ART HUMANITIES: MASTERPIECES OF WESTERN ART Spring 2014 W1121; Section 00 Mon!"# "n! We!ne$!

"#% 1:10 p&'2:2( p& )04 Sc*er&er*orn In$tr+ctor: Dr. Carolina Mangone E&"i,: cm3289@columbia.edu O--ice: 653b Schermerhorn Extension O--ice *o+r$: Monda s 3!" #m$ or b a##ointment

Co+r$e !e$cription: %rt &umanities teaches students ho' to loo( at$ thin( about$ and engage in critical discussion o) the *isual arts. +t is not an historical sur*e but an anal tical stud o) a limited number o) monuments and artists. ,he course )ocuses on the )ormal structure o) 'or(s o) architecture$ scul#ture$ #ainting$ and other media as 'ell as the historical contexts in 'hich these 'or(s 'ere made and understood. %mong the to#ics included in the s llabus are the -arthenon$ %miens Cathedral$ and 'or(s b .a#hael$ Michelangelo$ /ruegel$ /ernini$ .embrandt$ 0o a$ Monet$ -icasso$ 1right$ 2e Corbusier$ -olloc($ and 1arhol. +n addition to discussion!based class meetings$ 'e 'ill ma(e extensi*e use o) the *ast resources o) 3e' 4or( Cit through )ield tri#s to museums$ buildings$ and monuments.

Co+r$e re.+ire&ent$: Atten!"nce: Students are ex#ected to attend all scheduled class meetings and museum *isits$ to be #unctual$ to be #re#ared$ and to contribute acti*el to class discussions. %bsences that cannot be a*oided due to illness$ religious obser*ance$ or emergenc must be re#orted to the instructor 5#re)erabl be)ore the class in 6uestion7 and must be *eri)ied b a third #art . %)ter one unexcused absence$ our )inal grade 'ill be lo'ered one letter grade )or e*er additional class missed. If you miss 3 or more classes, you will automatically fail this course. -re#aration )or class includes$ but is not limited to$ assigned readings 5as listed in the s llabus as 'ell as those assigned ad hoc7$ regular stud o) images and *isual resources )ound on the %rt &umanities 'ebsite. %ll readings are gi*en as #re#aration )or class$ so #lease do them be)ore rather than a)ter.

Short one!t'o #age res#onse #a#ers ma also be assigned intermittentl throughout the semester. +n class$ #lease be res#ect)ul o) the instructor and our )ello' students. Cell #hones must be turned o)) at the beginning o) e*er class and la#to#s$ i!#ads and i!#hones are not allo'ed. -lease do not ta#e$ *ideo!record$ or #hotogra#h the lectures or class discussions. M+$e+& Trip$: During the course o) the semester$ 3 tri#s to museums 'ill be scheduled. ,hese 'ill be held on Saturda mornings and are listed on the s llabus. /o+ "re re.+ire! to "tten! 2 o+t o- t*e 0 trip$. +) )or an reason ou ha*e commitments that 'ill #re*ent ou )rom attending those tri#s$ ou must s#ea( to me be)orehand. A$$ign&ent$1E2"&$: ***Nota bene: To pass this course you must complete all components. You may not skip an exam or assi nment. !oin so will result in automatic failure of this course. Mi!'ter& "n! -in", e2"&in"tion$: /oth consisting o) slide com#arisons and essa 6uestions$ as 'ell as identi)ication o) un(no'n 'or(s o) art. ,he date o) examinations cannot be changed under an circumstances 5barring medical emergenc 7. Writing "$$ign&ent$: ,hree 3!" #age essa s based on 'or(s o) art and architecture )ound in 3e' 4or(. ,hese are not research #a#ers. Each assignment should be rooted in thought)ul and care)ul obser*ation. ,he )orm o) the essa itsel) 'ill also be critical to success)ul com#letion o) the assignment. ,houghts should be #resented in elegant and #recise #rose$ allo'ing )or )luid #rogression )rom one idea to the next. ,he details o) the assignments 'ill be enumerated in subse6uent handouts. %ll essa s are due at the beginning o) the res#ecti*e class meeting$ and are to be both emailed to the #ro)essor and handed in as a hard!co# . 8882ate #enalties )or essa s9 5: #er da 8881or( 'ill not be acce#ted be ond one 'ee( a)ter the due date 5unless granted an extension due to s#ecial considerations7 E3",+"tion: ;C<9 indicates ade6uate master o) the material and merel com#etent 'ritten and oral #resentation ;/<9 sho's additional e))ort$ 'ith )ull understanding o) the data and conce#ts

