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Home , Antonio Diego Voci, Hal Foster (art critic), Impressionism, Ivo Pannaggi, Paolo Fossati, Scuola Romana

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ARTH-UA9850 Class code

Instructor Details Name: CATERINA TOSCHI NYUHome Email Address: [email protected] Office Hours: Tuesday: 1:00pm – 2:30pm; Thursday: 1:00pm – 2:30pm (appointment arranged via email) Villa Sassetti: TBA Villa Ulivi Office Extension: 055 5007 300

For fieldtrips refer to the email with trip instructions and trip assistant’s cell phone number

Semester: Spring 2018 Class Details Full Title of Course: Modern Movements in Italian : 1861 – Present Day Meeting Days and Times: Tuesday 3:00pm – 5:45pm; Thursday 3:00pm – 5:45pm Classroom Location: Villa Sassetti – TBA

Attendance, Academic Integrity Prerequisites Sample

Page 1! of 18! The course aims to examine modern movements of from the Unity in Class Description 1861 to present day exploring key turning points and breakthroughs. Given the extent of the period analyzed, a chronology of the topics addressed in class can be consulted at the following link: 20th and 21st-Century , ed. Caterina Toschi, http://timemapper.okfnlabs.org/toschicaterina/20th-and-21st-century-art- history--ed-caterina-toschi. Video and photographic materials of the recent Italian artistic culture will also be uploaded on the course’s website throughout the semester to invite students to think about contemporary through history, and vice versa, from the outset.

Each topic is addressed thanks to different tools:

1. Lectures: to illustrate the Italian art system and its complex evolution in the 20th century with a focus on Tuscan artistic culture. 2. Manifestos and documentary resources: to stimulate students to confront with a philological methodology by learning to interpret and understand art history through document. 3. Images and art works: to approach the Italian contemporary artistic culture through its visual sources. Every week students will receive assignments of art attributions. They will have to identify and contextualize the assigned images using catalogues or visiting the network of Florentine and Tuscan museums. 4. The Lab: class discussions and reviews on assigned images (20 minutes every session) to encourage students to compare Italian art with different cultural forms by seizing together its specificity. 5. Updated art calendar: the professor will announce in class throughout the semester events or activities related to in and Tuscany encouraging students to understand the artistic culture of this territory – traditionally linked to Medieval and identity – and its relations with the international scene in synergy with the student project Mapping Contemporary Florence of La Pietra Dialogues 6. The entire course will be supported by an intensive activity online on the course’s website to analyze constantly students’ level and comprehension. On completion of this course, students should: • Have improved their ability to think critically, engage in complex reasoning Desired Outcomes and express their thoughts clearly through their written work • Have improved their understanding of the methodologies of (course subj.) • Have mastered a basic understanding of how to research questions in (course subj.) • Recognize works by the principal protagonists of the (course subj.) and understand why they are significant for (course subj.)

Attendance and Participation: 15% Assessment Sample Written Assignments (two 3 page reaction papers): 20% Components Midterm Exam: 25% Attributions and Oral Presentation of 10 minute length: 15% Final Exam: 25%

Failure to submit or fulfill any required course component results in failure of the class.

Page 2! of 18! Assessment Grade A: The student’s work demonstrates an understanding of the subject that Expectations goes beyond assigned course readings. The student writes essays/exam questions that are an original synthesis of source materials, demonstrating the ability to evaluate source material critically. Written arguments are clear, well-organized and well-presented; oral presentations are concise, incisive and supplemented by appropriate visual materials. The student has distinguished himself/herself throughout the course of the semester for his/her contributions to class discussion.

Grade B: The student’s work shows a clear understanding of assigned readings and materials covered in class. The student writes clear, well-organized and well- presented essays/exam questions; oral presentations are concise, incisive and supplemented by appropriate visual materials. The student is prepared in class and asks relevant questions.

Grade C: The student’s work shows a basic understanding of the subject treated in assigned readings and covered in class. However, written and/or oral work is deficient in one or more of the following areas: clarity, organization or content. The student’s work is generally in need of improvement

Grade D: The student’s work shows occasional understanding of the subject treated in assigned readings and covered in class. Written and/or oral work is deficient in one of more of the follow areas: clarity, organization or content. The student does not participate in class discussion and has not frequented the instructor’s office hours.

Grade F: The student’s work does not demonstrate understanding of the subject treated in assigned readings and covered in class. Written and/or oral work are either insufficient or are not submitted. The student appears unprepared in class and has not frequented the instructor’s office hours.

Grade conversion A=94-100 A-=90-93 B+=87-89 B=84-86 B-=80-83 C+=77-79 C=74-76 C-=70-73 D+=67-69 D=65-66 F=belowSample 65

Please refer to Assessment Expectations and the policy on late submission of Grading Policy work

Page 3! of 18! Attendance: Study abroad at Global Academic Centers is an academically intensive and Attendance Policy immersive experience, in which students from a wide range of backgrounds exchange ideas in discussion-based seminars. Learning in such an environment depends on the active participation of all students. And since classes typically meet once or twice a week, even a single absence can cause a student to miss a significant portion of a course. To ensure the integrity of this academic experience, class attendance at the centers is mandatory, and unexcused absences will be penalized with a two percent deduction from the student’s final course grade. Students are responsible for making up any work missed due to absence. Repeated absences in a course may result in failure.

