ARTH420: 20 Century Art History Spring 2012, T Th 2-3:15; 208 PF

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1 ARTH420: 20 Century Art History Spring 2012, T Th 2-3:15; 208 PF Instructor: Prof. Roann Barris Office: 213 PF; HRS: T H 9-10:45; W 9-12 or by appt. rbarris@radford.edu Description: This course is an examination of e many exciting changes which have taken place in e nature of art in e 20 century and an attempt to correlate ese changes wi social and historical developments. Alough ere will naturally be artists and art works, our focus will be as much or more on e issues which motivate changes in style, e political ideological uses made of art, and e many ways in which art of e 20 century has eier facilitated or defied ose uses. Textbooks Edwards, Steve and Paul Wood, eds. Art of e Avant-Gardes. New Haven: Yale University Press, Perry, Gill and Paul Wood, eds. Themes in Contemporary Art. New Haven: Yale University Press, Additional readings will be made available in electronic form as web-site attachments. Goals and Objectives: to develop and demonstrate visual and analytic familiarity wi significant movements, artists, and ideas of e 20 century to recognize e roles of gender, economic systems, and politics in bo e creation and reception of art engage in independent exploration of a provocative issue, artist or work of art in terms of style and ideas and present your findings in a coherent and convincing paper Web Sources: class web site: (Link to e page for ARTH420) ARTSTOR: [class folder: ARTH420SPR2012; password: ar420spr2012] Requirements: This class uses bo lecture and discussion. I expect you to participate rough reading, informed contributions to class discussion, and serious commitment to all assignments. Missing deadlines is unprofessional and unfair to yourself and to oers. Late work will be lowered by e point value of a full grade for every late day (for example, an A paper which is one day late will receive e equivalent of a B). Exam make-ups will be available only for acceptable, documented excuses.* PCs, tablets, IPADs and so on may not be used during class Attendance is required and coming more an 5 minutes late, texting during class, or sleeping will count as an absence. Each absence over two will result in a deduction of 10 points from your grade point total; 6 unacceptable absences will be an automatic F. -1-

2 *Acceptable reasons for needing a make-up typically include: severe illness (yours, immediate family, or pets), funerals, participation in official Radford University activities is does not include conflicts wi oer classes, military service, court appearances, out-of-town job interviews and possibly oer circumstances beyond your control (such as a car breakdown on e way to class, severe inclement weaer, etc.). I reserve e right to request verification of excused absences. Please note at e list (deliberately) does not include reasons such as oversleeping, club activities, computer malfunctions, your job, leaving early for e weekend, routine doctor s (or oer) appointments, and so on. GRADED ACTIVITIES: Tests: ere will be four tests, one for each primary unit. Each test will consist of questions keyed to important art works, wi analysis and interpretation as e focus. Tests may be eier entirely or partly take-homes. They will focus on connections between eory, course emes and movements. The last test will be slightly longer an e oers and take place during e final exam period. This one will not be a take-home. (3 75 ea = 325) Reading questions: for each assigned chapter, prepare 3 concept-based questions. Submit ese questions by before e chapter is discussed in class. If I use your question in discussion, you will receive a bonus of 5 points. If you do not submit 3 questions or if your questions are about facts (and can erefore be answered by looking it up in e internet), you will lose 5 points for each one. (Variable points) Semester Project: (200 points) You will receive a packet of information about conferences on e general eme of contemporary and 20 century art. The conference packet will contain descriptions of sessions and CFPs. Choose a session which interests you and write a proposal to submit to e session chair. Proposals will be due on March 1. Your proposal must be accepted; if it is rejected, you will have to revise it, perhaps choose a different session or topic, and resubmit it. (Accepted proposal = 50 points) Following acceptance of your proposal, you will need to write e paper. The paper must be 8-10 pages (word count of words). The final paper will be wor 150 points. Papers must adhere to an accepted format; ey will be turned in at e last class meeting (Apr 26). TOPIC OUTLINE (most topics will be scheduled for 3 weeks) I. An introduction to modernism Key issues and artists at e end of e 19 century; Questions to ask about modernism; questions to ask about movements decorative and expressionistic vs e focus on language and representation overview of movements and ematic frameworks for comparison Book 1 (AAG): read e introduction, chapter 1 and 2. II. Reframing cubism and reframing apocalypse (wks 2-4) -2-

