Introduction to Art History: ART 111 - Winthrop



ARTH 452.001: Women in Art

Spring 2013

T/R 12:30 – 1:45

Professor Karen Stock

Contact information and office hours:

Office: McLaurin 104

Phone: 323-2659

E-mail: stockk@winthrop.edu [e-mail is the best way to reach me]

Office hours: Mon. 3:00-5:00 [please stop by and sign up] or by appointment

Web site:

Course description:

This course will investigate a variety of female artists from Europe, the Middle East and Japan beginning with the Renaissance and continuing through the post-modern age.

Textbooks:

There are no required textbooks for this course. However, there are extensive readings on line that you are required bring to class in printed or digital form.

GNED:  ARTH 452 fulfills GNED requirements for Historical Perspectives and Humanities and the Arts.  Goal  1.0   To communicate clearly and effectively in standard English Goal 3.0 To use critical thinking, problem-solving skills, and a variety of research methods Goal  4. 0 To recognize and appreciate human diversity (both past and presnt) as well as the diversity of ideas, institutions, philosophies, moral codes, and ethical principles. Goal 6.0  To understand aesthetic values, the creative process, and the interconnectedness of the literary, visual, and performing arts throughout the history of civilization.

Student Learning Outcomes

The successful student will

• be an active engaged learner,

• understand that knowledge is constructed and see knowledge as connected and related

• identify and interpret artworks, styles and movements from throughout history and across the globe

• conduct independent research expressed in written and oral presentations

Students with Disabilities

Winthrop University is dedicated to providing access to education.  If you have a disability and require specific accommodations to complete this course, contact Services for Students with Disabilities at 323-3290 and make an appointment to see a professional staff member.  Once you have your official notice of accommodations from Services for Students with Disabilities, please inform me as early as possible in the semester.

Course requirements and evaluations: This is an advanced course that requires a basic knowledge of art history. The class will be conducted as a seminar rather than a lecture so participation is absolutely vital.

Grade – Your grade will be based on class participation (25%), one short presentation and one long presentation and the final paper. You must complete all assignments in order to pass the course.

Reading Reviews/ Précis :(25%) You are responsible for writing a ½ to one page summary of the key points of the article for each day of class. These should be composed of complete sentences and paraphrase the most essential aspects of the article. The challenge is to condense complex ideas.

Short presentation/ Leading Discussion: (25%) You are responsible for leading discussion and bringing in images. You will be responsible for providing a fifteen minute summary of the assigned article. This should be a concise overview of the main points of the essay. Read the article ahead of time so that you can contact me if you have questions. A formal written paper OF 3 -5 PAGES is required.

Long Presentation (25%) This is an opportunity for you to investigate an artist that we have not discussed in class. Your presentation should be 30 – 45 minutes. You are required to come and speak to me after you have done some preliminary research for your topic.(bring an outline and a bibliography) Research should include checking books out from the library, requesting an interlibrary loan, photocopying articles, and using online sources such as JSTOR. Unlike the short presentation you will read directly from your paper and you are responsible for the images. Please come and speak to me if you have questions about accessing the slide library or using digital sources.

PLAGIARISM

Plagiarism is the use of someone else’s words, ideas or lines of argument without appropriate documentation. Plagiarism will result in penalties ranging from grade reduction to an F. All ideas as well as quotes must be properly cited in the body of your paper either with author & page number, endnote or footnote. Students should consult and print “The Correct Use of Borrowed Information” (winthrop.edu/English/plagiarism.htm) before beginning any writing assignment. Ignorance or failure to consult this material is no excuse.

Course policies:

Attendance and conduct: Attendance is essential to completing the course successfully and will be taken on a daily basis at the beginning of class.

Students are allowed three unexcused absences. Upon the third unexcused absence, a student’s final grade will be lowered by 5 points. Subsequent absences will result in additional deductions, at the cost 5 points off of final grade for each day of class missed. Habitual lateness, perpetual inattention, or frequent disruptions will likewise lower your grade. Excused absences include medical and personal emergences; students must present a doctor’s note. A student who misses more than five classes will fail the course. Remember to sign the attendance sheet at each class period as this will be the sole record of your presence in the class.

Late work: I do not grant extensions except under dire and documented circumstances. Late papers without an extension will receive a deduction of ten points off the final grade for each day they are late (including weekend days), starting with the end of the class on which they are due.

