ART 380: Contemporary Art and Theory
ARTH-454.001 CONTEMPORARY ART AND CRITICISM
Spring 2014
TR 9:30 – 10:45
Meets in Owens 101
3.0 Credit Hours
Dr. 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; please note your name and class in subject line]
Office hours: Thursday 3:00-5:00 [please stop by and sign up] or by appointment
Web site:
Course Description:
This is an intensive writing course on the art, art theory and criticism in Europe and America from 1960 to the present.
Prerequisites: ARTH 175, 176, CRTW 201 or by permission of instructor
We will reflect on the ways that the art created during this period demonstrates that issues of identity, politics, economy, history, and biography have achieved provocative representation.
COURSE GOALS & EXPECTED STUDENT LEARNING OUTCOMES: students will demonstrate recognition, understanding and appreciation for the arts of America and Europe expressed through satisfactory written Standard English on exams as well as on a research paper; competent citation skills must also be evident in the research paper.
GNED: ARTH 454 fulfills GNED requirements for 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 present) as well as the diversity of ideas, institutions, philosophies, moral codes, and ethical principles. Goal 6.1 To understand aesthetic values, the creative process, and the interconnectedness of the literary, visual, and performing arts throughout the history of civilization.
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.
Student Code of Conduct As noted in the Student Conduct Code: “Responsibility for good conduct rests with students as adult individuals.” The policy on student academic misconduct is outlined in the “Student Conduct Code Academic Misconduct Policy” in the online Student Handbook ().
Readings:
There is no required textbook for this course. I recommend several books that we will use extensively throughout the course:
David Hopkins, After Modern Art: 1945-2000 (London: Thames and Hudson, 2000).
Irving Sandler, Art of the Postmodern Era (New York: Icon Editions, 1996).
All readings will be posted on my web site.
Requirements and evaluations:
Class Participation (25%): Your participation in discussions is a key aspect of the course. This is not a class for the intellectually disengaged. We will be covering a lot of material with a breadth and depth that exceed the treatment the art receives in the recommended books and will be delving together into accompanying readings.
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 discussion. These should be composed of complete sentences and paraphrase the most essential aspects of the article. The challenge is to condense complex ideas.
Leading Discussion: (25%) You are responsible for leading discussion and bringing in images for one day of discussion. Compose a powerpoint and be prepared to give a 10 to 15 minute summary of article and then lead discussion for that class period. You are also required to turn in a 3 -5 page summary of the reading for that day.
Post-Modern Artist: (25%) Most critics and art historians agree that we are currently in the post-modern era however there are many different ways to define post-modernism. For this paper you will select one artist who you believe exemplifies the style, medium and character of postmodernism. Argue for the reasons why this artist will be studied 100 years from now in survey texts and will exemplify our era. The paper is between 8 - 10 pages. You are required to present the paper in class, with a polished powerpoint. You will read directly from the paper. This is the way professionals present papers at conferences.
Plus Minus Grading System
A Excellent, achievement of distinction (4 quality points per semester hour).
A- (3.67 quality points per semester hour)
B+ (3.33 quality points per semester hour)
B Good, achievement above that required for graduation (3 quality points per semester hour).
B- (2.67 quality points per semester hour)
C+ (2.33 quality points per semester hour)
C Fair, minimum achievement required for graduation (2 quality points per semester hour).
C- (1.67 quality points per semester hour)
D+ (1.33 quality points per semester hour)
D Poor, achievement at a level below that required for graduation (1 quality point per semester hour).
D- (.67 quality points per semester hour)
F Failure, unsatisfactory achievement (no quality points).
94%-100% = A 74%-76% = C
90%-93% = A- 70%-73% = C -
87%-89% = B+ 67%-69% = D+
84%-86% = B 64%-66% = D
80%-83% = B- 60%-63% = D-
77%-79% = C+ 59% or less = F
Tentative Schedule of Topics:
January 14: Introduction/lecture
January 16: Lecture (come to class prepared to discuss readings)
Jackson Pollock statements in Readings in American Art, ed. Barbara Rose (New York: Praeger Publishers, 1975), pp. 122-124
Clement Greenberg, “Modernist Painting,” in Art in Theory, 1900-1990: An Anthology of Changing Ideas, ed. Charles Harrison and Paul Wood (Oxford: Blackwell, 1999), pp. 754-760 [book, listed subsequently as AIT]
January 21: Lecture
Hopkins, ch. 2 “Duchamp’s Legacy: The Rauschenberg-Johns Axis”, After Modern Art: 1945-2000 (London: Thames and Hudson, 2000).
