General Introduction to the postwar period [Overview and Aims]
Beyond Abstract Expressionism: happenings and the “blurring of art and life”
Allan Kaprow, “How to Make a Happening” (LP record 1965), [transcript and sound on ubu.com]
“The Happenings Are Dead: Long Live the Happenings!” (1966) [pdf file on the eclass], “Some Recent Happenings” (1966), [on ubu.com], “Art Which Can’t Be Art” (1986)
Pop art: breaking down the boundaries between high and low
Claes Oldenburg, “Store Days” (1967), Andy Warhol, “Work” in The Philosophy of Andy Warhol from A to B and Back Again (1975) [pdf files on the eclass], Robert Rauschenberg, “Monogram, Free Standing Combine (1955-59), James Rosenquist, “President Elect” (1961-2), Andy Warhol, “Marilyn Diptych” 1962
Conceptual art and the critique of the institution of art
Joseph Kosuth, Titled (Art as Idea as Idea) (1966), Art After Philosophy (1969), Mel Bochner, Language is not Transparent (1970), Theory of Boundaries (1969-70), Sol Le Witt, “Paragraphs on Conceptual Art” (1967), Dan Graham, “Poem, March 1966 / Dan Graham” (1967) [on ubu.com]
Feminism and the (en)gendering of postmodernism: power, difference, and the politics of meaning
[overview] Linda Nochlin ‘Why Have There Been No Great Women Artists? (1971) [pdf file on the eclass], Mary Beth Edelson, Some Living American Women Artists/Last Supper (1971), Martha Rosler, “Semiotics of the Kitchen” (1975), “The Bowery in Two Inadequate Descriptive Systems” (1974-1975), “Domination and the Everyday” (1975)
MID TERM I
“There is no such thing as art for art's sake”: The Black Arts Movement and Beyond
Amiri Baraka, “Black Dada Nihilismus” (1964), “Black Art” (1966), Faith Ringgold, The Flag is Bleeding’(1967), Betye Saar, “The Liberation of Aunt Jemina”(1972), “Victory of Gentleness (For Rosa Parks) (1975), Nikki Giovanni, “Nikki-Rosa” (1968), Adrian Piper, The Mythic Being: I/Your (Her) 1974
Earthworks, Video, Performance
Robert Smithson, “A Tour of the Monuments of Passaic- New Jersey” (1967) [pdf file on the eclass], and [selections from William Carlos Williams’s Patterson (1946-51), Gordon Matta-Clark, “Fresh Kill” (1972), Vito Acconci, “Three Adaptation Studies” (1970), Joan Jonas, “Organic Honey’s Visual Telepathy” (1972)
“We the mestizas and mestizos, will remain”: Chicano/a Art and Poetry
John Valadez, Getting Them Out of the Car (1984), Judy Baca, Dead Homeboy Killed by a Placa (1974)
Yolanda López, Portrait of the Artist as the Virgin of Guadalupe (1978), Alma Villanueva, “Of Utterances” (1978)
Beyond “survivance”: Native American Art
Gerald Vizenor’s “Survivance,” Jaune Quick to-See Smith, Indian, Indio, Indingeouns (1992) Trade (Gifts for Trading Land with White People) (1992), Hulleah Tsinhnahjinnie, from Portraits against Amnesia (c2000)
Week 11 Student Presentations
Week 12 Mid-TERM 2 –Submission of Research Paper
For the course material the following notes apply.
Note on History of Published Version
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Copyright National and Kapodistrian University of Athens, Stamatina Dimakopoulou 2015. Stamatina Dimakopoulou. “Postwar American Avant-Garde Art (Μεταπολεμική Αμερικανική Πρωτοπορία)”. Edition: 1.0. Athens 2015. Available at: http://opencourses.uoa.gr/courses/ENL9.
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