theduranarthistoryblog

AH323 SP12 Art of the Italian Nation Syllabus

2012-01-16T14:54:00.000-08:00

AH323 Art of the Italian Nation

SP12

T/Th 4:20-5:45pm

Myers Auditorium

Adrian R. Duran, PhD

aduran@mca.edu

901.272.5129 [x 272]

http://theduranarthistoryblog.blogspot.com

Notice: Some of the content of this course may disturb the sensibilities of some students. If you need to discuss this situation, please contact me.

Notice: Students who are entitled to considerations under ADA guidelines are asked to contact me immediately. Every situation is unique and warrants specific consideration. Thus, notifications made in close proximity to exams and/or other due dates may cause complications. The greater the amount of available time, the more appropriately and successfully these matters can be addressed.

Student Learning Outcomes:

This course will study the cultural production of the Italian nation, beginning with its birth in 1861 and focusing on the Modern and Postmodern periods. In doing so, this class will study the intellectual structures of both Modernism and Postmodernism, as well as the particularities of their Italian manifestations. Painting and sculpture will be the dominant media studied. However, music, architecture, film, graphic and industrial design, photography, and fashion will also be engaged.

Upon the successful completion of this course, students will be able to:

* Students will be able to identify key works of art produced in Italy between the Napoleonic invasion and the contemporary period, roughly 1795-present. This will be demonstrated through the identification and dating of works.

* Students will become familiar with the political, social, and religious systems of those peoples and periods studied.

* Students will learn Art Historical terminology. This will be demonstrated through the definition of these terms and the identification of works to which they apply.

* Students will become familiar with essential Art Historical methodologies. These methodologies may include: visual and formal analysis, connoisseurship, patronage studies, material and visual culture studies, and gender/race/class perspectives. This will be demonstrated through exam essays and papers.

* Students will become familiar general and specific intellectual themes, as applicable to the works under study.

Attendance: Attendance is mandatory and will be monitored. Expecting to pass this course without constant, attentive attendance is not realistic. Missed classes will have a negative effect on your final grade. Upon your fourth absence, you will receive an F grade in the course. Punctuality is likewise expected. For every two late arrivals, you will be assessed one absence.

Communication: I can be contacted by both phone and e-mail. E-mail is preferred and, most likely, will result in a quicker response. As part of a larger, college-wide initiative, I insist that you use your MCA e-mail account [last_first@mcastudent.org]. If you are having any problems with your e-mail account, please contact Ian Sterling. Information may be disseminated via MCA e-mail. It is your responsibility to monitor these accounts.

Readings: Please complete ALL readings prior to class. They will provide important background and will be directly addressed in class. Class readings will be found in the listed on reserve in the MCA Library and/or in the class server folder. It is your responsibility to obtain these readings.

Powerpoints and Class Materials: Class Powerpoints and class materials will be available on the MCA server (Dali). Students should consult these as the class progresses and use them as study aids. These Powerpoints may differ slightly from their in-class format. Students are responsible for those images seen in class. Those images that are not shown in class may be used as supporting information, but will not be mandatory for exams.

Internet Resources: Students should be wary of internet resources. Art historical research, as is the case in many academic disciplines, is still largely a print-based endeavor. There are a number of online journals, but students must be diligent in recognizing the difference between a legitimate, academic journal and other, less rigorously prepared sites. Many websites are excellent (Web Gallery of Art, Met Museum of Art), while many are questionable (Wikipedia, blogs). If there is any doubt, please consult me. Students will find a number of useful links on the class blog.

Exams: Exams will consist of a combination of fact-based (dates/terminology/identification) questions, slide identifications, slide discussions, and/or compare/contrasts and essays. The distribution of these segments is at my discretion and may be changed at any point during the semester. Students will be notified of exam formats in advance of the exam. Exams WILL NOT be cumulative. There will be no make-up exams. You will be responsible for purchasing and bringing blue books to the exams. These can be bought in the MCA Supply Store.

Paper: Students will select a topic of their interest and undertake a directed readings project. Pre-approval from Duran is necessary. In consultation with Duran, students will develop a Bibliography and create a proposal, research summary, and annotated bibliography.

An initial statement of intent is to be e-mailed to Duran by February 21. This will be due to Duran via e-mail in MSWord or Apple Pages format on April 26. There will be a full grade penalty for every day that the paper is late.

Plagiarism: MCA policy on plagiarism can be found in the student handbook. Students under suspicion of plagiarism will be given one opportunity to prove their conduct as other than plagiarism. The burden of proof is on the student. If the state of plagiarism cannot be disproved, the student will be given a grade of F for the course and administrative action will be taken.

Grading: My grading system works as follows. Please consider these numbers indisputable.

A 93 and above

A- 90-92

B+ 88-89

B 83-87

B- 80-82

C+ 78-79

C 73-77

C- 70-72

D 65-69

F Below 65

Grade Distribution:

Exams: 25% each

Paper: 25%

Safety: This class will follow the standards detailed in the "EPA Material Handling Protocols - September 2007," as issued by MCA.

Classroom Conduct: Students are expected to conduct themselves in an appropriate manner. Anything otherwise is disrespectful to yourselves, your peers, your faculty, and the educational endeavor.

1. Sleeping and/or conversing are unacceptable. It is both distracting to those seated nearby and disruptive to the professor. You will be warned. You will then be asked to leave. If you are asked to leave, you will be marked as absent and penalized accordingly.

2. Cell phone/PDA/PSP/DS/etc. use is prohibited. Claiming the cell phone as your only personal timepiece is not substantial. Texting is forbidden. If your phone rings, the professor reserves the right to answer the call, take the phone, or any other measures deemed appropriate by the professor. Those who do not abide will be warned, then asked to leave, with the aforementioned attendance penalty.

3. Those who take notes on computers are expected to be taking notes, not surfing the internet or any other activities than those immediately associated with the course. Those who are caught doing otherwise will be warned, then asked to leave, with the aforementioned attendance penalty.

4. Eating in class is forbidden. Drinking is acceptable, though only if students consider such as a privilege. Policing your own area and disposing of your own trash is expected. If litter and/or filth become a problem, drinking will be forbidden.

5. Students may make audio recordings of class lectures for study use only, but only with prior approval by the professor. Any recordings made are to be used for the purposes of class members only. Other uses are forbidden, and will be met with disciplinary action.

6. Drawing in class is offensive. Your purpose is to listen and take notes, not sketch or plan projects for other classes. Making sketches of the works discussed in class for study purposes is understandable, though course ppts are available on the server.

7. Please do not get up and leave class except when absolutely necessary. Absolutely necessary constitutes emergencies and use of the facilities. Garbage and/or other incidental needs should be held until the end of class. There is no need to ask permission to leave.

Class Schedule:

Week 1

Tuesday January 17: Introduction

Thursday January 19: Italian Art before the Italian Nation

* Minardi, Tommaso. “On the Essential Quality of Italian Painting from Its Renaissance to the Period of Its Perfection (1834).” in Joshua C. Taylor, ed. Nineteenth-Century Theories of Art. Berkeley: University of CA Press, 1987, 173-194.

* Duran, Adrian R. “Ottocento da Canova al Quarto Stato” exhibition review Nineteenth-Century Art Worldwide Volume 7, Issue 2 (Autumn 2008). http://www.19thc-artworldwide.org/index.php/autumn08/83-ottocento-da-canova-al-quarto-stato

Week 2

Monday January 23: Last Day to Add a Class

Tuesday January 24: Early Nineteenth Century Italian Art

* Keates, Jonathan. “Nineteenth-Century Italian Culture.” in George Holmes, ed. The Oxford Illustrated History of Italy. Oxford: Oxford University Press, 1997, 210-14, 216-19, 227-34.

* Olson, Roberta J.M. “Introduction: In the Dawn of Italy.” in Roberta J.M. Olson, ed. Ottocento: Romanticism and Revolution in 19th-Century French Painting. New York: The American Federation of Arts, 1992, 13-42.

* Poppi, Claudio. “From Avant-Garde to the Academy: A Line of Development for Italian Neoclassicism.” in Olson, 43-50.

Thursday January 26: Mid- and Late-Nineteenth Century Italian Art: The Macchiaoli, Medardo Rosso, and Divisionism

* Chapter 1 “The Local and International Contexts” in Norma Broude. The Macchiaioli: Italian Painters of the Nineteenth Century. 1987, 1-12.

* Chapter FOUR “The Macchia and the Risorgimento” in Albert Boime. The Art of the Macchia and the Risorgimento: Representing Culture and Nationalism in Nineteenth-Century Italy. 1993, 115-65.

* Light: Italy’s Divisionist Painters 1891-1910. London: National Gallery, 2008, 47-59.

Week 3

Monday January 30: Last Day to Drop a Class without a ‘W’

Tuesday January 31: The Legacy of Divisionism and the Emergence of Futurism

* Lyttelton, Adrian. "Society and Culture in the Italy of Giolitti." in Emily Braun, ed. Italian Art in the 20th Century: Painting and Sculpture 1900-1988. Munich: Prestel-Verlag, 1989, 23-31.

* Ginex, Giovanna. “Divisionism to Futurism: Art and Social Engagement.” in Radical Light. 37-46.

* Marinetti, Filippo Tommaso. "The Foundation and Manifesto of Futurism." in Charles Harrison and Paul Wood, eds. Art in Theory 1900-1990: An Anthology of Changing Ideas. Oxford and Cambridge: Blackwell, 1992, 145-49.

* Boccioni, Umberto, et. al. "Futurist Painting: Technical Manifesto." in Charles Harrison and Paul Wood, eds., Art in Theory 1900-1990: An Anthology of Changing Ideas. Oxford and Cambridge: Blackwell, 1992, 149-52.

* Gramsci, Antonio. “The Futurists” and “Marinetti the Revolutionary,” in Selections from Cultural Writings, ed. David Forgacs and Geoffrey Nowell-Smith, trans. William Boel Hower. Cambridge, 1985, 46-49, 49-51.

Thursday February 2: Futurism cot’d

* Antliff, Mark. “The Fourth Dimension and Futurism: A Politicized Space.” The Art Bulletin. Vol 82, No. 4 (Dec. 2000), 720-733.

* Braun, Emily. “Futurist Fashion: Three Manifestoes.” Art Journal, Vol. 54 No. 1, Clothing as Subject (Spring, 1995), 34-41.

* Chapter 6 “Destroying the Cult of the Museum: The Futurist Collage Aesthetic.” in In Defiance of Painting: Cubism, Futurism, and the Invention of Collage. New Haven: Yale University Press, 1992, 165-93.

Week 4

Tuesday February 7: Metafisica, Modigliani, Morandi

* Baldacci, Paolo. “De Chirico and Savinio: The Theory and Iconography of Metaphysical Paintings.” in Braun, 1989: 61-70.

* Schmied, Wieland. “DeChirico, Metaphysical Painting and the International Avant-garde: Twelve Theses.” in Braun, 1989: 71-80.

* Coen, Ester. “The Signs of the Metaphysical Alphabet.” in Metaphysica. Milan: Electa, 2003, 229-44.

Thursday February 9: Metafisica, Modigliani, Morandi cot’d

* Bertelli, Carlo. “Modigliani, The Cosmopolitan Italian.” in Braun, 1989: 57-60.

* Werner, Alfred. “Modigliani as Sculptor.” in Art Journal, Vol. 20, No. 2 (Winter, 1960-61), 70-78.

* Lukach, Joan M. “Giorgio Morandi and Modernism in Italy between the Wars.” in Braun, 1989: 155-64.

* Braun, Emily. “Speaking Volumes: Giorgio Morandi’s Still Lifes and the Cultural Politics of Strapaese.” in Modernism/Modernity 2.3 (1995), 89-116.

Week 5

Tuesday February 14: Overflow/Review

Thursday February 16: Exam #1

Week 6

Tuesday February 21: Fascism PAPER STATEMENT DUE

* Gentile, Emilio. “The Conquest of Modernity: From Modernist Nationalism to Fascism.” Modernism/modernity 1.3 (1994), 55-87.

* Sironi, Mario. "Manifesto of Mural Painting." in Charles Harrison and Paul Wood, eds. Art in Theory 1900-1990: An Anthology of Changing Ideas. Oxford and Cambridge: Blackwell, 1992, 407-09.

* Stone, Marla. “The State as Patron: Making Official Culture in Fascist Italy.” in Matthew Affron and Mark Antliff, eds. Fascist Visions: Art and Ideology in France and Italy.” Princeton: Princeton University Press, 1997, 205-38.

Thursday February 23: Fascism cot’d

* Braun, Emily. “Expressionism as Fascist Aesthetic.” Journal of Contemporary History, Vol. 31 No. 2, Special Issue: The Aesthetics of Fascism (April 1996): 273-292.

* Antliff, Mark. “Fascism, Modernism, and Modernity.” The Art Bulletin, Vol. 84, No. 1 (Mar. 2002): 148-69.

Week 7

Tuesday February 28: The Novecento Group and the 1930s

* Vivarelli, Pia. “Personalities and Styles in Figurative Art of the Thirties.” in Braun, 1989: 181-86.

* Caramel, Luciano. “Abstract Art in the Thirties.” in Braun, 1989: 187-192.

* Coradeschi, Sergio. “The Novecento Style in Italy: Commercial and Graphic Design.” Journal of Decorative and Propaganda Arts 3 (Winter 1987): 66-83.

* Bossaglia, Rossana and Howard Rodger MacLean. “The Iconography of the Italian Novecento in the European Context.” in Journal of Decorative and Propaganda Arts 3 (Winter 1987): 52-65.

Thursday March 1: Neorealist Cinema

* Woolf, Stuart. "History and Culture in the Post-war Era, 1944-1968." in Braun, 1989, 273-270.

* Brunette, Peter. “Rossellini and Cinematic Realism.” Cinema Journal, Vol. 25, No. 1 (Autumn, 1985): 34-49.

* Wagstaff, Christopher. “The Place of Neorealism in Italian Cinema from 1945 to 1954.” in Nicholas Hewitt, ed. The Culture of Reconstruction: European Literature, Thought and Film, 1945-50. New York: St. Martin’s Press, 1989, 67-87.

Week 8

Tuesday March 6: Neorealist Cinema cot’d

Thursday March 8: Postwar Italy: 1940s & 1950s

* De Micheli, Mario. "Realism and the Post-war Debate." in Braun, 1989, 281-87.

* Calvesi, Maurizio. "Informel and Abstraction in Italian Art of the Fifties." in Braun, 1989, 289-94.

* Celant, Germano. "In Total Freedom: Italian Art, 1943-1968." in The Italian Metamorphosis, 1943-1968, ex. cat. Germano Celant, ed. New York: The Solomon R. Guggenheim Foundation, 1994, 4-19.

* Vetrocq, Marcia E. "Painting and Beyond: Recovery and Regeneration, 1943-1952." The Italian Metamorphosis, 1943-1968, ex. cat. Germano Celant, ed. New York: The Solomon R. Guggenheim Foundation, 1994, 20-31.

Week 9

Tuesday March 13: NO CLASS—SPRING BREAK

Thursday March 15: NO CLASS—SPRING BREAK

Week 10

Tuesday March 20: Postwar Italy: 1940s & 1950s cot’d

* Vetrocq, Marcia E. "National Style and the Agenda for Abstract Painting in Post-War Italy." in Art History Vol. 12 No. 4 (December 1989), 448-71.

* Duran, Adrian R. “Abstract Expressionism’s Italian Reception: Questions of Influence” in Joan Marter, ed. Abstract Expressionism: The International Context. Rutgers University Press, 2007, 138-151.

Thursday March 22: NO CLASS—SPE

Friday March 23: Advising Day

Week 11

Tuesday March 27: Overflow/Review

Thursday March 29: Exam #2

Friday March 30: Last Day to Withdraw from a Class

Week 12

Tuesday April 3: Fontana, Manzoni, Vedova, Nono, the 1960s

* Celant,Germano. “From the Open Wound to the Resurrected Body: Lucio Fontana and Piero Manzoni.” in Braun, 1989: 295-301.

* White, Anthony. “Lucio Fontana: Between Utopia and Kitsch.” Grey Room, No. 5 (Autumn, 2001), 54-77.

Thursday April 5: Fontana, Manzoni, Vedova, Nono, the 1960s cot’d

* Mansoor, Jaleh. “Piero Manzoni: ‘We Want to Organicize Disintegration.” October, Vol. 95 (Winter, 2001): 28-53.

* Duran, Adrian R. “Italian Art circa 1968: Continuities and Generational Shifts” in Carte Italiane Volume 4 (2008): 91-103.

Week 13

Tuesday April 10: Michelangelo Antonioni

* Carringer, Robert L. “Blow-Up.” Journal of Aesthetic Education. Vol. 9, No. 2. (Apr. 1975): 109-122.

* Wendorf, Richard. “Antonioni’s “Blow-up”: Implicated Artists and Unintentional Art.” Journal of Aesthetic Education. Vol. 16, No. 1 (Spring 1982): 57-67.

