Dr. Anne Chapin Class meets in 226 Sims Art Bldg.
Office: 216 Sims Art Building MWF 1:00 – 1:50pm
Email: Tel. 883-8292 ext. 2329
Office Hours: TTh 10:00-12:00 and by appointment
Prerequisites: AH 102, sophomore status, or permission of instructor.
Description and Goals:
What is art? How can we define modernity? And what is modern art? This course attempts to answer these questions while exploring the art and architecture that characterizes the 19th and 20th centuries. Beginning with a review of Romanticism, this course both surveys the art and artists of modernity, including Realism, Impressionism, Post-Impressionism, Fauvism, Expressionism, Cubism, Surrealism, Abstract Expressionism, Pop Art and contemporary trends in Postmodernism. Individual art objects are discussed in detail within their social, religious, intellectual, and historical contexts, and the reception of their art is examined. Concurrently, overarching themes, such as vision and reality, the nude, class consciousness, and nationalism, are explored through time. The goals are to explore the meanings of modern art and to better our understanding of modernity as it is expressed through the visions and creations of modern artists.
Implementation:
Monuments of modern European art history and archaeology are presented in class as representative of the major historical, social and philosophical developments of the nineteenth and twentieth centuries that still impact our lives today. While regular class lecture is a major component of this course, classes are regularly dedicated to student discussions of different problems and themes in modern art, and all students present reports on modern art and artists. Students are also required to read and discuss selections from 19th and 20th century authors, and to keep a journal of their reactions to the material presented both in and out of class. The goal is to produce a broad but varied look at the development of modern European art and architecture within its extended cultural and historical contexts.
The goals of this course are achieved through a variety of means. First, class attendance is important and is rewarded by points earned for every class attended. Participation in class discussions is also a vital component of the course. From consistent attendance and class participation, students will develop the skill of visual analysis—the process of analyzing what is seen in a work of art—that is the foundation of art history. Additionally, regular written assignments allow students to explore modern art and offers the students the opportunity for greater reflection into the meaning of art while further practicing writing skills.
Course Requirements:
1. Attendance.
Class attendance is mandatory. Attendance will be taken at every class starting in the second week of class. Each class is worth 2.5 points, for a total of 100 points.
For every unexcused class missed after four classes, the course grade will drop by a half grade (for example, a student with an “A” average who misses 5 classes receives an “A-”; if he/she misses 6 classes, the grade becomes a “B+”; 7 classes yields a “B”. Keep in mind that a “B” with 5 absences becomes a “B-”, and so on. Excused absences require medical documentation, or notes from coaches that document athletic travel.
2. Textbooks
Modern Art: Impressionism to Post-Modernism, David Britt, ed. Available in the student bookstore.
Modern Art 1851 – 1929, by Richard R. Brettell. Available in the student bookstore.
3. Additional Readings
Additional short readings are drawn from a variety of nineteenth and twentieth century authors to complement the artistic and architectural developments discussed in class. These selections can be found on reserve in the Jones Library.
4. Exams and Quizzes.
There are no exams and quizzes.
5. Reading responses (100 points)
Approximately every other week, students will be asked to write one-page response papers to specific questions related to the course material. These can be incorporated into the Journal (see below).
5. Journal (100 points)
Students keep a journal that discusses the art of individual artists (3 per chapter in Britt) and also records thoughts and reactions to (1) material discussed in class, (2) material encountered through reading and research assignments, and (3) reactions to modern art seen on campus, in galleries, and in museums. Journal entries will regularly respond to questions directed at the class, and should respond by discussing specific art monuments.
6. Oral Reports (150 points)
All students are required to present two oral reports. The first (50 points) is a short (5-10 minute) report on an artist or a work of art. The second is a longer, more detailed report (100 points) on a subject in modern art, presented using PowerPoint. Possible topics will be discussed individually and a workshop on PowerPoint will be given early in the semester.
7. Discussion and Class Participation (10%)
This is not a passive class. Modern art often arouses strong reactions in viewers, and one goal of this course is to explore the reception of modern art. Expressing ideas and reactions through thoughtful speech contributes to the learning of all students in class. It’s hard to calculate class participation in points, so the overall effect of class participation is that it can influence a final grade positively (in an upward direction) by as much as 10%.
8. Art Gallery Openings and Lectures (30 points)
Students are encouraged to attend gallery openings. Documented attendance may be used to make up for up for a missed class, for up to three missed classes.
