3.0 units, transfers to UC/CSU Or

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1 Art 111, History of Contemporary Art Joann Bourdon Byce, Ph.D. Mondays 7:00-10:10 pm, Art 3300 Office Hrs.: Before and after class 3.0 units, transfers to UC/CSU Or This course is identified as a GE Path course leading to an OPTIONAL minor in Civic Engagement at CSUN. There are five paths a student may take (Aesthetics & Culture, Health and Wellness, Global Studies, Social Justice, and Sustainability) and this course fulfills the Aesthetics and Culture Path. Please inquire with your instructor if you are interested in additional courses offered at Pierce to fulfill this Path. To apply to this program please register at: piercecollege.edu/gepaths/ This course will cover European and American art from approximately 1885 to the present. We will be looking at the various movements in art and what artists were trying to do. We will also examine social and political issues that influenced the art that has been made during this time. Questions and discussion are always welcome, and I hope to include regular discussions of the issues and art works that we cover in class. LEARNING OUTCOMES: Recognize and understand the art and artists of the twentieth century Understand the theoretical approaches used in discussing twentieth-century art Recognize the social and historical contexts that affect artists and the art they produce Demonstrate critical thinking and writing skills through paper and exams that require a synthesis of information REQUIRED TEXT: There is no textbook for this class. All readings will come from JSTOR, which is an online database that Pierce subscribes to. You can access JSTOR from computers in the Library, or you can use your Pierce login to access the database from your computer at home. There are two texts that are on reserve in the Library for your use, but are not required for the class. They are Hunter, Modern Art and Kleiner, Gardner s Art Through the Ages (vol. II or Book E). In addition, there are two websites that can give you general information that is reliable and scholarly. They are: smarthistory.khanacademy.org and metmuseum.org/toah (Heilbrunn Timeline of Art History). Also on reserve are two books that contain primary sources about many of the artists we ll be talking about. A primary source is one that is written at the time of the event. These books contain letters and essays written by the artists themselves and essays by others that were written at the time the artists were creating their works. The books are: Chipp, Herschel. Theories of Modern Art (covers up to Abstract Expressionism) and Stiles & Selz, Theories and

2 Documents of Contemporary Art: A Sourcebook of Artists Writings (Abstract Expressionism to the present). COURSE REQUIREMENTS: 2 pts. each 150 pts. Final examination 75 pts. Term paper 100 pts. 325 pts. There will be two midterms and a final. The final will be similar to the midterms and will not be cumulative. The midterms and final will all consist of short answer and essay questions. Attached is Handout #1 with images, vocabulary and thematic concepts that can be on the first midterm. In addition, a week before each exam I will give you a list of study questions to help you organize your readings and notes. The exams are based on those study questions, and essay questions will be drawn from the study questions. Although you will get the list of images I could show on the exam now, there will be no slide identification, but the images will be associated with particular study questions. These images will be those we discuss in class and which can also be found either in the books on reserve or online so that you have them available to you for review. The midterms will be on Oct. 3 and Nov. 7. The final exam is Dec. 12. You will need a Scantron 886-E for each exam. Your term paper will be a short 3-4 page essay on art works you see on either a museum visit or on a visit to an art gallery. I will give you a set of topics from which you can choose one topic, or if you have particular interests in contemporary art, you are free to choose your own topic after talking to me about it. I will give you more information in a few weeks. The term paper is due Dec. 5. The class will also include a lot of discussion on the ideas from the readings and lecture and how those ideas can be applied to the art works that we ll see in class. In order to participate, it is important that you do the required readings. This is also a time for you to bring up questions that you have about the readings or how they fit into the overall class. GRADING POLICY: I grade on percentage, and not on the curve. This means that it is possible for everyone to get an A in the class. You are not in competition with each other. As you can see above, grades are determined by exams and the paper. The grade scale is: A = 90%-100% B = 80%-89% C = 70%-79% D = 60%-69% F = 59% and lower

