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In 2015 Stanford's Cantor Arts Center acquired New York Corner (1913), an early painting by the celebrated American artist Edward Hopper (1882-1967). In honor of the acquisition, this seminar will explore Hopper's paintings in detail but with a twist. In each class meeting we will pair Hopper's paintings with the work of another artist or, in some cases, a filmmaker or novelist. The work of these other figures, all notable in their own right, will be given equal if not greater emphasis in each seminar meeting. In classroom discussion, our goal will be to build a rich description of Hopper's art and to understand something of the times when he painted (especially the late 1920s through the late 1950s). If you have wanted to learn how to look closely at a work of art, and how to interpret film and literature with equal depth doing so in intensive conversation with the professor and your peers this is the class for you. Some of the questions we will address: What is an artist?; What is an artist's career?; What does it mean for an artist (or anyone) to develop a lifelong vision of American culture, of American places, of American life?; What is a place (as opposed to a space)?; Is making a painting (or speaking or writing about a painting) a meaningful act in the world?; What does it mean (for Hopper, for any of us) to emerge out of a coherent tradition?; What is high art?; What is popular art?; What are the strengths and limitations of each?

How have artworks and artifacts shaped life and culture in the United States? This course considers a variety of objects, from canonical eighteenth-century paintings to decorative art, children's books, outsider art, and other creative expressions often overlooked in traditional surveys. How do art historians come to know such objects and, importantly, the past with them? How might we understand the historical implications of visual and material culture and share them in our writing? Close and creative looking, methodologies from art history and material culture studies, and an engagement with the wider visual, material, and literary worlds of these years will help us explore these and other questions. A final paper produced in stages throughout the term will afford students an opportunity to produce a six-page art historical essay of their own on an artwork or artifact of their choosing, preferably in a local collection. What might these objects and their study reveal to us about our history, present, and future?

CPT course required for international students completing degree.

Professional experience in a field related to the Visual Arts for six to ten weeks. Internships may include work for galleries, museums, art centers, and art publications. Students arrange the internship, provide a confirmation letter from the hosting institution, and must receive consent from the faculty coordinator to enroll in units. To supplement the internship students maintain a journal and write a research paper related to the experience and their area of academic interest. Evaluations from the student and the supervisor are submitted at the end of the internship. Restricted to declared majors and minors. May be repeated for credit.

For Art History Ph.D. candidates. Prerequisite: consent of instructor.