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31 - 40 of 209 results for: ARTHIST

ARTHIST 127A: African Art and Politics, c. 1900 - Present (AFRICAST 127)

This course explores the relationship between art and politics in twentieth century Africa. Artistic production and consumption is considered in the context of various major political shifts, from the experience of colonialism to the struggle against Apartheid. Each week we will look closely at different works of art and examine how artists and designers responded to such challenges as independence, modernization and globalization. We will look at painting, sculpture, religious art, public and performance art, photography and film. How western perceptions and understanding of African art have shifted, and how museums have framed African art throughout the twentieth century will remain important points of discussion throughout the course.

ARTHIST 132: American Art and Culture, 1528-1910 (AMSTUD 132, ARTHIST 332)

The visual arts and literature of the U.S. from the beginnings of European exploration to the Civil War. Focus is on questions of power and its relation to culture from early Spanish exploration to the rise of the middle classes. Cabeza de Vaca, Benjamin Franklin, John Singleton Copley, Phillis Wheatley, Charles Willson Peale, Emerson, Hudson River School, American Genre painters, Melville, Hawthorne and others.
Last offered: Autumn 2013 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II

ARTHIST 140N: Couture Culture: Fashion, Art & Modernism from Manet to Mondrian

This course examines the ways in which fashion has figured in the construction of modern experience and how it has been represented in the visual arts, primarily in Europe and the United States between about 1850 and 1965. Alongside the emergence of haute couture, the rise of the ready-to-wear industry during this period coincided with the consolidation of the department store; these institutions contributed to the development of a culture of consumption and display that continues to shape our lives today. Manet, Degas and other Impressionist painters were sensitive the nuances of fashion, which they, like Baudelaire, saw as an aspect of modernity indispensable to their art. Clothing was no less significant in the context of the Russian revolution, when Alexander Rodchenko, for example, outfitted himself in a home-made version of workers' overalls in order to reinforce his identification with factory laborers and thereby to suggest the breaking down of class distinctions. The course also explores the significance of fashion for an abstract painter like Piet Mondrian, but, more to the point, we look at how Mondrian's work was appropriated to the world of fashion by Yves Saint-Laurent, who assured that Mondrian's signature geometric style would become instantly recognizable and eventually function as a hugely popular brand. The circuits through which we can trace the historical trajectory of fashion will illuminate its importance for understanding many facets of modern culture.
Last offered: Spring 2013

ARTHIST 142: Architecture Since 1900 (CEE 32G)

Art 142 is an introduction to the history of architecture since 1900 and how it has shaped and been shaped by its cultural contexts. The class also investigates the essential relationship between built form and theory during this period.
Last offered: Autumn 2014 | UG Reqs: GER:DB-Hum, WAY-A-II

ARTHIST 142A: Home Alone: Houses that Artists and Thinkers Design for Themselves (ARTHIST 342A)

This course investigates houses, hideaways, and studios that artists and thinkers have designed for themselves with varying degrees of self-consciousness, from subconscious images of the self to knowing stages for the contemplative life. Case studies range from antiquity to the present, from the studio-house of Peter Paul Rubens to that of Kurt Schwitters; from the house-museum of Sir John Soane to the Vittoriale of Gabriele D'Annunzio; from the philosophical dwelling of the Emperor Hadrian to that of Ludwig Wittgenstein.
Last offered: Winter 2014

ARTHIST 143A: American Architecture (AMSTUD 143A, ARTHIST 343A, CEE 32R)

A historically based understanding of what defines American architecture. What makes American architecture American, beginning with indigenous structures of pre-Columbian America. Materials, structure, and form in the changing American context. How these ideas are being transformed in today's globalized world.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Beischer, T. (PI)

ARTHIST 144: On Looking: Art, Obscenity, and the Ethics of Spectatorship

This course considers the ethics of looking at art, photography, and other forms of visual representation that have been declared obscene or indecent, whether by religious authorities, government officials, community representatives, or legal opinions. What are the ethical stakes of looking at such materials? And what are the ethical implications of looking away and insisting that others do so as well? nnThe creation of vanguard art since the late 19th-century has often been linked to the concept of transgression. Is it, we will ask, the modern artist's responsibility to challenge accepted standards of representation and the protocols of looking? If so, how are we, as viewers and students of art, to distinguish between legitimate art and unfit obscenity?
Last offered: Autumn 2014 | UG Reqs: WAY-ER

ARTHIST 145: Culture Wars: Art and Social Conflict in the USA, 1890-1950 (AMSTUD 145M, ARTHIST 345, FEMGEN 145)

This course examines social conflicts and political controversies in American culture through the lens of visual art and photography. We consider how visual images both reflect and participate in the social and political life of the nation and how the terms of citizenship have been represented¿and, at times, contested¿by artists throughout the first half of the 20th century. The class explores the relation between American art and the body politic by focusing on issues of poverty, war, censorship, consumerism, class identity, and racial division.
Last offered: Spring 2014 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-ED

ARTHIST 146X: What is Contemporary Art, and Where Did it Come From?

"Contemporary art challenges us to question our assumptions," wrote philanthropist and collector Eli Broad. "It asks us to think beyond the limits of conventional wisdom." This course aims to introduce both the difficulties and the great rewards presented by Contemporary Art (1970 to the present). Examining the historical foundations of Contemporary Art in the 18th, 19th, and 20th centuries, we will learn about the century's most game-changing art practices and movements such as cubism, abstract expressionism, conceptual art, and performance art. Working from the assumption that art in its moment of production was always contemporary, the course will organize content through various thematic lenses such as "portraiture and vision", "the photographic", and "the hand and the mind." Lectures occur both as traditional classroom sessions as well as on-site sessions at Stanford University's public sculpture collection, the Cantor Art Center, and the Anderson Collection, emphasizing close and direct engagement with artworks. Drawing on these experiences and on close readings of key texts, assignments will range from short essays to online curation to gallery talks. Students will develop and enhance their critical visual literacy and ability to grapple with the unknown through skills of creative synthesis, identifying patterns across time and space, and exercising conceptual and visual analysis. Broadly, the goals of the class are to understand the present through the past, to demystify the often confusing nature of contemporary art, and to question why art matters and how.
Last offered: Summer 2014

ARTHIST 147: MODERNISM AND MODERNITY (ARTHIST 347)

The development of modern art and visual culture in Europe and the US, beginning with Paris in the 1860s, the period of Haussmann, Baudelaire and Manet, and ending with the Bauhaus and Surrealism in the 1920s and 30s. Modernism in art, architecture and design (e.g., Gauguin, Picasso, Duchamp, Mondrian, Le Corbusier, Breuer, Dali) will be explored as a compelling dream of utopian possibilities involving multifaceted and often ambivalent, even contradictory responses to the changes brought about by industrialization, urbanization, and the rise of mass culture.
Last offered: Spring 2015 | UG Reqs: GER:DB-Hum, WAY-A-II
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