3 different readings and interpretations of cubism Delaunay s orphic cubism Italian futurism: e anti -cubism? German expressionism: Kirchner and die Brücke (Bridge) chapters 5 and 7 e-readings: manifestos (e real and e new futurist manifestos; Kahnweiler: ch 4 from The Rise of Cubism test on unit II: Feb 9 III: From pictures of ings to pictures of noing (wk 5) e oer expressionism: Kandinsky and e Blaue Reiter (blue rider) absolute abstraction and e 4 dimension (Mondrian and Malevich) chapter 8 e-reading: Kandinsky, introduction to On e Spiritual in Art prelude: The Degenerate Art Show (Feb. 21) IV: Order, Anti-Order, and e Arts of Revolution (wks 6-8) Russian constructivism: Art as revolution From Dada to Surrealism: questioning e source, function and meaning of art Surrealism and e role of irrational desire chapters 10, 11 and 14; parts of 12 and 13 test on units III and IV: Mar 15 prelude: Women Art and Revolution (Mar 20, 2 pm Hurlburt aud.) prelude 2: (tentative: WHS event, Mar 26, 5 pm: The Dinner Party: Feminist Art or Pornography? prelude 3: ART21, season 6, previews: April 3 and 4, times and location TBA V: World War II and e Crisis of Art (wks 9-11) from surrealism to American abstract expressionism e Greenberg/Rosenberg debate and e meaning of action painting e poles of abstract expressionism: from De Kooning to Newman e-readings: Greenberg, Towards a Newer Laocoon, American-type Painting, Rosenberg, The American Action Painters ; Gottlieb, Roko and Newman, Statement Leja: Modern Man Discourse test on unit V: Apr 5-3-

4 VI: Responses to Abstract Expressionism: Post-painterly Realism (12-14) European existentialism and e crisis of e figure e return of e repressed: figural art and e neo avant-gardes e commodification of art, objects and culture Book 2: chapters 1-3, 5 (read selectively roughout e rest of e book) test on unit VI and final: May 1, 2:45 pm, 208 PF Bibliography of electronic readings: Filippo Tommaso Marinetti, The Foundation and Manifesto of Futurism, in Charles Harrison nd and Paul Wood, eds., Art in Theory: , 2 ed. (Oxford, UK: Blackwell Publ., 2005), The Free Art Collective, The New Futurist Manifesto (Revised, Expanded and Updated), Third Text 23, 5 (Sept. 2009), Daniel-Henry Kahnweiler, The Rise of Cubism, ch. 4. Trans. Henry Aronson (NY: Wittenborn, Schultz, Wassily Kandinsky, introduction to Concerning e Spiritual in Art. Trans. Michael Sadleir and oers (NY: Wittenborn, Schultz, 1947), Clement Greenberg, Towards a Newer Laocoon, in Francis Frascina, ed., Pollock and After (NY: Harper & Row, 1986), Clement Greenberg, American-Type Painting, in Ellen G. Landau, ed., Reading Abstract Expressionism (New Haven: Yale University Press, 2005), Michael Leja, Modern Man Discourse and e New York School, in Ellen G. Landau, ed., Reading Abstract Expressionism (New Haven: Yale University Press, 2005), Harold Rosenberg, The American Action Painters, in e Tradition of e New (Chicago: University of Chicago Press, 1960), Adolph Gottlieb, Mark Roko, and Barnett Newman, Statement, in Charles Harrison and nd Paul Wood, eds., Art in Theory: , 2 ed. (Oxford, UK: Blackwell Publ., 2005), Classroom Contract 1. Classroom behavior. The rules for class conduct are based on e principle of being considerate of oers and strategies to enhance learning. Arrive on time, and be prepared to begin class when it is time for class to start. Turn off your cell, put it away and do not text during class. Note at I do not allow laptop use in large survey classes. No taping or recording of lectures in any format is allowed wiout prior permission. Unless it is an absolute and dire emergency, do not leave e room when class has started. 2. Contacting me by When you send me an , approach your as a formal letter, ink before you write, and reread it before you send it. I try to respond to all s IF ey include my name, are -4-

5 written oughtfully, and ask a question which can be answered. I do not discuss grades in and will not answer any questions about grades unless you come and see me in person. 3. Academic Honesty Students are expected to abide by e Radford University Honor Code in is and all your classes. This includes e avoidance of plagiarism on all writing assignments. If plagiarism is suspected, I will give you a chance to establish your innocence. If you can t, you will receive an F for at assignment. 4. Assistance for Students wi Disabilities: If you have a learning disability recognized by e Disabled Student Services Office of Radford University, you should advise me of e nature of your disability during e first week of e semester. Oer problems: a lot of ings happen to us and we can t always cope wi em as well as we d like. You may not want to confide your personal life problems in me, but if someing is impacting your performance, you should find a way to let me know; ideally, we ll be able to work out a solution. At e same time, recognize at you have choices to make and a university education does make demands. Sometimes e right choice is knowing when you can t do someing. 5. Academic Freedom: from e Radford University Handbook: Faculty and students have e right to express eir views wiout fear of censorship or penalty. Such freedom must apply bo to teaching and research and includes not only e rights of a teacher in teaching but e rights of a student in learning. Education is a two-way venture. I do my best to prepare for class, to meet your learning needs, and to engage you in e material. What I can t do is learn it for you. Read e syllabus, come to class, turn in your work, and take responsibility for e quality of your work and your learning. -5-