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Twentieth-Century Art: 1945-2000 NATASHA RUIZ-GÓMEZ History of Art Department University of Pennsylvania Fall 2005 – CGS/ARTH 287.601 Thursdays 5:30–8:30 PM Jaffe 113 TWENTIETH-CENTURY ART: 1945-2000 After the second World War, the center of the art world shifted from Paris to New York. This course will consider the provocative, contentious, and complex art made during the second half of the twentieth century. A few of the themes we will consider are the advent of postmodernism, the rise of kitsch, the increasing politicization of the artist, the inclusion of the body in art-making, the emergence of site-specificity, and the spaces in which art is produced and viewed. COURSE SCHEDULE September 8 – Introduction September 15 – Abstract Expressionism (Action Painting and Color Field Painting) and Sculpture Reading: Harold Rosenberg, “The American Action Painters” [1952], Tradition of the New (Chicago: University of Chicago Press, 1965) 23-39. Reading: Clement Greenberg, “Modernist Painting,” Arts Yearbook 4 (1961): 102-108. Reading: Anne Wagner, “Pollock’s Nature, Frankenthaler’s Culture,” Jackson Pollock: New Approaches, eds. Kirk Varnedoe and Pepe Karmel (New York: Museum of Modern Art, 1999) 181-200. Suggested Reading: Fineberg 67-128. September 22 – Johns, Rauschenberg, and Pop Art Reading: Clement Greenberg, “Avant-Garde and Kitsch” [1939], Clement Greenberg: The Collected Essays and Criticism, ed. John O’Brian, vol. I. (Chicago: The University of Chicago Press, 1986) 5-22. Reading: Leo Steinberg, “The Flatbed Picture Plane” (excerpt) and “Jasper Johns: The First Seven Years of His Art,” Other Criteria: Confrontations with Twentieth-Century Art (London: Oxford University Press, 1972) 82-91 and 17-54. Reading: Kenneth Silver, “Modes of Disclosure: The Constitution of Gay Identity and the Rise of Pop Art,” Hand-Painted Pop: American Art in Transition, 1955-1962, ex. cat., ed. Russell Ferguson (Los Angeles: Museum of Contemporary Art, 1997) 178-203. Suggested Reading: Fineberg 172-187, 206-221, 237-266. Twentieth-Century Art: 1945-2000, 2 September 29 – Post-Painterly Abstraction and Minimalism Reading: Donald Judd, “Specific Objects,” Contemporary Sculpture. Arts Yearbook. 8 (1965): 74-82. Reading: Michael Fried, “Art and Objecthood,” Artforum 5.10 (Summer 1967): 12-23. Reading: Anna Chave, “Minimalism and the Rhetoric of Power,” Arts Magazine 64.5 (January 1990): 44-63. Suggested Reading: Fineberg 294-310. October 6 – Happenings, Nouveaux Réalisme, and Fluxus o Research Paper Proposal Due Reading: Allan Kaprow, “The Legacy of Jackson Pollock,” ArtNews 57.6 (October 1958): 24-26, 55-57. Reading: Thomas McEvilley, "Yves Klein: Messenger of the Age of Space," Artforum 20.5 (January 1982): 38-51. Reading: Claes Oldenburg, "A Statement," Happenings: An Illustrated Anthology, ed. Michael Kirby (New York: E.P. Dutton and Co., 1965) 200-203. Reading: Pierre Restany, "The Nouveaux Réalistes Declaration of Intention" [1960] and "Forty Degrees Above Dada" [1961], Theories and Documents of Contemporary Art, ed. Kristine Stiles and Peter Selz (Berkeley: University of California Press, 1996) 306-308. Reading: Daniel Spoerri "Trap Pictures"[1960] and "Auto-Theater" [1961], Theories and Documents of Contemporary Art, ed. Kristine Stiles and Peter Selz (Berkeley: University of California Press, 1996) 310-311. Reading: Arman, “The Realism of Accumulations” [1960] Zero (Cambridge, MA: MIT Press, 1973) 209. Suggested Reading: Fineberg 188-206, 222-236. October 13 – Postmodernism, Conceptual Art, and Process Art Reading: Robert Morris, “Anti-Form,” Artforum 6 (April 1968): 33-35. Reading: Rosalind Krauss, “The Originality of the Avant-Garde: A Postmodernist Repetition,” The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, MA: MIT Press, 1993) 151-170. Reading: Douglas Crimp, “Richard Serra: Sculpture Exceeded,” October 18 (Fall 1981): 67-78. Suggested Reading: Fineberg 311-323, 338-346. October 20 – Site Sculpture and Earthworks Reading: Christo, “Fact-Sheet:: Running Fence” [1976] and “Wrapping Up Germany: Interview with Sylvère Lotringer” [1982], Theories and Documents of Contemporary Art, eds. Kristine Stiles and Peter Selz (Berkeley: University of California Press, 1996) 547-556. Reading: Richard Long, “Five Six Pick Up Sticks” [1980], Theories and Documents of Contemporary Art, 563-566. Reading: Walter de Maria, “Meaningless Work” [1960], “On the Importance of Natural Disasters” [1960], and “The Lightning Field” [1980], Theories and Documents of Contemporary Art, 526-530. Reading: Robert Smithson, “The Spiral Jetty” [1972], Theories and Documents of Contemporary Art, 530-533. Suggested Reading: Fineberg 323-337, 356-365. Twentieth-Century Art: 1945-2000, 3 October 27 – Performance Art and Video Annotated Bibliography Due Reading: David Bourdon, “An Eccentric Body of Art” [1973], The Art of