Theory & Method

Greenberg's "Avant-Garde and Kitsch"

Fri, 24 Feb 2012 11:37:51 -0500

Online source for this article found in the URL.

Kant's Critique of Judgment

Thu, 19 Jan 2012 15:17:20 -0500

An article via Google Docs has been shared with you all for the reading. If you have any trouble opening this PDF let me know. (katie)

Immanuel Kant, “Critique of Judgment” (1790), “Philosophers on Art: A Critical Reader, Christopher Kul-Want, editor, Columbia University Press: New York, 2010, 21-39.

To get the ball rolling on visualizations, consider this take on Kant: http://www.integralworld.net/images/helfrich3.gif

found at: http://www.integralworld.net/helfrich.html

"The world of traditional meaning discloses itself to the interpreter only to the extent that his own..."

Tue, 17 Jan 2012 12:29:00 -0500

“The world of traditional meaning discloses itself to the interpreter only to the extent that his own world becomes clarified at the same time.”

- Jürgen Habermas, Knowledge and Human Interests, trans. Schapiro, Beacon Press: Boston, 1971, 309.

Syllabus

Tue, 17 Jan 2012 11:46:00 -0500

HA602.01

Theory + Method
Tuesdays 6:00-8:50

Steven Zucker, Ph.D.
szucker@pratt.edu or 845.553.4729

We will explore the mechanics of our discipline through the close reading of seminal texts and by attempting to situate theory and method not simply as a product of its creator, but through an understanding of the cultural, political, economic, and social forces that shaped the contexts in which they developed and were received. In essence, we will attempt to bring the tools of art historical analysis to bear on its own texts.

Tentative Schedule:

January 17^th Course Introduction: Mechanics and Ambitions
In class reading:Selection from Jonathan Crary, Suspensions of Perception: Attention, Spectacle, and Modern Culture, MIT Press: Cambridge, 2001, 11-79.

January 24^thPrecursors
Plato, The Republic* (360 B.C.E.), Penguin Books: New York, 1987.

Pliny the Elder, excepts from Natural History* (77 C.E.), Art and Its Histories: A Reader, Steve Edwards, editor, Yale University Press: New Haven, 1999, 97-100.

Leon Battista Alberti, On Painting (1435), Yale University Press: New Haven, 1966.

Giorgio Vasari, Lives of the Painters, Sculptors and Architects (1550), Everyman’s Library: London, 1996.

Sir Joshua Reynolds, “Discourse on Art IV (1771),” Nineteenth-Century Theories of Art, Joshua C. Taylor, editor, University of California Press: Berkeley, 1987, 11-26.
Immanuel Kant, “Critique of Judgment* (1790),” Philosophers on Art: A Critical Reader, Christopher Kul-Want, editor, Columbia University Press: New York, 2010, 21-39.

January 31^th Austrian + German Roots
Johann Joachim Winckelmann, “One the Imitation of the Painting and Sculpture of the Greeks (1755), translation by Henry Fuseli, German Essays on Art History, Gert Schiff, editor, Continuum: New York, 1988, 1-17.

Gotthold Ephraim Lessing, “Laocoön: or, The limits of Poetry and Painting (1766),” Art in Theory, 1648-1815, An Anthology of Changing Ideas, Charles Harrison, Paul Wood and Jason Gaiger, editors, Blackwell: Oxford, 2000, 477-486. or http://books.google.ie/books?id=qR4GAAAAQAAJ

Alois Riegl, Problems of Style (1893), Art in Theory, 1815-1900, An Anthology of Changing Ideas, Charles Harrison, Paul Wood and Jason Gaiger, editors, Blackwell: Oxford, 2001, 735-735.

Wilhelm Worringer, “Abstraction and Empathy (1908),” Modern Art and Modernism: A Critical Anthology, Francis Frascina and Charles Harrison editors, Harper & Row: New York, 1982, 159-164.

Heinrich Wolfflin, Principles of Art History: The Problem of the Development of Style in Later Art (1915), Dover Books: New York, 1950.

Erwin Panofsky, Perspective as Symbolic Form (1927), Zone Books: New York, 1991

Erwin Panofsky, “The History of Art as a Humanistic Discipline (1940),” Meaning in the Visual Arts, The University of Chicago Press: Chicago, 1982, 1-25.

Erwin Panofsky, “Three Decades of Art History in the United States (1953),” Meaning in the Visual Arts, The University of Chicago Press: Chicago, 1982, 321-346.

Ernst Hans Josef Gombrich, “The Stylistic Categories of Art History and their Origins in Renaissance Ideals,” Norms and Forms, Studies in the Art of the Renaissance, Phiadon: London, 1966 and in Art and Its Histories: A Reader, Steve Edwards, editor, Yale University Press: New Haven, 1999. 72-78.

