Art76ArtCriticismandTheory.doc

Art 76: Art Criticism and TheoryMon.Wed.Fri. 10:50-12:50Evan A. Gattielectronic mail: Telephone: 294.2958Course objectives.In this course you will develop an understanding of and an appreciation for the various methods used to analyze a work of art as well as the role that the study of art has played in defining contemporary visual culture. The course material will be presented through assigned readings and class discussion, highlighting the work of contemporary and historically significant art historians, philosophers, art critics and artists. Your progress will be measured through a series of short papers as well as your participation in and direction of class discussion.Required texts* and recommended reading.Barasch, Moshe, Theories of Art, Vol. I-III, and Modern Theories of Art, Vol. I-III, (Routledge Press)*Collins, Bradford (ed.), 12 Views of Manets Bar, (Princeton, 1996)*Preziosi, Donald, The Art of Art History: A Critical Anthology, (Oxford, 1998)Chipp, Herschel B., Theories of Modern Art: A Source Book by Artists and Critics, (Univ. of California Press, 1989)Fernie, Eric, Art History and Its Methods: A Critical Anthology, (Phaidon, 1995)Harrison, Charles and Paul Wood (eds.), Art in Theory, Vol 1:1648-1815, Vol 2:1815-1900, Vol 1900- 2000, (Blackwell, 2001)Margolis, Joseph, Philosophy Looks at the Arts, (Temple, 1987)Stiles, Kristine and Peter Howard Selz (eds.), Theories and Documents of Contemporary Art: A Sourcebook of Artists Writings, (University of California Press, 1996)Minor, Vernon, Art Historys History, (Prentice Hall, 2001)Wartenberg, Thomas E. The Nature of Art, (Harcourt, 2002)Grading. In-Class Presentations30%Writing Portfolio 40%Quizzes10%Participation and Attendance20%Assigned Reading and In-Class Presentations.Each student will read each essay in preparation for every class meeting. You will often find it necessary to read an essay two or even three times to understand the argument completely so expect to spend at least two hours in preparation for class, more if you are presenting that day. One student will be responsible for leading the class discussion on each article as well as creating accompanying, pertinent handouts and study guides for the class. Unannounced quizzes on the assigned reading should be expected throughout the semester. Writing Portfolio.You are required to turn in a writing portfolio at least three times during the term (you must have a folder of some kind for your portfolio, I will deduct ten points for every loose assignment you turn in no kidding). Assignments will be posted on the web site at various times throughout the term. These short papers are to be completed on your own schedule, but before the portfolio is due in class. You will have an opportunity to revise the graded assignments throughout the semester and your final grade for your portfolio will be determined both by your original graded work as well as by your revised assignments. Academic Honesty. Every assignment that you turn in during this class must be original work. Any written work or idea that is not your own MUST be properly cited. Failure to properly cite someone elses written work or ideas will result in an F for the class as well as a notarized report to the Associate Academic Dean. There are no exceptions to this rule including ignorance of proper citation procedures or unintentional plagiarism. In addition to plagiarism, any case of dishonesty regarding an assignment, class attendance or an exam is punishable as Academic Dishonesty and will garner an F for the class, and a letter to the Associate Academic Dean. If you have any questions about what constitutes Academic Dishonesty see me, consult The Helmsman, or check with the Associate Academic Dean. Attendance. When you register for this class you agree to attend every lecture. Your class grade depends upon your showing up to every class meeting. On the other hand, simply showing up for class does not equal good class participation. This course requires that you be prepared to offer your opinions, ask questions and participate in discussion. The University Attendance policy is in effect in this class. This