2015-2016 2016-2017 2017-2018 2018-2019 2019-2020
Browse
by subject...
    Schedule
view...
 

241 - 250 of 258 results for: ARTHIST

ARTHIST 485A: Exhibiting East Asian Art

This seminar will explore the history, conceptual approaches, design, and practicalities of museum-based exhibitions of East Asian art. Through readings, field trips, and site-based exercises the seminar will look to inform the planned reinstallation of the Cantor Center's East Asian galleries. Open to graduate and undergraduate students with interests in art history, museology, design, and cultural representation. Permission of the instructor required.
Last offered: Spring 2014

ARTHIST 486A: Exhibition Seminar: Contemporary Chinese Calligraphy and Painting

This two-quarter seminar will be a planning workshop for an upcoming exhibition of contemporary Chinese ink painting at the Cantor Center for Visual Arts. Drawn from a major private collection, objects in the exhibition will represent leading artists and trends in contemporary Chinese ink painting, printmaking, and calligraphy. Seminar participants will be involved in all aspects of the project, from conceptualizing exhibition themes, researching artists and works, object selection and exhibition design to writing labels, wall texts, and essays for a planned accompanying publication. Limited enrollment; prior consent of instructor required. May be repeat for credit
Last offered: Winter 2017 | Repeatable for credit

ARTHIST 487X: Pictures of the Floating World: Images from Japanese Popular Culture (ARTHIST 287, JAPAN 287)

Printed objects produced during the Edo period (1600-1868), including the Ukiyo-e (pictures of the floating world) and lesser-studied genres such as printed books (ehon) and popular broadsheets (kawaraban). How a society constructs itself through images. The borders of the acceptable and censorship; theatricality, spectacle, and slippage; the construction of play, set in conflict against the dominant neo-Confucian ideology of fixed social roles.
Last offered: Winter 2016

ARTHIST 489: Connoisseurship Studies of Chinese Painting, Calligraphy, and Seals

This course focuses on taking connoisseurship out of the classroom and into the collecting world. With many classes being held at the Asian Art Museum and private collections in the Bay Area, students will learn not only what the role connoisseurship plays in the current art landscape, but how a museum works. Combines case studies in the field, reading material, eyes-on experience, and discussion, this class will address the topics of utilizing resources, conducting research, cultivating collectors, building collections, and curating exhibitions through the lens of connoisseurship.
Last offered: Spring 2013

ARTHIST 489A: Making the Masterpiece in Song Dynasty China (ARTHIST 289A)

Studies of canon formation involving Song Dynasty (10-13th c.) Chinese works of painting, calligraphy, ceramics, and architecture. The roles of early art writing and criticism; collecting histories; art historical theory; / copying, imitation, and reproductive practices; period and regional taste; and modern museological and art historical discourses in identifying and constructing a canon of Song masterworks.
Last offered: Winter 2015

ARTHIST 490: Curatorial Activism in the Arts of Africa

Enrollment restricted to graduate students and advanced undergraduates. What is contemporary in African art and how does one curate the contemporary in and through African art? The course examines curatorial practices and activist projects. Topics include redefining museum exhibitions and collections of African art at the Cantor Arts Center and museums around the world; breaking away from stereotypical representations of the arts and cultures of Africa; controversial issues and dilemmas; curatorial activities directed toward cultural, social, and political activism; strategic modes of display and design; subjectivity vs. objectivity; and fostering critical dialogues about the arts and cultures of Africa.

ARTHIST 490A: Indigenous Cultural Heritage: Protection, Practice, Repatriation (ARTHIST 190A, PUBLPOL 190, PUBLPOL 290)

This interdisciplinary seminar explores pressing questions relating to the protection, practice and repatriation of the cultural heritage of Indigenous peoples from North America and beyond. Using an innovative combination of in-class lectures and videos of interviews with renowned experts, including Indigenous leaders, scholars, artists and performers and museum professionals from around the world, this seminar will explore and problematize, among other subjects: the impact of colonialism, urbanization and other political, legal, economic, religious and cultural forces on understandings and definitions of "indigenous" and "cultural heritage"; the development of international law relating to Indigenous peoples¿ cultural rights; international, domestic, and tribal heritage protection and repatriation laws/initiatives including the 2007 United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP), the 1990 US Native American Graves Protection and Repatriation Act (NAGPRA), and others; past and present Western museum practices and guidelines relating to display, preservation, provenance research and repatriation of indigenous cultural material; the meaning of repatriation to Indigenous peoples and other stakeholders; and resolving repatriation disputes, including by alternative dispute resolution (ADR) processes. While case studies will relate primarily to Indigenous peoples of North America, comparisons will be drawn with the situation of Indigenous peoples in other regions, such as Oceania and Russia. Each week students will brainstorm actionable ideas for amending/supplementing current frameworks in order to give force to the cultural rights enumerated in UNDRIP. The overall seminar experience will involve discussions of lectures and video content, assigned readings, quizzes, a class visit to the Cantor Center Native Americas collection, and visits to our classroom by experts. Elements used in grading: class participation, attendance and a final project (one-day take-home exam; or research paper or film project with instructor's consent).
Last offered: Autumn 2016

ARTHIST 502: Methods: Objecthood

What does it mean to be an object? Recent scholarship on the so-called material turn, including object-oriented-ontology, thing theory, and speculative realism likes to think it knows the answer. Yet as Frantz Fanon reminds us, objecthood is far more fraught and even violent than the simple imputation of agency. This seminar explores the idea of objecthood in art history, critical theory, and literature. Each week we will consider a different type of object, including paintings, photographs, furniture, props, and fetishes. How might art and material culture help us understand the processes and histories of objectification, and conversely, how might the study of objecthood open new paths of art historical inquiry that account for rather than reproduce difference? What are our ethical obligations to objects, and especially to our objects of study?
Terms: Aut | Units: 5
Instructors: Kwon, M. (PI)

ARTHIST 600: Art History Bibliography and Library Methods

Terms: Aut | Units: 1
Instructors: Kam, D. (PI)

ARTHIST 610: Teaching Praxis

Terms: Aut, Win, Spr | Units: 1-5 | Repeatable for credit
Filter Results:
term offered
updating results...
number of units
updating results...
time offered
updating results...
days
updating results...
UG Requirements (GERs)
updating results...
component
updating results...
career
updating results...
© Stanford University | Terms of Use | Copyright Complaints