For courses that meet once a week, one unexcused absence will be penalized by a two percent deduction from the student’s final course grade. For courses that meet two or more times a week, the same penalty will apply to two unexcused absences.

Excused Absences: In case of absence, regardless of the reason, the student is responsible for completing missed assignments, getting notes and making up missed work in a timely manner based upon a schedule that is mutually agreed upon between the faculty member and the student

The only excused absences are those approved by the Office of Academic Support; they are as follows: Absence Due to Illness ● If you are sick, please see a doctor (contact the OSL for information). ● Only a medical certificate from a local medical professional will be accepted to justify an absence due to illness ● Within 24 hours of your return to class you must bring this note to the Office of Academic Support, located on the ground floor of Villa Ulivi. We will review the medical certificate and we will notify your faculty via email about your justified absence due to illness ● Absences for short term illness without a medical certificate are not justified and count as unjustified absences. We will not accept a student email or telephone call regarding an absence due to illness. We will not notify your faculty about these absences ● The Office of Student Life, when assisting you in cases of severe or extended illness, will coordinate with the Office of Academic Support to properly record your absences ● In case of absence on the day of an academic field trip/site visit or for an exam/test/quiz, in order to reschedule the exam/test/ quiz Sampleor be reimbursed for transport or entry fees for a missed fieldtrip/ site visit, a medical certificate must be provided. Due to Religious Observance ● Students observing a religious holiday during regularly scheduled class time are entitled to miss class without any penalty to their grade. This is for the holiday only and does not include the days of travel that may come before and/or after the holiday ● Students must notify their professor and the Office of Academic Support in writing via email one week in advance before being absent for this purpose Due to a class conflict with a program sponsored lecture, event, or activity ● All students are entitled to miss one class period without any penalty to their grade in order to attend a lecture, event or activity that is sponsored by NYU Florence or La Pietra Dialogues, Acton Miscellany or the Graduate Lecture series.

Page 4! of 18! Late Submission of Work ● All course work must be submitted on time, in class on the date specified on the syllabus. ● To request an extension on a deadline for an assignment, students must speak to the professor one week prior to the due date ● To receive an incomplete for a course at the end of the semester, two weeks before final exams, both the student and the faculty member must meet with the Assistant Director of Academic Affairs to review the request and if granted, they must both sign an Incomplete Contract detailing the terms for completing missing coursework.

Plagiarism Policy

PLAGIARISM WILL NOT BE TOLERATED IN ANY FORM: The presentation of another person’s words, ideas, judgment, images or data as though they were your own, whether intentionally or unintentionally, constitutes an act of plagiarism.

In the event of suspected or confirmed cases of plagiarism, The faculty member will consult first with the Assistant Director for Academic Affairs as definitions and procedures vary from school to school. Please consult the “Academic Guidelines for Success” distributed on your USB key at Check-in and on the NYU Florence Global Wiki.

For a detailed description of some possible forms of plagiarism and cheating please consult the Community Compact that you signed at Orientation, a copy of which is on the above mentioned Wiki and USB key.

For general background please see: Art since 1900. , Antimodernism, Required Text(s) , eds. Hal Foster, Rosalind Krauss, Yve – Alain Bois, Benjamin H.D. Buchloh, David Joselit (London: Thames & Hudson, 2011); Italian Art in the 20th Century. and 1900-1988, ed. Emily Braun (Munich: Prestel Verlag, 1989); Italian Art 1900-1945, eds. Pontus Hulten and Germano Celant (New York: Rizzoli, 1989); Art in Theory 1815-1900. An Anthology of Changing Ideas, eds. Charles Harrison, Paul Wood and Jason Gaiger (Oxford: Blackwell Publishing, 1998); Art in Theory 1900 – 2000. An Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: Blackwell Publishing, 1992)

All assigned readings and assignments are listed by week and posted on the course’sSample website

