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1 - 10 of 209 results for: ARTHIST

ARTHIST 1A: Introduction to the Visual Arts: Prehistoric through Medieval (CLASSICS 56)

A survey of the art and architecture from the cave paintings of Lascaux to the Gothic Cathedrals of France; the material is organized both chronologically and thematically and covers a multiplicity of religions: pagan, Christian, and Islamic.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

ARTHIST 1B: Introduction to the Visual Arts: History of Western Art from the Renaissance to the Present

This course surveys the history of Western painting from the start of the 14th century to the late 20th century and our own moment. Lectures introduce important artists (Giotto, Rembrandt, Velazquez, Goya, Manet, Matisse, Pollock, and others), and major themes associated with the art of particular periods and cultures. The course emphasizes training students to look closely at - and to write about - works of art.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

ARTHIST 2: Asian Arts and Cultures (JAPANGEN 60)

An introduction to major monuments, themes, styles, and media of East and South Asian visual arts, in their social, literary, religious, and political contexts. Through close study of primary monuments of architectural, pictorial, and sculptural arts and related texts, this course will explore ritual and mortuary arts; Buddhist arts across Asia; narrative and landscape images; and courtly, urban, monastic, and studio environments for art from Bronze Age to modern eras.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II | Grading: Letter or Credit/No Credit

ARTHIST 3: Introduction to World Architecture (CLASSICS 54)

This lecture course surveys the history of architecture and urbanism, from the first societies to the present, in Europe, West and East Asia, the Americas, and Africa. The course progresses by case studies of exemplary monuments and cities, and examines the built environment as both cultural artifact and architectural event. It considers the social and political circumstances of architectural invention as well as plumbing the depth of artistic context by which particular formal choices resonate with an established representational culture.
Terms: Spr | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

ARTHIST 10SC: Photography: Truth or Fiction or...

"All photographs are accurate. None is the truth." Richard Avedon (1923-2004)nThe invention of photography inspired the belief that there could be a truthful and objective way to visually record the world. From portraits to travel photographs to documentary, photography has influenced how modern history is understood and remembered. Yet, a photograph is a manipulated image, shaped by the perspective of the photographer and further framed by its printing, presentation, and interpretation. The complex ethical and political issues associated with photography significantly impact how events and moments are recorded by history. Consider, for example, the US government's 18-year ban (ended in 2009) on photographing the flag-draped coffins of America's war dead as their bodies are returned to the United States. What matters most: protecting the privacy of military families or protecting American citizens from the death toll of war?nnOver the past decade, the number of photographers has increased exponentially, further blurring the boundary between what is truth and what is fiction. Even the concept of "gatekeepers" is obsolete: anyone with a smartphone is armed with a camera and can create their own stories, their own records, and their own truths. Further, the Internet grants nearly universal freedom to document and disseminate images that record, incriminate, illuminate, persuade, enrage, and glorify. In this course, we will examine the ethical parameters of photography and the many ways in which photography contributes to presenting powerful truths, creating compelling fictions, and recontextualizing history.nnThe course will feature opportunities to work with photographs in the Cantor's collection and to explore the many photographic communities of the Bay Area including extensive field trips to museums, galleries, artists studios, private collections, photo studios, and more. Our discussions will also be informed by course readings. In addition, special sessions covering photographic techniques will familiarize students with the diversity of the medium and hands on experience to create work, if interested. No prior experience required. Sophomore College Course: Application required, due noon, April 5, 2016. Apply at http://soco.stanford.edu
Terms: Sum | Units: 2 | Grading: Letter or Credit/No Credit

ARTHIST 80N: The Portrait: Identities in Question

Most of us hold libraries of hundreds or thousands of ¿portraits¿ ¿ more or less instantly available posed images of ourselves and others. For most of human history, before the development of portable and digital cameras, portraiture was a much rarer and more deliberate social act and cultural practice, involving special materials and techniques, encounters with expert portraitists or photographers, and established settings for display. What almost all portraits, of whatever time or cultural place, have in common are presentations of social identities, roles, or persona, as well as a potential fascination and power that may be based in our neurological capacities for facial recognition and ¿mind-reading¿ through facial expressions. n This introductory seminar will explore many aspects of this basically simple category of thing ¿ images of particular persons. Our point of departure will be from the history of art, focusing on portrait sculptures, paintings, and photographs from many eras and cultures, some of which are among the most studied and discussed of all artistic monuments. We will consider techniques and approaches of portrait making, including the conventions that underlie seemingly realistic portraits, posing, the portrait situation, and portrait genres. Our primary focus will be on the multiple purposes of portraiture, from commemoration, political glorification, and self-fashioning to making claims of social status, cultural role, and personal identity. We will also discuss the changing status of portraiture under modern states of social dislocation, technological change, and psychoanalytic interrogation, and in postmodern conditions of multi-mediated realities and distributed subjectivities. Along the way, we will see that our understandings of portraiture benefits from the approaches and insights of many fields ¿ political and social history, anthropology, neuroscience, and literary studies among others.
Terms: not given this year | Units: 3 | Grading: Letter (ABCD/NP)

ARTHIST 90: Indigenous Cultural Heritage: Protection, Practice, Repatriation (ARTHIST 490A)

