalogue listings.
as chance techniques, conceptual art, and the fashioning of Postmodern, 1950–Present (4) Like the courses listed under VIS 129, below, the letters
fictive identities, are invented. Prerequisite: none. A survey of major figures and movements in Latin American following the course number designate the general area
art from the mid-twentieth century to the present. in which the courses fall. Students may take courses with
125F. Latin American Film (4) Prerequisite: upper-division standing. the same number but of different content, with consent
An overview of film and filmmaking in Latin America and its of instructor and/or program advisor. May be taken three
reception in a national context and beyond. Prerequisite: 126R. Latin American Photography (4)
An overview of the history of photography, concentrating times for credit. Prerequisite: none; courses in art history
upper-division standing. recommended.
on developments in Latin America. Prerequisite: upper-
126AN. Pre-Columbian Art of Ancient division standing. 128A. Topics in Pre-Modern Art History (4)
Mexico and Central America (4) A lecture course on a topic of special interest in ancient
An introduction to the cities and monuments of the an- 127B. Arts of China (4)
Course will survey major trends in the arts of China from a or medieval art. Prerequisites: upper-division standing;
cient civilizations which flourished in Mexico and Central courses in art history (VIS 113AN–129F) are recommended.
America before the Spanish Conquest. This course will thematic point of view, explore factors behind the making
cover the major cultures of Mesoamerica, including the of works of art, including political and religious meanings, 128B. Topics in Early Modern Art History (4)
Olmec, Aztec, and neighboring groups. Prerequisite: none; and examine contexts for art in contemporary cultural A lecture course on a topic of special interest in Renaissance
VIS 21 recommended. phenomena. Prerequisite: upper-division standing. VIS or Baroque art. May be taken three times for credit.
21B recommended. Prerequisites: upper-division standing; courses in art
126BN. The Art and Civilization history (VIS 113AN–129F) are recommended.
of the Ancient Maya (4) 127C. Arts of Modern China (4)
This course offers a history of Maya society from its forma- Course will explore Chinese art of the twentieth century. By 128C. Topics in Modern Art History (4)
tive stages to the eve of the Spanish Conquest through examining artworks in different media, we will investigate A lecture course on a topic of special interest on Modern
an investigation of its art and archeology. Special atten- the most compelling of the multiple realities that Chinese or Contemporary art. May be taken three times for credit.
tion is given to its unique calendar and writing systems. artists have constructed for themselves. Prerequisite: Prerequisites: upper-division standing; courses in art his-
Prerequisite: none; VIS 21 recommended. upper-division standing. VIS 21B recommended. tory (VIS 113AN–129F) are recommended.
126C. Problems in Mesoamerican Art History (4) 127D. Early Chinese Painting (4) 128D. Topics in Art History of the Americas (4)
Topics of this seminar will address special problems or areas Explore representations of figures and landscapes from A lecture course on the topic of special interest in the
of research related to the major civilizations of ancient the dawn of Chinese painting through the Yuan dynasty, Ancient Americas or Africa and the Pacific Islands.
Mexico and Central America. Course offerings will vary with stress on developments in style and subject matter Prerequisite: upper-division standing. Courses in art his-
to focus upon particular themes, subjects, or interpretive and relationships to contemporary issues in philosophy, tory (VIS 113AN–129F) are recommended.
problems. Prerequisite: upper-division standing. VIS 21A religion, government, society, and culture. Prerequisite:
recommended. Student may not receive credit for VIS 126B upper-division standing. VIS 21B recommended. 128E. Topics in Art History of Asia (4)
and VIS 126C. A lecture course on the topic of special interest in India,
127E. Later Chinese Painting (4) China, and Japan. Prerequisites: upper-division standing.
126D. Problems in Ancient Maya Explores major schools and artists of the Ming and Qing Courses in art history (VIS 113AN–129F) are recommended.
Iconography and Inscriptions (4) periods, including issues surrounding court patronage of
This seminar focuses upon the art, architecture, and inscrip- professional painters, revitalization of art through reviving 128F. Topics in Art Theory and Criticism (4)
tions of the ancient Maya. Topics will vary within a range of ancient styles, commercialization’s challenges to scholar- A lecture course on a topic of special interest in art theory,
problems that concern hieroglyphic writing, architecture, amateur art, and the influences of the West. Prerequisite: art criticism, or the history of literature on art. May be
and visual symbols the Maya elite used to mediate their upper-division standing. VIS 21B recommended. taken three times for credit. Prerequisites: upper-division
social, political, and spiritual words. Prerequisite: upper- standing. Courses in art history (VIS 113AN–129F) are
127F. Japanese Buddhist Art (4) recommended.
division standing. VIS 21A recommended. Explore the development of Buddhist art and architec-
126HN. Pacific Coast American Indian Art (4) ture in Japan. Focus on the role of art in Buddhist practice 128P. Curatorial Practices Workshop (2)
Explores the art and expressive culture of American Indians and philosophy and the function of syncretic elements Students will be exposed to the professional context of
of far western United States, including California and Pacific in Japanese Buddhist art. Prerequisite: upper-division institutional art research, preparation, exhibition and pub-
Northwest. Social and cultural contexts of artistic traditions standing. VIS 21B recommended. lication. The content of the course will revolve around the
and their relations to the lifeways, ceremonialism, beliefs, curatorial experience of the particular faculty member.
