ARTH7
Gender, Ra ce, Sexua lit y: Episodes in M odernism
1900-1945
Professor David Getsy
First-year seminar, Department of Art History, Dartmouth College
Winter 2003 • 10A / 10.00-11.50 Tuesday Thursday / x-hour 3.00-3.50 Wednesday
office hours: 1.00-2.30 Tuesday / office: 307 Carpenter Hall
course description
This discussion-based, writing-intensive seminar will introduce key concepts for modernism in the visual
arts and will stress current critical approaches to the study of visual culture. Focusing on the
development of modernism in the first half of the twentieth century in Europe and America, we will
explore a series of episodes in which artists and critics engaged with questions of gender, race, sexuality,
and identity. We will examine cases in which artists and critics subverted or critiqued cultural norms as
well as cases in which the work of modernist artists reflected and relied upon dominant assumptions
about race, sexuality, and gender. Themes studied will include: primitivism, gender performance, the
politics of museum display, feminism in history and scholarship, cultural hybridity, the role of subcultures,
and the politics of representation. Artists and movements discussed will include Picasso, Duchamp,
Vorticism, Harlem Renaissance, Cadmus, Kahlo, Hepworth, and Surrealism.
structure of the course
Each two-hour session will be focused primarily on discussion of images, texts, and course themes. At
points throughout the course, one half of the two-hour session will be taken up with lectures introducing
historical and conceptual contexts. For each session, two students will be asked to pose questions based
on the readings to the rest of the class. X-hour sessions will be used to supplement normal course
lectures through additional lectures, visits to the Hood Museum of Art, and further discussion sessions.
Attendance at x-hour sessions is required. Open x-hours may be utilized with as little as a day’s notice.
method of evaluation
Students will be evaluated on the basis of (1) attendance, preparation, and participation in class discussion
(including preparation of discussion questions), (2) four research and analysis papers, and (3) the final
examination, if required (see below). Note that all course assignments must be adequately completed
and submitted in order to receive a passing grade.
Class participation: All students are expected to attend class meetings prepared to discuss the
required readings. Failure to productively contribute to class discussions throughout the quarter will
result in a reduced grade.
Daily questions: For each class session, students will be required to come prepared with three
written questions or observations about the assigned readings. Two students will read their
questions aloud at the beginning of each class as a starting point for discussions. Questions must
critically engage with the readings and all students’ questions will be collected each class. Two of these
assignments may be turned in late without affecting the final course grade, but all assignments must be
turned in by the end of the quarter to receive course credit.
Research Papers:
1. “The Myth of the Artist”: analyze a fictionalized biographical film about an artist. 1000 words.
Further details TBA, draft due to writing editor no later than 16 January, paper due to professor 23
January.
2.
Compare and contrast the statements (or manifestos, interviews, etc.) of two artists working in
the period 1900-1945. Further details TBA, 1500 words, due 6 February
2
3.
Research and analyze a relevant work of art seen in the Hood Museum of Art or in class.
Papers should pursue a clear thesis and be grounded in visual analysis. Further details and
exclusions TBA. 2000 words, due 25 February
4.
Compare and contrast the ways in which gender, race, and sexuality have been employed in the
readings. Papers should draw on the assigned texts from at least 5 different ‘episodes’ discussed
throughout the term. 2000-2500 words, due 5pm, Friday 7 March.
Final examination: If the class as a whole has been prepared throughout the quarter to discuss the
readings, there will be no final examination. If it becomes clear that students are not completing the
readings, the entire class will take a comprehensive final examination based on course lectures and
required readings.
First-year seminars are writing intensive. Clarity, organization, depth, grasp of course material, and style
will be among the criteria for evaluation in papers and examinations. Students are encouraged to address
questions about writing style and argumentation at any time. Additionally, some x-hour sessions will be
devoted to research and writing.
w riting editor
All students are expected to work with the Department of Art History Writing Editor, Iona McAulay
[302 Carpenter Hall, [email protected], 603.646.0434]. She will assist and evaluate writing
skills and argumentation for the written assignments. For the first paper, all students must submit a first
draft to Ms. McAulay at least one week before it is due so that any issues regarding writing skills or style can
be addressed immediately. All students are expected to meet with Ms. McAulay before submitting the
first paper. For subsequent papers, students are also strongly encouraged to work with Ms. McAulay on
drafts. Please note, however, that the Writing Editor will not advise on content for the papers and requires
sufficient time to prepare comments on drafts. All inquiries related to the content of the papers should
be directed to the professor.