February 7^th Philosophic and Critical Approaches
Philosophic Approaches
Heidegger, Martin. “The Origin of the Work of Art (1935),” Basic Writings, Harper Collins: New York, 1993.

Maurice Merleau-Ponty, “Cezanne’s Doubt (1945),” faculty.uml.edu/rinnis/cezannedoubt.pdf

Maurice Merleau-Ponty, Phenomenology of Perception (1945), Routledge: New York, 2012.

Jean-Paul Sartre, “The Search for the Absolute (1948),” Art in Theory, 1900-2000, An Anthology of Changing Ideas, Charles Harrison and Paul Wood, editors, Blackwell: Oxford, 1999, 611-616.

Michel Foucault, “Las Meninas (from The Order of Things, 1966),” Philosophers on Art: A Critical Reader, Christopher Kul-Want, editor, Columbia University Press: New York, 2010, 169-177.

Michel Foucault. This Is Not A Pipe (1973), University of California Press: Berkeley, 1983.

Jacques Derrida, The Truth in Painting (1978), University of Chicago Press: Chicago, 1987 (only 257-382)

Jacques Derrida, excerpts from Of Grammatology in Art in Theory, 1900-2000, An Anthology of Changing Ideas, Charles Harrison and Paul Wood, editors, Blackwell: Oxford, 1999, 944-949.

Literary Criticism
Charles Baudelaire, “The Painter of Modern Life (1863),” Modern Art and Modernism: A Critical Anthology, Francis Frascina and Charles Harrison editors, Harper & Row: New York (1982): 23-28.

André Breton, “Manifesto of Surrealism” (1924), Manifestoes of Surrealism, University of Michigan Press: Ann Arbor, 1972.

Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction (1936),” Illuminations: Essays and Reflections, Hannah Arendt, editor, Schocken Books: New York, 1968.

George Bataille, “A Meeting in Lascaux, Civilized Man Rediscovers the man of Desire (1952),” The Cradle of Humanity: Prehistoric Art and Culture, Stuart Kendall, editor, Zone Books: Brooklyn, 2005, 81-85.

Peter Bürger, Theory of the Avant-Garde (1974), University of Minnesota Press: Minneapolis, 1984

February 14^th rescheduled to February 17 Meet at the Metropolitan Museum of Art
Fifth Avenue at 82^nd Street in the Great Hall (right side) at 6:30pm sharp. Please be sure to have already checked your coat and any large bags before we meet at 6:30. I will give you an admissions button, so don’t purchase one.

February 21^st Structuralism, Semiology and Marxist Approaches

Structuralism
Claude Lévi-Strauss, The Savage Mind (1962), University of Chicago Press: Chicago, 1966.

Semiology
Roland Barthes, “From Work to Text (1971),” Art After Modernism: Rethinking Representation, Brian Wallis and Marcia Tucker, editors, New Museum of Contemporary Art: New York, 1984, 169-174.

Roland Barthes, “Is Painting a Language,” The Responsibility of Forms: Critical Essays on Music, Art, and Representation (1973), Hill and Wang: New York, 1985, 149-156.
Jonathon Culler, Ferdinand de Saussure, Cornell University Press: Ithica, 1986.

Marxism
Karl Marx, “On Alienation (1844),” Art in Theory, 1815-1900, An Anthology of Changing Ideas, Charles Harrison, Paul Wood and Jason Gaiger, editors, Blackwell: Oxford, 2001, 170-173.

Max Horkheimer and Theodor W. Adorno, Dialectic of Enlightenment (1944), Continuum: New York, 1972. Especially “The Culture Industry: Enlightenment as Mass Deception, 120-167.

Leo Steinberg, “The Eye Is a Part of the Mind (1953),” Other Criteria: Confrontations with Twentieth-Century Art, Oxford University Press: London, 1972, 289-306.

Meyer Schapiro, The Apples of Cézanne: An Essay on the Meaning of Still-life (1968),” Modern Art: 19th and 20th Centuries, Selected Papers, George Braziller: New York, 1978, 1-38

Meyer Schapiro, The Still Life as a Personal Object—A Note on Heidegger and van Gogh (1968),” Theory and Philosophy of Art: Style, Artist, and Society, Selected Papers, George Braziller: New York, 1994, 135-142.

Meyer Schapiro, Further Notes on Heidegger and van Gogh (1994),” Theory and Philosophy of Art: Style, Artist, and Society, Selected Papers, George Braziller: New York, 1994, 143-151.