Thursday April 12: Michelangelo Antonioni cot’d

Week 14

Tuesday April 17: Arte Povera and the 1970s

* Rosa, Alberto Asor. “Contemporary Italy.” in Braun, 1989: 359-62.

* Celant, Germano. “Arte Povera: Notes for a Guerrilla War, 1967” in Carolyn Christov-Bakargiev. Arte Povera. London: Phaidon, 1999, 194-96.

* “Survey” in Christov-Bakargiev, 14-47.

* Tisdall, Caroline. “‘Materia’: The Context of Arte Povera.” in Braun, 1989: 363-68.

Thursday April 19: Arte Povera and the 1970s cot’d

Week 15

Tuesday April 24: The Italian Transavanguardia and the 1980s

* Oliva, Achille Bonito. The Italian Trans-avantgarde. Milan: Giancarlo Politi Editore, 1980.

* Carolyn Christov-Bakargiev. “The Italian Transavantgarde: a Rereading.” in Gianelli, Ida, ed. Transavanguardia. ex. cat. (Castello di Rivoli. Skira, 2003), 75-92.

* Rosenthal, Norman. “C.C.C.P.: Back to the Future.” in Braun, 1989: 369-75.

Thursday April 26: Contemporary Italy PAPER DUE

* Selections from Francesco Bonami, Nancy Spector and Barbara Vanderlinden. Maurizio Cattelan. Phaidon, 2000.

Week 16

Tuesday May 1: Overflow/Review

Thursday May 3: EXAM #3

Week 17

Thursday May 10/Friday May 11: Review Committees

AH100 SP12 Art History Survey 1 Syllabus

2012-01-16T09:51:00.000-08:00

AH100 Art History Survey 1
SP12
Section A: T/Th 10:40am-12:05pm
Section C: T/Th 2:40-4:05pm
Myers Auditorium

Adrian R. Duran, PhD
aduran@mca.edu
901.272.5129 [x 272]
http://theduranarthistoryblog.blogspot.com

Office Hours: T/Th 1-2:30 in MCA Library. Or by appointment.

Important Note: Students must pass this course to achieve eligibility for higher levels of study within Art History.

Notice: Some of the content of this course may disturb the sensibilities of some students. If you need to discuss this situation, please contact me.

Notice: Students who are entitled to considerations under ADA guidelines are asked to contact me immediately. Every situation is unique and warrants specific consideration. Thus, notifications made in close proximity to exams and/or other due dates may cause complications. The greater the amount of available time, the more appropriately and successfully these matters can be addressed.

Student Learning Outcomes:
Upon the successful completion of this course, students will be able to:
• Students will be able to identify works from the history of art beginning in Prehistory and continuing through to the Fourteenth Century. This will be demonstrated through the identification and dating of works.
• Students will learn Art Historical terminology. This will be demonstrated through the definition of these terms and the identification of works to which they apply.
• Students will become familiar with essential Art Historical methodologies. These methodologies may include: visual and formal analysis, connoisseurship, patronage studies, material and visual culture studies, and gender/race/class perspectives. This will be demonstrated through exam essays and papers.
• Students will become familiar general and specific intellectual themes, as applicable to the works under study.
• Students will become familiar with the social and religious/mythological systems of those peoples studied.

Attendance: Attendance is mandatory and will be monitored. Expecting to pass this course without constant, attentive attendance is not realistic. Missed classes will have a negative effect on your final grade. Upon your fourth absence, you will receive an F grade in the course. Punctuality is likewise expected. For every two late arrivals, you will be assessed one absence.

Communication: I can be contacted by both phone and e-mail. E-mail is preferred and, most likely, will result in a quicker response. As part of a larger, college-wide initiative, I insist that you use your MCA e-mail account [last_first@mcastudent.org]. If you are having any problems with your e-mail account, please contact Ian Sterling. Information may be disseminated via MCA e-mail. It is your responsibility to monitor these accounts.

Powerpoints and Class Materials: Class Powerpoints and class materials will be available on the MCA server (Dali). Students should consult these as the class progresses and use them as study aids. These Powerpoints may differ slightly from their in-class format. Students are responsible for those images seen in class. Those images that are not shown in class may be used as supporting information, but will not be mandatory for exams.

Internet Resources: Students should be wary of internet resources. Art historical research, as is the case in many academic disciplines, is still largely a print-based endeavor. There are a number of online journals, but students must be diligent in recognizing the difference between a legitimate, academic journal and other, less rigorously prepared sites. Many websites are excellent (Web Gallery of Art, Met Museum of Art), while many are questionable (Wikipedia, blogs). If there is any doubt, please consult me. Students will find a number of useful links on the class blog.

Exams: Exams will consist of a combination of fact-based (dates/terminology/identification) questions, slide identifications, slide discussions, and/or compare/contrasts and essays. The distribution of these segments is at my discretion and may be changed at any point during the semester. Students will be notified of exam formats in advance of the exam. Exams WILL NOT be cumulative. There will be no make-up exams. You will be responsible for purchasing and bringing blue books to the exams. These can be bought in the MCA Supply Store.

Papers:
This class will have three writing assignments.

1. Due Tuesday February 21. Students will write a double-spaced, two-page review of an exhibition in Memphis. This review should assess the work in the exhibition, its curatorial elements, and raise questions related to the content or thematic elements of the exhibition.
2. Due Tuesday March 20. Students will select a single object from the collection of the Memphis Brooks Museum of Art or the Art Museum at the University of Memphis and write a double-spaced, two-page formal analysis of this work. This object must fit within the temporal constraints of this course, but may come from any geographical location.
3. Due Thursday April 19. About this same object, students will write a double-spaced, three page research paper, to situate the work within its geographical, stylistic, iconographic, cultural, and artistic contexts.

All papers will use appropriate citation and bibliographic protocol, following the Chicago Manual of Style. Incorrectly or insufficiently cited papers will be returned for correction.

Papers are to be e-mailed to Duran as either MSWord or Apple Pages documents. No other format will be accepted.

Late papers will be penalized 1 full letter grade for each day they are late.

Plagiarism: MCA policy on plagiarism can be found in the student handbook. Students under suspicion of plagiarism will be given one opportunity to prove their conduct as other than plagiarism. The burden of proof is on the student. If the state of plagiarism cannot be disproved, the student will be given a grade of F for the course and administrative action will be taken.

Grading: My grading system works as follows. Please consider these numbers indisputable.

A 93 and above
A- 90-92
B+ 88-89
B 83-87
B- 80-82
C+ 78-79
C 73-77
C- 70-72
D 65-69
F Below 65

Grade Breakdown:
Exam 1: 15%
Exam 2: 15%
Exam 3: 15%
Exam 4: 15%
Paper 1: 10%
Paper 2: 10%
Paper 3: 20%
n.b.: attendance and lateness will be factored into the final grade

Readings: Please complete ALL readings prior to class. They will provide important background and often will be directly addressed in class. If you have any questions regarding these texts or wish to explore further, I am more than happy to help you find bibliography.

Your textbook is Marilyn Stokstad. Art History. Fourth Edition, Volume One. Pearson Prentice Hall, 2011, and can be purchased at the MCA Business Office, the Christian Brothers University bookstore, or online. DO NOT DELAY IN ACQUIRING THIS TEXT. PLEASE DO NOT PURCHASE EARLIER EDITIONS.

Safety: This class will follow the standards detailed in the "EPA Material Handling Protocols - September 2007," as issued by MCA.

Classroom Conduct: Students are expected to conduct themselves in an appropriate manner. Anything otherwise is disrespectful to yourselves, your peers, your faculty, and the educational endeavor.
1. Sleeping and/or conversing are unacceptable. It is both distracting to those seated nearby and disruptive to the professor. You will be warned. You will then be asked to leave. If you are asked to leave, you will be marked as absent and penalized accordingly.
2. Cell phone/PDA/PSP/DS/etc. use is prohibited. Claiming the cell phone as your only personal timepiece is not substantial. Texting is forbidden. If your phone rings, the professor reserves the right to answer the call, take the phone, or any other measures deemed appropriate by the professor. Those who do not abide will be warned, then asked to leave, with the aforementioned attendance penalty.
3. Those who take notes on computers are expected to be taking notes, not surfing the internet or any other activities than those immediately associated with the course. Those who are caught doing otherwise will be warned, then asked to leave, with the aforementioned attendance penalty.
4. Eating in class is forbidden. Drinking is acceptable, though only if students consider such as a privilege. Policing your own area and disposing of your own trash is expected. If litter and/or filth become a problem, drinking will be forbidden.
5. Students may make audio recordings of class lectures for study use only, but only with prior approval by the professor. Any recordings made are to be used for the purposes of class members only. Other uses are forbidden, and will be met with disciplinary action.
6. Drawing in class is offensive. Your purpose is to listen and take notes, not sketch or plan projects for other classes. Making sketches of the works discussed in class for study purposes is understandable, though course ppts are available on the server.
7. Please do not get up and leave class except when absolutely necessary. Absolutely necessary constitutes emergencies and use of the facilities. Garbage and/or other incidental needs should be held until the end of class. There is no need to ask permission to leave.

Class Schedule:

Week 1
Tuesday January 17: Introduction

Thursday January 19: Meet at entrance rotunda of Brooks Museum of Art. Bring your MCA Student ID.

Week 2
Monday January 23: Last Day to Add a Class

Tuesday January 24: Prehistoric Art
Reading: Stokstad Introduction; Chapter 1

Thursday January 26: Art of the Ancient Near East
Reading: Stokstad Chapter 2

Week 3
Monday January 30: Last Day to Drop a Class without a ‘W’

Tuesday January 31: Art of Ancient Egypt
Reading: Stokstad Chapter 3

Thursday February 2: Art of Ancient Egypt cot’d

Week 4
Tuesday February 7: EXAM #1

Thursday February 9: Art of the Ancient Aegean
Reading: Stokstad Chapter 4

Week 5
Tuesday February 14: Art of Ancient Greece
Reading: Stokstad Chapter 5

Thursday February 16: Art of Ancient Greece cot’d

Week 6
Tuesday February 21: Etruscan and Roman Art PAPER #1 DUE
Reading: Stokstad Chapter 6

Thursday February 23: Etruscan and Roman Art cot’d

Week 7
Tuesday February 28: Etruscan and Roman Art cot’d

Thursday March 1: Jewish, Early Christian, and Byzantine Art
Reading: Stokstad Chapter 7

Week 8
Tuesday March 6: Jewish, Early Christian, and Byzantine Art cot’d

Thursday March 8: EXAM #2

Week 9
Tuesday March 13: NO CLASS—SPRING BREAK

Thursday March 15: NO CLASS—SPRING BREAK

Week 10
Tuesday March 20: Islamic Art PAPER #2
Reading: Stokstad Chapter 8

Thursday March 22: NO CLASS—SPE

Friday March 23: Advising Day

Week 11
Tuesday March 27: Art of South and Southeast Asia Before 1200
Reading: Stokstad Chapter 9

Thursday March 29: Chinese and Korean Art Before 1279
Reading: Stokstad Chapter 10

Friday March 30: Last Day to Withdraw from a Class

Week 12
Tuesday April 3: Japanese Art Before 1333
Reading: Stokstad Chapter 11

Thursday April 5: Art of the Americas Before 1300
Reading: Stokstad Chapter 12

Week 13
Tuesday April 10: Early African Art
Reading: Stokstad Chapter 13

Thursday April 12: EXAM #3

Week 14
Tuesday April 17: Early Medieval Art in Europe
Reading: Stokstad Chapter 14

Thursday April 19: Romanesque Art PAPER #3 DUE
Reading: Stokstad Chapter 15

Week 15
Tuesday April 24: Romanesque Art cot’d

Thursday April 26: Gothic Art of the Twelfth and Thirteenth Centuries
Reading: Stokstad Chapter 16

Week 16
Tuesday May 1: Gothic Art cot’d/Evals

Thursday May 3: EXAM #4

Week 17
Thursday May 10/Friday May 11: Review Committees

JSTOR Access from Off-Campus

2011-09-16T08:18:00.001-07:00

I just received this info from the Librarian. Happy Hunting...

To access the JSTOR website from anywhere off campus go to this url:  http://www.mcastudent.org/cgi-bin/mcaJSTOR/logon.pl  You will be prompted for username and password. Enter the username and password that you use for your mcastudent.org email.  You should then be redirected to the JSTOR website and do not need any further login.  [ note: username is not the email address but the part before the @ ]

AH422 F11 Image Theory Syllabus

2011-08-23T16:17:00.000-07:00

W 1-4:05 pm Conference Room

Adrian R. Duran

aduran@mca.edu

901.272.5129 [x 272]

Office Hours: M 2-4pm (MCA Library) & T 12:35-1:35 (Nesin Grad Center)

Class syllabus @ http://theduranarthistoryblog.blogspot.com

Notice: Some of the content of this course may disturb the sensibilities of some students.  If you need to discuss this situation, please contact me.

Notice: Students who are entitled to considerations under ADA guidelines are asked to contact me immediately. Every situation is unique and warrants specific consideration. Thus, notifications made in close proximity to exams and/or other due dates may cause complications. The greater the amount of available time, the more appropriately and successfully these matters can be addressed.

Goal: Students will become familiar with a body of theoretical writings concerning the makers, production, interpretation, and consumption of images and objects. Students will apply these theories do diverse works of art. Students will write an image-accompanied presentation and deliver it to a body of their peers.

As this is a seminar, discussion and debate will be the primary pedagogical modes of this class. All students are expected to participate fully. Neither neutrality nor silence will suffice.

Communication: I can be contacted by both phone and e-mail. E-mail is preferred and, most likely, will result in a quicker response. I will contact you via your MCA e-mail account. If you are having any problems with your e-mail account, please contact Ian Sterling. It is your responsibility to monitor these accounts actively and consistently. Students’ individual choices regarding the maintenance and awareness of MCA e-mail will not be acceptable as excuses for missing e-mails. Similarly, students should regularly check the class blog for updates and information. (http://theduranarthistoryblog.blogspot.com)

Attendance: Attendance is mandatory and will be monitored. Expecting to pass this course without constant, attentive attendance is not realistic. Missed classes will have a negative effect on your final grade. Upon your third absence, you will receive an F grade in the course. Punctuality is likewise expected. For every two late arrivals, you will be assessed one absence.

Powerpoints: Class materials may be available on the MCA server (Dali). Students will be responsible for these materials, which will inform course discussions.

Readings: Please complete ALL readings prior to class. They will provide important background and will be directly addressed in class. All readings, unless otherwise noted, will be available on reserve at the MCA library. It is your responsibility to obtain these readings.

Reading Questions/Discussion Leading: Each week, select students will be tasked with submitting questions and/or points of discussion to the seminar. These will be due to Duran, submitted via e-mail, at least 24 full hours before the class meeting.

Research Assignment/Presentation: As part of this course, students will undertake a research assignment which will culminate in an in-class presentation, the text of which will be submitted for grading. The first stage of this assignment will be the submission of a 1-page proposal [12pt font, double-spaced, 1” margins]. This presentation will last 20 minutes [approximately 10 double-spaced pages] for undergraduates and 30 minutes for graduate students [approximately 15 double-spaced pages]. Students will be responsible for compiling an accompanying PPT presentation, which, with the text of the presentation, will be submitted for grading.

The paper will be properly formatted according to the Chicago Manual of Style. The Chicago Manual of Style can be found on reserve in the MCA library.

Students should begin by visiting the MCA Library and consulting the college’s online resources, which are collected at www.delicious.com/mcalibrary. Do not overlook the Grove Dictionary of Art, in the library’s reference section. MCA students have library privileges at the University of Memphis and Rhodes College and should not neglect these collections.

Internet Resources: Students should be wary of internet resources. Art History, as is the case with many academic disciplines, is still primarily a paper-based endeavor. There are a number of online journals, but students must be diligent in recognizing the difference between a legitimate, academic journal and other, less rigorously prepared sites. Many websites are excellent (Web Gallery of Art, Met Museum of Art), while many are questionable (Wikipedia, blogs). If there is any doubt, please consult me.

Plagiarism: The Memphis College of Art’s policy on plagiarism can be found on page 32 of the MCA Student Handbook: http://mca.edu/attachments/-01_FINALmca_handbook_10_11.pdf

Students are expected to be familiar with this policy and adhere to it.

Grade Breakdown:

10% Reading/Discussion Assignment

40% In-Class Participation

50% Presentation + Annotated Bibliography

                  25% In class presentation (to include slide presentation)

                  25% Text + Annotated Bibliography

Safety: This class will follow the standards detailed in the "EPA Material Handling Protocols - September 2007," as issued by MCA.

Class Schedule and Readings:

Week 1 August 24

Introduction

Some Images, Some Theories

Week 2 August 31

Art School

· Elkins, James. Why Art Cannot be Taught: A Handbook for Art Students. Chapters 1 Histories, 4 Critiques, 5 Suggestions, & Conclusion.

Week 3 September 7

Being an Artist

· Vasari, Giorgio. “Life of Michelangelo.”

