Found exam flashcard, stairwell Cooper Union. Photo: NML

Fall 2014 - Spring 2016
The Cooper Union

This course is a year-long, two-semester required seminar survey of 19th and 20th Century art history for Freshman art studio majors. Classes are small, and there is a continuity between the semesters that allows for a rich common vocabulary. The challenge with this course is to balance due diligence to the art historical canon, without knowledge of which students would be at a disadvantage with their peers, with the political imperative to destabilize notions of artistic mastery that are endemic to masculinism. I want students to leave with an understanding of how each successive generation of artists articulated their claim to radicalism.

I feel a responsibility to give art students as much control over the language that touches art as possible. This is real task of such courses: to grant artists the confidence to choose when to reject analytical language.

If you find this list useful, get in touch and tell me what you would edit or found lacking: firstnamelastname[at]gmail

Stephen F Eisenman and Thomas E. Crow, Nineteenth Century Art: A Critical History : with 510 Illustrations, 233 in Colour. London: Thames & Hudson, 2011
Albert Boime, “The French Revolution (1789-1799),” in Art in an Age of Revolution, 1750-1800 (Chicago: University of Chicago Press, 1987)
T.J. Clark, “Painting in the Year 2,” Representations 47 (Summer 1994), p. 13-63
Ewa Lajer-Burcharth, “David’s Sabine Women: Body, Gender and Republican Culture Under the Directory,” Art History Vol. 14, No. 3 (September 1991), 397 – 430
T.J. Clark, Chapter 1 “The View from Notre-Dame,” in The Painting of Modern Life: Paris in the Art of Manet and his Followers (1999), p. 23-78

Charles Baudelaire, The Painter of Modern Life (1863) Sections I, IV, IX, and XII
Abigail Solomon-Godeau, “The Other Side of Vertu: Alternative Masculinities in the Crucible of Revolution,” Art Journal 56, No. 2 (Summer, 1997), pp. 55-61
Darcy Grimaldo Grigsby, “Rumor, Contagion and Colonization in Gros’s Plague-Stricken of Jaffa (1804),” Representations, No. 51 (Summer, 1995), 1 – 46
Andrew Schulz, “Satirizing the Senses: The Representation of Perception in Goya’s Los Caprichos,” Art History 23:2 (2000), pp. 153–181
Albert Boime, “Turner’s Slave Ship: The Victims of Empire,” Turner Studies 10 (Summer 1990): 34 – 43
Jonathan Crary, “Géricault, the Panorama, and Sites of Reality in the Early Nineteenth Century,” Grey Room No. 9 (Autumn, 2002), pp. 5-25
Linda Nochlin, “The Imaginary Orient, ” in The Politics of Vision: Essays on Nineteenth Century Art and Society (New York: Harper and Row, 1989), 33 – 57
Ewa Lajer-Burcharth, “Modernity and the Condition of Disguise: Manet’s ‘Absinthe Drinker,’” Art Journal, Vol. 45, No. 1, Manet (Spring 1985), pp. 18 – 26
Linda Nochlin, “Why Have There Been No Great Female Artists?” Artnews, 1971
Tim Barringer, Reading the Pre-Raphaelites (New Haven: Yale University Press, 1998)
Tony Bennett, “The Exhibitionary Complex,” New Formations 4 (Spring 1988), p. 73-102
Griselda Pollock, “Modernity and the spaces of femininity,” in Vision and Difference: Femininity, Feminism, and Histories of Art (London and New York: Routledge, 1988), 50 -90
Jonathan Crary, “Unbinding Vision,” October 68 (Spring 1994), p. 21-44
Robert Herbert, “Method and Meaning in Monet,” Art in America 67, no. 5 (September 1979), p. 90-108
Anne Higonnet, Berthe Morisot's Images of Women (Cambridge: Harvard University Press, 1992)
Tamar Garb, “Gustave Caillebotte’s Male Figures: Masculinity, Muscularity and Modernity,” in Bodies of Modernity: Figure and Flesh in Fin-de-Siècle France (London: Thames and Hudson, 1998), 25 – 53
Linda Nochlin, “Seurat’s Grande Jatte: An Anti-Utopian Allegory,” Art Institute of Chicago Museum Studies, Vol. 14, No. 2, The Grande Jatte at 100 (1989), 132-153+241-242
Aruna D’Souza, Cézanne's Bathers: Biography and the Erotics of Paint (University Park, Pa: Pennsylvania State University Press, 2008)
Anne Higonnet, "Myths of Creation: Camille Claudel and Auguste Rodin," in Significant Others, Eds. Isabelle de Courtivron & Whitney Chadwick (London, Thames & Hudson, 1993)

