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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 340"
COURSE NAME: "Theories and Methods of Art History"
SEMESTER & YEAR: Spring 2014
SYLLABUS

INSTRUCTOR: Linda Nolan
EMAIL: [email protected]
HOURS: MW 3:00 PM 4:15 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: One previous course in Art History or permission of the instructor
OFFICE HOURS: Ater class and by appointment.

COURSE DESCRIPTION:

- to demonstrate a command of the major contributions to the evolution of the study of art history and its historiography

 

- to critically analyze differing philosophical and theoretical positions taken on art with the aim of applying them in the student’s own writing and research

 

- to apply practical skills in art history research, evaluation of sources, preparation and presentation of scholarly work

 

- to develop oral communication skills through discussion, argumentation, and oral presentation

 

SUMMARY OF COURSE CONTENT:

Methods and Theories of Art History is intended for Art History majors and students interested in the intellectual development of art history as a discipline. The content of the course is not the art object itself but the intellectual, historical, theoretical and methodological nature of thought on the art object. The survey of western art, with emphasis on America, France, and Italy, serves as the background and offers concrete case studies for our discussions in which we consider the evolution of art history as a discipline in a historiographical survey, examine the various theoretical propositions regarding art across the twentieth century, and explore the methodologies and techniques of the discourse on art that shape the way we think about art today. The course is conducted as a highly interactive discussion of selected readings of major authors in the history of art history.

 

LEARNING OUTCOMES:

Students will:

 

- learn the major contributions to the evolution of the study of art history and its historiography

 

- learn how to critically analyze differing philosophical and theoretical positions taken on art with the aim of applying them in the student’s own writing and research

 

- learn how to apply practical skills in art history research, evaluation of sources, preparation and presentation of scholarly work

 

- develop oral communication skills through discussion, argumentation, and oral presentation

TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Art History, The BasicsPooke, Grant, & Diana NewallLondon, New York: Routledge, 2008 ISBN 978-0-415-37308 paperback N.b. This is also available for Kindle   
The Art of Art History: A Critical AnthologyPreziosi, Donald, ed. Oxford, Oxford University Press. 2009, 2nd edition N.b. Do NOT purchase the 1998 first edition.)   
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Class ParticipationStudents are expected to be fully prepared to participate in class discussion. Students who have not read the assigned material should expect to lose points in the participation grade. If it becomes clear that students are not keeping up with the readings, periodic quizzes or in-class writing will be assigned.15%
Paper 1: “Text and Image” 1,200-word essay (c. 4 pages), discussing the relationship between a selected text and image. Related to the course topic of Iconography and Iconology.10%
Midterm ExamAn essay form exam in which the student will discuss a work of art of her/his choice using a method and theoretical position, selected by the professor, from the first half of the course. 20%
Discussion: “Artist Bio and Image”This assignment asks each student to examine a work of art by means of the biography of the artist, provide a mini-presentation, and lead a discussion.15%
Paper 2: “Exhibition Review” 1,500 word essay (c. 5 pages). Each student will visit a public exhibition of art currently on view in Rome, equipped with a specific piece of theoretical writing of their choice that addresses the display and presentation of the art works.20%
Oral Presentation (Final Meeting and Final Exam)Oral Presentation 2 and Discussion: The object of the Midterm Exam is revisited and discussed employing a theoretical proposal introduced in the second half of the course. Students will turn in a one-page outline of the main points of their presentation.20%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:

One unexcused absence is permitted (but highly discouraged) without grade penalty. You are still responsible for the content of that missed meeting, which may include an in-class writing assignment. Three “tardies” count as one unexcused absence. Please note that being physically present in all class sessions (or missing 1 session) will only result in a grade of C+ for Participation (15%). If you strive for a higher grade, you must participate in discussions.  Please arrive on time. Students who arrive late to class will miss important information announced at the start of class and disrupt the discussion underway. 

ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

Class Schedule

week

date

Topic

Readings required

Learning activities and assignment due dates

1

Mon,

January 13

Introduction to course

excerpt reading;

discussion

Wed,

January 15

What is Art History?

Focus: Connoisseurship

Pooke & Newall ch 1

Preziosi 2009, p. 1-21 (Preziosi)

Gladwell, Introduction: the Statue that didn’t look right, 2005

Recommended:

Nelson, Map of Art History, 1997

excerpt reading; discussion

2

Mon,

January 20

Researching Art: past to the present

Holly, What is research? 2008

Langdon 1999, Caravaggio books, review article

excerpt reading;

discussion

Wed,

January 22

Researching Art: past to the present, cont.

Gotlieb, Our Monstrous Double, 2008

Bomford, review of Hockney, Secret Knowledge, 2002

excerpt reading; discussion

3

Mon,

January 27

Formalism and Modernist foundations of Art History

Pooke & Newall ch 2

Formalism, Oxford Art

excerpt reading;

discussion

Wed,

January 29

Formalism and Modernist foundations of Art History, cont.

