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Art 1012, Section : CTR

Art History and the Contemporary World

Gail Levin, Distinguished Professor gail_levin@baruch.cuny.edu instructors website: http://faculty.baruch.cuny.edu/glevin/ Department of Fine and Performing Arts, Baruch College Autumn 2011, Tuesdays & Thursdays, 11:10 am-12:25 pm Vertical Campus classroom 7-155 Office: room 7-121 Office hours: Tuesdays one hour after class & by appointment Note: After the first day of class, no electronic devices may be used in the classroom. Students who disobey this rule will have their devices confiscated. They are distracting to the professor and to other students. Students should try to make thumbnail sketches of art works in order to inscribe them into memory. Those works that students need to memorize for the exams will be posted in a study guide son Blackboard. Course objective: This course will introduce students to works of visual art and their history within a global perspective and a broad cultural context. The emphasis will be on works of art created since the 1400s with the recognition that all art ultimately builds on that which has come before. Please note: text book, Exploring Art: A Global, Thematic Approach by Margaret Lazzari and Dona Schlesier (Wadsworth/Thomson Learning). The current, 4th edition of this textbook is 2012 and retails new for $159.50. No used available of this new edition at this time. Good news is you can rent this version for the semester from the Baruch Bookstore for a cost of $80.00. Of course, rented books cannot be kept after the semester is over. For students for whom this cost is too much, used copies of earlier editions are available for purchase online. See www.bookfinder.com While the latest edition is surely improved, I am sympathetic that many students face serious financial challenges and do not wish to impose any further stress on their budgets. Not all works to be discussed in class are illustrated in the text, nor will we discuss all matter in the text. Thus, I will be confirming chapter numbers in the various editions as soon as we see which editions students have acquired. Please try not to buy used editions earlier than the 2008 edition. Some other readings and major works of art discussed in class will be posted on the course website and E-Reserve at Baruch. You are responsible for watching Blackboard online for course announcements throughout the semester. All students must provide the instructor with their email address and it must be correctly listed with the registrars office so that I have access to it on Blackboard. Assignments noted each week are to be prepared in advance of that class after doing the reading and all assignments must be typed with the date and the students last name, then first name on the top right corner. Bring the assignments to class and be prepared to discuss your answers after handing in these assignments. If you need to refer to your own writing to respond

in discussion, please bring two copies: one to hand in and one to keep. Such assignments are graded only pass-fail. Students late to class will be counted off. It is better to come to class on time without the assignment than to come to class late. Coming to class late is also counted against one. Students arriving late cannot turn in their assignments for that week. Absent students cannot make up these assignments. No exceptions.These are intended to be one page only or less. Changes in assignments will be posted on Blackboard and students are expected to check this class website. Note: image lists below are partial and subject to constant revision as I find the most interesting pictures to share with the class; Students may participate by suggesting images or readings. Those whose suggestions are selected will receive extra credit. 1. Tuesday August 30 Introduction to art: What is art? What is culture? What is art history? What is an original? What is a reproduction? What is a parody? What influences artists to create new art works? How does art reflect the time and place where it is produced? *Vincent Van Gogh, The Night Cafe, 1888; Arnold Newman, Portrait of Edward Hopper, 1941; *Edward Hopper, Nighthawks, 1942; parodies of Nighthawks by Equipo Crnica, Red Grooms, Greg Constantine, Mark Kostabi, and others; Meret Oppenheim, Object (Le Djeuner en fourrure), 1936; Grant Wood, American Gothic, 1930; Gordon Parks, American Gothic, Washington, D.C., 1942; As personal expression: Prehistoric art: Lascaux, c. 13,000 B.C.; Naive art: Grandma Moses, Hoosick Falls, 1944. READING: Chapters 1 What is Art? & 2 The Language of Art & Architecture & 6 What Do We Do With Art?.

28 Thursday September 1 Clothing as Art: The Implications of Style Boys Dress Armor of Archduke Charles, Spain, 1512-1514; *Diego Velazquez, Las Meninas, Spain, 1656; Gustave Courbet, Two Girls on the Banks of the Seine, 1856; *Georges Seurat, La Grande Jatte, France, 1884-86; Shoes: Bound feet in China: Hung Liu, Odalisque, 1992; American shoes, 1925; American stiletto heels, Wraps including the toga, Sari in India, the Burqua in Afghanistan, and the Kimono in Japan: Artistic Japan, cover for April 1891, (in Fan Shop, Kyoto and Coming of Age Day, Tokyo, 2001, photographs of contemporary Japan by Gail Levin; Japanese prints; James M. Whistler, The Golden Screen, 1864; Claude Monet, La Japonaise, 1876; William Merritt Chase, The Kimono, 1895; Miriam Schapiro, Anatomy of a Kimono, 1976); Sonia Delaunay, Simultaneous Dress, 1912-1913 and Fabric and Coat, 1924; Gilbert Rohde, Fashion of the Future, Vogue Magazine, February 1939; Peanut Necklace, Moche, Peru, c. 300; 2.38 Mesquakie Bearclaw Necklace, Tama, Iowa, c. 1860; Tatoo artists: Tomika Te Mutu of Coramandel, Maori Chief, New Zealand, 19th Century; Thongs (E.V. Day), punk, Body piercings, etc. Masks and costumes as ritual in Africa: Echo Mask, Kwakiutl, British Columbia; Mask, Zaire, Africa; Beadworkers of the Adesina Family of Efan-Alaiye, Great Beaded Crown of the Orangun-Ila Yoruba, Nigeria, 20th century; Chi Wara Dance Headdresses , Mali, Africa, late 19th or early 20th century; Dogon Ceremony, Mali; body and face painting: Ngere Girl Prepared for a Festival, Africa, late twentieth century; Huli tribesman, Papua, New Guinea and in contemporary America.

