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COURSE DESCRIPTION Our world bombards us with images, and we contribute to that barrage each time we post a picture. This class will engage you in vital discussions about those images as well as those that came before us and continue to shape what we see and create today. At its core, this class will be driven by our discussion of visual presentations that use “sex” to “sell” us a story; that story might be about what family is or should be, about what political activism looks like, about how a society thinks about love, beauty, hate, even its future hopes or its present fears. To spur those discussions, we’ll offer you a rich, diverse historical background in visual representations that reflect how Western society, from the mid-19th-century to today, has viewed itself through the lens of sexuality, which always intersects with race, gender, gender identity, and class. For example, the terms “feminist” and “homosexual” were invented by the Victorians and reflect profound shifts in conceptions of identity. Another 19th-century invention was the idea of the literary and artistic “avant-garde” as a minority contingent with politically and/or aesthetically advanced views. These ideas of minority culture were deeply enmeshed with one another and still have effects on our world today. Discussions of these ideas then, hopefully, can help us all navigate the flood of images that today’s media presents as well as the self-images we cast into the world.

Because of this course’s interdisciplinary exploration of the relationship of art to the history of modern ideas of sexuality and gender—a study that engages us with complex social and ethical issues relevant to our current lives—it offers you the opportunity to heighten your critical, analytical, and integrative thinking skills in a space where all issues will be considered in thoughtful, mutually respectful ways. The assignments for the class will exercise those skills, asking you to communicate effectively, not only through writing, but also through speaking and incorporating visual materials into projects effectively.

One bonus of this course is that it can be "attached" to a one-week trip to London. This trip will occur late-May 2022 and appears as English 299 (Foreign Studies, subtitled "London Calling: Ordering the World") on the class schedule. If you are interested in this course and have not yet applied, you NEED TO talk to us during the FIRST WEEK OF CLASSES. 

Timelines, Galleries, and Maps


(The Work of Imogen) Cunningham, Cameras, and Commies | Timeline

This timeline provides a sociohistorical context for Imogen Cunningham's 1939 photograph of Jane Foster.

 

In this photograph, Jane Foster is floating in Lake Tenaya, and Cunningham appears only as a shadow. Oooh.

Cunningham, Imogen. Self Portrait with Jane Foster, Lake Tenaya. 1939. https://www.imogencunningham.com/artworks/categories/…

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Posted by Rusty Shackleford on

A Journey | Timeline

This timeline provides a Sociohistorical context for Dorothea Tanning's 1942 Birthday.

Posted by Rachael Rhoades on

The Recognition of Youth and Old Age | Timeline

This timeline provides a scosiohistorical context for Judy Dater's 1974 Immogen and Twinka at Yosemite.  

Posted by Emera Page on

La Vida De Frida | Timeline

This timeline provides a sociohistorical context for Frida Kahlo's 1944 The Broken Column.

Posted by Nia Hubbard on

The Power in a Picture | Timeline

The following timeline will provide a sociohistorical context for Richard Avedon, a professional renowned photographer, who photographed Andy Warhol and Members of the Factory on October 30, 1969. 

Posted by Madelyne Keenan on

East 100th Street | Timeline

This timeline provides a sociohistorical context for Bruce Davidson's collection of Photographs, East 100th Street, taken in Harlem, New York from 1966-68.

Posted by mara eberhardt on

A Nude Christmas | Timeline

This timeline provides a sociohistorical context for Bunny Yeager's 1955 Photograph of Bettie Page

Posted by Julia Aumiller on

Dare to Stare | Timeline

This timeline provides a sociohistorical context for George Platt Lynes' of 1942 Group of 3 Photographs of Yul Brynner.

Posted by Savanna Kelly on

Photography as a Fine Art | Timeline

This timeline creates a sociohistorical context for Alfred Stieglitz's 1919 Georgia O'Keefe: Hands and Breasts

Posted by Alexandria Kellogg on

The Real Charlie Brown's Pub | Timeline

Docent Project of At Charlie Brown's Pub, Limehouse, 1945 By Bill Brandt.

 

Posted by Aidan Pellegrino on

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