DVC—Pleasant Hill Campus Ms. Kristen Koblik Fall

ARTHS 199-1993 TTH 12:30-1:50PM in room A-106 2017

ARTHS 199: Contemporary Art History (3 units, CSU GE Area C1, IGETC Area 3A) Contact me: [email protected] Please include an informative subject line. Office Phone: 925-969-2253 Google Voice (mostly for texting): 925-322-0037 Skype handle: kckoblik Office Hours Coffee and Conversation Times: TTH 10:00AM-11:00AM, DVC Cafeteria This semester, in the interest of being more available to students in a more convivial environment, I’m holding “coffee and conversation” hours instead of office hours. I will be in the DVC Cafeteria (HSFC Building) with my laptop, a cup of something, probably caffeinated, and a sign. Drop by at any time, with any type of question. I’m also in my office A LOT, so I am happy to make time to see you. My official office (ha) is A-504, top floor of the art department, door closest to the quad. If you want to come see me outside my Coffee and Conversation times, please just let me know and we will figure out a time! Course Description: This course focuses on American and European art produced since 1945, although art from other cultures will also be considered. Students examine works of art and their cultural circumstances, with the goal of recognizing, understanding, and discussing various art forms in their broader contexts. This course also aims to introduce students to the discipline of art history and to enable students to answer a variety of root questions. The course centers on themes that run through contemporary art, including issues of identity, the avant-garde, the status of the art object, institutions and challenges to them, and branding and marketing in the art world. Strongly Recommended: Eligibility for English 122 or higher A Note on Course Content: Contemporary art is often purposefully shocking, and in this course we will examine some disturbing images. Some works of art will have explicit sexual, violent, racial, or religious content, and some will probably be personally offensive to you. I welcome your opinions and beliefs, but I will challenge you to articulate your support or condemnation of an artwork and will push you to locate each work in relation to other cultural values and forces. Course Management System: We will use the Canvas course management system to distribute readings, complete homework assignments, submit substantial written work such as essays, and record grades. There is a link to Canvas on the top bar of the DVC homepage, but the independent URL is www.4cd.instructure.com In addition, there is a Canvas link in your WebAdvisor page. We will review access and features of Canvas in class. However, they also have a 24/7 dedicated help line, 1-844-303-5586, and a series of help videos and instructions that you can access any time by clicking the question mark icon on the left menu from any Canvas page. Chrome is the recommended browser for optimal use with Canvas. Text: There is no textbook for this course. We will be reading and viewing many shorter texts that are primary sources, criticism, journalism, documentation, and didactics. These are available on our Canvas course site. These media are required. We spend most of our class time in discussing, debating, contextualizing, and other projects that require you to have some background knowledge on the subjects and works covered that day. Because of this format, I ask that you complete as much of the reading for the class as possible

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BEFORE each class listed. I have the readings scheduled as “assignments” on Canvas to remind you of what needs to be done before each class meeting. We will inevitably get behind at some point in the semester. I’ll try to adjust assignment due dates when that happens, but you may need to do some common-sense adjusting as well. Because your readings and media are all online, you will likely be reading and taking notes from a screen rather than on paper. Since annotating, highlighting, summarizing, and note taking are so important for your understanding, I strongly recommend that you use a program or app for taking notes on web pages. For each unit, I have a Google Doc that you can copy and use as a template for notes. This is useful in remembering what you have already read, and what you thought about it. Even two or three sentences of notes after a reading really helps! Diigo and Evernote are two programs/apps I also recommend for annotating and note-taking from online sources. They each have free versions, but it is very worthwhile and recommended to upgrade to the paid versions, which are equivalent in price at $40/year. These programs will keep you organized and help you prepare for class (and you can use them for all of your courses!). You can try out the free versions of each one and see which you like better before committing to a purchase. https://www.diigo.com/index https://evernote.com/ If you feel the need for a textbook, I recommend Eleanor Heartney’s Art and Today (Phaidon, 2013, ISBN 0714866008) as a good source that won’t break the bank ($50 new on Amazon, many used cheaper copies available). It does not cover the earlier works that we discuss, but I have borrowed from Heartney’s organization of chapters and she gives good introductions to the themes we cover in the course. Course Objectives and Student Learning Outcomes: Students will be able to: 1. Identify, describe, and analyze important issues related to art making in the last half of the 20th Century, including significant social, economic, scientific, and political forces that helped shape the character of the art produced during this time; 2. Recognize key works of art produced since 1945; 3. Critically analyze the nature of contemporary art and its significance with regard to their own lives and society at large; 4. Apply concepts from critical, historical, and primary sources using appropriate art historical vocabulary. Course Requirements: Course assignments include in-class work, several quizzes on the images and the reading, homework projects and posts, several writing assignments, and midterm and final exams, each with essay and short answer components. • You will need to spend some time online to do your readings and complete and submit some assignments, so computer access is needed. School computer labs are free and available for this purpose. • You will be encouraged to visit a museum to see art in person and to facilitate some of the writing assignments. We will plan an OPTIONAL weekend trip to SFMOMA but you can also go see art on your own. A list of appropriate institutions, prices, locations, etc. will be handed out.

