סילבוס הקורס רוקוקו במאה העשרים: תרבות פופולרית בין הנאורות לפוסטמודרניזם

שנה"ל תשע"ג

רוקוקו במאה העשרים: תרבות פופולרית בין הנאורות לפוסטמודרניזם
Rococo in Twentieth Century Art

0821-6782-01

אמנויות | חוג לתולדות האמנות

סמ' א'

1000-1200

'ד

213

מכסיקו - אומנויות

שיעור

ד"ר מילאנו רונית

D:\Inetpub\shared\yedion\syllabus\08\2012\0821\0821678201_desc.txt

סילבוס מקוצר

הקורס מתמקד באמנות עכשווית מאז 1980, ודן באופן שבו נושאים נפוצים ברוקוקו, כמו גם נטיות של המאה ה-18, נוכסו על ידי אמנים מודרניים. השימוש הייחודי בצבע, קו ובתוכן ינותחו בעבודותיהם של דמיאן הירסט, ג'ף קונס, טקאשי מורקאמי, ואחרים. הקורס יעסוק באופן ביקורתי במערכות השיח המרכזיות שקושרות את האמנות הפוסטמודרנית לאמנות של עידן הנאורות בצרפת: ישן מול חדש, קיטץ' ו"תרבות נמוכה", סובייקטיביות לעומת קולקטיביות, שכפול וניכוס.

אמנויות | חוג לתולדות האמנות
0821-6782-01 רוקוקו במאה העשרים: תרבות פופולרית בין הנאורות לפוסטמודרניזם
Rococo in Twentieth Century Art
שנה"ל תשע"ג | סמ' א' | ד"ר מילאנו רונית

סילבוס מפורט/דף מידע

רוקוקו במאה העשרים : תרבות פופולרית בין הנאורות לפוסטמודרניזם

Rococo in Twentieth-Century Art :

Popular Culture between Enlightenment and Postmodernism

0821-6782-01

סמסטר א' , תשע"ג

ד"ר רונית מילאנו

שיעור בחירה

שעות קבלה של המרצה ומיקום:

טלפון:

דוא"ל: ronitmilano@gmail.com

The course centers on contemporary art since the 1980s, and discusses the way in which Rococo themes, as well as other eighteenth-century tendencies, were appropriated by modern artists. The particular use of color, line and subject matter will be analyzed in the works of Damien Hirst, Jeff Koons, and Takashi Murakami, among others. The course will critically engage with the major discourses that tie Postmodern art to the art of the French Enlightenment: old versus new, kitsch and "low culture", subjectivity versus collectivity, reproduction and appropriation.

שקלול הציון הסופי:

מבחן 100%

פרשיות לימודים:

Meeting	Subject(s)
1	Introduction: Postmodern Art
2	Critically reading Greenberg on "Kitch" *Reading: Clement Greenberg, "Avant-Garde and Kitsch," Partisan Review, 6:5 (1939), pp. 34-49.*
3	High and low culture in eighteenth-century France
4	Popular culture and "superflat" art
5	Appropriation, irony and endurance *Reading: Jean Baudrillard, Simulations, trans. P. Foss, P. Patton, and P. Beitchman. New York, 1983, pp. 1-7.*
6	The formation of selfhood in the Age of Enlightenment *Reading: J.-J. Rousseau, Confessions* (completed in 1769, published in Paris, 1782), book I**
7	Postmodernist art and subjectivity Reading: Ewa Lajer-Burcharth, "Interior and Interiority: Chantal Akerman’s La Bas," 31 Das Magazin des Instituts für Theorie, Special Issue: Die Figur Der Zwei/The Figure of Two, Zürich, No. 14/15 December 2010, pp. 139-146.
8	The eighteenth-century debate: Ancients versus Moderns Reading: Thomas Gaehtgens, "The Tradition of Antiacademism in Eighteenth-Century French Art," section 2: pp. 211-218, in The French Academy: Classicism and Its Antagonists, ed. June Hargrove (Newark, London and Toronto, 1990).
9	The twentieth century dialectic of old and new
10	Photography: theorizing the continuity of time and space *קריאה: רולאן בארת, מחשבות על הצילום* (1979), תרגום: דוד ניב, ירושלים, 1988**
11	Art and gender: motherhood and feminism *Reading: Carol Duncan, “Happy Mothers* and Other New Ideas in French Art,” Art Bulletin 55, no. 4 (December 1973), pp. 570–83.**
12	Touching the past: Koons and Murakami in Versailles
13	The idea of the artist as celebrity

חובות הקריאה יועלו על ידי המרצה לאתר הקורס בפורמט דיגיטלי.

