Fall 2017 Wake Forest University

CRITICAL ISSUES IN ART HISTORY (324)

Thursdays 3:30-6:30 | SFAC 103

Contact me:

Dr. Laura Veneskey e: [email protected] t: 336-758-5081 office: SFAC 107 hours: Thurs., 2:30-4:00pm To read:

Required: ✦ Course packet (CP)

✦ Donald Preziosi, ed., The Art of Art History: A Critical Anthology, 2nd This seminar is a window into our discipline, both its history ed. (Oxford University and its methods. We will engage with the questions and Press, 2009), ISBN: debates that have shaped the field of art history, and attempt 0199229848 (P) to understand how the discipline itself is part of historical ✦ Michael Hatt and processes. We will begin by reading foundational, classic Charlotte Klonk, Art texts alongside more recent art historical interventions and History: A Critical debates. Our discussions will focus on points of conflict and Introduction to its consensus among the varied approaches to the study of art Methods (Manchester and New York: Manchester objects in their historical contexts. In the second half of the University Press, 2006), course, we will be reading important theories that have ISBN: 0719069599 (HK) expanded the disciplinary scope of art history (e.g., psychoanalysis, feminism, postcolonialism). Through critical Preziosi contains reading and reflective response, we will not only investigate canonical texts (primary art history’s own history, but also begin to articulate our own and secondary), while positions and voices. Hatt & Klonk provides historiographic essays on major methodological developments. I recommend reading Hatt & Klonk after Preziosi in order to help clarify and contextualize what you have just absorbed.

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What I expect fom you: Attendance & Participation: 20% The success of this seminar depends on an engaged and lively group dynamic. Attendance is therefore both crucial and mandatory. You should come to each meeting having fully digested the assigned readings and be ready to participate in a thoughtful discussion of the concepts contained therein. Simply being here and speaking up is not enough; your comments should reflect a careful consideration of the texts and issues at hand. If you are uncomfortable speaking in front of others, I am happy to help Assignments & Dates you confront these fears. However, if you don’t participate thoughtfully and consistently, you will not receive these points. 20% - attendance & participation Please arrive on time and be prepared to remain until the end of 15% - discussion game plan class. During class, phones, tablets, and laptops should be switched off and put away. (Read why here.) If you must miss a 30% - weekly response papers class, you are still expected to complete written assignments on 25% - annotated bibliography & time. If you know in advance of an absence, please inform me as final paper (11/9 & 12/7) soon as possible and plan accordingly. Absences for illness, family 10% - take-home final exam emergency, religious observance, or representing the university (12/16) are considered excused with appropriate documentation. Written assignments are to be Weekly Response Papers: 30% submitted in hard copy & to your Each week, you will be asked to write a 1-2 page response to Sakai dropbox. Late work will be the readings (double-spaced, 12pt Times New Roman, 1” penalized 10 points per day (5 for margins all around). There is a short prompt for each week the first half day) - but all work (below the list of readings), designed to prepare you for our must be completed to pass the in-class discussion. Use this prompt as a way to organize your course! thoughts about the readings and then write your response. Papers should be submitted in hard copy and uploaded to Fine Print your dropbox folder on Sakai. You do not have to complete a response paper for the week you lead discussion. Accommodations: I am happy to work with students entitled to accommodations. Discussion Game Plan with Partner: 15% Please contact the Learning Assistance Center (758-5929) for documentation as Beginning in week 8, students will work in pairs to prepare a early as possible in the semester. Retroactive handout with a “game plan” for our discussion; this might include accommodations will not be provided. key quotations from the readings (a few lines that you found Academic Integrity: Plagiarism will not be important or puzzling), a list of 4-5 questions or points for tolerated. If you engage in academic consideration, any current debates that are relevant, and possible dishonesty of any kind, in any measure, you will fail the assignment and risk failing the artworks for discussion. The content will depend on the readings in class. question, but can also include any clarifications, observations, or

Emergency Plan: In case of an extended connections among assigned authors. You should meet with your university closure, you are to complete the partner in advance of class to discuss the readings and formulate a reading assignments for the remaining plan. Your handout as well as any works of art you would like weeks of the semester, write a 10-page paper comparing and contrasting two included in the PPT must be emailed to me by noon on the possible methodological approaches to Monday before you present. Weeks and partners will be assigned your object and upload it to Sakai. on 9/14.