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Approximate Assignments and Point Values: Grades by Points: Projects, activities, and assignments 30% 150 points A 450 and higher Essays and writing assignments 20% 100 points B 400-449 4 Quizzes, 25 points each 20% 100 points Midterm exam 15% 75 points C 350-399 Final exam 15% 75 points D 349-300 Supplemental credit Assignments 0-10% 50 points F below 299 Total grade calculated out of 500 points Note: There will be some amount of “extra credit” points on quizzes and some assignments. In addition, there are several “supplemental credit” assignments that you may choose to complete. These assignments are scored and count towards your grade exactly the same as any “regular” assignment. If you miss an assignment, you may choose to complete a supplemental credit assignment to make up the points you missed. This means that more than 500 points are available in the semester, however, the grade scale is still and always based on 500 for figuring out percentages. I use Canvas to record all grades—your grades, comments on your assignments, and your running total of points for the semester are always updated and available to you through the “grades” page on Canvas. I’m always happy to answer questions about your assignment or overall grades. Course Policies: Please come to class on time each week and be prepared to work from the very beginning of class. Persistent acute lateness will have an adverse effect on both your learning and your grade. Small assignments will often be given and collected at the very beginning of class—this is to encourage your timeliness. The class functions best when people participate, discuss, and add to the learning community. Some of your project, assignment, and discussion grades are partially based on your participation. Please silence all cell phones and refrain from texting and other potentially distracting activities during class. In college classrooms, it is expected that you take notes, participate in discussions, and generally facilitate your own and others learning experiences. Students who cannot participate in the creation of a beneficial academic environment will be asked to leave. • Written work must be submitted online through our Course Management System. Work not submitted before the deadline online is late, and subject to a 10% point deduction. Late work will be accepted for one week after the deadline. • Quizzes are available online for you to take as many times as you like during the appropriate time period. Your highest score will be recorded. It is recommended that you take the quizzes early, to help identify topics and issues that need more study. There will be four quizzes over the course of the semester, each quiz covering more than one unit. The quiz questions will be drawn from lecture, discussion, and the readings. You will receive a reminder for each quiz the day before it closes. Once a quiz is closed, it will not be re-opened. • Makeup exams may be arranged only in cases that fall into school policy (athletic contests, religious observance) or in cases of documented medical or family emergencies. Make-ups must be arranged and completed in a reasonable time frame, as determined by the instructor. No make-ups are available for

