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81 - 90 of 205 results for: ARTHIST

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 | 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

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

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. This 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 the graphic works of artists such as Francisco Goya, Käthe Kollwitz, Ester Hernandez, and Emory Douglas. The seminar will incorporate visits to various collections on Stanford¿s campus, including the Cantor Arts Center, Green Library, and the Hoover Institution.
Terms: Win | Units: 5

ARTHIST 251: Warhol's World (ARTHIST 451)

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 252A: Art and Power: From Royal Spectacle to Revolutionary Ritual (FRENCH 252)

From the Palace of Versailles to grand operas to Jacques-Louis David's portraits of revolutionary martyrs, rarely have the arts been so powerfully mobilized by the State as in early modern France. This course examines how the arts were used from Louis XIV to the Revolution in order to broadcast political authority across Europe. We will also consider the resistance to such attempts to elicit shock-and-awe through artistic patronage. By studying music, architecture, garden design, the visual arts, and theater together, students will gain a new perspective on works of art in their political contexts. But we will also examine the libelous pamphlets and satirical cartoons that turned the monarchy¿s grandeur against itself, ending the course with an examination of the new artistic regime of the French Revolution. The course will be taught in English with the option of French readings for departmental majors.
Last offered: Spring 2018 | UG Reqs: WAY-A-II, WAY-SI

ARTHIST 253: Aesthetics and Phenomenology (ARTHIST 453, 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.
Last offered: Winter 2022
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