Preziosi 2009, p. 45-53 (Baxandall, Patterns of Intentions)

cont.

4

Mon, February 3

Iconography and Iconology

Pooke & Newall ch p. 68-70 (Iconography and Iconology)

Iconography, Oxford Art

Preziosi 2009, p. 215-19 (Intro to ch 5) and p. 220-35 (Panofsky, Iconography and Iconology)

excerpt reading;

discussion

stages of iconographic analysis

Wed,

February 5

Semiotics

Pooke & Newall ch 4

Preziosi 2008, p. 243-255 (Bal and Bryson, Semiotics and Art History)

excerpt reading;

discussion

5

Mon, February 10

Marxism and Social History of Art

Pooke & Newall ch 3

excerpt reading;

discussion

Wed,

February 12

Marxism and Social History of Art, cont.

Clark, Painting of Modern Life, 1984, section

Pollock, Modernity and Spaces of Femininity, 1988

excerpt reading;

discussion

DUE: Project 1 “Text and Image” on Friday via email

6

Mon, February 17

Visual Culture

Mitchell, What Do Pictures Really Want? 1996

Preziosi 2009, p. 455-67 (Smith, Visual Culture Studies, 2006)

excerpt reading;

discussion

Wed,

February 19

Representation and Interpretation

V/A (read: Alpers, Crow, Holly, Jay), Visual Culture Questionnaire, 1996

Alpers, Las Meninas, 1983

excerpt reading;

discussion

7

Mon, February 24

Midterm Exam

Wed,

February 26

NO CLASS

Time will be made up during evening visit to gallery openings, date TBA

8

Mon,

March 3

NO CLASS

Time will be made up during evening visit to gallery openings, date TBA

 

Wed,

March 5

Authorship and Psychoanalysis

Spring Break

Pooke & Newall ch 5

Garrard, Leonardo da Vinci, 1992

excerpt reading; discussion

9

Mon,

March 10

Authorship and Psychoanalysis, cont.

Preziosi 2009, p. 317-320 (Intro to ch 7) and p. 321-34 (Foucault, What is an author? 1969)

Grossman and Grey, An Undisciplined Report on the Teaching of History, 2013

excerpt reading;

discussion

Wed,

March 12

Gender and Identity

Pooke & Newall ch 6

Chave, Minimalism and Biography, 2000

Meyer, Jesse Helms Theory of Art [Mapplethorpe], 2003

excerpt reading; discussion

Assignment: Discussion: “Artist Bio and Image”

10

Mon,

March 17

SPRING BREAK

Wed,

March 19

SPRING BREAK

excerpt reading; discussion

11

Mon,

March 24

Postmodernism

Pooke & Newall ch 7

excerpt reading; discussion

Wed,

March 26

Postmodernism, cont.

Preziosi 2009, p. 435-42 (Benjamin, The Work of Art in the Age of Technological Reproducibility, 1939)

Fried, Art and Objecthood, 1967

excerpt reading; discussion

12

Mon,

March 31

Art History and the art museum

Museum, Oxford Art

Haskell, Museums and Their Enemies, 1985

Weil, Social Enterprise, 1997

excerpt reading; discussion

Wed,

April 2

Art History and the art exhibition

Haskell, Botticelli and Fascism, 1999

Haskell, Intro, The Ephemeral Museum, 2000

Recommended: Beckett, A user’s guide to art-speak, 2013

excerpt reading; discussion

FRIDAY

April 4 – Make-up day for Mon, April 21

Art history and the art market

Careers for the art historian

Discussion of Project 2: “Exhibition Review” assignment

Sorkin, The Christie’s Auctioneer…on works the room, 2014.

Panero, The art market explained, 2009

excerpt reading; discussion

DUE: Project 2 “Exhibition Review” via email

13

Mon,

April 7

Post-Colonialism and Globalization

Pooke & Newall ch 8

Preziosi 2009, p. 409- 23 (Mitchell, Orientalism and the Exhibitionary Order, 1989)

excerpt reading; discussion

Wed,

April 9

Postmodern discontent?, part 1: Digital, video, and machine art

Preziosi 2009, p. 468-87 (Fernandez, ‘Life-like’: Historicizing Process and Responsiveness in Digital Art, 2006) 

Clark, Modernism, Postmodernism, and Steam, 2002

14

Mon,

April 14

Postmodern discontent?, part 2: the Internet

Mitchell, The Abu Ghraib Archive, 2008

excerpt reading; discussion

Wed,

April 16

Art History today and beyond: Final Discussion

TBA

Students select an image and leading question for final discussion

15

Mon,

April 21,

Made up Friday, April 4

HOLIDAY – NO CLASS MEETING

st

Wed,

April 23

“Alternative Perspectives“ Oral Presentation

student presentations

Final Exam time slot

“Alternative Perspectives“ Oral Presentation

student presentations