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missed class-work. Please let me know as soon as possible if you have a conflict with any scheduled due date, especially the final exam. • There is a small amount of leeway built in to the assignments and points; including several “supplemental credit” assignments. No additional extra credit opportunities will be offered. • If you are a student with a disability that requires course modifications or accommodations, please inform me by the end of the first week of class. You MUST be registered with DVC’s Disability Support Services to receive any modifications or accommodations. If you are not already registered with DSS, you should do so as soon as possible. Contact Lawrence Punsalang at 925-969-2182 or go to the DSS office located in SCC-248 to schedule an appointment for assessment. • Any student who copies or paraphrases directly from a book, periodical, or website without acknowledgment and documentation (footnotes, quotation marks, etc.) will receive a lowered grade or an F (0 points) on that assignment. All quotes, facts, and ideas from others must be documented. It is crucial when presenting your ideas that you put them in your own words and cite any input from others. Appropriate citing and quoting methods will be discussed in class. If you have any questions about what constitutes plagiarism or if your work is appropriate, please come and see me before the assignment is due. • Any student who cheats on an exam/project will receive a lowered grade or an F (0 points) for that exam/project and may be subject to disciplinary action through the college review board, which may result in suspension from the college. Course Schedule: This is the plan for each class meeting during the semester. It is subject to change, and some flexibility of dates, topics, and readings may be required. • I have included approximate word counts for the readings for each day to help you allocate your time for class preparation. Rate of reading will vary greatly from student to student, but most college students read around 7--10,000 words per hour. • Readings for each week and day are also detailed on Canvas. Please check Canvas for the most updated reading and assignment schedule. If any changes are required, an announcement will be sent to you and the Canvas site updated to reflect the changes. • Readings listed in the syllabus are required. Optional readings, video, audio, and other materials are included on Canvas to supplement your learning. If you are curious about anything or looking for more sources, please see me! I would love to give you more resources. • Small assignments, which form part of your Assignment grade, are not scheduled on this calendar, and may occur at any time. In-class assignments cannot be made up for any reason. I tend to start class with small assignments—this is also to encourage your on-time arrival! • Some homework or assignments are due the day before a class meeting or at the end of the week (e.g., Fridays). These due dates will be noted in bold and reminders given in class and through Canvas. • Any special notes for the week are listed in bold (exams, holidays, major due dates)

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Week 1: Intro August 15: Introduction to class: Duchamp’s Fountain, syllabus, course logistics

August 17: What is Modernism? Reading: (ca. 2,000 words) • Justin Wolf, "Modern Art: Definition, Overview, and Analysis," The Art Story

Week 2: Unit 1: Late Modernism and the New York School August 22: The New York School Readings: (ca. 5,200 words) • Virginia Spivey, "Abstract Expressionism, an introduction" SmartHistory • Justin Wolf, "Abstract Expressionism Movement Overview and Analysis," The Art Story • Justin Wolf, "Color Field Movement Overview and Analysis," The Art Story

August 24: Barnett Newman, Mark Rothko, and the sublime in color field Readings/Viewings: (ca. 6,500 words and around 9 minutes of video) • The Art Story Contributors, “Mark Rothko Artist Overview and Analysis,” The Art Story • Rachel Gershman, “Barnett Newman Artist Overview and Analysis,” The Art Story-- Please read the Synopsis and Key Ideas, and Writing and Ideas section (you must click to expand) and then click to expand the Influences Chart at the bottom of the page. • MOMA, "The Painting Techniques of Barnett Newman: Vir Heroicus Sublimis" (video, 3:49) • Beth Harris and Steven Zucker, "Onement I, 1948" SmartHistory (video, 4:52) • Arthur Danto, "Barnett Newman and the Heroic Sublime," The Nation, May 30, 2002

Week 3: Unit 1 continued August 29: Pollock, de Kooning, and other action painters Readings/Viewings: (ca. 2,500 words, 4 minutes of video) • The Art Story Contributors, “Willem de Kooning Artist Overview and Analysis,” The Art Story • SFMOMA video on Pollock's techniques (3:45) • Prof. Roann Barris, “Jackson Pollock: The Uncertainty of Ritual,” Radford College course notes • “Guardians of the Secret,” Jackson Pollock.org August 30: Homework assignment due Wednesday night on readings for Thursday

August 31: Perspectives on Abstract Expressionism (Greenberg and Kaprow) Readings: (ca. 7,000 difficult words) • Clement Greenberg, "Modernist Painting," originally a Forum Lecture, 1960, revised for The New Art: A Critical Anthology, 1966 • , "The Legacy of Jackson Pollock," 1958