This new interdisciplinary seminar explores challenges and avenues for furthering protection of the cultural heritage rights enshrined in the UN Declaration on the Rights of Indigenous Peoples (UNDRIP). Using an innovative combination of in-class lectures and videos of interviews with renowned experts, including Indigenous leaders, scholars, artists and performers and museum professionals from around the world, this seminar will analyze current and potential tribal, domestic and international legal and ethical frameworks for indigenous cultural heritage protection and repatriation. Among other subjects, we will discuss and problematize: the impact of colonialism, urbanization and other political, legal, economic, religious and cultural forces on understandings and definitions of "indigenous" and "cultural heritage"; the development of international law relating to Indigenous peoples¿ cultural rights; tribal and domestic heritage protection and repatriation laws/initiatives including the 1990 US Indian Arts and Crafts Act and Native American Graves Protection and Repatriation Act; past and present Western museum practices relating to display, preservation, provenance research and repatriation of Indigenous peoples' cultural material; the meaning of repatriation to Indigenous peoples and other stakeholders; and resolving repatriation disputes, including by alternative dispute resolution (ADR) processes. While case studies will relate primarily to Indigenous peoples of North America, including the Arizona Hopi and Northwest Coast First Nations, comparisons will be drawn with the situation of Indigenous peoples in other regions, such as Oceania and Russia. The overall seminar experience will involve discussions of lectures and video content, assigned readings, a class visit to the Cantor Center Native Americas collection, and visits to our classroom by renowned experts, including Dr. Morten Rasmussen, who participated in the recent DNA analysis of Kennewick Man/The Ancient One. Students who have taken this course are eligible to join a guided weekend trip to Hopi territory tentatively planned for Spring Quarter 2016. Elements used in grading: class participation, attendance and a final project (one-day take-home exam; or research paper or film project with instructor's consent). Registration: Students may seek the instructor's consent via email (sjdenant@stanford.edu).
Terms: Aut | Units: 2 | UG Reqs: WAY-ED | Grading: Letter or Credit/No Credit
Instructors: Jessiman, S. (PI)

ARTHIST 99A: Student Guides at the Cantor Center for the Visual Arts

This course prepares students to lead interactive public tours in the galleries of the Cantor Arts Center. Engaging directly with works of art, students will develop their personal responses to art, think critically about tour-leading methods, develop public speaking and research skills, and practice leading informative and engaging group discussions in the galleries. Guest presentations by museum staff will introduce students to a range of professional practices and standards in the art museum including curatorship, art conservation, and collections management.
Terms: Win | Units: 2 | Grading: Letter or Credit/No Credit

ARTHIST 100N: The Artist in Ancient Greek Society (CLASSICS 18N)

Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. n nWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?n nPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and painted them were excluded.n nSculptors were less lowly but even those who carved the Parthenon were still regarded as "mechanics," with soft bodies and soft minds (Xenophon) "indifferent to higher things" (Plutarch).n nThe seminar addresses these issues. Students will read and discuss texts, write response papers and present slide lectures and gallery talks on aspects of the artist's profession.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Maxmin, J. (PI)

ARTHIST 101: Introduction to Greek Art I: The Archaic Period (CLASSICS 161)

In the decades 480-460, just before work began on the Parthenon, the sculptor Myron, creator of the Discus-Thrower, was even more celebrated for his bronze cow. Ancient authors describe an image so palpably alive that shepherds threw stones at her, thinking that she had strayed from the herd, and bulls vied for her attention. A century later, the quest for mimesis prompted a contest between two artists. Zeuxis painted a bunch of grapes seductive enough to attract hungry birds; Parrhasios then added a linen curtain, which Zeuxis asked to be removed from his painting. Zeuxis conceded defeat since he had fooled only birds, whereas Parrhasios had deceived an artist. nnThis course explores the art and culture of the ancestors of these men. The Greeks of the archaic period (1000-480) would have understood the painters¿ competitive zeal, but only toward the end of the period would they have recognized naturalism as an artistic aim. nnEarlier Greek art is more abstract than life-like, closer to Calder than Michelangelo. In the eighth century Homer¿s descriptions of the rippling muscles (and egos) of his heroes, and the grief of Achilles¿ horses, evoke living men and sentient animals, but his fellow sculptors and painters prefer abstraction.nnThis changes in the seventh century as a result of commercial contacts with the Near East and Egypt. Imported bronzes, ivories and other Near Eastern exotica alerted Greek artists to a wider range of subjects, techniques and intentions, including naturalism. Later in the century, Greek expatriates learned the art of carving hard stone from Egyptian masters and soon marble sculpture and architecture spread throughout Greece. nnIn the course of the sixth and early fifth centuries Greek artists assimilate what they had borrowed, compete with one another, obey and disobey their teachers, test the tolerance of the gods and eventually produce works of art that speak with a Greek accent. When the Persians invaded the Acropolis in 480 and 479, they encountered artifacts with little trace of alien influence or imprint and, at Salamis and Plataea, fought decisive battles in which the Greeks prevailed. In the aftermath of the war, as the Greeks rebuilt their cities and their lives, Myron¿s cow reminded them of their debts to other cultures and their resolve to remain true to their own.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Maxmin, J. (PI)
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