131 - 140 of 239 results for: ARTHIST

This seminar explores the sonic and visual aesthetics of punk rock since the 1970s. While studying music, videos, zines, and album covers, students will examine the convergence of art with politics among artists, such as Lydia Lunch and Vaginal Davis, and bands, including Crass and Los Illegals, as well as punk subgenres, like No Wave, Riot Grrrl, and Queercore. Likewise, students will consider how issues of identity, race, gender and sexuality informed artists and their work.

This course, Writing the Visual: The Art of Art Writing, will explore the relationship between writing and visual art, which has been theorized as everything from an act of translation and interpretation to one of collaboration or competition. Oscar Wilde even suggested that, "criticism is itself an art." Students will study these varied approaches to art writing and put them into practice by responding to artworks seen in person around the Bay Area, with the goal of publishing a print journal of student writing at the end of the quarter. Through direct engagement with these writerly modes, students will also develop a personal stance on writing about art, championing one form of art writing in a scholarly essay.This year's topic: What is Contemporary Art? Focus on the production, criticism, and curating of contemporary art. Through a series of required readings, intensive class discussions, class trips, and first-hand encounters with art objects and exhibitions, we will investigate current understandings of contemporary art. We will also consider the history of contemporary art by looking at how art of the past was understood in its own moment, when it was new and now.

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. Evaluations from the student and the supervisor, together with the journal, are submitted at the end of the internship. Restricted to declared majors and minors. May be repeated for credit.

Historiography and methodology. Through a series of case studies, this course introduces a range of influential critical perspectives in art history as a discipline and a practice. The goal is to stimulate thinking about what it means to explore the history of art today, to expose and examine our assumptions, expectations and predilections as we undertake to learn and write about works of art, their meanings and their status in the world.

May be repeated for credit.

Prerequisite: student must have taken a course with the instructor and/or completed relevant introductory course(s). Instructor consent and completion of the Independent Study Form are required prior to enrollment. All necessary forms and payment are required by the end of Week 2 of each quarter. Please contact the Undergraduate Coordinator in McMurtry 108 for more information. May be repeated for credit.

Many of the basic commodities that we consider staples of everyday life became part of an increasingly interconnected world of trade, goods, and consumption between 1200 and 1800. This seminar offers an introduction to the material culture of the late medieval and early modern world, with an emphasis on the role of European trade and empires in these developments. We will examine recent work on the circulation, use, and consumption of things, starting with the age of the medieval merchant, and followed by the era of the Columbian exchange in the Americas that was also the world of the Renaissance collector, the Ottoman patron, and the Ming connoisseur. This seminar will explore the material horizons of an increasingly interconnected world, with the rise of the Dutch East India Company and other trading societies, and the emergence of the Atlantic economy. It concludes by exploring classic debates about the "birth" of consumer society in the eighteenth century. How did the meaning of things and people's relationships to them change over these centuries? What can we learn about the past by studying things? This course requires a permission number to enroll. Please reach out to Professor Findlen at pfindlen@stanford.edu to request permission to enroll in the course.

This course explores the art and architecture of the Eastern Mediterranean: Constantinople, Jerusalem, Alexandria, Antioch, Damascus, Thessaloniki, and Palermo, 4th-15th centuries. Applying an innovative approach, we will probe questions of phenomenology and aesthetics, focusing our discussion on the performance and appearance of spaces and objects in the changing diurnal light, in the glitter of mosaics and in the mirror reflection and translucency of marble.

Performance theory through topics including: affect/trauma, embodiment, empathy, theatricality/performativity, specularity/visibility, liveness/disappearance, belonging/abjection, and utopias and dystopias. Readings from Schechner, Phelan, Austin, Butler, Conquergood, Roach, Schneider, Silverman, Caruth, Fanon, Moten, Anzaldúa, Agamben, Freud, and Lacan. May be repeated for credit.