127G. Twentieth-Century Chinese Art (4) May be repeated once for credit. Two two-unit curatorial
and creative visions of their makers. Prerequisite: upper- Through examining artworks in different media, theoretical
division standing. VIS 21A recommended. Student may not practices workshop courses count as one course towards
writings and documentary data, will explore the ways in the fulfillment of a Group III Elective requirement in the
receive credit for VIS 126CN and VIS 126HN. which Chinese artists of the twentieth century have defined major. Prerequisites: VIS 112 or two upper-division courses
126I. Southwest American Indian Art (4) modernity and their own tradition against the complex in art history (VIS 113AN–129F).
Examines the history, art, and architecture of Navajo, Hopi, background of China’s history. Prerequisite: upper-division
Zuni, and other Native American communities of New standing. VIS 21B recommended. 129A–F. Seminar in Art Criticism and Theory (4)
Mexico and Arizona; the origins of their civilization; and These seminar courses provide the opportunity for in-
127N. Twentieth-Century Art in China and Japan (4) depth study of a particular work, artist, subject, period,
how their arts survived, adapted, and changed in response Surveys the key works and developments in the modern
to Euro-American influences. Prerequisite: upper-division or issue. Courses offered under this heading may reflect
art and visual culture of Japan from Edo and Meiji to the the current research interests of the instructor or treat a
standing. VIS 21A recommended. Student may not receive present and of China from the early twentieth century
credit for VIS 126D and VIS 126I. controversial theme in the field of art history and criticism.
to contemporary video, performance, and installation Active student research and classroom participation are
art. Prerequisite: upper-division standing. VIS 21B expected. Enrollment is limited and preference will be
recommended. given to majors. The letters following 129 in the course
2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS 11
number designate the particular area of art history or 140. Digital Imaging: Image and Interactivity (4) 150. History of Silent Cinema (4)
theory concerned. Students may take courses with the (Cross-listed with ICAM 101.) Introduction to digital image An investigation of silent films from early cinema to the
same number but of different content more than once for involving images, texts, and interactive display and oper- development of a classical style in the twenties, exploring
credit, with consent of the instructor and/or the program ates both within computer-mediated space (i.e., Web site) issues of spectatorship, analyzing differences between
advisor. May be taken three times for credit. Prerequisite: and in physical space (i.e., artist book). Interactive narrative American and European cinema, and highlighting the
VIS 112 or two upper-division courses in art history. and computer programming are explored. Materials fee interaction between film and other arts. Materials fee
required. Prerequisite: VIS 40 or ICAM 40. Open to media, required. Prerequisites: VIS 84 or consent of instructor.
129A. Seminar in Pre-Modern Art History (4) ICAM, and studio majors; computing and ICAM minors only.
A seminar on an advanced topic of special interest in Two production course limitation. 151. History of the Experimental Film (4)
ancient or medieval art. Prerequisites: VIS 112 or two An inquiry into a specialized alternative history of film,
upper-division courses in art history (VIS 113AN–129F). 141A. Computer Programming for the Arts I (4) consisting of experimental works made outside the con-
Introduces external API’s currently of interest in the arts ventions of the movie industry and which in their style
129B. Seminar in Early Modern Art History (4) (example: OpenGL, J2ME, Servlet/JSP, Java3D) extend- and nature are closer to modernist painting, poetry, etc.,
A seminar on an advanced topic of special interest in ing a common programming language such as C++ or than to the mainstream theatrical cinema. Works by such
Renaissance or Baroque art. Prerequisites: VIS 112 or two Java. Students gain API fluency through planning and film artists as Man Ray, Salvador Dali, Maya Deren, Stan
upper-division courses in art history (VIS 113AN–129F). coding software or software mediated art projects. CSE Brakhage, and Michael Snow will be examined in depth.
129C. Seminar in Modern Art History (4) 11 or equivalent recommended. Materials fee required. Materials fee required. Prerequisite: VIS 84 or consent
A seminar on an advanced topic of special interest in Prerequisites: (VIS 40 or ICAM 40) and (VIS 140 or ICAM of instructor.