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Week 4: Unit 2 Art and the Quotidian Object September 5: Duchamp and Neo Dada Readings/Viewings: (ca. 8,500 words and 4:15 of video) • Sophie Howarth and Jennifer Mundy, "Marcel Duchamp, Fountain, 1917," Tate Museum 2000 and 2015 Please click on "read more" and read the whole essay! • Kirstie Beaven, " 101: The Happening, Allan Kaprow," Tate Museum 2012 • Nan Rosenthal, "Jasper Johns," Met Timeline of Art History, 2004 • Christine S. Kim, "Vlog: Jasper Johns, Three Flags, 1958" Whitney Museum of American Art (video, 4:15) • National Gallery of Art, "Jasper Johns: An Allegory of Painting, 1955-1965" exhibition essay, please read all ten pages (you must click through them using the arrows (>>) at the lower right of each page)

September 7: John Cage, Robert Rauschenberg, and Jasper Johns Readings/Viewings: (ca. 6,700 words and 4:33 of video, 9:27 of audio) • Will Hermes, “The Story of 4’33”,” NPR, May 8, 2000 (audio, 8’17” or text) • Robert Rauschenberg Interview, SFMOMA (video, 2:07) • Robert Rauschenberg on "Erased de Kooning" (video, 4:26) • SFMOMA, "Robert Rauschenberg: White Painting [three panel], 1951." • Sarah Roberts, "Erased De Kooning Drawing," SFMOMA July 2013 • MOMA, "Oldenburg, Floor Burger." (audio, 1:10) Quiz 1 due by end of week covering Unit 1

Week 5: Unit 2 continued September 12: Postmodernism Readings: (ca. 8,000 words) • Professor Mary Klages, “Postmodernism,” Class notes, University of Colorado, Boulder, 2012 • Terry Barrett, “Modernism and Postmodernism: An Overview with Art Examples”

September 14: Contemporary relations to Duchamp Readings: (ca. 6,700 words) • Ingrid Sischy, "Jeff Koons is Back!" Vanity Fair, July 2014 • Alex Freedman, "How to Explain Sherrie Levine to Your Grandmother," Art21 Magazine, April 15, 2011 • Fine Arts Museums of San Francisco, "FRAME|WORK: Anti-Mass by Cornelia Parker" September 21, 2011 • Victoria Dalkey, "'Divine Ammunition' by Al Farrow at the Crocker," Sacramento Bee, October 29, 2015.

Paper 1 due by end of week (Friday, February 24 at midnight) 500-1000 words topics from Unit 1 and 2—see assignment and rubric on Canvas

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ARTHS 199-1993 TTH 12:30-1:50PM in room A-106 2017

Week 6: Unit 3 Art and Popular Culture September 19: Warhol and Pop Art Readings: (ca. 7,000 words) • Justin Wolf, "Pop Art," The Art Story • Richard Hamilton: Wikipedia description of "Just What Is It That Makes Today's Homes So Different, So Appealing?" • "Andy Warhol Artist Information and Overview," The Art Story • Rachel Gershman, "Roy Lichtenstein Artist Information and Overview," The Art Story (synopsis and key ideas required, biography optional) • David Barsalou, "Deconstructing Roy Lichtenstein," blog showing Lichtenstein's works and the original comic sources side by side, please look through it briefly!

September 21: Discussion: “Top of the Pops” Reading: (ca. 6,800 words) • Louis Menand, "Top of the Pops," The New Yorker, January 11, 2010 Vol. 85, Issue 44.

