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91 - 100 of 234 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.
Last offered: Spring 2023

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 249: Latinx Art: Exhibition History and Theory (ARTHIST 449, CHILATST 249)

This seminar examines exhibitions of art made by Latinas/es/os/xs in the United States, including Chicanos, Nuyoricans, and other Black, Brown, and Indigenous artists. While exploring exhibitions, students will consider curators' and artists' relationships to identity, race, ethnicity, gender, and sexuality. Students will also study how practitioners have responded to and challenged discrimination, institutional exclusion, and national debates through their work. The course will include guest curator talks and will result in final projects that comprise either research papers that critically look at exhibitions or proposals for exhibitions of Latinx art.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Salseda, R. (PI)

ARTHIST 250: Cultural Heritage and Urban Space in Cairo and Istanbul (ARTHIST 455, ISLAMST 250C)

More than a decade ago, in the aftermath of the Arab Spring, the city of Cairo became a theater of social and political upheaval. In Istanbul, the Gezi protests in spring and summer 2013 drew attention to public space and how it is affected by the construction of major government projects. This seminar introduces students to the architectural and urban history of Istanbul and Cairo, with the perspective of current urban transformations as a central point of reference. As one of the major political, cultural, and economic centers of the Islamic world, Cairo has long played a central role in the urban imaginary of the region. Istanbul, has become a global city that connects Europe and the Middle East. Readings will focus on the lack of integration of the historical center with the more recent development of suburban residences, the segregation of the urban landscapes, migration, climate change, and will examine the reactions of architects, writers, filmmakers and street artists.
Terms: Spr | Units: 4-5
Instructors: Blessing, P. (PI)

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. The 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 examine the graphic works of artists such as Francisco Goya, Käthe Kollwitz, Ester Hernandez, and Ebony Patterson in various collections on Stanford's campus. Seminar participants will also contribute to a course-related exhibition at the Cantor Arts Center where they will assist in various aspects of exhibition organization, such as selecting artworks and writing wall labels. This is a unique opportunity to combine the classroom study of art history with hands-on curatorial experience.
Last offered: Winter 2023

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
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