Hal Foster, Rosalind E. Krauss, Yve-Alain Bois, B H. D. Buchloh, and David Joselit. Art Since 1900: Modernism, Antimodernism, Postmodernism. (New York : Thames & Hudson 2004)
Erica Zuurn and Christina Svendsen, The Trumpets of Jericho, (Cambridge, Massachusetts : Wakefield Press, 2015)
Rosalind Krauss, “In the Name of Picasso,” October 16 (Spring 1981): 5-22
Emily Braun, “Vulgarians at the Gate” in Laura Mattioni Rossi, ed., Boccioni’s Materia: A Futurists Masterpiece and the Avant-garde in Milan and Paris (New York: Guggenheim, 2004) 1 - 21
Walter Benjamin and J.A Underwood, The Work of Art in the Age of Mechanical Reproduction. London: Penguin Books Ltd, 2008
Walter Benjamin, “The Author as Producer” in Understanding Brecht. London: NLB, 1973
Rosalind Krauss, “Corpus Dilecti” October Vol. 33 (Summer, 1985), pp. 31-72
Olu Oguibe, “Photography and the Substance of the Image,” in In/Sight: African photographers, 1940 to the present (N.Y.: Guggenheim, 1996), 231-50
Manthia Diawara, “Talk of the Town,” Artforum 36 (February 1998), pp. 64-71
Okwui Enwezor, “Gesture, Pose, Mimesis: Seydou Keïta Portraits” in Events of the self : portraiture and social identity : contemporary African photography from the Walther Collection (Walther Collection; Göttingen: Steidl, 2010)
Alan Kaprow, “On Jackson Pollock,” in Essays on the Blurring of Art and Life (Berkeley, CA: University of California Press, 19930, pp. 1-9
Mignon Nixon and Louise Bourgeois, Fantastic Reality: Louise Bourgeois and a Story of Modern Art. Cambridge, Mass: MIT Press, 2005
Andreas Huyssen, “Mass Culture as Woman: Modernism’s Other,” in After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington: Indiana University Press, 1986
Mignon Nixon, “Spero’s Curses,” October Fall 2007, No. 122, pgs 3-30
Michael Fried, “Art and Objecthood” in Art and Objecthood: Essays and Reviews (Chicago: University of Chicago Press, 1998)
Hal Foster, “The Crux of Minimalism,” in The Return of the Real: The Avant-Garde at the End of the Century. Cambridge, Mass: MIT Press, 1996
Jennifer King, “Perpetually out of Place: Michael Asher and Jean-Antoine Houdon at the Art Institute of Chicago,” October, Vol. 120 (Spring, 2007), pp. 71-86
Rosalyn Deutsche, “Boystown,” Society and Space 9, no. 1 (March 1991): 5–30
Craig Owens, “The Discourse of Others” in Beyond Recognition: Representation, Power, and Culture. Berkeley: University of California Press, 1992
John Pfeffer, Art and the End of Apartheid (Minneapolis: U of Minnesota Press, 2009)
Carolyn Christov-Bakaigiev, “William Kentridge,” (Brussels : Societe des Expositions du Palais des B-A de Bruxelles, 1998) 9-39
Miwon Kwon, “One Place After Another” October Vol. 80 (Spring, 1997), pp. 85-110