;%<9 is reser*ed )or those students #roducing su#erior 'or($ 'hich includes a )ull com#rehension o) materials accom#anied b thought)ul$ 'ell!'ritten #a#ers that go be ond the assignment$ and exce#tional class #artici#ation 4r"!e 5i$tri6+tion: =5: %ttendance$ #artici#ation$ #resentations$ in!class 6ui>>es and res#onse #a#ers =5: ?irst -a#er 5based on an a*erage o) our grades )rom the )irst dra)t$ #eer! re*ie' comments$ and )inal dra)t7 =5: Mid!term Exam =5: Second -a#er 2@: ?inal -a#er 2@: ?inal Exam P,"gi"ri$& Po,ic#: +ncluding the 'or( o) others in ou #a#ers 'ithout due credit$ deliberatel or not$ is #lagiarism. +) it is determined that ou ha*e #lagiari>ed in order to com#lete an assignment$ you will be reported to the dean and you will automatically fail this course. +) ou ha*e an 6uestions about 'hat constitutes #lagiarism$ #lease come see me. St+!ent$ 7it* 5i$"6i,itie$: + am ha## to ma(e academic adAustments )or 6uali)ied students 'ith disabilities. -lease contact me as soon as #ossible in order to ensure our needs are met in a timel manner. Co+r$e Re"!ing$ "n! On,ine Re$o+rce$: ,he %rt &umanities 'ebsite 'ill be an indis#ensable stud aid as it includes images$ as 'ell as all readings )rom the -rimar Source .eader. %ll other re6uired readings can be )ound in Course'or(s$ as h #erlin(s or #d)s$ under the res#ecti*e class heading. Suggested readings #ro*ide bac(ground in)ormation and are a good source o) additional images. %rt &umanities 1ebsite9 htt#9BB'''.mcah.columbia.eduBarthumanitiesB Cser +D9 ahar -ass'ord9 826sch Course'or(s9 htt#s9BBcourse'or(s.columbia.eduB -lease ma(e sure to chec( Course'or(s )re6uentl )or u#dates and changes to the s llabus$ as 'ell as )or the class #o'er#oints and assignments.

COURSE SCHE5U8E Wee9 1 We!ne$!"#% :"n+"r# 22

Intro!+ction

Discussion9 1hat is artD &o' do 'e loo( at a 'or( o) artD 1hat is ;the 1estD< +s there something inherentl ;1estern< about 1estern artD .eading9 .oland /arthes. ;.hetoric o) the +mage< Ima e, "usic, Text 53e' 4or(9 ?arrar$ Straus and 0iroux$ =9EE7$ 32!5=. COURSEWOR;S

