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191 - 200 of 234 results for: ARTHIST

ARTHIST 444: Counter-Institution: Performance and Institutional Critique (TAPS 342)

Out of 100 members of the current US Senate, only one has a college degree in arts. In the House of Representatives, the situation is even bleaker: while some ten representatives, out of 435, have experience in some kind of artistic practice (music, writing, or video design), again only one holds an art-related degree. On state level, the situation is better, but not much. Is this severe under-representation of artists among elected officials the result of their lack of interest in institutional position of the arts? How would arts policies in the US look if more elected officials had background in the arts and actual stakes in this sector? 'Counter-Institution' brings together artistic practice and policy. On the one hand, we will explore the 'institutional critique' of artists such as Andrea Fraser, Hito Steyerl, and Fred Wilson, and on the other, we will investigate government initiatives that affected the arts, from the New Deal in the 1930s to the severe defunding of the National Endowment for the Arts in the 1990s, to increasing privatization of art institutions in the first decades of the new millennium.
Last offered: Spring 2021

ARTHIST 446: Duchamp Then and Now (ARTHIST 246)

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 447: Russia in Color (ARTHIST 247, 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

ARTHIST 448: The Body in Film and other Media (FILMEDIA 448)

In this seminar, we will consider the body on screen as well as the body before the screen i.e. the spectator but also the profilmic body of the actor to examine corporeal performance and reception. The dancing body, the comic body, dead and live bodies, the monstrous body, the body in pain, the virtual body all raise questions about embodiment, liveness, and performance. We will read the body in audiovisual culture through an engagement with affect theory, focusing on the labor of performance, the construction of stardom, spatial and temporal configurations of the performing body, and the production of affect and sensation in the spectating body. Through a discussion of make-up, fashion, the labor of producing the idealized star body from the meat-and-bones body of the actor, or body genres where the spectator's body is beside itself with sexual pleasure, fear and terror, or overpowering sadness, we will inquire into ideologies of discipline and desire that undergird mediatized bodies. nnNo prior engagement with film studies is required. Students are encouraged to write seminar papers that build on current research interests.nnNOTE: Instructor consent required for undergraduate students (only seniors may enroll). Please contact the instructor for permission to enroll if you're an undergraduate senior.
Last offered: Winter 2020

ARTHIST 449: Latinx Art: Exhibition History and Theory (ARTHIST 249, CHILATST 249)

This seminar examines exhibitions of art made by Latinas/es/os/xs in the United States, including Chicanos, Nuyoricans, and other Black, Brown, and Indigenous artists. While exploring exhibitions, students will consider curators' and artists' relationships to identity, race, ethnicity, gender, and sexuality. Students will also study how practitioners have responded to and challenged discrimination, institutional exclusion, and national debates through their work. The course will include guest curator talks and will result in final projects that comprise either research papers that critically look at exhibitions or proposals for exhibitions of Latinx art.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Salseda, R. (PI)

ARTHIST 450A: Printing Protest: The Artist as Social Critic (ARTHIST 250A)

This seminar explores the history of print and protest. From books to newspapers to posters, printed materials have generated and circulated political and social messages for centuries. The seminar takes a transhistorical and transnational approach to the history of print to consider its role in shaping public consciousness and producing social change from the fifteenth century to today. Attending to both medium and message, this course will address printing techniques and examine the graphic works of artists such as Francisco Goya, Käthe Kollwitz, Ester Hernandez, and Ebony Patterson in various collections on Stanford's campus. Seminar participants will also contribute to a course-related exhibition at the Cantor Arts Center where they will assist in various aspects of exhibition organization, such as selecting artworks and writing wall labels. This is a unique opportunity to combine the classroom study of art history with hands-on curatorial experience.
Last offered: Winter 2023

ARTHIST 451: Warhol's World (ARTHIST 251)

Andy Warhol's art has never before been more widely exhibited, published, or licensed for commercial use, product design, and publication than it is today. For all Warhol's promiscuous visibility and global cachet at the current moment, there is much we have yet to learn about his work and the conditions of its making. This course considers the wide world of Warhol's art and life, including his commercial work of the 1950s, Pop art and films of the 1960s, and celebrity portraiture of the 1970s and 80s. Of particular interest throughout will be Warhol's photography as it reflects his interest in wealth and celebrity on the one hand and on the everyday life of everyday people on the other.
Last offered: Autumn 2021

ARTHIST 453: Aesthetics and Phenomenology (ARTHIST 253, FILMEDIA 253, FILMEDIA 453)

This course explores central topics in aesthetics where aesthetics is understood both in the narrow sense of the philosophy of art and aesthetic judgment, and in a broader sense as it relates to questions of perception, sensation, and various modes of embodied experience. We will engage with both classical and contemporary works in aesthetic theory, while special emphasis will be placed on phenomenological approaches to art and aesthetic experience across a range of media and/or mediums (including painting, sculpture, film, and digital media). PhD students in the Art History program may take the class to fulfill degree requirements in Modern/Contemporary Art or Film & Media Studies, depending on the topic of their seminar paper.
Terms: Spr | Units: 3-5
Instructors: Denson, S. (PI)

ARTHIST 455: Cultural Heritage and Urban Space in Cairo and Istanbul (ARTHIST 250, ISLAMST 250C)

More than a decade ago, in the aftermath of the Arab Spring, the city of Cairo became a theater of social and political upheaval. In Istanbul, the Gezi protests in spring and summer 2013 drew attention to public space and how it is affected by the construction of major government projects. This seminar introduces students to the architectural and urban history of Istanbul and Cairo, with the perspective of current urban transformations as a central point of reference. As one of the major political, cultural, and economic centers of the Islamic world, Cairo has long played a central role in the urban imaginary of the region. Istanbul, has become a global city that connects Europe and the Middle East. Readings will focus on the lack of integration of the historical center with the more recent development of suburban residences, the segregation of the urban landscapes, migration, climate change, and will examine the reactions of architects, writers, filmmakers and street artists.
Terms: Spr | Units: 4-5
Instructors: Blessing, P. (PI)

ARTHIST 456: What Was Photography? (ARTHIST 256)

Digital imaging has largely replaced darkroom work over the past quarter century, yet analog practices still dominate theories of photography. Working closely with the Capital Group Foundation Collection at the Cantor, this class will explore how those theories relate to vintage photographic prints and whether they are still relevant to the photography being produced today. Students will select one photographer within the Collection and create a set of writings that help contemporary viewers see these mid-century American artists through diverse contemporary perspectives.
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