January 23: (summary required)
Leo Steinberg, “Jasper Johns: The First Seven Years of His Art,” in Other Criteria: Confrontations with Twentieth-Century Art (London and Oxford: Oxford University Press), pp. 17-54
January 28: Lecture
Hopkins, ch. 4 “Blurring Boundaries: Pop Art, Fluxus, and their Effects,” After Modern Art: 1945-2000
January 30: (summary required)
Benjamin Buchloh, “Andy Warhol’s One-Dimensional Art: 1956-1966,” in Andy Warhol Retrospective, ed. Kynaston McShine (New York: Museum of Modern Art, 1989), pp. 39-61
February 4: (summary required)
Walter Benjamin, “The Work of Art in Age of Mechanical Reproduction,” in Art in Modern Culture: An Anthology of Critical Texts, ed. Francis Frascina and Jonathan Harris (London: Phaidon Press, in association with the Open University, 1992), pp. 297-307.
February 6: (summary required)
Clement Greenberg “Avant-Garde and Kitsch,” in AIT 539 - 549
February 11: Lecture
Another End of Modernism: Minimalism and Earthworks, Hopkins, ch. 5
February 13: (summary required)
Donald Judd, “Specific Objects,” in AIT, pp. 809-813
Michael Fried, “Art and Objecthood,” in AIT, pp. 822-834
February 18: (summary required)
Anna C. Chave, “Minimalism and the Rhetoric of Power,” Arts Magazine, 64 (January 1990), 44-63.
February 20: (summary required)
Roland Barthes, “Death of the Author,” in Image, Music, Text, trans. Stephen Heath (New York: Hill and Wang, 1977), pp. 142-148
TOPIC IDEAS AND BIBLIOGRAPHY DUE - if this is not turned in and in an acceptable format (Chicago Style) then 5 points will be deducted from the final paper grade
February 25: : (summary required)
Gene Ray, “Joseph Beuys and the After-Auschwitz Sublime,” in Joseph Beuys: Mapping the Legacy, ed. Gene Ray (New York, DAP, Inc. 2001) 55 – 74
February 27 Benjamin Buchloh, “Beuys: The Twilight of the Idol,” in Joseph Beuys: Mapping the Legacy, ed. Gene Ray (New York, DAP, Inc. 2001) 199 – 211.
March 4: Lecture
Sandler, ch. 3 First Generation Feminism
March 6: (summary required)
Lisa Tickner, “The Body Politic: Female Sexuality and Women Artists Since 1970,” Art History, 1 (June 1978), 236-251
Rebecca Schneider, "The Secret's Eye," in The Feminism and Visual Culture Reader, ed. Amelia Jones. 535 - 45. London: Routledge,
March 11: (summary required) Linda Nochlin, “Why Have There Been No Great Women Artists?” in Women, Art and Power and Other Essays (New York: Harper & Row, 1988), pp. 145-178
March 13: (summary required)
Laura Mulvey, “Visual Pleasure and Narrative Cinema,” in Art After Modernism: Rethinking Representation (New York: The New Museum of Contemporary Art in association with David R. Godine, Publisher, Inc., Boston, 1984), pp. 361-373
March 17 and 21 Spring Break
March 25: (summary required)
Douglas Crimp, “On the Museum’s Ruins,” in On the Museum’s Ruins (Cambridge, Mass.: The MIT Press, 1993), pp. 44-64
Daniel Buren, “Function of the Museum,” in Richard Hertz, Theories of Contemporary Art (Englewood Cliffs, N.J. : Prentice Hall, 1993), pp. 189-192
March 27: Library Day
April 1:(summary required)
Michelle Meagher, “Jenny Saville and a Feminist Aesthetics of Disgust,” Hypatia, vol. 18, no. 4 (Fall 2003). 23 – 39.
April 3: (summary required)
Monique Wittig, “The Straight Mind,” in Out There: Marginalization and Contemporary Cultures, ed. Russell Ferguson (New York: The Museum of Contemporary Art, 1990), pp. 51-57 .
Harmony Hammond, “Lesbianizing the Queer Field and Other Creative Transgressions,” in Lesbian Art in America (New York: Rizzoli, 2000), pp. 7-13
April 8: Student Presentations (3)
April 10: Student Presentations (3)
April 15: Student Presentations (3)
April 17: Student Presentations (3)
April 22: Student Presentations (3)
April 24: Student Presentations (3)
FINAL EXAM MEETING: 11:30 a.m. Friday Student Presentations (4)
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