policy states that students with fewer than 28 hours (Freshmen) whose absences exceed 15% of class meetings (5 class days) are removed from the course with an F, as are students with 28 or more hours (Sophomores - Seniors) who are absent in excess of 25% of the class meetings (8 class days). This policy includes all absences, including those excused by the university. Each of our class sessions equals one and one half regular class sessions so students with 28 or more hours can miss no more than 5 sessions before failing the class.Learning Assistance. If you find that you are having trouble with any part of the class, please come see me during my office hours or schedule an appointment. In addition, do not hesitate to use the resources available at Furman. For further information about these resources, consult the Center for Collaborative Learning and Communication located in the lower level of the James B. Duke library. Students with disabilities who require academic accommodations should contact Susan Clark at the Office of Disability Services, which is located in the basement of Plyler Hall.Course Calendar. (Subject to change)Wed. Jan. 7Introduction to the class: Writing about Art up to the RenaissancePurchase textbooksWe will read selections from the following texts in class - photocopies will be provided. Plato, Selections from The Republic Aristotle, Selections from The Poetics Abbot Suger of St. Denis, Selections from De Administratione Vasari, Selections from The Lives of the ArtistsFri. Jan. 9Manets Bar: Methodology and MultiplicityPresent assigned text from Collins, 12 Views of Manets Bar. Or, as needed to equal enrollment, T.J. Clark, A Bar at the Folies-Bergre, The Painting of Modern Life: Paris in the Art of Manet and His Followers (Knopf, 1985), 205-258; and Ruth E. Iskin, Selling, seduction, and soliciting the eye: Manets Bar at the Folies-Bergre. The Art Bulletin, March 1995 v77 n1, p 25-44 Mon. Jan. 12Manets Bar: Methodology and Multiplicity12 Views of Manets Bar (cont.)Wed. Jan. 14Art History, Art Criticism or Art Theory?Preziosi, Art History, Making the Visible Legible, 13-19 Michael Baldwin, Charles Harrison and Mel Ramsden Art History, Art Criticism and Explanation Art History and Its Methods: A Critical Anthology, pp. 259-280Baxandall, Patterns of Intention, 52-61Fri. Jan. 16AestheticsPreziosi, Introduction, 63-69Kant, What is Enlightenment?, 70-75Kant, The Critique of Judgment, 76-96 Hegel, Philosophy of Fine Art, 97-107 Mon. Jan. 19MLK Memorial DayNo ClassWed. Jan. 21StylePreziosi, Introduction, 109-114Wlfflin, Principles in Art History, 115-126 David Summers, Form, Nineteenth-Century Metaphysics, and the Problem of Art Historical Description, 127-142 Meyer Schapiro, Style, 143-149Ernst Gombrich, Style, 149-163 Fri. Jan. 23History as an ArtPreziosi, Introduction, 165-168Riegl, Leading Characteristics of the Later Roman Kunstwollen, 169-176 Warburg, Images from the Regions of the Pueblo Indians, 177-206Writing Portfolio Due Mon. Jan. 26History as an Art (cont.)Wind, Warburgs Concept of Kunstwissenschaft and its Meaning for Aesthetics, 207-214Iversen, Retrieving Warburgs Tradition, 215-225 Wed. Jan. 28Mechanisms of MeaningPreziosi, Introduction, 227-233 Damisch, Semiotics and Iconography, 234-241Bal and Bryson, Semiotics and Art History, 242-256Fri. Jan. 30Mechanisms of Meaning (cont.) Panofsky, Et in Arcadia Ego: Poussin and the Elegiac Tradition, 257-262Marin, Toward A Theory of Reading in the Visual Arts: Poussins The Arcadian Shepherds, 263-275 Mon. Feb. 2Modernity and Its DiscontentsPreziosi, Introduction, 227-280Krauss, Sculpture in the Expanded Field, 281-298 Foucault, What Is an Author?, 299-314Wed. Feb. 4Modernity and Its Discontents (cont.)Owens,The Allegorical Impulse: Toward a Theory of Postmodernism, 315-328 Huyssen, Mapping the Postmodern, 329-337 Fri. Feb. 6The Gendered SubjectPreziosi, Introduction, 339-343Salomon, The Art Historical Canon: Sins of Omission, 244-355 Tickner, Sexuality and/in Representation: Five British Artists, 356-269Writing Portfolio Due Mon. Feb. 9The Gendered Subject (cont.)Kelly and Smith, No Essential Femininity, 370-382 Jones, Postfeminism, Feminist Pleasure