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READING: Chapter 5 on Who Makes Art? Also: American Ingenuity: Sportswear, 1930s1970s online at: http://www.metmuseum.org/toah/hd/amsp/hd_amsp.htm and on e-reserve at Baruch: Shamim M. Momim, Speaking in Thongs, in E.V. Day: GForce, brochure from the Whitney Museum of American Art, 2001, n.p. on e-reserve. Assignment due September 1: How would you describe your personal style (such as hair or clothing, etc.)? Consider the style of one of your grandparents, but if you arent familiar with them, choose someone else from their generation. Describe how your style is different or alike that of your grandparent. How does style relate to culture? 28. Tuesday September 6 Depicting Ourselves: The Body (Nude and Clothed): Peggy Bacon, Frenzied Effort, 1926; Lee Krasner, Life Drawings, 1933 and 1939; Venus of Willendorf, c. 30,000-25,000 B.C.; * Polykleitos, Doryphoros (Spear Bearer), Roman after Greek original of 450-440 B.C.; Three Goddesses (east pediment of the Parthenon), 448-432 B.C.; *Agesander, Athenodorus, and Polydorus of Rhodes, Laocoon and His Sons, Hellenistic Greek, late second century B.C.; Aphrodite of Melos, c. 150-100 B.C.; Nike of Samothrace, c. 190 B.C.; *Yakshi, Sanchi, India, first century B.C.; Giselbertus, The Last Judgment, Autun, France, c. 1130; Unkei, Kongorikishi (guardian figure), 1203; Andrea Mantegna, The Dead Christ, c. 1501; * Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814; Edgar Degas, Woman with a Towel, 1894; Auguste Rodin, Walking Man, 1900-1905; *Baule Male Torso, Africa; *Umberto Boccioni, Unique Forms of Continuity in Space, 1913; Pablo Picasso, Girl in a Mirror, 1932; Alberto Giacometti, Walking Man II, 1960; Magdalena Abakanowicz, Backs, 1976-82.. Style, Quality, and Taste: Three sculptures of David by Donatello (C. 1428-1432), *Michelangelo (1501-1504); Gianlorenzo Bernini (1623); The ability to shock: Hieronymus Bosch, The Garden of Earthly Delights, 1505-1510; Gustave Courbet, Two Girls on the Banks of the Seine, 1856; Gustave Courbet, The Sleepers, 1866; Adolphe William Bougereau, Nymphs and Satyr, 1873; *Eduard Manet, Olympia, 1863 and Djeuner sur lHerbe, 1863; *Edvard Munch, The Scream, 1893; Frida Kahlo, The Little Deer, 1946; Ana Mendieta, Arbol de la Vida, No. 294, 1977; Hannah Wilke, Intra-Venus, 1992-1993. READING: Chapter 13 on The Body. See also: The Nude in Western Art and its Beginnings in Antiquity online at: http://www.metmuseum.org/toah/hd/nuan/hd_nuan.htm Assignment due September 6 : What is the ideal body? How might this vary from one culture to another? Give some examples of art works under discussion. 28 Thursday September 8 Depicting Ourselves: Portraits Egyptian: *Menkaure and His Wife, Queen Khamerernebty, c. 2600 B.C. and Queen Nefertiti, c. 1360 B.C.; Roman: Augustus of Prima Porta, c. 20 B.C.; Constantine the Great, c. A.D. 330; Chinese: Yan Liben, Portraits of the Emperors, 7th Century; African: *Crowned Head of an Oni, Nigeria, 12-15th Century; Renaissance: *Leonardo, Mona Lisa, c. 1503-1505; Self-portraits by Albrecht Drer, 1500; Pamigianino, c. 1535; *Rembrandt,

1659 and 1639; Marie Louise Elizabeth Vige Lebrun, The Artist and her Daughter, c. 1785; Van Gogh, 1888; Alfred Stieglitz, 1907; Ernst Ludwig Kirchner, 1915; Pablo Picasso, 1907; Paula Modernsohn-Becker, 1906; Frida Kahlo, Self-Portrait with Monkey, 1938, two others from 1943; Lee Krasner, c. 1930; Edward Hopper, 1925-1930; Andy Warhol, 1964; Raphael Soyer, 1980; 15.9 Cindy Sherman, 1979. Group Portraits: *Emperor Justinian and His Attendants, Italy, c. 547; Rembrandt van Rijn, Sortie of Captain Banning Cocqs Company of the City Guard (Night watch), 1642; Francisco Goya, Charles IV and His Family, 1801; Edgar Degas, The Bellelli Family, 1858-1867; Raphael Soyer, Homage to Thomas Eakins, 1964-1965. Nineteenth-Century Portraits: Jean Auguste Dominique Ingres, Comtesse dHaussonville, 1845; Vincent Van Gogh, Portrait of Pre Tanguy, 1887-8, and *Van Gogh, Portrait of Dr. Gachet, 1890; Rodin, Balzac, 1892-1895; Contemporary: Pablo Picasso, Gertrude Stein, 1906; Alvin Langdon Coburn, Gertrude Stein, 1913; Baron Adolph de Meyer, Josephine Baker, 1923. Raphael Soyer with portrait, 1985; Chuck Close, Susan, 1971 and Fanny, 1985; Andy Warhol, Mona Lisa, 1963, Three Marilyns, 1962; Chairman Mao, 1974; Alex Katz, cut-outs: Bernard & Helen Langlais; Various Personages on view in Houston gallery, 1982; Robert Arneson, Portrait of George, 1981; Caricature: Hopper, Status Quo, c. 1924; Peggy Bacon, Stieglitz Berating a Customer; Miguel Covarrubias, Alfred Stieglitz, 1925; Alexander Calder, Josephine Baker, 1926. Assignment due September 8: If you could choose any of the above, which artist would you commission to paint your portrait and why? READING: review Chapter 13 on the Body and read Chapter 14 on Race, Gender, Clan and Class; also Gertrude Stein, 19056 Pablo Picasso online at: http://www.metmuseum.org/toah/works-of-art/47.106 28. Tuesday September 13 Art and Emotion: Love and Pleasure. Ancient Egypt: *Menkaure and His Wife, Queen Khamerernebty, c. 2600 B.C.; Etruscan: Sarcophagus with Reclining Couple, Italy, c. 520 B.C.; Classical Greek: Aphrodite of Melos (Venus de Milo), c. 150-100 B.C.; Roman: Porcia and Cato, c. first century B.C.; Pre-Columbian Mexico Mayan: Amorous Couple, 700-900; Aztec: *Marriage Couple, 1434; African: *Primordial Couple, Dogon, Africa; Renaissance: *Masaccio, The Expulsion from Paradise, 1427, Italy; *Jan Van Eyck, Giovanni Arnolfini and His Bride 1434, Belgium; Sandro Botticelli, The Birth of Venus, c. 1482; Titian, Venus of Urbino, 1538; Baroque: Peter Paul Rubens, Self-Portrait with Isabella Brant, 1609-1610; Peter Paul Rubens, Garden of Love, c. 1632-1634; Rembrandts Jewish Bride, c. 1660-1665; Rococo: Antoine Watteau, Return from Cythera, 1717-1719; Jean Honor Fragonard, The Swing, 1766; Eighteenth Century: Krishna and Radha in a Pavilion, India, c. 1760; William Hogarth, Breakfast Scene from Marriage la Mode, c. 1745; Impressionism: Pierre-Auguste Renoirs Le Moulin de la Galette, 1876; Luncheon of the Boating Party, 1881 and Bal au Bougival, 1883; Japanese woodblock prints: Kitagawa Utamaro, A Pair of Lovers, 1788 and Courtesans Waiting and Entertaining Themselves behind Sliding Grilles, reproduced in S.Bing, Le Japon Artistique, 1888; Auguste Rodin, The Kiss, 1886; Henri Matisse, Joie de Vivre (Joy of Living), 1905-1906; Gustave Klimt, The Kiss, 1907-1908; Pablo Picasso, The Lovers, 1923; Constantin Brancusi, The Kiss, 1912; Jeff Koons (with Ciciolina), Made in Heaven, 1995.