Wee9 2 Mon!"#% :"n+"r# 2

P"rt*enon I Temple, Tectonics and Triumph

Discussion9 1hat is classicismD 1ho 'as -ericlesD 1hat is the role o) the -arthenonD 1hat signi)icance does classical architecture ha*e toda D 1h is this signi)icant )or our understanding o) the -arthenonD .eading9 ,huc dides$ ;?uneral Fration o) -ericles< ART HUM < COURSEWOR;S &enri Gerner. HClassicism as -o'er.H Iohn C. McEnroe and Deborah ?. -o(ins(i$ eds.$ #ritical $erspecti%es on &rt 'istory 5-rentice &all9 3e' Ierse $ 2@@27$ 3=!36. COURSEWOR;S S#end time loo(ing at9 -arthenon %rchitectural Frders Diagram ART HUM SITE -arthenon 0round#lan and Ele*ation ART HUM SITE -arthenon 36@J ART HUM SITE -arthenon %nimated 0lossar ART HUM SITE We!ne$!"#% :"n+"r# 2= P"rt*enon II Sculpture, Site and Memory

In'C,"$$ C+,t+r", P"tri&on# 5e6"te Discussion9 ,he -arthenon marbles are currentl o'ned b the /ritish go*ernment and held in the /ritish Museum$ 2ondon. 1e 'ill hold an in!class debate on the issue o) cultural #ro#ert 'ith the marbles as a )ocal #oint. 4ou 'ill be di*ided into t'o grou#s and as(ed to in )a*or o) either =7 restitution to 0reece$ or$ 27 #reser*ation in /ritain.

/elo' are a number o) rele*ant articles. ,he historical in)ormation remains the same$ although di))erent #oints o) *ie' are re#resented. Come to class #re#ared to de)end an o) the abo*e #ositions. .eading9 New York Times ;,imes ,o#ics< section on the Elgin Marbles Da*id &enc(e. ;-M reAects 0ree( #ush )or marbles.< The (uardian 5,uesda Iune 6$ 2@@@7. I. Merr man. ;1ho o'ns the Elgin MarblesD< &)TNews 5=98679 =@@!=@9.
COURSEWOR;S

;.uling tightens gri# on -arthenon marbles$< The (uardian *nlimited 5Ma 2E$ 2@@57 1ebsite about the Elgin Marbles htt#9BB'''.greece.orgB#arthenonBmarblesB +an Ien(ins$ ;Cleaning and Contro*ers 9 ,he -arthenon Scul#ture$ =8==!=939<
COURSEWOR;S

;-arthenon Scul#tures9 .ecord o) incidents )ollo'ing their re!exhibition a)ter the Second 1orld 1ar =9"9! #resent< COURSEWOR;S .ebecca Mead$ ;Den o) %nti6uit 9 ,he Met De)ends +ts ,reasures$< The New Yorker 5%#ril 9$ 2@@E7. COURSEWOR;S

Wee9 0 Mon!"#% Fe6r+"r# 0

A&ien$ I Cathedral, Construction and Cosmos

Discussion9 ,he ex#erience o) the cathedral. 1hat distinguishes a cathedral )rom a churchD &o' is a 0othic cathedral builtD -lease 'atch the *ideo$ %miens ,rilog $ #arts + K ++$ .e)lections and .e*elations. +t is a*ailable on +tunes$ and ou can also access it under ;%miens!Mo*ies< ART
HUM WE>SITE

Stud 0lossar on the %miens 'ebsite and the %miens 0round#lan and Cross! Section$ as 'ell as the other ;Ex#lore %miens< )eatures on the %rt &umanities 1ebsite. ?amiliari>e oursel) 'ith the *ocabular as it 'ill be essential to class discussion. We!ne$!"#% Fe6r+"r# ( A&ien$ II Didactic Doors

Discussion9 ,he Scul#tural -rogram at %miens.

