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51 - 60 of 208 results for: ARTHIST

ARTHIST 191: African American Art (AFRICAAM 191B, CSRE 191)

This course explores major art and political movements, such as the Harlem Renaissance, the Black Arts Movement, and #BlackLivesMatter, that have informed and were inspired by African American artists. Students will read pivotal texts written by Black artists, historians, philosophers and activists; consider how artists have contended with issues of identity, race, gender, and sexuality; and learn about galleries, collections, and organizations founded to support the field. Attendance on the first day of class is a requirement for enrollment.
Last offered: Spring 2021 | UG Reqs: WAY-A-II, WAY-ED

ARTHIST 194: U.S. Latinx Art (CHILATST 195, CSRE 195)

This course surveys art made by Latinas/os/xs who have lived and worked in the United States since the 1700s, including Chicanos, Nuyoricans, and other Black, Brown, and Indigenous artists. While exploring the diversity of Latinx art, students will consider artists' relationships to identity, race, ethnicity, gender, and sexuality. Students will also study how artists have responded to and challenged discrimination, institutional exclusion, and national debates through their work. Attendance on the first day of class is a requirement for enrollment.
Last offered: Winter 2021 | UG Reqs: WAY-A-II, WAY-ED

ARTHIST 202: Inherent Vice (ARTHIST 402)

Taught jointly by an art historian and a senior conservator, this research seminar focuses on selected objects (mostly) of modern and contemporary art many in Stanford collections -- that pose significant condition and/or conservation challenges for long term maintenance and display. Together we will examine the objects in the conservation lab and/or the gallery; students will then confer with appropriate museum staff, consult relevant curatorial and conservation files, research and debate potential treatments, and write up reports of their findings. Issues of aesthetics, ethics and other problems bearing on the material longevity of art will be explored together in class discussions as a foundation for thinking about the preservation and exhibition of works of art.
Last offered: Winter 2019

ARTHIST 203: Artists, Athletes, Courtesans and Crooks (CLASSICS 163)

The seminar examines a range of topics devoted to the makers of Greek art and artifacts, the men and women who used them in life and the afterlife, and the miscreants - from Lord Elgin to contemporary tomb-looters and dealers - whose deeds have damaged, deracinated and desecrated temples, sculptures and grave goods. Readings include ancient texts in translation, books and articles by classicists and art historians, legal texts and lively page-turners. Students will discuss weekly readings, give brief slide lectures and a final presentation on a topic of their choice, which need not be confined to the ancient Mediterranean.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Maxmin, J. (PI)

ARTHIST 203A: Philosophies Behind Architecture: The Work of Antoni Gaudí as a Response to Modernity. (ILAC 203)

The emergence of modern and contemporary Architecture in the West is intimately linked to the background culture that spread across the intellectual centers of Europe and the US between early nineteenth century and the Second World War. Catalan architect Antoni Gaudí (1852-1926) is a major representative of a style of architecture that asks and answers the questions posed by modernity and industrialization with an attitude of resistance. The purpose of this course is to pair these two perspectives: first, an exploration of the history of the most influential movements in Architecture and Interior Design since 1850 and the philosophies and historical events that explain their impact. Second, an elucidation of the originality and relevance of Antoni Gaudí in light of this international context. The course will combine texts by Marx, Smith, Nietzsche, Benjamin, Emerson, Walt Whitman, or Nelson Goodman with those of Cerdà, William Morris, or Adolf Loos, so as to shed light on the most repr more »
The emergence of modern and contemporary Architecture in the West is intimately linked to the background culture that spread across the intellectual centers of Europe and the US between early nineteenth century and the Second World War. Catalan architect Antoni Gaudí (1852-1926) is a major representative of a style of architecture that asks and answers the questions posed by modernity and industrialization with an attitude of resistance. The purpose of this course is to pair these two perspectives: first, an exploration of the history of the most influential movements in Architecture and Interior Design since 1850 and the philosophies and historical events that explain their impact. Second, an elucidation of the originality and relevance of Antoni Gaudí in light of this international context. The course will combine texts by Marx, Smith, Nietzsche, Benjamin, Emerson, Walt Whitman, or Nelson Goodman with those of Cerdà, William Morris, or Adolf Loos, so as to shed light on the most representative buildings and interiors of the period: from the 1851 Crystal Palace of London to the state of La Sagrada Família in 1926, the year Gaudí died. The poles of this history will be represented by industrialization on one side, and autographic craftsmanship on the other. In particular, we will disentangle the tension between creativity and uniformization and their influence in the building of an entire artistic sensibility and culture, in architecture as in politics.
Last offered: Spring 2020