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Abstract & Annotated Bibliography: 5% | Final Paper: 20% Your final paper for this course (~12 pages) involves researching a specific artwork and discussing it from multiple methodological perspectives. Preliminary assignments leading up to this project are marked throughout the semester. Details will follow in the coming weeks.

Final Take-Home Exam: 10% Your final will be a short-answer and essay exam that asks you to reflect upon what we have learned throughout the semester and apply that knowledge. You will be allowed to consult the readings and your notes while taking it. More information will follow later in the semester. What you can expect fom me: I am available during office hours (and by appointment) to answer any questions you may have about the course. Additionally, while I cannot read drafts, I encourage you to speak with me about presentations as well as paper topics and content. I do my best to respond to emails within 24 hours, Monday-Friday. ______Course Schedule & Readings

Week 1 8/31 – Introduction & Logistics • Assignment: Select an art object that you can refer to throughout the semester during our class discussions and in select response papers. The object should be one you know relatively well and be readily accessible throughout the semester either in person or through reproductions. Please send me your choice by Wednesday, 9/6 at 5pm.

Week 2 9/7 – Foundations: Biography, Authorship, and Society • CP: Giorgio Vasari, The Lives of the Artists (1568): “Preface to Part 3,” and “Leonardo,” 249-271. • CP: Patricia Rubin, “What Men Saw: Vasari’s Life of Leonardo da Vinci and the Image of the Renaissance Artist,” Art History 13, no. 1 (March 1990): 34-46. • P: Michel Foucault, “What is an Author?” (1969), 321-334. • P: Johann Joachim Winckelmann, from Reflections on the Imitation of Greek Works in Painting and Sculpture (1755), 27-34. • P: Whitney Davis, “Winckelmann Divided: Mourning the Death of Art History,” 35-45.

Response Paper Topic: Compare and contrast the approaches taken by Vasari and Winckelmann. What do the other authors help you to understand about their potential strengths and limitations?

Week 3 9/14 – Aesthetics & Philosophy • HK: “Hegel and the Birth of Art History,” 22-39. • P: Introduction to chapter 2, “Aesthetics,” 55-61. • P: Immanuel Kant, excerpt from The Critique of Judgment (1790), 62-79. • P: Georg Wilhelm Friedrich Hegel, from Philosophy of Fine Art (1835), 80-88. • CP: James Elkins, “Why Don’t Art Historians Attend Aesthetics Conferences,” in Art History Versus Aesthetics (New York, 2005 [1996]), 39-49.

Response Paper Topic: How do Kant and Hegel define aesthetics? How does each understand the relationship among beauty, art, and society?

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Week 4 9/21 – Formalism & Style • HK: “Formalism: Heinrich Wölfflin and Alois Riegl,” 65-95. • P: Heinrich Wölfflin, from Principles of Art History (1915), 119-128. • P: Alois Riegl, “Leading Characteristics of the Late Roman Kunstwollen,” (1893), 155-161. • CP: Clement Greenberg, “Modernist Painting” (1960) from Clement Greenberg: The Collected Essays and Criticism, Volume 4 (Chicago: University of Chicago Press, 1993), 85-93. • CP: Jaś Elsner, “Style,” in Critical Terms for Art History, 2nd ed., (2003), 98-109.

Response Paper Topic: Meet with your partner and create a practice game plan for this week’s readings. This might include key quotations from the readings, a list of 4-5 questions or points for consideration, any relevant debates, and artworks for discussion.

