Visual Studies

Summer Session 2016

Summer Session 2016 information will be posted in February 2016. Continuing CCA student registration for on-campus summer courses will begin March 7; registration for nondegree students will begin on March 28.

Summer Session 2015

Intro to the Modern Arts: Online

Instructor: Jordana Saggese
online / VISST-108 / 15 sessions
Prerequisite: Intro to the Arts, Writing 1
June 1-July 10

CCA is offering an online version of Intro to the Modern Arts this summer. Students who register for the course will meet with the instructor at the end of spring semester to discuss how the online structure will work and what the course expectations will be.

This course is a survey of the arts from the early 19th century to the present time. The class examines profound transformations within modern culture: mechanized industry and transportation, mass urbanization, individual expression, political pluralism, cultural extremism, the avant garde; and their impact upon the traditional arts of painting, sculpture and architecture. Also explored are the new mechanical arts of photography, film, and video. Intended for second semester freshman students. (3 credits)

The Silk Road Then & Now, A Journey Through the Arts of Asia

Instructor: Hossein Khosrowjah
SF / VISST–300 / 15 sessions
Prerequisite: Writing 2, Intro to the Arts, Intro to the Modern Arts, Jr. standing
June 1-July 2, Mon./Tues./Thurs., 6:30-9:30 p.m.

For more than 2000 years, the Silk Road(s) carried more than commercial goods through Asia (more accurately through Eurasia): it was an instrument of globalization before the term was coined and deployed to describe the transnational flow of capital, ideologies, politics, media, and cultural practices in our own epoch of late capitalism.

This course offers an historical overview of the role that the Silk Road played in the transmission of religions, cultures, and the arts from their local origins to all other regions of the entire continent of Asia (in its expanded sense and not the modern colonial definition of just East and South Asia). The main focus, however, is on various traditional and contemporary artistic practices of each region through a close examination of exemplary cases from the eastern, southern, central, and western parts of the continent, as well as a serious consideration of their interconnectedness.

The class includes an on-site visit to the Asian Art Museum of San Francisco on Thursday evening, June 18th, to see and discuss the special exhibition, Woven Luxuries: Indian, Persian, and Turkish Textiles from the Indictor Collection. (3 credits)

This course satisfies a 300-level Visual Studies requirement or Humanities & Sciences Elective.

Revisualizing Disability

Instructor: Amanda Cachia
OAK / VISST–300 / 15 sessions
Prerequisite: Writing 2, Intro to the Arts, Intro to the Modern Arts, Jr. standing
July 27-August 14, Mon.-Thurs., 6:30-9:30 p.m.
August 1, Sat., 9 a.m.-5 p.m.

Registration Deadline: July 17
Because the instructor will be traveling from San Diego, this course has an early registration deadline. Please call 510.594.3710 to check on availability after this date.

Inscribed surface, political object, sign, flesh, boundary, matter, cultural product, artistic work -- these are some of the many ways that the disabled body has been theorized and imagined in a wide cross-section of critical scholarship and cultural production. In July 2015, the Americans with Disabilities Act (ADA) will celebrate its 25th Anniversary. In light of this historic moment, this interdisciplinary course seeks to provide a broad overview of the presence of disability and its various manifestations throughout modern day visual culture, particularly in the past 25 years, with a special emphasis on how disabled artists have offered a revision to the existing negative constructs typically associated with the disabled form.

How has and can art by both disabled and non-disabled artists resonate with the complex embodiment of disabled corporeality? Conventional art history has not typically accounted for intellectually and physically disabled subjects and their accompanying atypical bodies through the art museum and their curated exhibitions, through commercial art galleries and biennials, or the entire exhibition complex structure. A small number of patronizing and demeaning representations have appeared in art genre presentations such as ‘outsider art’ but these derogatory constructs have generally failed to be challenged by art historians, critics, curators and artists. It is important to build a new vocabulary and methodology around disability and access in challenging and stimulating ways.

This class attempt to find the language to build this framework around how disability might fit into the discourse of visual culture. We engage primarily with work that interrogates the social, political, and philosophical stakes of complex embodiment, on occasion drawn from other fields that have a history of interrogating embodiment in visual culture, such as within the discourses of race, gender, class, colonialism, and sexualities. We examine how we might trouble the ostensible normative narratives in museum and gallery spaces and consider how access might become a dynamic conceptual tool for destabilizing reductive categories. The overarching goal is to engage in dialogue that centers on the creative potential of disabled bodies to generate social transformation within visual culture at large. (3 credits)

This course satisfies a 300-level Visual Studies requirement or Humanities & Sciences Elective.

The following summer study-abroad courses also satisfy a Visual Studies requirement:

Berlin Past/ Present
Italy: Art and Contemporary Culture