Week 7: Unit 3 Continued September 26: Contemporary Art and Pop Culture Readings: (ca. 6,000 words, 7:48 of video) • Ashley Bickerton, "Tormented Self-Portrait," MOMA text. Please click "additional text" • Jeff Koons (review the readings from the previous unit) • Vik Muniz: Martha Schwendener, "Smile and Say 'Peanut Butter,' Mona Lisa!" NY Times, March 2, 2007. • Met Museum, "Untitled (Cowboy)," Timeline of Art History • Liron Samuels, "Photographer Sam Abell talks about "Cheeky" Richard Prince after Prince sold his photo for millions," DIY Photography, May 29, 2015 (includes optional video, 3:01) • Justin Wolf, "Barbara Kruger Artist Overview and Analysis" The Art Story. Please read the synopsis and key ideas, the rest is optional. • Jen Glennon, "Jenny Holzer Artist Overview and Analysis," The Art Story. Please read the synopsis and key ideas, the rest is optional. • Beth Harris and Steven Zucker, "The Physical Impossibility of Death in the Mind of Someone Living," SmartHistory (video, 7:48) • Andrew M. Goldstein, "The Psychedelic World of Takashi Murakami," Artspace March 21, 2013 • Jonathan Wingfield, "Let them eat manga: How Takashi Murakami introduced Japanese kitsch to the Palace of Versailles," The Independent, 2010

September 28: Contemporary Art and Pop Culture continued Readings: (ca. 1,500 words) • David Byrne, “I Don’t Care About Contemporary Art Anymore” Quiz 2 due by end of week covering Units 2 and 3

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Week 8: Unit 4 Art and Abstraction October 3: Minimalism and Process Art Readings: (ca. 10,000 words) • The Art Story Contributors, "Minimalism," The Art Story. Please expand and read the entire article. • In addition, please read the synopsis and key ideas for the following Minimalist artists on The Art Story (the rest of the articles on each artist are optional): o Frank Stella o Donald Judd o Robert Morris o Carl Andre o Dan Flavin • Artspace Editors, "An Introduction to Process Art (Or, How Minimalism Went From Pretty to Gritty)" October 28, 2013 • “Richard Serra Artist Information and Overview,” The Art Story. Please read the synopsis and key ideas, the rest is optional. • Anne Schwarz, "Accession II: Eva Hesse's Response to Minimalism,” Bulletin of the Detroit Institute of the Arts, Vol. 71, no. 1/2, 1997 pp. 36-47 • Whitney Museum video on installing Eva Hesse’s Untitled, 1970. 2 min • Lynda Benglis, “Odalisque (Hey, Hey Frankenthaler), 1969” Dallas Museum of Art text.

October 5: Other types of Abstraction Readings: (ca. 9,000 words) • Justin Wolf, “Conceptual Art Movement and Overview,” The Art Story. Please read the synopsis and key ideas, the rest is optional. • “Sol LeWitt Artist Information and Overview,” The Art Story. Please read the synopsis and key ideas, the rest is optional. • “Joseph Kosuth Artist Information and Overview,” The Art Story. Please read the synopsis and key ideas, the rest is optional. • Justin Wolf, “Post Painterly Abstraction Art Movement and Overview,” The Art Story. Please read the synopsis and key ideas, the rest is optional. • Yves Klein, “IKB 79, 1959,” Tate Museum text, please click “read more” in the summary • Andy Warhol, “Oxidation Painting,” Christie’s. Please click “Lot Essay” to read about the work. • Pepe Karmel, “The Golden Age of Abstraction: Right Now,” ARTnews, April 24, 2013.

Week 9: Midterm October 10: In-Class Assignment: Midterm Prep

October 12: Midterm covering Units 1-4

SFMOMA visit this weekend Koblik: ARTHS 199 page 8 DVC—Pleasant Hill Campus Ms. Kristen Koblik Fall

