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201 - 210 of 237 results for: ARTHIST

ARTHIST 445: What's not American about American Art?

This seminar focuses on American art as a history of migration (of people but also of visual objects) across national and continental boundaries. We examine trans-Atlantic and trans-Pacific dialogues and consider how anxieties about foreigners, immigrants, and political dissidents shaped American art and culture at particular moments in the 20th century. In the second half of the course, we consider a series of museum exhibitions that repositioned American art as a history of social conflict and exclusion.
Last offered: Spring 2013

ARTHIST 452: Ghosts

Is history a form of ghost story? Historians summon the past--making it live in the present. Even the most empirical history is a kind of necromancy: the historian conjures the past, making it appear before our eyes. Tables and figures and other statistical data, no less than other other objective information, flutter in front of the reader like other sorts of ectoplasm in the crystal ball. In this course we will consider ghost stories and ghost paintings for what they reveal about the historian's occult craft. We will devote special attention to Stanford's campus as a haunted place, and students will write their final papers on some ghostly aspect of the university.
Last offered: Spring 2016

ARTHIST 453: Reading Walter Benjamin

Few cultural critics are so often cited by scholars in the humanities as Walter Benjamin. The impact of his writings has been decisive to some of the most influential art historians of recent memory, although usually based on a small number of texts (the Kunstwerk essay, the writings on photography, the flâneur, and cinema). Literary historians have turned to somewhat different studies with great profit, notably his writings on Baudelaire, translation, and German tragic drama. The publication of Benjamin¿s entire oeuvre in English has made his work more accessible to a broad range of scholars with diverse interests; one direction emerging from this familiarity is a deeper awareness of his commitment to materialist history. With the palpable collapse of ¿social art history¿ amongst younger art historians, dispersed ambitions of where ¿visual studies¿ might lead, and the return to aesthetic meditations derived from protracted analyses of single works, it may be the time to re-read Benjamin with an eye towards understanding his ambitions for a ¿materialist history.¿ That is the objective of this seminar : we will read deeply in Benjamin¿s writings, configure some ideas of what history meant to him, and attempt to export some of those practices to our current art-historical projects.
Last offered: Spring 2014

ARTHIST 454: The Image in Question : French theory after Foucault

TBD
Last offered: Spring 2015

ARTHIST 457: Abstract Expressionism

Coinciding with the opening of the Anderson Collection in the fall of 2014, this seminar considers the expanded field of Abstract Expressionism relative to both domestic and international cultural politics. Topics: Modernism and existentialism; transnational avant-gardes; interdisciplinary approaches to the visual image at mid-century; the ideologies of formalism and autonomous art; cold war aesthetics. Pollock. de Kooning, Guston, Newman, Rothko, Still, Gorky others. Close readings of Greenberg, Rosenberg and critics associated with Partisan Review and little magazines. Enrollment limited by application only; Phd students only with preference to Art History.
Last offered: Autumn 2014

ARTHIST 458: Warhol and After

This seminar focuses on the wide-ranging career of Andy Warhol as a means to consider the broader history of American art and culture since 1950. It examines little-studied aspects of Warhol¿s visual production (e.g. his career as a commercial artist in the 1950s, his everyday photographs of the 1970s and 1980s) as well as now-canonical Pop paintings of the early-to-mid 1960s. Warhol¿s critical and scholarly reception will be scrutinized in detail, as will published interviews of and writings by the artist. Finally, we will consider Warhol¿s legacy and influence on American art in the decades since his death in 1987.
Last offered: Spring 2014

ARTHIST 461: The American Civil War: An Experiential History

Can one write a history of lived experience, of ephemeral states that never were represented? Can one look at representations of paintings, photographs, and literature to see where these ephemeral states might be trapped, or might otherwise be pictured? Feeling that the real war did not get in the books (for the most part), the course examines those books and other representations and so many things that never attained so exalted a form to look at the war anew. Methodological readings as well as readings about the Civil War.
Last offered: Autumn 2013

ARTHIST 462: The Sense of Place in American Art

The course will focus on places in American art, literature, and material culture--how places are imagined; how they are conceived in opposition to the pure flow of forgettable experience; how what happens in a place somehow remains.
Last offered: Autumn 2014

ARTHIST 463: Grad Seminar: American - Ekphrasis

Description is a prime skill for an art historian.  How to make a reader (or listener) see a work, whether it is illustrated or not, is arguably the most fundamental and important task and pleasure in this discipline.  How to make a world--both for oneself and for one's audience--is the larger purpose of such imagistic writing.  Considering historical and more recent examples of ekphrasis, the course will concentrate on works of art in the Cantor Arts Center, requiring each student to select a work that will become the basis for a quarter-long writing project.
Last offered: Autumn 2013

ARTHIST 465: Media Technology Theory (COMM 384)

This course surveys major theoretical approaches to the study of media technologies, including Frankfurt School critical theory, media archaeology, actor network theory, science and technology studies, platform studies and theories of critical making. By the end of the course, students should have a rich familiarity with the literature in this area, as well as with exemplary empirical studies conducted within each tradition. Preference to Ph.D. students in Communication and Art and Art History. Consent of instructor required for non-PhD students.
Terms: Win | Units: 3-5
Instructors: Turner, F. (PI)
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