Modern or Contemporary art. Prerequisites: VIS 112 or 101). Open to ICAM majors and minors only. Two produc-
tion-course limitation. 152. Film in Social Context (4)
two upper-division courses in art history (VIS 113AN–129F). This collection of courses gathers, under one cover, films
129D. Seminar in Art History of the Americas (4) 141B. Computer Programming for the Arts II (4) that are strongly marked by period, geography, and the
A seminar on an advanced topic of special interest in Students extend their programming capabilities to include culture within which they received their dominating
the Ancient Americas to Africa and the Pacific Islands. the creation of reusable software libraries, packages, da- local quality. These courses pay particular attention to
Prerequisites: VIS 112 or two upper-division courses in tabase API’s, tools, utilities, and applications intended to the stamp of place—climate, dress, habitation, language,
art history (VIS 113AN–129F). be publishable and useful to other practicing artists, or as music, politics—as well as the filmic moves that helped
preparatory work for the student’s senior thesis sequence. color such works as environmental. The series takes in the
129E. Seminar in Art History of Asia (4) Materials fee required. Prerequisite: VIS 141A. Open to following subjects: Third World films, the Munich films
A seminar on an advanced topic of special interest in India, ICAM majors and minors only. Two production-course (the new wave of Germans who made their first features
China, and Japan. Prerequisites: VIS 112 or two upper- limitation. in Munich following 1967), Japanese movies, films of the
division courses in art history (VIS 113AN–129F). American thirties and their relationship to current thought,
145A. Time- and Process-Based Digital Media I (4) American Westerns, Ethnographic Film, Brazil’s Cinema
129F. Seminar in Art Theory and Criticism (4) (Cross-listed with ICAM 102.) Introduces time- and process- Novo, etc. Specific topics to be covered will vary with the
A seminar on an advanced topic of special interest in art based digital media artmaking. Contemporary and his- instructor. May be repeated twice for credit. Materials fee
theory, art criticism, or the history of literature on art. torical works across time- and process-based media will required. Prerequisite: VIS 84 or consent of instructor.
Prerequisites: VIS 112 or two upper-division courses in be studied and projects produced. Topics may include
art history (VIS 113AN–129F). software art, software and hardware interfacing, interac- 153. The Genre Series (4)
tion, and installation in an art context. CSE 5A or equivalent A group of related courses exploring the conventions
129G. Art History Honors Seminar (4)
programming experience recommended. Materials fee within such generic and mythic forms as the cowboy,
This research seminar, centered on a series of critical, the-
required. Prerequisites: (VIS 40 or ICAM 40) and (VIS 140 shamus, chorus girls, and vampire films. May be repeated
matic, theoretical, and/or historical issues that cut across
or ICAM 101). Open to media and ICAM majors and ICAM twice for credit. Materials fee required. Prerequisite: none;
subdisciplinary specializations, provides outstanding
minors only. Two production-course limitation. VIS 84 recommended.
advanced students with the opportunity to undertake
graduate-level research. The first part of a two-part se- 145B.Time- and Process-Based Digital Media II (4) 154. Hard Look at the Movies (4)
quence completed by Art History Honors Directed Group Students will implement time- and process-based projects Examines a choice of films, selected along different lines
Study (VIS 129H). Prerequisite: consent of instructor or under direction of faculty. Projects such as software and of analysis, coherent within the particular premise of the
art history faculty advisor, department stamp required. hardware interfacing, computer mediated performance, course. Films are selected from different periods and
Note: The Art History Honors Seminar and the attached software art, installation, interactive environments, data genres among Hollywood, European, and Third World films.
Art History Honors Directed Group Study counts as one visualization and sonification will be produced as ad- May be repeated once for credit. Materials fee required.
course towards the fulfillment of the Group III requirement. vanced study and portfolio project. Materials fee required. Prerequisite: VIS 84 or consent of instructor.
Prerequisite: VIS 145A or ICAM 102. Open to media and
129H. Art History Honors Directed Group Study (4) 155. The Director Series (4)
ICAM majors; ICAM minors only. Two production course
The second part of the honors program sequence, this A course that describes the experiences, looks, and struc-
course provides a forum for students engaged in research ture of director-dominated films. A different director will be
and writing to develop their ideas with the help of a faculty 147A. Electronic Technologies for Art I (4) studied each quarter. The student will be required to attend
advisor and in conjunction with similarly engaged students. Develop artworks and installations that utilize digital elec- the lecture in the course and to meet with the instructor
Prerequisite: consent of instructor or art history faculty tronics. Techniques in digital electronic construction and at least once each week. May be repeated three times
advisor, department stamp required. computer interfacing for interactive control of sound, light- for credit. Materials fee required. Prerequisite: VIS 84 or
ing, and electromechanics. Construction of devices which consent of instructor.
130. Special Projects in Visual Arts (4)
responsively adapt artworks to conditions involving viewer
Specific content will vary each quarter. Areas will cover 156N. Special Problems in Film History and Theory (4)
participation, space activation, machine intelligence.
expertise of visiting faculty. May be repeated twice for Seminar on an advanced topic in the history and theory of
Purchase of components kit required. Prerequisite: VIS
credit. Prerequisite: two from (VIS 104CN, 105C, 106C, film. Content will vary from quarter to quarter. Prerequisite:
1. Open to media, studio, and ICAM majors; ICAM minors
107CN, and 147B) or one from (VIS 180A, 180B, 183A, and VIS 84 or consent of instructor. Note: Materials fee required.
only. Two production course limitation.
