Art History 268:
|
Campbell 153 hours: Tuesdays and
Thursdays 10:00 - 11:00 |
A slide-lecture survey course, Art Since 1945 will begin with an examination of the formation of Abstract Expressionism in New York in the 1940s and its institutionalization in the 1950s. It will address the rise of the pop and minimal art in the 1960s, and the challenge that these movements, and the earthworks, conceptual art, and performances that followed from them, posed to the idea of modernism and the traditions of painting and sculpture. At the center of the course both chronologically and thematically will be the question of postmodernism. The second half of the course will focus on the issues raised by the return to representation in painting, by photography and other technologies of reproduction, by a shifted concern for audience and a public art, and by the work of artists from outside the mainstream.
Required Texts:
Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900, vol. 2
Irving Sandler, Art of the Postmodern Era: From the Late 1960s to the Early 1990s
Primary Source Documents are posted on the "Toolkit" site at
http://toolkit.virginia.edu/cgi-local/tk/UVa_CLAS_2005_Fall_ARTH268-1/
The toolkit site can be easily accessed from any library computer, or from any
home or dorm computer with a UVA address. To read the essays posted there
requires Adobe Acrobat Reader, which can be downloaded from ITC.
To supplement the works of art reproduced in the texts, the Visual Resources Center has placed some 200 other images, drawn from my class lectures, on a university based web site. The site can be accessed from any computer on grounds, or any personal computer with a "virginia.edu" address equipped with Netscape or other web browser. A copy of this syllabus and weekly slide lists are also posted there.
Course Requirements:
Not all relevant and testable material is available in the texts, therefore
regular class attendance is strongly recommended. The midterm will be
given in class on October 11, and the final exam is scheduled for Thursday,
December 8 at 9am in 153 Campbell; if this date conflicts with interviews,
weddings, family vacations, or other plans, please do not sign up for ARTH 268.
Final grades are based on your exam grades and on attendance,
participation, and assignments in the discussion groups. You must
register for and attend a discussion section, and your TA is responsible for
1/3 of your final grade. Discussion sections begin the week of Monday,
August 29. Students registered CR/NC are expected to fulfill the same
requirements; 70% is passing.
Art:
Art is the product of painstaking craftsmanship, of exceptional facility, of
intellectual endeavor, or of obsession-driven inspiration. You can
imagine what an affront it might be to an artist, or to someone who spends a
good deal of their time thinking about works of art and their meanings, to ask
whether or not you need to know this or that fact for the exam.
|
8/25 |
Jackson Pollock, by way of introduction |
|
Week 1 |
|
|
8/30 |
"The American Action Painters" Foster et al, 1947b, 1949 Rosenberg, "American Action Painters” on toolkit |
|
9/1 |
Gesture, Myth, and Field in Abstract Expressionism Foster et al, 1951 Greenberg, "American Style Painting" and Alloway, "American Sublime" on toolkit |
|
Week 2 |
|
|
9/6 |
"Europe after the Rain": Art and Figure in
Tatters Foster e al, 1946, 1959a, 1959c Tillich, "Each Period Has Its Peculiar Image of Man" and Dubuffet, "Anti-Cultural Positions," on toolkit |
|
9/8 |
Assemblages, Environments, and Happenings Foster et al, 1955a, 1959b, 1960a, 1961 Oldenberg, "I am for an Art" and essays and statements by Restany and Kaprow on toolkit |
|
Week 3 |
|
|
9/13 |
"Take an Object, Do Something to It, Do Something
Else to It" Foster et al, 1953, 1958 |
|
9/15 |
Fluxus and Other Actions Foster et al, 1957a, 1962a, 1962b, 1964a |
|
Week 4 |
|
|
9/20 |
Pop Art Foster et al, 1956, 1960a, 1960c, 1961, 1964b Swenson, "What is Pop Art?" and statements by Richard Hamilton, on toolkit |
|
9/22 |
"Modernism" and Post-Painterly
Abstraction Foster et al, 1947a, 1957b, 1960b Fried, Three American Painters, on toolkit |
|
Week 5 |
|
|
9/27 |
The Ends of Minimalism Foster et al, 1962c, 1965 Judd, "Specific Objects" and Morris, "Notes on Sculpture," on toolkit |
|
9/29 |
Postminimalism and Eccentric Objects Foster et al, 1966a, 1966b, 1969 Morris,
"Anti-Form" and Monte, "Anti-Illusion," on toolkit
|
|
Week 6 |
|
|
10/4 |
Postminimalism, Process and Performance
Foster et al, 1974 Sandler, chapter 1 |
|
10/6 |
Catch Up and Review |
|
Week 7 |
|
|
10/11 |
Midterm |
|
10/13 |
No Class Meeting |
|
Week 8 |
|
|
10/18 |
Earthworks and Architectural Sculpture Foster et al, 1967a, 1970 Sandler, chapter 5 |
|
10/20 |
Conceptual Art Foster et al, 1968b LeWitt, "Sentences" and "Paragraphs on Conceptual Art," on toolkit |
|
Week 9 |
|
|
10/25 |
Art and Politics Guerilla Art Action Group and the Art Workers Coalition |
|
10/27 |
First Generation Feminism Foster et al, 1975 Sandler, chapters 3 and 4 |
|
Week 10 |
|
|
11/1 |
Europe and 1968 Foster et al, 1967b. 1967c, 1972b Sandler, chapter 2 |
|
11/3 |
The Italian Transavantgarde and German NeoexpressionismFoster et al 1963, 1988 Sandler, chapter 9 |
|
Week 11 |
|
|
11/8 |
American NeoexpressonismSandler, chapter 8 |
|
11/10 |
Pictures Sandler, chapter 10 Lawson, "Last Exit: Painting" and Singerman, "Restoration Comedies," on toolkit |
|
Week 12 |
|
|
11/15 |
Art and (and as) Theory Sandler, chapters 11 and 12 |
|
11/17 |
Artworks and Commodities Foster et al 1986 Sandler, chapters13 and 15 |
|
Week 13 |
|
|
11/22 |
Thanksgiving Break |
|
12/24 |
Thanksgiving Break |
|
Week 14 |
|
|
11/29 |
Culture Wars: Aids, the Body and the Abject Foster et al 1987, 1994a Sandler, chapter 14, 16, and 17 |
|
12/1 |
Race, Place, and Sexuality: Identity Politics and Art
Practice Foster et al 1989, 1992, 1993c Sandler, chapter 16
|
|
Week 15 |
|
|
12/6 |
Globalism and the Artist as Ethnographer: Art after the 20th Century |
|
12/8 |
Final Exam 9am in 153 Campbell Hall |