· Wittkower, Rudolf and Margot. Born Under Saturn: The character and conduct of artists. Chapter One, parts 1-3 + Chapter Five, parts 1-2 + Chapter Eight, part 5

Week 4 September 14

Authors & Authorship

Barthes, Roland. “The Death of the Author.” in Image-Music-Text, 142-48.
Foucault, Michel. “What is an Author?” in Language Counter-Memory Practice, 113-38.
Eco, Umberto. The Open Work. Ch 1 The Poetics of the Open Work.

Week 5 September 21

Interpretation

Sontag, Susan. “Against Interpretation.” in Against Interpretation and Other Essays, 3-14.
McAdoo, Nick. “Can Art Ever Be Just About Itself?” in The Journal of Aesthetics and Art Criticism Vol L No 2 (Spring 1992): 131-137.
Eco, Umberto. The Limits of Interpretation. Ch 3 Intentio Lectoris: The State of the Art

Week 6 September 28

The Art Market and Collectors

· Rosler, Martha. "Lookers, Buyers, Dealers, and Makers: Thoughts on Audience." in Brian Wallis, ed. Art After Modernism: Rethinking Representation, pp. 311-39.

· Bell, Quentin. “Art and the Elite.” Critical Inquiry, Vol. 1, No. 1 (Sep., 1974), pp. 33-46. (available on JSTOR)

· Buren, Daniel. “The Function of the Studio.”

· Burn, Ian. “The Art Market: Affluence and Degradation.” in Art in Theory 1900-2000.

Week 7 October 5

Gender

· Nochlin, Linda. “Why Have There Been No Great Women Artists?” in ArtNews (Jan 1971).

· Readings from Feminist Art Theory.

o Chicago, Judy. “Woman as Artist.”

o Mainardi, Pat. “A Feminine Sensibility?”

o Bovenschen, Silvia. “Is There a Feminine Aesthetic?”

· Cyber_Reader

o A Cyborg Manifesto, 1985

o Constructions and Reconstructions of the Self in Virtual Reality, 1994

o When I Enter Virtual Reality, What Body Will I Leave Behind?, 1995

Week 8 October 12

Race

Fanon, Frantz. “The Fact of Blackness” in visual culture: the reader, ed. Jessica Evans & Stuart Hall, p. 417-20.
Dyer, Richard. “White” in visual culture: the reader, ed. Jessica Evans & Stuart Hall, p. 457-61.
hooks, bell. “Representing Whiteness in the Black Imagination.”
Gates, Henry Louis Jr. “Whose Canon is it, anyway?”

Week 9 October 19

Paint

· Baudelaire, Charles. “The Painter of Modern Life.” in Francis Frascina and Charles Harrison, eds. Modern Art and Modernism: A Critical Anthology, pp. 23-27.

· Greenberg, Clement. “Modernist Painting.” in Francis Frascina and Charles Harrison, eds. Modern Art and Modernism: A Critical Anthology, pp. 5-10.

· Steinberg, Leo. from Other Criteria 1968-72 in Art in Theory 1900-2000 971-76

· Fried, Michael. “Art and Objecthood.” in Art in Theory 1900-2000 OR Artforum 5 (June 1967): 12-23.

· Lawson, Thomas. “Last Exit: Painting.” in Brian Wallis, ed. Art After Modernism: Rethinking Representation, pp. 153-165 OR Artforum 20, No. 2 (October 1981): 40-47.

· Yablonsky, Linda. “What Makes a Painting a Painting?” ARTNews 104, No. 4 (April 2005): 96-101.

Week 10 October 26

Lenses

· Baudelaire, Charles. “The Salon of 1859: The Modern Public and Photography.” in Francis Frascina and Charles Harrison, eds. Modern Art and Modernism: A Critical Anthology, pp. 19-21.

· Barthes, Roland. “The Photographic Message.” in Image-Music-Text. 15-31.

· Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” in Jessica Evans & Stuart Hall, eds. visual culture: the reader, pp. 72-79.

· Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” in visual culture: the reader, 381-89.

· Krauss, Rosalind. “Photography’s Discursive Spaces: Landscape/View.” in Jessica Evans & Stuart Hall, eds. visual culture: the reader, pp. 193-209 OR Art Journal, Vol. 42, No. 4, The Crisis in the Discipline (Winter, 1982), pp. 311-319. (available on JSTOR)

· Baker, George. “Photography’s Expanded Field.” October 144 (Fall 2005): 120-40.

Week 11 November 2

Objects and Spaces

· Oldenburg, Claes. “I am for an art…” http://userpages.itis.com/burleigh/art/iam4.html

· Morris, Robert. “Notes on Sculpture Part III: Notes and Nonsequiturs.” in Kristine Stiles & Peter Selz ed., Contemporary Art: A Sourcebook of Artists’ Writings, pp. 588-93.

· Perec, Georges. “Approaches to What?” in The Everyday Life Reader, 176-78.

· Krauss, Rosalind. “Sculpture in the Expanded Field.” October 8 (Spring 1979): 30-44 (available on JSTOR) OR Hal Foster, ed. The Anti-Aesthetic: Essays on Postmodern Culture, pp. 35-47.

· Bourriaud, Nicolas. Excerpts from Relational Aesthetics. 1998.

Week 12 November 9—NO CLASS

Week 13 November 16

· Presentations

Week 14 November 23

· Presentations

Week 15 November 30

· Presentations

Week 16 December 7

· Presentations

AH327 F11: Themes in Modern and Contemporary Art

2011-08-22T06:50:00.000-07:00

AH327 F11: Themes in Modern and Contemporary Art

M-W 4:20-5:45 Myers

Adrian R. Duran

aduran@mca.edu

901.272.5129

Office Hours: M 2-4pm (MCA Library) & T 12:35-1:35 (Nesin Grad Center)

Class syllabus @ http://theduranarthistoryblog.blogspot.com

Notice: Some of the content of this course may disturb the sensibilities of some students.

If you need to discuss this situation, please contact me.

Notice: Students who are entitled to considerations under ADA guidelines are asked to contact me immediately.  Every situation is unique and warrants specific consideration.  Thus, notifications made in close proximity to exams and/or other due dates may cause complications.  The greater the amount of available time, the more appropriately and successfully these matters can be addressed.

Student Learning Objective: Students will engage 20^th century art thematically, through a loosely chronological structure. Students will learn to identify works by artist, date, movement, and style. Students will learn to synthesize the ideas that support the art and create new conceptual bridges between works of art.

Communication: I can be contacted by both phone and e-mail. E-mail is preferred and, most likely, will result in a quicker response. I will contact you via your MCA e-mail account. If you are having any problems with your e-mail account, please contact Ian Sterling. isterling[at]mca.edu It is your responsibility to monitor these accounts actively and consistently. Students’ individual choices regarding the maintenance and awareness of MCA e-mail will not be acceptable as excuses for missing e-mails.

Attendance: Attendance is mandatory and will be monitored. Expecting to pass this course without constant, attentive attendance is not realistic. Missed classes will have a negative effect on your final grade. Upon your fourth absence, you will receive an F grade in the course. Punctuality is likewise expected. For every two late arrivals, you will be assessed one absence.

Class Materials on Server: Class materials will be available on the MCA server (Dali). Students will be responsible for these materials, which will be eligible for inclusion on exams.

Readings: Please complete ALL readings prior to class. They will provide important background and will be directly addressed in class. There will be a copy of the course text on reserve at the MCA library. It is your responsibility to obtain these readings. The course textbook is available at the Christian Brothers University Bookstore and/or via internet retailers.

The course textbook is:

· Charles Harrison and Paul Wood, eds. Art in Theory 1900-2000: An Anthology of Changing Ideas (listed as AiT—on reserve in the MCA library)

Exams: This course will involve three (3) essay exams. Students will be given a selection of topics on which to write. The content and format of these exams will be explained in further detail as the exam approaches.

Paper: Students will write a paper. This will be in the form of an exhibition proposal and introductory essay. Students will first submit a proposal [1 page double-spaced], followed by a bibliography. These will lay the groundwork for the final paper, which will be an essay of 6-10 pages [12pt font, double-spaced, 1” margins]

The paper will be properly formatted according to the Chicago Manual of Style. The Chicago Manual of Style can be found on reserve in the MCA library.

Plagiarism: The Memphis College of Art’s policy on plagiarism can be found on page 32 of the MCA Student Handbook:

http://mca.edu/attachments/-01_FINALmca_handbook_10_11.pdf

Students are expected to be familiar with this policy and adhere to it.

Grade Breakdown:

25% Per Exam (75% Total)

25% Paper

Safety: This class will follow the standards detailed in the "EPA Material Handling Protocols - September 2007," as issued by MCA.

Course Schedule:

M Aug 22 Intro & Background

W Aug 24 Authors & Objects Redefined **Convocation @ 10:30am

M Aug 29 Authors & Objects Redefined

W.Aug 31 Authors & Objects Redefined

F Sep 2 Last Day to Drop a Course w/o a W

M Sep 5 NO CLASS – LABOR DAY

W Sep 7 Authors & Objects Redefined

M Sep 12 Abstraction/Realism

W Sep 14 Abstraction/Realism ***Paper Proposal due***

M Sep 19 Abstraction/Realism

W Sep 21 Abstraction/Realism

M Sep 26 Exam #1

W Sep 28 War

M Oct 3 War

W Oct 5 NO CLASS

M Oct 10 Space

W Oct 12 Space

M Oct 17 NO CLASS – FALL BREAK

W Oct 19 Bodies ***Bibliography Due***

F Oct 21 Advising Day

M Oct 24 Bodies

W Oct 26 Identity

F Oct 28 Last Day to Withdraw from a Course

M Oct 31 Identity

W Nov 2 Performance

M Nov 7 Performance

W Nov 9 NO CLASS

M Nov 14 Exam #2

W Nov 16 Cameras

M Nov 21 Language

W Nov 23 NO CLASS--Thanksgiving

M Nov 28 Repetition

W Nov 30 Repetition ***Paper Due***

M Dec 5 Land/Nature

W Dec 7 Medium: What is it good for? or Painting: Dead or Alive?

M Dec 12 Exam #3

Course Readings By Topic:

Authors and Objects Redefined

Marcel Duchamp. ‘The Richard Mutt Case’ 1917 252

Alexander Rodchenko and Varvara Stepanova. ‘Programme of the First Working Group of Constructivists’ 1922 341-43

Alexei Gan. from Constructivism 1922 343-44

Clement Greenberg. ‘Avant-Garde and Kitsch’ 1939 539-49

Asger Jorn. ‘Detourned Painting’ 1959 707-10

Pierre Restany. ‘The New Realists’ 1960 724-25

George Maciunas. ‘Neo-Dada in Music, Theater, Poetry, Art’ 1962 727-29

John Cage. ‘On Robert Rauschenberg, Artist, and his Work’ 1961 734-37

Claes Oldenburg. from Documents from The Store 1961 743-47

Robert Morris. ‘Notes on Sculpture 1-3’ 1966-67 Part I 828-30

Sol LeWitt. ‘Sentences on Conceptual Art’ 1969 849-51

Robert Morris. ‘Notes on Sculpture 4: Beyond Objects’ 1969 881-85

Lawrence Weiner. ‘Statements’ 1969-72 893-94

Joseph Beuys. ‘I Am Searching for Field Character’ 1974 929-30

Michel Foucault. ‘What is an Author?’ 1969 949-53

Leo Steinberg. from Other Criteria 1968-72 971-76

Abstraction (Realism)

Wilhelm Worringer. from Abstraction and Empathy 1908 66-69

Henri Matisse. ‘Notes of a Painter’ 1908 69-75

Wassily Kandinsky. from Concerning the Spiritual in Art Section A I Introduction 83-84 & B V Effects of Color 87-89

Piet Mondrian. ‘Dialogue on the New Plastic’ 1919 284-89

Kasimir Malevich. ‘Non-Objective Art and Suprematism’ 1919 292-93

Abstraction-Creation. Editorial Statements 1932 and 1933 374-76

Alfred H. Barr Jr. from Cubism and Abstract Art 1936 381-83

Clement Greenberg. ‘Towards a Newer Laocoon’ 1940 562-68

Clement Greenberg. ‘Modernist Painting’ 1960-65 773-79

Jules Olitski. ‘Painting in Color’ 1967 795-96

War

Filippo Tommaso Marinetti. ‘The Foundation and Manifesto of Futurism’ 1909 146-49

Richard Huelsenbeck and Raoul Hausmann. ‘What is Dadaism and what does it want in Germany?’ 1919 259-60

André Fougeron. ‘The Painter on his Battlement’ 1948 661-63

Space

Guillaume Apollinaire. ‘The New Painting: Art Notes’ 1912 187-88

El Lissitsky. ‘A. and Pangeometry’ 1925 317-21

Tony Smith. ‘from an interview with Samuel Wagstaff Jr.’ 1966 760

Yves Klein. from ‘The Evolution of Art towards the Immaterial’ 1959 818-20

Robert Morris. ‘Notes on Sculpture 1-3’ 1966-67 Part II 830-33

Michael Fried. ‘Art and Objecthood’ 1967 835-46

Richard Serra. from The Yale Lecture 1990 1096-99

Bodies

Umberto Boccioni et al. ‘Futurist Painting: Technical Manifesto’ 1910 150-52

Francis Ponge. ‘Reflections on the Statuettes, Figures and Paintings of Alberto Giacometti’ 1951 625-26

Lea Vergine. from ‘The Body as Language’ 1974 906-10

Identity

Franz Marc. ‘The “Savages” of Germany’ 1912 93-94

Adolf Hitler. Speech Inaugurating the ‘Great Exhibition of German Art’ 1937 439-41

Jean Dubuffet. ‘Crude Art Preferred to Cultural Art’ 1949 605-08Valie Export. ‘Woman’s Art’ 1973 927-29

Edward Said. from Orientalism 1978 1005-08

Mary Kelly. “Re-Viewing Modernist Criticism’ 1981 The Crisis of Artistic Authorship 1060-62

Performance

Allan Kaprow. from Assemblages, Environments and Happenings 1959-65 717-22

Cameras

Osip Brik. ‘Photography versus Painting’ 1926 470-73

Walter Benjamin. ‘The Work of Art in the Age of Mechanical Reproduction’ 1936 520-27

Laura Mulvey. from ‘Visual Pleasure and Narrative Cinema’ 1973/75 982-89

Language

Hugo Ball. ‘Dada Fragments’ 1916-17 250-51

Tristan Tzara ‘Dada Manifesto’ 1918 252-57

Repetition

Andy Warhol. Interview with Gene Swenson 1963 747-49

Eva Hesse. Interview with Cindy Nemser 900-03

Land/Nature

Robert Smithson. ‘A Sedimentation of the Mind: Earth Projects’ 1968 877-81

Robert Smithson. ‘Cultural Confinement’ 970-971

Painting-Dead or Alive?

Gerhard Richter. ‘Notes 1964-65’ 757-60

Michael Fried. from ‘Shape as Form: Frank Stella’s New Paintings’ 1966 793-95

Donald Judd. ‘Specific Objects’ 1965 824-28

Robert Morris. ‘Notes on Sculpture 1-3’ 1966-67 Part III: Notes and Nonsequiturs 833-35

Gerhard Richter. from ‘Interview with Benjamin Buchloh.’ 1988 1147-57

Emergency Procedure

2011-04-08T10:17:00.000-07:00

Hi all-

As I'm sure you all know, Memphis is near the New Madrid fault and has been the site of some major natural disasters. There was an earthquake so serious that the river flowed backwards.

So, on the heels of the disaster in Japan, MCA is distributing information on how to deal with a crisis.

Please read the below, from Jonathan Welden, MCA's Director of Physical Plant.

Adrian

Just a quick reminder of evacuation procedures for our various campus buildings.
Please familiarize yourself with your surroundings, your evacuation routes and these
procedures:

RUST HALL

Fire- In the event of a fire, a continuous ringing of the bell signals a fire alarm.
All faculty are to evacuate their students immediately to Veteran's Plaza located
West of the college. Proceed outside by the route indicated at your position on the
Evacuation Procedures placards located throughout the building. DO NOT USE THE
ELEVATORS. Once at the plaza stay with your teacher and the other members of your
class. Do not return to the building until the all clear is given by safety personnel.

Earthquake- In the event of an earthquake, take cover under stairs, tables or desks
(Drop-Cover-Hold On). Cover your head and neck if possible. Stay away from windows.
DO NOT USE THE ELEVATORS. DO NOT GO INTO A DOORWAY. After the quake, check yourself and others for injuries, then proceed as safely and quickly as possible outside the
building. Assemble in Veteran's Plaza located West of the college. Do not use
matches or any type of open flame. Once at the plaza, stay with your teacher or
other members of your class. Do not return to the building until the all clear has
been given by safety personnel. Do not leave the area.

Tornado- In the event of a tornado warning siren, all faculty are to evacuate their
students immediately to Callicott auditorium. DO NOT GO OUTSIDE. STAY AWAY FROM
WINDOWS. Once in the auditorium, stay with your teacher and the other members of
your class. Do not return to your class until the all clear is given by safety
personnel.