Page 5! of 18! SUGGESTED READINGS Supplemental Texts(s) (not General bibliographic tools required to purchase as copies are in - “Chronology”, The Cambridge Companion to Modern Italian Culture, eds. NYU-L Library or Zygmunt G. Baranski and Rebecca J. West (Cambridge: Cambridge University Press, available on line) 2001), XVII-XXI - Ida Giannelli, “Chronology”, Italian Art 1900-1945, eds. Pontus Hulten and Germano Celant (New York: Rizzoli, 1989), 589-729 - Art since 1900. Modernism, Antimodernism, Postmodernism, eds. Hal Foster, Rosalind Krauss, Yve – Alain Bois, Benjamin H.D. Buchloh, David Joselit (London: Thames & Hudson, 2011) - “Glossary”, ivi, 783-793 - Antinomies of Art and Culture: , Postmodernity, Contemporaneity, eds. Terry Smith, Okwui Enwezor, Nancy Condee, Antonio Negri, Rosalind Krauss (Durham: Duke University Press, 2008) - Peter Bürger, “Theories of the Avant-garde,” Art of the Twentieth Century: A Reader, eds. Jason Gaiger and Paul Wood (New Haven, CT: Yale University Press, 2003), pp. 56-62 - Rosalind E. Krauss, “The Originality of the Avant-garde,” The Originality of Avant- garde and Other Modernist Myths (Cambridge, MA: MIT Press, 1986), pp. 151-170 - , “Appropriating Appropriation,” On the Museum’s Ruins (Cambridge,MA: MIT Press, 1993), pp. 126-137 - Nicolas Bourriaud, Relational (: Les Presse du Réel, 1998) - Hal Foster, The Return of the Real: Art and Theory at the End of the Century (Cambridge, MA: MIT Press, 1996) - Maurizio Fagiolo dell’Arco, “The Literature of Art”, The Italian Metamorphosis, 1943 – 1968, exhibition catalogue, Solomon R. Guggenheim Museum, New York, October 7, 1994 – January 22, 1995, ed. Germano Celant (Milano: Arnoldo Mondadori Editore, 1994), 288-313 - Continuità. Arte in Toscana 1990 – 2000 e collezionismo del contemporaneo in Toscana, ed. Jean-Christophe Ammann (Firenze: Maschietto Editore, 2002) - Toscana ’900. Guida ai musei (Milano: Skira, 2015 or the App Toscana ’900)

Realism

- , “Statement on ”, 1955, ”, Art in Theory 1815-1900. An Anthology of Changing Ideas, eds. Charles Harrison, Paul Wood and Jason Gaiger (Oxford: Blackwell Publishing, 1998), 372 - , from “The Painter of Modern Life”, ivi, 493-498

Impressionism and Neo- - StéphaneSample Mallarmé, “The Impressionists and Edouard Manet”, ivi, 585-593 - Ogden Rood, “On the Mixture of Colors”, ivi, 640-644

Macchiaioli

- and Giuseppe Rigutini, “Exchange over the First Exhibition of the ”, ivi, 540-541 - Albert Boime, “Macchiaiolismo versus Accademismo”, in idem, The Art of the Macchia and the Risorgimento. Representing Culture and Nationalism in Nineteenth-Century (Chicago and London: The University of Chicago Press, 1993), 75-113 - Piero Dini, “, the Macchiaioli and the Impressionists”, Ottocento. and Revolution in Italian Painting, ed. Roberta J.M. Olson (Florence and New York: The American Federation of and Centro Di in Association with the University of Pennsylvania Press, 1992), 72-74

Page 6! of 18! Post-Impressionism

- , “Notes on Colour”, ”, Art in Theory 1815-1900. An Anthology of Changing Ideas, eds. Charles Harrison, Paul Wood and Jason Gaiger (Oxford: Blackwell Publishing, 1998), 992-998

Cubism

- Carl Einstein, “Negro Sculpture”, Art in Theory 1900 – 2000. An Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: Blackwell Publishing, 1992), 110-116 - Marjorie Perloff, “The of Collage”, in eadem, The Futurist Moment. Avant-garde, Avant Guerre, and the Language of Rupture (Chicago and London: The University of Chicago Press, 2003), 45-79 - . The Leonard A. Lauder Collection, eds. Emily Braun and Rebecca Rabinow (New York, New Haven and London: The Metropolitan Museum of Art and Yale University Press, 2014)

Futurism

- Claudia Salaris, “The invention of the Programmatic Avant-garde”, Italian 1909 – 1944. Reconstructing the Universe, ed. Vivien Green, exhibition catalogue, Solomon R. Guggenheim Museum, New York, 2014 (New York: Guggenheim Museum Publications), 22-49 - Georg Simmel, “The Metropolis and Mental Life”, Art in Theory 1900 – 2000. An Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: Blackwell Publishing, 1992), 110-116 - Christine Poggi, “Introduction to Part Two”, Futurism. An Anthology, eds. Lawrence Rainey, Christine Poggi, Laura Wittman (Yale: Yale University, 2009), 305-330 - Futurist Manifestos, ed. Umbro Apollonio (Boston: MFA Publications, 2001) - Ester Coen, “The Violent Urge Towards Modernity: Futurism and the International Avant-garde”, Italian Art in the 20th Century. Painting and Sculpture 1900-1988, ed. Emily Braun, (Munich: Prestel Verlag, 1989), 49-56 - The Mattioli Collection. Masterpieces of the Italian Avant-garde. Catalogue raisonné by Flavio Fergonzi (Milano: Skira, 2003) - Walter L. Adamson, “Lacerba and Futurism, 1913 – 1915”, Avant-Garde Florence. From Modernism to (Cambridge: Harvard University Press, 1993), 166-181

Metafisica

- Ara H. Merjian, “The Nietzschean Method” and “A Pathos of Distance: Metaphysical Perspective, 1912-1914”, and the Metaphysical City. Nietzsche,Sample Modernism, Paris, (New Haven and London: Yale University Press, 2014), 1-29; 31-71 - Maurizio Fagiolo dell’Arco, “De Chirico and Savinio: From Metafisica to ”, Italian Art 1900-1945, eds. Pontus Hulten and Germano Celant (New York: Rizzoli, 1989), 135-150

Dadaism

- Hans Richter, Art and Anti-Art (London: Thames & Hudson, 1997)

Marcel Duchamp

- parle des ready-made à Philippe Collin (Paris: L’Échoppe, 2008) - Marcel Duchamp. The Afternoon Interviews, ed. Calvin Tomkins (New York: Badlands Unlimited, 2013)

Page 7! of 18!