February 28^th At Odds: Psychoanalytic + Formalist Approaches
Psychoanalysis
Sigmund Freud, The Interpretation of Dreams,* Harper Collins: New York, 1899

Sigmund Freud, “The Moses of Michelangelo (1914),” The Freud Reader, Martin Jay, editor, W.W. Norton: New York, 1995, 522-38. http://bit.ly/vOfULl

Herbert Read, “What is Revolutionary Art (1935),” Modern Art and Modernism: A Critical Anthology, Francis Frascina and Charles Harrison editors, Harper & Row: New York, 1982, 123-127.

Carl Gustave Jung, “The Concept of the Collective Unconscious (1936),” The Archetypes of the Collective Unconscious, Princeton University Press: Princeton, 1990, 42-53.

Jacques Lacan, The Mirror Stage as Formative of the Function of the I (1949),” Philosophers on Art: A Critical Reader, Christopher Kul-Want, editor, Columbia University Press: New York, 2010, 147-167.

Laurie Schneider Adams, Art and Psychoanalysis, Harper Collins: New York, 1993.

Formalism
Roger Fry, “An Essay in Aesthetics (1909),” Modern Art and Modernism: A Critical Anthology, Francis Frascina and Charles Harrison editors, Harper & Row: New York, 1982, 79-88.

Clement Greenberg, “Avant-Garde and Kitsch (1939),” Clement Greenberg: The Collected Essays and Criticism, volume 1: Perceptions and Judgments, 1939-1944, John O’Brian editor, University of Chicago Press: Chicago, 1986, 5-22.

Clement Greenberg, “Towards a Newer Laocoon (1940),” Clement Greenberg: The Collected Essays and Criticism, volume 1: Perceptions and Judgments, 1939-1944, John O’Brian editor, University of Chicago Press: Chicago, 1986, 23-37.

Michael Fried, “Three American Painters (1965),” Modern Art and Modernism: A Critical Anthology, Francis Frascina and Charles Harrison editors, Harper & Row: New York, 1982, 115-122.

March 6^th Midterm Examination

March 13^th Spring Break, no classes

March 20^th Post
Post-Structuralism
Rosalind E. Krauss, “Sculpture in the Expanded Field (1979),” The Anti-Aesthetic: Essays on Postmodern Culture, Hal Foster, editor, Bay Press: Seattle, 1983, 31-42.

Rosalind E. Krauss, “The Originality of the Avant-Garde: A Postmodern Repetition (1981),” Art After Modernism: Rethinking Representation, Brian Wallis and Marcia Tucker, editors, New Museum of Contemporary Art: New York, 1984, 13-30.

Benjamin H. D. Buchloh, “Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting (1981),” Art in Modern Culture: An Anthology of Critical Texts, Francis Frascina and Jonathon Harris, editors, Harper Collins: New York, 1992, 222-238.

Jean Baudrillard, “The Procession of the Simulacra (1983),” Art After Modernism: Rethinking Representation, Brian Wallis and Marcia Tucker, editors, New Museum of Contemporary Art: New York, 1984, 253-281

Yve-Alain Bois, Painting as Model, MIT Press: Cambridge, 1990

Rosalind E. Krauss, “Who Comes After the Subject (2007),” Perpetual Inventory, MIT Press: Cambridge, 2010, 257-263

Postmodernism
Douglas Crimp, “On The Museum’s Ruins (1980),” The Anti-Aesthetic: Essays on Postmodern Culture, Hal Foster, editor, Bay Press: Seattle, 1983, 43-56.

Fredric Jameson, “Postmodern and Consumer Society (1982),” The Anti-Aesthetic: Essays on Postmodern Culture, Hal Foster, editor, Bay Press: Seattle, 1983, 111-125

Hal Foster, “Re: Post (1982),” Art After Modernism: Rethinking Representation, Brian Wallis and Marcia Tucker, editors, New Museum of Contemporary Art: New York, 1984, 189-201.

Andreas Huyssen, After the Great Divide. Modernism, Mass Culture, Postmodernism, Indiana University Press: Bloomington, 1986 or “excerpts from After the Great Divide. Modernism, Mass Culture, Post Modernism (1986),” Art and Its Histories: A Reader, Steve Edwards, editor, Yale University Press: New Haven, 1999. 221-224.
Jean-François Lyotard, “What is Postmodernism (1992),” Art in Theory, 1900-2000, An Anthology of Changing Ideas, Charles Harrison and Paul Wood, editors, Blackwell: Oxford, 1999, 1131-1137.

March 27^th Identity
Gender
Mary Wollstonecraft, “A Vindication of the Rights of Men in a Letter to the Right Honourable Edmund Burke (1790),” Art in Theory, 1648-1815, An Anthology of Changing Ideas, Charles Harrison, Paul Wood and Jason Gaiger, editors, Blackwell: Oxford, 2000, 708-710.

Simone de Beauvois, The Second Sex* (1949), Vintage: New York, 2011.