.eading9 Excer#ts )rom the &ol /ible$ 9!=3 and -o#e 0regor the 0reat. Fn the -ro#er Cse o) +mages. ART HUM REA5ER Camille$ Michael$ ;0othic Signs and the Sur#lus9 ,he Liss on the Cathedral$< Yale +rench ,tudies ;S#ecial +ssue9 ContextsM< 5=99=79 =5=!=E@.
COURSEWOR;S

Wee9 4 Mon!"#% Fe6r+"r# 10

Ho7 to Co&p"re T7o Wor9$ o- Art Ho7 to Write " 4oo! Art Hi$tor# P"per

?or POSSI>8E FIE85 TRIP TO St@ :o*n t*e 5i3ine: !et"i,$ to 6e "nno+nce! Discussion9 1e 'ill discuss ho' to tac(le a com#arison bet'een t'o 'or(s o) art. 1e 'ill also do a grou# exercise on ho' to 'rite a good art histor #a#er. .eading9 3. Lnobler$ H,he .e#resentation o) ?orm and S#ace$< The -isual !ialo ue, =5"!=69 COURSEWOR;S 3. Lnobler$ .Color ,heor $< The -isual !ialo ue, ##. 32E!329. COURSEWOR;S DN%lle*a$ %nne. /ook0 The +undamentals of &rt 'istory. 2nd ed. -rentice &all$ 2@@6 COURSEWOR;S .ecommended .eading9 Ioshua Charles ,a lor. /earnin to /ook: & 'andbook for the -isual &rts . 2d ed. Chicago9 Cni*ersit o) Chicago -ress$ =98=. COURSEWOR;S S l*an /arnet. & ,hort (uide to 1ritin about &rt$ 5th ed.$ 3e' 4or(9 &ar#er Collins$ =99E. Sections9 ; ,he ?unctions o) Critical 1riting<O ;Ex#ressing F#inions . . .<O ;%nal sis<O ; ?ormal %nal sis<O ;St le in 1riting<
COURSEWOR;S

1illiam Ginsser. 2n 1ritin 1ell: The #lassic (uide to 1ritin Nonfiction . 25th ed. 3e' 4or(9 Puill$ 2@@=. Ch#s. 2$3$ 9 and =@9 ;Clarit O< ;Sim#licit O< ;,he 2ead and the EndingO< ;/its and -ieces< COURSEWOR;S We!ne$!"#% Fe6r+"r# 12 R"p*"e, I Christianity and Classicism in Perspective

Discussion9 .a#hael and .omeO 2a Stan>a della Segnatura. -a#al #atronageO relationshi# o) #ainting and architecture. -lease 'atch the t'o mo*ies about .a#haelNs ,chool of &thens and the !isputa, 'hich are a*ailable on +tunes and accessible under .a#haelBMo*ies. ART HUM
WE>SITE

FIE85 TRIP: S"t+r!"#% Fe6r+"r# 1(% 12p& A",$o% i- nece$$"r#% 2p&B@ T*e Metropo,it"n M+$e+& o- Art% Ren"i$$"nce 4",,erie$ 1e 'ill discuss art 'or(s as obAects. F) #articular interest 'ill be tem#era$ )resco and oil #ainting techni6ues$ restoration and conser*ation$ as 'ell as brushstro(e$ com#osition$ and iconogra#h .

Wee9 ( Mon!"#% Fe6r+"r# 1

R"p*"e, II Style, Character and Grace

Discussion9 -ainting as a medium. St le as a construct. .eading9 2eon /attista %lberti$ ;Fn -ainting< 0iorgio Qasari$ ;-re)ace to -art +++< o) the 2i*es 0iorgio Qasari$ ;2i)e o) .a#hael<
A88 IN ART HUM REA5ER

-a s#ecial attention to QasariNs comments on .a#haelNs #ersonalit and his st le. +n toda Ns class 'e 'ill discuss #ortraiture$ and .a#haelNs relationshi# to -erugino$ 2eonardo and Michelangelo. +n the )ollo'ing class on .a#hael$ 'e 'ill discuss .a#haelNs career in .ome$ #articularl the )rescos he com#leted in the Stan>a della Segnatura in the Qatican$ so #a attention to QasariNs comments on that #articular commission. +) 'e ha*e time$ 'e 'ill also loo( at the ,rans)iguration in class. We!ne$!"#% Fe6r+"r# 1= Mic*e,"nge,o I Carving Stone, Carving Bodies