differently-abled students
Any students with exceptional needs or concerns (including ‘invisible’ difficulties such as chronic diseases,
learning disabilities, or psychiatric complications) are encouraged to make an appointment with the
professor to discuss these issues by the end of the second week of the term so that appropriate
accommodations can be arranged.
explicit material
Students should be aware that graphic or explicit imagery and themes may be discussed at points in the
course. Any concerns about this issue should be brought to the professor at the outset of the term.
course readings
There will be one course textbook: Christopher GREEN, ed., Picasso’s Les Demoiselles d’Avignon
(Cambridge: Cambridge University Press, 2001). The remaining texts can be found in the course reader
available at Wheelock Books. All readings must be done carefully, and students will be expected to raise
critical questions about the texts. Readings listed for ‘further reference’ are optional and are meant to
aid students in developing research paper topics. Any concerns about the availability of readings or
suggestions for alternative readings should be addressed to the professor as soon as possible.
Assignments are subject to change with due notice.
hood museum of art
Students are encouraged to make frequent use of the relevant collections of Hood Museum of Art in
order to supplement course lectures and develop research paper topics. Throughout the quarter the
class will meet in the museum’s teaching galleries during x-hour sessions.
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session calendar
Tuesday, 7 January
Introduction: Why Gender, Race, Sexuality, and Modernism?
Further reference
• Lisa Tickner, “Afterword: Modernism and Modernity,” Modern Life & Modern
Subjects: British Art in the Early Twentieth Century (New Haven: Yale University
Press, 2000), 184-213.
• bell hooks, “marginality as a site of resistance,” in R. Ferguson, M. Gever, T. T.
Minh-ha, and C. West, eds., Out There: Marginalization and Contemporary
Cultures (Cambridge: The MIT Press, 1990), 341-43.
• Patricia Mathews, “The Politics of Feminist Art History,” in M. Cheetham, et al.,
eds., The Subjects of Art History: Historical Objects in Contemporary Perspectives
(Cambridge: Cambridge University Press, 1998), 94-114.
• Henry Louis Gates, Jr., “The Face and Voice of Blackness” [1990], reprinted in
Maurice Berger, ed., Modern Art and Society: An Anthology of Social and
Multicultural Readings (New York: Icon Editions, 1994), 51-72.
• Whitney Davis, “'Homosexualism,' Gay and Lesbian Studies, and Queer Theory
in Art History,” in M. Cheetham, et al., eds., The Subjects of Art History:
Historical Objects in Contemporary Perspectives (Cambridge: Cambridge University
Press, 1998), 115-42.
• Homi K. Bhabha, “’Race’, time and the revision of modernity,” The Location of
Culture(London: Routledge, 1994), 236-56.
• Cornell West, “The New Cultural Politics of Difference,” in R. Ferguson, M.
Gever, T. T. Minh-ha, and C. West, eds., Out There: Marginalization and
Contemporary Cultures (Cambridge: The MIT Press, 1990), 19-36.
• Lisa Tickner, “English Modernism in the Cultural Field,” in D. Peters Corbett
and L. Perry, eds., English Art 1860-1914: Modern Artists and Identity
(Manchester: Manchester University Press, 2000).
• Terry Smith, “Intensity: Modernism's Phallic Aesthetics,” in T. Smith, ed., In
Visible Touch: Modernism and Masculinity (Chicago: University of Chicago Press,
1997), 1-28.
X-Hour, Wednesday, 8 January
Researching an art history paper: Starr Instructional Center 274 (east side of Berry level 2)
Thursday, 9 January
Episode 1: Pablo Picasso’s Les Demoiselles d’Avignon I
Required reading
• Christopher Green, “An Introduction to Les Demoiselles d’Avignon,” in GREEN,
1-15.
• George Heard Hamilton, excerpt (re: Picasso) from Painting and Sculpture in
Europe 1880-1940, 3rd ed. (London: Penguin Books, 1981), 235-41.
• John Golding, “Les Demoiselles d’Avignon and the Exhibition of 1988,” in GREEN
15-31.