ARTHS 199-1993 TTH 12:30-1:50PM in room A-106 2017

Week 10: Unit 5 Art and Nature and Technology October 17: Land/Environmental Art and developments in the 1960s and 70s Readings: (ca. 7,300 words, 4:11 of video) • The Art Story Contributors, “Earth Art Overview,” The Art Story. Please read the whole article • Justin Wolf, “Robert Smithson,” The Art Story. Please read the synopsis, key ideas, and key work of art for Spiral Jetty. • Visual Melt sampling of Goldsworthy's work. Please scan briefly—it’s just images • PBS, Culture Shock synopsis of the Tilted Arc controversy • Laura Fiesel, “Walter De Maria, The Art Story. Please read the synopsis, key ideas, and descriptions of key works of art for Lightning Field and Earth Room. • Grace Glueck, "Christo Drapes Miami Isles in Pink," NY Times, May 5, 1983 • Wolfson Archive, video of Surrounded Islands by Christo and Jeanne-Claude (4 minutes, news footage) • Alan Sonfist, Time Landscape, NYC Dept. of Parks and Rec description • Blair Asbury Brooks, “How Used Technology to Search for a Deeper Humanity,” ArtSpace, October 31, 2014 • Nam June Paik, TV Garden, 1974, Vimeo video of artwork, 11 seconds

October 19: Technology and the Post-Natural Readings: (ca. 9,300 words) • Stuart Jeffries, "Orlan's art of sex and surgery," The Guardian, July 1, 2009 • Stelarc.org , catalog entry for Third Hand • Kim Slawson "Eduardo Kac's GFP Bunny, a Work of Transgenic Art, or, It's Not Easy Being Green," November 19, 2000 • Linda Michael, "We Are Family: Patricia Piccinini at the 50th Biennale of Venice," 2003 • Beckett Mufson, “Enter a Real-Life Matrix in TeamLab’s Crystal Universe,” The Creators Project, Vice, August 24, 2015

Week 11: Unit 6 Art and Narrative and Time October 24: Video art and other methods of depicting time Readings: (ca. 2,300 words and 4:43 of video) • MOMA, Cindy Sherman’s “The Complete Untitled Film Stills” 1997 exhibition • Jeffrey Weiss and Kasper König, “Conversation: On Kawara’s Today Series,” video, 4:43 • Guggenheim Museum, “Opening New Spaces: 1980 to the Present” please read the section on Ilya Kabokov artwork The Man Who Flew Into Space From His Apartment, 1985-88 • Hiroshi Sugimoto, Theater series, Portfolio: Movie Theaters, C4 Contemporary Art • Elizabeth Manchester, “Jeff Wall, A Sudden Gust of Wind (After Hokusai), 1993.” Tate Museum text, 2003. Please click “more” at bottom of page • , Carving: A Traditional Sculpture, 1974. Chicago Art Institute text.

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ARTHS 199-1993 TTH 12:30-1:50PM in room A-106 2017

October 26: Other types of narrative and treatments of time in art Readings and viewings: (ca. 1,100 words and 61:20 minutes of video) • Louisiana Museum, William Kentridge Interview (video, 30:24) • William Kentridge, excerpts from Felix in Exile (video, 8:45) • Pippilotti Rist, Ever is Over All, 1997, YouTube clip (video, 2:45) • Pippilotti Rist, Ever is Over All, 1997, MOMA text, please click "additional text" • Janet Cardiff and George Bures Miller, 40-part Motet, text and video clip on Cardiff and Miller's website. Please click “video clip” link on the right side of the page (video 3 minutes) • Janet Cardiff and George Bures Miller, Muriel Lake Incident, 1999. (video, 5:14, listen with headphones for proper binaural experience) • Matthew Barney, Cremaster Cycle, 1994-2002. Excerpt from Cremaster 3: The Order, vimeo, (video, 7:38) • Nancy Spector, Guggenheim exhibition interactive from the Cremaster exhibit, 2003 • Christian Marclay, The Clock, 2010. YouTube clip (video, 3:34)

Annotated bibliography due by end of week Quiz 3 due by end of week covering Units 4, 5, and 6

Week 12: Unit 7 Art and Politics October 31: Funk Art, Vietnam Readings: (ca. 7,100 words, 7:49 of video) • Roula Seikaly, “Thoughts on a hot, committed, bizarre, sensuous, ugly, and ungainly form of art,” Art Practical September 11, 2013 • David Colosi, excerpt on Ed Kienholz’s 5 Car Stud from “2.1.0 EDWARD AND NANCY REDDIN KIENHOLZ,” Center for 3-D Lit • Bruce Conner, CHILD, 1959-60, ArtBros discussion (youtube video, 7:49) October 17, 2013 • Tyler Green, “The seventh of September,” 3rd of May tumblr, September 7, 2011. • Laura Cottingham, "The War is Always Home" Catalog essay, October, 1991. • Rowan Bain, “Ester Hernandez: Sun Mad,” Art In Print, volume 3 number 6, March-April 2014.

