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31 - 40 of 179 results for: ARTHIST

ARTHIST 153: Warhol's World (AMSTUD 153, ARTHIST 353, FEMGEN 153, TAPS 153W, TAPS 353W)

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. The course will include multiple visits to Contact Warhol: Photography without End, an exhibition co-curated by Prof. Meyer on view throughout the quarter at the Cantor Arts Center.
Last offered: Autumn 2018

ARTHIST 154C: American Art Since 1776

How have artworks and artifacts shaped life and culture in the United States? This course considers a variety of objects, from canonical eighteenth-century paintings to decorative art, children's books, outsider art, and other creative expressions often overlooked in traditional surveys. How do art historians come to know such objects and, importantly, the past with them? How might we understand the historical implications of visual and material culture and share them in our writing? Close and creative looking, methodologies from art history and material culture studies, and an engagement with the wider visual, material, and literary worlds of these years will help us explore these and other questions. A final paper produced in stages throughout the term will afford students an opportunity to produce a six-page art historical essay of their own on an artwork or artifact of their choosing, preferably in a local collection. What might these objects and their study reveal to us about our history, present, and future?
Last offered: Summer 2017

ARTHIST 155C: Abstract Expressionism: Painting/Modern/America (AMSTUD 155C)

The course will focus on American abstract painting from the 1930s to the 1960s, emphasizing the works of art at the Anderson Collection at Stanford. We will focus on looking closely at pictures by Jackson Pollock, Mark Rothko, Willem de Kooning, and other renowned abstract painters, developing skills of speaking and writing about these works of art. We will also place these pictures in their mid-20th century context: World War II and the Cold War; Hollywood and popular culture generally; Beat literature; and locations such as New York and San Francisco.
Last offered: Spring 2019 | UG Reqs: WAY-A-II

ARTHIST 158S: Iconography to Instagram: A History of Images and Information

This class will survey how artists, designers and cultures have historically used images as a means to organize and communicate information. How do representations convey meaning in a manner different from language? What do visual conventions reveal about the cultures and technologies that shape them? How and why might artists and viewers subvert the legibility of images? To address these questions, this course proceeds by way of close visual analysis of key works, while exploring their historical, technological, social and artistic contexts. nn Topics to be explored include: iconography and interpretation; the relationship between maps and painting; the importance of printmaking to the Renaissance and the Scientific Revolution; the visual culture of the newspaper as reflected in (and satirized by) Cubist and Dadaist art; the political impact of photography (illustrated by a visit to an exhibition of Lewis Hine¿s photographs at the Cantor Center for Visual Arts); the rhetorical convent more »
This class will survey how artists, designers and cultures have historically used images as a means to organize and communicate information. How do representations convey meaning in a manner different from language? What do visual conventions reveal about the cultures and technologies that shape them? How and why might artists and viewers subvert the legibility of images? To address these questions, this course proceeds by way of close visual analysis of key works, while exploring their historical, technological, social and artistic contexts. nn Topics to be explored include: iconography and interpretation; the relationship between maps and painting; the importance of printmaking to the Renaissance and the Scientific Revolution; the visual culture of the newspaper as reflected in (and satirized by) Cubist and Dadaist art; the political impact of photography (illustrated by a visit to an exhibition of Lewis Hine¿s photographs at the Cantor Center for Visual Arts); the rhetorical conventions of television news and advertising. Later weeks will address representational norms which have emerged in the wake of digital technology: multi-screen displays, Powerpoint and interactive infographics, concluding with a discussion around the data-gathering functions of social media platforms such as Instagram. Ultimately, students will learn the fundamentals of visual communication across media and history, but will also reflect on art¿s enduring ability to transcend and resist a purely informational role in culture.
Last offered: Summer 2016

ARTHIST 159B: American Photography Since 1960 (AMSTUD 159B, ARTHIST 359B)

Since the publication of Robert Frank's THE AMERICANS (1958), many distinguished American photographers have emerged, creating a density and power of expression that arguably rivals and even surpasses the extraordinary achievements of earlier photographers in this country. Garry Winogrand's street photography, Diane Arbus's portraits, Ralph Eugene Meatyard's grotesque masks, Danny Lyon's impassioned social outsiders, William Eggleston's deadpan sidewalks and suburban tables, and on to photographers of our moment--these are just a few of the topics the course will cover. Careful attention to individual pictures; careful consideration of what it is to be an artist, and a critic.
Last offered: Spring 2020