Further reference
• Leo Steinberg, “The Philosophical Brothel,” October, no. 44 (Sprint 1988): 7-74.
• Hélène Seckel, Les Demoiselles D’Avignon, exh. cat., 2 vols. (Paris: Musée Picasso,
1988).
• William Rubin, et al., Les Demoiselles D’Avignon, Studies in Modern Art 3 (New
York: Museum of Modern Art, 1994).
• See bibliography in GREEN
•••••
Tuesday, 14 January
Les Demoiselles d’Avignon II
4
Required reading
• Patricia Leighten, “Colonialism, l’art nègre, and Les Demoiselles d’Avignon,” in
GREEN, 77-103
• David Lomas, “In Another Frame: Les Demoiselles d’Avignon and Physical
Anthropology,” in GREEN 104-27.
• Michael Leja, “‘Vieux Marcheur’ and ‘Les Deux Risques’: Picasso, Prostitution,
Venereal Disease and Maternity, 1899-1907,” Art History 8, no. 1 (March 1985):
66-81.
Further reference
• Carol Duncan, “Virility and Domination in Early 20th-Century Vanguard
Painting,” Artforum, vol. 12, no. 4 (December 1973): 30-39.
X-Hour, Wednesday, 15 January
Workshop in visual analysis and writing about art
Thursday, 16 January • DEADLINE FOR DRAFTS TO WRITING EDITOR
Les Demoiselles d’Avignon III
Required reading
• Tamar Garb, “‘To Kill the Nineteenth Century’: Sex and Spectatorship with
Gertrude and Pablo,” in GREEN, 55-76.
• Yve-Alain Bois, “Painting as Trauma,” in GREEN 15-30.
Further reference
• Robert Lubar, “Unmasking Pablo’s Gertrude: Queer Desire and the Subject of
Portraiture,” Art Bulletin, vol. 79, no. 1 (March 1997): 57-84.
• Yve-Alain Bois, “Kahnweiler’s Lesson,” Painting as Model (Cambridge: MIT
Press, 1994).
• Michael North, “Modernism’s African Mask: The Stein-Picasso Collaboration,”
in Elazar Barkan and Ronald Bush, eds., Prehistories of the Future: The Primitivist
Project and the Culture of Modernism (Stanford: Stanford University Press, 1995),
270-89, 422-28.
•••••
Tuesday, 21 January
Episode 2: ‘Primitivism’ in Twentieth-Century Art
Required reading
• Thomas McEvilley, “Doctor Lawyer Indian Chief: ‘Primitivism’ in Twentieth
Century Art at the Museum of Modern Art in 1984,” in B. Beckley and D.
Shapiro, eds., Uncontrollable Beauty: Toward a New Aesthetics (New York:
Allworth Press, 1998), 149-66.
• William Rubin, Kirk Varnedoe, and Thomas McEvilley, “On ‘Doctor Lawyer
Indian Chief: ‘Primitivism’ in Twentieth Century Art at the Museum of Modern Art
in 1984,’” in B. Beckley and D. Shapiro, eds., Uncontrollable Beauty: Toward a
New Aesthetics (New York: Allworth Press, 1998), 167-200.
Further reference
• William Rubin, ed, “Primitivism” in Twentieth-Century Art: Affinities of the Tribal
and the Modern, exh. cat., (New York: Museum of Modern Art, 1984)
• Ekpo Eyo, “Primtivism and Other Misconceptions of African Art,” Munger
Africana Library Notes, vol. 63 (April 1982): 3-25.
• Sally Price, Primitive Art in Civilized Places (Chicago: University of Chicago Press,
1989).
• Susan Hiller, ed., The Myth of Primitivism: Perspectives on Art (London: Routledge,
1991).
• Elizabeth Barkan and Ronald Bush, eds., Prehistories of the Future: The Primitivist
Project and the Culture of Modernism (Stanford: Stanford University Press, 1995).
• Frances Connelly, The Sleep of Reason: Primitivism in Modern European Art and
Aesthetics (University Park: Pennsylvania State University Press, 1995).
• Mark Antliff and Patricia Leighten, “Primitive,” in Robert S. Nelson and Richard
Shiff, eds., Critical Terms for Art History (Chicago: University of Chicago Press,
1996), 170-84.