183B) or consent of instructor/department stamp required.
Visual arts/media, studio, ICAM majors only. 147B. Electronic Technologies for Art II (4) 157. Video History and Criticism (4)
Continuation of the electronics curriculum. Design of pro- A lecture course that examines video as an art form, its
131. Special Projects in Media (4) relationship to the development from television and
grammable microcontroller systems for creating artworks
Specific content will vary each quarter. Areas will cover other art forms, and surveys current work in the medium.
that are able to respond to complex sets of input condi-
expertise of visiting faculty. May be repeated twice for Materials fee required. Prerequisites: VIS 22, 84, and 111.
tions, perform algorithmic and procedural processing, and
credit. Prerequisites: two from (VIS 104CN, 105C, 106C,
generate real time output. Purchase of components kit 158. Histories of Photography (4)
107CN, or 147B) or one from (VIS 180A, 180B, 183A, and
required. Prerequisite: VIS 147A. Open to media, studio, Photography is so ubiquitous a part of our culture that it
183B) or consent of instructor. Open to studio, visual arts/
and ICAM majors; computing and ICAM minors only. Two seems to defy any simple historical definition. Accordingly,
media, and ICAM majors only.
production course limitation. this course presents a doubled account of the medium; it
132. Installation Production and Studio (4) explores both the historical and cultural specificity of a
149. Seminar in Contemporary Computer Topics (4)
Through discussions and readings, the class will examine singular photography as well as some of the multitude
(Cross-listed with ICAM 130.) Topics relevant to computer-
the issues and aesthetics of installation art-making. Using of photographies that inhabit our world. Will examine a
based art- and music-making, such as computer methods
media familiar to them, students will produce several number of the most important photographic themes from
for making art/music, design of interactive systems, spatial-
projects. May be repeated once for credit. Studio and the past 200 years. Prerequisite: none.
ization of visual/musical elements, critical studies. Topics
visual arts/media majors only. Prerequisites: two from
will vary. May be repeated twice. Materials fee required. 159. History of Art and Technology (4)
(VIS 104CN, 105C, 106C, 107CN, or 147B) or one from (VIS
Prerequisite: VIS 140 or ICAM 101, VIS 145A or ICAM 102, (Cross-listed with ICAM 150.) Aims to provide historical
180A, 180B, 183A, and 183B) or consent of instructor. Open
and MUS 170 or ICAM 103 recommended. Open to media context for computer arts by examining the interaction
to studio, media majors only.
and ICAM majors; ICAM minors only. Two production course between the arts, media technologies, and sciences in
limitation. different historical periods. Topics vary (e.g., Renaissance
perspective, futurism and technology, and computer art of
12 2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS
the 1950s and 1960s). Prerequisite: none. Note: Materials 178. Sound—Theory and Production (4) 194S. Fantasy in Film (4)
fee required. Sound design plays an increasing role in media production This course will explore the path of the deliberately “un-
and has opened up new structural possibilities for narrative real” in movies. Fantasy in film will be considered both
164. Photographic Strategies (4) strategies. A critical and historical review of sound design in terms of its psychological manifestations and also in
Introduction to the aesthetic problems in photography. and a production methodology component. Critical papers terms of imaginary worlds created in such willfully anti-
Both historical and contemporary art practices will be ex- and soundtracks for short film projects will be required. realistic genres as science-fiction, horror, and musical films.
amined. Students will create photo pieces to engage these Prerequisites: VIS 70N and VIS 174. Open to media majors Materials fee required. Prerequisite: upper-division stand-
conceptual issues. Materials fee required. Prerequisites: only. Two production-course limitation. ing. Offered in summer session only.
VIS 60 and consent of instructor. Open to media majors
and photography minors only. Two production-course 180A. Documentary Evidence and the Construction 197. Media Honors Thesis (4)
limitation. of Authenticity in Current Media Practices (4) This advanced-level sequence coordinates three con-
Exploration of concepts in representational artworks by secutive independent research courses to culminate in
165. Camera Techniques (4) critically examining “found” vs. “made” recorded material. a completed thesis project in the third quarter of study.
An intermediate course designed to teach students to Advanced film/video, photography, computing work. After the project’s public presentation, the faculty involved
develop fiber-based black and white printing skills, to in- Issues of narrative and structure; attention to formal as- in the project will determine whether the student will
troduce the fundamentals of digital photography, and to pects of media work emphasized. Cannot be taken same graduate with departmental honors. Prerequisite: consent
address the issues of text in relation to image in art practice. quarter as VIS 180B. Prerequisites: VIS 174 and one from of instructor. Note: Requires a written proposal, 3.5 GPA in
Materials fee required. Prerequisites: VIS 60 and consent of VIS 140/ICAM 101, 145A/ICAM 102, 145B, 164, 165, 172, 175, the major, prior consent from all involved, and approvals
instructor. Open to media majors and photography minors 176, 177; VIS 177 strongly recommended. Open to media by the department chair and provost.
only. Two production-course limitation. majors only. Two production-course limitation.
