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FIRST SESSION TOPIC |
SECOND SESSION TOPIC |
閱讀資料 |
重要日期 |
| 1: Introduction; Surrealism in Exile |
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Introduction: the Aesthetic and Ideological Context for Abstraction following WWII in the United States and Europe |
Irving Sandler, The Triumph of American Painting (TAP), Harper and Row (1970), 1-28. |
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| 2: Surrealism to Abstract Expressionism |
The Unconscious made Visible: Matta, Masson, Miro, Calder, Noguchi, Moore; Formalizing the Intuitive: Arshile Gorky, John Graham, and Hans Hofmann |
"I am Nature:" Jackson Pollock and Lee Krasner. Screening of Hans Namuth's influential 1951 film, Jackson Pollock. |
Dore Ashton, The New York School: A Cultural Reckoning, Viking (1973), University of California Press reprint 1992; Intro. and Chapters 4-7.
Hans Hofmann, "Search for the Real," photocopy excerpts on reserve.
begin reading Caroline Jones, Machine in the Studio, pp. 1-41.
Recommended: Sandler, TAP: 29-71.
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| 3: Abstract Expressionist "Action" to "Field" |
Gesture/ Field: Willem de Kooning, Franz Kline, Philip Guston, Robert Motherwell VERSUS Rothko, Newman, Reinhardt |
Abstract Expressionist Sculpture: David Smith's "Drawing in Space" versus Bourgeois's and Nevelson's Intimate Worlds; Roszak, Lipton, Ferber. |
Ashton, chapters 8-11, 13, 15.
Ellen Johnson, American Artists on Art, from 1940-1980, Harper and Row (1982), 1-39.
Clement Greenberg, "`American-Type' Painting," Art and Culture, 208-229.
Harold Rosenberg, "Parable of American Painting," (1954) and "American Action Painters" (1952), from Harold Rosenberg, Tradition of the New, McGraw-Hill (1965), 13-22 and 23-39.
finish reading Jones Chapter 1, Machine in the Studio, pp 41-59.
Recommended: Sandler, TAP: 92-137, 233-268.
Lisa Phillips, The Third Dimension: Sculpture of the New York School, pp. 9-44, plus entries.
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| 4: Abstract Expressionish Abroad: Precursor, Export, Zeitgeist? |
Rothko, Still, and the San Francisco School; Tobey, Matthieu, Yoshihara and the promotion of an "ecole du Pacifique" |
Body/Gesture in Europe: (Giacometti, Dubuffet, Fautrier), Tachisme, l'art informel, CoBrA, the d'affichistes, the "Nouveaux Realistes" (Arman, Yves Klein), Nikki de Saint-Phalle, Jean Tinguely. |
Caroline A. Jones, Bay Area Figurative Art, (BAF), San Francisco Museum of Modern Art and University of California Press (1989), chapter 1.
Recommended: Sandler, TAP: 148-192, 225-232, 269-275.
Thomas Albright, Art in the San Francisco Bay Area, 1945-1980, Berkeley: University of California Press, 1985. Skim and consult pictures, Chapters 1-4.
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Take-home essay question handed out |
| 5: The Fifties into Sixties: International Neo-Dada |
John Cage, Robert Rauschenberg, Jasper Johns, and the question of a homosexual aesthetic |
The "Gutai" group in Japan; extending AbEx gesture into performance |
Johnson, 72-78.
Calvin Tomkins, Off The Wall: Robert Rauschenberg and the Art World of Our Time, Penguin (1981), chapters 8, 11, 15, 21.
Alexandra Munroe, Japanese Art after 1945: Scream Against the Sky, New York: Harry N. Abrams, 1994.
Recommended: Irving Sandler, The New York School (NYS), Harper and Row (1978), 140-95.
Calvin Tomkins, The Bride and the Bachelors: Five Masters of the Avant-Garde, Penguin (1976), chapters on Cage, Tinguely, Rauschenberg.
De Antonio and Mitch Tuchman, Painters Painting, New York: Abbeville, 1984, and view the laserdisk of Emile de Antonio, Painters Painting.
James Roberts "Painting as Performance," Art in America, May 1992, 113-118.
