FA164 The Re-Invention of Art This Syllabus subject to modification for Fall 2015
Prof Peter Kalb MWTh 10-10:50 MandelG10 Office Hours Mandel 208 MWTh 11-12:30 and by appointment.
By the 1960s the US was the art-world capital. Radical art, however, appeared everywhere. This course examines US art of the 1960s -1970s in light of artistic production in artistic centers around the globe.
Readings
Required Texts: Thomas Crow, Rise of the Sixties, New Haven: Yale University Press, 1996. Steven H. Madoff, Pop Art: A Critical History, Berkeley: University of California Press, 1997, Elizabeth Harney In Senghor’s Shadow, Durham: Duke University Press: 2004
Recommended: Nancy Spero, Torture of Women, Los Angeles: Siglio Press, 2010
Recommended films: Battle of Algiers (1966) In the Year of the Pig (1968), Huey (1968), Painters Painting (1973), Womanhouse (1974).
All other required texts will be on LATTE.
Requirements
An 8-10-page paper addressing one of the following prompts
1. Critically assess the curatorial presentation of 60s and 70s era works in two institutions. Museums contribute greatly to the production of history. This paper asks you to analyze and evaluate what different institutions are saying about this volatile moment in our history. Using the collection and your own research on the period, determine what picture of the 1960s and 1970s is being created at the each museum. What is being emphasized, what is being left out and what are the consequences?
2. I will place a bibliography of several theoretical texts on LATTE by authors including Roland Barthes, Guy Debord, Gilles Deleuze & Félix Guattari, Michel Foucault, Linda Nochlin, Laura Mulvey, Adrian Piper, Frantz Fanon, and Susan Sontag. Choose two of these and discuss the connections you find between the arguments in the essays, the history of the 60s & 70s, the readings assigned on the syllabus, and, most importantly the art of the period. Use art from at least two different sections of the course and be sure to included specific quotes from the texts and details from the art.
3. Compare the intersection of art and politics in two different locations. 1960s Japan might be compared to the 60s in the UK or the US. One could write a comparison of the politics of style in Brazil, Senegal, Chicago, or Japan. For at least one of the locations start with art we have discussed in class, but if you want to research a different location for your second example please do. The 60s and 70s saw fascinating transformations in far more places and far more studios than we could cover in class. Regardless of where you choose, this paper will involve a degree of research and focus. The readings in class are merely an introduction to the issues. Once you’ve chosen a topic select a few artists from each locale and relate their work to their context as you create a meaningful argument.
The paper will be done in two stages, with a first draft due Nov 18. The draft will be peer-edited and returned it by Nov 23. Editors will receive credit for their feedback so please keep a copy of your work as peer-editor. The draft, final paper, and edits are due Dec 12.
3 Tests –
These tests will include slide IDs for which you will have to identity the artist, movement, nationality, and date of a given work and essay questions addressing the relationship between the texts and the art. The first and second tests will not be cumulative. The last test will take place during the exam week and will be cumulative. Dates of the tests are Sept. 29, Nov 12, and the date of our scheduled final.
Grades
First Draft 05%
Paper 30%
Tests (3 x 20) 60%
Participation (including peer editing) 05%
Class Calendar (any changes will be announced in class)
08.27 / Intro
08.31
09.02
09.03 / Art of Real Life
Rauschenberg / Johns
Independent Group
Happenings
Fluxus
Hi Red Center / Thomas Crow, Rise of the Sixties. 7-19,
Allan Kaprow, “The Legacy of Jackson Pollock,” LATTE.
Leo Steinberg,” Jasper Johns: The First Seven Years of his Art,” LATTE
Robert Rauschenberg, selected statements on LATTE..
Allan Solomon, “Robert Rauschenberg,” in Madoff. 19-23
Smithsons, Richard Hamilton and IG sections in Madoff, 3-7.
Allan Kaprow, “How to Make a Happening,” (Side 1) Online.
George Maciunas, “Manifestos” online.
Dick Higgins A CHILD'S HISTORY of FLUXUS Online
George Brecht, “SOMETHING ABOUT FLUXUS” online.
Ben Vautier,” TEXT ON THE FLUXUS.” Online.
Yoko Ono “Lectures on Events.” Online.
Alison Knowles, “by Alison Knowles” Online
Hi Red Center, poster with events. Online
Reiko Tomii, “Geijutsu on their Minds: Memorable Words on Anti-Art,” LATTE
09.07 no class
09.09
09.10
09.14 no class
09.16
09.17 / Pop Life
Pop NY/CA
Pop in Germany / Crow 22-37, 39-47, 69-95, 120-122.