ייתכנו שינויים בתכנית השיעורים בהתאם לנסיבות משתנות.

Selected Readings:

Baker, M., Figured in Marble: The Making and Viewing of Eighteenth-Century Sculpture, Los Angeles, 2000. (BGU: NB 466.B35 2000)

Bankowsky, J., A. M. Gingeras and C. Wood, Pop Life: Art in a Material World, London and New York, 2009. (BBR: 709.04071 POP)

Barker, E., Greuze and the Painting of Sentiment, Cambridge, 2005. (TAU: 759.4 GRE (BAR))

Barthes, R., Camera Lucida: Reflections on Photography, trans. R. Howard. London, 2000. (TAU: 770.1 BAR)

––––– , “The Death of the Author.” In Image-Music-Text, trans. S. Heath, New York, 1977. (TAU: 801 BAR)

–––––. Mythologies, trans. A. Lavers, New York, 1972. (TAU: 848.91 BAR)

Baudrillard, J., Simulations, trans. P. Foss, P. Patton, and P. Beitchman. New York, 1983. (TAU – Electronic Text, pp. 1-7)

Benjamin, W., “A Short History of Photography,” in Classic Essays on Photography, ed. A. Trachtenberg, trans. P. Patton, Stony Creek, 1980. (TAU: 770 CLA)

––––– , “The Work of Art in the Age of Mechanical Reproduction,” in Illuminations: Essays and Reflections, ed. H. Arendt, trans. H. Zohn, New York, 1969. (תדפיס אלקטרוני של התרגום לעברית: יצירת האמנות בעדן השעתוק הטכני)

Bindman, D. and M. Baker, Roubiliac and the Eighteenth-Century Monument: Sculpture As Theatre, New Haven, 1995. (HAI: NB553.R75B56 1995)

Bonami, F., Jeff Koons, exh. cat., Chicago and New Haven, 2008. (HUJ: ‪N 6537 K645 A4 2008‪)

Brunel, G., Boucher, New York, 1986. (HAI: ND553.B72B713)

Bürger, P., Theory of the Avant-Garde, trans. M. Shaw, Minneapolis, 1984. (TAU: 111.85 BUR)

Coffin, S., Rococo: The Continuing Curve, 1730-2008, exh. cat., New York, NY, 2008. (BZL: 745.094-ROC-COF)

Corrin, L. G., and J. Spicer, eds., Going for Baroque: 18 Contemporary Artists Fascinated with the Baroque and Rococo, exh. cat., Baltimore, 1995.

––––– , M. Kwon and N. Bryson, Mark Dion, London, 1997. (HUJ: ‪N 6537 D56 C67‪)

Criqui, J.-P. et al., Jeff Koons: Versailles , exh. cat., Paris, 2008. (BZL: B-KOO-Ver)

Crow, T., Modern Art in the Common Culture, New Haven, 1996. (TAU: 709.04 CRO)

Danto, A., Unnatural Wonders: Essays from the Gap between Art and Life, New York, 2005. (TAU: 701 DAN)

Durand, R., J.-P. Criqui and L. Mulvey, Cindy Sherman, exh. cat., Paris, 2006. (HAI: TR647.S4844 2006)

Evans, D., ed., Appropriation, London, 2009. (BZL: 701-EVA)

Foucault, M., “What is an Author?” in Language, Counter-Memory, Practice: Selected Essays and Interviews, ed. D. F. Bouchard, trans. D. F. Bouchard and S. Simon, Ithaca, 1977. (TAU: 194 FOU)

Foster, H., The first Pop age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha, Princeton, N.J., 2012.

––––– , Recodings: Art, Spectacle, Cultural Politics. Seattle, 1985. (TAU: 709.04 FOS)

Fried, M., “Painting Memories: On the Containment of the Past in Baudelaire and Manet.” Critical Inquiry 10, no. 3 (March 1984), pp. 510-542.