X-Hour, Wednesday, 22 January
5
open
[of note: Dartmouth Film Society: Julie Taymor, Frida (2002), 6.45/9.00pm, Hopkins Center]
Thursday, 23 January • PAPER #1 DUE
“Primitivism” II
Required reading
• William Rubin and Thomas McEvilley, “On ‘Doctor Lawyer Indian Chief’: Part
II,” in B. Beckley and D. Shapiro, eds., Uncontrollable Beauty: Toward a New
Aesthetics (New York: Allworth Press, 1998), 201-40.
• James Clifford, “Histories of the Tribal and the Modern,” in The Predicament of
Culture: Twentieth-Century Ethnography, Literature, and Art (Cambridge: Harvard
University Press, 1988),189-214.
• Kirk Varnedoe, “On the Claims and Critics of the ‘Primitivism’ Show” in B.
Beckley and D. Shapiro, eds., Uncontrollable Beauty: Toward a New Aesthetics
(New York: Allworth Press, 1998), 241-58.
Further reference
• Homi K. Bhabha, The Location of Culture (London: Routledge, 1994).
•••••
Tuesday, 28 January
“Primitivism” III
Required reading
• Rosalind Krauss, “Preying on ‘Primitivism’,” Art + Text, vol. 17 (April 1985): 5862.
• Hal Foster, “The ‘Primitive’ Unconscious of Modern Art, or White Skin Black
Masks,” Recodings: Art, Spectacle, Cultural Politics (Seattle: Bay Press, 1985), 181208, 228-33.
Further reference
• Rosalind Krauss, “Using Language to do Business as Usual,” in Norman Bryson,
Michael Ann Holly, and Keith Moxey, eds., Visual Theory: Painting and
Interpretation (Cambridge: Polity Press, 1991), 79-94; and reply in Norman
Bryson, “The Politics of Arbitrariness,” in ibid., 95-100.
• Rosalind Krauss, “Giacometti,” in W. Rubin, ed., “Primitivism” in TwentiethCentury Art: Affinity of the Tribal and the Modern, exh. cat., 2 vols. (New York:
Museum of Modern Art), 2:502-33.
• Hal Foster, “‘Primitive’ Scenes,” Critical Inquiry, vol. 20 (Autumn 1993).
X-Hour, Wednesday, 29 January
Hood Museum of Art visit: Picasso, Guitar on a Table(1912) and the Vollard Suite(1930-37)
Thursday, 30 January
Episode 3: Machines, Vorticism, and Futurism
Film screening: Ferdinand Leger, Ballet mécanique, 1924
Required reading
• Henri Gaudier-Brzeska, “Vortex” [1914], reprinted in Ezra Pound, GaudierBrzeska: A Memoir (New York: John Lane, 1916), 9-13; and “Vortex GaudierBrzeska (Written from the Trenches),” ibid, 19-21.
• Ezra Pound, “Vortex. Pound” [1914], reprinted in Tate Gallery, Pound’s Artists:
Ezra Pound and the Visual Arts in London, Paris and Italy, exh. cat. (London: Tate
Gallery, 1985), 17.
• Lisa Tickner, “Men’s Work: Masculinity and Modernism,” in Norman Bryson, et
al., eds., Visual Culture: Images and Interpretations (Hanover and London:
Wesleyan University Press, 1994), 42-82.
[continued]
• Valentine de Saint-Point, “Futurist Manifesto of Lust” [1913] and M. Barry Katz,
“The Women of Futurism,” Woman’s Art Journal, vol. 7, no. 2 (Fall 1986): 3-13.
6
Further reference
• Lisa Tickner, “Wyndham Lewis: Dance and the Popular Culture of Kermesse,” in
Modern Life & Modern Subjects: British Art in the Early Twentieth Century (New
Haven: Yale University Press, 2000), 79-116.
• Jane Beckett and Deborah Cherry, “Modern women, modern spaces: women,
metropolitan culture and Vorticism,” in K. Depwell, ed., Women Artists and
Modernism (Manchester: Manchester University Press, 1998), 36-54.
• William C. Wees, Vorticism and the English Avant-Garde (Toronot: University of
Toronto Press, 1972).
• Virginia Spate, “Mother and Son: Boccioni’s painting and sculpture,” in T. Smith,
ed., In Visible Touch: Modernism and Masculinity (Chicago: University of Chicago
Press, 1997), 107-38.