Griselda Pollock, “Vision, Voice, and Power: Feminist Art History and Marxism (1981),” Art in Modern Culture: An Anthology of Critical Texts, Francis Frascina and Jonathon Harris, editors, Harper Collins: New York, 1992, 28-31.

Linda Nochlin, “Courbet’s L’origine du monde: The Origin without an Original (1985),” Feminism-Art-Theory: An Anthology, 1968-2000, Hilary Robinson, editor, Blackwell: Oxford, 2001, 245-250.

Linda Nochlin, “Women, Art, and Power (1988),” Visual Theory: Painting & Interpretation, Norman Bryson, et.al. editors, Harper Collins: New York, 1991, 13-46.

Whitney Chadwick, “Art History and Woman Artists,” Women, Art, and Society, Thames & Hudson: New York, 1990, 15-36.

Whitney Davis, “Founding the Closet: Sexuality and the Creation of Art History (1992),” Art and Its Histories: A Reader, Steve Edwards, editor, Yale University Press: New Haven, 1999. 178-186.

Mieke Bal, “The Gaze in the Closet,” Vision in Context: Historical and Contemporary Perspectives on Sight, Teresa Brennen and Martin Jay, editors, Routledge: New York, 1996, 141-153.

Race + Culture
Edward W. Said, Orientalism*, Random House: New York, 1978.

Linda Nochlin, “The Imaginary Orient (1983)” Race-ing Art History: Critical Readings in Race and Art History, Kimberly N. Pinder, editor, Routledge: New York, 2002, 69-86.

James Clifford, “Histories of the Tribal and the Modern (1985),” Primitivism and Twentieth-Century Art: A Documentary History, Jack Flam and Miriam Deutch, editors, California University Press: Berkeley, 2003, 351-368.

Abigail Solomon-Godeau, “Going Native (1989),” Race-ing Art History: Critical Readings in Race and Art History, Kimberly N. Pinder, editor, Routledge: New York, 2002, 139-154.

Lucy Lippard, “Naming (1990),” Primitivism and Twentieth-Century Art: A Documentary History, Jack Flam and Miriam Deutch, editors, California University Press: Berkeley, 2003, 402-408.

Adrian Piper, “Cornered: A Video Installation Project (1992), Theory in Contemporary Art since 1985, Zoya Kocur and Simon Leung, editors, Blackwell Publishing: Oxford, 2005, 183-186.

Olu Oguibe, “In the ‘Heart of Darkness (1993),’” Theory in Contemporary Art since 1985, Zoya Kocur and Simon Leung, editors, Blackwell Publishing: Oxford, 2005, 226-232.
Bell Hooks, Altars of Sacrifice: Re-membering Basquiat (1995), Race-ing Art History: Critical Readings in Race and Art History, Kimberly N. Pinder, editor, Routledge: New York, 2002, 341-350.

April 3^rdInstitutional Structure + Critique
Group Material, “Caution! Alternative Space! (1982)” and “Statement (1985),” Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, Kristine Stiles and Peter Selz, editors, University of California Press: Berkeley, 1996, 894-895.

Miwon Kwon, “One Place After Another: Notes on Site Specificity,” October, volume 80, Spring 1997, 85-110.

Andrea Fraser, “From the Critique of Institutions to an Institution of Critique (2005),” Institutional Critique: An Anthology of Artists’ Writings, Alexander Alberro and Blake Stimson, editors, MIT Press: Cambridge, 2011, 408-417.

Wochenklausur, “From the Object to the Concrete Intervention (2005), http://wochenklausur.at/kunst.php?lang=en

Rika Burnham and Elliot Kai-Kee, Teaching in the Art Museum: Interpretation as Experience, J. Paul Getty Museum: Los Angeles, 2011.

April 10^th Science + Technology

Science
Charles Darwin, The Origin of Species*, John Murray: London, 1859

Thomas S. Kuhn, The Structure of Scientific Revolutions*, second edition, University of Chicago Press: Chicago, 1970.

Technology
André Malraux, “The Museum Without Walls,” The Voices of Silence, Princeton University Press: Princeton, 1950, 13-130.

Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the 19th Century (1990), MIT Press: Cambridge, 1992.

Jonathan Crary, Suspension of Perception: Attention, Spectacle and Modern Culture (1999), MIT Press: Cambridge, 2001.

Lev Manovich, The Language of New Media, MIT Press: Cambridge, 2001.

Anne Friedberg, The Virtual Window: From Alberti to Microsoft, MIT Press: Cambridge, 2006.

Beth Harris & Steven Zucker, “The Slide Library: A Posthumous Assessment for our Digital Future,” Teaching Art History with New Technologies: Reflections and Case Studies, Kelly Donahue-Wallace, et.al., editors, Cambridge Scholars Press: Newcastle, 2008, 33-41.

