School of Arts Module Outline

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1 School of Arts Module Outline Module Title Module Code Programme The Shock of the New ARVC246H4ACB Cert HE History of Art Credits / Level 15 / Level 4 Entrance Requirements First Class Term Dates Taught By None 30 April April 9 July 2019 Dr Nickolas Lambrianou Module Description How and why has the avant-garde continually sought to transform the way in which we understand and define art? This module focuses each week on specific artists and movements affiliated with modernism and the avant-garde. We will discuss the reception, debates and theories of the avant-garde art from nineteenth-century origins to post-modern and contemporary developments. Aims Module aims describe the knowledge and skills that the module seeks to advance. This module aims to: Develop students knowledge and understanding of avant-garde and modernist art practices and the key debates surrounding them Provide students with first-hand experience of art objects and exhibitions Develop students critical analysis and judgement in relation to the avant-garde, its history, criticsm and discourses Provide students with experience of close textual analysis of different kinds of art historical writing Demonstrate the importance of context and the relationship of art history to other disciplines such as literature, social history, film, philosophy, visual media and the history of ideas. Develop academic study and writing skills. Outcomes Learning outcomes are directly linked to the aims set out above. They describe what you should know and be able to do by the end of the module. By the end of this module, you should be able to: Begin to engage with the concepts, values and debates that inform the study and practice of the history of art, including an awareness of the limitations and partiality of all historical knowledge Analyse, describe and interpret objects, images, film, buildings and other artefacts (such as sonic or noise art) closely and systematically Show understanding of the objects, contexts and issues relevant to two or more specific areas of the history of art 1

2 Select relevant evidence from the wide range of possible types of evidence used in the history of art and apply it to the examination of art historical issues and problems Complete all coursework and assessment requirements. Teaching and Learning Methods Teaching on our modules is varied and interactive. It may include seminars, short lectures, group work, discussion, and student presentations. Active student participation is encouraged in all our classes. Reasonable adjustments will be made to accommodate students with disabilities. Coursework and Assessment Assessment is a crucial part of all of our modules. It helps you to develop relevant skills for studying history of art at this level, increasing the level of your engagement, and, ultimately, your enjoyment of the material. The different types of assessment will enable you to undertake independent research, deepen your understanding of the subject, and apply appropriate analytical skills. Assessed Component Basic Requirements/Word Weighting Deadline Count Essay 1500 words 100% 16 July 2019 Note that the above deadlines refer to the date coursework must be submitted/presented to your lecturer. To qualify for module credit, you may be required to submit a coursework portfolio, containing your marked assignments and the lecturer s comments, to the programme administrator. Module Evaluation At the end of the module, you will be asked to complete an evaluation form, which gives an opportunity to feedback on all aspects of their learning experience. Module Content Coursework Deadline: 16 July 2019 Note: AT below refers to texts drawn from Charles Harrison and Paul Wood (eds) Art in Theory , Blackwell, Date in square brackets is original year of publication. All writings are also included in the expanded edition (Art in Theory ) though the page numberings will differ. Session 1: 30 April 2019 The Shocking, the New: The rise of the avant-garde (and 10 artworks that changed the world) Marcel Duchamp Fountain 1917; Robert Delauney The Eiffel Tower 1910; Gustave Courbet The Burial at Ornans 1850; Edouard Manet Masked Ball at the Opera 1873 Georg Simmel The Metropolis and Mental Life [1903] (AT ); Apollinaire The New Spirit and the Poets [1918] (AT ); Raymond Williams When was modernism? [1989] (AT ); Emil Nolde On Primitive Art [1912] (AT101) Session 2: 7 May 2019 Dissolving Space: Cubism and Futurism Pablo Picasso The Aficionado 1910; Georges Braque Still Life on a Table 1913; Pablo Picasso Les Demoiselles d Avignon 1907; Umberto Boccioni Unique form of Continuity in Space 1913, Gino Severini Blue Dancer 1912 Jean Metzinger Notes on Painting [1911] (AT ); Georges Braque Thoughts on Painting [1917] (AT ); Pablo Picasso Conversation with Picasso [1935] (AT ); F T Marinetti The Foundation and Manifesto of Futurism [1909] (AT 145); Umberto 2

