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 |
Punkty ECTS i inne: |
(brak)
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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 |
Właścicielem praw autorskich jest Uniwersytet Warszawski.