Graduate School

Fire- In the event of a fire, a continuous ringing of the bell signals a fire alarm.
All faculty are to evacuate their students immediately to the fire station located
to the East of the college. Proceed outside by the route indicated at your position
on the Evacuation Procedures placards located throughout the building. DO NOT USE
THE ELEVATORS. Once at the fire station stay with your teacher and the other members
of your class. Do not return to the building until the all clear is given by safety
personnel.

Earthquake- In the event of an earthquake, take cover under stairs, tables or desks
(Drop-Cover-Hold On). Cover your head and neck if possible. Stay away from windows.
DO NOT USE THE ELEVATORS. DO NOT GO INTO A DOORWAY. After the quake, check yourself and others for injuries, then proceed as safely and quickly as possible outside the
building. Assemble at the fire station located East of the college. Do not use
matches or any type of open flame. Once at the fire station, stay with your teacher
or other members of your class. Do not return to the building until the all clear
has been given by safety personnel. Do not leave the area.

Tornado- In the event of a tornado warning siren, all faculty are to evacuate their
students immediately to the center basement area. DO NOT GO OUTSIDE. STAY AWAY FROM WINDOWS. Once in the basement, stay with your teacher and the other members of your class. Do not return to your class until the all clear is given by safety personnel.

Gibson Hall

Fire- In the event of a fire, a continuous ringing of the bell signals a fire alarm.
All faculty and staff are to evacuate immediately to the grass lot located to the
South of the building. Proceed outside by the route indicated at your position on
the Evacuation Procedures placards located throughout the building. Once at the
grass lot stay there with the other members of your department. Do not return to the
building until the all clear is given by safety personnel.

Earthquake- In the event of an earthquake, take cover under tables or desks
(Drop-Cover-Hold On). Cover your head and neck if possible. Stay away from windows.
DO NOT GO INTO A DOORWAY. After the quake, check yourself and others for injuries,
then proceed as safely and quickly as possible outside the building. Assemble at the
grass lot located South of the building. Do not use matches or any type of open
flame. Once at the grass lot, stay with the other members of your department. Do not
return to the building until the all clear has been given by safety personnel. Do
not leave the area.

Tornado- In the event of a tornado warning siren, all faculty and staff are to
assemble immediately in the large meeting room, located in the middle of the
building. DO NOT GO OUTSIDE. STAY AWAY FROM WINDOWS. Once in the meeting room, stay with your department. Do not return to your office until the all clear is given by
safety personnel.

For any questions speak to Jonathan Welden or see page 9 in the 2010-11 student handbook.

AH150 SP11 Survey 2 Syllabus

2011-01-17T09:13:00.000-08:00

AH150: Art History Survey II
Section B: T/Th 10:40-12:05 pm
Section C: T/Th 2:40-4:05 pm
Myers Auditorium

Adrian R. Duran, Ph.D.
aduran@mca.edu
901.272.5129 [x 272]

Syllabus available at http://theduranarthistoryblog.blogspot.com

Office Hours: T/Th 1-2:30pm in Library or by appointment

Important Note: Passing this course is mandatory for your graduation from MCA. Furthermore, a grade of D or above is necessary to advance to higher levels of study within Art History.

Notice: Some of the content of this course may disturb the sensibilities of some students. If you need to discuss this situation, please contact me.

Notice: Students who are entitled to considerations under ADA guidelines are asked to contact me immediately. Every situation is unique and warrants specific consideration. Thus, notifications made in close proximity to exams and/or other due dates may cause complications. The greater the amount of available time, the more appropriately and successfully these matters can be addressed.

Goal: This course will introduce students to art beginning in the 14th century and continuing through to the present. Students will learn terminology, come to understand general and specific intellectual themes, become familiar with the socio-political and religious/mythological systems of those peoples studied, and employ essential Art Historical modes of study and inquiry.

Attendance: Attendance is mandatory and will be monitored. Expecting to pass this course without constant, attentive attendance is not realistic. Missed classes will have a negative effect on your final grade. Upon your fourth absence, you will receive an F grade in the course. Punctuality is likewise expected. For every two late arrivals, you will be assessed one absence.

Communication: I can be contacted by both phone and e-mail. E-mail is preferred and, most likely, will result in a quicker response. As part of a larger, college-wide initiative, I insist that you use your MCA e-mail account [last_first@mcastudent.org]. If you are having any problems with your e-mail account, please contact Ian Sterling. Information may be disseminated via MCA e-mail. It is your responsibility to monitor these accounts.

Powerpoints: Class Powerpoints are available on the MCA server (Dali). Students should consult these as the class progresses and use them as study aids. These Powerpoints may differ slightly from their in-class format. Students are responsible for those images seen in class. Those images that are not shown in class may be used as supporting information, but will not be mandatory for exams. Please notify me immediately if you have any problems accessing the server.

Internet Research: Students should be wary of internet resources. Art History, as is the case with many academic disciplines, is still primarily a paper-based endeavor. There are a number of excellent online journals, but students must be diligent in recognizing the difference between a legitimate, academic journal and other, less rigorously prepared sites. Many websites are excellent (Web Gallery of Art, Met Museum of Art), while many are questionable (Wikipedia, blogs). If there is any doubt, please consult me. Students should look to the class blog for a variety of resources.

Exams: Exams will consist of a combination of fact-based (dates/terminology/identification) questions, slide identifications, slide discussions, compare/contrasts and essays. The distribution of these segments is at my discretion and may be changed at any point during the semester. Students will be notified of exam formats in advance of the exam. Exams WILL NOT be cumulative. Except in extreme (ex. medical emergency, natural disaster) AND documented cases, there will be no make-up exams. You will be responsible for purchasing and bringing blue books to the exams. These can be bought in the MCA Supply Store.

Papers: The writing assignment, due Tuesday April 19, will focus on a single object from the collection of the Brooks Museum of Art. This object must fit within the temporal constraints of this course, but may come from any geographical location. This assignment will consist of a formal analysis of the work of art and will situate the work within its geographical, stylistic, cultural, and artistic contexts. This paper will be a minimum of four full pages of text (12 point font, double-spaced, 1” margins), plus footnotes and bibliography. Citations must follow Chicago Manual of Style format. The Chicago Manual of Style is on reserve in the MCA Library. Also, see http://www.chicagomanualofstyle.org/tools_citationguide.html

Plagiarism: MCA policy on plagiarism can be found in the student handbook. Students under suspicion of plagiarism will be given one opportunity to prove their conduct as other than plagiarism. The burden of proof is on the student. If plagiarism cannot be disproved, the student will be given a grade of F for the course and administrative action will be taken.

Grading: My grading system works as follows. Please consider these numbers indisputable.

A 93 and above
A- 90-92
B+ 88-89
B 83-87
B- 80-82
C+ 78-79
C 73-77
C- 70-72
D 65-69
F Below 65

Grade Breakdown:
Exam 1: 25%
Exam 2: 25%
Exam 3: 25%
Brooks Paper: 25%
n.b.: attendance and lateness will be factored into the final grade

Readings: Please complete ALL readings prior to class. They will provide important background and often will be directly addressed in class. If you have any questions regarding these texts or wish to explore further, I am more than happy to help you find bibliography.

Your textbook is Marilyn Stokstad. Art History. Fourth Edition Volume Two. Pearson Prentice Hall, 2011, and can be purchased at Davis-Kidd (in the Laurelwood Shopping Center on Poplar) or online.
http://www.amazon.com/Art-History-2-4th-MyArtsLab/dp/0205744214/ref=pd_sim_b_1

DO NOT DELAY IN ACQUIRING THIS TEXT. PLEASE DO NOT PURCHASE EARLIER EDITIONS.

Safety: This class will follow the standards detailed in the "EPA Material Handling Protocols - September 2007," as issued by MCA.

Classroom Conduct: Students are expected to conduct themselves in an appropriate manner. Anything otherwise is disrespectful to yourselves, your peers, your faculty, and the educational endeavor.

1. Conversing is unacceptable. It is both distracting to those seated nearby and disruptive to the professor. You will be warned. You will then be asked to leave. If you are asked to leave, you will be marked as absent and penalized accordingly.
2. Cell phone/PDA/PSP/DS/etc. use is prohibited. Claiming the cell phone as your only personal timepiece is not substantial. Texting is forbidden. If your phone rings, the professor reserves the right to answer the call, take the phone, or any other measures deemed appropriate by the professor. Those who do not abide will be warned, then asked to leave, with the aforementioned attendance penalty.
3. Those who take notes on computers are expected to be taking notes, not surfing the internet or any other activities than those immediately associated with the lecture. Those who are caught doing otherwise will be warned, then asked to leave, with the aforementioned attendance penalty.
4. Eating in class is forbidden. Drinking is acceptable, though only if students consider such as a privilege. Policing your own area and disposing of your own trash is expected. If litter and/or filth become a problem, drinking will be forbidden.
5. Students may make audio recordings of class lectures for study use only, but only with prior approval by the professor. Any recordings made are to be used for the purposes of class members only. Other uses are forbidden, and will be met with disciplinary action.
6. Drawing in class is offensive. Your purpose is to listen and take notes, not sketch or plan projects for other classes. Making sketches of the works discussed in class for study purposes is understandable, though course ppts are available on the server.
7. Please do not get up and leave class except when absolutely necessary. Absolutely necessary constitutes emergencies and use of the facilities. Garbage and/or other incidental needs should be held until the end of class. There is no need to ask permission to leave.

Course Schedule:

Readings from Stokstad are [in brackets].

Week One

Tuesday January 18: Introduction

Thursday January 20: Fourteenth-Century Art in Europe [Stokstad Ch. 17: 528-59]

Week Two

MONDAY JANUARY 24: LAST DAY TO ADD A COURSE

Tuesday January 25: Fifteenth-Century Art in Northern Europe [Stokstad Ch. 18: 561-91]

Thursday January 27: Renaissance Art in Fifteenth-Century Italy [Stokstad Ch. 19: 593-629]

Week Three

MONDAY JANUARY 31: LAST DAY TO DROP A COURSE WITHOUT A “W”

Tuesday February 1: Renaissance Art in Fifteenth-Century Italy cot’d

Thursday February 3: Sixteenth-Century Art in Italy [Stokstad Ch. 20: 631-75]

Week Four

Tuesday February 8: NO CLASS—CAA

Thursday February 10: NO CLASS—CAA

Week Five

Tuesday February 15: Sixteenth-Century Art in Italy cot’d

Thursday February 17: Sixteenth-Century Art in Italy cot’d

Week Six

Tuesday February 22: Sixteenth-Century Art in Northern Europe and the Iberian Peninsula [Stokstad Ch. 21: 677-709]

Thursday February 24: Exam #1

Week Seven

Tuesday March 1: Paper Research and Writing Tutorial

Thursday March 3: Seventeenth-Century Art in Europe [Stokstad Ch. 22: 711-69]

Week Eight

Tuesday March 8: Seventeenth-Century Art in Europe cot’d

Thursday March 10: Seventeenth-Century Art in Europe cot’d

Week Nine

Tuesday March 15: NO CLASS—SPRING BREAK

Thursday March 17: NO CLASS—SPRING BREAK

Week Ten

Tuesday March 22: Eighteenth- and Early Nineteenth-Century Art in Europe and North America [Stokstad Ch. 29: 903-59]

Thursday March 24: Eighteenth- and Early Nineteenth-Century Art in Europe and North America

FRIDAY MARCH 25: ADVISING DAY

Week Eleven

Tuesday March 29: Eighteenth- and Early Nineteenth-Century Art in Europe and North America

Thursday March 31: Exam #2

FRIDAY APRIL 1: LAST DAY TO DROP A COURSE

Week Twelve

Tuesday April 5: Mid- to Late Nineteenth Century Art in Europe and the United States [Stokstad Ch. 30: 961-1015]

Thursday April 7: Mid- to Late Nineteenth Century Art in Europe and the United States cot’d

Week Thirteen

Tuesday April 12: Mid- to Late Nineteenth Century Art in Europe and the United States cot’d

Thursday April 14: Modern Art in Europe and the Americas, 1900-1950 [Stokstad Ch. 31: 1017-81]

Week Fourteen

Tuesday April 19: Modern Art in Europe and the Americas, 1900-1950 cot’d BROOKS PAPER DUE

Thursday April 21: Modern Art in Europe and the Americas, 1900-1950 cot’d

Week Fifteen

Tuesday April 26: The International Scene Since 1950 [Stokstad Ch. 32: 1083-1135]

Thursday April 28: The International Scene Since 1950

Week Sixteen

Tuesday May 3: The International Scene Since 1950

Thursday May 5: Exam #4

AH227 F10 Syllabus

2010-08-23T08:43:00.000-07:00

AH227 Modern Art: 1900-1945

T/Th 2:40-4:05

Myers

Adrian Duran

aduran@mca.edu

901.272.5129 [x 272]

Office Hours: Wed 2-5pm (Administration Building, unless otherwise notified)

http://theduranarthistoryblog.blogspot.com

Notice: Some of the content of this course may disturb the sensibilities of some students. If you need to discuss this situation, please contact me.

Goal: This course will introduce students to the major movements and artists of the Modern period, that is, art of the 20^th century—primarily European—prior to the Second World War. In doing so, students will come to understand the fundamental tenets of Modernism and the various manifestations of Modernist avant-gardism, as well as those artists and movements that, though contemporary, cannot be neatly packaged within Modernism.

Attendance: Attendance is mandatory and will be monitored. Expecting to pass this course without constant, attentive attendance is not realistic. Missed classes will have a negative effect on your final grade. Upon your fourth absence, you will receive an F grade in the course. Punctuality is likewise expected. For every two late arrivals, you will be assessed one absence.

Communication: I can be contacted both by phone and e-mail. E-mail is preferred and, most likely, will result in a quicker response. As part of a larger, college-wide initiative, I insist that you use your MCA e-mail account [last_first@mcastudent.org]. If you are having any problems with your e-mail account, please contact Ian Sterling. Information may be disseminated via MCA e-mail. It is your responsibility to monitor these accounts.

Powerpoints: Class Powerpoints are available on the MCA server. Students should consult these as the class progresses and use them as study aids. These Powerpoints may differ slightly from their in-class format. Students are responsible for those images seen in class. Those images that are not shown in class may be used as supporting information, but will not be mandatory for exams.

Internet Resources: Students should be wary of internet resources. Art historical research, as is the case in many academic disciplines, is still primarily a paper-based endeavor. There are a number of online journals, but students must be diligent in recognizing the difference between a legitimate, academic journal and other, less rigorously prepared sites. Many websites are excellent (Web Gallery of Art, Met Museum of Art), while many are questionable (Wikipedia, blogs). If there is any doubt, please consult me.

Readings: Please complete ALL readings prior to class. They will provide important background and will be directly addressed in class. Some readings will be available only on reserve at the MCA library or through electronic resources. It is your responsibility to obtain these readings.

Books: Course books are available at at Davis-Kidd (in the Laurelwood Shopping Center on Poplar), though students are encouraged to consider alternate vendors and/or used copies. It is wise to consult amazon.com and other internet sites. DO NOT DELAY IN ACQUIRING THESE TEXTS. All texts are available on reserve at the MCA library.

The primary course textbook is:

Harrison, Charles and Paul Wood, eds. Art in Theory: 1900-2000 An Anthology of Changing Ideas. (AiT)

Exams: Exams will consist of a combination of slide identifications, slide discussions, compare/contrasts and essays. The distribution of these segments is at my discretion and may be changed at any point during the semester. Students will be notified of exam formats in advance of the exam. Exams WILL NOT be cumulative. Except in extreme, and documented, cases, there will be no make-up exams. You will be responsible for purchasing and bringing blue books to the exams. These can be bought in the MCA Supply Store.

Paper: Students will write a 6-9 page [double-spaced, 12 pt. font, 1” margins] paper on a topic of their choosing. This paper should include biographical information on the artist, formal analysis of the work(s) or topic(s) in question, and a discussion of how said work(s) or topic(s) fit into the movements, trajectories, and critical issues discussed in this course. Properly formatted footnotes and bibliography are expected. Please follow the format established by the Chicago Manual of Style, which is at the MCA Library.

Due dates are as follows:

Tuesday, September 21: 200 word proposal and preliminary bibliography due for approval.

Tuesday, November 23: final paper due

This schedule will enable students to search for and find a topic, as well as formulate their thoughts with ample time for consultation and revision. I am more than happy to discuss papers with you and/or read preliminary drafts, so do not hesitate to ask for assistance.

Students are to be deeply suspicious of internet resources. Online databases and full-text journals are, of course, an important exception. Please speak with Leslie Holland, who will be able to guide you to MCA’s database and online resources. Wikipedia is not an acceptable source. Equivalent, and proofed, information can be found in The Dictionary of Art. If you are concerned about the quality or reliability of online information, please contact me.

Plagiarism is a serious offense. This class will abide the MCA policy on plagiarism, which can be found in the Student Handbook. If there are any questions, please ask.