Discussion9 Scul#ture as a medium. MichelangeloNs earl 'or(s$ including the !a%id. ,he relationshi# bet'een #ersonalit and st leO com#arison o) QasariRs /ife of )aphael and his /ife of "ichelan elo. .eading9 QasariRs /ife of "ichelan elo, and MichelangeloRs -oems ART HUM REA5ER +r*ing 2a*in. ;Da*idNs Sling and MichelangeloNs /o'.< +n /3&rt et les r4%olutions. #onf4rences pl4ni5res. 5Strasbourg$ =99@79 =@5!"6. COURSEWOR;S

Wee9 ) Mon!"#% Fe6r+"r# 24

Mic*e,"nge,o II Conception versus Completion 7

5UE IN C8ASS: Fir$t P"per 5r"-t Discussion9 Michelangelo9 ,he Iulius ,omb and the Sistine Cha#el. S#end time loo(ing at the P,Q.s o) the Medici Cha#el and the Goomi) )iles o) the 3e' Sacrist and the ,ombs o) 0iuliano and 2oren>o de Medici ART HUM
SITE

Ex#lore the Sistine Cha#el on the QaticanNs 'ebsite 1atch the Cli# ;Michelangelo .estored$< %*ailable on +,unes C. .eading9 MichelangeloRs -oems$ es#eciall #oem about his ex#erience 'or(ing on the Sistine Ceiling ART HUM REA5ER We!ne$!"#% Fe6r+"r# 2) Pieter >re+ge, t*e E,!er I Perspective as Challenge

5UE IN C8ASS: Peer' Re3ie7 P"per E2c*"nge Discussion9 +ntroduction to the 3orthern Euro#ean -ainting tradition. /reugelNs treatment o) #easants and religious subAects. 1e 'ill consider$ in #articular$ ho' /reugel is challenging the *ie'er to thin( about her o'n #oint o) *ie'. .eading9 S*etlana %l#ers. ;/ruegelNs ?esti*e -easants.< ,imiolus 6 5=9E2!E279 =63!=E6.
COURSEWOR;S

Wee9 Mon!"#% M"rc* 0

Pieter >re+ge, t*e E,!er II Proverb as Visual Language

5UE IN C8ASS: Fin", P"per% ",ong 7it* -ir$t !r"-t "n! peer're3ie7 co&&ent$ Discussion9 &umanist themes and #o#ular imager . /ruegelRs treatment o) #easants and his late st le change. Ex#loration o) #rint techni6ues$ humanist themes and #o#ular imager . /ruegelRs treatment o) religious subAects. .eading9 Ellen DRFench$ H/loc(!-late!Stone9 1hat a -rint +s$H 5!=5. COURSEWOR;S

We!ne$!"#% M"rc* (

>ernini I Temporalities and Trans ormations 8

Discussion9 Dramatic Scul#ture. 2i)eli(e -ortraiture. &o' does /ernini con*e motion and emotionD Do his )igures 5'hether m thological$ biblical or historical7 seem indi*iduated or genericD 1hat textures is /ernini able to suggest to the e eD 1hat senses is he engaging in the s#ectatorD &o' does the *ie'er res#ond to these scul#tures 5#h sicall $ intellectuall and emotionall 7D .eading9 F*id$ 6!pollo and Daphne" in Metamorphoses# ART HUM REA5ER Michael Cole. ;/ernini Struts$< +n ProCecting I!entitie$: T*e Po7er o- M"teri", C+,t+re$ ed. Ioanna So)aer Dere*ens(i 52ondon9 /lac('ell$ 2@@E79 55!66. COURSEWOR;S