- Joan M. Lukach, “ and Modernism in Italy between the Wars”, Italian Art in the 20th Century. Painting and Sculpture 1900-1988, ed. Emily Braun (Munich: Prestel Verlag, 1989), 155-164 - Giuliano Briganti, “The Valori Plastici Years”, Italian Art 1900-1945, eds. Pontus Hulten and Germano Celant (New York: Rizzoli, 1989), 77-84

Italian Sculpture

- Jole De Sanna, “Conceptual Gesture and Enclosed Form: Italian Sculpture of the Early Twentieth Century”, Italian Art in the 20th Century. Painting and Sculpture 1900-1988, ed. Emily Braun (Munich: Prestel Verlag, 1989), 43-47 - Medardo Rosso (New York: Center of Italian , 2015) - Marino Marini, 1901-1980, ed. Chiara Lachi (Florence: Museo Marino Marini, 2004)

Ecole de Paris and Surrealism

- Carlo Bertelli, “Modigliani, The Cosmopolitan Italian”, Italian Art in the 20th Century. Painting and Sculpture 1900-1988, ed. Emily Braun (Munich: Prestel Verlag, 1989), 57-60 - Serge Fauchereau, “Italian Artists in Paris”, Italian Art 1900-1945, eds. Pontus Hulten and Germano Celant (New York: Rizzoli, 1989), 95-102 - André Breton, “Surrealism and Painting” and from the “Second Manifesto of Surrealism”, Art in Theory 1900 – 2000. An Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: Blackwell Publishing, 1992), 457-463; 463-467

Novecento and Mario Sironi | Neue Sachlichkeit and L’Esprit Nouveau

- Emily Braun, “Sironi and the Novecento”, in eadem, Mario Sironi and Italian Modernism. Art and Politics under Fascism (Cambridge: Cambridge University Press, 2000), 90-112 - Eadem, “The Policization of Aesthetics”, ivi, 158-186 - Vittorio Magnago Lampugnani, “Architecture, Painting and the Decorative Arts in Italy 1923-1940 from the First Biennale to the Seventh Triennale”, Italian Art 1900-1945, eds. Pontus Hulten and Germano Celant (New York: Rizzoli, 1989), 69-76

Art and Politics

- Gustave LeBon, from ‘The Crowd: A Study of the Popular mind’, Art in Theory 1815-1900. An Anthology of Changing Ideas, eds. Charles Harrison, Paul Wood and Jason Gaiger (Oxford: Blackwell Publishing, 1998), 812-814 - AndreiSample Zhdanov, “Speech to the Congress of Soviet Writers”, Art in Theory 1900 – 2000. An Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: Blackwell Publishing, 1992), 426-429 - Adolf Hitler, “Speech Inaugurating the Great Exhibition of ”, ivi, 439-441 - Walter Benjamin, “The Author as Producer”, ivi, 493-499 - Gustav Klucis, “Photomontage as a New Problem in Agit Art”, ivi, 489-491

Second Futurism, I Sei di Torino, La , Corrente

- Enrico Crispolti, “Second Futurism”, Italian Art in the 20th Century. Painting and Sculpture 1900-1988, ed. Emily Braun (Munich: Prestel Verlag, 1989), 165-171 - Ivo Pannaggi and Vinicio Paladini, “Manifesto of Futurist Mechanical Art”, Futurism. An Anthology, eds. Lawrence Rainey, Christine Poggi, Laura Wittman (Yale: Yale University, 2009), 272-273

Page 8! of 18! Italian , Rationalist Architecture | and Functionalism

- Paolo Fossati, “Abstract (and Non-Figurative) Art of the 1930s”, Italian Art 1900-1945, eds. Pontus Hulten and Germano Celant (New York: Rizzoli, 1989), 223-234

Italian Realism

- Mario De Micheli, “Realism and the Post-war Debate”, Italian Art in the 20th Century. Painting and Sculpture 1900-1988, ed. Emily Braun (Munich: Prestel Verlag, 1989), 281-287 - , “Crisis of Renewal”, Art in Theory 1900 – 2000. An Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: Blackwell Publishing, 1992), 646-647

Informel and Formless

- Michel Tapié, from “An Other Art”, ivi, 629-631

Lucio Fontana and Piero Manzoni | Yves Klein

- Germano Celant, “From the Open Wound to the Resurrected Body: and Piero Manzoni”, Italian Art in the 20th Century. Painting and Sculpture 1900-1988, ed. Emily Braun, Munich: Prestel Verlag, 1989), 294-299 - “Manifestos”, The Italian Metamorphosis, 1943 – 1968, exhibition catalogue, Solomon R. Guggenheim Museum, New York, October 7, 1994 – January 22, 1995, ed. Germano Celant (Milano: Arnoldo Mondadori Editore, 1994), 708-725