Lawrence Lessig, Remix: Making Art and Commerce Thrive in the Hybrid Economy, The Penguin Press: New York, 2008.

April 17^th Presentations

April 24^th Presentations

May 1^st Final Examination

Readings, lectures and discussions will be punctuated by fieldtrips, formal examinations, presentations with brief essays, and multimedia projects. Midterm and final exams will require a subtle understanding of key works of art theory, as well as a brief description of its historical context.

Each week, a pair of students will lead an extended class discussion on the readings being examined and will provide a supporting materials to the class in the form of hand outs, additions to the class website, and or visual presentation.

The main assignment for the term will be a multimedia historiographic project that seeks to map the ideas we have developed over the course of the semester or a closely related issue. Project topics must be approved in advance. Details will be available well in advance of the project. Late assignments will be lowered one full letter grade per week or part their of.

Semester grades will be determined from the following elements (subject to revision):

Presentations 20%

Midterm 20%

Short Papers 20%

Project 20%

Final 20%

There is no extra credit.

Students are expected to attend all classes and fieldtrips and must be on time. One unexcused absence may affect your final grade. Two unexcused absences may result in course failure. You will be required to produce documentation from your physician or another relevant professional, should you require an incomplete grade. No incompletes will be issued except by prior arrangement.

Please note: cell phones must be turned off during class. If there is an extenuating circumstance that requires that you keep your phone on, please speak to me before class. Laptops or tablets may only be used for work directly related to the course material being discussed. Please be sure they are silent during class.

Additional Resources
New York has extensive resources for the study of art. Take advantage of the City’s extraordinary museums and libraries. Also, please speak with me if you have any questions or concerns. My office hours are by appointment. Email me at szucker@pratt.edu, or just stop me after class.

Note on Academic Honesty
All work submitted for this course must be the product of the student’s own effort, thought, and research and in accord with common academic standards. When wording, organization, images, ideas, or research are borrowed from another source, that source must be credited according to standard academic conventions. Work completed for an assignment in one course cannot be turned in for another course, without prior permission of both instructors. Plagiarism is the failure to acknowledge the use of words, ideas or research of others. Plagiarism can be grounds for failure of this course. Further, anyone engaged in plagiarism or other types of academic dishonesty may face a disciplinary hearing, possibly leading to dismissal from Pratt Institute.

Selected Readings

Tue, 17 Jan 2012 02:06:00 -0500

Selected Readings
HA602 Art Historical Method & Theory

Precursors
Plato, The Republic* (360 B.C.E.), Penguin Books: New York, 1987.

Pliny the Elder, excepts from Natural History* (77 C.E.), Art and Its Histories: A Reader, Steve Edwards, editor, Yale University Press: New Haven, 1999, 97-100.

Leon Battista Alberti, On Painting (1435), Yale University Press: New Haven, 1966.

Giorgio Vasari, Lives of the Painters, Sculptors and Architects (1550), Everyman’s Library: London, 1996.

Sir Joshua Reynolds, “Discourse on Art IV (1771),” Nineteenth-Century Theories of Art, Joshua C. Taylor, editor, University of California Press: Berkeley, 1987, 11-26.

Immanuel Kant, “Critique of Judgment* (1790),” Philosophers on Art: A Critical Reader, Christopher Kul-Want, editor, Columbia University Press: New York, 2010, 21-39.

Austrian + German Roots
Johann Joachim Winckelmann, “One the Imitation of the Painting and Sculpture of the Greeks (1755), translation by Henry Fuseli, German Essays on Art History, Gert Schiff, editor, Continuum: New York, 1988, 1-17.

Gotthold Ephraim Lessing, “Laocoön: or, The limits of Poetry and Painting (1766),” Art in Theory, 1648-1815, An Anthology of Changing Ideas, Charles Harrison, Paul Wood and Jason Gaiger, editors, Blackwell: Oxford, 2000, 477-486. or http://books.google.ie/books?id=qR4GAAAAQAAJ

Alois Riegl, Problems of Style (1893), Art in Theory, 1815-1900, An Anthology of Changing Ideas, Charles Harrison, Paul Wood and Jason Gaiger, editors, Blackwell: Oxford, 2001, 735-735.

Wilhelm Worringer, “Abstraction and Empathy (1908),” Modern Art and Modernism: A Critical Anthology, Francis Frascina and Charles Harrison editors, Harper & Row: New York, 1982, 159-164.

Heinrich Wolfflin, Principles of Art History: The Problem of the Development of Style in Later Art (1915), Dover Books: New York, 1950.

Erwin Panofsky, Perspective as Symbolic Form (1927), Zone Books: New York, 1991

Erwin Panofsky, “The History of Art as a Humanistic Discipline (1940),” Meaning in the Visual Arts, The University of Chicago Press: Chicago, 1982, 1-25.