Wee9 D Mon!"#% M"rc* 10

>ernini II Coe$tensive %arratives

Discussion9 1e 'ill consider /erniniNs multimedia religious ensembles$ #articularl his Cornaro cha#el$ 'hich integrates scul#ture$ #ainting$ architecture into a uni)ied 'hole 5or a bel composto$ a term a##lied in the se*enteenth! centur to /erniniNs art that translates as ;beauti)ul 'hole<7. &o' are the di))erent #arts o) the Cornaro cha#el related to one anotherD 5Consider both materials and subAect matter.7 1hat is the role o) the *ie'er in the bel compostoD .eading9 Excer#t )rom the 2i)e o) Saint ,eresa ART HUM We!ne$!"#% M"rc* 12 MI5TERM EEAM

REA5IN4 WEE; Mon!"#% M"rc* 1 F Fri!"#% M"rc* 21

Wee9 = Mon!"#% M"rc* 24

Re&6r"n!t I Senses and the Painter&s Touch

Discussion9 -ainting ,echni6ues. Sel)!#ortraits and the creation o) the artist. Earl and 2ate .eligious 1or(s. .eading9 9

S*etlana %l#ers.;,he MasterNs ,ouch$< +n )embrandt7s 8nterprise: The ,tudio and the "arket 5Chicago$ =9887$ ="!33. COURSEWOR;S We!ne$!"#% M"rc* 2) Re&6r"n!t II Portrait as 'istory Painting

Discussion9 0rou# #ortraits. 1hat catches our e e9 the sittersN ex#ressions$ their #oses$ their clothing$ the use o) light$ the settingD 1hat bac(ground )rames the )iguresD +s there an suggestion o) narrati*e in the #ortraitD -rintma(ing techni6ues$ including etching and dr #oint. .eading9 .embrandtNs 2etters to &u gens ART HUM %nthon /aile . ;,he .embrandt .esearch -roAect$< COURSEWOR;S

Wee9 10 Mon!"#% M"rc* 01

4o#" I Court !rtist, Social Commentator

Discussion9 0rou# -ortraits and the ?emale 3ude. .eading9 Iean Starobins( . ;0o a$< in 9:;<: The 8mblems of )eason 5Charlottes*ille9 Cni*ersit -ress o) Qirginia$ =9827$ =82!2@2. COURSEWOR;S Ianis %. ,omlinson. ;/urn it$ &ide it$ ?launt it9 0o aNs Ma as and the Censorial Mind$ < &rt =ournal 5@ 5=99=79 59!6". COURSEWOR;S We!ne$!"#% Apri, 2 4o#" II 'orrors o 'istory Painting(Printing

Discussion9 Changes in histor #ainting. 2os Ca#richos and the meeting o) realit and )antas . Ex#lore MomaNs ;1hat is a -rintD< section 5%rt&um 1ebsite7 .ead9 %d*ertisment )or 2os Ca#richos ART HUM REA5ER FIE85 TRIP: S"t+r!"#% Apri, (% 11 "& A",$o% i- nece$$"r#% 2p&B@ Metropo,it"n M+$e+& o- Art% Re&6r"n!t% 4o#"% "n! Monet Discussion 'ill )ocus on #ainterliness$ brushstro(e$ im#asto$ and ;)latness< 10

Wee9 11 Mon!"#% Apri,

Monet I The )leeting and the Modern

5UE IN C8ASS: Secon! P"per A$$ign&ent Discussion9 +m#ressionism. -lein!%ir #ainting. Social context9 &aussmani>ation$ de*elo#ment o) suburbs$ tourism industr $ leisure time. We!ne$!"#% Apri, = Monet II Seeing in Time

Discussion9 Monet and the series #aintings. Sel)!conscious selection o) themes and exhibition #ractices. 0i*ern and the 'aterlilies. .eading9 Edmond Durant $ Excer#t )rom H,he 3e' -ainting$H 5=8E67 ART HUM REA5ER Charles /audelaire )rom H,he -ainter o) Modern 2i)e.H Ed. Ionathan Ma ne 5=863O 2ondon9 -haidon$ =96"7. 5!=". COURSEWOR;S 3ote9 /audelaire is not 'riting about Monet$ but his text gi*es ou a sense o) general cultural trans)ormations occurring in ?rance in the middle o) the nineteenth centur .

