101 - 110 of 239 results for: ARTHIST

This seminar provides an opportunity to explore not only the familiar though endlessly fascinating episodes of Duchamp's career (Nude Descending a Staircase; the readymade; the Large Glass; the Boite-en-valise; the persona of Rrose Sélavy, his films and exhibition designs, for example), but also works such as Etant Donnés, which has received renewed attention in what is now an extensive recent literature on this work and on Duchamp more generally that will provide a platform for drawing connections with issues, media, critical literatures and artists of students' own choosing.

This seminar examines exhibitions of art made by Latinas/es/os/xs in the United States, including Chicanos, Nuyoricans, and other Black, Brown, and Indigenous artists. While exploring exhibitions, students will consider curators' and artists' relationships to identity, race, ethnicity, gender, and sexuality. Students will also study how practitioners have responded to and challenged discrimination, institutional exclusion, and national debates through their work. The course will include guest curator talks and will result in final projects that comprise either research papers that critically look at exhibitions or proposals for exhibitions of Latinx art.

More than a decade ago, in the aftermath of the Arab Spring, the city of Cairo became a theater of social and political upheaval. In Istanbul, the Gezi protests in spring and summer 2013 drew attention to public space and how it is affected by the construction of major government projects. This seminar introduces students to the architectural and urban history of Istanbul and Cairo, with the perspective of current urban transformations as a central point of reference. As one of the major political, cultural, and economic centers of the Islamic world, Cairo has long played a central role in the urban imaginary of the region. Istanbul, has become a global city that connects Europe and the Middle East. Readings will focus on the lack of integration of the historical center with the more recent development of suburban residences, the segregation of the urban landscapes, migration, climate change, and will examine the reactions of architects, writers, filmmakers and street artists.

This seminar explores the history of print and protest. From books to newspapers to posters, printed materials have generated and circulated political and social messages for centuries. The seminar takes a transhistorical and transnational approach to the history of print to consider its role in shaping public consciousness and producing social change from the fifteenth century to today. Attending to both medium and message, this course will address printing techniques and examine the graphic works of artists such as Francisco Goya, Käthe Kollwitz, Ester Hernandez, and Ebony Patterson in various collections on Stanford's campus. Seminar participants will also contribute to a course-related exhibition at the Cantor Arts Center where they will assist in various aspects of exhibition organization, such as selecting artworks and writing wall labels. This is a unique opportunity to combine the classroom study of art history with hands-on curatorial experience.

Andy Warhol's art has never before been more widely exhibited, published, or licensed for commercial use, product design, and publication than it is today. For all Warhol's promiscuous visibility and global cachet at the current moment, there is much we have yet to learn about his work and the conditions of its making. This course considers the wide world of Warhol's art and life, including his commercial work of the 1950s, Pop art and films of the 1960s, and celebrity portraiture of the 1970s and 80s. Of particular interest throughout will be Warhol's photography as it reflects his interest in wealth and celebrity on the one hand and on the everyday life of everyday people on the other.

This course explores central topics in aesthetics where aesthetics is understood both in the narrow sense of the philosophy of art and aesthetic judgment, and in a broader sense as it relates to questions of perception, sensation, and various modes of embodied experience. We will engage with both classical and contemporary works in aesthetic theory, while special emphasis will be placed on phenomenological approaches to art and aesthetic experience across a range of media and/or mediums (including painting, sculpture, film, and digital media). PhD students in the Art History program may take the class to fulfill degree requirements in Modern/Contemporary Art or Film & Media Studies, depending on the topic of their seminar paper.

Digital imaging has largely replaced darkroom work over the past quarter century, yet analog practices still dominate theories of photography. Working closely with the Capital Group Foundation Collection at the Cantor, this class will explore how those theories relate to vintage photographic prints and whether they are still relevant to the photography being produced today. Students will select one photographer within the Collection and create a set of writings that help contemporary viewers see these mid-century American artists through diverse contemporary perspectives.

Tigers roaring, fish frolicking, gibbons swinging; magnolia whispers, cherry blossoms, willow sways. Pictures of flora and fauna in East Asian visual culture capture some of the most vivid and touching moments in world art history. What does art have to say about the environment and ecology? This course delves into the animated, aromatic, and arresting, yet also the political, polemical, and plural aspects of living creatures depicted on a range of objects in East Asia. Personal, political, gender, and cultural identities are negotiated through the depictions of a nexus of flora and fauna. The class motivates students to think about how art tells stories about our human relationships with the environment, in both historical and contemporary times. Objects to be studied include paintings, prints, ceramics, screens, sculptures, and jades. Through museum visits, lectures, discussions, and hands-on projects, the class will offer a diverse experience of the natural world as perceived through art and aesthetics in China, Japan, and Korea.

This course focuses on Middle Byzantine notation (12th-14th c) as it appears in two genres of Byzantine liturgical poetry: mainly in stichera and heirmoi. Stichera are monostrophic hymns, some are idiomela, having their own melodies and others are prosomoia following standard memlodies contrafacta. Heirmoi are model melodies for singing the strophes (troparia) of the Kanones that are polystrophic hymns. Stichera and heirmoi will be systematically taught in the rhythmic interpretation discovered by Ioannis Arvanitis. This interpretation will be applied for the transcription in staff notation or for direct singing from the manuscripts, again focusing on heirmoi and stichera. We will also study some melismatic chants. Many of the music examples will be from the chants for Lent, Easter and Pentecost. The course will feature as a guest speaker Dr. Ioannis Arvanitis, Associate Professor of the Music of the Orthodox Eastern Church at the Department of Music Studies of the Ionian University (Corfu).