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Suggested paper topics handed out, due at last class. |
| 6: Fifties (and later): Hot Art/Cold War |
Bay Area Figurative Art: The View from the West Coast; California Funk and Chicago's "Hairy Who" |
The Beats; Environments and Happenings in the US (Fluxus begins) |
Johnson, 57-72
Jones, BAF, chapter 2; skim and consult pictures, chapters 3-5.
Lisa Phillips, Beat Culture and the New America (1995). Read "Prologue" by Allen Ginsberg, "Beat Culture" by Lisa Phillips, skim text and pictures throughout.
Recommended: Barbara Haskell, Blam! The Explosion of Pop, Minimalism, and Performance: 1958-1964 Whitney Museum of American Art (1984). Skim and consult pictures.
Sandler, NYS, 196-213.
Albright, Art in the SF Bay Area. Skim and consult pictures, Chapters 5-6.
Franz Schultze, Fantastic Images: Chicago Art Since 1945, Chicago: Follett, (1972). Skim and consult pictures.
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| 7: Midterm |
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MIDTERM
Note: Topic for 10-15 page paper should be chosen and research underway. |
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Midterm short paper due. |
| 8: Sixties Abstraction - An Industrial Aesthetic |
"Post-Painterly Abstraction" and Formalist Sculpture; Greenberg's reign |
Frank Stella and Minimal Art: the Corporate Icon (Andre, Judd, Flavin, Morris) |
Johnson, pp. 105-123, 179-184.
Jones, Chapter 3, "Frank Stella, Executive Artist," Machine in the Studio, 114-188.
Recommended: Irving Sandler, American Art of the 1960s, (AAS), New York: Harper & Row, 1988; Introduction, Chapters 1 and 10 (pp. 1-44, 242-281).
James Meyer, Minimalism: Art and Polemics in the Sixties, (New Haven: Yale, 2001)
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| 9: Sixties Figuration -- Encounters with Mass Culture |
Warhol's Factory; Pop Art and another kind of Industrial Aesthetic (Lichtenstein, Oldenburg, Rosenquist, Dine, Marisol) |
The Independent Group (London); German "Capitalist Realism"; Arte Povera (Italy) |
Johnson, 79-104.
Jones, Chapter 4, "Warhol's Factory..." in Machine in the Studio, pp. 189-267.
Robert Rosenblum, "Pop Art and Non-Pop Art," Art and Literature 5 (Summer 1964), anthologized in John Russell and Suzi Gablik, Pop Art Redefined, New York: Praeger, 1969, pp. 53-56.
Recommended: Sandler, AAS, Chapters 3, 4, 7, and 8 (pp. 60-104, 143-222)
Marco Livingstone, Pop Art: An International Perspective, New York: Abrams, 1990 skim and consult pictures.
Tate Gallery of Art, Gerhard Richter (London: 1991)
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| 10: Seventies Pluralism: Realism, Conceptual Art |
Modes of Realism shading into conceptualism: Photorealism in US versus Lucian Freud, Malcolm Morley in UK |
Early Conceptual art: Sol LeWitt, John Baldessari, Richard Artschwager; International conceptualism and Fluxus |
Johnson, 125-168
Siegel: Baldessari 37-50, Richter 105-118
Farver et al., Global conceptualism: points of origin, 1950s-1980s
Recommended: Monographs by Alicia Legg et al., Sol LeWitt (Museum of Modern Art, 1978), Coosje van Bruggen, John Baldessari (New York: Rizzoli, 1990).
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| 11: Pluralism cont.: Process, Environmental, and Performance Art |
Performance/Intervention abroad: Joseph Beuys, Daniel Buren, Bruce Nauman, Helio Oiticica, Cildo Meireles |
Sculptors of Land, Poets of Light: Robert Smithson and De Maria, Heizer, Long (UK) Morris, Flavin, Irwin, Turrell; screening of Robert Smithson's Spiral Jetty |
Johnson, 169-224
Siegel: Beuys 77-83
Jones, Chapter 5, "Robert Smithson...." in Machine in the Studio, pp. 268-343.
Recommended: Sandler, AAS, chapters 14, 15, and Epilogue.
Schimmel, Paul. Out of Actions: Between Performance and the Object, Los Angeles: Museum of Contemporary Art/ New York: Thames and Hudson, 1998.