3 Boccioni Futurist Painting: Technical Manifesto [1910] (AT ); Wyndham Lewis Our Vortex [1914] (AT ) Session 3: 14 May 2019 Provoking the bourgeoisie: Dada and Surrealism /film Hannah Hoch da dandy 1919; Salvador Dali The Phenomenon of Ecstasy 1933; Maya Deren Meshes of the Afternoon (1943); Marcel Duchamp The Bride Stripped Bare by Her Bachelors, Even [ ] Hugo Ball Dada Fragments [ ] (AT ); Tristan Tzara Dada Manifesto 1918 [1918] (AT ); Richard Hülsenbeck First German Dada Manifesto [1919] (AT ); En Avant Dada [1920] (AT ); Marcel Duchamp The Richard Mutt Case [1917] (AT 248); André Breton First Manifesto of Surrealism [1924] (AT ); Second Manifesto of Surrealism [1929] (AT ) Martin Gaughan Narrating the Dada Game Plan in Art of the Avant-Gardes ed Steve Edwards and Paul Wood, Yale/Open University, 2004, pages Session 4: 21 May 2019 The end of the image: Abstraction in Europe and America Kandinsky With Three Riders 1911; Piet Mondrian Composition A 1919; Mark Rothko Magenta, Green Black on Orange 1949; Jackson Pollock One (Number 31) 1950; Helen Frankenthaler Mountains and the Sea 1953 Wassily Kandinsky Concerning the Spiritual in Art [1911] (AT 86-94); Kasimir Malevich From Cubism and Futurism to Suprematism: The New Realism in Painting [1915] (AT ); Harold Rosenberg The American Action Painters [1952] (AT ); Clement Greenberg Towards a Newer Laocoon [1940] (AT ); Modernist Painting [1965] (AT ); Adolph Gottlieb, Mark Rothko and Barnett Newman, Statement [1943] (AT 562); Mark Rothko The Romantics were Prompted... [1947] (AT ) Session 5: 28 May 2019 Icon and Spectacle: Pop in American and England Eduardo Paolozzi Bunk! ; Jasper Johns Target with Four Faces 1955; Ed Ruscha Every Building on the Sunset Strip 1966/70; Stephen Shore American Surfaces ; Jasper Johns Target with Four Faces 1955; Andy Warhol Marilyn Diptych Lawrence Alloway The Arts and the Mass Media [1958] (AT ); Jasper Johns, Interview with David Sylvester [1965] (AT ); Andy Warhol, Interview with Gene Swanson [1963] (AT ); Catherine Spencer The Independent Group s Anthropology of Ourselves Art History Volume 35, Issue 2, April 2012 Session 6: 4 June 2019 After Painting: Minimalism and Conceptualism Robert Rauschenberg Erased De Kooning Drawing 1953; Frank Stella Die Fahne Hoch! 1959; Carl Andre Equivalent VIII 1966; Tony Smith Die 1962/68; Sol LeWitt Modular Structure 1966; Eva Hesse Accession II 1968; When Attitudes Become Form (exhibition); Lee Lozano General Strike Piece 1969 Frank Stella, Pratt Institute Lecture [1960] (AT ); Donald Judd Specific Objects [1965] (AT ); Michael Fried Art and Objecthood [1967] (AT 822); Sol LeWitt Paragraphs on Conceptual Art [1967]; Sentences on Conceptual Art [1969] (AT ); Lucy R Lippard and John Chandler The Dematerialisation of Art [1968] in Peter Osborne (ed) Conceptual Art, Phaidon

4 Session 7: 11 June 2019 Beyond the White Cube: Post-Minimalism, Land Art, Destination Art Dan Graham Present Continuous Pasts (1970); Robert Smithson Spiral Jetty 1970; James Turrell Roden Crater ; Walter De Maria Lightning Field 1977; Gordon Matta-Clark Splitting 1974; Donald Judd, Marfa, Texas ; Richard Serra Tilted Arc 1981 Tony Smith Interview with Samuel Wagstaff Jr [1966] (AT742); Robert Smithson A Sedimentation of the Mind: earth Projects [1968] (AT ); Richard Serra Yale Lecture [1990] (AT ); Dan Graham My Works for Magazine Pages: A History of Conceptual Art [1985]; Yesterday/Today [1975] in Dan Graham Two Way Mirror Power: Selected Writings by Dan Graham on His Art ed. Alexander Alberro, MIT Press 1999, 10-17; Session 8: 18 June 2019 Noise, Chance and Silence: Sonic Art Sound Web Tristan Tzara, Marcel Janco and Richard Huelsenbeck L amiral Cherche Une Maison A Louer ['The Admiral is Looking for a House to Rent' ] (LTMCD); Luigi Russolo Risveglio di una citta [ The Awakening of a City ] (LTMCD); Edgar Varèse Poème Électronique 1958; Steve Reich Pendulum Music 1968 Luigi Russolo The Art of Noises [1913] in Umbro Apollonio (ed) Futurist Manifestos, MFA Publications 2001, 74-87; David Toop Frames of Freedom: Improvisation, Otherness and the Limits of Spontaneity in Rob Young (ed) Undercurrents: The Hidden Wiring of Modern Music, Continuum, Ubuweb: The avant-garde, noise, sonic arts, performance, film: Session 9: 25 June 2019 Event, Intervention, Interaction: Performance Art Alan Kaprow Household 1964; Bruce Nauman Corridor Installation 1970; Mierle Laderman Ukeles Maintenance 1969; Martha Rosler Semiotics of the Kitchen 1975; Dan Graham Yesterday/Today 1975; Vito Acconci Trademarks 1970; Andrea Fraser Museum Highlights 1989 Alan Kaprow Assemblages, Environments and happenings (AT 703); Mary Kelly Reviewing Modernist Criticism [1981] (AT ); Bruce Nauman Instructions [1974] in Art and Performance: Bruce Nauman ed Robert C Morgan, The Johns Hopkins University Press, 2002, ; Vito Acconci Some Notes on Activity and Performance [1970] in Peter Osborne (ed) Conceptual Art, Phaidon Session 10: 2 July 2019 After The Future: Post-, Alter, Anti-Modernism Cindy Sherman Untitled Film Still 1978, Julian Schnabel Exile 1980; Tracy Emin My Bed 1999, Damien Hirst The Physical Impossibility of Death in the Mind of Someone Living 1991; Nicolas Bourriad (cur.) Tate Triennial 2009 (Altermodernism), exhibition, Tate Britain Jean-Francois Lyotard The Postmodern Condition [1979] (AT ); What is Postmodernism? [1982] (AT ); Craig Owens The Allegorical Impulse: Towards a Theory of Postmodernism [1980] (AT ) Stallabrass, J. (2006) Saatchi and sensation. In: High Art Lite: the rise and fall of Young British Art. London: Tate Publishing. ISBN: Pp Nicolas Bourriad Relational Aesthetics, tr. Simon Pleasance & Fronza Woods, les presses du reel, 2002 Nickolas Lambrianou Altermodern: Movement or Marketing? in Mute: Culture and Politics After the Net, April

