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161 - 170 of 205 results for: ARTHIST

ARTHIST 440: Millennium Approaches: The Art of the 1990s (ARTHIST 240)

This seminar will examine the art historical legacy of the 1990s, the decade of Bill Clinton, Beavis and Butthead, and Y2K. By placing art in conversation with music, popular culture, and political events, we will explore the dark underbelly of the decade's facade of sunny optimism. Key topics will include the the end of the Cold War, multiculturalism, American interventionism, the AIDS crisis, and early internet culture. Artists covered will include Felix Gonzalez-Torres, Kim Gordon, Mike Kelly, the Young British Artists, Gregg Bordowitz, Lorna Simpson, Zoe Leonard, Byron Kim, and Glenn Ligon. What is the relationship between art, popular culture, and history? How did the 1990s help shape our current culture?
Last offered: Autumn 2019

ARTHIST 441: Overlooked/Understudied

This seminar focuses on overlooked artists and understudied artworks in the U.S. from the late 19th century to the present. Rather than reclaiming marginality for its own sake, we will consider how the practice of looking at the overlooked art changes familiar narratives of canonical art.
Last offered: Winter 2021

ARTHIST 442: Art History in the First Person (ARTHIST 242A)

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

ARTHIST 443: Networks: A Visual History

Networks are maps for thinking. They illustrate connections while shaping mental journeys, transforming our self-reflexivity along the way. In this course, we will study the metamorphoses of networks, from medieval genealogies to Renaissance cartographic systems and from modern mnemotechnic diagrams to today's visualizations of brain connectivity to ask questions about the politics of connectivity, the deceptions of graphic simplicity, and the capacity of infographics to turn into art.

ARTHIST 444: Counter-Institution: Performance and Institutional Critique (TAPS 342)

Out of 100 members of the current US Senate, only one has a college degree in arts. In the House of Representatives, the situation is even bleaker: while some ten representatives, out of 435, have experience in some kind of artistic practice (music, writing, or video design), again only one holds an art-related degree. On state level, the situation is better, but not much. Is this severe under-representation of artists among elected officials the result of their lack of interest in institutional position of the arts? How would arts policies in the US look if more elected officials had background in the arts and actual stakes in this sector? 'Counter-Institution' brings together artistic practice and policy. On the one hand, we will explore the 'institutional critique' of artists such as Andrea Fraser, Hito Steyerl, and Fred Wilson, and on the other, we will investigate government initiatives that affected the arts, from the New Deal in the 1930s to the severe defunding of the National Endowment for the Arts in the 1990s, to increasing privatization of art institutions in the first decades of the new millennium.
Terms: Spr | Units: 3

ARTHIST 446: Duchamp Then and Now (ARTHIST 246)

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 447: Russia in Color (ARTHIST 247, 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

ARTHIST 448: The Body in Film and other Media (FILMEDIA 448)

In this seminar, we will consider the body on screen as well as the body before the screen i.e. the spectator but also the profilmic body of the actor to examine corporeal performance and reception. The dancing body, the comic body, dead and live bodies, the monstrous body, the body in pain, the virtual body all raise questions about embodiment, liveness, and performance. We will read the body in audiovisual culture through an engagement with affect theory, focusing on the labor of performance, the construction of stardom, spatial and temporal configurations of the performing body, and the production of affect and sensation in the spectating body. Through a discussion of make-up, fashion, the labor of producing the idealized star body from the meat-and-bones body of the actor, or body genres where the spectator's body is beside itself with sexual pleasure, fear and terror, or overpowering sadness, we will inquire into ideologies of discipline and desire that undergird mediatized bodies. nnNo prior engagement with film studies is required. Students are encouraged to write seminar papers that build on current research interests.nnNOTE: Instructor consent required for undergraduate students (only seniors may enroll). Please contact the instructor for permission to enroll if you're an undergraduate senior.
Last offered: Winter 2020

ARTHIST 450A: Printing Protest: The Artist as Social Critic (ARTHIST 250A)

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. This 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 the graphic works of artists such as Francisco Goya, Käthe Kollwitz, Ester Hernandez, and Emory Douglas. The seminar will incorporate visits to various collections on Stanford¿s campus, including the Cantor Arts Center, Green Library, and the Hoover Institution.
Terms: Win | Units: 5

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.
Last offered: Autumn 2021
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