• Mo Price, “The missing mécanicienne: gender, production and order in Léger’s
machine aesthetic,” in Valerie Mainz and Griselda Pollock, eds., Work and the
Image II: Work in Modern Times (Aldershot: Ashgate, 2000), 91-107.
• Malcolm Turvey, “The Avant-Garde and the ‘New Spirit’: The Case of the Ballet
mécanique,” October 102 (Fall 2002): 35-58.
•••••
Tuesday, 4 February
Episode 4: Claude Cahun and Marcel Duchamp
Required reading
• Rosalind Krauss, “Claude Cahun and Dora Maar: By Way of an Introduction”
[excerpt, re: Cahun], Bachelors (Cambridge, Massachusetts: MIT Press, 1999),
24-50.
• Amelia Jones, “Re-placing Duchamp’s Eroticism: ‘Seeing’ Étant donnés from a
feminist perspective,” in Postmodernism and the En-gendering of Marcel Duchamp
(Cambridge: Cambridge University Press, 1994), 191-204.
Further reference
• Dawn Ades, “Surrealism, Male-Female,” in J. Mundy, ed., Surrealism: Desire
Unbound, exh. cat., Tate Modern, London (Princeton: Princeton University
Press), 171-96.
• Rosalind Krauss, “Where’s Poppa?” in T. De Duve, ed., The Definitively
Unfinished Marcel Duchamp(Halifax, Nova Scotia: Nova Scotia College of Art
and Design and Cambridge: MIT Press, 1991), 433-62.
• Steven Harris, “Coup d’oeil,” Oxford Art Journal, vol. 24, no. 1 (2001): 89-112.
• David Hopkins, “Men Before the Mirror: Duchamp, Man Ray and Masculinity,”
Art History, vol. 21, no. 3 (September 1998).
• Paul B. Franklin, “Object Choice: Marcel Duchamp’s Fountain and the Art of
Queer Art History,” Oxford Art Journal, vol. 23, no. 1 (2000): 23-50.
• Mason Klein, “Embodying Sexuality: Marcel Duchamp in the Realm of
Surrealism,” in M. Berger, ed., Modern Art and Society: An Anthology of Social and
Multicultural Readings (New York: HarperCollins, 1994), 139-57.
• Amelia Jones, “’Clothes Make the Man’: The Male Artist as a Performative
Function,” Oxford Art Journal, vol. 18, no. 2 (1995): 18-32.
• Amelia Jones, “Equivocal Masculinity: New York Dada in the context of World
War I,” Art History, vol. 25, no. 2 (April 2002): 162-205.
• Judith Butler, “Gender is Burning: Questions of Appropriation and
Subversion,” in Bodies that Matter: On the discursive limits of “sex” (New York:
Routledge, 1993),121-40.
X-Hour, Wednesday, 5 February
Open
7
Thursday, 6 February • PAPER #2 DUE
Episode 5: Surrealism I: Race and surrealism
Required reading
• Whitney Chadwick, “Fetishizing Fashion/Fetishizing Culture: Man Ray’s Noire et
blanche,” Oxford Art Journal, vol. 18, no. 2 (1995): 3-17.
• Petrine Archer-Shaw, “The darker side of surrealism,” Negrophilia: Avant-Garde
Paris and Black Culture in the 1920s (New York: Thames and Hudson, 2000),
134-57.
• André Breton, et al, “Murderous Humanitarianism” [1934], reprinted in A.
Breton, What is Surrealism?: Selected Writings, ed. F. Rosemont (New York:
Monad Press, 1978), 324-27.
Further reference
• James Clifford, “On Ethnographic Surrealism,” The Predicament of Culture:
Twentieth-century ethnography, literature, and art (Cambridge: Harvard University
Press, 1988), 117-51.
• Jody Blake, “Jamming on the Rue Fontaine,” Le Tumulte Noir: Modernist Art and
Popular Entertainment in Jazz-Age Paris, 1900-1930 (University Park: Pennsylvania
State University Press, 1999),111-36.
• Emily Apter and William Pietz, eds., Fetishism as Cultural Discourse (Ithaca:
Cornell University Press, 1993).
• Mary Ann Doane, “Dark Continents: Epistemologies of Racial and Sexual
Difference in Psychoanalysis and Cinema,” in Femmes Fatales: Feminism, Film
Theory, Psychoanalysis (New York: Routledge, 1991), 209-48.
