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51 - 60 of 298 results for: ARTHIST

ARTHIST 152: The American West (AMSTUD 124A, ENGLISH 124, HISTORY 151, POLISCI 124A)

The American West is characterized by frontier mythology, vast distances, marked aridity, and unique political and economic characteristics. This course integrates several disciplinary perspectives into a comprehensive examination of Western North America: its history, physical geography, climate, literature, art, film, institutions, politics, demography, economy, and continuing policy challenges. Students examine themes fundamental to understanding the region: time, space, water, peoples, and boom and bust cycles.
Terms: Spr | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II, WAY-SI

ARTHIST 153: Warhol's World (AMSTUD 153, ARTHIST 353, FEMGEN 153, TAPS 153W, TAPS 353W)

Andy Warhol's art has never before been more widely exhibited, published, or licensed for commercial use, product design, and publication than it is today. For all Warhol's promiscuous visibility and global cachet at the current moment, there is much we have yet to learn about his work and the conditions of its making. This course considers the wide world of Warhol's art and life, including his commercial work of the 1950s, Pop art and films of the 1960s, and celebrity portraiture of the 1970s and 80s. Of particular interest throughout will be Warhol's photography as it reflects his interest in wealth and celebrity on the one hand and on the everyday life of everyday people on the other. The course will include multiple visits to Contact Warhol: Photography without End, an exhibition co-curated by Prof. Meyer on view throughout the quarter at the Cantor Arts Center.
Last offered: Autumn 2018

ARTHIST 154: The American Civil War: A Visual History (AMSTUD 154X, ARTHIST 354)

A painting of men charging across a field, a photograph of dead bodies in a ditch, a fragment of metal, a sliver of bone, and a brass button: how do we make sense of the visual record of the American Civil War (1861-65)? From the Capitol Dome to a skeleton dug up in a highway project a hundred years after the last battle, the course will consider the strange and scattered remnants of a famous era. Drawing on the poetry of Walt Whitman, Emily Dickinson, and Herman Melville, the paintings of Winslow Homer, the photographs of Alexander Gardner, and the oratory of Abraham Lincoln, the course will examine what cannot be portrayed: the trauma of war.
Last offered: Winter 2015 | UG Reqs: WAY-A-II

ARTHIST 154B: Who We Be: Art, Images & Race in Post-Civil Rights America (AFRICAAM 188, CSRE 88)

Over the past half-century, the U.S. has seen profound demographic and cultural change. But racial progress still seems distant. After the faith of the civil rights movement, the fervor of multiculturalism, and even the brief euphoria of a post-racial moment, we remain a nation divided. Resegregation is the norm. The culture wars flare as hot as ever.nnThis course takes a close examination of visual culture¿particularly images, works, and ideas in the contemporary arts, justice movements, and popular culture¿to discuss North American demographic and cultural change and cultural politics over the past half-century. From the Watts uprising to the #BlackLivesMatter movement, from multiculturalism through hip-hop to post-identity art, we will deeply explore the questions: How do Americans see race now? Do we see each other any more clearly than before?
Last offered: Spring 2016

ARTHIST 154C: American Art Since 1776

How have artworks and artifacts shaped life and culture in the United States? This course considers a variety of objects, from canonical eighteenth-century paintings to decorative art, children's books, outsider art, and other creative expressions often overlooked in traditional surveys. How do art historians come to know such objects and, importantly, the past with them? How might we understand the historical implications of visual and material culture and share them in our writing? Close and creative looking, methodologies from art history and material culture studies, and an engagement with the wider visual, material, and literary worlds of these years will help us explore these and other questions. A final paper produced in stages throughout the term will afford students an opportunity to produce a six-page art historical essay of their own on an artwork or artifact of their choosing, preferably in a local collection. What might these objects and their study reveal to us about our history, present, and future?
Last offered: Summer 2017

ARTHIST 155C: Abstract Expressionism: Painting/Modern/America (AMSTUD 155C)

The course will focus on American abstract painting from the 1930s to the 1960s, emphasizing the works of art at the Anderson Collection at Stanford. We will focus on looking closely at pictures by Jackson Pollock, Mark Rothko, Willem de Kooning, and other renowned abstract painters, developing skills of speaking and writing about these works of art. We will also place these pictures in their mid-20th century context: World War II and the Cold War; Hollywood and popular culture generally; Beat literature; and locations such as New York and San Francisco.
Last offered: Spring 2019 | UG Reqs: WAY-A-II

ARTHIST 156: American and European Art, 1945-1968 (ARTHIST 356)

Examines the pivotal figures, movements, themes and practices of art in the United States and Europe, from the conclusion of World War 2 to the end of the 1960s. Emphasis is on the changed nature of the avant-garde after the catastrophic events of midcentury. Topics include: modern art, ideology and the Cold War; the rise of consumer society and the "Society of the Spectacle"; concepts of medium specificity; the impact of new media and technologies on postwar art making; the role of the artist as worker and activist. Movements include: Abstract Expressionism, Art Informel, Pop, minimalism, process, performance conceptual art. An introductory art history course is recommended.
Last offered: Winter 2013

ARTHIST 156A: Warhol: Painting, Photography, Performance (ARTHIST 356A, TAPS 156A, TAPS 356A)

This course focuses on the 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 and his everyday photographs of the 1970s and 1980s) alongside his now-canonical Pop paintings of the 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 wide-ranging influence on American culture in the decades since his death in 1987.
Last offered: Winter 2017 | UG Reqs: WAY-A-II

ARTHIST 156N: Art and the Power of Place: Site, Location, Environment

Many iconic works in the history of art draw their power and significance from the place in which they are sited or installed. The cave paintings of Altamira, Spain; Michelangelo's Sistine Chapel and the monumental "earthworks" made in the deserts of the American Southwest during the 1960s are just a few examples showcasing the important relationship between art and place. In this seminar we will explore how works of art throughout history create a sense of place; and how place, in turn, changes the interpretation of works of art. We will learn how to analyze works of art in terms of their immediate contexts and surroundings, whether temples, museums, spaces of the city or unexpected environments, charting the historical meanings of place in the process. We will look at a range of examples throughout time, from prehistory to the present day. A critical feature of the seminar will be to consider works of art outside the classroom, on both the Stanford campus and beyond. Possible field trips include visits to Alcatraz Prison (where the famous Chinese artist, Ai Weiwei, will install a new work in the fall of 2014)
Last offered: Winter 2015

ARTHIST 157A: Histories of Photography (ARTHIST 357A)

This course investigates multiple histories of photography. It begins in early nineteenth-century Europe with the origins of the medium and ends in the United States on September 11, 2001, a day that demonstrated the limits of photographic seeing. Rather than stabilizing any single trajectory of technological iterations, the course is more interested in considering the ¿work¿ performed by photography. Through historical case studies, it considers how `to photograph¿ is to order and to construct the world; to incite action and to persuade; to describe and to document; to record and to censor; to wound; to heal.
Last offered: Autumn 2013 | UG Reqs: GER:DB-Hum
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