Erwin Panofsky, “Three Decades of Art History in the United States (1953),” Meaning in the Visual Arts, The University of Chicago Press: Chicago, 1982, 321-346.

Ernst Hans Josef Gombrich, “The Stylistic Categories of Art History and their Origins in Renaissance Ideals,” Norms and Forms, Studies in the Art of the Renaissance, Phiadon: London, 1966 and in Art and Its Histories: A Reader, Steve Edwards, editor, Yale University Press: New Haven, 1999. 72-78.

Philosophers on Art
Heidegger, Martin. “The Origin of the Work of Art (1935),” Basic Writings, Harper Collins: New York, 1993.

Maurice Merleau-Ponty, “Cezanne’s Doubt (1945),” faculty.uml.edu/rinnis/cezannedoubt.pdf

Maurice Merleau-Ponty, Phenomenology of Perception (1945), Routledge: New York, 2012.

Jean-Paul Sartre, “The Search for the Absolute (1948),” Art in Theory, 1900-2000, An Anthology of Changing Ideas, Charles Harrison and Paul Wood, editors, Blackwell: Oxford, 1999, 611-616.

Michel Foucault, “Las Meninas (from The Order of Things, 1966),” Philosophers on Art: A Critical Reader, Christopher Kul-Want, editor, Columbia University Press: New York, 2010, 169-177.

Michel Foucault. This Is Not A Pipe (1973), University of California Press: Berkeley, 1983.

Jacques Derrida, The Truth in Painting (1978), University of Chicago Press: Chicago, 1987 (only 257-382)

Jacques Derrida, excerpts from Of Grammatology in Art in Theory, 1900-2000, An Anthology of Changing Ideas, Charles Harrison and Paul Wood, editors, Blackwell: Oxford, 1999, 944-949.

Literary Criticism
Charles Baudelaire, “The Painter of Modern Life (1863),” Modern Art and Modernism: A Critical Anthology, Francis Frascina and Charles Harrison editors, Harper & Row: New York (1982): 23-28.

André Breton, “Manifesto of Surrealism” (1924), Manifestoes of Surrealism, University of Michigan Press: Ann Arbor, 1972.

Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction (1936),” Illuminations: Essays and Reflections, Hannah Arendt, editor, Schocken Books: New York, 1968.

George Bataille, “A Meeting in Lascaux, Civilized Man Rediscovers the man of Desire (1952),” The Cradle of Humanity: Prehistoric Art and Culture, Stuart Kendall, editor, Zone Books: Brooklyn, 2005, 81-85.

Peter Bürger, Theory of the Avant-Garde (1974), University of Minnesota Press: Minneapolis, 1984

Structuralism + Semiology
Claude Lévi-Strauss, The Savage Mind (1962), University of Chicago Press: Chicago, 1966.

Roland Barthes, “From Work to Text (1971),” Art After Modernism: Rethinking Representation, Brian Wallis and Marcia Tucker, editors, New Museum of Contemporary Art: New York, 1984, 169-174.

Roland Barthes, “Is Painting a Language,” The Responsibility of Forms: Critical Essays on Music, Art, and Representation (1973), Hill and Wang: New York, 1985, 149-156.

Jonathon Culler, Ferdinand de Saussure, Cornell University Press: Ithica, 1986.

Marxism
Karl Marx, “On Alienation (1844),” Art in Theory, 1815-1900, An Anthology of Changing Ideas, Charles Harrison, Paul Wood and Jason Gaiger, editors, Blackwell: Oxford, 2001, 170-173.

Max Horkheimer and Theodor W. Adorno, Dialectic of Enlightenment (1944), Continuum: New York, 1972. Especially “The Culture Industry: Enlightenment as Mass Deception, 120-167.

Leo Steinberg, “The Eye Is a Part of the Mind (1953),” Other Criteria: Confrontations with Twentieth-Century Art, Oxford University Press: London, 1972, 289-306.

Meyer Schapiro, The Apples of Cézanne: An Essay on the Meaning of Still-life (1968),” Modern Art: 19th and 20th Centuries, Selected Papers, George Braziller: New York, 1978, 1-38

Meyer Schapiro, The Still Life as a Personal Object—A Note on Heidegger and van Gogh (1968),” Theory and Philosophy of Art: Style, Artist, and Society, Selected Papers, George Braziller: New York, 1994, 135-142.

Meyer Schapiro, Further Notes on Heidegger and van Gogh (1994),” Theory and Philosophy of Art: Style, Artist, and Society, Selected Papers, George Braziller: New York, 1994, 143-151.