The 1960s: Arte Povera | The New Avant-Garde of the Sixties

- Caroline Tisdall, “‘Materia’: The Context of Arte Povera”, Italian Art in the 20th Century. Painting and Sculpture 1900-1988, ed. Emily Braun (Munich: Prestel Verlag, 1989), 363-368 -“ Selected Exhibition Histories”, Zero to Infinity: Arte Povera 1962 – 1972, exhibition catalogue, Walker Art Center, Minneapolis and Tate Modern, London, eds. Richard Flood and Frances Morris (Minneapolis: Walker Art Center, 2001), 336-353 - , “Famous Last Words”, Art in Theory 1900 – 2000. An Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: Blackwell Publishing, 1992), 873-877 - Germano Celant, from “Arte Povera”, ivi, 897-900 - Pistoletto: Division and Multiplication of the Mirror, exhibition catalogue, P.S.1, New York, October 2 – November 27 1988, eds. Germano Celant and Alanna Heiss (Milano-New York: Fabbri-The Institute of Contemporary Art, 1988) - Robert Lumley, “Between and Arte Povera: American Influences in the Visual SampleArts in Italy in the 1960s”, Across the Atlantic: Cultural Exchange between Europe and the (-Bern-New York-London: Peter Lang, 2000), 173-186 - Arte Povera, ed. Carolyn Christov-Bakatgiev (London: Phaidon, 1999) - Paola Nicolin, “Derationate Far and Wide. Notes on Italian Art Today: Positing Spaces and Exploring Identities”, Italics, exhibition catalogue, Palazzo Grassi, , Museum of Contemporary Art, Chicago, ed. Francesco Bonami, 2008 (Milano: Electa, 2008), 63-69 - Laura Conte, “‘Sensory, Sensational, Sensitive, Sensible, Sentimental and Sensuous’. Food in and Arte Povera” Art & Foods Rituali dal 1851, ed. Germano Celant (Milano, Electa, 2015), 668-677 - Pierre Restany, “The New Realists”, Art in Theory 1900 – 2000. An Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: Blackwell Publishing, 1992), 724-725 - Joseph Kosuth, “Art after Philosophy”, : a Critical Anthology, eds. Alexander Alberro and Blake Stimson (Cambridge: The MIT Press, 1999), 165

Page 9! of 18! - Benjamin H.D. Buchloh, “Conceptual Art 1962-69: From the Aesthetic of Administration to the Critique of Institutions”, October: The Second Decade, 1986-1996, eds. Rosalind E. Krauss, , Yve-Alain Bois, Benjamin H.D. Buchloh, Hal Foster, Denis Hollier, Silvia Kolbowski (Cambridge: October Books/The MIT Press, 1998), 138. - Robert Morris, “Notes on Sculpture” (1966), Minimal Art. A Critical Anthology (New York: Dutton, 1968), 222-235 - Michael Fried, “Art and Objecthood,” Minimal Art: A Critical Anthology, ed. GregoryBattock (Berkeley, CA: University of California Press, 1995), pp. 116-147 - Clement Greenberg, “Modernist Painting”, Art in Theory 1900 – 2000. An Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: Blackwell Publishing, 1992), 773-779 - Leo Steinberg, from “Other Criteria”, ivi, 971-976 - , “Interview with Gene Swenson”, ivi, 747-749 - Benjamin H.D. Buchloh, “Beuys: The Twilight of the Idol: Preliminary Notes for a Critique”, Artforum, January 1980, 35-43 - Hanna Higgins, “Charting : Picturing History,” Fluxus Experience (Berkeley, CA:University of California Press, 2002), pp. 69-100 - Lucy Lippard and John Chandler, “The Dematerialisation of Art”, Art International, 12:2, February 1968, 31-36 - Lucy Lippard, “Escape Attempts,” Six Years: The Dematerialization of the Art Object 1966-1972, ed. Lucy Lippard (Berkeley, CA: University of California Press, 1997), vii-xxii - Robert Smithson, “Entropy and the New Monuments”, Artforum, June 1966, 26 - Rosalind E. Krauss, “Sculpture in the Expanded Field,” October, Vol. 8 (Spring 1979), pp. 30-44 - Benjamin H. D. Buchloh, Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975 (Cambridge, MA: MIT Press, 2001), pp. 405-428