•••••
Tuesday, 11 February
Surrealism II: Women in/and Surrealism
Required reading
• Rudolf Kuenzli, “Surrealism and Misogyny,” in M. A. Caws, R. Kuenzli, and G.
Raaberg, eds., Surrealism and Women (Cambridge: MIT Press, 1990), 17-26.
• Robert Belton, “Androgyny: Interview with Meret Oppenheim,” in M. A. Caws,
R. Kuenzli, and G. Raaberg, eds., Surrealism and Women (Cambridge: MIT Press,
1990), 63-75.
• Edward Powers, “Meret Oppenheim — or, These Boots Ain't Made for
Walking,” Art History, vol. 24, no. 3 (2001): 358-78.
• Judith Young Mallin, “Eileen Agar,” in M. A. Caws, R. Kuenzli, and G. Raaberg,
eds., Surrealism and Women (Cambridge: MIT Press, 1990), 213-27.
Further reference
• Rosalind Krauss, “Corpus Delecti,” in Rosalind Krauss and Jane Livingston,
L’Amour fou: Photography and Surrealism (New York: Abbeville Press, 1985).
• Hal Foster, “Violation and Veiling in Surrealist Photography: Woman as Fetish,
As Shattered Object, as Phallus,” in J. Mundy, ed., Surrealism: Desire Unbound,
exh. cat., Tate Modern, London (Princeton: Princeton University Press, 2001),
203-22.
• Hal Foster, Compulsive Beauty (Cambridge: MIT Press, 1993).
• Whitney Chadwick, Women Artists and the Surrealist Movement (New York:
Thames and Hudson, 1985).
• Mary Ann Caws, Rudolf Kuenzli, and Gwen Raaberg, eds., Surrealism and
Women (Cambridge: MIT Press, 1990.
• Mary Ann Caws, “Ladies Shot and Painted: Female Embodiment in Surrealist
Art” [1985], reprinted in N. Broude and M. Garrard, eds., The Expanding
Discourse: Feminism and Art History (New York: HarpurCollins, 1992), 380-95.
[of note: Japanimation Film Festival: Taro Rin, Metropolis (2001), 7.00pm, Loew Auditorium]
X-Hour, Wednesday, 12 February
Hood Museum of Art visit: Surrealist works on paper (Dorothea Tanning, Max Ernst)
8
Thursday, 13 February
Episode 6: Frida Kahlo
Required reading
• David Lomas, “Body languages: Kahlo and medical imagery,” in The Body Imaged:
The Human Form and Visual Culture since the Renaissance, ed. Kathleen Adler
and Marcia Pointon (Cambridge: Cambridge University Press, 1993), 5-20.
• Terry Smith, “Frida Kahlo: Marginality and Modernity,” in Making the Modern:
Industry, Art, and Design in America (Chicago: University of Chicago Press, 1993),
247-82.
Further reference
• Joan Borsa, “Frida Kahlo: Marginalization and the Critical Female Subject,” Third
Text, vol. 12 (Autumn 1990): 21-40.
• Laura Mulvey and Peter Wollen, “Frida Kahlo and Tina Modotti,” in Laura
Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press,
1989), 81-107.
• Janice Helland, “Culture, Politics, and Identity in the Paintings of Frida Kahlo”
[1990], reprinted in The Expanding Discourse: Feminism and Art History, ed. N.
Broude and M. Garrard (New York: HarpurCollins, 1992), 369-407
.• André Breton, “Frida Kahlo de Rivera,” in Surrealism and Painting (London,
1972), 141-44.
• Hayden Herrera, Frida Kahlo: The Paintings (New York: HarperCollins, 1991).
•••••
** Monday, 17 February 7pm**
Film screening: Isaac Julien, Looking for Langston, 1988, Carpenter 13, 7pm [Mandatory]
Tuesday, 18 February
Episode 7: The Harlem Renaissance
Required reading
• Alain Locke, “The New Negro,” reprinted in D. L. Lewis, ed., The Portable
Harlem Renaissance Reader (New York: Viking, 1994), 46-51.
• Langston Hughes, “When the Negro was in Vogue” and ”The Negro Artist and
the Racial Mountain” [1926], reprinted in D. L. Lewis, ed., The Portable Harlem
Renaissance Reader (New York: Viking, 1994), 77-80, 91-95.