ARTHIST 205: Enchanted Images: Medieval Art and Its Sonic Dimension (ARTHIST 405, CLASSICS 113, CLASSICS 313, MUSIC 205, MUSIC 405)

Explores the relationship between chant and images in medieval art. Examples are sourced from both Byzantium and the Latin West including the Holy Sepulchre in Jerusalem, Hagia Sophia in Constantinople, Ste. Foy at Conques, and Santiago de Compostela. We will explore how music sharpens the perception of the spatial, visual programs and liturgical objects.
Terms: Aut | Units: 5

ARTHIST 206: The Alchemy of Art: Substance and Transformation in Artistic Practice (ARTHIST 406)

This seminar considers materiality and processes of material transformation as core elements of artistic practice and the history of making, largely from Sumer (3rd Millennium BCE) until the Early Modern period (18th Century in the West), but with several modern comparisons. Major points of focus will include pre-modern perceptions of the elemental properties of materials as matter, the reflexive relationship between materials and imagination, and the diverse ways in which societies have associated specific substances with social and cultural values. Humanistic perspectives on such issues are augmented by complementary insights from the physical sciences, and references are made to current ideas regarding material agency, affordances, and the imperfect separability of nature and culture. Indeed, a central question underlying all the readings is how to distinguish natural from synthetic: where does nature end and art begin, or maybe where does nature stop?
Last offered: Winter 2021

ARTHIST 206A: Persian Poetry: Text, Space, and Image (ARTHIST 406A, COMPLIT 126, COMPLIT 226)

This course traces the nexus of word and image across a millennium of Persian poetry. Our aim is to look at how texts have been represented through images and enacted in public performances, from the tenth century to the present. Topics will range from high to popular culture and include the visual representation of narrative in illuminated manuscripts, the function of calligraphy on sacred and profane buildings, the performance of poetry in mediaeval courts, the use of images in dramatic tellings of the national epic (Sh'hn'ma), and the practice of divination by books (f'l). What kinds of space are created in these different instances of text and image coming together? What does it mean for our understanding - and experience - of history if verses from the 13th or 14th century are inscribed on the interior of taxi cabs that navigate through the contemporary Iranian city? And how does an ancient text come alive in a performance that seeks to recreate the space of its origin? These are some of the questions that will be explored through an examination of primary sources (both texts and images) as well as theoretical analyses.
Terms: Spr | Units: 3-5

ARTHIST 207: The Resurrected Body: Animacy in Medieval Art (ARTHIST 407)

This course explores the relationship of spirit and matter in medieval art and architecture, more specifically how the changing appearance of objects and spaces evokes the presence of the metaphysical as glitter, reverberation, and shadow. We will engage objects and monuments across the Mediterranean, studying the way they were staged in order to produce the perception of liveliness. The phenomenology of liveliness will be tied to the development of the theology of resurrection of the body.
Last offered: Autumn 2019

ARTHIST 207A: Bodies that Remain: Art and Death in the Middle Ages

This seminar investigates medieval attitudes towards dead bodies through the material culture of death, from the cult of relics, to tomb sculpture, to monumental architecture. The place of death in Jewish, Christian, and Muslim communities in medieval Europe will be analyzed by putting these works of art in conversation with texts dealing with death as both biological event and powerful symbol.
Last offered: Spring 2021 | UG Reqs: WAY-A-II
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