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READING: Chapter on 8 Reproduction and Sexuality. Read also: Figural Representation in Islamic Art online at: http://www.metmuseum.org/toah/hd/figs/hd_figs.htm Assignment due September 13: Pick two images from different cultures and compare and contrast the way that the artists depicted couples. What cultural values are apparent? 28 Thursday September 15 Art and Emotion: Death, Mourning and Remembrance Burials and Funerary monuments: (Egypt): *Great Pyramids, c. 2500 B.C.; Innermost Coffin of Tutankhamen, c. 1325 B.C.; Fowling Scene, tomb painting from Thebes, c. 1400 B.C.; (Chinese) *Soldiers from tomb, Shaanxi, China, 221-206 B.C.; (Etruscan): *Sarcophagus with Reclining Couple, Italy, c. 520 B.C. and Banqueters and Musicians, tomb near Tarquinia, Italy, c. 480 B.C. (Greek): Grave Stele of a Little Girl, 450-440 B.C.; *Taj Mahal, India, 1632-1653; Representations: Albrecht Drer, The Knight, Death, and the Devil, 1513; Michelangelo, Piet, 1499; Jacques-Louis David, Death of Marat, 1793; Thodore Gricault, Raft of the Medusa, 1818-1819; J.M.W. Turner, Slave Ship, 1840; Paul Gauguin, Spirit of the Dead Watching, 1892; Edvard Munch, Death in the Sick Room, c. 1893; Diego Rivera, Dia de Los Muertos, 1923, Mexico City; Salvador Dali, The Persistence of Memory, 1931; Anselm Kiefer, Mrkische Heide, 1974; Audrey Flack, Marilyn, 1977; War Memorials; two Vietnam War Memorials: *Maya Lin, Vietnam Veteran Memorial, 1981-1983 and Frederick Hart, Statue for Vietnam Veterans Memorial, 1984; Holocaust Museums and Memorials; the AIDS Memorial Quilt, 1992. Controversy over memorial for 9-11 and related art. READING: Chapter 10 on Mortality and Immortality , pp. 277-309. Michael Kimmelman, Out of Minimalism, Monuments to Memory, The New York Times, January 13, 2002, Section 2, pp. 1 and 37 and Tessa DeCarlo, In Defense of Outsider: A Question of Labels, The New York Times, January 13, 2002, Section 2, pp. 35 & 39. Assignment due September 15: How can art best express emotion? What means do artists use? Why and how do you think art can respond to emotional trauma? 28 Tuesday September 20 Religion and Spiritual Images: Christianity early Christian: Christ as the Good Shepherd, Galla Placida, Ravenna, Italy, 425-450; Medieval churches: *Giselbertus, Last Judgment from Saint Lazare, Autun, France, c. 1130; Renaissance art: Giotto, Lamentation, c. 1305, Arena Chapel, Padua, Italy; *Lorenzo Ghiberti, Sacrifice of Isaac, 1401-1402; *Raphael, Madonna of the Meadow, c. 1505, Italy; *Michelangelo, Ceiling 1508-1512 and Last Judgment, 1534-1541 altar wall frescoes in the Sistine Chapel, Rome; Leonardo, Last Supper, c. 1495-1498; Matthias Grunwald, The Isenheim Altarpiece, c. 1510-1515, Germany. Baroque art: El Greco, The Agony in the Garden, c. 1590-1595; Caravaggio, The Conversion of Saint Paul, c. 1601; *Gianlorenzo Bernini, Ecstasy of St. Theresa, 1645-1652; Baldacchino, St. Peters, Rome, Italy, 1624-33. Judaism Jewish art: *Menorah and Arch of the Covenant, 4th Century, Tiberias, Israel; Buddhism Buddhist art: *Seated Buddha, Sarnath, India, late fifth century; Colossal Buddha, Yungang, Shansi, China, 450-600; Jocho, Amida Buddha,

