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81 - 90 of 213 results for: ARTHIST

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.]
Terms: Aut | Units: 3-5 | Repeatable 4 times (up to 20 units total)
Instructors: Egan, R. (PI)

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.
Terms: Spr | 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 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: Spr | Units: 3-5 | UG Reqs: WAY-SI, WAY-A-II

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

ARTHIST 242A: Art History in the First Person (ARTHIST 442)

This seminar considers the use of the first person voice in a wide range of writings about art, from fiction to criticism to scholarship. Insofar as graduate students have typically been discouraged from using the first person voice in their scholarly work, we will question the benefits and drawbacks of doing so in particular cases. To what ends have different writers put the first person voice and how do they integrate it with others strategies of written expression? How might we distinguish among different forms of speaking from the position of 'I' in art-historical writing? What kind of 'I' is at stake, personal, professional, intellectual, imaginary, or otherwise. Requirements: Students will be required to attend all seminar meetings and participate actively in discussion. They will submit two types of writing assignments: The first, which each student will prepare on a rotating basis, will be a 2-page response to a selected reading that will serve to launch discussion of that text in seminar. The second, longer paper (12-15 pages) will involve original research on a selected object or exhibition and the writing of a paper that adopts the first person voice to some degree or explains its necessary rejection.
Terms: Win, Spr | Units: 5
Instructors: Meyer, R. (PI)

ARTHIST 243: Black Divinities: Race, God, and Nation in the Photography of Deana Lawson (AFRICAAM 143)

In recent years the Brooklyn-based photographer Deana Lawson (born 1979) has become rightly famous for her rapturous yet grounded large-sized photographs of everyday black people--those she meets in her neighborhood, as well as on her travels to Brazil, Jamaica, and the Congo. In this seminar we will look closely at Lawson's photographs, considering how she gains her subjects' trust, how she uses props and locations, how she explores her own feelings and the legacies and possibilities of being black.
Last offered: Autumn 2020

ARTHIST 243N: Beyond Words: Early Books and the Design of the Reading Experience

Copiously drawing from the Stanford Archives, this seminar will study the revolutionary design of the first printed books to ask questions about the nature of reading and the commodification of culture. Besides being trained in typography and printing techniques, the students will explore early modern books as multi-layered objects in which texts, images, cutouts, colors, and a multitude of materials constructed new frameworks for attention and fantasies while contributing to the globalization of media.

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

This course examines art at the intersection of business and the law from a number of different angles, focusing on how the issues raised by particular case studies, whether legal, ethical and/or financial, impact our understanding of how works of art circulate, are received, evaluated and acquire different meanings in given social contexts. Topics include the design, construction and contested signification of selected war memorials; the rights involved in the display and desecration of the American flag; censorship of sexually charged images; how the value of art is appraised; institutional critique and the art museum, among others.
Last offered: Summer 2021 | UG Reqs: WAY-A-II

ARTHIST 246: Duchamp Then and Now (ARTHIST 446)

This seminar provides an opportunity to explore not only the familiar though endlessly fascinating episodes of Duchamp's career (Nude Descending a Staircase; the readymade; the Large Glass; the Boite-en-valise; the persona of Rrose Sélavy, his films and exhibition designs, for example), but also works such as Etant Donnés, which has received renewed attention in what is now an extensive recent literature on this work and on Duchamp more generally that will provide a platform for drawing connections with issues, media, critical literatures and artists of students' own choosing.
Last offered: Winter 2022

ARTHIST 247: Russia in Color (ARTHIST 447, SLAVIC 131, SLAVIC 331)

This course explores the application, evolution, and perception of color in art, art history, literature, and popular culture - in (Soviet) Russia and emigration. Working closely with the Cantor Arts Center collection at Stanford, this course pairs artifacts art with theoretical and cultural readings (media theory, philosophy, literature, science). With a particular focus on Russian and East European objects (including those by Russian icons, Soviet posters, and prints by Wassily Kandinsky and Marc Chagall), the course will include a basic introduction to color terminology, guest lectures on the technologies color printing, the science of color perception, and a hands-on practicum in color mixing/pigmentation. In addition to direct encounters with material and artifact, our course will also seek to better understand the digital experience of art objects in general, and color in particular. No knowledge of Russian is required.
Last offered: Winter 2022 | UG Reqs: WAY-A-II
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