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191 - 200 of 209 results for: ARTHIST

ARTHIST 482A: Approaching Dunhuang: Methods and Debates

This seminar will explore recent scholarly approaches to the visual arts of the Buddhist cave shrine complex at Dunhuang in northwest China between the 5th and 9th c. CE. Topics will include real and virtual spatiality of the cave shrines; questions of function (ritual, memorial, meditative, visualization); textual and doctrinal relationships of images and spaces; patronage and political contexts; production techniques; narrative and paradise iconographies; icons and illustrations. The seminar group will visit the concurrent major Dunhuang exhibition at the Getty Museum in Los Angeles and focus especially on banner paintings, sculptures, and replica cave shrines (275, 285, 320) represented in the exhibition.
Terms: Spr | Units: 5
Instructors: Vinograd, R. (PI)

ARTHIST 485: The Situation of the Artist in Traditional Japan (JAPANGEN 220)

Topics may include: workshop production such as that of the Kano and Tosa families; the meaning of the signature on objects including ceramics and tea wares; the folk arts movement; craft guilds; ghost painters in China; individualism versus product standardization; and the role of lineage. How works of art were commissioned; institutions supporting artists; how makers purveyed their goods; how artists were recognized by society; the relationship between patrons¿ desires and artists¿ modes of production.
Last offered: Spring 2008

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 487X: Pictures of the Floating World: Images from Japanese Popular Culture (ARTHIST 287, JAPANLIT 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.
Terms: Win | Units: 5
Instructors: Takeuchi, M. (PI)

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 90)

This new interdisciplinary seminar explores challenges and avenues for furthering protection of the cultural heritage rights enshrined in the UN Declaration on the Rights of Indigenous Peoples (UNDRIP). 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 analyze current and potential tribal, domestic and international legal and ethical frameworks for indigenous cultural heritage protection and repatriation. Among other subjects, we will discuss and problematize: 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; tribal and domestic heritage protection and repatriation laws/initiatives including the 1990 US Indian Arts and Crafts Act and Native American Graves Protection and Repatriation Act; past and present Western museum practices relating to display, preservation, provenance research and repatriation of Indigenous peoples' 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, including the Arizona Hopi and Northwest Coast First Nations, comparisons will be drawn with the situation of Indigenous peoples in other regions, such as Oceania and Russia. The overall seminar experience will involve discussions of lectures and video content, assigned readings, a class visit to the Cantor Center Native Americas collection, and visits to our classroom by renowned experts, including Dr. Morten Rasmussen, who participated in the recent DNA analysis of Kennewick Man/The Ancient One. Students who have taken this course are eligible to join a guided weekend trip to Hopi territory tentatively planned for Spring Quarter 2016. 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). Registration: Students may seek the instructor's consent via email (sjdenant@stanford.edu).
Terms: Aut | Units: 2
Instructors: Jessiman, S. (PI)

ARTHIST 502: Methods and Issues in Visual Studies

This course introduces grad students to a range of interpretive methods in the study of art, visual culture, and media. Required for incoming PhD students in Art History.
Terms: Aut | Units: 5
Instructors: Lee, P. (PI)

ARTHIST 600: Art History Bibliography and Library Methods

Terms: Aut | Units: 1
Instructors: Blank, P. (PI)
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