Grading: My grading system works as follows. Please consider these numbers indisputable. Refer to the MCA Student Handbook for an understanding of grading policy. MCA policy on plagiarism can be found on page 66 of the Student Handbook.

A 93 and above

A- 90-92

B+ 88-89

B 83-87

B- 80-82

C+ 78-79

C 73-77

C- 70-72

D 65-69

F Below 65

Grade Breakdown:

Exam 1: 25%

Exam 2: 25%

Exam 3: 25%

Paper: 25%

n.b.: attendance and lateness will be factored into the final grade

Course Schedule w/ Readings:

Week 1 (Aug 24-26)

Day 1: Syllabus

Day 2: MCA Library + Review of 19^th century art

Week 2 (Aug 31-Sep 2)

Day 1: Review of 19^th century art cot’d + Framing Modernism

Read:

Georg Lukacs “The Ideology of Modernism” AiT 683-88

Clement Greenberg “Modernist Painting” AiT 773-79

Rosalind Krauss “A View of Modernism” AiT 976-78

Raymond Williams “When was Modernism?” AiT 1085-88

Day 2: Fauvism

Read: Henri Matisse “Notes of a Painter” AiT 69-75 [Art in Theory: 1900-2000]

Week 3 (Sep 7-9)

Day 1: Fauvism, Die Brücke

Read;

Rosalyn Deutsche “Alienation in Berlin: Kirchner’s Street Scenes” in Art in America (January 1983): 65-72

Ernst Ludwig Kirchner “Programme of Die Brücke” AiT 65-66

Emil Nolde “On Primitive Art” AiT 96-97

Georg Simmel “The Metropolis and Mental Life” 132-36

Day 2: Die Brücke continued

Week 4 (Sep 14-16)

Day 1: Cubism

Read:

Lisa Florman “The Flattening of ‘Collage’” in October 102 (Fall 2002): 59-86

Guillaume Apolinaire “The Cubists” + “On the Subject in Modern Painting” + The New Painting: Art Notes” + “from The Cubist Painters” AiT 185-90

Albert Gleizes and Jean Metzinger “from Cubism” AiT 194-201

Daniel Henry Kahnweiler “from The Rise of Cubism” AiT 208-213

Day 2: Cubism continued + Vorticism + Orphism

Read:

Percy Wyndham Lewis “Our Vortex” AiT 162-63

Henri Gaudier-Brzeska “Gaudier-Brzeska Vortex” and “Vortex Gaudier-Brzeska” AiT 163-67

Robert Delaunay “On the Construction of Reality in Pure Painting” AiT 152-54

Week 5 (Sep 21-23)

Day 1: Brancusi + Purism + De Stijl

Read:

Charles Edouard Jeanneret (Le Courbusier) and Amédée Ozenfant “Purism” AiT 239-42

De Stijl “Manifesto I” AiT 281

Theo van Doesburg “from Principles of Neo-Plastic Art” AiT 281-84

Piet Mondrian “Dialogue on the New Plastic” AiT 284-89

Piet Mondrian “Neo-Plasticism: the General Principle of Plastic Equivalence” AiT 289-92

Amédée Ozenfant “from Foundations of Modern Art” AiT 369-71

Piet Mondrian “Plastic Art and Pure Plastic Art” AiT 387-93

PAPER PROPOSAL AND BIBLIOGRAPHY DUE

Day 2: Overflow Day

Week 6 (Sept 28-30)

Day 1: Exam #1

Day 2: NO CLASS

Week 7 (Oct 5-7)

Day 1: Futurism

Read:

Ester Coen “The Violent Urge Towards Modernity: Futurism and the International Avant-Garde” in Emily Braun, ed. Italian Art in the 20^th Century, 49-56.

Umberto Boccioni “Futurist Painting: Technical Manifesto” AiT 150-52

Filippo Tommaso Marinetti “The Foundation and Manifesto of Futurism” AiT 146-50

Day 2: Suprematism + Constructivism

Read:

Kasimir Malevich “From Cubism and Futurism to Suprematism: The New Realism in Painting” AiT 173-83

Kasimir Malevich “Non-Objective Art and Suprematism” AiT 292-93

Kasimir Malevich “The Question of Imitative Art” AiT 293-98

Naum Gabo and Anton Pevsner “The Realistic Manifesto” AiT 298-300

UNOVIS “Programme of a United Audience in Painting of the Vitebsk State Free Workshop” AiT 300-02

El Lissitsky “A. and Pangeometry” AiT 317-21

Vladimir Tatlin “The Initiative Individual in the Collective” AiT 334-35

Nikolai Punin “The Monument to the Third International” AiT 336-39

Alexander Rodchenko “‘Slogans’ and ‘Organizational Programme’” AiT 339-41

Alexander Rodchenko and Varvara Stepanova “Programme of the First Working Group of Constructivists” AiT 341-43

Vladimir Tatlin “Report of the Section for Material Culture’s Research Work” AiT 352-57

Naum Gabo “The Constructive Idea in Art” AiT 384-87

Week 8 (Oct 12-14)

Day 1: Suprematism + Constructivism continued & The Bauhaus

Read:

Walter Gropius “Reply to Arbeitsrat für Kunst Questionnaire” AiT 269-70

Walter Gropius “The Theory and Organization of the Bauhaus” AiT 309-14

Day 2: Klee + Kandinsky

Read:

Paul Klee “from On Modern Art” AiT 362-69

Wassily Kandinsky “from Concerning the Spiritual in Art” AiT 82-89

Week 9 (Oct 19-21)

Day 1: NO CLASS—Fall Break

Day 2: NO CLASS

Week 10 (Oct 26-28)

Day 1: Overflow Day

Day 2: Exam #2

Week 11 (November 2-4)

Modernist Film Week

Week 12 (Nov 9-11)

Day 1: Dada

Read:

Hugo Ball “Dada Fragments” AiT 250-52

Tristan Tzara “Dada Manifesto” AiT 252-57

Richard Hülsenbeck “First German Dada Manifesto” AiT

Richard Hülsenbeck and Raoul Hausmann “What is Dadaism and what does it want in Germany?” AiT 259-60

Richard Heulsenbeck “from En Avant Dada” AiT 260-63

George Grosz “My New Pictures” AiT 272-74

Day 2: Dada continued

Week 13 (Nov 16-18)

Day 1: Duchamp

Read:

Marcel Duchamp “The Richard Mutt Case” AiT 252

Day 2: Metaphysical Painting + Surrealism

Read:

Giorgio De Chirico “Mystery and Creation” AiT 58

Sigmund Freud “from On Dreams” AiT 21-28

André Breton “from the First Manifesto of Surrealism” AiT 447-53

André Breton “Surrealism and Painting” AiT 457-63

André Breton “from the Second Manifesto of Surrealism” AiT 463-67

Georges Bataille “from ‘Critical Dictionary’” AiT 482-84

Georges Bataille “The Lugubrious Game” AiT 484-86

Salvador Dali “The Stinking Ass” AiT 486-89

Week 14 (Nov 23-25)

Day 1: Surrealism continued PAPER DUE

Day 2: NO CLASS--THANKSGIVING

Week 15 (Nov 30-Dec 2)

Day 1: Fascism + Nazism + Guernica

Read;

Philip V. Cannistraro “Fascism and Culture in Italy, 1919-1945” in Emily Braun, ed. Italian Art in the 20^th Century, 147-54.

Jonathan Petropoulos “Degenerate Art and State Interventionism, 1936-1938” pp. 51-74 of art as politics in the Third Reich On Reserve

Carlo Carrà “Our Antiquity” AiT 232-34

Mario Sironi “Manifesto of Mural Painting” AiT 424-26

Adolf Hitler “Speech Inaugurating the ‘Great Exhibition of German Art’” AiT 439-42

Day 2: Fascism + Nazism + Guernica continued

Week 16 (Dec 7-9)

Day 1: Overflow Day

Day 2: Exam #3

AH230: Art Since 1945 F10 Syllabus

2010-08-20T13:12:00.000-07:00

AH230: Art Since 1945

T/Th 1:00-2:25pm

Myers Auditorium

Adrian R. Duran

aduran@mca.edu

901.272.5129 [x 272]

Office Hours: W 2-5pm (Administration Building, unless otherwise notified)

http://theduranarthistoryblog.blogspot.com

Notice: Some of the content of this course may disturb the sensibilities of some students. If you need to discuss this situation, please contact me.

Goal: This course will introduce students to art, artists, and critical discourse from WWII until the present.

Attendance: Attendance is expected. After the fourth absence, an F grade will be assessed. This will be done without warning or advisement. Students who find themselves in such a circumstance are encouraged to contact me immediately.

Communication: I can be contacted by both phone and e-mail. E-mail is preferred and, most likely, will result in a quicker response. As part of a larger, college-wide initiative, I insist that you use your MCA e-mail account [last_first@mcastudent.org]. If you are having any problems with your e-mail account, please contact Ian Sterling. Information may be disseminated via MCA e-mail. It is your responsibility to monitor these accounts.

Powerpoints: Class Powerpoints are available on the MCA server. Students should consult these as the class progresses and use them as study aids. These Powerpoints may differ slightly from their in-class format. Students are responsible for those images seen in class. Those images that are not shown in class may be used as supporting information, but will not be mandatory for exams.

Internet Resources: Students should be wary of internet resources. Art historical research, as is the case in many academic disciplines, is still primarily a paper-based endeavor. There are a number of online journals, but students must be diligent in recognizing the difference between a legitimate, academic journal and other, less rigorously prepared sites. Many websites are excellent (Web Gallery of Art, Met Museum of Art), while many are questionable (Wikipedia, blogs). If there is any doubt, please consult me.

Readings: Please complete ALL readings prior to class. They will provide important background and will be directly addressed in class. Many readings will be available only on reserve at the MCA library or through electronic resources. It is your responsibility to obtain these readings.

Charles Harrison and Paul Wood, eds. Art in Theory 1900-2000: An Anthology of Changing Ideas.

Kristine Stiles and Peter Selz, eds. Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings.

Due dates are as follows:

Tuesday, September 28^th: 200 word proposal and preliminary bibliography due for approval

Tuesday, November 23^th: final paper due

This schedule will enable students to search for and find a topic, as well as formulate their thoughts with ample time for consultation and revision. Though I reserve the right to redirect topics, students are encouraged to investigate any topic that may interest them. I am more than happy to discuss papers with you and/or read preliminary drafts, so do not hesitate to ask for assistance.

Plagiarism is a serious offense. This class will abide the MCA policy on plagiarism, which can be found in the Student Handbook. Students under suspicion of plagiarism will be given one opportunity to prove their conduct as other than plagiarism. The burden of proof is on the student. If the state of plagiarism cannot be disproved, the student will be given a grade of F for the course and administrative action will be taken. If there are any questions, please ask.

Grade Breakdown:

25% Test # 1

25% Test # 2

25% Test # 3

25% Paper

Safety: This class will follow the standards detailed in the "EPA Material Handling Protocols - September 2007," as issued by MCA.

Course Schedule & Readings:

AiT = Charles Harrison and Paul Wood, eds. Art in Theory 1900-2000: An Anthology of Changing Ideas

S&S = Kristine Stiles and Peter Selz, eds. Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings

Week 1

August 24: Introduction

August 26: Prewar Modernism

Read: Georg Lukacs “The Ideology of Modernism” AiT 683-88; Clement Greenberg “Modernist Painting” AiT 773-79; Rosalind Krauss “A View of Modernism” AiT 976-78; Raymond Williams “When was Modernism?” AiT 1085-88

Week 2

August 31: Abstract Expressionism

Read: Harold Rosenberg “from ‘The American Action Painters’” AiT 589-92; Clement Greenberg “Modernist Painting” AiT 773-79; Jackson Pollock “Guggenheim Application” S&S 22

September 2: Abstract Expressionism cot’d + Europe Postwar

Read: Jean-Paul Sartre “from Existentialism and Humanism” AiT 600-03; Jean Dubuffet “Crude Art Preferred to Cultural Art” AiT 605-08; Michel Tapié “from An Other Art” AiT 629-31; Constant “Our Own Desires Build the Revolution” AiT 659-661; André Fougeron “The Painter on His Battlement” AiT 661-63

Week 3

September 7: Europe postwar cot’d + Giacometti

September 9: Modernist Sculpture + Post-Painterly Abstraction + 1950s Figuration

Read: Michael Fried “from Three American Painters” AiT 787-93; Jules Olitski “Painting in Color” 795-96

Week 4

September 14: Neo-Dada + Assemblage + Happenings

Read: Moira Roth ”The Art of Indifference” Artforum vol. XVI #3 (Nov 1977): 46-53.; Leo Steinberg “from Other Criteria” AiT 71-76; Alan Kaprow “from Assemblages, Environments and Happenings” AiT 717-22; George Maciunas “Neo-Dada in Music, Theatre, Poetry, Art” AiT 727-29; Robert Rauschenberg “Untitled Statement” & “Note on Painting” S&S 321-22

September 16: Gutai + Nouveaux Réalisme + Manzoni

Read: Jirô Yoshihara “Gutai Manifesto” AiT 698-701; Piero Manzoni “Free Dimension” AiT 722-24; Pierre Restany “The New Realists” AiT 724-25; Yves Klein “Sorbonne Lecture” AiT 818-20; Yves Klein “Ritual for the Relinquishment of the Immaterial Pictorial Sensitivity Zones” S&S 81

Week 5

September 21: Pop in Europe & America

Read: Lawrence Alloway “The Arts and the Mass Media” AiT 715-17; Richard Hamilton “For the Finest Art, Try Pop” AiT 742-43; Claes Oldenburg “I Am for an Art…” AiT 743-47; Andy Warhol “Interview with Gene Swenson” AiT 747-49; Andy Warhol “Warhol in His Own Words: Untitled Statements” S&S 340-46

September 23: Pop cot’d

Week 6

September 28: Overflow Day PAPER PROPOSAL AND BIBLIOGRAPHY DUE.

September 30: NO CLASS

Week 7

October 5: Exam #1

October 7: Painting and Objecthood + Minimalism

Read: Michael Fried “from ‘Shape as Form: Frank Stella’s New Paintings’” AiT 793-95; Tony Smith “from an Interview with Samuel Wagstaff Jr” AiT 760; Donald Judd “Specific Objects” AiT 824-28; Robert Morris “Notes on Sculpture 1-3” AiT 828-35; Michael Fried “Art and Objecthood” AiT 835-46; Ad Reinhardt “25 Lines of Words on Art: Statement” S&S 90-91; Frank Stella “The Pratt Lecture” S&S 113-14

Week 8

October 12: Minimalism cot’d +Post-Minimalism

Read: Robert Morris “Notes on Sculpture 4: Beyond Objects” AiT 881-85; Joseph Beuys “Not Just a Few Are Called, But Everyone” AiT 903-06; Eva Hesse “Untitled Statements” S&S 594-97; Joseph Beuys “Untitled Statement” S&S 633-34

October 14: Post-Minimalism cot’d

Week 9

October 19: NO CLASS—Fall Break

October 21: NO CLASS

Week 10

October 26: Earth Art + Matta-Clark + Christo

Read: Robert Smithson “A Sedimentation of the Mind: Earth Projects” AiT 877-81; Robert Smithson “Cultural Confinement” AiT 970-71; Walter De Maria “The Lightning Field” S&S 527-30; Christo “Fact Sheet: Running Fence” S&S 547-50

October 28: Conceptualism

Read' alexander alberro “reconsidering conceptual art, 1966-1977.” in conceptual art: a critical anthology, xv-xxxvii.; Sol LeWitt “Paragraphs on Conceptual Art” AiT 846-49; Sol LeWitt “Sentences on Conceptual Art” AiT 849-51; Lawrence Weiner “Statements” AiT 893-94; Hans Haacke “Statement” AiT 930-31; Mel Ramsden “from ‘On Practice’” AiT 933-35; Ian Burn “The Art Market: Affluence and Degradation” AiT 935-38; Joseph Kosuth “Untitled Statement” & “Art After Philosophy” S&S 840-47; Hans Haacke “Untitled Statements” S&S 872-74

Week 11

November 2: Conceptualism cot’d

November 4: Overflow Day

Week 12

November 9: Exam #2

November 11: Other Painting and Sculpture of the 1960s and 70s

Read: Francis Bacon “Interview with David Sylvester” AiT 635-39; Gerhard Richter “from ‘Interview with Benjamin Buchloh’” AiT 1147-57; Anselm Kiefer “Structures Are No Longer Valid” S&S 61-62; Lucien Freud “Some Thoughts on Painting” S&S 219-21

Week 13

November 16: 1980s

Read: Jean-Francois Lyotard “What is Postmodernism?” AiT 1131-37; Sherrie Levine “Statement” AiT 1038-39; Barbara Kruger “‘“Taking” Pictures’” AiT 1041; Peter Halley “Nature and Culture” AiT 1042-46; Haim Steinbach, Jeff Koons, Sherrie Levine, Philip Taafe, Peter Halley, Ashley Bickerton “From Criticism to Complicity” AiT 1051-54; Jesse Helms “Senator Helms Objects to Taxpayers’ Funding for Sacrilegious Art” S&S 273-74; Andres Serrano “Letter to the National Endowment for the Arts” S&S 281-82; David Wojnarowicz “Post Cards from America: X-Rays from Hell” S&S 373-76

November 18: 1980s cot’d

Read: Mike Kelley “Dirty Toys: Mike Kelley Interviewed” AiT 1099-1102; Krzysztof Wodiczko “Public Projection” AiT 1065-68

Week 14

November 23: 1990s PAPER DUE

November 25: NO CLASS—Thanksgiving Break

Week 15

November 30: 1990s cot'd

December 2: 2000

Week 16

December 7: 2000s-present

December 9: Exam #3

Server Directions

2010-06-07T14:16:00.001-07:00

The MCA Labs have their own site, with directions for accessing the server.

http://www.mcalabs.net

Attention Paper Writers!

