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

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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

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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

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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.

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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

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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)

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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.

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• 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).

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• 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]