HONORS STUDENT FOR 2013-14
Jake Harbour, Film Studies
The Empty Shot: Hitchcock, Ozu, and Lang
Jake Harbour is a senior from Santa Fe New Mexico majoring in Film and Media Studies. He is currently working on a senior thesis exploring the use of shots depicting empty spaces in the films of Fritz Lang, Yasujiro Ozu, and Alfred Hitchcock. This past summer, Jake went to Los Angeles, where he completed research in relation to his thesis, looking at the original shooting scripts, notes, and production materials for Hitchcock films such as Psycho and North by Northwest. Outside of school work, he enjoys photography, writing, and fencing. Jake is a member of the Stanford Varsity Fencing Team and a board member of the Stanford Film Society.
Jordan Hart, Art History
A Global Museum: Finance, Controversy, and Expansion at the Guggenheim Museum
Jordan Hart is a senior Art History major from Darien, Connecticut. She is currently working on an honors thesis concerned with global branding at the Guggenheim Museum. Jordan has interned in the Preferred Department at Sotheby's, in the Institutional Development Department at the Guggenheim Museum New York, and at Luhring Augustine Gallery. Additionally, Jordan serves as the Art History Department Peer Advisor, as an RA in the TriDelta house, and as a cataloguer in the Visual Resources Center.
Brady Magaoay, Art History
Gendering the Abstract: A Feminist Analysis of Helen Frankenthaler
Hailing from Lanai City Hawaii, Brady Magaoay is senior in the Art History department with a steadfast premedical background. Brady always had a burgeoning interest in American art and has been captivated by the development and rise of the Abstract Expressionists. His thesis is entitled, “Gendering the Abstract: A Feminist Analysis of Helen Frankenthaler,” Brady’s honors thesis was inspired by the career of the Second Wave Abstract Expressionist Helen Frankenthaler and her reception as a woman, wife, and foremost an artist. Brady has engaged with many opportunities at the Iris & B. Gerald Cantor Center for Visual Arts from working with in the collections department to assisting with the curatorial development of the Flesh and Metal exhibition. Beyond the classroom, he enjoys reading early 20th century literature, visiting museums, and of course the beach, sand, sun, and surf.
Michaela Khalfayan, Art History
Through the Looking Glass: Reflections of the Ambiguity of the Mirror in Art
Sophia Villarreal, Art History
Women and War in the Works of Nancy Spero and Ambreen Butt
Sophia is a senior from Tucson, Arizona. Her thesis focuses on the work of Nancy Spero and Ambreen Butt. She is interested in issues of war, feminism, identity, and contemporary art. Sophia has worked for three years at The Cantor museum on campus. She also interned in the educational department at the Philadelphia Museum of Art and in the curatorial department at the Museum of Contemporary Art in Barcelona. Outside of class Sophia dances with Ballet Folklorico de Stanford, is involved with the Stanford Labor Action Coalition, and helps curate student art with Your Art Here.
HONORS PROGRAM OVERVIEW
The Department of Art & Art History Honors Program is open to Art History and Film & Media Studies majors. To be accepted into the honors program a student must:
How do I apply?
The minimum requirements for admission to the Honors Program in the Department are a GPA of 3.7 overall, and at least 3.7 in Art History (for AH majors) or Film & Media Studies courses (for F&MS majors). Students wishing to write an honors thesis must announce their plans by submitting an “Intent to Submit an Honors Thesis Proposal” form signed by the thesis advisor (who need not be the student’s academic advisor) by February 1 of the Junior year. Proposals will not be accepted from students who do not submit this form.
Students must discuss their proposal with their advisor and the graduate student mentor throughout the proposal writing process. Note that the beginning of spring quarter is usually busy for everyone, and students who wait until after spring break to discuss their projects with their advisors often are not able to get significant feedback before the proposal due date. It is required that the thesis advisor be on campus and in residence during the fall quarter of the candidate’s senior year. It is highly recommended that they be on campus and in residence throughout the rest of the candidate’s senior year.
The purpose of the honors thesis is to extend and deepen work students have done in Art History/Film & Media Studies classes. Theses are not explorations of an area that the student has never studied before. The topic should have focus and clear parameters. The thesis process is very time intensive and demanding, but also very rewarding. It is expected that students have a solid background in their field of study prior to applying to the honors program. Exposure to a wide range of courses and familiarity with faculty will benefit you in this process. Students who are interested in researching a topic, but do not feel prepared to undertake an honors thesis are encouraged to discuss an independent study/directed reading project with faculty.
Candidates for the honors program must submit a short thesis plus a bibliography and images along with one completed paper that demonstrates the student’s ability to conceptualize issues and to write about them. This complete proposal must be submitted to the Undergraduate Coordinator no later than the third week of spring quarter of the candidate’s junior year. The student must turn in 20 copies of the completed proposal. Please note that it is the student’s responsibility to make copies and deliver the packet in full to the Undergraduate Coordinator.