2010-04-19T09:19:00.000-07:00

Look at the links under "useful links." Right there, on the side.

Lots of good, useful resources, many of them accessible from anywhere at anytime.

Now go read a book. Or a journal. Or any other printed resources.

Lots of Art History still happens on paper.

For More...

2010-04-19T09:17:00.000-07:00

I don't meant to cross-pollinate or oversaturate, but there are more Art and Art History-related goings on at:

http://adrianduranblog.blogspot.com

adrianduranblog on both Facebook and Twitter.

A Few Methods for An Essay Question

2010-01-20T08:33:00.001-08:00

Am I beginning to sound like a TV miniseries?

At any rate, here are some pointers, again based on past experience. And, again, not a complete list...

Answer the question, not the question you've imagined based on the keywords that you’ve picked out of a question that you haven't read thoroughly.
Unless prompted to do so avoid first-person assertions. The question is not about your opinions, beliefs, or feelings. The question is about what is evident in or readable from the work.
If you make an assertion, back it up with specific evidence from a work of art.
Rhetorical questions are useless. Actual answers are useful.
Description is never a substitute for interpretation. A pathway to interpretation, yes, but not a substitute. The “how” and “what” of an object’s making are important, but must be paired with the “why” and “with what effect, to what end, or with what influence.”
Talk about the work, not around it.
Don’t be clever. Be correct. Be complete.

A Few Methods for Writing a Solid Paper

2010-01-20T07:54:00.000-08:00

Hello Again-

Now that you're all living directed, healthy lives, I'd like to point you toward another critical facet of Art History...paper writing.

Writing papers is one of the most important skills within the discipline of Art History. Visual analysis and research would be my other two nominees, and I believe myself safe to say that the three are of a group, like the Graces or the members of Rush or the number of Star Wars films that are worth watching.

Thus, let me submit a brief and evolving list of pointers that I believe will serve you well. These are based on past papers and the problems that seem to emerge on a somewhat constant basis. This is not a complete list, but attending to the below will offer a sound foundation. In no particular order, because they are all critical...

Meet the minimum length requirements. If your Professor says "minimum four full pages," they are not kidding. Three pages won't suffice. Three and a half won't suffice. If I owe you ten bucks and give you nine, are we even?
Formatting is not a joke. Art History tends to use the Chicago Manual of Style. If your Professor asks that you do so, please do so. Do not use APA, MLA, or any other style.
Similarly, if there are guidelines for the actual formatting of the document, follow them. Check your word processing program. Their default settings are often not what your Professor may want. Honor these requests. The Devil is in the details. The Devil is a poor grade.
Edit! Reread your paper. Then let it sit. Then reread it again. Repeat this process at least three times. Ask a friend to read it. Ask someone who knows nothing about the topic. Their ignorance is your best defense. Let them tell you what is unclear, or convoluted, or lacking. Read your paper out loud. Things sound different than they look. Reading a paper aloud will help in ways much different than reading with your eyes. Trust me. This was advice given to me by my grad advisor. She was never wrong.
Understand what kind of paper you are writing. An exhibition review is different than a book review...is different than a book report...is different than a research paper. Know the difference.
Have a thesis. If you aren't arguing something specific and specifically, or aren't trying to demonstrate something, what are you doing? State your intentions clearly and early. Bind the rest of the paper to this purpose and follow through to the end.
Do not regurgitate class lectures. It is not acceptable to offer a prose version of what your Professor said in class. Any Professor who has a memory will remember what they've said and ask you why you are repeating them.
Avoid esoterica. If it isn't on topic, or in some way supportive of the topic, why are you discussing it?
Do not generalize. Be specific. Apples are apples. Oranges are oranges. Do not try to artificially group things that are independent and individual.
Do the research. Be purposeful with your research. Be skeptical with what you are reading. Just because it shares a keyword does not make it germane. Will every article ever published on Picasso have something to do with your paper on his ceramics? Probably not. Don't be a bibliographical Enron. Use what counts and what furthers your ideas. Just because it exists doesn't mean it is useful.
On the same note, be wise about your sources. An anecdote: I once had a student who was doing research for me. The topic doesn't matter. He found an internet resource (again, skepticism) that he was unsure of, so he asked me to look at it (smart move), which I did. Turns out that the individual who wrote and published said resource was not only younger than my student, but had a lower GPA. Hmm... Just because it exists doesn't mean it's quality.
Use the images directly. I may have said this in a bit of a huff, but I told a group of students that it's called Art History because the art comes first. If it doesn't, you're doing something else. I may have been overstating the case, but what we do deals with images and objects. Deal with them directly and thoroughly. They are evidence, not illustrations.
Know the difference between description and interpretation. If you are currently trying to figure it out, look it up.
If you are doing comparison or contrasting, integrate the two objects. This isn't the blues. A-B-A-B won't cut it. Mix them together. Play them off of each other. Dealing with the objects in isolation is neither comparison nor contrasting.
Use your human resources. Your Professor has office hours for a reason. There is a Librarian in the Library. Check the Writing Center. Go online and read websites about art writing. Read the books that exist about art writing. These are all endlessly useful and horribly underused resources.
My 8th grade English teacher told me this and I remember it every time I try to put pen to paper: Say what you mean and mean what you say.

Remember, writing is like riding a bicycle. The first few attempts usually involve a bit of pain and damage. But, with practice and diligence, grace and agility will prevail.

A Few Methods for Avoiding Disaster

2010-01-17T09:14:00.000-08:00

Greetings and Salutations-

Everyone knows that every semester brings its own special version of chaos. So, in anticipation of whatever may come, I would like to submit the following half-dozen ideas as a certain defense against entropy. I'm certainly not a lifestyle coach, but I've seen more than three smart people in less-than-smart circumstances. So, I though this might help.

But, like all advice, take it with a grain of salt. You've got to establish your own systems.

1. You have to play 60 minutes of football...This is NFL speak for "everything counts." It's true. Everything counts. That class you might want to sleep through? That material will be on the exam. That first exam you don't want to study too hard for because it's still early in the semester and there will definitely be time to fix things later? That's 25% of your grade. Those five minutes that you're late? That's going to count against you. Everything you do (or don't do) contributes to your final grade. Don't forget that.

2. Here's another good one from the NFL...While you're sleeping, someone else is watching film. School isn't a competition against anyone but yourself, but preparation is everything. The extra ten minutes of studying you do while waiting for the pasta to cook? That might show up on the exam. That study group you get together with instead of going out on Saturday night? Those other three people will certainly know something you don't. They may have a new perspective for you to consider. There are 24 hours in every day. Use them wisely. Every additional minute of review, study, thinking, discussion, or whatever you do to make the information dance in your mind is helpful. New Orleans Saints QB Drew Brees has been known to be in the team facility at 5 am to do extra work. All he's done in the past four years is set the all-time passing yards record. 1+1 generally equals 2. The military has a similar notion called the 7 Ps: Prior Planning and Preparation Prevents P--- Poor Performance.

3. Anima sana in corpore sano...Ever hear of ASICS athletic shoes? Think about it. A.S.I.C.S. It's Latin for "Sound mind in sound body." And that's true as well. You've got to keep both in good order. Let me suggest a few methods here.

Get a good night's sleep. They always recommend 8 hours, especially if you're still growing. I like to get about 6, I know people who need 8, 10, 4. Whatever works best, but get those ZZZZs. I've never once been exhausted and intelligent at the same time.
Don't eat garbage. Yeah, you're a broke student with crazy demands on your time. But this doesn't mean you have to eat like a possum. Rethink it. Fruit and vegetables are cheap. Beans and lentils are cheap. Pasta is cheap. These are all healthy and can be flipped a million different ways. Ever hear that old adage about an apple a day? That too is true. Apples are great for you. They provide a sugar rush. They actually clean your teeth when you chew them. They're filled with vitamins and fiber. They go with damn near anything and are good at any time of day. Breakfast, snack, dessert, whatever. Go buy a whole chicken. Rub it with whatever flavors you like. Roast it at 350 for 45 minutes. Flip it and roast it for another 45 minutes. There you go. Food for a few days. A big pot of beans and rice will also keep you fed for a while. A lasagna will do the same. Get a cookbook and read it. Improvise and reconfigure.
Watch your chemistry. Don't overcaffeinate. Try tea instead of coffee. Try anything instead of energy drinks.
Drink tons of water. Ask your doctor...water is the body's lubricant. You wouldn't let the oil run dry in a Maserati, would you? Imagine how silly it would be to do the same to your own body. They say you need at least 64 ounces a day. My method is to always have water on hand. When it's gone, refill.
Don't be a fool. Taking someone else's medication so that you can stay up all night and study? Foolish. Red Bull and Pop Tarts for breakfast? Foolish. I'm not saying that you have to be a macrobiotic yogi, but don't be an idiot.
Hygiene is key. Firstly, it prevents illness, the mortal enemy of smarts. Secondly, college is the time during which the transition into professional adulthood begins. Nobody wants to work with or near someone who lacks basic hygiene. I'm not arguing for a quarantined sterility, but, as we are all members of a social collective, we should do our part to maintain the collective wellness. Raccoons wash their hands and food before they eat. Why don't we all take a hint?

4. Come ready to play. Learning is an active process, entirely different from watching tv or theatre or films. You need to be focused and motivated. I don't know what it takes for anyone but myself, but you have to come to the classroom switched completely on, hungry for learning, and ready. Some people listen to speed metal, some do jumping jacks, some do sun salutations. Find your method. Use it.

5. Everything is everything. I stole this one from Lauryn Hill, because she's right. In case we, as a culture, have forgotten who Lauryn Hill is, let me call this the Avatar theory. Everything is interconnected. That tv show you watched last night might be based on the story from Ovid you've just read for a Mythologies class. 3-D design principles might help you organize your furniture better. Did you know that Metallica's Creeping Death is based on the Book of Exodus? Keep your brain on record at all times and don't differentiate important information from whatever else there may be. There's nothing else. All information can be made useful.

6. The love of the game...Education is its own reward, one that rewards work and dedication. Yes, grades are a measurable, tangible markers that people will respond to. I'm not naive. I know that grades are the primary focus. But learning should be. Becoming a more well-rounded, better-informed, more open-minded individual is a goal that need not come with expectations of rewards. Being in school is beautiful. Your only responsibility is to learn and to learn well. I cannot imagine a greater luxury. Do it for its own pleasures and it will provide greater pleasures.

Good luck. See you there.

Duran

n.b.: Remember, we're here to help. There's no such thing as a stupid question, only the stupidity of being too ashamed to ask.

Wednesday Tours of the Brooks Museum

2009-09-30T07:15:00.001-07:00

Attention all MCA Students:

Danita Barrentine, who many of you may know from IPC, is offering free tours of the Brooks Museum. Highly recommended.

Wednesday-12:00 pm & 3:00 pm
Meet in the Sleeze and Slime

Contact:
Danita Barrentine
IPC Instructor
dbarrentine@mca.edu

AH225 F09 Syllabus

2009-08-21T11:55:00.000-07:00

AH225 F09 Nineteenth Century Art
T/Th 2:40-4:05 pm
Myers Auditorium

Adrian Duran
aduran@mca.edu
901.272.5129 [x 272]
theduranarthistoryblog.blogspot.com

Office Hours: Wednesday 2-5pm (3rd floor, North tower, otherwise Library)

Notice: Some of the content of this course may disturb the sensibilities of some students. If you need to discuss this situation, please contact me.

Notice: Students who are entitled to considerations under ADA guidelines are asked to contact me immediately. Every situation is unique and warrants specific consideration. Thus, notifications made in close proximity to exams and/or other due dates may cause complications. The greater the amount of available time, the more appropriately and successfully these matters can be addressed.

Goal: This course will introduce students to the major artists, themes, media, and developments of the long Nineteenth Century, ca. 1750-1910. Students will learn the specific iconographies used by these artists, develop interpretive mechanisms for these works, and become familiar with past and current methodologies of the history of the period.

Communication: I can be contacted by both phone and e-mail. E-mail is preferred and, most likely, will result in a quicker response. I will contact you via your MCA e-mail account. If you are having any problems with your e-mail account, please contact Ian Sterling. It is your responsibility to monitor these accounts actively and consistently. Students’ individual choices regarding the maintenance and awareness of MCA e-mail will not be acceptable as excuses for missing e-mails.

Attendance: Attendance is mandatory and will be monitored. Expecting to pass this course without constant, attentive attendance is not realistic. Missed classes will have a negative effect on your final grade. Upon your fourth absence, you will receive an F grade in the course. Punctuality is likewise expected. For every two late arrivals, you will be assessed one absence.

Powerpoints: Class Powerpoints are available on the MCA server (Dali). Students will be responsible for these materials, which will be eligible for inclusion on exams.

Readings: Please complete ALL readings prior to class. They will provide important background and will be directly addressed in class. Some readings will be available only on reserve at the MCA library. It is your responsibility to obtain these readings.

The primary course textbook is: Petra ten-Doesschate Chu. Nineteenth-Century European Art, 2nd ed. Pearson Prentice Hall, 2006.

DO NOT PURCHASE THE 1st EDITION. IT IS OBSOLETE.

The text is available for purchase at Davis-Kidd (in the Laurelwood Shopping Center on Poplar). If you have any questions regarding any texts or wish to explore further, I am more than happy to help you find bibliography.

Exams: Exams will consist of a combination of slide identifications, slide discussions, compare/contrasts and essays. The distribution of these segments is at my discretion and may be changed at any point during the semester. Exams WILL NOT be cumulative. You will be responsible for purchasing and bringing blue books to the exams. These can be bought in the MCA Supply Store.

There will be NO make-up exams. If there is legitimate reason for missing an exam, this will be taken under consideration, but students are not guaranteed any make-up opportunities. The burden of presence at and preparation for exams in on the student.

Internet Resources: Students should be wary of internet resources. Art History, as is the case with many academic disciplines, is still primarily a paper-based endeavor. There are a number of online journals, but students must be diligent in recognizing the difference between a legitimate, academic journal and other, less rigorously prepared sites. Many websites are excellent (Web Gallery of Art, Met Museum of Art), while many are questionable (Wikipedia, blogs). If there is any doubt, please consult me. Students may consider the below as helpful points of reference:

· http://www.wga.hu/index1.html
· http://www.metmuseum.org/toah/
· http://www.19thc-artworldwide.org/

Research Assignment: As part of this course, students will undertake a research assignment due November 24. This will include a multi-step process by which students will propose, refine, and solidify a topic of research. This research will then be developed into a research paper (7-10 pages, 12-point font, 1” margins, double-spaced), which will be properly formatted according to the Chicago Manual of Style. The Chicago Manual of Style can be found on reserve in the MCA library. Work that does not conform to this format will be returned to the student, ungraded, for correction. It will then be the task of the student to correct and resubmit the paper for grading. If the assignment is not returned before the final date of submission, a zero (0) grade will be assessed.

The total assignment is built of a progression of individual parts, each of which will have its own deadline, as listed in the course schedule. Late submissions will not be accepted, and a zero (0) grade will be assessed to that respective component of the assignment.

Students should begin by visiting the MCA Library and consulting the college’s online resources, which are collected at www.delicious.com/mcalibrary. Do not overlook the Grove Dictionary of Art, in the library’s reference section. MCA students have library privileges at the University of Memphis and Rhodes College and should not neglect these collections.

Plagiarism: MCA policy on plagiarism can be found in the student handbook. Students under suspicion of plagiarism will be given one opportunity to prove their conduct as other than plagiarism. The burden of proof is on the student. If the state of plagiarism cannot be disproved, the student will be given a grade of F for the course and administrative action will be taken.

Grading: My grading system works as follows. Please consider these numbers indisputable. Refer to the MCA Student Handbook for an understanding of grading policy. MCA policy on plagiarism can be found on page 66 of the Student Handbook.

A 93 and above
A- 90-92
B+ 88-89
B 83-87
B- 80-82
C+ 78-79
C 73-77
C- 70-72
D 65-69
F Below 65

Exam 1: 25%
Exam 2: 25%
Exam 3: 25%
Research Assignment: 25%

Classroom Conduct: Students are expected to conduct themselves in an appropriately professional manner. Anything otherwise is disrespectful to yourselves, your peers, your faculty, and the educational endeavor.