Performance, eds. Gregory Battcock and Robert Nickas (New York: E.P. Dutton, 1984) 183-193. Reading: Anne M. Wagner, “Performance, Video, and the Rhetoric of Presence” October 91 (Winter 2000): 59-80. Reading: Ewa Lajer-Burcharth, “Real Bodies: Video in the 1990s,” Art History 20.2 (June 1997): 185-213. Suggested Reading: Fineberg 346-354. November 3 – Midterm November 10 – Critiquing Culture Reading: Daniel Buren, “Function of the Museum” [1970], Theories of Contemporary Art, ed. Richard Hertz (Englewood Cliffs: Prentice-Hall, 1985) 189-192. Reading: Daniel Buren, “Function of the Studio” [1971], October 10 (Fall 1979): 51-58. Reading: John Berger, Ways of Seeing (London: British Broadcasting Corp., 1972) 45-64. Reading: Lowery S. Sims, “Race Riots. Cocktail Parties. Black Panthers. Moon Shoots and Feminists. Faith Ringgold’s Observations on the 1960s in America,” The Expanding Discourse, eds. Norma Broude and Mary Garrard (New York: Icon Editions, 1992) 467-473. Suggested Reading: Fineberg 354-356, 381-383. November 17 – Painting (again), Sculpture, and Photography Reading: Barbara Rose, “American Painting: The Eighties” [1980], Theories of Contemporary Art, ed. Richard Hertz (Englewood Cliffs: Prentice-Hall, 1985) 63-77. Reading: Andreas Huyssen, “Anselm Kiefer: The Terror of History, the Temptation of Myth,” October 48 (Spring 1989): 25-45. Reading: Judith Williamson, “A Piece of the Action: Images of ‘Woman’ in the Photography of Cindy Sherman,” Consuming Passions: The Politics and Images of Popular Culture (London: Marion Boyars, 1985) 91-113. Suggested Reading: Fineberg 371-374, 405-413, 418-428, 433-439, 470-471. November 24 – No Class—Thanksgiving Break December 1 – Appropriation, Simulation, and the Return of the Real Readings: To be announced. December 8 – Public Engagement o Research Paper Due Reading: Robert Storr, “’Tilted Arc’: Enemy of the People?,” Art in America 73.9 (September 1985): 90-97. Reading: Garry Apgar, “The ‘Colonnisation’ of the Palais-Royal,” Art in America (July 1986): 31-35. Twentieth-Century Art: 1945-2000, 4 December 15 – Final Exam Twentieth-Century Art: 1945-2000, 5 COURSE REQUIREMENTS Your final grade will be determined according to the following criteria: Class Participation and Presentations (20%): Each lecture will explore themes, concepts, and content from the readings, and I will expect you to come to class prepared to discuss them. In addition, over the course of the semester, each student will be assigned one reading to present to the class. The presentation must include a brief biography of the author and a summary of the article, after which the student will lead discussion of the reading for approximately fifteen minutes. Research Paper (30%): You will be responsible for writing an 8-10 page research paper on an appropriate work in the Philadelphia Museum of Art or in the city of Philadelphia. A two-page proposal will be due on October 6th (5%), which I have to approve, an annotated bibliography will be due on October 27th (5%), and the paper will be due on the last day of class, December 8th (20%). Each of these steps will be discussed in more detail as the semester progresses. Midterm and Final Exams (each 25 %): The exams will consist of slide comparisons and essays. The images shown and discussed in class will be available on the Blackboard site for this class. Please note: Office Hours: I will be very happy to meet with you for any reason. Office hours will be by appointment only; please contact me at [email protected]. Readings: The readings are an essential component of this course; therefore, you should make sure to bring a copy of the readings to every class. Readings are drawn from a number of sources and are available: o online at the Blackboard site for this class; o for purchase in a bulk pack at Campus Copy (3907 Walnut Street, 215.386.6410); o and individually as “pamphlets” at the Reserve Desk at the Fisher Fine Arts Library. The only required text is Jonathan Fineberg’s Art Since 1940: Strategies of Being (New York: Harry N. Abrams, Inc., 1995), which can be purchased at the Penn Book Center at the corner of Sansom and 34th Streets. The book will serve as a resource for you when preparing for class, studying for exams, and working on your research paper. There will also be weekly suggested readings. Late Papers: Late papers will be marked down one grade per day. If you anticipate problems turning in your paper on time, you must contact me at least one week before the due date; I will grant extensions only in extreme circumstances. Attendance: Faithful attendance is required to pass this class. Only one excused absence is allowed; your participation grade will decrease with each additional absence. Plagiarism: Plagiarism constitutes an automatic failure for the course and will be reported to the Office of Student Conduct immediately. .
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