November 2: Recent political art: Into the 21st century Readings: (ca. 9,900 words, 9:27 of video) • Amanda McCuaigh, “Sue Coe’s Slaughterhouse Stories,” Art Threat, January 24, 2012 (video, 9:17) • Vik Muniz, The Sugar Children Series, 1996, Christie's Lot Notes. Please click "Lot Essay" tab below the image to read the full text • Benjamin Sutton, “A Brief History of Piss Christ,” Art in the Air, ArtInfo Blogs, December 25, 2013 • Gerhardt Richter, Man Shot Down, from the series October 18, 1977, 1988. Notes on the Baader- Meinhof series, from gerhard-richter.com. Please click “more” at bottom of text to read the whole thing. • Jonathan Jones, “Anselm Kiefer at the Royal Academy review – ‘an exciting rollercoaster ride of beauty, horror and history’” The Guardian, September 22, 2014.

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• Royal Academy exhibition text, “Anselm Kiefer,” Has links to a gallery, video, and audio materials. • Kenneth Baker, “Abu Ghraib's horrific images drove artist Fernando Botero into action,” SF Chronicle, January 29, 2007. • Catalog Entry for Doris Salcedo, Atrabiliarios, 1992-2004. New South Wales art gallery. • Michael Glover, “Great Works: Interrogation 1, 1981 (305cm x 447cm), Leon Golub,” The Independent great works series, July 14, 2011. • Christina Larson, “Why is Ai Weiwei Breaking Into Alcatraz?” Smithsonian Magazine, October 2014

Week 13: Unit 8 Art and Identity November 7: The Art World and its Others Readings: (ca. 9,500 words, 11:44 minutes of video) • “Carolee Schneemann,” The Art Story. Please read the Synopsis, Key Ideas, and Most Important Art sections, the rest is optional. • The Dinner Party interactive site, Brooklyn Museum. Be sure to click on the different parts of the installation in the website for information • VALIE EXPORT, Tapp und Tast Kino, 1969. Media Art Net documentation of work • Richard Meyer, “Bone of Contention,” Artforum International, November 1, 2004 • Betye Saar, The Liberation of Aunt Jemima, 1974, YouTube interview with Saar (video, 5:20), March 22, 2010 • Olivia Liang, “The Undiminished Charisma of Sarah Lucas,” T Magazine, New York Times, March 22, 2015. Long profile of Lucas, section describing Bitch is early on--you don’t need to read the whole thing • Adrian Piper, My Calling (Cards), 1986-90. Indiana University Art Museum text, 2006 • Stephen Colbert, “Guerilla Girls Interview,” The Colbert Show, January 14, 2016 (video, 6:24)

November 9: Contemporary issues in identity Readings: (ca. 14,000 words) • , "The Other History of Intercultural Performance,” English is Broken Here: Notes on Cultural Fusion in the Americas. New York: New Look Press, 1995. pp. 37-63. • Ellen C. Caldwell, “How Luiseno Indian Artist James Luna Resists Cultural Appropriation,” JSTOR daily, December 25, 2015

Provisional thesis due by end of week

Week 14: Unit 8 continued November 14: Contemporary issues in identity Readings: (ca. 4,600 words) • National Gallery of Art, “Recognize! Hip Hop and Contemporary Portraiture,” exhibition text, National Gallery of Art, 2008 • Elisabeth Ginsburg, “Case Study: Mining the Museum,” Beautiful Trouble

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• Nato Thompson, “Curatorial Statement,” on Kara Walker’s A Subtlety or, The Marvelous Sugar Baby, 2014. Creative Time, 2014 • Terence Clarke, “Kara Walker at the Whitney Museum of American Art,” Blog Critics, November 21, 2007 • Allison Young, “Chris Ofili, The Holy Virgin Mary,” Smarthistory, Khan Academy.