5 Session 11: 9 July 2019 From Space to Place: The Contemporary Tino Sehgal These Associations 2012; Elizabeth Price The Woolworth Choir of ; Artangel (web resource and archive) Peter Osborne Anywhere or Not at All: Philosophy of Contemporary Art, Verso, London 2013 Web Jacob Lund, Verina Gfader, Anne Kølbæk Iversen, Geoff Cox The Contemporary Condition: Key Concepts in Liverpool Biennial Stages #6: The Biennial Condition (Liverpool Biennial, 2017, Recommended Reading and Resources Students are advised not to purchase extensively from the list prior to ensuring that their chosen module will be running. Recommended Reading for Reading/Purchase The following will be referred to frequently in class: Charles Harrison and Paul Wood (eds.) Art in Theory , Blackwell, 1992 (or expanded edition Art in Theory ) Recommended Reading The following are recommended as useful ancillary reading. Note: The literature on modern art, the avant-garde and individual movements is immense. The following list is highly selective. If you want tips on further reading for specific issues or movement then please ask me in class. Dawn Ades (ed.) The Dada Reader: A Critical Anthology, Tate Publishing 2006 Claire Bishop Artificial Hells: Participatory Art and the Politics of Spectatorship, Verso 2012 Peter Bürger Theory of the Avant-Garde tr. Michael Shaw, Minnesota TJ Demos The Exiles of Marcel Duchamp, MIT, Steve Edwards and Paul Wood (eds.) Art of the Avant-Gardes Yale/Open University Goldberg, R, Performance Art from Futurism to the Present Thames & Hudson, Charles Harrison with Francis Frascina, Gill Perry Primitivism, Cubism, Abstraction: The Early Twentieth Century Yale/Open University Rosalind Krauss The Originality of the Avant-Garde and Other Modernist Myths, Cambridge MA and London: The MIT Press, Leung, Simon (ed) Theory in Contemporary Art: From 1985 to the Present, Blackwell Lucy Lippard (ed) Pop Art, New York, Thames and Hudson, 1967 O Docherty, Brian Inside the White Cube: The Ideology of the Gallery Space (Expanded Edition). Berkley; Los Angles; London: University of California Press, 2000 (1976) Peter Osborne (ed) Conceptual Art, Phaidon Marjorie Perloff The Futurist Moment: Avant-Garde, Avant Guerre, and the Language of Rupture, University of Chicago Press, 2003 (new edition) Christine Poggi Inventing Futurism: The Art and Politics of Artificial Optimism, Princeton University press 2008 Margriet Schavemaker, Mischa Rakier (eds) Right About Now: Art and Theory Since the 1990s, Valiz,

6 Reference The following are useful reference texts: Hal Foster with Rosalind Krauss, Yve-Alain Bois and Benjamin H D Buchloh Art Since 1900: Modernism, Antimodernism, Postmodernism, Thames & Hudson Tony Richardson and Nikos Stangos (eds.) Concepts of Modern Art, Penguin Ubuweb: The avant-garde, noise, sonic arts, performance, film: Birkbeck, University of London 6