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171 - 180 of 207 results for: ARTHIST

ARTHIST 450: Art in the Age of Precarity

Art and precarity in the age of neoliberalism. How artists and critics engage questions of immaterial labor, human capital, structural racism, environmental crisis, the anthropocene and other current issues in their work. The question of art as activism and social practice relative to such themes. Enrollment contingent upon permission of instructor; permission numbers will be provided by staff upon professor's approval.
Last offered: Spring 2018

ARTHIST 451: Warhol's World (ARTHIST 251)

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

ARTHIST 453: Aesthetics and Phenomenology (ARTHIST 253, 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.
Terms: Win | Units: 3-5
Instructors: Denson, S. (PI)

ARTHIST 456: What Was Photography? (ARTHIST 256)

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 460: Decolonizing Theory (FILMEDIA 460)

The past year has witnessed a remarkable reckoning with systemic racism and embedded structures of inequality, underscoring once again the epistemic violence of the privileging of a white, western, heteropatriarchal intellectual tradition in the academy. This seminar mobilizes multiple approaches and orientations, including decolonial theory, the Black Radical Tradition, postcolonial theory, and transnational decolonial feminisms. We consider critiques from these traditions of the Eurocentrism of critical theory, its imbrication with western modernity, colonial capitalism, and neocolonial geopolitics. Through texts ranging across frameworks of the coloniality of gender, epistemologies of the South, critical race studies, and theories of the global, we examine ways to de-universalize, de-imperialize, decolonize, and globalize Theory. Limited to graduate students; undergraduates must contact instructor for permission (seniors only).

ARTHIST 460: Meta-Pictures

What happens to a painting or a photograph when it depicts another representation inside itself? Either as a window or as a literal other picture, or even in the portrayal of a shadow cast by a tree (itself a kind of representation), works of art change their nature, expanding their claims on our imagination, when they portray these "other worlds" that both consolidate and destroy the main picture they inhabit. Focusing on Victor Stoichita's The Self-Aware Image (1997), among other texts, we will discuss Renaissance and Baroque painting primarily but with ample room for students to write final papers on meta-pictures from many eras and places.
Last offered: Autumn 2019

ARTHIST 464: American Art and Anthropology

This graduate seminar will address the intertwined histories of American art and anthropology from 1850-1950. During this period, the discipline of anthropology underwent a fundamental shift from a preoccupation with scientific racism to an emphasis on cultural pluralism. How did anthropology¿s transforming conception of ¿culture¿ inflect interethnic artistic exchange and the emergence of American modernism? Key subjects of inquiry will include racial objectification, the colonial gaze, ¿outsider¿ art, documentary and ethnographic film, and cultural appropriation.
Last offered: Spring 2019

ARTHIST 465: Media Technology Theory (COMM 384, FILMEDIA 465A)

This course surveys major theoretical approaches to the study of media technologies, including Frankfurt School critical theory, media archaeology, actor network theory, science and technology studies, platform studies and theories of critical making. By the end of the course, students should have a rich familiarity with the literature in this area, as well as with exemplary empirical studies conducted within each tradition. Preference to Ph.D. students in Communication and Art and Art History. Consent of instructor required for non-PhD students.
Last offered: Spring 2020

ARTHIST 465A: Word and Image (ARTHIST 265A, 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.
Last offered: Autumn 2020

ARTHIST 468: Encountering Contemporary Chinese Painting: Media and Themes (ARTHIST 268)

Two spring quarter exhibitions -- oil paintings and drawings by Zeng Fanzhi at the Anderson Collection, and Ink Worlds with works by two dozen major ink painters, calligraphers and video essayists at the Cantor -- convey part of the diversity of contemporary Chinese art practice. This seminar will explore media and techniques, artistic careers and strategies, and questions of cultural identity, history, place, language and the visionary presented by these artists and exhibitions.
Last offered: Spring 2018
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