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| 12: End of the Mainstream? |
Women buck the Canon: Louise Bourgeois to "Womanhouse" and "The Dinner Party," process/performance artists: Eva Hesse, Jackie Winsor, Hannah Wilke, Carolee Schneeman, Laurie Anderson, Adrian Piper. |
African Americans: Bearden, Puryear, Saar, Piper, Wilson; Native Americans: Luna, Durham |
Johnson, 246-249
Interviews with Eva Hesse and Judy Chicago in Lucy Lippard, From the Center: Feminist Essays on Women's Art, New York: E.P. Dutton, 1976, 214-230.
Lucy Lippard, Mixed Blessings: New Art in a Multicultural America, New York: Pantheon, 1990. Read chapters on "Naming," "Telling," and "Turning Around," skim pictures throughout.
Recommended: Amelia Jones, ed., Sexual Politics: Judy Chicago's Dinner Party in feminist art history, Berkeley: University of California Press, 1996; Jones essay.
Corinne Robins, "Art and Politics," from The Pluralist Era: American Art 1968-1981, New York: Harper & Row, 1984, pp. 37-75.
Barbara Matilsky, Fragile Ecologies, exhibition catalogue.
Helen A. Cooper, ed., Eva Hesse (Yale U. Press, 1992)
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Note: Papers due in 2 weeks! |
| 13: Political Art |
Political Interventions, public art: Hans Haacke, Maya Lin, Mel Chin; Mapplethorpe, AIDS Demo-graphics, Krzysztof Wodiczko |
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Seigel: Haacke 63-74
Douglas Crimp and Adam Rolston, AIDS Demo-graphics, Seattle: Bay Press, 1990; skim and consult pictures.
Recommended: Krzysztof Wodiczko, Critical Vehicles: Writings, Projects, Interviews, Cambridge, Mass.: MIT Press, 1999.
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| 14: Post-Modernism |
The End of American Hegemony? Italian "Bad Boys" (Mario Merz), Clemente, Chia, Cucchi; German Neo-Expressionists (Baselitz), Kiefer, Richter; US Neo-Expressionism with Graffitists Basquiat, Haring; "Bad" Painting, New Image, etc. Salle and Schnabel vs. Bartlett, Rothenberg, Murray |
Appropriation Art: Cindy Sherman, Barbara Kruger, Jenny Holzer, Sherrie Levine, Jeff Koons, Haim Steinbach; "Neo Geo": Peter Halley, Philip Taaffe. |
Johnson: 225-244; 260-266
Siegel: Clemente, Cucchi 121-151; Schnabel, Salle 153-175; Longo 197-210, Halley, Levine 235-255; Sherman, Holzer, Kruger 269-311.
Hal Foster, "Re: Post," in Brian Wallis, ed., Art After Modernism: Rethinking Representation, (AAM) New York: New Museum, 1984, pp. 188-201.
Douglas Crimp, "Pictures," pp. 175-187, and other essays in AAM.
Craig Owens, "The Discourse of Others: Feminists and Postmodernism," in Owens, Beyond Recognition, Berkeley and Los Angeles, U.Cal. Press, 1992, pp 166-190.
Recommended: Craig Owens, "The Allegorical Impulse: Toward a Theory of Postmodernism," parts 1 and 2, Beyond Recognition pp. 52-87. (Part one is also in AAM pp. 203-235.)
Lisa Dennison, ed., Angles of Vision: French Art Today, New York: Solomon R. Guggenheim Museum, 1986.
Thomas Krens et al., Refigured Painting: The German Image 1960-1988, New York: Solomon R. Guggenheim Museum, 1989.
Essays by Hal Foster and Thomas Crow in Endgame: Reference and Simulation in Recent Painting and Sculpture, Boston: Institute of Contemporary Art, 1986.
Kate Linker, Love for Sale: The Words and Pictures of Barbara Kruger, New York: HN Abrams, 1990.
Museum of Contemporary Art, Los Angeles, A Forest of Signs
Whitney Museum of American Art, New York, Image World: Art and Media Culture.
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Note: Papers due in class. |
| 15: Installation Art, New Media, and Biennial Culture |
Installation Art, Video, and New Media in context; class summary and review |
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| 16: Final Exam |
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Final Exam |
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