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101 - 110 of 215 results for: ARTHIST

ARTHIST 273: Couture Culture (ARTHIST 473, FRENCH 173, FRENCH 373)

Fashion, art, and representation in Europe and the US between 1860 and today. Beginning with Baudelaire, Impressionism, the rise of the department store and the emergence of haute couture, culminating in the spectacular fashion exhibitions mounted at the Metropolitan and other major art museums in recent years. Students participate actively in class discussion and pursue related research projects.
Terms: Aut | Units: 4-5 | UG Reqs: WAY-A-II

ARTHIST 273N: What is Contemporary Art?

This course focuses 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.

ARTHIST 280B: The World of Chen Hongshou (1598-1652) (ARTHIST 480B)

Planned to coincide with a special international exhibition at the Berkeley Art Museum of works by the seventeenth century figure painter and print designer Chen Hongshou (1598-1652), this seminar will explore his art and cultural environment. Along with close study of his original paintings, we will study his connections with printmaking and publishing, fiction and drama culture, and his literary, social and patronage networks.
Last offered: Autumn 2017

ARTHIST 281: Chinese Portraiture (ARTHIST 481)

Exploration of recent studies of Chinese portraiture, with a focus on modern and contemporary eras. Portrait practices in treaty port cities; photographic portraits, portraits and modernity; political portraits in public arenas, self-erasure in contemporary portraiture, women's self-portraits, and experimental video portraits will be among the potential topics of discussion.
Last offered: Spring 2020

ARTHIST 283: Chinese Buddhist Painting: Visions and Practices (ARTHIST 483)

This course explores how Chinese Buddhist art adapts to changes in the religious visions, imagination, and practices of Buddhism in China. It focuses primarily on Buddhist paintings but will occasionally include other types of artistic devices, such as space for display, architectural design, and sculpture, to reach a better understanding of the viewing and the religious experiences. Striving beyond the discussion of style and iconography, we will broaden our pursuits by incorporating various issues such as the domestication of a foreign religion, the relationship between Buddhist literature and images, fusion with popular literature, social connections among eminent monks, scholars and artists, and political use of Buddhist images.
Last offered: Spring 2019

ARTHIST 284B: Museum Cultures: Exhibiting the African Imaginary (AFRICAST 134, AFRICAST 234, ARCHLGY 134, ARCHLGY 234)

Museums are dynamic spaces with the potential to reinvent, rehabilitate, and recenter marginalized people and collections. This year, our seminar examines and enacts museum stewardship of material cultures of diverse African communities across space, time, and context. Legacies of colonialism inspire debates on restitution, reparation, and reconciliation, alongside actions to 'decolonize' museum practice. In engaging the politics of representation and human-object relationships, our class will challenge problematic imaginaries of Africa and recenter the complexities of cultures in the Horn of Africa spanning Ethiopia, Nubian Egypt, and Sudan. Students will acquire skills in researching, curating, and installing an exhibition based on Stanford's African archeological and ethnographic materials held at the Stanford University Archeology Collections (SUAC). This course will culminate in a student-curated exhibition that opens on Friday May 27, 2022 at the Stanford Archeology Center (Bldg more »
Museums are dynamic spaces with the potential to reinvent, rehabilitate, and recenter marginalized people and collections. This year, our seminar examines and enacts museum stewardship of material cultures of diverse African communities across space, time, and context. Legacies of colonialism inspire debates on restitution, reparation, and reconciliation, alongside actions to 'decolonize' museum practice. In engaging the politics of representation and human-object relationships, our class will challenge problematic imaginaries of Africa and recenter the complexities of cultures in the Horn of Africa spanning Ethiopia, Nubian Egypt, and Sudan. Students will acquire skills in researching, curating, and installing an exhibition based on Stanford's African archeological and ethnographic materials held at the Stanford University Archeology Collections (SUAC). This course will culminate in a student-curated exhibition that opens on Friday May 27, 2022 at the Stanford Archeology Center (Bldg 500) and is planned to feature renowned Somali-Swedish archeologist, Dr. Sada Mire, as the keynote speaker.nnBecause of limited spacing you will need to fill out this form https://forms.gle/h8F46iv5iSwiX3PY7 and receive consent to enroll in the course from the instructor. nn3 credits (no final project) or 5 credits (final project). May be repeat for credit
Terms: Spr | Units: 3-5 | Repeatable 3 times (up to 15 units total)

ARTHIST 287: Pictures of the Floating World: Images from Japanese Popular Culture (ARTHIST 487X, JAPAN 287)

Printed objects produced during the Edo period (1600-1868), including the Ukiyo-e (pictures of the floating world) and lesser-studied genres such as printed books (ehon) and popular broadsheets (kawaraban). How a society constructs itself through images. The borders of the acceptable and censorship; theatricality, spectacle, and slippage; the construction of play, set in conflict against the dominant neo-Confucian ideology of fixed social roles.
Last offered: Winter 2019 | UG Reqs: GER:DB-Hum

ARTHIST 287A: The Japanese Tea Ceremony: The History, Aesthetics, and Politics Behind a National Pastime (JAPAN 188, JAPAN 288)

This course on the Japanese tea ceremony ('water for tea') introduces the world of the first medieval tea-masters and follows the transformation of chanoyu into a popular pastime, a performance art, a get-together of art connoisseurs, and a religious path for samurai warriors, merchants, and artists in early-modern Japan. It also explores the metamorphosis of chanoyu under 20th century nationalisms and during the postwar economic boom, with particular attention to issues of patronage, gender, and social class.
Terms: Aut | Units: 5

ARTHIST 290: Curricular Practical Training

CPT course required for international students completing degree.
Terms: Aut, Win, Spr, Sum | Units: 1-3 | Repeatable for credit
Instructors: Maxmin, J. (PI)

ARTHIST 291: Riot: Visualizing Civil Unrest in the 20th and 21st Centuries (AFRICAAM 291, AFRICAAM 491, ARTHIST 491, CSRE 290, CSRE 390, FILMEDIA 291, FILMEDIA 491)

This seminar explores the visual legacy of civil unrest in the United States. Focusing on the 1965 Watts Rebellion, 1992 Los Angeles Riots, 2014 Ferguson Uprising, and 2020 George Floyd Uprisings. Students closely examine photographs, television broadcasts, newspapers, magazines, and film and video representations of unrest. Additionally, students will visually analyze the works of artists who have responded to the instances of police brutality and challenged the systemic racism, xenophobia, and anti-Black violence leading to and surrounding these events.nNOTE: Instructor consent required for undergraduate students. Please contact the instructor for permission to enroll.
Terms: Aut | Units: 3-5
Instructors: Salseda, R. (PI)
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