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Self-Reflexivity, Medium and Meaning in 20thCentury Art: Philosophical Responses to Modernism in the Visual Arts

Informacje ogólne

Kod przedmiotu: 3700-AL-SMM-QHU
Kod Erasmus / ISCED: (brak danych) / (brak danych)
Nazwa przedmiotu: Self-Reflexivity, Medium and Meaning in 20thCentury Art: Philosophical Responses to Modernism in the Visual Arts
Jednostka: Wydział "Artes Liberales"
Grupy: Przedmioty do humanistycznego modułu kształcenia - II stopień Artes Liberales
Przedmioty oferowane przez Kolegium Artes Liberales
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Język prowadzenia: angielski
Rodzaj przedmiotu:

fakultatywne

Założenia (opisowo):

1-2 courses in philosophy and art.-history

Skrócony opis:

Modernist works of art respond to Ezra Pound’s call to `Make it new!’ by becoming self-reflexive and self-definitional within their very medium: the different “isms” for instance represent different stylistic and formal responses to what it involves for an object to claim the status of a genuinely new kind of work of art. It is a recognition that self-reflexivity has become ontologically definitional of artworks that lead philosophers as different as Stanley Cavell or Merleau-Ponty to claim that Modernist artworks assume the “condition of philosophy”. Like philosophy, art under conditions of modernism can no longer exist without constantly inquiring about its own nature as part of its meaning.

Pełny opis:

One way to understand the history of modern art is therefore as a history of attempts at innovative self-definition in dialogue with a history of philosophical responses to these attempts by art-historians, artists, critics, and philosophers. In this course we will study some of the representative movements and figures participating in this dialogue.

I. Introduction

I.1 Modernity, the Modern, and Modernism

Reading: Stanley Cavell: Music Discomposed

I.2 Sculptural Beginnings

Reading:

Herbert Read: Modern Sculpture, a Concise History (selections)

Rosalind E. Krauss: Passages in Modern Sculpture (selections)

Clement Greenberg: Modernist Sculpture, Its Pictorial Past

Adolf von Hildebrand: The Problem of Form in Painting and Sculpture (selections)

J.P. Sartre: The Quest for the Absolute

II. Impressionism and the Transformation of Perception: Manet, Monet, and Seurat

Reading:

Georg Simmel: The Metropolis and Mental Life

Charles Baudelaire: The Painter of Modern Life (selections)

Michel Foucault: Manet and the Object of Painting

Clement Greenberg: The Later Monet

Michel Fried: Manet's Modernism (selections)

III. Cézanne and the End of Scientific Perspective

Reading:

Maurice Merleau-Ponty: Cézanne's Doubt; Eye and Mind (selections)

Andrew Harrison: Making and Thinking: A Study of Intelligent Activities (selections)

Richard Shiff: Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art (selections)

Clement Greenberg: Cézanne

IV. The Crisis of the Self and the Search for Authenticity: Gauguin, Van Gogh, and Csontváry

Reading:

Clive Bell: The Artistic Problem

Georg Lukács: Paul Gauguin; Aesthetic Culture

Martin Heidegger: On the Origin of the Work of Art (selections)

Meyer Schapiro: The Still Life as Personal Object - a Note on Heidegger and Van Gogh

Vincent Van Gogh: Letters to Theo (selections)

V. Abstraction and the Erotic: Picasso, Matisse, and Modigliani

Reading:

José Ortega y Gasset: The Dehumanization of Modern Art (selections)

Clement Greenberg; On the Role of Nature in Modernist Painting; Picasso at Seventy Five; Abstract, Representational and So Forth; Collage

John Berger: Modigliani and Love

Robert Pippin: Fatalism in Film Noir: Some Cinematic Philosophy. 3. Sexual Agency in Fritz Lang's Scarlet Street

FILM: Scarlet Street (1945, d. Fritz Lang)

VI. The Limits of Objecthood: Abstract Expressionism and Minimalism

Reading:

Arthur Danto: The Philosophical Disenfranchisement of Art; The End of Art; The Transfiguration of the Commonplace (selections)

Michael Fried: Art and Objecthood

Tom Wolfe: The Painted Word

Peter de Bolla: Serenity: Barnett Newman's `Vir Heroicus Sublimis'

VII. Art and Social Transformation

Reading:

Frank Lloyd Wright and Le Corbusier: Architecture and Utopia (text TBA)

Clement Greenberg: Avant-Garde and Kitsch; Towards a Newer Laocoön

T.J. Clark: Clement Greenberg's Theory of Art

René V. Arcilla: Mediumism: A Philosophical Reconstruction of Modernism for Existential Learning. Ch.3. Strangerhood

Literatura:

Recommended General Works

Gay, P. (2008). Modernism: The Lure of Heresy. London and New York: W.W.Norton & Company Inc.