Sleeping or excessive Tardiness will count as an absence

Late work unacceptable without written excuse from doctor

NO cell phones or text messaging

If you have special needs for presentations, etc., call 323 2233

Take advantage of the Writing Center for a better paper 323 2138

Provisional Schedule of lectures and presentations: (subject to change)

Art History and Feminism

January

8 Introduction/Course Requirements;

10 Linda Nochlin, “Why have there been no great women artists?” (1970) 145-178.

15 “Critical Stereotypes: The Essential Feminine or How Essential is Femininity,” in Old Mistresses: Women, Art and Ideology. eds. Parker, Rozsika and Griselda Pollock. pay special attention to pages 1- 14; 44- 49.

European Female Artists of the Past

17 Griselda Pollock, “The Female Hero and the Making of a Feminist Canon” in Differencing the Canon: Feminist Desire and the Writing of Art’s Histories. New York: Routledge, 1999. 97-127.

22 James M Saslow, “Construction and Constriction of the Lesbian Body in Rosa Bonheur’s Horse Fair,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard, 1992.

24 Griselda Pollock, “Modernity and the Spaces of Femininity”, in Vision and Difference: Femininity, feminism and histories of art. 50 – 90.

29 Linda Nochlin, “Morisot’s Wet Nurse: The Construction of Work and Leisure in Impressionist Painting,” in The Expanding Discourse, 231 – 241.

31 Carol Armstrong, “Cupid’s Pencil of Light: Julia Margaret Cameron and the Materialization of Photography” October, vol. 76 (Spring, 1996) pp. 114-41.

February

5 Whitney Chadwick, An Infinite Play of Empty Mirrors: Women, Surrealism and Self-Representation pp. 3 – 35.

7 Maud Lavin, Intro and “Portraits, Dancers and Coquettes: The Modern Woman in Höch’s Photomontages, 1923-5” in Cut with the Kitchen Knife. pp. 1-12; 123-154.

12 Rozsika Parker, “Back to the Twentieth Century: Femininity and Feminism,” in Old Mistresses: Women, art and Ideology. 134-168.

Arlene Raven, “Feminist Art Criticism: Its Demise and Resurrection” Art Journal, vol 50, no. 2 (Summer 1991) 6-10.

14 Arlene Raven, “Woman House” in The Power of Feminist Art, pp. 48 – 64 ;

Laura Meyer with Faith Wilding “Collaboration and Conflict in the Fresno Feminist Art Program: An Experiment in Feminist Pedagogy” in Entering the Picture: Judy Chicago, The Fresno Feminist Art Program, and the Collective Visions of Women Artists. Ed. Jill Fields, (2012). pp. 45 – 63.

19 Mary Kelly, Imaging Desire. London: MIT Press, 1998. "Preface and Footnotes to the Post-Partum Document," pp. 40-57.

21 Laura Mulvey, “Visual Pleasure and Narrative Cinema”, 1975. 361-373

26 Rosalind Krauss, “The Film Stills”, chapter one in Cindy Sherman, 1993. (read the first twelve scanned pages; the page numbers are almost impossible to read in PDF document)

28 Michelle Meagher, “Jenny Saville and a Feminist Aesthetics of Disgust,” Hypatia, vol. 18, no. 4 (Fall 2003). 23 – 39.

MARCH

5 Valentine M. Moghadam, “Islamic Feminism and Its Discontents: Toward a Resolution of the Debate” Signs, Vol. 27, No. 4 (Summer, 2002), 1135-1171 in Jstor: (READ ONLY 1135 – TOP OF 1152). Eleanor Heartney, “Sherin Neshat: Living Between Cultures” in After the Revolution: Women Who Transformed Contemporary Art. Munich: Prestel Verlag 2007. 230 - 251

March 11 – 15 Spring Break

19 Midori Yoshimoto, “The Message is the Medium: The Communication Art of Yoko Ono” in Into Performance: Japanese Women Artists in New York. Rutgers University Press, 2005. 79-114

21 Laura Hoptman, “Yayoi Kusama: A Reconing” from Yayoi Kusama. Phaidon Press Limited, London, 2000. 34-80 (Many photos!)

26 Valerie Smith, “Abundant Evidence: Black Women Artists of the 1960s and 1970s” in Entering the Picture: Judy Chicago, The Fresno Feminist Art Program, and the Collective Visions of Women Artists. Ed. Jill Fields, (2012). pp. 119 - 31.

Fisher Sterling, “Photographs and Text in the Work of Carrie Mae Weems” Carrie Mae Weems. National Museum of Women in the Arts, Washington, D.C., 1993. 19-33

28 TBA

APRIL

2 Long Student Presentations (2)

4 Long Student Presentations (2)

9 Long Student Presentations (2)

11 Long Student Presentations (2)

16 Long Student Presentations (3)

18 Long Student Presentations (3)

EXAM TIME 11:30 am Fri. 4/26 (4)

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