Distance Learning 4-Credit Winter Session Course
Dec 18, 2017 – January 12, 2018
ARTH 287R (01)
Beginning with the corporation itself, in its postwar incarnation, this course examines the ways that artists and designers have intervened within the sphere of corporate culture – either by helping to shape its image through logo design and advertising – or by pushing against it as the case may be, such as Hans Haacke’s critique of Mobil sponsorship at the Museum of Modern Art. We go on to examine what we might call the “postmodern” corporation and the age of digital technologies, questioning how the subversive impulses of Paris in ’68 became folded into a new corporate culture, exemplified in the tendency of advertising to appropriate contemporary art. Or, how artists such as Damien Hirst, Takashi Murakami, and Jeff Koons turned themselves into corporations – the “branded” artist as it were – as well as the Conceptual play with that conceit in groups like Readymades Belong to Everyone. We conclude with a closer look at activist groups like the Yes Men who attempt to subvert that impulse.
Harpur W – Writing Credit
A – Aesthetic Perspective Credit
Gen Ed Credit
Instructor: Wylie Schwartz
Department of Art History
In its June 2017 issue, The Art Bulletin is publishing reviews of six online collection catalogs issued by the National Gallery of Art, Washington DC; the Seattle Art Museum; the Arthur M. Sackler and Freer Gallery of Art, Washington DC; the Art Institute of Chicago; the Tate, United Kingdom; and the Walker Art Center, Minneapolis. This is the first time the quarterly journal has devoted its reviews section to digital scholarship.
Stephen H. Whiteman’s review of the Seattle Art Museum’s Chinese Painting & Calligraphy catalog is available now in an enhanced digital version, published on the Scalar platform and developed in collaboration with Nancy Um and Lauren Cesiro. The open-access project is at http://scalar.usc.edu/works/samosci/index.
Doctoral candidate Melissa Fitzmaurice presented a paper last Friday, June 9, as part of the panel Rethinking Medieval Rome: Architecture and Urbanism at the annual meeting of the Society of Architectural Historians in Glasgow, Scotland. Melissa was awarded the Gill Family Foundation Graduate Student Annual Conference Fellowship to support her travel to Glasgow.
Fascist Medievalism: Architecture, Authority, and Dissent in Rome
The demolitions involved in the excavation of the Mausoleum of Augustus and the creation of a surrounding piazza began on October 22, 1934, and eventually led to the destruction of 27,000 square meters within the city of Rome.[i]What was selected to remain is as important as what was destroyed: Mussolini routinely called for the isolation of ancient monuments, but in the case of the Mausoleum, there were buildings that stood in the way of the ideal isolation. Three medieval churches were protected and worked into the various plans for the piazzale over 30 years. Despite this and other cases, in the study of Italian Fascism and the regime’s urban and architectural interventions in Rome, the medieval city is often overlooked- the antique world looms much larger. But the medieval offered a certain ideological utility to the regime as well, which must be examined. Using digital mapping and modeling tools, and case studies including the preservation of medieval buildings during the production of the Piazzale Augusto Imperatore and the destruction of churches during the excavation of the Via dell’Impero, this project constitutes a palimpsestuous exploration of the legacy of medieval Rome. Beyond recognizing the use, manipulation, or destruction of medieval sites, this paper seeks to highlight the enduring power of medieval architecture on the Roman landscape, identifying the possibility or actuality of production of political and ecclesiastical authority, and dissent from that authority, in order to produce a deeper understanding of the continuities and ruptures between the medieval city, the fascist city, and the present.