Gene Swenson, “What is Pop Art, Part 1 & 2,” in Madoff, 103-116.
Selz, “The Flaccid Art,” in Madoff, Pop Art.
Warhol section in Madoff, Pop Art, 266-301.
Lichtenstein section in Madoff, Pop Art, 187-212.
Oldenburg section in Madoff, 213-240.
Gerhard Richter, The Daily Practice of Painting, selections. LATTE.
09.21
09.23 no class
09.24
Test 1 September 29
09.30
10.01 / Primary Structures Open Form
Minimalism
Neo-Concrete
Arte Povera
Mono-Ha & Dansaekhwa / Crow, 139-150.
James Meyer, “ A Tour of ‘Primary Structures.” LATTE.
Bruce Glaser, “Questions to Stella and Judd,” LATTE.
Ferreira Gullar, “Neo-Concrete Manifesto.”(1959) LATTE.
Lygia Clark and Helio Oiticica Statements and Letters. LATTE.
Helio Oiticica, “Tropicalia” LATTE.
Germano Celant, “Arte Povera,“ LATTE.
Michelangelo Pistoletto, statements, LATTE
Lee Ufan, writings, LATTE
Simon Morley, “Dansaekhwa: Korean Monochrome Painting,” LATTE
10.05 no class
10.07
10.08
10.12
10.14
10.15
10.19
10.21
10.22
10.26
10.28
10.29 / Political Life
Black Arts US/UK
Art and National Identity in Senegal
Feminism and Art
Art and War / Black Phoenix Vol 2 1978 selections LATTE.
Barbara Jones-Hogu “ The History, Philosophy and Aesthetics of AFRI-COBRA.” LATTE.
Benny Andrews, “A Phone Call …” (1973) LATTE
Elizabeth Harney In Senghor’s Shadow p. 1-148. (as pertains to the period)
Miriam Schapiro, “ Womanhouse, catalog essay.” (1972). LATTE (see website for further documentation.)
Linda Nochlin, “Why have there been no great women artists?” (1971) LATTE.
Mary Kelly, “Notes on Reading the Post-Pardum Document,” LATTE.
Art Workers Coalition Statements. LATTE.
Nancy Spero, “Torture of Women.”
11.02
11.04
11.05
11.09
11.11
Test 2 Nov. 12
11.16
11.18
11.19 / Processes of Matter & Mind
Process Art
Earth Art
Body Art
Conceptual Art / Crow, Rise of the Sixties. 154-81 .
Robert Morris, “Anti-Form,” (1968)LATTE.
Robert Smithson, “Monuments of Passaic.” (1967) LATTE.
Robert Smithson, “Spiral Jetty,”(1972) LATTE
Gregory Battcock “The Politics of Space,” (1970) LATTE.
Sol Lewitt, “Paragraphs on Conceptual Art,” LATTE.
Ana Mendieta, Interviewed by Linda Montano LATTE.
“The Year of the Rope: Interview with Linda Montano and Tehching Hsieh,” (1984) LATTE
Alexander Alberro, Reconsidering Conceptual Art 1966-1977,” LATTE
11.23
11.25 no class
11.26 no class
11.30
12.02
12.03
12.07
Test 3 Take home due at the time of the scheduled final
General Class Policies: Attendance: Absences in excess of three class periods will be considered grounds for a 5% reduction of final grade.. Alternative Test Needs: Should you require alternative test formats for any reason talk to me at the beginning of the semester. We can find a test to meet your needs. Cell Phones: Please turn the ringers of your cell phones off. Late assignments: Assignments will be reduced 1/3 grade per day late. Academic Honesty: Unless stated otherwise, you are encouraged to share ideas and information as you write and study. You must, of course, write your own essays and I expect no two papers to be identical in part or whole. When using the writings and thoughts of others cite your sources in footnotes. Internet sources need to be footnoted fully with link to the website. If I can’t get to it, it doesn’t count Honor Code To establish in a formal manner that your work has been completed, to the best of your ability, in accordance with all codes of academic honesty please write and sign, “I have neither given nor received un-authorized aid on this exam/essay” following all tests and papers.
Success in this 4 credit hour course is based on the expectation that students will spend a minimum of 9 hours of study time per week in preparation for class (readings, papers, discussion sections, preparation for exams, etc.).