ART 309: 20th Century Art since 1945
Term: Spring
Course Description
Major, minor. Elective credit. Writing Intensive. In this course, we will explore art and theory in the post-war period, from the emergence of Abstract Expressionism in the Unites States to the transnational context of artistic production today. Some of the major of themes will include: the complex legacy of the historical avant-garde, activist strategies, performance and protest art, the use of new media, and artistic responses to globalization. While the course is organized as a survey of important movements, it also engages with case studies of individual artists and practices that lie outside the dominate narrative.
Course Objectives
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To expand students’ familiarity with of major artists, artworks, and movements since 1945
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To situate artistic production within broader political, cultural, and intellectual histories of the period
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To develop skills in visual analysis, historical interpretation, and art-critical writing
Course Outcomes
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Students will become familiar with of major artists, artworks, and movements since 1945
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Students will situate artistic production within broader political, cultural, and intellectual histories of the period
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Students will develop skills in visual analysis, historical interpretation, and art-critical writing
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Project 1: Discussion Days
This course will include frequent discussions based on the readings and artworks introduced in class. Beyond the textbook assignments, we will read scholarly articles that engage with important issues and controversies surrounding artwork created in the late-20th century. On the designated days, indicated by Discussion Days on the syllabus, students will work in groups to answer a list of question based on the assigned text. Every student is responsible for coming to class having completed the reading, prepared to discuss the pre-circulated questions. I will keep a tally of student participation and make sure that everyone has an opportunity to share their thoughts. To achieve full credit for the discussion participation, students are expected to speak at least once on every discussion day.
Note: the readings in this class can be difficult…but rewarding. These discussions will help us decipher the main arguments and the larger stakes presented by the author. They are an opportunity for you to examine a theme in greater depth, to raise difficulties that you encountered, and to pose additional questions.
Project 2: Field Trip Reflection
As part of your overall grade, you are expected to attend field trips to Black Mountain College (required) and the Mint Museum in Charlotte (optional). Following the visit to Black Mountain College, you will be responsible for submitting a 2-page reflection paper. As each field trip approaches, I will provide additional questions. *Modifications will be made for those who cannot attend the Black Mountain College visit*
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Project 3: Exhibition Critique
Using models of art criticism introduced in class, students will write a critique of one of the Milliken Gallery exhibitions or an exhibition of Contemporary art in Asheville or Charlotte (pre-approval required). Papers should be 2-3 double-spaced pages in length. The focus of the critique may be on specific works and/or the exhibition’s general theme. You may wish to address the artist’s approach to his or her work, or you may choose to place the artwork alongside concerns extrinsic to the exhibition. The goal will be to situate artistic practices within larger art trends of the past 50 years; to that end, you are strongly encouraged to make concrete, specific connections to art movements studied in class.
You’ll notice that art criticism can be “looser” than other forms of scholarly writing. You may choose to be more conversational, even more personal, in this assignment. Above all, your job is to give an opinionated but fair assessment of the exhibition. As you are writing, consider how will you convince the reader that your judgement is correct. How will you persuade (or dissuade) the reader to see the exhibition? What do you want the reader to learn about the artist and artworks on view?
You are not required to conduct research for these papers, though should you use any outside source material, please cite it accordingly.
Exhibitions at the Milliken Gallery
January 6 - February 3: Ashleigh Coleman, Hold Nothing Back
*Gallery talk on February 3, at 6:00 pm
February 10 - March 10: Jan Ross, Watercolors: People, Places, and Things
* Gallery talk on February 10, at 6:00 pm
Project 4: Visual Analysis Paper
In this first paper, no research is required! You will choose one artwork to focus on: an artwork of any media, created between 1945 and today. To find a work that interests you, I suggest perusing the textbook and the collections at The Museum of Modern Art (New York) and the Whitney Museum (New York); locally, check out the Johnson Collection, the Mint (in Charlotte), and the High Museum in Atlanta.
A visual analysis (sometimes called a formal analysis) describes and evaluates the forms appearing in the work you have chosen. These forms give the work its expression, message, or meaning. This type of analysis assumes a work of art is a constructed object that has been created with meaning and that this meaning can be understood by studying the elements of the work and their relationships. Yet the analysis is not a random flow of ideas about the work (i.e. stream of consciousness writing). Rather, it should have a sense of order, moving purposefully through your description with regard to specific elements (such as composition, color, subject matter) that build towards some argument you want to make about the artwork: your thesis.
Project 5: Exhibition Project
In this creative final project, you will curate a hypothetical exhibition proposal for the new Hazel B. Abbott Gallery, based upon the artwork you chose for your visual analysis. The components will include a 4-page proposal that explains the argument of the exhibition and a checklist of at least 10 items. Each image must be accompanied by a wall label (.5 page each). The total final project will equal 10 double-spaced pages.
The theme and content of the exhibition is entirely up to you. You may choose to present a retrospective of the artists’ career; you may decide to display historical precedents or future art movements connected to your artist; or you may include non-art objects and installations that evoke the cultural setting around the artworks. I encourage you to be imaginative and ambitious in your conception, drawing from our in-class discussions your own experience visiting museum exhibitions.
Whatever direction you take, make certain that your proposal is guided by a thesis about the significance of this artwork or artist. After all, curators use the proposal to convince a museum board to take on an exhibition—so your task will be to make the best, well-researched pitch possible. This project is a variation on a traditional art historical research paper and is designed to introduce you to the methods of research in the visual arts. The aim is to weave together visual evidence with the historical context of the work’s production or its reception, considering its relation to specific social, cultural, economic, or political phenomena. To that end, you will also be submitting a bibliography that must include at least four scholarly sources related to your artwork or artist. Examples of scholarly sources include peer-review academic journals (such as the Art Bulletin), chapters of an academic book, and articles in exhibition catalogues. For citations, include consecutive numbers that refer to footnotes (at the foot of each page) or endnotes (at the end of the entire document). Your notes must be consistently formatted according to Chicago Manual of Style handbook: www.chicagomanualofstyle.org
Final Project
