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111 - 120 of 274 results for: ARTHIST

ARTHIST 221E: Peripheral Dreams: The Art and Literature of Miró, Dalí, and other Surrealists in Catalonia (ILAC 281E)

Why was Salvador Dalí fascinated with the architecture of Gaudí? Why did André Breton, Paul Éluard and Federico García Lorca visit Barcelona? Moreover, why did Catalonia become such an important cradle for Surrealism? Why is the (Catalan) landscape such a relevant presence in the work of Miró and Dalí? Through a critical analysis and discussion of selected works of art and literature, this seminar focuses and follows the trajectories of Miró and Dalí, from Barcelona to Paris to New York, and explores the role of their Catalan background as a potentially essential factor in their own contributions to Surrealism and the reception of their work. The course will provide the materials and guide the student to conduct research on a specific work(s) of art, architecture, literature or cinema either by Miró, Dalí or one of his peers in relation to their cultural, social and political context. The course is intended for graduate students in Iberian and Comparative Literature, Art History, Cultural Studies, and related fields. Taught in English by Jordi Falgàs i Casanovas.
Last offered: Autumn 2017

ARTHIST 223: Living in the Material World: Imagination and Agency (ARTHIST 423)

This seminar deals with the materials that artists have chosen in art and construction from antiquity to the early modern era. The particular focus is upon pre-modern perceptions of the inherent properties of materials, from amber and ivory to marble and granite, as well as the diverse ways in which societies have associated particular substances with social and cultural values. Particular emphasis is laid upon the architectural use of materials.
Terms: Aut | Units: 5
Instructors: Barry, F. (PI)

ARTHIST 224N: The Popular Culture of Abstract Art

Is abstract art inherently elitist? Or gendered? How does it differ from (mere) decoration? Is there a chasm that necessarily separates abstract and popular art? Can you think of examples in which those categories might overlap?  This course is designed to deconstruct the boundaries that tend to make abstract art seem remote and difficult to understand, while pop(ular) art typically seems fun and accessible.  How can we complicate these clichés to construct a more compelling narrative of modern art?n nSeminar participants will have many opportunities to see and study original works at Stanford's Cantor Arts Center and the Anderson Collection, as well as a trip to SFMOMA. Artists studied include Georges Braque, Constantin Brancusi, Marcel Duchamp, Piet Mondrian, Andy Warhol, Roy Lichtenstein, and Jackson Pollock.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II
Instructors: Troy, N. (PI)

ARTHIST 225: Wonder, Curiosity & Collecting: Building a Stanford Cabinet of Curiosities (ARTHIST 425, HISTORY 205J, HISTORY 305J)

( History 205J is an undergraduate course offered for 5 units; History 305J is a graduate course offered for 4-5 units.) Inside every museum lies a cabinet of curiosities. Explores the history of wonder, curiosity, and collecting, with special attention to the Renaissance origins of the cabinet of curiosities and their modern afterlives. Hands-on experience working with the Stanford collection in the Cantor to create a contemporary cabinet in collaboration with artist Mark Dion. This will be a unique opportunity to create a Stanford cabinet of curiosities for the twenty-first century. All seminar participants will contribute to the published exhibit catalogue.
Terms: Win | Units: 4-5 | UG Reqs: WAY-CE

ARTHIST 229D: Topophilia: Place in Japanese Visual Culture through 19th Century (JAPANGEN 229)

Attachments to "place" and "home" are hard-wired into the biology of humans and animals alike, although such attachments vary according to specific times, cultures, and states of mind. Can we speak of a "Japanese sense of place" and if so, what is distinctive about it? Seminar explores religious visions and ritual fields; narratives of itinerancy; cityscapes; topographic taxonomies. Knowledge of Japanese culture is beneficial but not mandatory.

ARTHIST 231: Leonardo's World: Science, Technology, and Art (ARTHIST 431, HISTORY 231, HISTORY 331, ITALIAN 231, ITALIAN 331)

Leonardo da Vinci is emblematic of creativity and innovation. His art is iconic, his inventions legendary. His understanding of nature, the human body, and machines made him a scientist and engineer as well as an artist. This class explores the historical Leonardo, exploring his interests and accomplishments as a product of the society of Renaissance Italy. Why did this world produce a Leonardo? Students will contribute to a library exhibit for the 500th anniversary of Leonardo's death in May 2019.
Terms: Aut | Units: 4-5 | UG Reqs: WAY-A-II, WAY-SI

ARTHIST 238C: Art and the Market (FRENCH 238)

This course examines the relationship between art and the market, from the château-builders of the French Renaissance to avant-garde painters in the nineteenth-century Salon des Refusés. Using examples drawn from France, this course explores the relationship between artists and patrons, the changing status of artists in society, patterns of shifting taste, and the effects of museums on making and collecting art. Students will read a mixture of historical texts about art and artists, fictional works depicting the process of artistic creation, and theoretical analyses of the politics embedded in artworks. They will engage in sustained analysis of individual artworks, as well as the market structures in which such artworks were produced and bought. The course will be taught in English, with the option of readings in French for departmental majors.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI
Instructors: Pesic, A. (PI)

ARTHIST 242B: Megacities (ANTHRO 42, URBANST 142)

In this course we will examine the meaning, processes, and challenges of urbanization. Through a series of targeted readings across history and geography and through the study of varied means of representation (anthropology, literature, cartography, film, etc), the class will analyze the ways in which urban forms have come into being and created, met, and/or ignored challenges such as disease, water, transport, religious and class conflict, colonialism, labor, and trade. Students will read anthropology in conjunction with other disciplines (literature, urban planning, public health, architecture, and economics) to learn the ways in which ethnographies of immigration, urban poverty, class disparity, economic development and indicators, noise, and transportation substantively augment our understandings of how people live within globalization.
Terms: Win | Units: 5
Instructors: Jain, S. (PI)

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 243C: The Art of Travel

This undergraduate seminar explores a variety of objects upon which we see the marks of makers smitten and/or stymied by new technologies of transportation ¿ objects about the steamship, the railroad, the automobile, the airplane, the space shuttle, the internet. Among many types of material culture, the course considers scrimshaw, album quilts, maps, paintings, photographs, city plans, hood ornaments, and advertisements from the early Republic to the present. How do objects mark geographic movement, and the social relationships forged in the process? What do these marks tell us about how we, as contemporary viewers, experience the world?
Last offered: Winter 2015
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