ARTHIST 162: Visual Arts Cuba (1959 - 2015) (ARTHIST 362)

The evolution of culture in post-1959 Cuba, with a strong focus on visual arts in all media and film will be introduced in this course. Historical examples will be discussed through lectures, readings and the presentation of audiovisual material. Students will develop their research, critical thinking, and writing through assignments, discussions, and the completion of a final paper. This is a discussion-heavy course, so come prepared to read, write and talk.
Last offered: Spring 2020

ARTHIST 162B: Art and Social Criticism (AFRICAAM 102B, AMSTUD 102, CSRE 102A, FEMGEN 102)

Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, immigrant rights and climate change? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers Coalition's agit-prop opposing the Vietnam War and ACT-UP's emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago's The Dinner Party (1979), Fred Wilson's Mining the Museum (1992), and Glenn Ligon's paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy resisting marginalization. For three decades more »
Visual artists have long been in the forefront of social criticism in America. Since the 1960s, various visual strategies have helped emergent progressive political movements articulate and represent complex social issues. Which artists and particular art works/projects have become key anchors for discourses on racism, sexism, economic and social inequality, immigrant rights and climate change? We will learn about a spectrum of political art designed to raise social awareness, spark social change and rouse protest. The Art Workers Coalition's agit-prop opposing the Vietnam War and ACT-UP's emblematic signs and symbols during the AIDS/HIV crisis of the 1980s galvanized a generation into action. Works such as Judy Chicago's The Dinner Party (1979), Fred Wilson's Mining the Museum (1992), and Glenn Ligon's paintings appropriating fragments from African-American literature all raised awareness by excavating historical evidence of the long legacy resisting marginalization. For three decades feminist artists Adrian Piper, Barbara Kruger and the Guerilla Girls have combined institutional critique and direct address into a provocative form of criticality. Recent art for social justice is reaching ever broadening publics by redrawing the role of artist and audience exemplified by the democratization of poster making and internet campaigns of Occupy and the Movement for Black Lives. We will also consider the collective aesthetic activisms in the Post-Occupy era including Global Ultra Luxury Faction, Climate Justice art projects, and the visual culture of Trump era mass protests. Why are each of these examples successful as influential and enduring markers of social criticism? What have these socially responsive practices contributed to our understanding of American history?
Last offered: Autumn 2018 | UG Reqs: WAY-A-II, WAY-ED

ARTHIST 163: Queer America (AMSTUD 163, FEMGEN 163)

This class explores queer art, photography and politics in the United States since 1930. Our approach will be grounded in close attention to the history and visual representation of sexual minorities in particular historical moments and social contexts. We will consider the cultural and political effects of World War II, the Cold War, the civil rights movement, psychedelics, hippie culture and sexual liberation, lesbian separatism, the AIDS crisis, and marriage equality.
Last offered: Autumn 2019 | UG Reqs: GER:EC-AmerCul

ARTHIST 165B: American Style and the Rhetoric of Fashion (AMSTUD 127, FILMSTUD 165B)

Focus on the visual culture of fashion, especially in an American context. Topics include: the representation of fashion in different visual media (prints, photographs, films, window displays, and digital images); the relationship of fashion to its historical context and American culture; the interplay between fashion and other modes of discourse, in particular art, but also performance, music, economics; and the use of fashion as an expression of social status, identity, and other attributes of the wearer. Texts by Thorstein Veblen, Roland Barthes, Dick Hebdige, and other theorists of fashion.
Last offered: Winter 2020 | UG Reqs: WAY-A-II

ARTHIST 168A: A.I.-Activism-Art (CSRE 106A, ENGLISH 106A, SYMSYS 168A)

Lecture/studio course exploring arts and humanities scholarship and practice engaging with, and generated by, emerging emerging and exponential technologies. Our course will explore intersections of art and artificial intelligence with an emphasis on social impact and racial justice. Open to all undergraduates.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II
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