21 - 30 of 34 results for: ARTHIST

This seminar examines the career of Gianlorenzo Bernini (1598-1680), sculptor, architect, painter, stage designer and playwright, the premier artist of the popes. It will examine his cultural, political and religious milieu and lay particular emphasis on the theoretical relations between the arts that his oeuvre is seen to embody. In the process it will also review the genre of artistic biography, the historiography of the baroque and the myths of dynamism, theatricality, eroticism (and others) always associated with the period, and Bernini's work in particular. Limited to PhD students in Art History and Film Studies, and advanced undergraduates with permission of instructor.

This seminar focuses on themes and theories in architectural design from antiquity until the early twentieth century. Modern and contemporary architecture has often claimed its modernity through the incorporation of theory, but this seminar examines selections from key texts that have also moulded architectural and urbanistic thought in the ancient, medieval, and early modern eras in combination with analytical comparisons of built architecture.

This course focuses on the production, criticism, and curating of art. It encompasses both the study of curatorial work and the organization of an exhibition at the Cantor. Through a series of required readings, intensive class discussions, class trips, guest lectures, and first-hand encounters with art objects and exhibitions, we will investigate the history and contemporary practice of curating. Our work together will culminate in an exhibition at the Cantor organized by class members in close consultation with Cantor staff. The show will open in late fall 2015-16 and will be on view for approximately 12-15 weeks. Students are expected to enroll in both the Spring 2014-15 and Fall 2015-16 quarters. For graduate students only and with the approval of the faculty. Course will be co-taught by Richard Meyer and Connie Wolf.

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).

This course introduces grad students to a range of interpretive methods in the study of art, visual culture, and media. Required for incoming PhD students in Art History.