Candidates must also submit a proposed study plan for the remainder of the junior and senior year. This should include courses to fulfill major requirements and the 10 required honors thesis units.
Admission to the honors program is decided at the first faculty meeting in May, usually at the beginning of the month. Students will be notified in writing shortly after this meeting. Students studying overseas during Spring quarter can request to be advised of the faculty decision via e-mail.
What happens after I am accepted to the program?
Once admitted to the honors program, a student works with the thesis advisor to define the scope of the study, to establish a research and writing timetable, and to enlist one other faculty member to serve as the thesis reading committee. Many students dedicate the summer between junior and senior years to refining the topic and pursuing any off-campus research. Students may apply for UAR research grants to help finance trips or expenses relative to preparing the research for their honors thesis.
During the senior year, students register for 10 units of ARTHIST 297 Honors Thesis Writing or FILMSTUD 297 Honors Thesis Writing. Students are required to enroll in two to five units each quarter during their senior year (fall, winter, and spring). A maximum of five units can be used towards their area of concentration. To aid the process of research and writing, students preparing an honors thesis are paired with a graduate student mentor. Students should make contact with the graduate student mentor in their junior year as soon as they begin to think about writing an honors thesis. Through regularly scheduled meetings, the mentor will help guide students through the proposal process and work closely with them throughout the research and writing year.
Students should meet with their advisor and the graduate mentor before the end of their junior year to discuss their topic and any summer research plans. At the beginning of fall quarter, students must meet with their advisor and graduate student mentor to discuss expectations, guidelines, and the thesis timeline. In addition to the regular meetings with the graduate student mentor, students are required to meet with their faculty advisor at least three times per quarter (more frequently is recommended). By the end of fall quarter, students are expected to submit an annotated bibliography and an outline/project narrative. The first chapter (20 pages) should be completed winter quarter. The final thesis is expected to be 50-60 pages. If a student is not meeting deadlines or attending required meetings, they may be dropped from the thesis program.
Students and thesis advisors should plan their schedule of work so that a complete and final manuscript is in the hands of all members of the thesis reading committee by the beginning of the seventh week of the student’s final quarter at Stanford. The thesis advisor is the only reader who assigns a letter grade, but both faculty readers must approve the thesis for honors before the student is qualified to graduate with that distinction. Sample thesis proposals and examples of past theses are available to interested students upon request to the Undergraduate Coordinator.
PAST HONORS PROJECTS
Costuming the Modern Body for the Ballets Russes: An analysis of costumes in Parade (1917) and Les Noces (1923)
Painting pleasures: queer voices in Glenn Ligon's earliest text paintings and beyond.
Chardin's tables: painting the substrate of eighteenth-century Paris.
Imaging childhood: children in genre painting in seventeenth-century Holland and eighteenth-century France.
Elizabeth Grace Davis
An embodied eye: phenomenology, photography and the mosaics of Cappella Palatina.
The gentle art of advertising oneself: James Abbott McNeill Whistler and the artistic persona.
Picturing the end of Habsburg Spain: Juna Carreno de Miranda and Luca Giordano and painting in the Court of Charles II (1665-1700).
Wonderful, wonderful day: the Western film musical in Post-War America.
Der West: a study of the East German Westerns.
“Getting from Here to There”: the dissolution of geographic identity and the materialization of a new critical aesthetic in contemporary Turkish artwork at Platform Garaniti Contemporary Art Center-Istabnbul, Turkey.
Death and digestion: the mouth of hell at Autun and what it meant to be eaten in Medieval Art.
Looking into the mirror: Pan Yuliang and the representation of the artist.
Reason, iron, and the age: the significance of Hector Guimard’s organic rationalist architecture.
Responding to anti-semitism through film: terror management theory and its applicability to Yiddish film from 1936 to 1939.
Love, illness, aesthetics: responding to Eugene Richards’ exploding into life.
Art in intellectual architecture: New Museum projects by Rem Koolhaas/OMA, Herzog & de Meuron, and Diller Scofido + Renfro.
Cinematic case studies in national socialist aesthetics.
Resistance to translation: the installations of Chen Zhen and Huang Yongping.
Possession-Appropriation-own[ership]: African art in post-colonial times.
Why are they so happy? Berlin’s Memorial to the Murdered Jews of Europe as spatial heir to the urban palimpsest.
Temporal worlds: spectacular consumption of Daniel Buren’s social criticality from 1968 to present.
Visual translations & cultural quotations: the Cappella Palatina within the context of Norman Sicily.
Jean-Baptiste Simeon Chardin
Photo credit: Scala / Art Resources, NY
Silk, paper, plexiglass, lights, electronics, 2800 bug pins
A film by Jamie Meltzer
Courtesy: Joshua Forney