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81 - 90 of 187 results for: ARTHIST

ARTHIST 415: Baroque: 1900-2000

The seminar, which is largely methodological and historiographic, problematizes issues of periodization. The course examines different approaches to the question of "what is baroque," from Alois Riegl and Erwin Panofsky to Michel Foucault, Svetlana Alpers and Giovanni Careri.
Terms: Win | Units: 5 | Grading: Letter or Credit/No Credit
Instructors: Hansen, M. (PI)

ARTHIST 416: Bernini

This seminar examines the career of Gianlorenzo Bernini (1598-1680), sculptor, architect, painter, stage designer and playwright, the premier artist of the popes. It will examine his cultural, political and religious milieu and lay particular emphasis on the theoretical relations between the arts that his oeuvre is seen to embody. In the process it will also review the genre of artistic biography, the historiography of the baroque and the myths of dynamism, theatricality, eroticism (and others) always associated with the period, and Bernini¿s work in particular.
Terms: Aut | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: Barry, F. (PI)

ARTHIST 417B: Architectural Theory from Antiquity to Le Corbusier (ARTHIST 217B)

This seminar focuses on themes and theories in architectural design from antiquity until the early twentieth century. Modern and contemporary architecture has often claimed its modernity through the incorporation of theory, but this seminar examines selections from key texts that have also moulded architectural and urbanistic thought in the ancient, medieval, and early modern eras in combination with analytical comparisons of built architecture.
Terms: Aut | Units: 5 | Grading: Letter or Credit/No Credit
Instructors: Barry, F. (PI)

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

TBD
Terms: Spr | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: Marrinan, M. (PI)

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.
Terms: Aut | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: Lee, P. (PI)

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.
Terms: Win | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: Vinograd, R. (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 | Grading: Letter (ABCD/NP)
Instructors: Ma, J. (PI)

ARTHIST 620: Area Core Examination Preparation

For Art History Ph.D. candidates. Prerequisite: consent of instructor.
Terms: Aut, Win, Spr, Sum | Units: 5 | Repeatable for credit | Grading: Satisfactory/No Credit

ARTHIST 680: Curricular Practical Training

CPT course required for international students completing degree. Prerequisite: Art History Ph.D. candidate.
Terms: Aut, Win, Spr, Sum | Units: 1-3 | Repeatable for credit | Grading: Letter or Credit/No Credit

ARTHIST 80N: The Portrait: Identities in Question

Most of us hold libraries of hundreds or thousands of ¿portraits¿ ¿ more or less instantly available posed images of ourselves and others. For most of human history, before the development of portable and digital cameras, portraiture was a much rarer and more deliberate social act and cultural practice, involving special materials and techniques, encounters with expert portraitists or photographers, and established settings for display. What almost all portraits, of whatever time or cultural place, have in common are presentations of social identities, roles, or persona, as well as a potential fascination and power that may be based in our neurological capacities for facial recognition and ¿mind-reading¿ through facial expressions. n This introductory seminar will explore many aspects of this basically simple category of thing ¿ images of particular persons. Our point of departure will be from the history of art, focusing on portrait sculptures, paintings, and photographs from many eras and cultures, some of which are among the most studied and discussed of all artistic monuments. We will consider techniques and approaches of portrait making, including the conventions that underlie seemingly realistic portraits, posing, the portrait situation, and portrait genres. Our primary focus will be on the multiple purposes of portraiture, from commemoration, political glorification, and self-fashioning to making claims of social status, cultural role, and personal identity. We will also discuss the changing status of portraiture under modern states of social dislocation, technological change, and psychoanalytic interrogation, and in postmodern conditions of multi-mediated realities and distributed subjectivities. Along the way, we will see that our understandings of portraiture benefits from the approaches and insights of many fields ¿ political and social history, anthropology, neuroscience, and literary studies among others.
Terms: not given this year | Units: 3 | Grading: Letter (ABCD/NP)
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