1. Conversing is unacceptable. It is both distracting to those seated nearby and disruptive to the professor. You will be warned. You will then be asked to leave. If you are asked to leave, you will be marked as absent and penalized accordingly.
2. Cell phone/PDA/PSP/DS/etc. use is prohibited. Claiming the cell phone as your only personal timepiece is not sufficient. Texting is forbidden. If your phone rings, the professor reserves the right to answer the call, take the phone, or any other measures deemed appropriate by the professor. Those who do not abide will be warned, then asked to leave, with the aforementioned attendance penalty.
3. Those who take notes on computers are expected to be taking notes, not surfing the internet or any other activities than those immediately associated with the lecture. Those who are caught doing otherwise will be warned, then asked to leave, with the aforementioned attendance penalty.
4. Eating in class is forbidden. Drinking is acceptable, though only if students consider such as a privilege. Policing your own area and disposing of your own trash is expected. If litter and/or filth becomes a problem, drinking will be forbidden.
5. Students may make audio recordings of class lectures for study use only. Any recordings made are to be used for the purposes of class members only. Other uses are forbidden, and will be met with disciplinary action.
6. Drawing in class is offensive. Your purpose is to listen and take notes, not sketch or plan projects for other classes. Of course, making sketches of the works discussed in class for study purposes is understandable, though course ppts are available on the server.
7. Please do not get up and leave class except when absolutely necessary. Absolutely necessary constitutes emergencies and use of the facilities. Garbage and/or other incidental needs should be held until the end of class. There is no need to ask permission to leave.

Safety: This class will follow the standards detailed in the "EPA Material Handling Protocols - September 2007," as issued by MCA.

Course Schedule:

Week One

Tuesday August 25: Syllabus Review

Thursday August 27: Library & Paper writing discussion; Renaissance/Baroque
Giovanni Pietro Bellori ‘The Idea of the Painter, Sculptor and Architect’ 1644 AiT 1648 96-101.
Peter Paul Rubens ‘De Imitatione Statuorum’, before 1640 AiT 1648 144-46.
Roger de Piles ‘from The Principles of Painting’ 1708 AiT 1648 308-14.
Denis Diederot ‘‘Art’ from the Encyclopédie’ 1751 AiT 1648 581-87.

Week Two

Tuesday September 1: 18th century Art
Chu 19-41.

Thursday September 3: Art, Politics, History
Chu 95-128, 143-52, 208-216, 225-231, 247-252
Jules-Antoine Castagnary ‘The Three Contemporary Schools’ 1863 AiT 1815 410-13.
Jacques-Louis David ‘on his picture of Le Peletier’ 1793 AiT 1648 718-20.
Jacques-Louis David ‘Proposal for a monument to the French preople’ 1793 AiT 1648 724-27.
Jacques-Louis David ‘Project for the apotheoses of Barra and Viala’ 1794 AiT 1648 728-30.

Week Three

Tuesday September 8: Art, Politics, History

Thursday September 10: Using the Past
Chu 43-71, 75-77, 134-141, 154-156, 162-75, 334-43
Johann Joachim Winckelmann ‘from Reflections on the Imitation of Greeks Works in Painting and Sculpture’ 1755 AiT 1648 450-56.
Johann Joachim Winckelmann ‘from A History of Ancient Art’ 1764 AiT 1648 466-75.
Gotthold Ephraim Lessing ‘from Laocoön: An Essay on the Limits of Painting and Poetry’ 1766 AiT 1648 477-86.
Jacques-Louis David ‘The Painting of the Sabines’ 1799 AiT 1648 1119-1125.
Philipp Otto Runge ‘Letters’ 1802 AiT 1648 978-89.
Franz Pforr ‘Letter to Passant’ 1808 AiT 1648 1129-31.
Friedrich Overbeck ‘The Three Ways of Art’ 1810 AiT 1648 1131-1134.
Jean-Auguste-Dominique Ingres ‘from Notebooks and Letters’ c. 1813-21 AiT 1648 1169-72.
Jean-Auguste-Dominique Ingres ‘from Notebooks’ c. 1820-48 AiT 1815 183-85.
Friedrich Theodor Vischer ‘Overbeck’s Triumph of Religion’ 1841 AiT 1815 196-99.

Week Four

Tuesday September 15: Using the Past Paper Proposal Due

Thursday September 17: Romanticism & the Fantastical
Chu 80-88, 152-54, 160-162, 175-79, 216-221
Edmund Burke ‘from A Philosophical Inquiry into the Origin of our Ideas of the Sublime and the Beautiful’ 1757 AiT 1648 516-26.
Friedrich Schelling ‘from ‘Concerning the Relation of the Plastic Arts to Nature’ 1807 AiT 1648 934-41.
Francisco de Goya ‘on the Caprichos’ AiT 1648 1799 975-76.
Friedrich Ramdohr ‘Remarks upon a Landscape Painting intended as an Altar piece by Herr Friedrich’ 1809 AiT 1648 1012-23.
Caspar David Friedrich ‘on The Cross in the Mountains, letter to Schulze’ 1809 AiT 1648 1023-27.
Delacroix ‘on Romanticism, from Journals’ 1822-4 AiT 1815 26-30.
Friedrich ‘Observations on Viewing a Collection of Paintings Largely by Living or Recently Deceased Artists’ AiT 1815 48-54.

Week Five

Tuesday September 22: Romanticism & the Fantastical

Thursday September 24: Constable, Turner & the British Landscape
Chu 181-201
Joshua Reynolds ‘on Thomas Gainsborough’ 1788 AiT 1648 749-52.
William Gilpin ‘from ‘On Picturesque Beauty’ and ‘On Picturesque Travel’’ 1792 AiT 1648 857-62.
Uvedale Price ‘from ‘An Essay on the Picturesque’’ 1794 AiT 1648 865-67.
Uvedale Price ‘from ‘A Dialogue on the Distinct Characters of the Picturesque and the Beautiful’’ 1801 AiT 1648 877-80.
John Constable ‘Introduction to English Landscape’ 1833 AiT 1815 127-29.

Week Six

Tuesday September 29: Constable, Turner & the British Landscape

Thursday October 1: Overflow/Review

Week Seven

Tuesday October 6: Exam #1

Thursday October 8: Women & Alterity
Chu 221-223, 234-237, 281-84
Anonymous ‘Women Artists’ 1836 AiT 1815 275-77.
Various Artists ‘Women’s Petition to the Royal Academy’ 1859 AiT 1815 508-509.
Marie Bashkirtseff ‘Journal Entries’ 1877-82 AiT 1815 765-69.
Leader Scott ‘Women at Work: Their Functions in Art’ 1877-82 AiT 1815 769-72.
Anonymous ‘Woman, and her Chance as an Artist’ 1888 AiT 1815 772-73.
George Moore ‘Sex in Art’ 1893 AiT 1815 773-77.
Octave Uzanne ‘Women Artists and Bluestockings’ AiT 1815 777-81.
Delacroix ‘Letters and Notes on his Journey to North Africa’ AiT 1815 84-88.

Week Eight

Tuesday October 13: Photography
Chu 253-55, 300-03, 343-44
William Henry Fox Talbot ‘Photogenic Drawing’ 1839 AiT 1815 249-55.
Joseph-Louis Gay-Lussac ‘Report on the Daguerreotype’ 1839 AiT 1815 255-57.
Sir William Newton ‘Upon Photography in an Artistic View, and its Relation to the Arts’ 1853 AiT 1815 652-54.
Charles Baudelaire ‘The Modern Public and Photography’ 1859 AiT 1815 666-68.
Peter Henry Emerson ‘Photography, A Pictorial Art’ 1886 AiT 1815 675-77.

Thursday October 15: Courbet, Realism & the Rise of the Outskirts Paper Bibliography Due
Chu 237-242, 257-267, 285-91, 364-65, 384-86
Camille Corot ‘Reflections on Painting’ c. 1828 AiT 1815 231.
Eugène Delacroix ‘on Realism and Naturalism’ 1849-60 [entries of Friday, April 15, 1853 August 3, 1855 & February 22, 1860] AiT 1815 359-64.
Max Bouchon ‘on Courbet’s Stonebreakers and Burial at Ornans’ 1850 AiT 1815 364-66.
Champfleury ‘The Burial at Ornans’ 1851/61 AiT 1815 366-70.
Gustave Courbet ‘Letter to Champfleury’ 1854 AiT 1815 370-72.
Gustave Courbet ‘Statement on Realism’ 1855 AiT 1815 372.

Week Nine

Tuesday October 20: NO CLASS—FALL BREAK

Thursday October 22: Courbet, Realism & the Rise of the Outskirts

Week Ten

Tuesday October 27: Overflow/Review

Thursday October 29: Exam #2

Week Eleven

Tuesday November 3: The End of the Academism, Manet, Whistler
Chu 291-99, 344-51, 381-83, 387-89
Various Authors ‘on the Salon des Refusés’ 1863 AiT 1815 509-13.
Various Authors ‘on Manet’s Olympia’ 1865 AiT 1815 514-19.
Edouard Manet ‘Reasons for Holding a Private Exhibition’ 1867 AiT 1815 519-20.
Émile Zola ‘Edouard Manet’ 1867 AiT 1815 554-65.

Thursday November 5: Manet into Impressionism

Week Twelve

Tuesday November 10: Impressionism
Chu 389-409
Jules Laforgue ‘Impressionism’ 1883 AiT 1815 936-41.
Victor Fournel ‘The Art of Flânerie’ AiT 1815 491-93.
Charles Baudelaire ‘from ‘The Painter of Modern Life’’ 1859-63 AiT 1815 493-506.
Eugène Chevreul ‘On Colouring in Painting’ and ‘Of the Complex Associations of Colours, viewed critically’ 1839 AiT 1815 238-49.
Jules-Antoine Castagnary ‘The Exhibition on the Boulevard des Capucines’ 1874 AiT 1815 572-73.
Pierre Auguste Renoir ‘from his Notebooks’ c. 1880-1910 AiT 1815 856-59.

Thursday November 12: Impressionism cot’d

Week Thirteen

Tuesday November 17: The 1880s
Chu 411-39
Vincent van Gogh ‘Letters to his brother Theo’ 1885 [letter of c.30 April 1885] AiT 1815 896-98.
G.-Albert Aurier ‘The Isolated: Vincent van Gogh’1890 AiT 1815 948-52.
Félix Fénéon ‘Neo-Impressionism’ 1887 AiT 1815 966-69.
Georges Seurat ‘Letter to Maurice Beaubourg’ 1890 AiT 1815 969-70.
Paul Signac ‘from From Eugène Delacroix to Neo-Impressionism’ 1899 AiT 1815 978-85.

Thursday November 19: The 1880s cot’d

Week Fourteen

Tuesday November 24: La Belle Epoque PAPER DUE
Chu 463-97
Joris-Karl Huysmans ‘on Gustave Moreau’ 1884 AiT 1815 999-1003.
Jean Moréas ‘Symbolism—a Manifesto’ 1886 AiT 1815 1014-16.
Jean Moréas ‘Response of the Symbolists’ 1886 AiT 1815 1016-17.
Paul Gauguin ‘Fable from ‘Notes Eparses’ 1896-97 AiT 1815 1037-39.
Edvard Munch ‘Notebook and Diary Entries’ 1889-92 [Notebook entry on subjective vision, 1889] AiT 1815 1041-42.

Thursday November 26: NO CLASS—THANKSGIVING BREAK

Week Fifteen

Tuesday December 1: Looking Toward the Twentieth Century
Chu 499-527

Thursday December 3: Overflow/Review

Week Sixteen

Tuesday December 8: Last Day of Class/Evaluations

Thursday December 10: Exam #3

A quote

2009-06-30T09:45:00.001-07:00

"I love clichés because they’re mostly true.”

--Dan Graham

AH360 SU09 Syllabus

2009-05-31T10:30:00.000-07:00

AH360 SU09 The Artist and The Era: Andy Warhol
M-F 9:00am-12:00pm
DA Media

Adrian Duran
aduran@mca.edu
901.272.5129 [x 272]
theduranarthistoryblog.blogspot.com

Notice: Some of the content of this course may disturb the sensibilities of some students. If you need to discuss this situation, please contact me.

Notice: Students who are entitled to considerations under ADA guidelines are asked to contact me immediately. Every situation is unique and warrants specific consideration. Thus, notifications made in close proximity to exams and/or other due dates may cause complications. The greater the amount of available time, the more appropriately and successfully these matters can be addressed.

Goal: This course will introduce students to the major artists, themes, media, and developments since World War II, with special emphasis on Andy Warhol. Students will also engage the critical theory contemporary with this art.

Communication: I can be contacted by both phone and e-mail. E-mail is preferred and, most likely, will result in a quicker response. I will contact you via your MCA e-mail account. If you are having any problems with your e-mail account, please contact Ian Sterling. It is your responsibility to monitor these accounts actively and consistently. Students’ individual choices regarding the maintenance and awareness of MCA e-mail will not be acceptable as excuses for missing e-mails.

Attendance: Attendance is mandatory and will be monitored. Expecting to pass this course without constant, attentive attendance is not realistic. Missed classes will have a negative effect on your final grade. Upon your third absence, you will receive an F grade in the course. Punctuality is likewise expected. For every two late arrivals, you will be assessed one absence.

Powerpoints: Class Powerpoints will be available on the MCA server (Dali). Students will be responsible for these materials, which will be eligible for inclusion on exams.

Readings: Please complete ALL readings prior to class. They will provide important background and will be directly addressed in class. All readings, unless otherwise noted, will be available only on reserve at the MCA library. It is your responsibility to obtain these readings.

The primary course textbooks are:
· Charles Harrison and Paul Wood, eds. Art in Theory 1900-2000: An Anthology of Changing Ideas (listed as AiT—on reserve in the MCA library)
· Kristine Stiles and Peter Selz, eds. Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings (listed at S&S—on reserve in the MCA library)
· Wayne Koestenbaum Andy Warhol (Penguin Lives edition)

Exams: This course will involve one (1) take home essay exam. This will be explained in further detail as the exam approaches.

There will be NO make-up exams. If there is legitimate reason for missing an exam, this will be taken under consideration, but students are not guaranteed any make-up opportunities. The burden of presence at and preparation for exams in on the student.

Reading Presentation/Discussion Leading: All students will be required to present on one of the course readings. This will be a summary of the primary arguments and benefits of the given reading, and will be accompanied by a brief list of questions that will be submitted to the group for discussion. This need not be a lengthy endeavor, nor must it be formally written. The summation of the readings should be approximately 7-10 minutes, and may be aided by a slideshow.

Research Assignment/Presentation: As part of this course, students will undertake a research assignment, focusing on a single artist, which will culminate in an in-class presentation. This presentation will last 20 minutes for undergraduates and 30 minutes for graduate students. Students will be responsible for compiling an annotated bibliography and slide presentation, which are to be handed in on the final day of class, June 19.

The annotated bibliography (12-point font, 1” margins, double-spaced) will be properly formatted according to the Chicago Manual of Style. The Chicago Manual of Style can be found on reserve in the MCA library.

Students should begin by visiting the MCA Library and consulting the college’s online resources, which are collected at www.delicious.com/mcalibrary. Do not overlook the Grove Dictionary of Art, in the library’s reference section. MCA students have library privileges at the University of Memphis and Rhodes College and should not neglect these collections.

Artists:
Roy Lichtenstein
Claes Oldenburg
James Rosenquist
Jim Dine
Richard Hamilton
Tom Wesselmann
Edoardo Paolozzi
Mel Ramos
Peter Saul
George Segal
Robert Indiana

Internet Resources: Students should be wary of internet resources. Art History, as is the case with many academic disciplines, is still primarily a paper-based endeavor. There are a number of online journals, but students must be diligent in recognizing the difference between a legitimate, academic journal and other, less rigorously prepared sites. Many websites are excellent (Web Gallery of Art, Met Museum of Art), while many are questionable (Wikipedia, blogs). If there is any doubt, please consult me.

Plagiarism: MCA policy on plagiarism can be found in the student handbook. Students under suspicion of plagiarism will be given one opportunity to prove their conduct as other than plagiarism. The burden of proof is on the student. If the state of plagiarism cannot be disproved, the student will be given a grade of F for the course and administrative action will be taken.

Grade Breakdown:
20% In-Class Participation
20% Reading/Discussion Assignment
30% Exam
30% Presentation + Annotated Bibliography + Slideshow

Safety: This class will follow the standards detailed in the "EPA Material Handling Protocols - September 2007," as issued by MCA.