• Richard Powell, “Re/birth of a nation,” in Rhapsodies in Black: Art of the Harlem
Renaissance, exh. cat., Hayward Gallery, London (Berkeley: University of
California Press, 1997), 14-33.
• Amy Mooney, “Representing Race: Disjunctures in the work of Archibald J.
Motley,” Museum Studies, vol. 24, no. 2 (1999): 162-79.
• Eugene Metcalf, “Black Art, Folk Art, and Social Control,” Winterthur Portfolio,
vol. 18, no. 4 (1983): 271-89.
Further reference
• James Clifford, “Negrophilia,” in Denis Hollier, ed., A New History of French
Literature (Cambridge, Massachusetts: Harvard University Press, 1989), 901908.
• Aaron Douglas and Leslie Collins, “Aaron Douglas Chats about the Harlem
Renaissance,” in D. L. Lewis, ed., The Portable Harlem Renaissance Reader (New
York: Viking, 1994), 118-27.
• Ellen McBreen, “Biblical gender bending in Harlem: the queer performance of
Nugent’s Salome,” Art Journal, vol. 57, no. 3 (Fall 1998): 22-28
• Pauline de Souza, “Black Awakening: Gender and representation in the Harlem
Renaissance,” in K. Depwell, ed., Women Artists and Modernism (Manchester:
Manchester University Press, 1998), 55-69.
• Jody Blake, Le Tumulte Noir: Modernist Art and Popular Entertainment in Jazz-Age
Paris (University Park: Pennsylvania State University Press, 1999).
• Kobena Mercer, “Dark & Lovely: Black Gay Image-Making,” in Welcome to the
Jungle: New Positions in Black Cultural Studies (New York: Routledge, 1994),
221-32.
9
• Wendy Martin, “Remembering the Jungle: Josephine Baker and Modernist
Parody,” in E. Barkan and R. Bush, eds., Prehistories of the Future: The Primitivist
Project and the Culture of Modernism (Stanford: Stanford University Press, 1995),
310-325.
• Richard Powell, Black Art and Culture in the 20th Century (London: Thames and
Hudson, 1997).
• Aline Brandauer, “Practicing Modernism: ‘...for the master’s tools will never
dismantle the master’s house...’,” in Nicholas Mirzoeff, ed., Diaspora and Visual
Culture: Representing Africans and Jews (London: Routledge, 2000), 254-61.
X-Hour, Wednesday, 19 February
No class (CAA)
Thursday, 20 February
Episode 8: Fritz Lang’s Metropolis (1927)
Film screening, details TBA
•••••
Tuesday, 25 February • PAPER #3 DUE
Discussion: Metropolis
Episode 9: The Phallic Logic of Modern Sculpture
Required reading
• Henri Gaudier-Brzeska, letter to Sophie Brzeska, May 1911, in H. S. Ede,
Savage Messiah (London: Abacus, 1931/1972), 49-53.
Further reference
• Mira Shore, “Representations of the penis,” M/E/A/N/I/N/G vol. 4 (1988): 3-17.
• Lisa Tickner, “Now and Then: the Hieratic Head of Ezra Pound,” Oxford Art
Journal 16.2 (1993): 55-61.
• Adrian Stokes, “Miss Hepworth's Carving,” in The Critical Writings of Adrian
Stokes, ed. Lawrence Gowing (London: Thames and Hudson, 1933), 309-10.
• Anne Wagner, “Miss Hepworth’s Stone Is a Mother,” in D. Thistlewood, ed.,
Barbara Hepworth Reconsidered (Liverpool: Liverpool University Press and Tate
Gallery Liverpool, 1996), 53-74.
• Anne Wagner, “Henry Moore’s Mother,” Representations, no. 65 (1999): 93120.
• Marcia Ian, “When is a Body Not a Body? When It’s a Building,” in Joel
Sanders, ed., Stud: Architectures of Masculinity (New York: Princeton
Architectural Press, 1996).
X- Hour, Wednesday, 26 February
open
Thursday, 27 February
Episode 10: The Alfred Stieglitz Circle I: Georgia O’Keeffe
Required reading
• Anna Chave, “O’Keeffe and the Masculine Gaze,” in M. Doezema and E. Milroy,
eds., Reading American Art (New Haven: Yale University Press, 1998), 350-70.