Byodo-in Temple at Uji, Japan, 1053; Guanyin, China, c. 1100; Nam June Paik, TV Buddha, 1974-1982; Islam Islamic art: Koran with Kufic Script, tenth to eleventh century; Hinduism Hindu art: Shiva as Nataraja, Lord of the Dance, India, c. 1000; 9.16 Dewi Sri, Bali, Indonesia, c. 1900; 9.20 Offering with Cili-Shaped Crown, c. 1985. Note: if your religion is missing, please email information including house of worship or other images to the professor for inclusion. READING: Chapter 9 on Deities and Places of Worship. Assignment due September 20: By what means do religious images tell stories? How is the artist able to inspire people with this image? 28 Thursday September 22 Religion and Houses of Worship: Islamic: Anthemius of Tralles and Isidorus of Miletus, Hagia Sophia, Constantinople (Istanbul), Turkey, 532-537; Great Mosque at Cordoba, Spain, eighth to tenth centuries; * Royal Mosque, Isfahan, Iran, 1612-1637; Hindu: Kandarya Mahadeva Temple and Parshranatha Temple Chandella, Khajuraho, c. 950-970; *Relief Carvings from the Kandarya Mahadeva Temple and Celestial deities, Jagadambi Temple, Khajuraho, India, c. 1000. Buddhism: Great Stupa, Sanchi, India, 3rd century BC-1st century A.D.; Christian: Chartres Cathedral, France, 11-94-1260; *Le Corbusier, Notre Dame du Haut, 1950-1955; Jewish: Peter Harrison, Touro Synagogue, 1759-1763, Newport, Rhode Island; Contemporary non-denominational: Mark Rothko, Chapel, Rice University, 1965-66. READING: Chapter 9 Deities and Places of Worship. Assignment due September 22: Choose a building that was not intended for your own religion and tell why you fine it noteworthy and inspiring. 28 Tuesday September 27 Guest Professor Danielle Hurd will teach our class. I will be lecturing in Japan. Students should be assured that there will be questions from this material on both the mid-term and the final. Please give my substitute your best courtesy. Classical Esthetics and Themes: from their origin to our world in architecture, *the Parthenon (c. 438-42 B.C.) and as depicted by Frederick Edwin Church, 1871; sculpture from Parthenon, east pediment: Three Goddesses and Theseus, and Parthenon frieze: Horsemen 448-432 B.C.; Other classical sculpture: *Polyclitus, Doryphorus (Spear Bearer) (c. 450-440 B.C.); Laocoon (late 2nd Century B.C.); Roman: *Arch of Titus (Spoils of Jerusalem) (81 A.D.); Colosseum (72-89 A.D.); Pantheon, A.D. 118-125; Renaissance: Donato Bramante, Tempietto, 1504; Raphael, School of Athens (1510-11); Brunelleschi, Pazzi Chapel (c. 1439-33); Baroque: Pousin, Rape of the Sabine Women (1637-36); Neo-Classical: David, Battle of the Romans and Sabines (1799); Ingres, Apotheosis of Homer (1827); Horatio Greenough, George Washington as Zeus (1832-41); Romantic and after: Jean Auguste Dominique Ingres, Oedipus and the Sphinx, 1808; Gustave Moreau, Oedipus and the Sphinx, 1864; Roman triumphal arches and Washington Square Arch, 1889-1918 by Stanford White (architect), Frederick MacMonnies, Hermon A. MacNeil, and Alexander Stirling Calder (sculptors); classical forms on our coins. Assignment due September 27: How has classicism has played a role in your environment or life? Tell of at least one example.

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READING: Chapter 4 Deriving Meaning; also the following website is useful: http://www.vanderbilt.edu/AnS/Classics/classical_traditions/index.htm#tableofcontents Thursday September 29 College Closed due to holiday; Tuesday October 4 is a conversion day: Friday, not Tuesday classes that week. 28 Thursday October 6 Sculpture in our lives: Cast Gallery at the Brooklyn Museum; Folk art: Anonymous, Uncle Sam on a Bicycle, late 19th century; Public Sculpture: Frdric Auguste Bartholdi, The Statue of Liberty, 1884; Gutzon and Lincoln Borglum, Heads of Presidents Washington, Jefferson, Lincoln, and Theodore Roosevelt, Mount Rushmore, South Dakota, 1927-1939; Daniel Chester French, Seated Lincoln, 1922, the Lincoln Memorial, Washington, D.C.; *Auguste Rodin, The Thinker, 1880; Eduard Steichen, Le Penseur, 1902; and Auguste Rodin, The Gates of Hell, 1880-1917; Alexander Calder, mobiles (Snow Flurry I, 1948 and Untitled 1976) and stabiles (La Grande Vitesse, 1969); Henry Moore, Reclining Figure, 1963-1964, Lincoln Center, NY; War Memorials; two Vietnam War Memorials: *Maya Lin, Vietnam Veteran Memorial, 1981-1983 and Frederick Hart, Statue for Vietnam Veterans Memorial, 1984; George Segal, Next Departure (1979) at the Port Authority at Eighth Avenue and 42nd Street and Gay Liberation (1980) in Sheridan Square, New York; Richard Serra, Tilted Arc, 1981; Jeff Koons, Puppy, 1993. Outsider art. *Simon Rodia, Watts Towers, Los Angeles, 19211954. Assignment due October 6: Which Vietnam Memorial is more effective and why? READING: As a Sculpture Takes Shape in Mexico, Opposition Takes Shape in the U.S., The New York Times, p. A12, January 17, 2002. see link: http://www.latinamericanstudies.org/colonial/onate-statue.htm 28 Tuesday October 11 Art and politics: *Column of Trajan, Rome, A.D. 114; *Ara Pacis Augustae, Rome, 13-9 B.C.; Michelangelo, David, 1501-1504; Peter Paul Rubens, Arrival of Marie de Medici at Marseilles, 1622-25; Plaque with Warrior and Attendants, Benin Culture, Nigeria, 17th or early 18th century; Jacques-Louis David, Death of Marat, 1793; Jacques-Louis David, Napolean at Sainte Bernard, 1800; Francisco Goya, The Third of May, 1808 (1814); Francisco Goya, Great deedsagainst the dead! from The Disasters of War, 1863; *Eugne Delacroix, Liberty Leading the People, 1830; Kathe Kollwitz, Outbreak, 1903; *Jacob Lawrence, Series on Toussaint LOuverture, 1937-38; George Tooker, Government Bureau, 1956; art as social protest: Honor Daumier, Rue Transnonain, 1834; John Sloan in The Masses, 1913; Ben Shahn, The Passion of Sacco and Vanzetti, 1931-32; Edward Kienholz, The State Hospital, 1966; Esther Hernandez, Sun Mad, 1981; art as propaganda: Nazi art: Adolph Wissel, Farm Family from Kahlenberg, 1939; anti-Nazi art: John Heartfield, Goering the Executioner, 1933; Soviet Socialist Realism: Vera Mukhina, Worker and Peasant, 1937; Chinese Socialist Realism: Designer Unknown, The Revolutionary Committees are Good, 1968; *Pablo Picasso, Guernica, 1939; art as provocation: Diego Rivera, de-

