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111 - 120 of 234 results for: ARTHIST

ARTHIST 273N: What is Contemporary Art?

This course focuses on the production, criticism, and curating of contemporary art. Through a series of required readings, intensive class discussions, class trips, and first-hand encounters with art objects and exhibitions, we will investigate current understandings of contemporary art. We will also consider the history of contemporary art by looking at how art of the past was understood in its own moment, when it was new and now.

ARTHIST 274: Wonder: The Event of Art and Literature (ARTHIST 474, 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.
Last offered: Winter 2023

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

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.
Last offered: Spring 2023 | UG Reqs: WAY-A-II

ARTHIST 277: Colonial Mexico: Images and Power (HISTORY 272, HISTORY 372B, ILAC 214, ILAC 314)

How did images maintain, construct, or transform political power during the conquest and colonization of Mexico? The creation and destruction of visual materials in this period had a complicated relationship with power. The pictographic codices that celebrated the expansive Aztec Empire were created after its fall; and the conquistadors' indigenous allies painted some of the most triumphalist narratives of the conquest. Friars accused indigenous peoples of "idolatry" both to justify the destruction of their images and objects, and to construct legal defenses of their humanity. Colonial authorities frequently claimed Afro-Catholic festivals were seditious. In light of such complexity, official histories that recount the top-down consolidation of royal and viceroyal power are suspiciously simple. What counter-narratives do images and other visual phenomena from this tumultuous period offer? This course introduces students to major texts from Colonial Mexico (royal chronicles, conquistado more »
How did images maintain, construct, or transform political power during the conquest and colonization of Mexico? The creation and destruction of visual materials in this period had a complicated relationship with power. The pictographic codices that celebrated the expansive Aztec Empire were created after its fall; and the conquistadors' indigenous allies painted some of the most triumphalist narratives of the conquest. Friars accused indigenous peoples of "idolatry" both to justify the destruction of their images and objects, and to construct legal defenses of their humanity. Colonial authorities frequently claimed Afro-Catholic festivals were seditious. In light of such complexity, official histories that recount the top-down consolidation of royal and viceroyal power are suspiciously simple. What counter-narratives do images and other visual phenomena from this tumultuous period offer? This course introduces students to major texts from Colonial Mexico (royal chronicles, conquistadors' tales, letters, poems, festival accounts) alongside a fascinating trove of images (painted codices with Nahuatl texts, feather mosaics, and indigenous heraldry) and considers how experiences of images and spectacles were transformed into textual accounts ("ekphrasis" or the literary device of description). Taught in Spanish with accommodations for non-ILAC students who are still improving their language skills

ARTHIST 281: Chinese Portraiture (ARTHIST 481)

Exploration of recent studies of Chinese portraiture, with a focus on modern and contemporary eras. Portrait practices in treaty port cities; photographic portraits, portraits and modernity; political portraits in public arenas, self-erasure in contemporary portraiture, women's self-portraits, and experimental video portraits will be among the potential topics of discussion.
Last offered: Spring 2020

ARTHIST 284: Material Metonymy: Ceramics and Asian America (AMSTUD 284, ARTHIST 484, ASNAMST 284)

This course explores the rich history and contemporary state of ceramic production by Asian American/diasporic makers. It is also about the way history, culture, and emotion are carried by process, technique, and materials. Taught by an art historian and a physicist/ceramist, the course will privilege close examination of works of art at the Cantor Arts Center, and will also include artist studio visits, discussions with curators and conservators, demonstrations of and experimentation with technical processes of studio ceramics. This course is designed for students with interests in making, art history, engineering, intellectual history, and Asian American studies. Limited enrollment with applications due on Wed 8 March 2023; to receive application instructions please email the course instructors.
Last offered: Spring 2023

ARTHIST 284B: Introduction to Museum Practice (ANTHRO 134D, ARCHLGY 134, ARCHLGY 234)

This is a hands-on museum practicum course open to students of all levels that will culminate in a student-curated exhibit. It entails a survey of the range of museum responsibilities and professions including the purpose, potential, and challenges of curating collections. While based at the Stanford University Archaeology Collections (SUAC), we will visit other campus collections and sites. Students will plan and realize an exhibition at the Stanford Archaeology Center, gaining skills in collections management, research, interpretation, and installation.
Terms: Spr | Units: 5 | Repeatable 3 times (up to 15 units total)
Instructors: Raad, D. (PI)

ARTHIST 285: American Photographs: A Magical History (AMSTUD 285)

What is a "magical" photograph? Who makes one? What is the photograph's relation to the world, to the real? To time and memory and to the viewer? What hold can photographs have on us if they are now everywhere, all the time? Who is the person who could bother to care and look closely at the world and at pictures? If there is such a person, why might she see her role as an ethical one? Starting with the invention of the medium in the 1830s, this course will consider the many distinguished American photographers who have pursued their own answers to these questions: Lewis Hine, Dorothea Lange, Margaret Bourke-White, Gordon Parks, Diane Arbus, Ralph Eugene Meatyard, William Eggleston, Francesca Woodman, Laura Aguilar, Deana Lawson, and others. Pursuing the magical, the course offers: a meditation on photography as a medium (its difference from and relation to poetry, literature, and painting); a partial history of America since 1960; a questioning of photography's relation to history; a t more »
What is a "magical" photograph? Who makes one? What is the photograph's relation to the world, to the real? To time and memory and to the viewer? What hold can photographs have on us if they are now everywhere, all the time? Who is the person who could bother to care and look closely at the world and at pictures? If there is such a person, why might she see her role as an ethical one? Starting with the invention of the medium in the 1830s, this course will consider the many distinguished American photographers who have pursued their own answers to these questions: Lewis Hine, Dorothea Lange, Margaret Bourke-White, Gordon Parks, Diane Arbus, Ralph Eugene Meatyard, William Eggleston, Francesca Woodman, Laura Aguilar, Deana Lawson, and others. Pursuing the magical, the course offers: a meditation on photography as a medium (its difference from and relation to poetry, literature, and painting); a partial history of America since 1960; a questioning of photography's relation to history; a theory of human intelligence at work - but also passive - before the world; a reflection on how a mechanical medium allows for a personal touch, a personal vision, on the part of master practitioners; yet how even an amateur can make a photograph of haunting power; an attempt to investigate whether or not - if you are quiet and attentive and lucky enough - such a thing as an actual American experience appears before your eyes
Terms: Spr | Units: 3-5

ARTHIST 287: Pictures of the Floating World: Images from Japanese Popular Culture (ARTHIST 487X, JAPAN 287)

Printed objects produced during the Edo period (1600-1868), including the Ukiyo-e (pictures of the floating world) and lesser-studied genres such as printed books (ehon) and popular broadsheets (kawaraban). How a society constructs itself through images. The borders of the acceptable and censorship; theatricality, spectacle, and slippage; the construction of play, set in conflict against the dominant neo-Confucian ideology of fixed social roles.
Last offered: Winter 2019 | UG Reqs: GER:DB-Hum

ARTHIST 287A: The Japanese Tea Ceremony: The History, Aesthetics, and Politics Behind a National Pastime (JAPAN 188, JAPAN 288)

This course on the Japanese tea ceremony ('water for tea') introduces the world of the first medieval tea-masters and follows the transformation of chanoyu into a popular pastime, a performance art, a get-together of art connoisseurs, and a religious path for samurai warriors, merchants, and artists in early-modern Japan. It also explores the metamorphosis of chanoyu under 20th century nationalisms and during the postwar economic boom, with particular attention to issues of patronage, gender, and social class.
Last offered: Autumn 2022
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