Week 5 9/28 – Iconography & Semiotics • P: Erwin Panofsky, “Iconography and Iconology: An Introduction to the Study of Renaissance Art” (1939), 220-235. • P: Stephen Bann, “Meaning/Interpretation” (1996), 256-270. • CP: Rosalind Krauss, “In the Name of Picasso,” October 16 (Spring 1981): 5-22. • P: Mieke Bal and Norman Bryson, “Semiotics and Art History: A Discussion of Context and Senders” (1991), 243-255.

Response Paper Topic: Compare and contrast iconological and semiotic approaches to art history.

Week 6 10/5 – ***Library Session in ZSR 624 – Dr. V. at Byzantine Studies Conference***

***Initial meetings to discuss final paper topics must take place by Wednesday, 10/11***

Week 7 10/12 – ***No Class – Fall Break***

Week 8 10/19 – Marxism and the Social History of Art • HK: “Marxism and the Social History of Art,” 120-142. • CP: T. J. Clark, “On the Social History of Art,” in T. J. Clark, Image of the People: Gustave Courbet and the 1848 Revolution (London, 1973), 9-20. • CP: Ernst Gombrich, “The Social History of Art,” in Meditations on a Hobby Horse and Other Essays on the Theory of Art (London, 1963), 86-94. • P: Walter Benjamin, “The Work of Art in the Age of Its Technological Reproducibility,” 435-442.

Response Paper Topic: Using the readings and your object, discuss the extent to which artworks should be considered social products. What are the benefits and drawbacks of such an approach?

Week 9 10/26 – Psychoanalysis & Subjectivity • ***Preliminary Bibliography due in class***

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• CP: Sigmund Freud, “Beyond the Pleasure Principle” (1920) and “Leonardo da Vinci and a Memory of his Childhood” (1910), in Philosophers on Art from Kant to the Postmodernists, ed. (New York, 2010), 74-96. • CP: Warren Jones, “The Missing Mothers of Leonardo and Magritte,” in Creativity and Madness: Psychological Studies of Art and Artists (Burbank, CA, 1995), 207-221. • CP: Jacques Lacan, “The Mirror Stage as formative of the function of the I” (1949) and “The Signification of the Phallus” (1958), in Écrits: The First Complete Edition in English (New York: W.W. Norton & Company, 2006), 75-81 and 575-584. • HK: “Looking and Lacanian Analysis,” 185-199.

Response Paper Topic: What constitutes a psychoanalytic approach to art history? What are the differences between the Freudian and Lacanian methods?

Week 10 11/2 – Gender & Feminism • CP: Linda Nochlin, excerpt from “Why Have There Been No Great Women Artists?” (1971), Women, Art, Power (New York: Harper and Row, 1989), 145-158. • CP: Laura Mulvey, “Visual Pleasure and Narrative Cinema” (1975) in Contemporary Literary Criticism, eds. Robert Con David and Ronald Schleifer (London: Longman, 1994), 421-431. • CP: Griselda Pollock, “Modernity and the Spaces of Femininity” [excerpt], in Vision and Difference: Femininity, Feminism and the Histories of Art (London, 1988), 50-75. • CP: Whitney Davis, “Gender,” in Critical Terms for Art History, 2nd ed., (2003 [1996]), 330-344.

Response Paper Topic: What are the major aims of feminist scholarship put forward by Nochlin, Mulvey, and Pollock? How does Davis’s discussion of gender relate to theirs?

Week 11 11/9 – Deconstruction • ***Annotated Bibliography due in class*** • P: Intro to chapter 6, Deconstruction and the Limits of Interpretation, “Introduction,” 271-273. • P: Martin Heidegger, “The Origin of the Work of Art” (1935), 284-295. • P: Meyer Schapiro, “The Still Life as Personal Object” (1968), 296-300. • P: Jacques Derrida, “Restitutions of the Truth in Painting” (1978), 301-316. • Hagi Kenaan, “What Philosophy Owes a Work of Art”: Rethinking the Debate between Heidegger and Schapiro,” Symposium: Canadian Journal of Continental Philosophy, 8, no. 3 (2004): 587-606.

Response Paper Topic: What characterizes a deconstructionist approach? Given the conflicting arguments of Schapiro and Heidegger, what use can deconstruction be to art historical analysis?

