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"""="G"d"p"""""""3#<#D#I#d#m#x##########$ $C$H$$lp  ($ G J Zb+./:"""=#$$$Digital Media Center;scratch 1:sally:pollock images:Modrnsm,realsm,gendr, doc. 2    6!6!6!6!6!6!6!6!6!6!6!6!6!6!6!6 !"789]^lq @AOTUst>`o*g!\ O `  5T&abB"_#$9:HI]^'=; Z[#23ABij{|;<JKYZ{|  hho(.hho(.0 hhOJQJo(-hho(.hho(.hh6OJQJo(-hho(.hho(. @<#<#Xf<#`"' & F ?hC$ & F?hC$6 & F ?hC$6 & F  ?hC$6 & F C$69]^lq @AOSTUs  =>?CZ_ &H(*0@fg5Ucd!3[\]  B H I   N O P X s   & ' _ ` ` a g   \ ] d 56Ak   8STXchpuw %Q`abchzAB5>KNSTU\ct}!"#$+0^_ 4EFW~#$9I]^d{'(2<=h:;<@    "#$3Cjk| 34FHI8WY`st Q p z _!`!c!!!"""""H"^"_"`"a"d"<#=#J#K#n#o############# $ $$$<$=$I$J$U$V$$$$$0@0r@0@0@0@0@0 @0 @0J @0L @0d @0n @0 @0 @0 @0 @0 @0 @00 @0< @0 @0 @1 @00 0"0^041H11111101111,06111001$1&161J1V1X1^101110011101110D 1F 1 1 1!1z!1!0!1"1"1"1"1"0"1&#1(#1#1#1#1"$1>$1@$1$1$1$1$1$1$1$1(%1R%1T%0T'0V'1X'1|'1'0                        n, but masculinity was also in crisis Masculinity in crisis came through in the work of Augustus John and Wyndham Lewis. Contrasted their type of masculinity with 1890's dandyism of Bearddsley and Whistler, wrecked by Oscar Wilde's trial Augustus John, Augustus John and Family with Gypsy caravan 1909 (pictured in article) Augustus John, Lyric Fantasy 1910, (pictured in article) Wyndham Lewis showed his personae in Blast manifestos, autobiographical novel Tarr (1918), and Self-Portrait as a Tyro, (1920-21), (pictured in article) Henri Gaudier-Brzeska, Head of Ezra Pound, 1914 (pictured)Focus of article on Augustus John's wrok from 1905 to 1909, the 'post-impressionist' exhibitions of 1910 and 1912, Vorticism as exemplified in Blast manifestosAugustus John's Caravan at Dusk (1905), Gypsy Encampment (1905) Contrast of two paintings of A. John's wife Dorelia, one by John, The Smiling Woman 1908-09, one by John's sister Gwen John, The Student 1903-1904. (both pictured) 1910 Post-Impressionist exhibition included  DW$OIV'?W #3 UnknownDigital Media Centerekykr FJQYsw (*5LSUXrv|V[  ; A   B G  y&+4;nu%35>?BCJ\cdijrt}~ 5>gnMV$-.8Q\&HO#-4V[  )EMOVX_o MoMA site, Chartres site, Images of original MoMA building, 19th century residences contrasting with steel faade Now overwhelmed by neighbours Contrast MoMA with faade of gothic revival church St. Thomas next door Facades of Metropolitan Museum, National Gallery of London, Philadelphia Museum, Image of entrance way at MoMA MoMA's collection became part of hegemonic art history: Starry Night, Les Demoiselles d'Avignon, Ma Jolie, The Red Studio, Broadway Boogie-Woogie, Guernica: Possibly incorporate a lisY`gm"#*AIlp  ($ G J Zb#Digital Media Center;scratch 1:sally:pollock images:Modrnsm,realsm,gendr, doc. 2     hho(.hho(.0 hhOJQJo(-hho(.hho(.hh6OJQJo(-hho(. @""Xf"' & F ?hC$ & F?hC$6 & F ?hC$6 & F  ?hC$69]^lq @AOSTUs  =>?CZ_ &H(*0@fg5Ucd!3[\]  B H I   N O P X s   & ' _ ` ` a g   \ ] d 56Ak   8STXchpuw %Q`abchzAB5>KNSTU\ct}!"