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151 - 160 of 954 results for: all courses

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: not given this year, last offered Winter 2019 | Units: 3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit

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: not given this year, last offered Spring 2019 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit

ARTHIST 245: Art, Business & the Law (SIW 245)

This course examines the intersection of art, business, and the law from a number of different angles, focusing on issues that impact our understanding of works of art and their circulation in the modern and contemporary periods. Topics range from individual case studies (e.g., Leonardo da Vinci; Richard Serra) to the consolidation of the art market, and include cultural heritage issues, problems of censorship, and conceptions of authorship and intellectual property.nnIn Autumn 2017-18 this course will be offered at Stanford in Washington in Washington, D.C. and enrollment is limited to students who are enrolled in the SIW Program.
Terms: Aut | Units: 5 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Troy, N. (PI)

ARTHIST 252A: Art and Power: From Royal Spectacle to Revolutionary Ritual (FRENCH 252)

From the Palace of Versailles to grand operas to Jacques-Louis David's portraits of revolutionary martyrs, rarely have the arts been so powerfully mobilized by the State as in early modern France. This course examines how the arts were used from Louis XIV to the Revolution in order to broadcast political authority across Europe. We will also consider the resistance to such attempts to elicit shock-and-awe through artistic patronage. By studying music, architecture, garden design, the visual arts, and theater together, students will gain a new perspective on works of art in their political contexts. But we will also examine the libelous pamphlets and satirical cartoons that turned the monarchy¿s grandeur against itself, ending the course with an examination of the new artistic regime of the French Revolution. The course will be taught in English with the option of French readings for departmental majors.
Terms: not given this year, last offered Spring 2018 | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI | Grading: Letter or Credit/No Credit

ARTHIST 263B: The View through the Windshield: Cars and the American Landscape

Both cars and the landscape are fundamental to American identity. This seminar will consider the relationship between them: how they have shaped each other, how one mediates the experience of the other, and how American artists such as Ansel Adams, Edward Hopper, and Ed Ruscha have represented both. We will discuss the relationship between nature and technology; the aesthetics of highways and parkways; the phenomenology of driving and road trips; maps and way finding; and the future of cars, mapping, and the landscape.
Terms: not given this year, last offered Autumn 2013 | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)

ARTHIST 264A: Picturing the Cosmos

This seminar explores the place of images in how we understand and imagine the universe. The course draws on art, science, and popular culture, and pays particular attention to the ways they inform each other. Examples include: star maps, science fiction films, appropriated astronomical images, and telescopic views of stars, planets, and nebulae. Using these representations as well as accompanying readings we will discuss the importance of aesthetics for conceptions of the cosmos; the influence of technology on representations; strategies for representing concepts that exceed the limits of human vision; and the ways that views of the universe reflect and shape their cultural context. Open to undergraduates and graduates.
Terms: not given this year, last offered Spring 2013 | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

ARTHIST 264B: Starstuff: Space and the American Imagination (AMSTUD 143X, FILMSTUD 264B)

Course on the history of twentieth and twenty-first century American images of space and how they shape conceptions of the universe. Covers representations made by scientists and artists, as well as scientific fiction films, TV, and other forms of popular visual culture. Topics will include the importance of aesthetics to understandings of the cosmos; the influence of media and technology on representations; the social, political, and historical context of the images; and the ways representations of space influence notions of American national identity and of cosmic citizenship.
Terms: not given this year, last offered Autumn 2018 | Units: 5 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit

ARTHIST 278: Introduction to Curating

Gain hands-on curatorial experience at the Cantor Arts Center by developing an exhibition in the Oceanic gallery about the Global Southn(the Indian Ocean region). Explore and debate strategies for presenting diverse art forms, conduct research, prepare wall texts and labels, and participate in designing the exhibition space in collaboration with fellow students, faculty, and Cantor staff members.
Terms: not given this year, last offered Autumn 2016 | Units: 5 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

ARTSINST 11Q: Art in the Metropolis (ENGLISH 11Q, TAPS 11Q)

This seminar is offered in conjunction with the annual "Arts Immersion" trip to New York that takes place over the spring break and is organized by the Stanford Arts Institute (SAI). Participation in the trip is a requirement for taking part in the seminar (and vice versa). The trip is designed to provide a group of students with the opportunity to immerse themselves in the cultural life of New York City guided by faculty and the SAI programming director. Students will experience a broad range and variety of art forms (visual arts, theater, opera, dance, etc.) and will meet with prominent arts administrators and practitioners, some of whom are Stanford alumni. For further details and updates about the trip, see http://arts.stanford.edu.
Terms: Spr | Units: 3 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)

ARTSTUDI 153N: Ecology of Materials

This hands on studio based sculpture course takes a critical look at the materials used in sculpture and addresses the environmental concerns surrounding them. We will look at artists concerned with environmental impact and the interconnection of art to other fields. This class also addresses the impact of material and technique upon form and content; therefore understanding the physical and expressive possibilities of diverse materials. Conceptual and technical considerations will be addressed. Students will learn traditional building techniques as needed (wood shop, metal shop, mold making, found object) as well as anti-object techniques. Existing at the intersection of art, science, technology and ecology, environmental art often functions to inform and/or interpret natural conditions and the processes associated with both "non-human" and "human-made" constructions. It will also educate us about environmental issues and concerns. This course introduces and provides a context for this area of interdisciplinary exchange and artist production by examining areas commonly known as cradle to cradle design, land art, eco art, environmental art, and art and technology. What role does sculpture play in a fragile world with depleting natural resources, global economies and media dominance? What is the life cycle of object making and creating? What is our relationship to objects in a growing technological age? Students will make 3-4 projects based on these questions. Group discussions, critiques, readings, video presentations, a field trip to a local artist-in-residence program Recology at the San Francisco Dump, visiting artists and visiting faculty from Stanford doing environmental research will augment this class.
Terms: not given this year, last offered Winter 2015 | Units: 3 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter (ABCD/NP)
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