stroyed mural at Rockefeller Center and Man, Controler of the Universe, 1934, Mexico City; the Talibans destruction of art: the Buddhas at Bamiyan in Afghanistan, 2001. READING: Chapter 11 The State and Chapter 12 Social Protest/Affirmation and on e-reserve:. Mark Landler, Afghan Artist Erases Layers of Repression, The New York Times, January 13, 2002, pp. 1 & 14. or see link: http://www.nytimes.com/2002/01/13/international/asia/13ARTI.html?ex=1011861697&ei=1&en=5b10723224537cee Assignment due October 11: Why do think that art and politics interact? What qualities make patriotic art successful? 28 Thursday October 13 Art and American History: The flag in art: history paintings: Benjamin West, Penns Treaty with the Indians, 1771; John Trumbull, Declaration of Independence in Congress, at the Independence Hall, Philadelphia, July 4th, 1776, 1786-1819; Emanual Leutze, Washington Crossing the Delaware 1851; George Catlin, Chief Keokuk, USA, c. 1830; Red Horse, Battle of Little Big Horn, Sioux, USA, 1880; *Gros Ventre Shield, 1860, Montana, USA; Winslow Homer, Prisoners from the Front, 1866; Augustus Saint-Gaudens, General Sherman Monument, 1903, Fifth Avenue and 59th Street, New York; George Luks, Armistice Night, 1918; Margaret Bourke White, The Louisville Flood, 1937; Norman Rockwell, Rosie the Riviter and Freedom from Want, covers for the Saturday Evening Post, 1943; Joe Rosenthal, Raising the Flag on Iwo Jima, 1945; Felix W. Weldon, USA Marine Corps War Memorial, Arlington, VA, 1954; Edward Kienholz, Portable War Memorial, 1965; Citiarts, Forever Tall, 2001, mural at 35 Cooper Square (between 5th and 6th Streets, New York City). READING: on e-reserve to be announced. Assignment due October 13: Which event in American history has been treated the most successfully by artists? Which artist speaks to you? 28 Tuesday October 18: Mid-term exam: no make-ups 28 Thursday October 20 Photography as art: in the media, digital art, Straight and Manipulated: Timothy OSullivan, Ancient Ruins in the Caon de Chelle, N.M., 1873; *Alfred Stieglitz, The Steerage, 1911; Edward Steichen, Le Penseur, 1902, and the Photo-secession Gallery; Immogen Cunningham, Leaf Pattern, before 1929; Walker Evans, Subway Passengers, 1938; Andres Serrano, The Morgue, 1992; social: Lewis Hine, Leo 48 Inches High, 8 Years Old, Picks Up Bobbins, 1910; * Dorothea Lange, Migrant Mother, 1936, USA; Eugene Smith; Paul Strand; Photomontage: Hannah Hch, Cut with the Kitchen Knife, 1919; Set-up or Performance: Lucas Samaras, Phantasmata series, 1976; Sandy Skoglund, Radioactive Cats, 1980; *Cindy Sherman, Untitled, 1985 and Cindy Sherman, Madame de Pompadour, 1992; Video: *Nam June Paik, Fin de Sicle II, 1989. READING: Chapter 3 on media Assignment due October 20: What makes photography art especially when everybody today can take photographs? 28 Tuesday October 25 New York as an art and cultural center: *Frederick Law Olmsted and Calvert Vaux, Central Park, 1857-1887; the Armory Show, 1913 (poster, photo, cartoon, newspaper article, and examples of art: Marcel Duchamp, Nude Descending a Staircase, 1912 and Henri Matisse, Le Luxe, 1907); The 1920s: *Geor-

