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91 - 100 of 207 results for: ARTHIST

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

ARTHIST 256: What Was Photography? (ARTHIST 456)

Digital imaging has largely replaced darkroom work over the past quarter century, yet analog practices still dominate theories of photography. Working closely with the Capital Group Foundation Collection at the Cantor, this class will explore how those theories relate to vintage photographic prints and whether they are still relevant to the photography being produced today. Students will select one photographer within the Collection and create a set of writings that help contemporary viewers see these mid-century American artists through diverse contemporary perspectives.

ARTHIST 260A: Histories of the Museum: Collecting, Preserving, and Exhibiting Art

Museums have a history. This course questions how museums have shaped and been shaped by society, from their origins in early modern cabinets of curiosity to their contemporary transformation into virtual galleries and online exhibitions. Incorporating visits to Stanford's diverse collections, this seminar considers the histories of museums as public institutions and explores key concepts guiding the acquisition and display of art.
Last offered: Spring 2022

ARTHIST 261: Black Aliveness (AFRICAAM 261, AMSTUD 261A)

Based on Kevin Quashie's 2021 book "Black Aliveness, or A Poetics of Being," this seminar will explore moments of possibility, love, and being in works of literature and art. With Quashie as our guide, we will look closely at poems, stories, photographs, and paintings by, among others, Lucille Clifton, Audrey Lorde, Gwendolyn Brooks, Toni Morrison, Toi Derricotte, Gordon Parks, and Henry Ossawa Tanner. Featuring intense discussion and emphasis on developing powers of black aliveness in one's own writing.
Terms: Aut | Units: 5
Instructors: Nemerov, A. (PI)

ARTHIST 264B: Starstuff: Space and the American Imagination (AMSTUD 143X, FILMEDIA 264B)

Course on the history of twentieth and twenty-first century American images of space and how they shape conceptions of the universe. Covers representations made by scientists and artists, as well as scientific fiction films, TV, and other forms of popular visual culture. Topics will include the importance of aesthetics to understandings of the cosmos; the influence of media and technology on representations; the social, political, and historical context of the images; and the ways representations of space influence notions of American national identity and of cosmic citizenship.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II

ARTHIST 265A: Word and Image (ARTHIST 465A, COMPLIT 225, ITALIAN 265, ITALIAN 365)

What impact do images have on our reading of a text? How do words influence our understanding of images or our reading of pictures? What makes a visual interpretation of written words or a verbal rendering of an image successful? These questions will guide our investigation of the manifold connections between words and images in this course on intermediality and the relations and interrelations between writing and art from classical antiquity to the present. Readings and discussions will include such topics as the life and afterlife in word and image of Ovid's "Metamorphoses," Dante's "Divine Comedy," Ludovico Ariosto's "Orlando Furioso," and John Milton's "Paradise Lost;" the writings and creative production of poet-artists Michelangelo Buonarroti, William Blake, and Dante Gabriel Rossetti; innovations in and correspondences between literature and art in the modern period, from symbolism in the nineteenth century through the flourishing of European avant-garde movements in the twentieth century.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II
Instructors: Prodan, S. (PI)

ARTHIST 272: Feminist Avant-Garde Art in Germany and Beyond (1968-2019) (ARTHIST 472, FEMGEN 280, GERMAN 280)

In "Woman's Art: A Manifesto" (1972), the artist, performer and filmmaker Valie Export (*1940) proposed the transfer of women's experience into an art context and considered the body "a signal bearer of meaning and communication." In reconceptualizing and displaying "the" body (her body) as an aesthetic sign, Export's groundbreaking work paves the way towards questioning the concepts of a "female aesthetic" and a "male gaze" (L. Mulvey). Beginning with Export, we will discuss art informed by and coalescing with feminism(s): the recent revival of the 1970s in all-women group shows, the dialectic of feminist revolution, the breakdown of stable identities and their representations, point(s) of absorption of commodified femininities. Particular attention will be paid to German-language theory and its medial transfer into art works. For students of German Studies, readings and discussions in German are possible. Online discussions will be organized with contemporary artists and curators. Em more »
In "Woman's Art: A Manifesto" (1972), the artist, performer and filmmaker Valie Export (*1940) proposed the transfer of women's experience into an art context and considered the body "a signal bearer of meaning and communication." In reconceptualizing and displaying "the" body (her body) as an aesthetic sign, Export's groundbreaking work paves the way towards questioning the concepts of a "female aesthetic" and a "male gaze" (L. Mulvey). Beginning with Export, we will discuss art informed by and coalescing with feminism(s): the recent revival of the 1970s in all-women group shows, the dialectic of feminist revolution, the breakdown of stable identities and their representations, point(s) of absorption of commodified femininities. Particular attention will be paid to German-language theory and its medial transfer into art works. For students of German Studies, readings and discussions in German are possible. Online discussions will be organized with contemporary artists and curators. Emphasis will be on: the relationship between (female?) aesthetics and (gender) politics, between private and public spheres, between housework and artwork; conceptions of identity (crises) and corporeality in visual culture and mass media; categories of the artist´s self in relation to the use of media (video, photography, film, collage, installation art). This course will be taught by Professor Elena Zanichelli, a Berlin-based art historian, critic, and curator. She is junior professor for Art History and Aesthetic Theory at IKFK (Institute for Art History - Film History - Art Education) at the University of Bremen.
Terms: Spr | Units: 3-5

ARTHIST 273: Couture Culture (ARTHIST 473, FRENCH 173, FRENCH 373)

Fashion, art, and representation in Europe and the US between 1860 and today. Beginning with Baudelaire, Impressionism, the rise of the department store and the emergence of haute couture, culminating in the spectacular fashion exhibitions mounted at the Metropolitan and other major art museums in recent years. Students participate actively in class discussion and pursue related research projects.
Last offered: Autumn 2021 | UG Reqs: WAY-A-II

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.
Terms: Win | Units: 5
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