Artists and designers regularly look back to the past for inspiration in their work. The popularity of vintage, second-hand stores, memorabilia, and old photographs, as well as the ever-increasing number of museums and memorials being built, all attest to our culture's obsession with "memory." This seminar will explore how the visual arts engage with memory and history, and how artists are increasingly using archives or inventing archives as part of their creative practice. Memory work, however, is also always an act of forgetting - what kinds of stories are being told and which stories are being forgotten? Archival projects can be powerful forces of subversion, or can serve as a possible portal between an unfinished past and a reopened future. What are the processes that enable archives to become animated and transformative? Conventional archives are generally viewed as places for content-specific accumulation of material, but these practices can never be strictly neutral. We will examine the cultural politics of private and public collecting and archiving. While the act of preservation is historically valuable, the potential of a collection can be much greater. Archives can function as open frameworks that allow for the creation of new historical connections and conceptual relationships. In this way, documents and testimonies can generate productive dispute and struggle. During the course of the semester, students will work in stages towards the completion of a final project that thematically relates to the content of the seminar. IMPORTANT NOTE:  This class will require a number of field trips to archival collections and exhibits in San Francisco and the East Bay. Please be prepared to travel on public transportation for these important class meetings.HAAVC 3000 seminars continue developing students' visual analysis and research skills while providing students the opportunity for in-depth study of the visual/structural artifacts associated with a particular topic, region, or movement. Students will also engage with the relevant primary/secondary literature for the specific topic/theme. Courses will pay particular attention to the larger cultural, historical, and theoretical/ideological contexts in which the visual artifacts and structures under consideration were created. This course cannot fulfill the HAAVC 2000 requirement.

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