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gia OKeeffe, Radiator BuildingNight, New York, 1927; Charles Sheeler & Paul Strand, film Manhatta, 1921; New York in The 1930s: The Sidewalks of New York, sheet music, 1932; Lois Mailou Jones, The Ascent of Ethiopia, 1932; Walker Evans, Subway Passengers, 1938. The art market; museums (The Metropolitan, the Guggenheim, and the Whitney); Chelsea galleries; Architecture of New York: Daniel H. Burnham & Co., The Flat Iron Building 1902 (Edward Steichen photograph); Cass Gilbert, the Woolworth Building, 1913; William van Alen, Chrysler Building, 1928-30; Shreve, Lamb, and Harmon, Empire State Building, 1929-1931; *Ludwig Mies van der Rohe and Philip Johnson, Seagram Building, 1956-1958; 8-35 and *Eero Saarinen, Trans World Airlines Terminal, Kennedy Airport, New York, 1956; Minoru Yamasaki & Associates, The Twin Towers of the World Trade Center, 1972-1973; Frank Gehry, proposal for new Guggenheim Museum 2001. READING: to come on e-reserve. Assignment due October 25: What art work in or of New York would you add to this list and why? 28 Thursday October 27 Required Museum Trip to Museum of Jewish Heritage: free admission today only and free round-trip buses provided from Baruch will return in time for classes immediately after club hours. Address of museum is 36 Battery Place | Battery Park City. Buses are advised; students who miss the bus are responsible to go on their own. Please arrive and take a seat on the buses by 11:10 am. They will be parked on 24th Street between 3rd and Lexington Avenues and will be marked Museum on them. Class will divide up into small groups with guides provided to tour the museums permanent collection, Andy Goldworthys Garden of Stones, and the special exhibition: Emma Lazarus: Poet of Exiles: Known for more than a century as the author of the lines Give me your tired, your poor, your huddled masses yearning to breathe free . . . , the poet Emma Lazarus gave voice to the Statue of Liberty and generations of newcomers to America. However, few people know her fascinating story. Learn how Emma Lazarus journey inspired her to craft an enduring message on exile, refuge, and the promise of America. Note: exam questions will be based on this visit Assignment due from this trip to be handed in on November 1: What is the point of the Emma Lazarus show? What work of art appealed to you from this museums collection? Would you recommend a visit to this museum? If so, why? If not, why? (2 pages) Please note that a second assignment is due for November 1 and work on it before the museum trip. 28 Tuesday November 1 Art, Advertising and Graphic Design: Pattern: Book of Lindesfarne, late seventh century; Koran with Kufic Script, tenth to eleventh century; William Morris, page from The Canterbury Tales, 1896; El Lissitsky, Haggadah; Artistic Japan, April 1891; art and Advertising: Neon signs from the 1930s; *Betye Saar, The Liberation of Aunt Jemima, 1972; Maxfield Parrish, cover of Ladies Home Journal, 1921; Norman Rockwell, Rosie the Riviter and Freedom from Want, cov-

ers for the Saturday Evening Post, 1943; Ben Shahn, This is Nazi Brutality, 1942; Edward Hopper, magazine covers for Tavern Topics, Hotel Management; Miguel Covarrubias, book cover for The Weary Blues by Langston Hughes, 1926; Animation: Walt Disney, Pinocchio, 1940; Product Design: Alex Samuelson and T. Clyde Edwards, Coca-Cola 6.5ounce glass bottle, c. 1920; Andy Warhols appropriation of Brillo, Campbells Soup, Green Coca Cola Bottles; Barbara Kruger, Untitled (Your Body is a Battleground), 1989 (We dont need another hero), 1987; *Jenny Holzer, Untitled, 1989. Grafitti art: photo of New York City, 1985; Stop Gentrification, 1984; Kenny Scharf, Closet, No. 7, 1985; Keith Haring; 2nd Assignment due November 1: Bring to class at least one other example of the use of art works in advertising or advertising and product design in art work. You may take this from the internet, TV, or print media. CDs or print accepted but label with your name. 28 Thursday November 3 Beyond Shelter: Architecture as Art and Image Indian art: The Taj Mahal, Agra, India, 1632-1653; Renaissance: the Medici Library, Florence, Italy, 1523-25; American: Thomas Jefferson, Monticello and University of Virginia; *Benjamin Latrobe, United States Capitol, c. 1815; The Brooklyn Bridge, 1867-1883; the skyscraper:*Frank Lloyd Wright, Fallingwater, Pennsylvania and *Solomon R.Guggenheim Museum, 1943-1959, New York City; French: Gustave Eiffel, Eiffel Tower, 1887-1889, Paris; *Le Corbusier, Notre Dame du Haut, 1950-1955; Contemporary: Frank Gehry, Guggenheim, Bilbao, Spain and Experience Music Project, Seattle, 2000. READING: Michael J. Lewis, The Look at Me Strut of a Swagger Building, The New York Times, January 6, 2002, Section 3, pp 1 & 5. See http://wirednewyork.com/forum/showthread.php?t=3394&page=1 Assignment due November 3: What qualites do you think make a building memorable? What is your favorite building anywhere? How does architecture benefit New York City? 28 Tuesday November 8 Industial and Interior Design: Walter Teague, Kodak Camera, 1930 and Bluebird Radio, 1937-1940; Predicta line television by Philco, 1958; Arthur Young, Bell-47d1 Helicopter, 1945; *Interior of Sainte Chapelle, Paris, 1243-1248; Frederick Edwin Church, Olana, 1872-1874, Hudson New York; 9.37 18th century Islamic art from Syria; James McNeill Whistler, The Peacock Room, 1876-1877; Frank Lloyd Wright, Living Room of Francis W. Little House, 1913 (now in the Metropolitan Museum); Art Nouveau: Eugne Gaillard, Upright Cabinet, c. 1900; Victor Horta, staircase in the Tassel House, Brussels, 1893; *Louis Comfort Tiffany, favrile glassware: flowerform vase, c. 1900 and Louis Comfort Tiffany, Dragonfly and Wisteria lamps; and Art Deco: Ren Chambellan, Gates to Chanin Building, NYC, 1928; Art Deco tray, c. 1935; Streamlining: Kem Weber, Airline Chair, 1934-1935; biomorphic or vital forms: Russell Wright, American modern dinnerware, 1937; Isamu Noguchi, Chess Table, 1947; Frank Gehry, Fish Lamps, 1984; Ettore Sottsass (Memphis), Tartar Table, 1985. Assignment due November 8: What difference does design make in your life? Read: Chapter 3 on Media