198. Directed Group Study (2–4)
166. Advanced Camera Techniques (4) 180B. Fiction and Allegory in Directed group study on a topic or in a group field not
Advanced-level course working with refined techniques Current Media Practices (4) included in regular department curriculum, by special
in traditional and digital photographic art practices. The Exploration of choices in invention, emphasizing “made” arrangement with a faculty member. Prerequisite: consent
student will also be instructed in the development of a over “found.” Advanced film/video, photography, and of instructor. Note: Open only to upper-division students.
portfolio for use in post-graduation career development. computing. Issues of narrative and structure, and formal Requires instructor’s, department chair’s, and provost’s
Materials fee required (photo lab). Prerequisites: VIS 164, aspects of media work emphasized. Cannot be taken same approval. Pass/Not Pass grades only.
165, and consent of instructor. Open to media majors only. quarter as VIS 180A. Prerequisites: VIS 174 and one from
Two production-course limitation. VIS 140/ICAM 101, 145A/ICAM 102, 145B, 164, 165, 172, 175, 199. Special Studies in the Visual Arts (4)
176, 177; VIS 177 strongly recommended. Open to media Independent reading, research, or creative work under
167. Social Engagement in Photography (4) direction of a faculty member. Prerequisite: consent of
This course will explore the use of photography to ex- majors only. Two production-course limitation.
instructor. Note: Open only to upper-division students.
amine social issues. Working in both the documentary 181. Sound and Lighting (4) Requires instructor’s, department chair’s, and provost’s
and fictional modes, students will produce projects on Advanced course to gain sophisticated control of lighting approval. Pass/Not Pass grades only.
social concerns to present for critical feedback in class. and sound recording techniques with understanding of
Prerequisites: VIS 158, VIS 164, VIS 165. theoretical implications and interrelation between pro- ICAM 103. Musical Acoustics (4)
duction values and subject matter. Interactions between (Cross-listed with MUS 170.) An introduction to the acous-
168. Color Techniques in Photography (4) tics of music with particular emphasis on contemporary
Instruction in color photography and printing. Lectures sound and image in various works in film, video, or instal-
lation. Prerequisite: VIS 174, and three of the following digital techniques for understanding and manipulating
on theory and demonstration in shooting and printing sound. Prerequisites: MUS 1A, 2A, or 4.
color negatives. Materials fee required. Prerequisites: VIS courses depending on emphasis: VIS 164, 165, 172, 175,
60, 164, 165. Open to media majors only. Note: Portfolio 176, 177. Open to media majors only. Two production- ICAM 110. Computing in the Arts: Current Practice (4)
required for admission. Two production-course limitation. course limitation. Designed around the presentations by visiting artists,
182. Advanced Editing (4) critics, and scientists involved with contemporary issues
171. Digital Cinema—Theory and Production (4) related to computer arts. Lectures by the instructor and
A digital image is not a film image, and this reality and its Film/video editing and problems of editing from theoretical
and practical points-of-view. Films and tapes analyzed contextual readings provide background material for the
technological and conceptual implications are what this visitor presentations. Prerequisite: none. Note: Materials
course will attempt to map out, exploring its possibilities on a frame-by-frame, shot-by-shot basis. Edit stock mate-
rial and generate own materials for editing final project. fee required.
and the massive overhaul of media aesthetics it implies.
Prerequisites: (VIS 40/ICAM 40), VIS 60, VIS 70N and VIS Aesthetic and technical similarities/differences of film/ ICAM 120. Virtual Environments (4)
174, plus one from VIS 1, VIS 2, VIS 3, VIS 22 or VIS 84. Open video. Prerequisites: VIS 175 and two courses from the Students create virtual reality artworks. Projects may be
to media majors only. Two production-course limitation. 180 and 183 series. Open to media majors only. Two done individually or in groups. Exploration of theoretical
production-course limitation. issues involved will underlie acquisition of techniques
174. Media Sketchbook (4) utilized in the construction of virtual realities. Materials
Video medium used both as production technology and as 183A. Strategies of Self (4)
Looks at the way that self-identity is reflected and produced fee required. Prerequisites: VIS 145A or ICAM 102; CSE
device to explore the fundamental character of film-making 11 recommended. Open to ICAM majors and minors only.
and time-based computer art practices. Students perform through various media practices. Focus is on rhetorical
strategies of biography and autobiography in media, Two production course limitation.
all aspects of production with attention to developing ideas
and building analytical/critical skills. Prerequisite: VIS 70N. comparing and contrasting these strategies with those ICAM 160A. Senior Project in Computer Arts I (4)
Open to media and ICAM majors only. Two production- drawn from related cultural forms. Cannot be taken the Students pursue projects of their own design over two
course limitation. same quarter as VIS 183B. Prerequisites: VIS 174 and quarters with support from faculty in a seminar environ-
one from (VIS 140/ICAM 101), (VIS 145A/ICAM 102), VIS ment. Project proposals are developed, informed by proj-
175. Editing—Theory and Production (4) 147A, VIS 164, VIS 165, VIS 175, VIS 176, VIS 177; VIS 177 ect development guidelines from real-world examples.
