2016-2017 2017-2018 2018-2019 2019-2020 2020-2021
Browse
by subject...
    Schedule
view...
 
  COVID-19 Scheduling Updates!
See Stanford's HealthAlerts website for latest updates concerning COVID-19 and academic policies.

131 - 140 of 175 results for: ARTHIST

ARTHIST 423B: Art That Moves: Affect, Kinesis, Mobility, 1300-1700

The early modern artist who imbues his subjects with movement is praised by his critics above all others, for he can do what is impossible: give life to dead matter. Movement is sometimes suggested, a trick of the eye that leads the spectator to anticipate a moment just about to unfold. Other times, the artist is said to conjure a living figure, whose flesh trembles with breath and a beating pulse. This seminar explores these and other examples of movement, instances that negotiate the relationship between depicted and actual movement with the emotion it stirs (affect). We will also study movement¿s relation to narrative and descriptive language (history and ekphrasis), and art¿s ability to move through time (Warburg¿s Pathosformel) and space (artworks and artists that travel). A study of movement uncovers multiple contradictions and possibilities in the history of art.
Last offered: Autumn 2017

ARTHIST 424: Architecture as Performance from Antiquity to the Enlightenment (ARTHIST 224)

This seminar examines the nature of architectural representation in the western tradition, from antiquity until the 18th century. It considers the ancient theatre as an icon of representation and the afterlife of the stage building as a model for western architecture, including ephemera. It concludes a distinction between the theatrical and the more recent concept of the theatrical.
Last offered: Autumn 2019

ARTHIST 426: New Landscapes of China: Ecologies, Media, Imaginaries (ARTHIST 226)

An exploration of new forms of landscape art in China's contemporary era, 1980s-present. Studies of new media platforms for landscape related imagery, imagined landscapes, and expanded concepts of landscape in an era of heightened ecological consciousness.
Terms: Spr | Units: 4-5
Instructors: Vinograd, R. (PI)

ARTHIST 430: Cinema and Ideology (FILMSTUD 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 Chinese Painting (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]
Last offered: Winter 2020 | Repeatable 4 times (up to 20 units total)

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.
Terms: Win | Units: 5
Instructors: Meyer, R. (PI)

ARTHIST 442: Art History in the First Person

Course Description: 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?nnRequirements: 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.
Last offered: Winter 2020

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)

What are institutions? How do they think? What motivates their actions? What is their relationship to communities and individual artists? Do they promote or constrain free artistic exploration? These are some of the questions that have been animating critique of institutions in Western art over the past several decades. Contemporaneous with performance art, institutional critique transformed and expanded the very idea of this art practice. In asking, for example, how a museum performs, what it performs, and for whom, institutional critique points to its own position inside complex institutional web generated by modern capitalist society. In this class, we will look at sources of institutional critique in the work of Kazimir Malevich and Marcel Duchamp, the representatives of the first generation such as Adrian Piper, Hans Haacke and Art & Language, and the second generation, such as Fred Wilson and Andrea Frazer, to recent engagements with institutional critique by artists such as Hito Steyerl.
Terms: Spr | Units: 4
Filter Results:
term offered
updating results...
teaching presence
updating results...
number of units
updating results...
time offered
updating results...
days
updating results...
UG Requirements (GERs)
updating results...
component
updating results...
career
updating results...
© Stanford University | Terms of Use | Copyright Complaints