Psychoanalysis
Sigmund Freud, The Interpretation of Dreams,* Harper Collins: New York, 1899

Sigmund Freud, “The Moses of Michelangelo (1914),” The Freud Reader, Martin Jay, editor, W.W. Norton: New York, 1995, 522-38. http://bit.ly/vOfULl

Herbert Read, “What is Revolutionary Art (1935),” Modern Art and Modernism: A Critical Anthology, Francis Frascina and Charles Harrison editors, Harper & Row: New York, 1982, 123-127.

Carl Gustave Jung, “The Concept of the Collective Unconscious (1936),” The Archetypes of the Collective Unconscious, Princeton University Press: Princeton, 1990, 42-53.

Jacques Lacan, The Mirror Stage as Formative of the Function of the I (1949),” Philosophers on Art: A Critical Reader, Christopher Kul-Want, editor, Columbia University Press: New York, 2010, 147-167.

Laurie Schneider Adams, Art and Psychoanalysis, Harper Collins: New York, 1993.

Formalism
Roger Fry, “An Essay in Aesthetics (1909),” Modern Art and Modernism: A Critical Anthology, Francis Frascina and Charles Harrison editors, Harper & Row: New York, 1982, 79-88.

Clement Greenberg, “Avant-Garde and Kitsch (1939),” Clement Greenberg: The Collected Essays and Criticism, volume 1: Perceptions and Judgments, 1939-1944, John O’Brian editor, University of Chicago Press: Chicago, 1986, 5-22.

Clement Greenberg, “Towards a Newer Laocoon (1940),” Clement Greenberg: The Collected Essays and Criticism, volume 1: Perceptions and Judgments, 1939-1944, John O’Brian editor, University of Chicago Press: Chicago, 1986, 23-37.

Michael Fried, “Three American Painters (1965),” Modern Art and Modernism: A Critical Anthology, Francis Frascina and Charles Harrison editors, Harper & Row: New York, 1982, 115-122.

Post-Structuralism
Rosalind E. Krauss, “Sculpture in the Expanded Field (1979),” The Anti-Aesthetic: Essays on Postmodern Culture, Hal Foster, editor, Bay Press: Seattle, 1983, 31-42.

Rosalind E. Krauss, “The Originality of the Avant-Garde: A Postmodern Repetition (1981),” Art After Modernism: Rethinking Representation, Brian Wallis and Marcia Tucker, editors, New Museum of Contemporary Art: New York, 1984, 13-30.

Benjamin H. D. Buchloh, “Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting (1981),” Art in Modern Culture: An Anthology of Critical Texts, Francis Frascina and Jonathon Harris, editors, Harper Collins: New York, 1992, 222-238.

Jean Baudrillard, “The Procession of the Simulacra (1983),” Art After Modernism: Rethinking Representation, Brian Wallis and Marcia Tucker, editors, New Museum of Contemporary Art: New York, 1984, 253-281

Yve-Alain Bois, Painting as Model, MIT Press: Cambridge, 1990

Rosalind E. Krauss, “Who Comes After the Subject (2007),” Perpetual Inventory, MIT Press: Cambridge, 2010, 257-263

Postmodernism
Douglas Crimp, “On The Museum’s Ruins (1980),” The Anti-Aesthetic: Essays on Postmodern Culture, Hal Foster, editor, Bay Press: Seattle, 1983, 43-56.

Fredric Jameson, “Postmodern and Consumer Society (1982),” The Anti-Aesthetic: Essays on Postmodern Culture, Hal Foster, editor, Bay Press: Seattle, 1983, 111-125

Hal Foster, “Re: Post (1982),” Art After Modernism: Rethinking Representation, Brian Wallis and Marcia Tucker, editors, New Museum of Contemporary Art: New York, 1984, 189-201.

Andreas Huyssen, After the Great Divide. Modernism, Mass Culture, Postmodernism, Indiana University Press: Bloomington, 1986 or “excerpts from After the Great Divide. Modernism, Mass Culture, Post Modernism (1986),” Art and Its Histories: A Reader, Steve Edwards, editor, Yale University Press: New Haven, 1999. 221-224.

Jean-François Lyotard, “What is Postmodernism (1992),” Art in Theory, 1900-2000, An Anthology of Changing Ideas, Charles Harrison and Paul Wood, editors, Blackwell: Oxford, 1999, 1131-1137.

Gender
Mary Wollstonecraft, “A Vindication of the Rights of Men in a Letter to the Right Honourable Edmund Burke (1790),” Art in Theory, 1648-1815, An Anthology of Changing Ideas, Charles Harrison, Paul Wood and Jason Gaiger, editors, Blackwell: Oxford, 2000, 708-710.

Simone de Beauvois, The Second Sex* (1949), Vintage: New York, 2011.

Griselda Pollock, “Vision, Voice, and Power: Feminist Art History and Marxism (1981),” Art in Modern Culture: An Anthology of Critical Texts, Francis Frascina and Jonathon Harris, editors, Harper Collins: New York, 1992, 28-31.