The evolving aims and grammars of editing practice in strongly recommended. Open to media majors only. Two Collaborations are possible. Portfolio required for admis-
film and digital media will be examined. These histories production-course limitation. sion. Prerequisites: VIS 141B or VIS 145B or VIS 147B or
will create a context for exploring contemporary editing MUS 172. Open to ICAM majors only. Department stamp
strategies. The production projects will be centered on 183B. Strategies of Alterity (4)
Looks at difference as it is reflected and constructed in required.
digital editing practice. Prerequisites: (VIS 40/ICAM 40),
VIS 60, VIS 70N, and VIS 174 plus one from VIS 1, VIS 2, various media practices. Course will examine a wide range ICAM 160B. Senior Project in Computer Arts II (4)
VIS 3, VIS 22, or VIS 84. Open to media majors only. Two of forms and genres such as ethnography, science fiction, Continuation of ICAM 160A. Completion and presenta-
production-course limitation. crime narratives, documentary film, political drama, and tion of independent projects along with documentation.
animated shorts. Cannot be taken same quarter as VIS Prerequisites: ICAM 160A. Open to ICAM majors only.
176. 16mm Filmmaking (4) 183A. Prerequisites: VIS 174 and one from (VIS 140/ICAM Department stamp required.
A technical foundation and creative theoretical context for 101), (VIS 145A/ICAM 102), VIS 147A, VIS 164, VIS 165, VIS
film production will be provided. Students will produce a 175, VIS 176, VIS 177; VIS 177 strongly recommended. Open ICAM 198. Directed Group Study (2–4)
short film with post-synchronized sounds and final mixed- to media majors only. Two production course limitation. Directed group study on a topic or in a group field not
track. Prerequisites: (VIS 40/ICAM 40), 60, 70N and 174, included in regular department curriculum by special
plus one from VIS 1,VIS 2, VIS 3, VIS 22 or VIS 84. Open 184. Advanced Scripting (4) arrangement with a faculty member. May be repeated
to media majors only. Two production-course limitation. Film/video production will be framed through the script twice for credit. Prerequisites: consent of instructor. Note:
writing process, focusing on the problems of longer dura- Only open to upper-division students. Requires instructor
177. Scripting Strategies (4) tion, density, and adaptation from other media. Students approval. Pass/Not Pass grades only.
Script writing, reading, and analysis of traditional and ex- will both read and analyze both historical and contempo-
perimental media productions. The emphasis will be on rary scripts and produce a thirty- to sixty-minute script. ICAM 199. Special Studies (2/4)
the structural character of the scripting process and its lan- Prerequisites: VIS 177 and two courses from VIS 180A, Independent reading, research or creative work under
guage. Students will write several short scripts along with VIS 180B, VIS 183A, VIS 183B. Open to media majors only. direction of faculty member. Prerequisites: department
analytical papers. Prerequisites: VIS 70N and VIS 174. Open Two production-course limitation. stamp and upper-division standing and consent of instruc-
to media majors only. Two production-course limitation. tor required.
2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS 13
GR A D UAT E 217. Communities and Subcultures (4) 244. Studies in the Relationship
A critical examination of the practices of self-defined com- of Theory and Practice (4)
munities (e.g., Bauhaus, Shaker, Surrealists), which have Investigations of one or more artist-theorists or move-
CORE SEMINARS attempted to change the social and spiritual quality of life ments, contemporary or historical, that put in issue the
201. Contemporary Critical Issues (4) by aesthetic means and of communities and subcultures interface between theory and practice. May also focus on
An exploration of a range of issues important on the con- defined by other means. a topic such as perspective, color, or narrative, or genre
temporary critical scene through readings and writing such as film or new media.
218N. Imaging Selves and Others (4)
assignments. Topics will vary from year to year. Offered Explores various strategies exhibited in a wide range of
every fall. (Required, M.F.A.) contemporary art practices engaging in the representation Times/Terrains
202. Art Practice (4) of personality, spirituality, and the physical self. 250N. Seminar in Ancient Art (4)
A workshop/seminar devoted to a particular materials 219. Special Topics in Art Practice/Theory (4) The arts of Greece, Rome, and allied cultures in the ancient
practice (e.g., media, painting, digital media, etc.) that en- Examines a topic of special interest to permanent and visit- world. Topics will vary, e.g., Roman Portraiture: Self and
gages with critical questions arising within that discipline. ing faculty that is not addressed in the regular curriculum. Social Mask; The Invention of Perspective and Revolution
Content will vary from quarter to quarter. May be repeated As in other Art Practice/Theory seminars, students will both in Two-Dimensional Representation; The “Modern” Art of
once for credit. (Required, M.F.A.) produce work and read and write critically about the topic. Antiquity (late third to early fourth century A.D.). May be
