Spring 2012 - Graduate Course Descriptions
Description of Course:
In 1968 Lucy Lippard and John Chandler published an article titled "The Dematerialization of Art" in Art International. Their goal was to give voice and cohesion to the very non-cohesive condition of contemporary art. Earlier that decade, Henry Flynt had referred to a related phenomenon as "concept art." By the 1970s, many referred to the rhetorical disappearance of the conventional art object as conceptual art: a neo-dada condition in which art seems to be anything while always being a matter of mediation, intellectual-critical or technological.
This class offers a deep history of the dematerialization of the art object, from Hegel to Jeff Wall.
G.W.F. Hegel, Lectures on Fine Art (Aesthetics) Volume 1, trans. by T. M. Knox
Leo Tolstoy, What is Art?
Stanley Cavell, The World Viewed: Reflections on the Ontology of Film
Rosiland Krauss, “A Voyage on the North Sea”: Art in the Age of the Post-Medium Condition
Clement Greenberg, "Avant-Garde and Kitsch"
Clement Greenberg, "Modernist Painting"
Jack Burnham, "Systems Aesthetics"
Jeff Wall, '“Marks of Indifference”: Aspects of Photography In, Or As, Conceptual Art', in Ann Goldstein and Anne Rorimer (eds), Reconsidering the Object of Art, 1965-1975 (LA: LA Museum of Contemporary Art, 247-267).
Course Requirements/Evaluation Criteria:
Weekly reading assignments, attendance, vigorous discussion in class, a final research topic agreed upon by professor culminating in a 22-page paper.