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111 - 120 of 272 results for: ARTHIST

ARTHIST 224N: The Popular Culture of Abstract Art

Is abstract art inherently elitist? Or gendered? How does it differ from (mere) decoration? Is there a chasm that necessarily separates abstract and popular art? Can you think of examples in which those categories might overlap?  This course is designed to deconstruct the boundaries that tend to make abstract art seem remote and difficult to understand, while pop(ular) art typically seems fun and accessible.  How can we complicate these clichés to construct a more compelling narrative of modern art?n nSeminar participants will have many opportunities to see and study original works at Stanford's Cantor Arts Center and the Anderson Collection, as well as a trip to SFMOMA. Artists studied include Georges Braque, Constantin Brancusi, Marcel Duchamp, Piet Mondrian, Andy Warhol, Roy Lichtenstein, and Jackson Pollock.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II
Instructors: Troy, N. (PI)

ARTHIST 225: Wonder, Curiosity & Collecting: Building a Stanford Cabinet of Curiosities (ARTHIST 425, HISTORY 205J, HISTORY 305J)

( History 205J is an undergraduate course offered for 5 units; History 305J is a graduate course offered for 4-5 units.) Inside every museum lies a cabinet of curiosities. Explores the history of wonder, curiosity, and collecting, with special attention to the Renaissance origins of the cabinet of curiosities and their modern afterlives. Hands-on experience working with the Stanford collection in the Cantor to create a contemporary cabinet in collaboration with artist Mark Dion. This will be a unique opportunity to create a Stanford cabinet of curiosities for the twenty-first century. All seminar participants will contribute to the published exhibit catalogue.
Terms: Win | Units: 4-5 | UG Reqs: WAY-CE

ARTHIST 229D: Topophilia: Place in Japanese Visual Culture through 19th Century (JAPANGEN 229)

Attachments to "place" and "home" are hard-wired into the biology of humans and animals alike, although such attachments vary according to specific times, cultures, and states of mind. Can we speak of a "Japanese sense of place" and if so, what is distinctive about it? Seminar explores religious visions and ritual fields; narratives of itinerancy; cityscapes; topographic taxonomies. Knowledge of Japanese culture is beneficial but not mandatory.

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. This class explores the historical Leonardo, exploring his interests and accomplishments as a product of the society of Renaissance Italy. Why did this world produce a Leonardo? Students will contribute to a library exhibit for the 500th anniversary of Leonardo's death in May 2019.
Terms: Aut | Units: 4-5 | UG Reqs: WAY-A-II, WAY-SI

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

This course examines the relationship between art and the market, from the château-builders of the French Renaissance to avant-garde painters in the nineteenth-century Salon des Refusés. 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 engage in sustained analysis of 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: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI
Instructors: Pesic, A. (PI)

ARTHIST 242B: Megacities (ANTHRO 42, URBANST 142)

In this course we will examine the meaning, processes, and challenges of urbanization. Through a series of targeted readings across history and geography and through the study of varied means of representation (anthropology, literature, cartography, film, etc), the class will analyze the ways in which urban forms have come into being and created, met, and/or ignored challenges such as disease, water, transport, religious and class conflict, colonialism, labor, and trade. Students will read anthropology in conjunction with other disciplines (literature, urban planning, public health, architecture, and economics) to learn the ways in which ethnographies of immigration, urban poverty, class disparity, economic development and indicators, noise, and transportation substantively augment our understandings of how people live within globalization.
Terms: Win | Units: 5
Instructors: Jain, S. (PI)

ARTHIST 243B: Photography and Time

This course examines the relationship between photography and temporality from the nineteenth century until the present day. We will study how the new medium interacted with other nineteenth-century technologies to produce a mechanized and standardized time, as well as attempts to use photography to destabilize such objective temporalities. In the twentieth century, we consider the dominant theorization of photography as an art that addresses time, history, and memory through study of critical texts by Benjamin, Barthes, and Bazin, among others. The course concludes by interrogating the applicability of these analogue theories to contemporary photographic practices. Attention to the technical labor of making photographs and the materiality of photographs in the archive will be central to the course, enabled by visits to the Cantor and Special Collections.
Last offered: Spring 2018

ARTHIST 243C: The Art of Travel

This undergraduate seminar explores a variety of objects upon which we see the marks of makers smitten and/or stymied by new technologies of transportation ¿ objects about the steamship, the railroad, the automobile, the airplane, the space shuttle, the internet. Among many types of material culture, the course considers scrimshaw, album quilts, maps, paintings, photographs, city plans, hood ornaments, and advertisements from the early Republic to the present. How do objects mark geographic movement, and the social relationships forged in the process? What do these marks tell us about how we, as contemporary viewers, experience the world?
Last offered: Winter 2015

ARTHIST 244: The Visual Culture of the American Home Front, 1941-1945 (AMSTUD 244)

How does home front of WWII look now? What sort of meanings appear with the vantage of more than sixty years' distance? Examining Hollywood films from those years -films made during the war but mostly not directly about the war - the seminar focuses on developing students' abilities to write emotion-based criticism and history. Weekly short papers, each one in response to a film screening, are required. Among the films screened: Shadow of a Doubt, Gaslight, I Walked with a Zombie, The Best Years of Our Lives.
Last offered: Winter 2013 | UG Reqs: GER:DB-Hum

ARTHIST 245: Art, Business & the Law (SIW 245)

This course examines the intersection of art, business, and the law from a number of different angles, focusing on issues that impact our understanding of works of art and their circulation in the modern and contemporary periods. Topics range from individual case studies (e.g., Leonardo da Vinci; Richard Serra) to the consolidation of the art market, and include cultural heritage issues, problems of censorship, and conceptions of authorship and intellectual property.nnIn Autumn 2017-18 this course will be offered at Stanford in Washington in Washington, D.C. and enrollment is limited to students who are enrolled in the SIW Program.
Last offered: Autumn 2017 | UG Reqs: WAY-A-II
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