3 A work will demonstrate superior thought about the concepts addressed in class and will be expressed clearly, showing a synthesis of the ideas. Often such work will show individual ideas or approaches. There will be a clear thesis statement that relates to the ideas discussed. B work is strong, showing understanding of the concepts presented in class, but perhaps not expressed quite as clearly, or without individual thought or understanding of how the concepts synthesize. There will be a thesis statement, although it may be not as strong, and it may not relate to the ideas discussed. C work is competent, but may be uneven in clarity or argument. The thesis statement may be vague or not strongly developed. The work would not show clear understanding of the concepts or how they synthesize. D work is barely competent, and may have major flaws in thought, argument or written clarity. If you have difficulty understanding the concepts presented or completing the assignments, you should discuss this with me during my office hours or me so that we can work out any difficulties you may experience. LATE WORK: Late work will not be accepted. Nor will I accept work sent to me via . A hard copy of your work, on time, is the only form acceptable. INCOMPLETES, W, D, and F GRADES: Incompletes will not be granted unless a substantial amount of course work has been successfully completed and there is a documented emergency. Students can only repeat a course one additional time if they receive a W, D or F the first time they attempt a course. If a student receives a W, D or F grade the second time they attempt the class, they cannot enroll in the class a third time. EXCLUSION POLICY: Any student who has unexcused absences equaling one week s worth of class time prior to the census date will be excluded. I will pass around a sign-in sheet for the days prior to the exclusion date. It is the responsibility of each student to assure that s/he signs the sheet. Students may drop the class at any time through the last day to drop in the Admissions Office, on-line, or by phone. You should not rely on me to exclude you. Tardiness will not be tolerated as it disrupts the class and creates a less than ideal environment for everyone. Please be on time. If for any reason you must be late, choose a seat near the door or along the back of the room. BEHAVIORAL EXPECTATIONS: This class involves discussions. Each person needs to be considerate of all who participate. This means speaking in turn, not interrupting, and respecting others right to express their opinion even if you disagree with that opinion. Name

4 calling or abusive language or behavior will not be tolerated. Some of the concepts that we will discuss will include historical religious disputes, ideas that some may find offensive, as well as sexuality and nudity. If you feel you will be offended perhaps you should reconsider whether or not you want to take this class. If you do decide to take the class, then you will be agreeing to the expectations set out above. Disobedient, disruptive or disorderly behavior exhibited by any student may result in disciplinary action in accordance with District policies and procedures. Action may include, but is not limited to expulsion from class. PLAGIARISM: The faculty and administration of Pierce College are committed to the belief that honesty and integrity are integral components of the academic process. The College expects students to be honest and ethical at all times in their pursuit of academic goals. Students who violate the code of academic conduct by which the College maintains its academic integrity will be dealt with in a manner reflecting the seriousness of these violations. Violations of academic honesty and integrity occur when a student participates in any act in which he/she uses deception or fraud while performing an academic activity. Violations include, but are not limited to, the following: Using study aids such as calculators, tape recorders or notes, when not authorized by the instructor. Cheating on examinations, assignments or experiments (allowing another student to copy one s answers or copying the answers of other students; exchanging information by any means, including verbal exchanges, sign language, hand signals, secret codes, passed notes, creation of a distraction for the purpose of cheating; changing answers on a previously scored test, assignment or experiment; inventing information and/or data.) Allowing another student to assume one s identity in order to fulfill an assignment or take a test. Submitting for a grade the words, ideas, and/or written work (including laboratory notes and drawings) of another person without giving due credit to that person. This includes purchased papers or papers written by other students. Falsifying or attempting to falsify attendance records and/or grade rosters. Conspiring with other students to commit any of the above behaviors. If you have questions about how to use or how to cite information that you find to use in your paper or exams, please see me for the proper procedure. Consequences for any offense against academic honesty and integrity may include: An F or a 0 on the examination or assignment. Suspension from the class and other sanctions and/or penalties authorized by the Board of Trustees for violations of the District Code of Conduct. A record of the student s violation placed in the student s disciplinary file. Students are required to be honest and complete their own work at all times (homework, class work, quizzes, tests, etc.). Additional information about plagiarism can be found at or through various websites on the Internet.

5 There is a list of student resources that are available to you at Pierce on the Canvas page for this class. TENTATIVE SCHEDULE OF LECTURES & READINGS Aug.29: Sept. 5: Sept.12: Sept. 19: Sept. 26: Oct. 3: Oct. 10: Introduction; Modernism, the Academy and Impressionism Holiday: Labor Day Post-Impressionism, Symbolists, Art Nouveau Reading: Jackson, Anna. The Victorian Perception & Acquisition of Japanese Culture. Journal of Design History, Vol. 5, no. 4 (1992): Gauguin, Fauves, German Expressionists Reading: Ettlinger, L.D. German Expressionism & Primitive Art. The Burlington Magazine, Vol. 110, no. 781 (April 1968): 191-2; Cezanne, Cubism, Futurists, late Cubism Reading: Tucker, Paul Hayes. Picasso, Photography & the Development of Cubism. The Art Bulletin, Vol. 64, no. 2 (June 1982): Study Guides for Midterm #1 handed out. Midterm Russians, Bauhaus, Photography Reading: Railing, Patricia. The cognitive Line in Russian Avant-Garde Art. Leonardo Vol. 31, no. 1 (1998): Oct. 17: Dada, Surrealism; begin American Art since 1900 Reading: (1) Frey, John G. From Dada to Surrealism. Parnassas, Vol. 8, no. 7 (Dec. 1936): 12-15; (2) Belton, Robert J. Edgar Allen Poe And the Surrealists Image of Women. Women s Art Journal, Vol. 8, no. 1 (Spring-Summer 1987): 8-12; (3) Thompson, Jan. Picabia and His Influence on American Art Art Journal, Vol. 39, no. 1 (Fall 1979): Oct,24: Continue American Art since 1900, WPA; Abstract Expressionism Reading: (1) Carlebach, Michael L. Documentary and Propaganda: The Photographs of the Farm Security Administration. The Journalof Decorative and Propaganda Arts, Vol. 8 (Spring 1988): 6-25; (2) Doyon-Bernard, Suzette. Jackson Pollock: A Twentieth Century Chavin Shaman. American Art, Vol. 11, No. 3 (Autumn 1997): 8-31.