Class Schedule and Readings:

Week 1

Monday June 1
-Introduction
-Warhol, briefly
-Painters Painting

Tuesday June 2
-Abstract Expressionism and Postwar European Art
-Readings
Harold Rosenberg “from ‘The American Action Painters’” AiT589-92
Clement Greenberg “Modernist Painting” AiT 773-79
Jean-Paul Sartre “from Existentialism and Humanism” AiT 600-03
Jean Dubuffet “Crude Art Preferred to Cultural Art” AiT 605-08
Constant “Our Own Desires Build the Revolution” AiT 659-661
André Fougeron “The Painter on His Battlement” AiT 661-63

Wednesday June 3
***Meet at MCA Library
-Library Resources
-Brooks Museum of Art

Thursday June 4
- Modernist Sculpture + Post-Painterly Abstraction + 1950s Figuration + Neo-Dada + Assemblage + Happenings
-Readings
Allan Kaprow “The Legacy of Jackson Pollock.” Art News 57 (October 1958): 24-26; 55-57 [on reserve]
Michael Fried “from Three American Painters” AiT 787-93
Leo Steinberg “from Other Criteria” AiT 971-76
Alan Kaprow “from Assemblages, Environments and Happenings”AiT 717-22
George Maciunas “Neo-Dada in Music, Theatre, Poetry, Art” AiT 727-29
Robert Rauschenberg “Untitled Statement” & “Note on Painting” AiT 321-22

Friday June 5
-Warhol
-Readings
Andy Warhol “Interview with Gene Swenson” AiT 747-49
Andy Warhol “Warhol in His Own Words: Untitled Statements” S&S 340-46
Donald Kuspit. “Pop Art: A Reactionary Realism.” Art Journal. Vol. 36, No. 1 (Autumn 1976): 31-38. (JSTOR)
Jennifer Dyer. “The Metaphysics of the Mundane: Understanding Andy Warhol’s Serial Imagery.” Artibus et Historiae. Vol. 25, No. 49 (2004): 33-47. (JSTOR)

Week 2

Monday June 8
-Gutai + Nouveaux Réalisme + Manzoni
-Readings
Jirô Yoshihara “Gutai Manifesto” AiT 698-701
Piero Manzoni “Free Dimension” AiT 722-24
Pierre Restany “The New Realists”AiT 724-25
Yves Klein “Sorbonne Lecture” AiT 818-20
Yves Klein “Ritual for the Relinquishment of the Immaterial Pictorial Sensitivity Zones” S&S 81
Michael Lobel. “Warhol’s Closet.” Art Journal. Vol. 55, No. 4 (Winter 1996): 42-50. (JSTOR)
Bradford R. Collins. “Dick Tracy and the Case of Warhol’s Closet; A Psychoanalytic Detective Story.” American Art. Vol. 15, No. 3 (Autumn 2001): 54-79. (JSTOR)
Blake Stimson. “Andy Warhol’s Red Beard.” The Art Bulletin. Vol. 83, No. 3 (Sep. 2001): 527-547. (JSTOR)
Susan Sontag. “Notes on Camp.” in Against Interpretation and Other Essays, 275-292. [on reserve]

Tuesday June 9
-Minimalism
-Readings
Michael Fried “from ‘Shape as Form: Frank Stella’s New Paintings’” AiT 793-95
Tony Smith “from an Interview with Samuel Wagstaff Jr” AiT 760
Donald Judd “Specific Objects” AiT 824-28
Robert Morris “Notes on Sculpture 1-3” AiT 828-35
Michael Fried “Art and Objecthood” AiT 835-46
David Joselit. “Yippie Pop: Abbie Hoffman, Andy Warhol, and Sixties Media Politics.” Grey Room. No. 8 (Summer 2002): 62-79. (JSTOR)
Roland Barthes. “The Death of the Author.” in Image-Music-Text, 142-48. [on reserve]

Wednesday June 10
-Post-Minimalism & Earth Art
-Readings
Robert Morris “Notes on Sculpture 4: Beyond Objects” AiT 881-85
Joseph Beuys “Not Just a Few Are Called, But Everyone” AiT 903-06
Eva Hesse “Untitled Statements” S&S 594-97
Joseph Beuys “Untitled Statement” S&S 633-34
Robert Smithson “A Sedimentation of the Mind: Earth Projects” AiT 877-81
Robert Smithson “Cultural Confinement” AiT 970-71
Walter De Maria “The Lightning Field” S&S 527-30
Christo “Fact Sheet: Running Fence” S&S 547-50
Paul Bergin. “Andy Warhol: The Artist as Machine.” Art Journal. Vol. 26, No.4 (Summer 1967): 359-363. (JSTOR)
Thierry de Duve (Rosalind Krauss, trans.). “Andy Warhol, or The Machine Perfected.” October Vol. 48 (Spring 1989): 3-14. (JSTOR)
Walter Benjamin “The Work of Art in the Age of Mechanical Reproduction” in visual culture: the reader, ed. Jessica Evans & Stuart Hall, 72-79. [on reserve]

Thursday June 11
-Conceptualism
-Readings
Sol LeWitt “Paragraphs on Conceptual Art” AiT 846-49
Sol LeWitt “Sentences on Conceptual Art” AiT 849-51
Lawrence Weiner “Statements” AiT 893-94
Hans Haacke “Statement” AiT 930-31
Joseph Kosuth “Untitled Statement” & “Art After Philosophy” S&S 840-47
Hal Foster. “Death in America.” October Vol 75 (Winter 1996): 36-59. (JSTOR)
Georges Perec “Approaches to What?” in The Everyday Life Reader, ed. Ben Highmore, 176-78. [on reserve]
Roland Barthes. Mythologies: “Soap-powders and Detergents” (36-38) “Striptease” (84-87) “The New Citroën” (88-90) “Plastic” (97-99). [on reserve]

Friday June 12
-Performance and Body Art
-Readings
Branden W. Joseph. “’My Mind Split Open’: Andy Warhol’s Exploding Plastic Inevitable.” Grey Room. No. 8 (Winter 2002): 80-107. (JSTOR)
Henri Lefebvre “Work and Leisure in Everyday Life” in The Everyday Life Reader, ed. Ben Highmore, 225-36. [on reserve]
***Take Home Exam (Due Monday)

Week 3

Monday June 15
-Warhol, in regards to the 1980s and after
-Readings
Sherrie Levine “Statement” AiT 1038-39
Barbara Kruger “‘“Taking” Pictures’” AiT 1041
Peter Halley “Nature and Culture” AiT 1042-46
Haim Steinbach, Jeff Koons, Sherrie Levine, Philip Taafe, Peter Halley, Ashley Bickerton “From Criticism to Complicity” AiT 1051-54
Jesse Helms “Senator Helms Objects to Taxpayers’ Funding for Sacrilegious Art” S&S 273-74
Andres Serrano “Letter to the National Endowment for the Arts” S&S 281-82
David Wojnarowicz “Post Cards from America: X-Rays from Hell” S&S 373-76

Tuesday June 16
-Michelangelo Antonioni’s Blow Up
-Readings
Robert L. Carringer. “Blow-Up.” Journal of Aesthetic Education. Vol. 9, No. 2 (Apr. 1975): 109-122. (JSTOR)
Richard Wendorf. “Antonioni’s ‘Blow-Up’: Implicated Artists and Unintentional Art.” Journal of Aesthetic Education. Vol. 16, No. 1 (Spring 1982): 57-67. (JSTOR)

Wednesday June 17-Friday June 19
-Presentations

how to write an annotated bibliography

2009-03-17T08:28:00.000-07:00

The below sites offer guidelines and examples of how to write an annotated bibliography. Please look at them all. Each has its own benefit.

Duran

http://www.library.cornell.edu/olinuris/ref/research/skill28.htm

http://writing.wisc.edu/Handbook/AnnotatedBibliography.html

http://owl.english.purdue.edu/owl/resource/614/01/

http://library.ucsc.edu/ref/howto/annotated.html

AH210 SP09 Syllabus

2009-01-19T12:56:00.000-08:00

AH210 SP09 Baroque Art
M/W 6:00-7:25 pm
Myers Auditorium

Adrian Duran
aduran@mca.edu
901.272.5129 [x 272]
theduranarthistoryblog@blogspot.com

Office Hours: Tuesday 2-5pm (3rd floor, North tower, otherwise Library)

Notice: Some of the content of this course may disturb the sensibilities of some students. If you need to discuss this situation, please contact me.

Notice: Students who are entitled to considerations under ADA guidelines are asked to contact me immediately. Every situation is unique and warrants specific consideration. Thus, notifications made in close proximity to exams and/or other due dates may cause complications. The greater the amount of available time, the more appropriately and successfully these matters can be addressed.

Goal: This course will introduce students to the major artists, themes, media, and developments of the European Baroque, ca. 1580-1750. Students will learn the specific iconographies used by these artists, develop interpretive mechanisms for these works, and become familiar with past and current methodologies of the history of Baroque art.

Communication: I can be contacted by both phone and e-mail. E-mail is preferred and, most likely, will result in a quicker response. I will contact you via your MCA e-mail account. If you are having any problems with your e-mail account, please contact Ian Sterling. It is your responsibility to monitor these accounts actively and consistently. Students’ individual choices regarding the maintenance and awareness of MCA e-mail will not be acceptable as excuses for missing e-mails.

Attendance: Attendance is mandatory and will be monitored. Expecting to pass this course without constant, attentive attendance is not realistic. Missed classes will have a negative effect on your final grade. Upon your fourth absence, you will receive an F grade in the course. Punctuality is likewise expected. For every two late arrivals, you will be assessed one absence.

Powerpoints: Class Powerpoints are available on the MCA server (Dali). Students will be responsible for these materials, which will be eligible for inclusion on exams.

Readings: Please complete ALL readings prior to class. They will provide important background and will be directly addressed in class. Some readings will be available only on reserve at the MCA library. It is your responsibility to obtain these readings.

The primary course textbook is:
Ann Sutherland Harris. Seventeenth Century Art and Architecture, 2nd ed. Pearson Prentice Hall, 2005.

DO NOT PURCHASE THE 1st EDITION. IT IS OBSOLETE.

The text is available for purchase at Burke’s Books. If you have any questions regarding any texts or wish to explore further, I am more than happy to help you find bibliography.

Exams: Exams will consist of a combination of slide identifications, slide discussions, compare/contrasts and essays. The distribution of these segments is at my discretion and may be changed at any point during the semester. Exams WILL NOT be cumulative. You will be responsible for purchasing and bringing blue books to the exams. These can be bought in the MCA Supply Store.

There will be NO make-up exams. If there is legitimate reason for missing an exam, this will be taken under consideration, but students are not guaranteed any make-up opportunities. The burden of presence at and preparation for exams in on the student.

Internet Resources: Students should be wary of internet resources. Art History, as is the case with many academic disciplines, is still primarily a paper-based endeavor. There are a number of online journals, but students must be diligent in recognizing the difference between a legitimate, academic journal and other, less rigorously prepared sites. Many websites are excellent (Web Gallery of Art, Met Museum of Art), while many are questionable (Wikipedia, blogs). If there is any doubt, please consult me. Students may consider the below as helpful points of reference:

· http://www.wga.hu/index1.html
· http://www.metmuseum.org/toah/
· http://witcombe.sbc.edu/ARTHbaroque.html#Baroque
· http://socrates.acadiau.ca/courses/musi/callon/1293/art.htm

Research Assignment: As part of this course, students will undertake a research assignment. This will include a multi-step process by which students will propose, refine, and solidify a topic of research. This research will then be developed into an annotated bibliography (12-point font, 1” margins, double-spaced), which will be properly formatted according to the Chicago Manual of Style. The Chicago Manual of Style can be found on reserve in the MCA library. Work that does not conform to this format will be returned to the student, ungraded, for correction. It will then be the task of the student to correct and resubmit the paper for grading. If the assignment is not returned before the final date of submission, a zero (0) grade will be assessed.

The total assignment is built of a progression of individual parts, each of which will have its own deadline. Late submissions will not be accepted, and a zero (0) grade will be assessed to that respective component of the assignment.

Students should begin by visiting the MCA Library and consulting the college’s online resources, which are collected at www.delicious.com/mcalibrary. Do not overlook the Grove Dictionary of Art, in the library’s reference section. MCA students have library privileges at the University of Memphis and Rhodes College and should not neglect these collections.

Plagiarism: MCA policy on plagiarism can be found in the student handbook. Students under suspicion of plagiarism will be given one opportunity to prove their conduct as other than plagiarism. The burden of proof is on the student. If the state of plagiarism cannot be disproved, the student will be given a grade of F for the course and administrative action will be taken.

Grading: My grading system works as follows. Please consider these numbers indisputable. Refer to the MCA Student Handbook for an understanding of grading policy. MCA policy on plagiarism can be found on page 66 of the Student Handbook.

A 93 and above
A- 90-92
B+ 88-89
B 83-87
B- 80-82
C+ 78-79
C 73-77
C- 70-72
D 65-69
F Below 65

Grade Breakdown:
Exam 1: 25%
Exam 2: 25%
Exam 3: 25%
Research Assignment: 25%
n.b.: attendance and lateness will be factored into the final grade

Classroom Conduct: Students are expected to conduct themselves in an appropriately professional manner. Anything otherwise is disrespectful to yourselves, your peers, your faculty, and the educational endeavor.

1. Conversing is unacceptable. It is both distracting to those seated nearby and disruptive to the professor. You will be warned. You will then be asked to leave. If you are asked to leave, you will be marked as absent and penalized accordingly.

2. Cell phone/PDA/PSP/DS/etc. use is prohibited. Claiming the cell phone as your only personal timepiece is not substantial. Texting is forbidden. If your phone rings, the professor reserves the right to answer the call, take the phone, or any other measures deemed appropriate by the professor. Those who do not abide will be warned, then asked to leave, with the aforementioned attendance penalty.

3. Those who take notes on computers are expected to be taking notes, not surfing the internet or any other activities than those immediately associated with the lecture. Those who are caught doing otherwise will be warned, then asked to leave, with the aforementioned attendance penalty.

4. Eating in class is forbidden. Drinking is acceptable, though only if students consider such as a privilege. Policing your own area and disposing of your own trash is expected. If litter and/or filth becomes a problem, drinking will be forbidden.

5. Students may make audio recordings of class lectures for study use only. Any recordings made are to be used for the purposes of class members only. Other uses are forbidden, and will be met with disciplinary action.

6. Drawing in class is offensive. Your purpose is to listen and take notes, not sketch or plan projects for other classes. Of course, making sketches of the works discussed in class for study purposes is understandable, though course ppts are available on the server.

7. Please do not get up and leave class except when absolutely necessary. Absolutely necessary constitutes emergencies and use of the facilities. Garbage and/or other incidental needs should be held until the end of class. There is no need to ask permission to leave.

Safety: This class will follow the standards detailed in the "EPA Material Handling Protocols - September 2007," as issued by MCA.

Course Schedule w/ Readings
All page numbers are from Harris, 2nd ed.

Week 1
M 19 JAN: NO CLASS: Martin Luther King Jr. Day

W 21 JAN: Syllabus + Library + On-Line Resources

Week 2
M 26 JAN: Mannerism, the Counter-Reformation, and Italian art in the late-16th century (xii-xxiii, 1-6)

W 28 JAN: The Carracci in Bologna (7-20)

Week 3
M 2 FEB: The Carracci in Rome (20-33)

W 4 FEB: Caravaggio’s early works (33-49) (200-word proposal due)

Week 4
M 9 FEB: Caravaggio’s religious works (reread 33-49)

W 11 FEB: The Gentileschi and International Caravaggism (50-56, 270-81, 327-31)

Week 5
M 16 FEB: Roman Baroque Classicism: Domenichino, Reni, Poussin, Claude (56-72, 285-315)

W 18 FEB: Roman Baroque ceilings: Reni, Guercino, Lanfranco, Cortona, Baciccio, Pozzo (72-77, 113-25, 127-134)

Week 6
M 23 FEB: Exam I

W 25 FEB: NO CLASS—CAA

Week 7
M 2 MAR: Bernini as sculptor (84-98) (revised proposal due)

W 4 MAR: Bernini the architect, Borromini (78-84, 98-113)

Week 8
M 9 MAR: NO CLASS—SPRING BREAK

W 11 MAR: NO CLASS—SPRING BREAK

Week 9
M 16 MAR: Rubens (143-74)

W 18 MAR: Rubens continued, Van Dyck, Jordaens (174-90)

Week 10
M 23 MAR: Flemish painting overflow

W 25 MAR: France (251-270, 315-21) (preliminary bibliography due)

Week 11

M 30 MAR: England (401-02, 410-15)

W 1 APR: Spanish painting (199-200, 207-40)

Week 12
M 6 APR: Spanish painting continued (240-49)

W 8 APR: Exam II

Week 13
M 13 APR: Dutch (and Flemish) Art: Allegory and/or Realism? (190-97, 323-27, 339-44, 391-99)

W 15 APR: Hals & Rembrandt (331-39, 345-68)

Week 14
M 20 APR: Rembrandt & Dutch religious painting (reread 345-68)

W 22 APR: Dutch Genre Painting: Leyster, Dou, Steen, Vermeer (368-91)
(final annotated bibliography due)

Week 15
M 27 APR: Vermeer continued (reread 379-91)

W 29 APR: Exam III

Week 16
M 4 MAY: last day of class