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81 - 90 of 202 results for: ARTHIST

ARTHIST 243B: Photography and Time

This course examines the relationship between photography and temporality from the nineteenth century until the present day. We will study how the new medium interacted with other nineteenth-century technologies to produce a mechanized and standardized time, as well as attempts to use photography to destabilize such objective temporalities. In the twentieth century, we consider the dominant theorization of photography as an art that addresses time, history, and memory through study of critical texts by Benjamin, Barthes, and Bazin, among others. The course concludes by interrogating the applicability of these analogue theories to contemporary photographic practices. Attention to the technical labor of making photographs and the materiality of photographs in the archive will be central to the course, enabled by visits to the Cantor and Special Collections.
Last offered: Spring 2018

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 246N: Pacific Dreams: Art in California

This course will explore the rich history of art in California from 1850-present. From Chiura Obata¿s exquisite views of Yosemite to ASCO¿s urgent political performances in the streets of Los Angeles, artists have engaged California¿s landscape, history, and diverse populations in myriad ways. Topics of study will include art in San Francisco Chinatown, Hollywood and contemporary art, psychedelia and the counterculture, African American performance and Afrofuturism, and punk rock in Los Angeles. Special attention will be paid to issues of immigration, race, and ethnicity in California. The course will include multiple museum visits and trips to important artistic sites in the Bay Area.
Last offered: Winter 2019

ARTHIST 250A: Prints, Propaganda, 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 explore 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 the graphic works of artists such as Honoré Daumier, Corita Kent, and Emory Douglas and cover topics such as religion, war, empire, disease, and civil rights. The seminar will incorporate visits to the Cantor Arts Center, pending the reopening of collections.
Terms: Aut | Units: 3-5

ARTHIST 252A: Art and Power: From Royal Spectacle to Revolutionary Ritual (FRENCH 252)

From the Palace of Versailles to grand operas to Jacques-Louis David's portraits of revolutionary martyrs, rarely have the arts been so powerfully mobilized by the State as in early modern France. This course examines how the arts were used from Louis XIV to the Revolution in order to broadcast political authority across Europe. We will also consider the resistance to such attempts to elicit shock-and-awe through artistic patronage. By studying music, architecture, garden design, the visual arts, and theater together, students will gain a new perspective on works of art in their political contexts. But we will also examine the libelous pamphlets and satirical cartoons that turned the monarchy¿s grandeur against itself, ending the course with an examination of the new artistic regime of the French Revolution. The course will be taught in English with the option of French readings for departmental majors.
Last offered: Spring 2018 | UG Reqs: WAY-A-II, WAY-SI

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.

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.
Terms: Spr | Units: 3-5

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: 5 | UG Reqs: WAY-A-II
Instructors: Kessler, E. (PI)
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