Topics will vary. taken three times for credit. Prerequisite: graduate stand-
203. Working Critique (4) ing or consent of instructor.
Workshop in which students engage in an extensive evalu-
ation of each others’ ongoing work in preparation for either HISTORY/THEORY/CRITICISM 251. Seminar in Medieval Art (4)
the First Year Review or MFA Review. Offered every winter. European art from late antiquity through the fourteenth
May be repeated once for credit. (Required, M.F.A.) century and the historical processes by which “medieval”
art has been constructed as a category. Topics may include
204. Re-Thinking Art History (4) 230. “Art” as Category (4) Devotional Vision and the Sacred Image; Medieval Comic
Critical evaluation of the methods, practices, and disci- Explores the complex and changing criteria by which cer- Genres; Neo-Medievalisms, Fifteenth Century to Today.
plinary commitments of art history, encompassing both tain (categories of) objects and practices are designated as May be taken three times for credit. Prerequisite: graduate
revisionist interventions of the late twentieth century and “art” in culturally and historically diverse societies. standing or consent of instructor.
earlier paradigms, in order to envision new discipline-
specific and interdisciplinary directions for the future of 231N. Confronting the Object (4) 252. Seminar in Renaissance Art (4)
art history and visual culture. (Required, Ph.D.) Investigates the nature and status of art objects and prac- Concentrates on the art of the Renaissance in Italy and the
tices and the forms of engagement with them through North through a changing series of topics, e.g., Vision and
205. Introduction to Graduate topics such as the practice and metaphysics of description; Composition in Perspective; The Sistine Chapel; Envisioning
Studies in Art Practice (4) phenomenological analysis; film analysis; and ekphrasis Jan Van Eyck; Renaissance Print-Making; Leonardo da
This seminar introduces art practice students to the gradu- and visual analysis. Vinci’s La Gioconda. May be taken three times for credit.
ate program in a workshop environment. Emphasis is on Prerequisite: graduate standing or consent of instructor.
the production of new work and on situating that work in 232. Artistic Identities (4)
relation to a larger art context. (Required, M.F.A.) Offered Explores the historical, theoretical, and cross-cultural con- 253. Seminar in Early Modern Art (4)
every fall and required of all first-year M.F.A. students. cepts of the artist/auteur and his/her varied and shifting European and American art, 1580s to 1850. Topics might
identities as inscribed in works of art, recorded in biography include Deconstructing the Enlightenment: Images of
206. Seminar in Art Practice Research (4) and critical literature, and enacted through social roles. Disorder; Escaping History: Genre Painting, Rococo to
Seminar examines the interrelationship between theory Impressionism; Politics and Love in the Art of Jacques-Louis
and practice and the nature of artistic production as a form 234N. Frames of View (4) David; Art and Urbanism in Baroque Rome. May be taken
of research. Prerequisites: none. (Required for Ph.D. in art Critical and historical analysis of the institutions, social three times for credit. Prerequisite: graduate standing or
practice concentration.) networks, and communicative media through which art consent of instructor.
is presented to its audiences. May also address theories of
vision and visuality, spectatorship, public space, originality 254. Seminar in Modern Art (4)
ART PR AC TICE/THEORY
and reproduction, and public space. European and American art, ca. 1850 to 1960. Questions
210. Narrative (4) in Impressionism and Post-Impressionism; The Cubist
235N. Frames of Analysis (4) Revolution: Marcel Duchamp and the Anti-Formalist
Examination of narrative issues in contemporary art-
Historical critique and philosophical analysis of the cen- Tradition; American Modernism; Reckoning with Abstract
making. Traditional and experimental narrative practices in
tral terminology and constructs of art history, theory, and Art; Issues of Dada and Surrealism; Soviet Avant-Gardes.
painting, drawing, sculpture, and performance are explored
criticism. May address such key terms as style, genre, and May be taken three times for credit. Prerequisite: graduate
alongside narrative strategies in media and digital media.
periodization or a topic such as theories of representation standing or consent of instructor.
211. Fact and Fiction (4) and narrative. Prerequisite: graduate standing or consent
This seminar addresses the space between narrative work of instructor. 255. Seminar in Contemporary Art (4)
generated from a factual base and that generated from a Thematic and critical discussions of recent U.S. and inter-
fictional one. Special attention will be given to discussing Theories/New Visions national art, 1960s to the present. Art/Text; Mixed Media
work that confounds the assumed gap between the two. Practices; Conceptual Art; Art After Appropriation; Global
240. Histories of Theory and Criticism: Art at the Millennium; New Genres of Public Art; Mike Kelly
212. History and Memory (4) Plato to Post-Modernism (4) and the Conceptual Vernacular: Art and Activism. May
This seminar will engage the space between personal and Historical and cross-cultural investigations of art theory and be taken three times for credit. Prerequisite: graduate
larger histories. How is one’s own past both intertwined criticism, antiquity to the present. May be taught as an his- standing or consent of instructor.
with and determined by larger social histories? torical overview or focus on a particular topic, e.g., Critical
Currents Since World War II, Renaissance Foundations, From 257. Seminar in Meso-American Art (4)
213. Public Space (4) Topics relating to the art and civilizations of Precolumbian
Culture to Popular Culture.