Week 12 11/16 – Orientalism, Postcolonialism, and Globalism • CP: Edward W. Said, Orientalism (New York: Vintage, 1979), xv-xxx & 1-28. • CP: Linda Nochlin, “The Imaginary Orient,” in Linda Nochlin, The Politics of Vision: Essays on Nineteenth-Century Art and Society (New York: Harper & Row, 1989), 33-59. • CP: Alicia Walker, “Globalism,” Studies in Iconography (Special Issue: Medieval Art History Today – Critical Terms), 33 (2012): 183-196. • Key Terms in Postcolonial Theory: https://www3.dbu.edu/mitchell/postcold.htm

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Response Paper Topic: How does Said define Orientalism? In what ways do Nochlin and Walker either take up or critique aspects of this model?

Week 13 11/23 – ***No Class – Thanksgiving Holiday***

Week 14 11/30 – Collecting & Display • P: Carol Duncan, “The Art Museum as Ritual” (1995), 424-434. • CP: Thomas Crow, excerpt from “Introduction: The Salon Exhibit in the Eighteenth Century,” in Painters and Public Life in Eighteenth-Century Paris (1985), reprinted in Art and its Histories: A Reader (New Haven, 1999), 85-90. • CP: Mary Beard, “Souvenirs of Culture: Deciphering (in) the Museum,” Art History 15, no. 4 (December 1992): 506-532. • CP: James Clifford, “Collecting Ourselves,” in Interpreting Objects and Collections (London, 1994), 258-268. Response Paper Topic: Discuss the relationships between the ideas of “art” and “the museum” laid out by the different authors.

Week 15 12/7 – Course Conclusions & Terms Review Bingo • ***Final Paper due in class***

***Take-home Final Exam due by 5pm on 12/16***

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Appendix: Further Reading Introduction: Conceptualizing the Medieval Mediterranean Peregrine Horden and Nicholas Purcell, The Corrupting Sea: A Study of Mediterranean History (Wiley Blackwell, 2000); David Abulafia, The Great Sea: A Human History of the Mediterranean (Oxford, 2013).

Encounter as Dichotomy: Orientalism and Medievalism Amy S. Kaufman, “A Brief History of a Terrible Idea: The ‘Dark Enlightenment,’” The Public Medievalist Special Series: Race, Racism, and the Middle Ages (February 9, 2017); Lucy K. Pick, “Edward Said, Orientalism, and the Middle Ages,” Medieval Encounters 5/3 (1999): 265-271; John N. Ganim, Medievalism and Orientalism: Three Essays on Literature, Architecture, and Cultural Identity (New York, 2005); Nadia Altschul, "Postcolonialism and the Study of the Middle Ages." History Compass 6/2 (2008): 588-606; Kathleen Davis and Nadia Altschul, eds. Medievalisms in the Postcolonial World: The Idea of “the Middle Ages” Outside Europe (Baltimore: Johns Hopkins University Press, 2009).

The View from Crusader Europe: Medieval “Others” and Artistic Triumphalism Robert Bartlett, The Making of Europe: Conquest, Colonization and Cultural Change, 950-1350 (Princeton 1993); Anne Derbes, “A Crusading Fresco Cycle at the Cathedral of Le Puy,” The Art Bulletin 73/4 (Dec., 1991): 561-576; Alixe Bovey, Monsters and Grotesques in Medieval Manuscripts (Toronto and Buffalo, 2002); Rudolf Wittkower, “Marvels of the East: A Study in the History of Monsters,” Journal of the Warburg and Courtauld Institutes 5 (1942): 159-197; John Block Friedman, The Monstrous Races in Medieval Art and Thought (Syracuse: 2000); Deborah Higgs Strickland, “Monstrosity and Race in the Late Middle Ages,” in The Ashgate Research Companion to Monsters and the Monstrous, ed. Asa Simon Mittmann and Peter J. Dendle (Ashgate, 2012): 365-386.

