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81 - 90 of 234 results for: ARTHIST

ARTHIST 221E: Peripheral Dreams: The Art and Literature of Miró, Dalí, and other Surrealists in Catalonia (ILAC 281E)

Why was Salvador Dalí fascinated with the architecture of Gaudí? Why did André Breton, Paul Éluard and Federico García Lorca visit Barcelona? Moreover, why did Catalonia become such an important cradle for Surrealism? Why is the (Catalan) landscape such a relevant presence in the work of Miró and Dalí? Through a critical analysis and discussion of selected works of art and literature, this seminar focuses and follows the trajectories of Miró and Dalí, from Barcelona to Paris to New York, and explores the role of their Catalan background as a potentially essential factor in their own contributions to Surrealism and the reception of their work. The course will provide the materials and guide the student to conduct research on a specific work(s) of art, architecture, literature or cinema either by Miró, Dalí or one of his peers in relation to their cultural, social and political context. The course is intended for graduate students in Iberian and Comparative Literature, Art History, Cultural Studies, and related fields. Taught in English by Jordi Falgàs i Casanovas.
Last offered: Autumn 2017

ARTHIST 222A: Image Technologies in the 19th Century: Reproductions, Revivals, and Revolutions (ARTHIST 422A)

This course explores how new image technologies transformed culture and society in the 19th century, from the invention of lithography in the 1790s, to the development of photography in the 1830s, to the birth of cinema in the 1890s. We will consider how these and other new media and the makers who wielded them shaped art, politics, science, and entertainment in the period, with a focus on French and British contexts. The course will address themes of reproduction, originality, expression, documentation, realism, and seriality, among others, and will engage closely with the print and photography holdings of the Cantor Arts Center.
Terms: Spr | Units: 3-5

ARTHIST 224: Architecture as Performance from Antiquity to the Enlightenment (ARTHIST 424)

This seminar examines the nature of architectural representation in the western tradition, from antiquity until the 18th century. It considers the ancient theatre as an icon of representation and the afterlife of the stage building as a model for western architecture, including ephemera. It concludes a distinction between the theatrical and the more recent concept of the theatrical.
Last offered: Autumn 2019

ARTHIST 226: New Landscapes of China: Ecologies, Media, Imaginaries (ARTHIST 426)

An exploration of new forms of landscape art in China's contemporary era, 1980s-present. Studies of new media platforms for landscape related imagery, imagined landscapes, and expanded concepts of landscape in an era of heightened ecological consciousness.
Terms: Win | Units: 5
Instructors: Vinograd, R. (PI)

ARTHIST 230: Beauty

Is beauty an extravagance or a necessity? By allowing us to attend to the particular, quotidian and personal, what can beauty teach us about who we are and the kind of histories of art we choose to tell? This reading intensive seminar will draw from contemporary discourses on beauty from Asian American studies, Black studies, performance and queer theory to examine how various artists and thinkers have explored beauty's formal and ethical values. We will trace the shifting valuation, visibility and politicization of beauty and examine how its evolution has informed discourses around minoritized artists, artworks and movements in art history. This course has limited enrollment; if you are interested in enrolling, please email Marci Kwon (mskwon1@stanford.edu) for application instructions.
Terms: Spr | Units: 4-5

ARTHIST 230B: Image and Text in the Arts in China (ARTHIST 430B, CHINA 230, CHINA 430)

An examination of many types of interactions between images and texts in Chinese painting. These include poetic lines inscribed on paintings (as response or as a theme given to the artist to paint), paintings that emulate or transform ancient poetic couplets, or illustrate poetic and literary narratives, and calligraphic inscriptions. Attention will be given both to comparative perspectives and to the special aesthetic and intellectual consequences that the conjunction of the literary and visual modes give to Chinese artistic expression. [Undergraduate enrollment with consent of one of the instructors.]
Last offered: Autumn 2022 | Repeatable 4 times (up to 20 units total)

ARTHIST 231: Leonardo's World: Science, Technology, and Art (ARTHIST 431, HISTORY 231, HISTORY 331, ITALIAN 231, ITALIAN 331)

Leonardo da Vinci is emblematic of creativity and innovation. His art is iconic, his inventions legendary. His understanding of nature, the human body, and machines made him a scientist and engineer as well as an artist. His fascination with drawing buildings made him an architect, at least on paper. This class explores the historical Leonardo, considering his interests and accomplishments as a product of the society of Renaissance Italy. Why did this world produce a Leonardo? Special attention will be given to interdisciplinary connections between religion, art, science, and technology.
Last offered: Spring 2023 | UG Reqs: WAY-A-II, WAY-SI

ARTHIST 233: Censorship in American Art (ARTHIST 433, CSRE 233)

This seminar examines the art history of censorship in the United States. Paying special attention to the suppression of queer, Black, and Latinx visual and performance art, including efforts to vandalize works and defund institutions, students will explore a variety of writing such as news articles, manifestos, letters, protest signs, scholarly texts, and court proceedings. The course approaches censorship as an act to restrict freedom of expression and, however unwittingly, as a mode of provocation and publicity.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Salseda, R. (PI)

ARTHIST 238C: Art and the Market (FRENCH 238)

This course examines the relationship between art and the market, from Renaissance artisans to struggling Impressionist painters to the globalized commercial world of contemporary art and NFTs. Using examples drawn from France, this course explores the relationship between artists and patrons, the changing status of artists in society, patterns of shifting taste, and the effects of museums on making and collecting art. Students will read a mixture of historical texts about art and artists, fictional works depicting the process of artistic creation, and theoretical analyses of the politics embedded in artworks. They will examine individual artworks, as well as the market structures in which such artworks were produced and bought. The course will be taught in English, with the option of readings in French for departmental majors.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI

ARTHIST 240: Millennium Approaches: The Art of the 1990s (ARTHIST 440)

This seminar will examine the art historical legacy of the 1990s, the decade of Bill Clinton, Beavis and Butthead, and Y2K. By placing art in conversation with music, popular culture, and political events, we will explore the dark underbelly of the decade's facade of sunny optimism. Key topics will include the the end of the Cold War, multiculturalism, American interventionism, the AIDS crisis, and early internet culture. Artists covered will include Felix Gonzalez-Torres, Kim Gordon, Mike Kelly, the Young British Artists, Gregg Bordowitz, Lorna Simpson, Zoe Leonard, Byron Kim, and Glenn Ligon. What is the relationship between art, popular culture, and history? How did the 1990s help shape our current culture?
Last offered: Autumn 2019
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