Linda Nochlin, “Courbet’s L’origine du monde: The Origin without an Original (1985),” Feminism-Art-Theory: An Anthology, 1968-2000, Hilary Robinson, editor, Blackwell: Oxford, 2001, 245-250.

Linda Nochlin, “Women, Art, and Power (1988),” Visual Theory: Painting & Interpretation, Norman Bryson, et.al. editors, Harper Collins: New York, 1991, 13-46.

Whitney Chadwick, “Art History and Woman Artists,” Women, Art, and Society, Thames & Hudson: New York, 1990, 15-36.

Whitney Davis, “Founding the Closet: Sexuality and the Creation of Art History (1992),” Art and Its Histories: A Reader, Steve Edwards, editor, Yale University Press: New Haven, 1999. 178-186.

Mieke Bal, “The Gaze in the Closet,” Vision in Context: Historical and Contemporary Perspectives on Sight, Teresa Brennen and Martin Jay, editors, Routledge: New York, 1996, 141-153.

Race + Culture
Edward W. Said, Orientalism*, Random House: New York, 1978.

Linda Nochlin, “The Imaginary Orient (1983)” Race-ing Art History: Critical Readings in Race and Art History, Kimberly N. Pinder, editor, Routledge: New York, 2002, 69-86.

James Clifford, “Histories of the Tribal and the Modern (1985),” Primitivism and Twentieth-Century Art: A Documentary History, Jack Flam and Miriam Deutch, editors, California University Press: Berkeley, 2003, 351-368.

Abigail Solomon-Godeau, “Going Native (1989),” Race-ing Art History: Critical Readings in Race and Art History, Kimberly N. Pinder, editor, Routledge: New York, 2002, 139-154.

Lucy Lippard, “Naming (1990),” Primitivism and Twentieth-Century Art: A Documentary History, Jack Flam and Miriam Deutch, editors, California University Press: Berkeley, 2003, 402-408.

Adrian Piper, “Cornered: A Video Installation Project (1992), Theory in Contemporary Art since 1985, Zoya Kocur and Simon Leung, editors, Blackwell Publishing: Oxford, 2005, 183-186.

Olu Oguibe, “In the ‘Heart of Darkness (1993),’” Theory in Contemporary Art since 1985, Zoya Kocur and Simon Leung, editors, Blackwell Publishing: Oxford, 2005, 226-232.

Bell Hooks, Altars of Sacrifice: Re-membering Basquiat (1995), Race-ing Art History: Critical Readings in Race and Art History, Kimberly N. Pinder, editor, Routledge: New York, 2002, 341-350.

Institutional Theory + Critique
Group Material, “Caution! Alternative Space! (1982)” and “Statement (1985),” Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, Kristine Stiles and Peter Selz, editors, University of California Press: Berkeley, 1996, 894-895.

Miwon Kwon, “One Place After Another: Notes on Site Specificity,” October, volume 80, Spring 1997, 85-110.

Andrea Fraser, “From the Critique of Institutions to an Institution of Critique (2005),” Institutional Critique: An Anthology of Artists’ Writings, Alexander Alberro and Blake Stimson, editors, MIT Press: Cambridge, 2011, 408-417.

Wochenklausur, “From the Object to the Concrete Intervention (2005), http://wochenklausur.at/kunst.php?lang=en

Rika Burnham and Elliot Kai-Kee, Teaching in the Art Museum: Interpretation as Experience, J. Paul Getty Museum: Los Angeles, 2011.

Science + Technology
Charles Darwin, The Origin of Species*, John Murray: London, 1859

André Malraux, “The Museum Without Walls,” The Voices of Silence, Princeton University Press: Princeton, 1950, 13-130.

Thomas S. Kuhn, The Structure of Scientific Revolutions*, second edition, University of Chicago Press: Chicago, 1970.

Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the 19th Century (1990), MIT Press: Cambridge, 1992.

Jonathan Crary, Suspension of Perception: Attention, Spectacle and Modern Culture (1999), MIT Press: Cambridge, 2001.

Lev Manovich, The Language of New Media, MIT Press: Cambridge, 2001.

Anne Friedberg, The Virtual Window: From Alberti to Microsoft, MIT Press: Cambridge, 2006.

Beth Harris & Steven Zucker, “The Slide Library: A Posthumous Assessment for our Digital Future,” Teaching Art History with New Technologies: Reflections and Case Studies, Kelly Donahue-Wallace, et.al., editors, Cambridge Scholars Press: Newcastle, 2008, 33-41.

Lawrence Lessig, Remix: Making Art and Commerce Thrive in the Hybrid Economy, The Penguin Press: New York, 2008.