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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 Two Princesses of Hollywood | Timeline

This timeline provides a sociohistorical context for Joe Shere, 1957, and Photograph of Sophia Loren and Jayne Mansfield.

 

Posted by Deyana Dye on

Mock up | Timeline

This timeline focuses on . . . . .

Posted by Doug Page on

They're Aristocrats | Timeline

This timeline provides a sociohistorical context for Diane Arbus's 1962 Two female impersonators backstage, N.Y.C.. 1962.

Arbus, Diane. Two Female Impersonators Backstage, N.Y.C.. 1962. http://www.artnet.com/artists/diane-arbus/two-female-impersonators-back….

Posted by Kathryn Maille on

Those Are Pearls That Were His Eyes | Timeline

This timeline provides a sociohistorical context for Ithell Colquhoun's 1939 Gouffres Amers.

Posted by Travis Saylor on

A Woman Empowered | Timeline

 This timeline provides a sociohistorical context for Edward Hopper’s 1961 A Woman in the Sun.

 

 

In relation to the sociopolitical movements of the 1960’s, A Woman in the Sun, shows the female freedom that women were just beginning to experience with the legalization of the pill for married women…

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Posted by Allison Schroeder on

The Last of Marilyn Monroe | Timeline

This timeline provides a sociohistorical context for Bert Stern's 1962 Marilyn Crucifix II.

Posted by Hannah Kovash on

The Most Photographed Woman | Timeline

This timeline provides a sociohistorical context for Man Ray's 1929 Suzy Solidor. 

 

Posted by Caroline Hummer on

Life Comes At You Fast | Timeline

This timeline gives sociohistorical context for the painting "Memories of Olive", where Alberto Vargas in 1920 is the name of the artist, year of the art pieces creation, and name of the art piece. 

Posted by Chris Jarosz on

Familiar Influences | Timeline

This timeline provides a sociohistorical context for Tom Wesselmann's 1961 Great American Nude #21.

“Great American Nude # 21 by Tom Wesselmann.” Artvee, https://artvee.com/dl/great-american-nude-21

 

Posted by Zane Clouser on

Real Nudes | Timeline

This timeline provides a sociohistorical context for Philip Pearlstein's 1949 Two Nudes on a Beach.

Posted by Hollie Keller on

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