Intermedia and Design

- Dick Higgins, Modernism since Postmodernism: Essays on Intermedia (San Diego: San Diego State University Press, 1997) - Marshall McLuhan, from “Understanding Media”, Art in Theory 1900 – 2000. An Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: Blackwell Publishing, 1992), 754-757 - George Maciunas, “Neo-Dada in Music, Theater, Poetry, Art”, ivi, 727-729 - Gabriele Detterer, “The Spirit and Culture of Artist-Run Spaces”, Artist-Run Spaces: Non Profit Collective Organizations in the 1960s and 1970s, eds. Gabriele Detterer and Maurizio Nannucci (Paperback, 2013), 10-49 - Rosalind Krauss, “A View of Modernism”, Art in Theory 1900 – 2000. An Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: Blackwell Publishing,Sample 1992), 976-979 - Rosalind Krauss, “Grids”, in eadem, The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: The MIT Press, 1986), 9-22 - Giulio Carlo Argan, “Ideological Development in the Thought and Imagery of Italian Design” and Manfredo Tafuri, “Design and Technological Utopia”, Italy: The New Domestic , exhibition catalogue, The , New York, 1972 (Florence-New York: Centro Di, 1972), 358-369; 388-404 - Andrea Branzi, “Italian Design and the Complexity of Modernity”, The Italian Metamorphosis, 1943 – 1968, exhibition catalogue, Solomon R. Guggenheim Museum, New York, October 7, 1994 – January 22, 1995, ed. Germano Celant (Milano: Arnoldo Mondadori Editore, 1994), 596-606

Page 10! of 18! Transavanguardia

- Norman Rosenthal, “C.C.C.P: Back to the Future”, Italian Art in the 20th Century. Painting and Sculpture 1900-1988, ed. Emily Braun (Munich: Prestel Verlag, 1989), 369-375 - “80s Then: Francesco Clemente Talks to Brooks Adams”, Artforum, 7: 41, March 2003, 58

Olivetti

- Caterina Toschi, The Olivetti Idiom (1952-1979), Quodlibet, Macerata, 2018 - Patrizia Bonifazio and Paolo Scrivano, Olivetti Builds. in Ivrea, Skira, 2000.

The careful use of internet resources is encouraged and a list of recommended Internet Research websites will be given. Failure to cite internet and other non-traditional media Guidelines sources in your written work constitutes plagiarism.

Sample

Page 11! of 18! N/A Additional Required Equipment

Session 1 TOPICS TO DISCUSS: ASSIGNED READINGS:

February 6, 2018 Realism, Impressionism, Neo- - Norma F. Broude, “The Macchiaioli as Impressionism, , Proto-Impressionists: Realism, Popular Art Science and the Re-Shaping of Macchia Romanticism, 1862 -1886”, The Art Risorgimento and Italian Bulletin, 52: 4, 404-414

Tuscan Art Focus: the Macchiaioli; - Gustave Courbet, “Letter to Young Galileo Chini and Florentine Liberty; Artists” (letter December 25, 1861), Art Plinio Nomellini and Divisionism in Theory 1815-1900. An Anthology of Changing Ideas, eds. Charles Harrison, A brief overview on Tuscan artistic culture Paul Wood and Jason Gaiger (Oxford: throughout the 20th century: Blackwell Publishing, 1998), 402-404 Documentary Toscana ’900: la cultura artistica di un secolo attraverso le voci di - , “Letters to his Enrico Crispolti, Lara Vinca Masini, Carlo brother Theo” (letter April 30, 1885), Sisi ivi, 896-898

- Félix Fénéon, “Neo-Impressionism”, ivi, 966-969

TOPICS TO DISCUSS: ASSIGNED READINGS: Session 2 Post-Impressionism, Nabis, Henri de - Anna Maria Damigella, “Divisionism February 8, 2018 Toulouse-Laut rec and Symbolism in Italy at the Turn of the Century”, Italian Art in the 20th The Historical Avant-Garde: Century. Painting and Sculpture , Fauves, Die Brücke, Der 1900-1988, ed. Emily Braun (Munich: Blaue Reiter Prestel Verlag, 1989), 33-41

ASSIGNMENTS DUE: 3 assigned images to - Jean Moréas, “Symbolism – a identify and contextualize Manifesto”, Art in Theory 1815-1900. An Anthology of Changing Ideas, eds. Charles Harrison, Paul Wood and Jason SampleGaiger (Oxford: Blackwell Publishing, 1998), 1014-1016

- Paul Gauguin, “Notes on Painting”, ivi, 1022-1024

Page 12! of 18! TOPICS TO DISCUSS: ASSIGNED READINGS: Session 3 Art History Methodologies: psychoanalysis - “The Social : Models and February 13, 2018 and the social history of art in the 20th Concepts”, Art since 1900. Modernism, Century Antimodernism, Postmodernism, eds. Hal Foster, Rosalind Krauss, Yve – Alain Bois, Benjamin H.D. Buchloh, David Joselit (London: Thames & Hudson, 2011), 22-31

Session 4 TOPICS TO DISCUSS: ASSIGNED READINGS:

February 15, 2018 Art History Methodologies: Formalism and - “Formalism and Structuralism”, Art Structuralism, Post-Structuralism and since 1900. Modernism, Antimodernism, Deconstruction Postmodernism, eds. Hal Foster, Rosalind Krauss, Yve – Alain Bois, Benjamin H.D. Buchloh, David Joselit (London: Thames & Hudson, 2011), 32-39