Wee9 12 Mon!"#% Apri, 14

Pic"$$o I Con ronting Tradition

Discussion9 1e 'ill )ocus on a single 'or($ the Demoiselle dR%*ignon. S#end time loo(ing at /es !emoiselles d7&%i non ART HUM ?or those o) ou interested in issues o) conser*ation$ read Cal*in ,om(ins$ H% -icasso ?ace!li)t$H in The New Yorker 5Ma 2"$ 2@@"7. COURSEWOR;S 4ou ma also enAo loo(ing at the MFM% 'ebsite because the ha*e a number o) additional details about the Conser*ation o) 2es Demoiselles dR%*ignon. We!ne$!"#% Apri, 1) Plane 11 Pic"$$o II Shattering the *indo+, ,ethin-ing the

Discussion9 Cubism and Collage. .eading9 .osalind Lraus. ;+n the 3ame o) -icasso$< 2ctober =6 5S#ring$ =98=79 5!22.
COURSEWOR;S

.ead the excer#t )rom 0ertrude SteinRs H-icasso =9=2H ART HUM REA5ER

Wee9 10 Mon!"#% Apri, 21

Wrig*t "n! 8e Cor6+$ier %e+ Principles, %e+ .rder

Discussion9 Modern %rchitecture S#end time loo(ing at ;Qisiting ?alling'ater$< ;.oncham#$ 3otre!Dame!du!&aut<$ and ;2a Qilla Sa*o e< ART HUM SITE

We!ne$!"#% Apri, 20

:"c9$on Po,,oc9 Per orming Painting

Discussion9 Iac(son -olloc(. -ure %bstraction. ?latness. 5+n class$ 'e might 'atch &ans 3amuthRs mo*ie o) -olloc( #ainting.7 .eading9 Clement 0reenberg. ;Modernist -ainting$< )rom &rt in Theory, 9<>>?9<<>: &n &ntholo y of #han in Ideas. Ed. Charles &arrison and -aul 1ood$ E5"! E6@. COURSEWOR;S ;Iac(son -olloc(9 +s &e ,he 0reatest 2i*ing -ainter +n ,he C.S.D< /ife "a a@ine 5%ug 8. =9"979 "2!"5. COURSEWOR;S FIE85 TRIP: S"t+r!"#% Apri, 2( TIME T>A M+$e+& o- Mo!ern Art 1e 'ill loo( at -icassoNs !emoiselles and Cubist 'or(s$ Iac(son -olloc( and %nd 1arhol.

Wee9 14 Mon!"#% Apri, 2D

An!# W"r*o, /rasing !uthorship0

Discussion9 Mechanical re#roduction and art. -o# culture. .eading9 The $hilosophy of &ndy 1arhol9 +rom & to A and Aack & ain$ ##. 9=!=@3
COURSEWOR;S

12

-eter Sel> et. al.$ ;% S m#osium on -o# %rt$< $op &rt: & #ritical 'istory 5/er(le 9 Cni*ersit o) Cali)ornia -ress$ =99E7$ =@3!==E. COURSEWOR;S We!ne$!"#% Apri, 00 W*ere "re t*e -e&",e "rti$t$G

.eading9 2inda 3ochlin. ;1h ha*e there been no great 'omen artistsD< &rtNews 5=9E=7
COURSEWOR;S

Wee9 1( Mon!"#% M"# (

Ret*in9ing Art H+&"nitie$ Fin", E2"& Re3ie7

5UE IN C8ASS: Fin", P"per A$$ign&ent Come to class #re#ared to lead the re*ie'. Do ou ha*e 6uestions about the course materialD 1hat might be some good com#arisons and exam 6uestionsD FINA8 EEAM ,/%

13