POLICIES:
Response papers are due on their due date. Any papers turned in late will be lowered one letter grade for every 24 hours (or part thereof) that the paper is late.
Students with learning disabilities or special needs (including emergency medical information) should speak with the professor about any special arrangements that are necessary. The student with a learning disability should go to the Learning Enhancement Center to obtain an accommodation letter.
All students will follow the Honor Code and adhere to its guidelines. Any student who has not signed the Honor Code pledge may get a form at the office of the Registrar. All students should be particularly aware of the rules in the Honor Code regarding plagiarism and cheating. Plagiarism is the submission of another person’s work or thought as one’s own, either by direct copying or by insufficient acknowledgment of the source. Cheating is the use of any form of assistance while taking a quiz or examination. Brevard College takes the infringement of these rules very seriously and carries out the appropriate academic and disciplinary actions.
The professor will attempt to adhere as closely as possible to this syllabus but details are subject to change.
TENTATIVE SCHEDULE OF LECTURES AND ASSIGNMENTS
|
Week 1 |
F |
8/30 |
Introduction. |
|
Week 2 |
M |
9/2 |
What Is Art? What Is Modern? What is Modern Art? Read: “What is Art,” from The Grove Book of Art Writing, M. Gayford and K. Wright, eds., pp. 561-573 (on reserve in Jones Library) Read: Brettell, Introduction, pp. 1-7. |
|
|
W |
9/4 |
Academic Art and the Art of Imitation Read: Grove Dictionary of Art on line, on Academic Art. Check links to images of academic art of the 19th century. |
|
|
F |
9/6 |
Early Modern? Romantic Art and Architecture Read: TBA |
|
Week 3 |
M |
9/9 |
Early Modern? Romantic Art and Architecture, cont. |
|
|
W |
9/11 |
The Rise of the Skyscraper: A Tribute to the World Trade Center No reading assignment. |
|
|
F |
9/13 |
PowerPoint Workshop. |
|
Week 4 |
M |
9/16 |
The Conditions of Modern Art: Urban Capitalism and Modernity. Read: Brettell part 2, pp. 49-78; Charles Baudelaire, from “The Painter of Modern Life.” |
|
|
W F |
9/18 9/20 |
Realism Read: Brettel, pp. 11-15, 131-153 (chapter 5: Sexuality and the Body); Gustave Courbet, from Realist Manifesto, 1855. |
|
Week 5 |
M W F |
9/23-9/27 |
Impressionism Read: Britt chapter 1, pp. 11-48; Brettell pp. 15-19, 83-97. |
|
Week 6 |
M W F |
9/30 10/2 10/4 |
Post-Impressionism Read: Britt chapter 1, pp. 48-57; Brettell pp. 21-26, 155-178 (chapter 6: Social Class and Class Consciousness) |
|
Week 7 |
M W F |
10/7- 10/11 |
Symbolism and Art Nouveau Read: Britt chapter 2; Brettell pp. 19-21, 26-29, 105-123 (chapter 4: Image/Modernism…) |
|
Week 8 |
M W F |
10/14- 10/18 |
Fauvism and Expressionism Read: Britt chapter 3; Brettell pp. 29-32. |
|
Week 9 |
M |
10/21 |
FALL BREAK: NO CLASS |
|
Weeks 9-10 |
|
10/23-11/1 |
Cubism, Futurism, and Constructivism Read: Britt chapter 4; Brettell pp. 32-42, 97-103. |
|
Week 11 |
M W F |
11/4-11/8 |
Dada and Surrealism Read: Britt chapter 5; Brettell pp. 42-47, 211-217 (Afterward: The Institutionalization of “Modern Art”); T. Tzara, from “Dada Manifesto, 1918;” Andre Breton, from the First Manifesto of Surrealism 1924; Adolph Hitler, from his speech inaugurating the “Great Exhibition of German Art,” Munich 1937. |
|
Week 12 |
M W F |
11/11-11/15 |
Abstract Expressionism Read: Britt chapter 6; Brettell pp. 181-194 (chapter 7: Anti-Iconography: Art Without “Subject”). |
|
Week 13 |
M W F |
11/18-11/22 |
Pop Art Read: Britt chapter 7. |
|
Week 14 |
M |
11/25 |
Pluralism Since 1960 and Contemporary Art Read: Britt chapter 8 |
|
|
W F |
11/2711/29 |
THANKSGIVING BREAK: NO CLASS |
|
Weeks 15-16 |
M |
12/2-12/11 |
Pluralism Since 1960 and Contemporary Art Read: Britt chapter 8. |