- “Poststructuralism and Deconstruction”, ivi, 40-48

Session 5 The Historical Avant-Garde: Cubism, ASSIGNED READINGS: , Russian Avant-Garde February 20, 2018 (, , - , from “The ) Cubist Painters” (Chapter VII), Art in Theory 1900 – 2000. An Anthology of Nationalism, the Age of Giolitti and World Changing Ideas, eds. Charles Harrison War I: Italian Futurism (F.T. Marinetti, U. & Paul Wood (Oxford: Blackwell Boccioni, G. Balla, C. Carrà, G. Severini, Publishing, 1992), 188-190 L. Russolo, A. Sant’Elia, A. G. Bragaglia) - Maurizio Calvesi, “Futurism and the Tuscan Art Focus: , the Avant-Garde Movements”, Italian Art Florentine magazines (Lacerba, L’Italia 1900-1945, eds. Pontus Hulten and Futurista, etc.) Germano Celant, (New York: Rizzoli, 1989), 59-67

- Filippo Tommaso Marinetti, “The SampleFounding and Manifesto of Futurism” (1909) and , Carlo Carrà, , Giacomo Balla, , “The Exhibitors to the Public” (1912), Futurism. An Anthology, eds. Lawrence Rainey, Christine Poggi, Laura Wittman (Yale: Yale University Press, 2009) 49-53; 105-109

Page 13! of 18! TOPICS TO DISCUSS: ASSIGNED READINGS: Session 6 Dadaism, Marcel Duchamp and Ready- - Paolo Baldacci, “De Chirico and February 22, 2018 made, , Suprematism, Savinio: The Theory and Iconography of ”, Italian Art in The Wounded Victory and the Birth of the 20th Century. Painting and Fascism: Metafisica and Valori Plastici Sculpture 1900-1988, ed. Emily Braun (Munich: Prestel Verlag, 1989), 61-70 Tuscan Art Focus: Gino Severini, Alberto Magnelli, and the - Giorgio De Chirico, “The Return to the Ecole de Paris; Lorenzo Viani and the Craft”, Art in Theory 1900 – 2000. An Anarchic Versilia Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: ASSIGNMENTS DUE: 3 assigned images to Blackwell Publishing, 1992), 236-239 identify and contextualize

Session 7 FIELD TRIP: Associazione Archivio Storico ASSIGNED READINGS: Olivetti, Ivrea February 23, 2018 - Caterina Toschi, The Olivetti Idiom (1952-1979), Quodlibet, Macerata, FIELD TRIP: 2018, first chapter Associazione Archivio Storico Olivetti, Ivrea

TOPICS TO DISCUSS: ASSIGNED READINGS: Session 8 Surrealism, French , Neue - Emily Braun, “Artist of the Fascist February 27, 2018 Sachlichkeit, Bauhaus Revolution”, in eadem, Mario Sironi and Italian Modernism. Art and Politics The Policization of Aesthetics and the under Fascism (Cambridge: Cambridge Aestheticization of Politics in the 1920s University Press, 2000), 132-157 and 1930s. - Walter Benjamin, “The in History of Exhibitions: Mostra della the Age of the Mechanical Rivoluzione Fascista, Entartete Kunst Reproduction” (1936), Art in Theory 1900 – 2000. An Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: Blackwell Publishing, 1992), 520-527

- Gustav Klucis, “Photomontage as a SampleNew Problem in Agit Art”, ivi, 489-491

Page 14! of 18! TOPICS TO DISCUSS: ASSIGNED READINGS: Session 9 Novecento and Mario Sironi, Gruppo 7 - Philip V. Cannistraro, “Fascism and March 1, 2018 and M.I.A.R, Italian Abstract Art, Gruppo Culture in Italy, 1919-1945”, Italian dei Sei, Second Futurism and Art in the 20th Century. Painting and Aeropainting, Scuola Romana, Corrente Sculpture 1900-1988, ed. Emily Braun (Munich: Prestel Verlag, 1989), 147-154

ASSIGNMENTS DUE: 3 assigned images to - Mario Sironi, “Manifesto of Mural identify and contextualize Painting” (1933), Art in Theory 1900 – 2000. An Anthology of Changing Ideas, eds. Charles Harrison & Paul Wood (Oxford: Blackwell Publishing, 1992), 424-426

Session 10 Midterm Exam: One essay, multiple choice test March 6, 2018

TOPICS TO DISCUSS: ASSIGNED READINGS: Session 11 After World War II: Un Art Autre, CoBrA, - Luciano Caramel, “Abstract Art in Italy March 8, 2018 , English Pop Art, in the Thirties”, Italian Art in the 20th Yves Klein, Allan Kaprow, Zero, Wiener Century. Painting and Sculpture Aktionismus 1900-1988, ed. Emily Braun (Munich: Prestel Verlag, 1989), 187-192 Italian Abstract Art and Forma I, Realism and Oltre Guernica, Nuclear Art, Fronte - Maurizio Calvesi, “Informel and Nuovo delle Arti and Gruppo degli Otto, Abstraction in Italian Art of the Fifties”, Gruppo Origine, Gruppo T ivi, 289-294

Lucio Fontana and the Spatialism, - Lucio Fontana, “The White , Emilio Vedova, Piero Manifesto”, ivi, 652-656 Manzoni - Piero Manzoni, “Free Dimension”, ivi, Tuscan Art Focus: the Manifesto of the 722-724 Classic Abstract Art (Gualtiero Nativi, Vinicio Berti, etc.)