–––––, Absorption and Theatricality: Painting and Beholder in the Age of Diderot, Berkeley, Los Angeles and London, 1980. (TAU: 759.4 FRI)

Gaehtgens, T., "The Tradition of Antiacademism in Eighteenth-Century French Art," in The French Academy: Classicism and Its Antagonists, ed. J. Hargrove, Newark, London and Toronto, 1990, pp. 206-218. (TAU: 706(44) FRE)

Goodman, E., The Portraits of Madame de Pompadour: Celebrating the Femme Savante, Berkeley, 2000. (TAU: 757(44) GOO)

Greenberg, C., Clement Greenberg, Late Writings, ed. R. Morgan., Minneapolis, 2003. (TAU: 701.98 GRE)

–––––, “Avant-Garde and Kitsch” Partisan Review, 1939. http://www.sharecom.ca/greenberg/kitsch.html

Heartney, E., Postmodernism, London, 2001. (HUJ: N 6494 P66 H43 2001)

Hyde, M., "The "Makeup" of the Marquise: Boucher's Portrait of Pompadour at Her Toilette," The Art Bulletin 82, No. 3, (Sep., 2000), pp. 453-475.

––––– and J. Milam, eds., Women, Art and the Politics of Identity in Eighteenth-Century Europe, Aldershot, 2003. (TAU: 759.04 WOM)

Jameson, F., “Postmodernism, or, The Cultural Logic of Late Capitalism,” New Left Review 146 (July-August 1984), pp. 59-92.

Jones, C., Madame de Pompadour: Images of a Mistress, exh. cat., New Haven, 2002. (HAI: N7639.P66J66 2002)

Jones, S., The Eighteenth Century (Cambridge Introduction to the History of Art), Cambridge, 1985. (TAU: 709.033 JON)

Krauss, R., The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, Mass., 1985. (TAU: 709.04 KRA)

––––– , “The Originality of the Avant-Garde: A Postmodernist Repetition.” October 18 (Fall 1981), pp. 47-66.

Lajer-Burcharth, E., "The Self in Exile: David’s Portrait of Sièyes," in David after David. Essays on the Later Work, ed. M. Ledbury, Yale University Press, 2007. (HAI: ND553.D25D33 2007)

––––– , "The Object as Subject," in The Lure of the Object, ed. Stephen Melville, Clark Art Institute Publications, Williamstown, MA, 2005. (TAU: 701 LUR)

––––– , "Pompadour's Touch: Difference in Representation," Representations 73, No. 1 (Winter 2001), pp. 54-88.

Le Bon, L. et al., Murakami: Versailles, exh. cat., Paris, 2010.

Lee, A., Appropriation: A Very Short Introduction, Oxford and New York, 2008. (Download the book for free:

http://www.lulu.com/shop/ann-lee/appropriation/ebook/product-17448062.html)

Levey, M., Painting and Sculpture in France, 1700-1789, New Haven, 1993. (HUJ: ‪N 6846 L37‪)

May, G., Elisabeth Vigee Le Brun: the Odyssey of an Artist in an Age of Revolution, New Haven, 2005. (TAU: 759.4 VIG (MAY))

Rao, P. and B. Ziff, eds. Borrowed Power: Essays on Cultural Appropriation, New Brunswick, 1997. (TAU: Social Sciences and Management Library: 301.2 BOR)

Sandler, I., Art of the Postmodern Era: From the late 1960s to the Early 1990s, Boulder, Colo., 1998. (HUJ: ‪N 6490 S35 1996‪)

Schama, S., "The Domestication of Majesty: Royal Family Portraiture, 1500-1850," Journal of Interdisciplinary History 17 (1986), pp. 155-183.

Sheehy, C. J., ed., Cabinet of Curiosities: Mark Dion and the University as Installation, Minneapolis, 2006. (HUJ: ‪N 6537 D56 S34 2006‪)

Sheriff, M. D., The Exceptional Woman: Elisabeth Vigee-Lebrun and the Cultural Politics ofArt, Chicago, 1995. (TAU: 759.4 VIG (SHE))

Singerman, H., “Sherrie Levine’s Art History.” October 101 (Summer 2002), pp. 96-121.

Solkin, D., Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England, New Haven, 1993. (TAU: 706.992(42) SOL)

Wacker, K. A., Baroque Tendencies in Contemporary Art, Newcastle, UK, 2007.

Winckelmann, J. J., Reflections on the Imitation of Greek Works in Painting and Sculpture, trans. E. Heyer and R. C. Norton, Chicago, 1987. (TAU: 709.033 WIN)