An exploration of what public space is and how it operates, Mexico and Central America, either specifically art historical
with a view toward an expanded context for considering 241. Topics in Contemporary Critical Theory (4) (such as iconographic, formal, and stylistic analysis) or
how public artwork can operate within it. Included are areas Focused studies, changing from year to year, in contempo- encompassing a spectrum of interdisciplinary and cultural/
such as mass media, activism, community action, computer rary theoretical positions and perspectives (e.g., New Social historical problems. May be taken three times for credit.
networks, ecology, and alternative forums. Theory, Post-Colonialism, Gender Theory) and one or more Prerequisite: graduate standing or consent of instructor.
leading theorists (e.g., Deleuze, C. S. Peirce, Steinberg).
215. Human Interface (4) 258. Seminar in Chinese Art (4)
Examines human interface as it informs or transforms how 242. Theories of Media and New Media (4) Advanced studies in the secular and religious art traditions
we read and participate in culture at large. Concepts such as Critical study of the ways in which media (film, video, of China. From year to year, the seminar may focus on
subject/author/object relationships, abstraction, metaphor, photography) and new media have been theorized. May early China (Neolithic to the end of the T’ang dynasty), on
analogy, visualization, and complexity are discussed to be taught from an historical or comparative perspective later dynasties (Sung, Yuan, Ming) or on art of the People’s
establish context. or focus on a single topic or theorist. Republic. May be taken three times for credit. Prerequisite:
216. The Object (4) graduate standing or consent of instructor.
243. Aesthetic Theory (4)
An investigation of the world of artifacts (“works of art” and Study of the philosophical concepts of the function of 259. Seminar in Latin American Art (4)
others) and how they function as agents of communication art and visual culture and the criteria for its evaluation in Historical and theoretical problems in the art of Mexico,
and modifiers of consciousness. Contemporary perspec- diverse epochs and cultures. May be taught as an historical Central, and South America art from the colonial period
tives drawn from the fields of art theory, anthropology, overview or comparative study or focus a single topic or to today, as well as from the Hispanic traditions of the
contemporary art, and semiotics will be utilized. theorist. American Southwest. May be taken three times for credit.
Prerequisite: graduate standing or consent of instructor.
14 2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS
260. Seminar in North American Indian Art (4)
Topics for this seminar concern Native American art history
from ancient to contemporary times. Seminars may focus
on archaeological and art historical approaches, philosophy
and aesthetics, archaeoastronomy, and cultural contexts.
Issues of globalization and transculturation may be ex-
amined as well.
269. Contextual Studies: Special Topics (4)
Studies in the art of cultures and time periods not covered
in the currently published curriculum (e.g., African Art,
Japanese Art, Byzantine Art, Islamic Art) or of issues and
genres crossing epochal, cultural, and media boundaries.
280. Workshop in Critical Writing (4)
Practice in writing about art (both one’s own and others)
accompanied by analysis of selected contemporary critical
281. Curatorial Practice (4)
Methodological investigation of and training in the prac-
tices of art museums, galleries, film and digital environ-
ments, public arts organizations, and the like. Instruction
by museum and gallery curators and opportunities for
participation in ongoing programs at local art institutions.
282. Special Projects in Art Practice (4)
Advanced workshop in specialized areas of art practice
(e.g., Sound and Lighting, Editing).
295. Individual Studies for Graduate Students (1–12)
Individual research with the student’s individual faculty
advisor in preparation for their comprehensive exhibitions
for the M.F.A. degree or qualifying exam for the Ph.D. These
units are intended to be with the chair of the student’s
review committee. For the M.F.A. degree, these units can
only be taken after completing the First Year Review.
(Required, M.F.A., Ph.D.)
298. Directed Group Study (1–12)
Directed group study on specific topics not covered at
present in the normal curriculum. Used as an experimen-
tal testing of courses that may be given regular course
numbers if proved successful. Special arrangement with
faculty member. Prerequisite: consent of department.
299. Graduate Research (1–4)
Graduate-level research under the direct guidance of a
faculty member. Prerequisite: consent of instructor.
500. Apprentice Teaching (1–4)
Apprentice teaching in undergraduate courses given by the
Department of Visual Arts. Graduate students are required
to teach a minimum of one quarter (four units) within the
department to fulfill degree requirements.
501. Apprentice Teaching in Culture,
Art, and Technology (CAT) (4)
Consideration and development of pedagogical methods
appropriate to undergraduate teaching in the interdis-
ciplinary Sixth College Core Sequence, Culture, Art and
Technology. Supervised by the Core Program faculty, direc-
tor and associate directors for the Writing and Thematic
Programs. Prerequisites: graduate student and consent
2010-2011 UC SAN DIEGO GENERAL CATALOG • VISUAL ARTS 15