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28 Thursday November 10 Art, money, and business: Expressions of social class in art (the rich and the poor): *Thomas Gainsborough, The Blue Boy, 1770; *Honor Daumier, The Third Class-Carriage (1862, two versions) and Connoiseurs, c. 1865; Gustave Courbet, The Stone Breakers, 1849; *Jean-Franois Millet, The Gleaners (1857); *Vincent Van Goghs The Potato Eaters, 1885; Dutch 17th century art, middle-class art collectors and the genre scene: *Jan Vermeer, Young Woman with a Water Jug, c. 1665; Judith Leyster, The Jolly Topper, 1629; Business as a theme: Edgar Degas, The Cotton Market, New Orleans 1873; Edward Hopper, four commercial magazine illustrations of offices, 1913 and 1914 and Office at Night, 1940; Hans Haacke, MetroModbiltan, USA, 1985; Art as a business & gallery design: Antoine Watteau, Gersaints Shop; Frederick Churchs installation of Heart of the Andes, 1864; Frederick Kiesler, Art of This Century; B-Side Gallery, NYC, 1985; Claes Oldenburg, The Store, 1961; Giant Hamburger, 1962; Soft Good Humors, 1963; Pepsi, 1961; The Stove, 1962; Art patronage: the private collector (Leo Stein and Eli Broad); the dealer (Peggy Guggenheim photographed by Berenice Abbott and with art history graduate student, 1971; corporate art collections and museum collections; museum shops and their products: Kitch and works of art. Assignment due November 10: How do you think business interacts with art? Is this a positive or a negative? 28 Tuesday November 15 Art, Money, and our Government: US Capitol; the WPA: easel and mural projects: Lee Krasner, WPA War Services Division photomontage, 1942; the 1% for art program, Alexander Calders La Grande Vitesse, 1969; Richard Serra, Tilted Arc, 1981; *Elizabeth Murray, Sail Baby, USA, 1983: other examples in Baruchs Vertical Campus; U.S. Customs and the case of *Constantin Brancusis Bird in Space, 1927; the NEA controversy; Art and Freedom of Expression; the American flag and art: * Jasper Johns Flag, 1954-1955; Cincinnati and the case of Robert Mapplethorpe; Mayor Guiliani, the Brooklyn Museums Sensation Exhibition, and censorship; Chris Ofilli, Madonna; the National Gallery and the Smithsonian Institution. Assignment due November 15: How do you think our government interacts with art? Is this a positive or a negative? How does the U.S. compare to other countries in this area? 28 Thursday November 17 Art and Science: perspective: *Leonardo da Vinci, Flying Machine, c. 1490; *Leonardo da Vinci, The Last Supper, c. 1495-1498; anatomical and Nature studies: Leonardo da Vinci, late fifteenth or early sixteenth century; Vesalius, The Muscle System, 1543; Charles Wilson Peale, The Artist in His Museum, 1822; color and optics: *George Seurat, A Sunday on La Grande Jatte, 1884-1886; *Henri Matisse, Red Room (Harmony in Red), 1908-1909; *Van Goghs The Starry Night, 1889 and astronomy; Redefining space: *Paul Czanne, Still Life with Apples, 1895-1898 Boy in a Red Waistcoat, 1888-1890. Assignment due November 17: Why does science affect art? Discuss one example.

READING: Chapter 15: Nature, Knowledge, and Technology. Thursday November 24: Thanksgiving Holiday 28 Tuesday November 22 (conversion day is Thursday at Baruch; class meets) Art and Nature: Landscapes: Hudson River School, *Thomas Cole, View of the Catskill, Early Autumn, 1837; Frederick Edwin Church, Twilight in the Wilderness, 1860; Chinese Art: *Wu Chen, Bamboo in the Wind, early fourteenth century; Japanese art *Japanese (Zen) Flat garden, Kyoto, c. 1525; *Katushika Hokusai, The Great Wave, 1822; Impressionism Claude Monet, Impression: Sunrise, 1872; *Claude Monet, Grainstacks (End of Summer), 1891; Claude Monet, Bridge over a Pool of Water Lilies, 1869; *Claude Monet, Nympheas (Water Lilies), 1920-1921; Paul Czanne, Mont Sainte-Victoire (c. 1886-1888); Earth Art: *Robert Smithson Spiral Jetty (1970); *Christo, Wrapped Coast 1968-1969 and Christo, Running Fence, 1972-76; Helen Frankenthaler, Mountains and Sea, 1952. Assignment due November 22: How does art reflect nature? Discuss one example. READING: Chapter 15: Nature, Knowledge, and Technology. 28 Tuesday November 29 Abstraction in art and other avant-gardes: Edward Manet, Olympia, 1862-1863; Cubism (* Pablo Picasso, Les Demoiselles dAvignon, 1907); German Expressionism: Vasily Kandinsky, Blue Mountain, 1908; *Painting No. 199, 1914; 2-25 Light in Heavy, 1929; Dominant Curve, 1936; Dadaism: *Marcel Duchamp, L.H.O.O.Q., 1919 and Fountain, 1917; *Man Ray, Gift, 1921; Surrealism: Meret Oppenheim, Object, 1936; *Salvador Dali, The Persistence of Memory, 1931; Abstract Expressionism: Hans Namuth, Photographs of Jackson Pollock painting, 1950; *Jackson Pollock, Mural, 1943; Lucifer, 1947; One, 1950; and Autumn Rhythm, 1950; Lee Krasner (photos in her studio, c. 1940 and with curator, 1977), Noon, 1947 and Blue Painting, 1946; Willem de Koonings Door to the River, 1960 and *Woman and Bicycle, 1952-53; Mark Rothkos Green on Blue, 1956; 2-4 Franz Klines New York, New York, 1953; Pop Art, and Neo-Dadaism: Roy Lichtenstein, Little Big Painting, 1965; Claes Oldenburg, Soft Toilet, 1966 and Claes Oldenburg, Clothespin, 1976. Assignment due November 29: What value can abstraction have? 28 Thursday December 1: The Artist and the Model: Rogier Van Der Weyden, Saint Luke Painting the Virgin; *Diego Velsquez, Las Meninas, 1656; Jan Vermeer, Interior with an Artist Painting a Model, c. 1670; Adlaide Labille-Guiard, Self-Portrait with Two Pupils, 1785; Gustave Courbet, The Studio of the Painter: A Real Allegory Summing up Seven Years of My Artistc Life, 1854; Carl Hermann Schmolze, Gilbert Stuart Painting George Washington, 1858; Thomas Eakins, William Rush Carving His Allegorical Figure of the Schuylkill River, 1877; *Ernst Ludwig Kirschner, Self-Portrait with Model, c. 1910; Pablo Picasso, Painter and his Model, 1928; Edward Hopper, Tables for Ladies, 1931; Edward Hopper, Girlie Show, 1941; Ed-

