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161 - 170 of 208 results for: ARTHIST

ARTHIST 430: Cinema and Ideology (FILMEDIA 430)

The relationship between cinema and ideology from theoretical and historical perspectives, emphasizing Marxist and psychoanalytic approaches. The practice of political filmmaking, and the cinema as an audiovisual apparatus and socio-cultural institution. Topics include: dialectics; revolutionary aesthetics; language and power; commodity fetishism; and nationalism. Filmmakers include Dziga Vertov, Jean-Luc Godard, Bruce Conner, and Marco Ferreri. Theoretical writers include Karl Marx, Sergei Eisenstein, and Slavoj Zizek. Prerequisite: consent of instructor.
Last offered: Autumn 2019

ARTHIST 430B: Image and Text in the Arts in China (ARTHIST 230B, 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 431: Leonardo's World: Science, Technology, and Art (ARTHIST 231, 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.
Last offered: Autumn 2018

ARTHIST 440: Millennium Approaches: The Art of the 1990s (ARTHIST 240)

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 441: Overlooked/Understudied

This seminar focuses on overlooked artists and understudied artworks in the U.S. from the late 19th century to the present. Rather than reclaiming marginality for its own sake, we will consider how the practice of looking at the overlooked art changes familiar narratives of canonical art.
Last offered: Winter 2021

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

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 443: Networks: A Visual History

Networks are maps for thinking. They illustrate connections while shaping mental journeys, transforming our self-reflexivity along the way. In this course, we will study the metamorphoses of networks, from medieval genealogies to Renaissance cartographic systems and from modern mnemotechnic diagrams to today's visualizations of brain connectivity to ask questions about the politics of connectivity, the deceptions of graphic simplicity, and the capacity of infographics to turn into art.

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
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