6 Oct. 31: Pop Art Reading: (1) Boime, Albert. Roy Lichtenstein and the Comic Strip. Art Journal, Vol. 28, no. 2 (Winter, ): ; (2) Oldenburg, Claes, Andy Warhol, Robert Morris & Benjamin H.D. Buchloh. Three Conversations in October, Vol. 70 (Autumn 1994): Study Guides for Midterm #2 handed out. Nov.7: Midterm #2 Nov. 14: Nov.21: Nov.28: Dec. 5: Dec. 12: Minimalism, Earth Art & the Minor Arts Reading: (1) Morphet, Richard. Carl Andre s Bricks. The Burlington Magazine, Vol. 118, no. 884 (Nov. 1976): ; (2) Feldman, Paula. Dan Flavin: Site Specific Installations in the Netherlands The Burlington Magazine, Vol. 145, no (Oct. 2003): Videos: pbs.org/art21/artists (James Turrell, Maya Lin, Richard Serra). Conceptual Art & Post-Modernity Reading: Tannenbaum, Judith. Robert Mapplethorpe: The Philadelphia Story. Art Journal Vol. 50, no. 4 (Winter 1991): Videos: pbs.org/art21/artists (John Baldassari, Leonardo Drew, Jeff Koons). Final Day to turn in drafts of term paper (optional) Art as Identity Reading: Snyder, Carol. Reading the Language of The Dinner Party. Women s Art Journal, Vol. 1 no. 2 (Autumn 1980-Winter 1981): Videos: pbs.org/art21/artists (Pepon Osorio, Shazia Sikander, Kara Walker, Fred Wilson). Installation, Performance & Video Reading: (1) Mellencamp, Patricia. The Old and the New: Nam June Paik. Art Journal, Vol. 54, no. 4 (Winter 1995): 41-47; (2) McKenzie, John. Laurie Anderson for Dummies. TDR (1988-), Vol. 41, no. 2 (Summer 1997): Videos: pbs.org/art21/artists (Laurie Anderson). Optional: Omer Fast, Kimsooja. Term Paper Due Study Guides for Final Exam handed out Final Exam

7 Handout #1 IMAGES: Munch, The Cry (Scream), Norway, 1893 van Gogh, The Night Café, Dutch, worked in France, 1888 Kirchner, Berlin Street Scene, German, 1913 Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), France, 1888 van Gogh, Starry Night, Dutch, worked in France, 1889 Toulouse-Lautrec, Jane Avril, France, 1893 Mary Cassatt, The Boating Party, American, worked in France, 1894 Beardsley, Salome, England, 1892 Mucha, Cismonda, France, 1894 Mackintosh, Ingram Street Tea Room, Scotland, Matisse s The Woman with the Green Stripe, France, 1905 Picasso, Les Demoiselles d Avignon, Spanish, worked in France, 1907 Gauguin, Where did we come from? Who are we? Where are we going?, France, 1897 Braque, Violin and Palette, France, Picasso, Daniel-Henri Kahnweiler, Spanish, worked in France, 1910 Picasso, Still Life with Chair Caning, Spanish, worked in France, 1912 Picasso, Bottle of Suze, Spanish, worked in France, 1912 Leger, The City, France, 1919 Delaunay, Champ de Mars (The Red Tower), France, 1911 VOCABULARY TERMS: Avant garde Ukiyo-e Complementary color Arbitrary color Impasto Camera obscura Abstract Formal analysis Modeling Naturalism Style Plane Primary colors Secondary colors

8 THEMATIC CONCEPTS: Modernism: Industrial Revolution Growth of middle class (for both artists and patrons) Growth of cities (alienation) Abstraction in Art: Photography Paint in tubes (ready made art supplies) Amateur artists Freedom to experiment Decline of the Academy Use of arbitrary color Use of abstracted forms Personal expression (not illusionism, or representational art)