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ward Hopper, A Woman in the Sun, 1961; Hans Namuth, Edward and Jo Hopper, 1963. READING: Chapter 14 on Race, Gender, Clan & Class Assignment due December 1: What is the relationship between artist and model? READINGS: beyond textbook will be announced and put on e-reserve. Please watch the Blackboard website for this class. Study guide of images will appear online 28 Tuesday December 6 Art and Identity: Gender Women Artists: photographs of women picketing MoMA, 1972; Mary Cassatt works in Suffrage Exhibition, 1917; Artemisia Gentileschi, Judith and Maidservant with the Head of Holofernes, c. 1625; Judith Leyster, The Jolly Toper, 1629; Judith Leyster, The Proposition, 1631; *Marie Louise lizabeth Vige-Lebrun, The Artist and her Daughter, c. 1785; *Mary Cassatt, The Boating Party, 1893-1894; 14-43 Berthe Morisot, Villa at the Seaside, 1874 and Berthe Morisot, The Dining Room; *Georgia OKeeffe, Radiator BuildingNight, New York, 1927; Georgia OKeeffe, Abstraction Blue, 1927; 2-40 Georgia OKeeffe, Two Calla Lilies, 1928; feminist art: Louise Bourgeois, The Destruction of the Father, 1974 and Blind Mans Bluff, 1984; crafts: Harriet Powers, Pictorial Quilt, c. 189598; Eva Hesse Repetition 19, III, 1968; Womanhouse, 1972, Miriam Schapiro and Sherry Brody, Doll House, 1972; *Judy Chicago, The Dinner Party, 1979; Guerilla Girls; *Elizabeth Murrays Kitchen Painting, 1985; Betye Saar and Alison Saar, House of Gris Gris, 1990. Assignment due December 6: Does art reflect the gender of its maker? What is the role of women in art? 28 Thursday December 8 The Movies and the visual arts: Responding to the cinema: John Sloan, Movies 5 Cents, 1907 and Moving Picture Theatre, 1913; Edward Hopper, illustration for World Outlook, May 1919 and The Movies, 1928; Mable Dwight, The Clinch, Movie Theater, 1928; Reginald Marsh, Twenty-cent Movie, 1936; Edward Hopper, The Circle Theatre, 1936. Edward Hoppers influence on Cinema: Alfred Hitchcock, Psycho, 1960 and Hoppers House by the Railroad, 1925; Herbert Rosss Pennies from Heaven, 1982 and Hoppers New York Movie, 1939; Rainer Werner Fassbinder, Querelle, 1982 and Hoppers Hotel Room, 1931. Appropriating painting: Alexander Korda, Rembrandt, 1936; John Huston, Moulin Rouge, 1952 (see 14-49 Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892-1895 and duard Manet, The Bar at the Folies-Bergre, 1881-82); Vincente Minnelli, Lust for Life, 1956; Pollock, Hans Namuth, Photographs of Jackson Pollock painting, 1950; *16-17 and 16-18 Jackson Pollock, Mural, 1943; One, 1950; and Autumn Rhythm, 1950; Lee Krasner (photos in her studio, c. 1940 and with curator, 1977), Noon, 1947 and Blue Painting, 1946. *4-2 Diego Rivera, The Making of a Fresco, 1931 and Cradle Will Rock, Julian Schnabel, Basquiat (see Jean Michel Basquiat, Untitled (skull), 1982; The artist in Hollywood: Salvador Dalis sets for Spellbound, 1945 (see *15-32 Salvador Dali, The Persistence of Memory, 1931 and 15-34 Salvador Dali, Apparition of Face and Fruit-Dish, 1938. Assignment due December 8: How can this course make such movies as these more mean-

ingful for you? Can you give an example of another film about a visual artist? Second Assignment due December 8: please submit your most important questions for the review session in advance of the next class by handing in on December 8 a written question with your name on it. READING: pp. 353-354. John A. Walker, Art & Artists on Screen, 1993, pp. 19-57 and 150-160. This is on e-reserve,. %_7-Ag%7%_28 Tuesday December 13 Review: Opportunity for instructor to cover works on syllabus where time did not permit or to explain works and concepts according to student needs. Final Exam: Thursday December 15 at 10:30 am to 12:30 pm This exam takes precedence over other conflicting classes since visual works of art are shown in class; no make-ups No Electronic devices are allowed in class at any time. That includes cell phones and texting as well as lap tops. Anyone caught using such devices is subject to a penalty in terms of receiving a lower grade. Consider yourself warned. Grading guide (subject to the discretion of the instructor): 10% Regular and on-time attendance and participation in submitting written pass-fail assignments and classroom discussions; anyone who seeks to clown and disturb or derail discussions will be penalized. Other students resent this time wasting. 20% museum assignments to be written without notes during mid-term and final exams 30 % mid-term exam (no make-ups given for any reason) 40% final exam You will be responsible for reading the textbook, and for memorizing the names, dates, and pictures of selected art works, marked with an asterix. You will also be expected to pick roughly six (enough to make a sound argument) of the art works discussed about each topic in order to be able to cite specific examples of individual works while intelligently discussing the theme from each class. Regular attendance, reading the assignments before each class, and participation in classroom discussions are expected in this course. Perfect attendance will be noted. Please note: Many works of art, including photographs, are protected by copyright. The course website is open only to class members for educational purposes. You do not have the right to use any of these images for commercial purposes. Policy on Academic Honesty will be strictly enforced. Any student caught cheating on a quiz or exam or plagiarizing will fail this course. All written material in this course must be original. Any student who copies from the internet or any other source will fail. Students who have difficulties with writing, but who make an honest, conscientious effort, will be able to pass.

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Improvement will be taken into account if attendance is excellent and all assignments have been handed in on time. Anyone having problems in the course should consult the instructor who will work with you to help you improve your understanding of the material. Those with difficulty writing, should visit Baruchs writing center.