• Vivien Green Fryd, “Georgia O’Keeffe’s Radiator Building: Gender, Sexuality,
Modernism, and Urban Imagery,” Winterthur Portfolio, vol. 35, no. 4 (Winter
2000): 269-89.
Further reference
• Anne Wagner, Three Artists (Three Women): Modernism and the Art of Hesse,
Krasner, and O’Keeffe(Berkeley: University of California Press, 1996).
• Celeste Connor, Democratic Visions: Art and Theory of the Stieglitz Circle, 19241934 (Berkeley: University of California Press, 2001).
• Marcia Brennan, Painting Gender, Constructing Theory: The Alfred Stieglitz Circle
and American Formalist Aesthetics (Cambridge, Massachussetts: The MIT Press,
2001).
10
• Barbara Buhler Lynes, “Georgia O’Keeffe and Feminism: A Problem of
Position,” in The Expanding Discourse: Feminism and Art History, ed. N. Broude
and M. Garrard (New York: HarpurCollins, 1992), 436-49.
• Jonathan Weinberg, “The Hands of the Artist: Alfred Stieglitz’s Photographs of
Georgia O’Keeffe” and “Woman Without Man: O’Keeffe’s Spaces,” in Ambition
& Love in Modern American Art (New Haven: Yale University Press, 2001), 73138.
• Susan Fillin-Yeh, “Dandies, Marginality and Modernism: Georgia O’Keeffe,
Marcel Duchamp and other Cross-Dressers,” Oxford Art Journal, vol. 18, no. 2
(1995): 33-44.
•••••
Tuesday, 4 March
Stieglitz Circle II: Demuth and Hartley (with a comparison to Paul Cadmus)
Required reading
• Marcia Brennan, “Marsden Hartley and Charles Demuth: The Edges of the
[Stieglitz] Circle,” in Painting Gender, Constructing Theory: The Alfred Stieglitz Circle
and American Formalist Aesthetics (Cambridge, Massachussetts: The MIT Press,
2001), 155-99.
• Richard Meyer, “A Different American Scene: Paul Cadmus and the Satire of
Sexuality” [excerpt], in Outlaw Representation: Censorship & Homosexuality in
Twentieth-Century American Art (Oxford: Oxford University Press, 2002), 33-56.
Further reference
• Jonathan Weinberg, Speaking for Vice: Homosexuality in the Art of Charles
Demuth, Marsden Hartley, and the First American Avant-Garde (New Haven: Yale
University Press, 1993).
X-Hour, Wednesday, 5 March
Hood Museum of Art visit: Works by Paul Cadmus and Ilsa Bischoff
Thursday, 6 March
The Politics of Display
Required reading
• Carol Duncan, “The MoMA’s Hot Mamas” [1989], reprinted in N. Broude and
M. Garrard, eds., The Expanding Discourse: Feminism and Art History (New York:
HarperCollins, 1992): 346-57.
• John Yau, “Please Wait by the Cloakroom,” in R Fergusen, M. Gever, T. T.
Minh-ha, and C. West, eds., Out There: Marginalization and Contemporary
Cultures (Cambridge: The MIT Press, 1990), 132-39.
• Daniel Buren, “Function of the Museum,” Artforum, vol. 12, no. 1 (September
1973): 68.
Further reference
• Ivan Karp and S. Lavine, eds., Exhibiting Cultures: The Poetics and Politics of
Museum Display (Washington, D.C.: Smithsonian Institution Press, 1990).
• Different Voices: A Social, Cultural, and Historical Framework for Change in the
American Art Museum (New York: Association of Art Museum Directors).
• Annie Coombes, “Museums and the Formation of National and Cultural
Identities,” Oxford Art Journal, vol. 11, no. 2 (1988): 57-68.
• Annie Coombes, Reinventing Africa: Museums, Material Culture and Popular
Imagination in Late Victorian and Edwardian England (New Haven: Yale University
Press, 1994).
• Ikem S. Okoye, “Tribe and Art History,” Art Bulletin, vol. 78, no. 4 (December
1996): 610-15.
** Friday, 7 March **
PAPER #4 DUE, 5pm
[Final Examination: 12 March 1:30pm]