Heller, Á. (1999). A Theory of Modernity. Blackwell Publishers.

Le Pichon, Y., & Ferrier, J.-L. (1999). Art of the 20th century : a year-by-year chronicle of painting, architecture, and sculpture. Editions du Chene.

Readings

Arcilla, R. V. (2011). Mediumism: A Philosophical Reconstruction of Modernism for Existential Learning. Albany, NY: SUNY Press.

Baudelaire, C. (1995). The Painter of Modern Life. In J. Mayne (Ed.), The Painter of Modern Life and Other Essays. New York: Phaidon Press Ltd. Retrieved from http://www.columbia.edu/itc/architecture/ockman/pdfs/dossier_4/Baudelaire.pdf

Berger, J. (1985). The Sense of Sight. New York: Vintage International.

Berkowitz, R. (n.d.). The Origin of the Work of Art, by Martin Heidegger. Retrieved from https://www.academia.edu/2083177/The_Origin_of_the_Work_of_Art_by_Martin_Heidegger

Danto, A. (1999). Philosophizing Art: Selected Essays. Berkeley, Los Angeles, London: University of California Press, LTD.

De Bolla, P. (2003). Art matters. Harvard University Press. Retrieved from

Foucault, M. (2009). Manet and the Object of Painting. London: Editions de Seuil, Tate Publishing.

Frascina, F. (Ed.). (1985). Pollock and After: The Critical Debate. New York: Harper & Row Publishers.

Fried, M. (1996). Manet’s Modernism: or The Face of Painting in the 1860s. Chicago and London: The University of Chicago Press.

Fried, M. (1998). Art and Objecthood. In Art and Objecthood: Essays and Reviews. Chicago and London: The University of Chicago Press. Retrieved from http://atc.berkeley.edu/201/readings/FriedObjcthd.pdf

Gogh, V. van, & Leeuw, R. de. (1997). The letters of Vincent van Gogh. Penguin Books.

Greenberg, C. (n.d.). Art and Culture: Critical Essays. Boston, Massachusetts: Beacon Press Ltd.

Harrison, A. (1978). Making and Thinking: A Study of Intelligent Activities. Indianapolis: Hackett Publishing Copany.

Hildebrand, A. von. (1907). The Problem of Form in Painting and Sculpture. New York: G.E. Stechert & Co.

Kadarkay, A. (Ed.). (1995). A Lukács Reader. John Wiley and Sons, Australia Lt.

Krauss, R. E. (1981). Passages in Modern Sculpture. Mit Pr; Auflage: Revised.

Merleau-Ponty, M. (1993). Cézanne’s Doubt. In G. A. Johnson & M. B. Smith (Eds.), The Merleau-Ponty Aesthetics Reader: Philosophy and Painting (pp. 59–75). Evanston, Illinois: Northwestern University Press.

Merleau-Ponty, M. (1993). Eye and Mind. In The Merleau-Ponty Aesthetics Reader: Philosophy and Painting (G. Johnson, pp. 121–149). Evanston, Illinois.

Ortega y Gasset, J. (1968). The Dehumanization of Art and Other Essays on Art, Culture, and Literature. Princeton, New Jersey: Princeton University Press.

Pippin, R. B. (2012). Fatalism in American Film Noir: Some Cinematic Philosophy. Charlottesville and London: University of Virginia Press.

Read, H. (1985). Modern Sculpture: A Concise History. London: Thames & Hudson.

Rosenbaum, S. P. (Ed.). (1993). A Bloomsbury Group Reader. Oxford Uk, and Cambridge USA.

Sartre, J. P. (1948). The Quest for the Absolute. In The Aftermath of War (Situations III) (pp. 333–354). London, New York, Calcutta: Seagull Books.

Schapiro, M. (1999). Worldview in Painting: Art and Society (Selected Papers). New York: George Braziller.

Shiff, R. (1984). Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art. Chicago and London: The University of Chicago Press.

Simmel, G. (1950). The Metropolis and Mental Life. In D. Weinstein (Ed.), The Sociology of Georg Simmel (pp. 409–424). New York: Free Press.

Wolfe, T. (1975). The Painted Word. New York: Farrar, Strauss and Giroux.

Efekty uczenia się:

Familiarity with basic problems, texts, and methods pertaining to philosophical responses to modernism; analytical essay writing skills

Metody i kryteria oceniania:

Presentations; participation; writing

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