Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please consult individual instructor. Detailed descriptions of current and future offerings in this series available on arthistory.berkeley.edu. Course may be repeated for credit when topic changes. Final exam not required.

*This course will not meet for discussion section. The course surveys critical controversies surrounding fakes, forgeries, multiples, counterfeits, imitations, and appropriations from the Late Renaissance to the present day, in European, American, Australian and Chinese art. Each of the images and objects we will examine sparked extensive debate in art history, philosophy, anthropology, social theory or legal studies, around which we will build our own discussions. Through a series of historical case studies, we will track how copies are excised—and sometimes reinstated—into the status of art, and delve into the impact of the copy on the rhetorics of authorship, genius, individuality, expertise and technology. We will be reading theoretical texts on copies in various historical and cultural contexts, with an eye towards learning the various disciplinary methods that have been taken up to define and evaluate them. Two writing assignments and a final research paper are designed to develop our awareness to the rhetorics of visual and material analysis, and of historical narratives of invention, imitation and appropriation. This course fulfills the following Major requirements: Geographical area (E) and Chronological period (III).

Repeat Rules

Requirements class fulfills