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אמנות אמריקנית לאחר הפצצה האטומית בין השנים 1945-1968
Postwar: Art After the Atomic Bomb (1945-1969) |
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אמנויות | חוג לתולדות האמנות | |||||||||||||||||||||||||
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בקורס זה נסקור יצירות אומנות באירופה ובארצות הברית בתקופה שלאחר מלחמת העולם השנייה, החל מהטלת פצצת האטום ושחרור המחנות ועד מחאות הסטודנטים בסוף שנות השישים (1945 עד 1969). נתחיל באקספרסיוניזם המופשט, נעמיד אמנים ידועי שם ותנועות מפורסמות (ציור שדה הצבע, פופ, קבוצה עצמאית, התרחשויות, ארטה פוברה (אומנות ענייה), קוברה, אומנות מושגית, מינימליזם, מיצג ועבודות אדמה) בהקשר התרבותי והחברתי-פוליטי הרחב יותר. בכל אירופה הותווה השיקום על ידי טיהורים פוליטיים וטיהור הנאציזם, תוכניות שאפתניות לבנייה מחדש והשפעתה של תוכנית מרשל, הקמת אונסק"ו, והתהליך הכואב של דה-קולוניזציה. האם ניו יורק "גנבה" את הרעיון של אומנות מודרנית? באיזו אופן עסקו האומנים האמריקניים במלחמה הקרה, בפילוסופיה האקזיסטנציאליסטית, בעליית "חרושת התרבות" לצרכן, בתנועת זכויות האזרח ובמלחמת וייטנאם, וכיצד הם הגיבו עליהן? בחומרי הקריאה בקורס משולבים תיאורים היסטוריים הכוללים את כתביהם של האומנים עצמם וכן ביקורת אומנותית מהתקופה. תשומת לב מיוחדת תינתן לקבלה.
This course surveys artistic production in Europe and the United States in the postwar period, from the atomic bomb and the liberation of the camps to the student protests of the late sixties (1945-1969). Beginning with Abstract Expressionism, we will place major artists and movements (Color Field Painting, Pop, Independent Group, Happenings, Arte Povera, Cobra, Conceptual Art, Minimalism, Performance, and Earthworks) in their broader cultural and sociopolitical context. Across Europe, the reconstruction was marked by purges and denazification, ambitious rebuilding programs and the impact of the Marshall Plan, the creation of UNESCO, the painful process of decolonization. Did New York “steal” the idea of modern art? How did American artists engage with and respond to the Cold War, Existentialist philosophy, the rise of a consumer “culture industry,” the Civil Rights movement and the Vietnam war? Course readings combine art historical accounts with artists’ own writings and art criticism from the period. Particular attention will be given to reception.
Tel Aviv University
Art History Department
Postwar: Art After the Atomic Bomb (1945-1969)
Spring Semester
Dr. Rachel Perry
Thursday 14-16:00.
Office Hours: By appointment. I can be reached at 054-772-1169. Email: perryrub@bezeqint.net
Course Description:
This course surveys artistic production in Europe and the United States in the postwar period, from the atomic bomb and the liberation of the camps to the student protests of the late sixties (1945-1969). Beginning with Abstract Expressionism, we will place major artists and movements (Color Field Painting, Pop, Independent Group, Happenings, Arte Povera, Cobra, Conceptual Art, Minimalism, Performance, and Earthworks) in their broader cultural and sociopolitical context. Across Europe, the reconstruction was marked by purges and denazification, ambitious rebuilding programs and the impact of the Marshall Plan, the creation of UNESCO, the painful process of decolonization. Did New York “steal” the idea of modern art? How did American artists engage with and respond to the Cold War, Existentialist philosophy, the rise of a consumer “culture industry,” the Civil Rights movement and the Vietnam war? Course readings combine art historical accounts with artists’ own writings and art criticism from the period. Particular attention will be given to reception.
Course Requirements and Grade Distribution:
Class participation: Regular and punctual attendance is crucial. Because this class only meets once a week, it is critical that you come to class having done all of the required reading and ready to discuss new concepts and arguments in class discussions. PDF files of assigned articles and other documents may be downloaded or printed directly from the Moodle website. Most of the readings for the course come from these major textbooks:
oA Companion to Contemporary Art Since 1945, ed. Amelia Jones (Blackwell).
Midterm exam: Consists of identifications, comparisons and a short essay question to be selected from a list of options, this in-class examination covers the first half of the course.
Final exam: Covering the second half of the course, this in-class examination is identical to the midterm in all but one respect: it features an additional, longer essay question of a cumulative nature. The identifications and comparisons are not cumulative.
Film Screenings: Film screenings are scheduled throughout the semester both in class and as homework.
There are no pre-requisites for this course. All reading material is in English.
Course Outline
Week 1 (March 8): Introduction: The Fall of Paris?
Week 2 (March 15): Europe After the Rain: Zero Hour
Readings:
Week 3 (March 22): Made in the USA? Abstract Expressionism
Pesach: March 28 – April 6
Week 4 (April 12): Action Painting, Color Field, Post Painterly Abstraction
Recommended:
Yom Haatzmaut (April 19) NO CLASS
Week 5 (April 26): Neo-Dada and Pop: Cage, Johns and Rauschenberg
Week 6 (May 3): Midterm Exam
Week 7 (May 10): Independent Group, Nouveaux Réalisme, Cobra, POP
Week 8 (May 17): The Beats, Environments, Happenings, Black Mountain, Fluxus
Week 9 (May 24): Minimalism, Process, and Anti-Form
Week 10 (May 31): Conceptual Art: The Dematerialized Object
Week 11 (June 7): Art Workers: Activist art, Feminism and Institutional Critique
Week 12 (June 14): FINAL EXAM