Local Aesthetics in the Levant: Ayyubid-Christian Imagery Renee Katzenstein and Glenn Lowry, “Christian Themes in Thirteenth-Century Islamic Metalwork,” Muqarnas 1 (1983): 53-68; Myriam Rosen-Ayalon, “Art and Architecture in Ayyūbid Jerusalem,” Israel Exploration Journal 40/4 (1990): 305-14; Lucy-Anne Hunt, “Art and Colonialism: The Mosaics of the Church of the Nativity in Bethlehem (1169) and the Problem of ‘Crusader Art,’” Dumbarton Oaks Papers 45 (1991): 69-85; Jaroslav Folda, The Art of the Crusaders in the Holy Land, 1098-1187 (Cambridge University Press, 1995); Daniel Weiss, Art and Crusade in the Age of Saint Louis (New York, 1998); Daniel Weiss and Lisa Mahoney, eds. France and the Holy Land: Frankish Culture at the End of the Crusades (Baltimore, 2004); Lucy-Anne Hunt, Eastern Christian Art and Culture in the Ayyubid and Early Mamluk Periods: Cultural Convergence between Jerusalem, Greater Syria and Egypt,” in Ayyubid Jerusalem: The Holy City in Context, 1187-1250, eds. Robert Hillenbrand and Sylvia Auld (London, 2009), 327-347; Julia Gonella, “Columns and Hieroglyphs: Magic ‘Spolia’ in Medieval Islamic Architecture of Northern Syria,” Muqarnas 27 (2010): 103-120.

Centers & Peripheries: Armenia & Anatolia Marianne Barrucand, ‘The Miniatures of the Daqa’iq al-Haqa’iq (Bibliothèque Nationale Pers. 174): A Testimony to the Cultural Diversity of Medieval Anatolia’, Islamic Art 4 (1990–1991): 113–142; Christina Maranci, Medieval Armenian Architecture: Constructions of Race and Nation (Leuven-la-Neuve: Peeters, 2001); Christina Maranci, “The Historiography of Armenian Architecture: Josef Strzygowski, Austria, and Armenia,” Revue des études arméniennes 28 (2001-2002), 287-308; Lynn Jones, “‘Abbasid Suzerainty in the Medieval Caucasus: Appropriation and Adaptation of Iconography and Ideology,” Gesta 43/2 (2004): 143-150; Christina Maranci, “Basilicas and Black Holes: The Legacy of Josef Strzygowski and the Case of Armenian Architecture,” Acta Historiae Artium 47 (2006), 313-320; Antony Eastmond, “Art and Frontiers between Byzantium and the Caucasus,” in Byzantium: Faith and Power (1261-1557): Perspectives on Late Byzantine Art and Culture, ed. Sarah T. Brooks (New Haven, 2007), 154– 169.

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Byzantium & Islam: Cultures in Competition Oleg Grabar, “The Shared Culture of Objects,” in Byzantine Court Culture from 829-1204, ed. Henry Maguire (Washington, D.C., 1997)1150130; Anthony Cutler, “Visual Communities in Byzantium and Medieval Islam,” in Visions of Community in the Pre-modern World, ed. Nicholas Howe (Notre Dame, 2002), 37-74; Anthony Cutler, “Gifts and Gift Exchange as Aspects of the Byzantine, Arab, and Related Economies,” Dumbarton Oaks Papers 55 (2001): 247-278; Alicia Walker, “Cross-cultural Reception in the Absence of Texts: The Islamic Appropriation of a Middle Byzantine Rosette Casket,” Gesta 47/2 (2008): 99-122; Glaire Anderson, “Islamic Spaces and Diplomacy in Constantinople (Tenth to Thirteenth Centuries, C.E.),” Medieval Encounters 15/1 (2009): 86-113.

