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181 - 190 of 213 results for: ARTHIST

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.

ARTHIST 460: Decolonizing Theory (FILMEDIA 460, TAPS 460)

The past year has witnessed a remarkable reckoning with systemic racism and embedded structures of inequality, underscoring once again the epistemic violence of the privileging of a white, western, heteropatriarchal intellectual tradition in the academy. This seminar mobilizes multiple approaches and orientations, including decolonial theory, the Black Radical Tradition, postcolonial theory, and transnational decolonial feminisms. We consider critiques from these traditions of the Eurocentrism of critical theory, its imbrication with western modernity, colonial capitalism, and neocolonial geopolitics. Through texts ranging across frameworks of the coloniality of gender, epistemologies of the South, critical race studies, and theories of the global, we examine ways to de-universalize, de-imperialize, decolonize, and globalize Theory. Limited to graduate students; undergraduates must contact instructor for permission (seniors only).The seminar can be taken for less than 5 units only under extenuating circumstances. Contact instructor in such cases for permission.
Terms: Win | Units: 3-5
Instructors: Iyer, U. (PI)

ARTHIST 465: Media Technology Theory (COMM 384, FILMEDIA 465A)

This course surveys major theoretical approaches to the study of media technologies, including Frankfurt School critical theory, media archaeology, actor network theory, science and technology studies, platform studies and theories of critical making. By the end of the course, students should have a rich familiarity with the literature in this area, as well as with exemplary empirical studies conducted within each tradition. Preference to Ph.D. students in Communication and Art and Art History. Consent of instructor required for non-PhD students.
Last offered: Spring 2020

ARTHIST 465A: Word and Image (ARTHIST 265A, COMPLIT 225, ITALIAN 265, ITALIAN 365)

What impact do images have on our reading of a text? How do words influence our understanding of images or our reading of pictures? What makes a visual interpretation of written words or a verbal rendering of an image successful? These questions will guide our investigation of the manifold connections between words and images in this course on intermediality and the relations and interrelations between writing and art from classical antiquity to the present. Readings and discussions will include such topics as the life and afterlife in word and image of Ovid's "Metamorphoses," Dante's "Divine Comedy," Ludovico Ariosto's "Orlando Furioso," and John Milton's "Paradise Lost;" the writings and creative production of poet-artists Michelangelo Buonarroti, William Blake, and Dante Gabriel Rossetti; innovations in and correspondences between literature and art in the modern period, from symbolism in the nineteenth century through the flourishing of European avant-garde movements in the twentieth century.
Terms: Spr | Units: 3-5
Instructors: Prodan, S. (PI)

ARTHIST 466A: Blackness/Gender/Sexuality & Dis-ease: HIV/AIDS Art History (ARTHIST 366, CSRE 366A, FEMGEN 466A)

Since the emergence of Acquired Immunodeficiency Syndrome (AIDS), artists have been central to the fight against the state's violence and neglect of those with HIV/AIDS. In this story, however, race and gender are marginalized as frameworks that shape this arts activism. This course takes up black art production that responds to the HIV/AIDS crisis to provide a longer, fuller, and more vital cultural narrative. By centering blackness in this story, we can ask how does dis-ease,referencing both infection and an aesthetically and structurally anxious relation to death,shape black art practices and lives? How have race and gender been used to conceptualize disease? And how do filmmakers, abstract painters, photographers, and poets help us to better comprehend blackness, gender, and sexuality under the threat of disease? After providing an overview of the relation between blackness, sexuality, and dis-ease and the emergence of the AIDS crisis, we will consider canonical works from the height of the crisis produced by filmmaker Marlon Riggs and poet Essex Hemphill. From there, we will move to themes of black art and mourning, black women's under cited activism, the controversial use of documentary photography in the crisis, black masculinity, diasporic responses, and the urgency and erasure of the ongoing crisis. Each week we will focus on a cultural text (film, painting, photograph, poem), a reading to provide historical context, and critical theories that will illuminate the art works' formal qualities and importance for our now.
Terms: Spr | Units: 5
Instructors: Batts, J. (PI)

ARTHIST 469: Drugs and the Visual Imagination (FILMEDIA 469)

Drugs have profoundly shaped human culture across space and time, from ancient cave paintings to the psychedelic Sixties and contemporary opioid epidemic. This seminar explores the relationship between visual culture and "drugs," broadly conceived, asking how consciousness-altering substances have been understood and represented in various contexts. We will examine how drugs blur boundaries between nature and culture and describe major symbolic, narrative, and aesthetic structures by considering representations of drug use across media. This interdisciplinary seminar integrates perspectives from art, literature, popular culture, theory, film, philosophy, and science. Topics include perception, subjectivity, addiction, deviancy, capitalism, politics, technology, globalization, and critical approaches to race, class, sexuality, and gender. Limited to graduate students; undergraduates must contact instructor for permission (seniors only).
Last offered: Spring 2021

ARTHIST 472: Feminist Avant-Garde Art in Germany and Beyond (1968-2019) (ARTHIST 272, FEMGEN 280, GERMAN 280)

In "Woman's Art: A Manifesto" (1972), the artist, performer and filmmaker Valie Export (1940) proposed the transfer of women's experience into an art context and considered the body "a signal bearer of meaning and communication." In reconceptualizing and displaying "the" body (her body) as an aesthetic sign, Export's groundbreaking work paves the way towards questioning the concepts of a "female aesthetic" and a "male gaze" (L. Mulvey). Beginning with Export, we will discuss art informed by and coalescing with feminism(s): the recent revival of the 1970s in all-women group shows, the dialectic of feminist revolution, the breakdown of stable identities and their representations, point(s) of absorption of commodified femininities. Particular attention will be paid to German-language theory and its medial transfer into art works. For students of German Studies, readings and discussions in German are possible. Online discussions will be organized with contemporary artists and curators. Emphasis will be on: the relationship between (female?) aesthetics and (gender) politics, between private and public spheres, between housework and artwork; conceptions of identity (crises) and corporeality in visual culture and mass media; categories of the artist´s self in relation to the use of media (video, photography, film, collage, installation art). This course will be taught by Professor Elena Zanichelli, a Berlin-based art historian, critic, and curator. She is junior professor for Art History and Aesthetic Theory at IKFK (Institute for Art History - Film History - Art Education) at the University of Bremen.
Last offered: Spring 2022

ARTHIST 473: Couture Culture (ARTHIST 273, 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.
Last offered: Autumn 2021

ARTHIST 474: Wonder: The Event of Art and Literature (ARTHIST 274, JEWISHST 274)

What falls below, or beyond, rational inquiry? How do we write about the awe we feel in front of certain works of art, in reading lines of poetry or philosophy, or watching a scene in a film without ruining the feeling that drove us to write in the first place? In this course, we will focus on a heterogeneous series of texts, artworks, and physical locations to discuss these questions. Potential topics include The Book of Exodus, the poetry of Friedrich Hölderlin and of Elizabeth Bishop, the location of Harriet Tubman's childhood, the poetry and drawings of Else Lasker-Schüler, the philosophy of Martin Heidegger, the art of James Turrell, and the films of Luchino Visconti.
Terms: Win | Units: 5

ARTHIST 474A: The Art of the Uncanny (ARTHIST 274A)

From murderous dolls to evil doppelgängers, humanoid doubles haunt the Western cultural imagination. Beginning with an in-depth look at the contested concept of the "uncanny", the seminar traces the history of anxiety about non-human humans in the West. An interdisciplinary inquiry, this course draws its sources from art, film, literature, psychology, and science.
Terms: Spr | Units: 5
Instructors: Oing, M. (PI)
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