November 16: Contemporary issues in identity, continued Readings: (ca. 3,000 words and 2:16 of video) • Michael Glover, “Francis Bacon, Study After Velazquez's Portrait of Pope Innocent X, 1953,” The Independent Great Works series July 5, 2015. • NAMES project, AIDS Memorial Quilt website • Jenevive Nykolak, “Fever Dreams: David Wojnarowicz at the New Museum,” New Museum, October 2012. Scroll down to image of Peter Hujar Dreaming and read about the work--do not need to read entire essay • David C. Ward, “Hide/Seek: Felix Gonzalez-Torres, Untitled (Portrait of Ross in L.A.), 1991,” Art Babble (video, 2:16)

Week 15: Unit 9 Art and the Body November 21: The Body as Object and Subject Readings: (ca. 6,500 words, 33:48 of video) • F Yeah Feminist Art tumblr, “Kiki Smith, Untitled, 1990,” October 29, 2011 • Yoko Ono, Cut Piece, 1964-66, YouTube excerpts (video, 9:18) • “Why Joseph Beuys and his dead hare live on,” Phaidon blog, March 3, 2014 • German TV special on Joseph Beuys, including excerpts of How to Explain Pictures to a Dead Hare and interview (video, 14:59) • Vito Acconci, Seedbed, 1972, MOMA text • Vito Acconci, "Performance After the Fact," Documents sur l’Art Contemporain, N. Bourriaud, Paris, 1992. • Marina Abramovic on Rhythm 0, 1974 (video, 3:07) • , Shoot, 1972, video documentation (video, 1:52) • Peter Schejldahl, "Performance: Chris Burden and the Limits of Art," The New Yorker, May 14, 2007. • Erin Dziedzic, “One Universal Energy Runs Through Everything,” Drain magazine • Mary Kelly, Post-Partum Document, 1972-79, British Library documentation (video, 4:32) • Rachel Warriner, “Mary Kelly, Post-Partum Document,” Smarthistory, Khan Academy

November 23: No Class, Thanksgiving Holiday

Week 16: Unit 9 continued November 28: The Body as Object and Subject Readings: (ca. 3,300 words, 1:33 of audio)

Koblik: ARTHS 199 page 12 DVC—Pleasant Hill Campus Ms. Kristen Koblik Fall

ARTHS 199-1993 TTH 12:30-1:50PM in room A-106 2017

• Hannah Ellis-Petersen, “Tracey Emin's messy bed goes on display at Tate for first time in 15 years,” The Guardian, March 30, 2015 (includes audio interview with Emin, 1:33) • Chiwoniso Kaitano, “The Afrofuturism of Wangechi Mutu,” The Guardian, November 13, 2013 • Ann Jones, “Meat Illuminated: Helen Chadwick’s Meat Abstracts,” Image Object, Text, January 30, 2014 • Sofia Retta, “Sex Attacks, Skin Attacks: Black Feminism in the Art of Lorna Simpson,” Medium.com, April 28, 2015

November 30: Trans- and Post-Human concerns Readings: refer back to readings on Stelarc, Orlan, and Patricia Piccinini Essays due by end of week (Friday December 1 at midnight)

Week 17: End of Semester Wrap Up and Review December 5: Catch-up Day

December 7: In-class assignment: Six Degrees of Separation Quiz 4 due by end of week covering Units 7, 8, and 9

Week 18: Finals Week Our final is Thursday December 14, 10:30AM-12:30PM in A-106 Any student with a legitimate conflict during the final exam must inform me to schedule an alternate time at least one week prior to the date of the exam. Do not schedule flights during finals week. Paper for finals is provided, no need to bring anything other than pens/pencils.

Koblik: ARTHS 199 page 13