Common Court Culture & the Shared Language of Objects in Sicily & Italy Otto Demus, The Mosaics of Norman Sicily (1950); Ernst Kitzinger, The Mosaics of the Admiral in Palermo (Dumbarton Oaks, 1990); William Tronzo, “The Medieval Object-Enigma, and the Problem of the Cappella Palatina in Palermo,” Word and Image 9/3 (1993) reprinted in Eva R. Hoffman, ed., Late Antique and Medieval Art of the Mediterranean World (Blackwell, 2007), 367-388; William Tronzo, The Cultures of his Kingdom: Roger II and the Cappella Palatina in Palermo (Princeton: 1997); John Lowden, “Perception and Reception: Art in Twelfth-Century Italy” in Early Christian and Byzantine Art (Phaidon, 1997), 309-346; William Tronzo, “The Mantle of Roger II of Sicily,” in Steward Gordon, ed., Robes and Honor: The Medieval World of Investiture (New York: Palgrave, 2001), 241-253.

Object Conversions & Mozarabic Aesthetics in Spain Meyer Schapiro, “From Mozarabic to Romanesque in Silos,” The Art Bulletin 21/4 (December, 1939): 313-374; O.K. Werckmeister, “Art of the Frontier: Mozarabic Monasticism,” in The Art of Medieval Spain (1993), pp. 121-132; Julie Harris, “Muslim Ivories in Christian Hands: The Leire Casket in Context,” Art History 18/2 (1995): 213-221; Cecily J. Hilsdale, “Towards a Social History of Art: Defining ‘Mozarabic,’” Medieval Encounters 5/3 (1999): 272-288; Mariam Rosser-Owen, “Islamic Objects in Christian Contexts: Relic Translation and Modes of Transfer in Medieval Iberia”, Art In Translation, 7/1 (March, 2015): 39-64.

Convivencia, Mudejar Traditions, and Jewish Art in Spain Jerrilynn Dodds, “The Mudejar Tradition in Architecture,” in The Legacy of Muslim Spain, vol. 2, ed. Khadra Jayyusi (Brill, 1992), 592-597; Katrin Kogman-Appel, “Hebrew Manuscript Painting in Late Medieval Spain: Signs of a Culture in Transition, The Art Bulletin 84/2 (2002): 246-272; Cynthia Robinson, "Mudéjar Revisited: A Prologoména to the Reconstruction of Perception, Devotion, and Experience at the Mudéjar Convent of Clarisas, Tordesillas, Spain (Fourteenth Century A.D.),” RES: Anthropology and Aesthetics, 43 (2003): 51-77; Maya Soifer, “Beyond Convivencia: Critical Reflections on the Historiography of Interfaith Relations in Christian Spain,” Journal of Medieval Iberian Studies 1/1 (2009): 19-35; Katrin Kogman-Appel, “Jewish Art and Cultural Exchange: Theoretical Perspectives,” Medieval Encounters 17/1-2 (2011): 1-26; Cynthia Robinson, “Towers, Birds, and Divine Light: The Contested Territory of Nasrid and ‘Mudéjar’ Ornament,” Medieval Encounters 17/1-2 (2011): 27-79; Sarit Shalev- Eyni, “Tradition in Transition: Mudejar Art and the Emergence of the Illuminated Sephardic Bible in Christian Toledo,” Medieval Encounters 23/6 (2017): 531-559.

The Transformation of Memory: Venice, Islam, and Byzantium Gülru Necipoglu, “Süleyman the Magnificent and the Representation of Power in the Context of Ottoman- Hapsburg-Papal Rivalry,” Art Bulletin 71/3 (1989), 401-427; Lisa Jardine and Jerry Brotton, Global interests: Renaissance art between East and West (Cornell University Press, 2000); Rosamond Mack, Bazaar to Piazza: Islamic Trade and Italian Art, 1300-1600 (University of California Press, 2002); Thomas E.A. Dale, “Cultural Hybridity in Medieval Venice: Reinventing the East at San Marco after the Fourth Crusade,” in San Marco, Byzantium and the Myths of Venice, eds. H. Maguire and R. Nelson (Washington, D.C., 2010), 151-191; Holger Klein, “Refashioning Byzantium in Venice, ca. 1200-1400,” in San Marco, Byzantium and the Myths of Venice, 2010, 193-225.

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