ASSIGNMENTS DUE: 3 assigned images to identifySample and contextualize Session 12 Talk’s attendance and exhibition opening The Olivetti Idiom (1952-1979), Villa March 14, 2018 Sassetti, 4:30pm-7:00pm

Page 15! of 18! Session 13 TOPICS TO DISCUSS: ASSIGNED READINGS: March 15, 2018 Art and Mass Society/The New Avant- Garde of the Sixties: American Pop Art, - Guy Debord, “Writings from the New-Dada, Nouveau Réalisme, Minimal Situationist International”, Art in Art, Antiform. Process Art, , Theory 1900 – 2000. An Anthology of Body Art, Joseph Beuys, Fluxus, Changing Ideas, eds. Charles Harrison & Internationale Situationniste, Paul Wood (Oxford: Blackwell Publishing, 1992), 701-706 Arte Povera, the System of Italian Galleries, Roman Pop Art - “1967b The Italian Critic Germano Celant mounts the first Arte Povera The May Events of 1968 Exhibition”, Art since 1900. Modernism, Antimodernism, Postmodernism, eds. Tuscan Art Focus: Visual Poetry and Hal Foster, Rosalind Krauss, Yve – Alain Gruppo 70, Radicals (Superstudio, Bois, Benjamin H.D. Buchloh, David Archizoom, Ufo, 9999, Ziggurat, Gianni Joselit (London: Thames & Hudson, Pettena and Remo Buti), the exhibition 2011), 553-558 Italy: The New Domestic Landscape (New York, 1972), Giuseppe Chiari, Maurizio Nannucci

ASSIGNMENTS DUE: 3 assigned images to identify and contextualize

TOPICS TO DISCUSS: ASSIGNED READINGS: Session 14 The 1970s: Social Critique and - Sol Lewitt, “Paragraphs on Conceptual March 20, 2018 Experimentation, the Dematerialization Art”, Art in Theory 1900 – 2000. An of Art: 1972 Documenta 5, Conceptual Anthology of Changing Ideas, eds. Art, , Intermedia Charles Harrison & Paul Wood (Oxford: Blackwell Publishing, 1992), 846-849 The 1980s: the Postmodern from the end of the Vietnam War in 1975 to the - “Art Workers’ Coalition: Statement of reunificationSample of in 1990 Demands”, ivi, 926-927 Transavanguardia, Anacronismo, Pittura - Roland Barthes, from “Myth Today”, colta and Citazionismo ivi, 693-698

- “1980 Metro Pictures opens in New York”, Art since 1900. Modernism, Antimodernism, Postmodernism, eds. Hal Foster, Rosalind Krauss, Yve – Alain Bois, Benjamin H.D. Buchloh, David Joselit (London: Thames & Hudson, 2011), 630-633

Page 16! of 18! Session 15 FINAL EXAM: One Essay, multiple choice March 22, 2018 test FINAL EXAM

Classroom ● Eating is not permitted in the classrooms. Bottled water is permitted. Etiquette ● Cell phones should be turned off during class time. ● The use of personal laptops and other electronic handheld devices are prohibited in the classroom unless otherwise specified by the professor. ● We recycle! So keep it green! Please dispose of trash in the clearly marked recycle bins located throughout the on campus buildings

Required Local Site Visits: Co- Exhibition The Olivetti Idiom (1952-1979), Villa Sassetti, Campus NYU Florence (March 14, curricular 2018) Activities Field Trips: Associazione Archivio Storico Olivetti, Ivrea (February 23, 2018)

Suggested Co- Suggested optional co-curricular activities will be announced in class and/or via email by curricular the professor throughout the semester. Activities Sample

Page 17! of 18! Ph.D. in History of Contemporary Art and Junior Scholar at the Getty Research Institute, she Your is professor at the University of Cassino and Southern Lazio and at the New York University Instructor Florence. She coordinates the academic project Ricerche dal margine/Researches by Margins (http://www.ricerchedalmargine.unicas.it/). Co-founder of the cultural association Senzacornice, where she is co-director of Senzacornice | Digital Contemporary Art Journal and coordinates the project Senzacornice | Research and Education Lab for Contemporary Art, focused on the study, promotion and diffusion of Florentine contemporary artistic culture (www.senzacornice.org). Author of the books Dalla pagina alla parete. Tipografia futurista e fotomontaggio dada (FUP, Florence, 2017) and The Olivetti Idiom (1952-1979) (Quodlibet, Macerata, 2018), she has many international publications and participations focused on her research topics (Oxford University, CAA Annual Conference, École de Printemps, INHA-Institut National d’Histoire de l’Art, Ecole Normale Supérieure, Universität Eichstätt-Ingolstadt). Since 2014 she is the scientific supervisor at The Santa Maddalena Foundation of Beatrice Monti della Corte’s collection and of the Galleria dell’Ariete's photographic archive.

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