#$+0^_ 4EFW~#$9I]^d{'(2<=h:;<@    "#2Bij{|;<JKYZ{|0@0r@0@0@0@0@0 @0 @0J @0L @0d @0n @0 @0 @0 @0 @0 @0 @00 @0< @0 @0 @1 @00 0"0^041H11111101111,06111001$1&161J1V1X1^101110011101110D 1F 1 1 1!1z!1!0!1"1"1"1"1"0"1&#1(#1#1#1#1"$1>$1@$1$1$1$1$1$1$1$1(%1R%1T%0T'0V'1X'1|'1'0'1'1'0.(10(02(1(0(1:)1<)1B)0)1)1)1*1 *0 @0 @0 @0 @0 @0 @0 @0. @0: @0 @0 @0.1.1.1.101D.001010101N018101010101N11T11n11p11x111111$21&2121202121212121 30@31&41(41440 @04141414151.50l51516161,61(71*71@71B71j71l7081  ($ G J Digital Media Center;scratch 1:sally:pollock images:Modrnsm,realsm,gendr, doc. 2    hho(.hho(.0 hhOJQJo(-hho(.hho(.hh6OJQJo(- @Xf{' & F ?hC$ & F?hC$6 & F ?hC$6$9]^lq @AOSTUs  =>?CZ_ &H(*0@fg5Ucd!3[\]  B H I   N O P X s   & ' _ ` ` a g   \ ] d 56Ak   8STXchpuw %Q`abchzAB5>KNSTU\ct}!"#$+0^_ 4EFW~#$9I]^d{'(7Gno@AOP^_ !"789]^lq @AO !"789]^lq @AOTUrs,-ABHIlm  /0QR_`op%&3cOTUrs,-ABHIIlm  /0QR_`op%&3 "^`68$VF "&#V'/ =!"#$% Carol Duncan and Alan Wallach Museums as ceremonial monuments: images of churches, shrines, palaces, contrasting with modern art museums Chartres is high gothic cathedral: MoMA 'Chartres of mid-twentieth century modern art museum' Link tL81N81d8181491691<91H91V91h90919191919191:1:1R:0:1:1:1:1:1:1:1:0:1:1;1F;1j;1;1;1;1;1;0,<1<07071<1<1<1<1=1=071=1=1=1>0^>1`>1>1?1V?1?1?0?1?1F@1X@1r@10@0r@0@0@0@0@0 @0 @0J @0L @0d @0n @0 @0 @0 @0 @0 @0 @00 @0< @0 @0 @1 @00 0"0^041H11111101111,06111001$1&161J1V1X1^101110011101110D 1F 1 1 1!1z!1!0!1"1"1"1"1"0"1&#1(#1#1#1#1"$1>$1@$1$1$1$1$1$1$1$1(%1R%1T%0T'0V'1X'1|'1'0'1'1'0.(10(02(1(0(1:)1<)1B)0)1)1)1*1 *0 @0 @0 @0 @0 @0 @0 @0. @0: @0 @0 @0.1.1.1.101D.001010101N018101010101N11T11n11p11x111111$21&2121202121212121 30@31&41(41440 @04141414151.50l51516161,61(71*71@71B71j71l7081L81N81d8181491691<91H91V91h90919191919191:1:1R:0:1:1:1:1:1:1:1:0:1:1;1F;1j;1;1;1;1;1;0,<1<07071<1<1<1<1=1=071=1=1=1>0^>1`>1>1?1V?1?1?0?1?1F@1X@1r@1x@1@1@1@1@1@1@1@1A12A1BA1HA0`A1bA1 B1 B0B1 B1"B1$B12B1E07070 @0 @0 @0 @0 @0: @0Z @0 @1J1 J1:J0 @0 @0 @0 @0 @0 @0$ @0D @0 @0 @0 @0 @0 @0 @0@0@0>@0@@0^@0`@0@0@0@0@0@0@06@08@0T@0V@0r@0t@0@0@0@0@0@0@0J@1L@0d@GTimes New Roman5Symbol3 Arial3Times"qhcX2dXR_9 )!>4F Digital Media CenterDigital Media Center'1'1'0.(10(02(1(0(1:)1<)1B)0)1)1)1*1 *0 @0 @0 @0 @0 @0 @0 @0. @0: @0 @0 @0.1.1.1.101D.001010101N018101010101N11T11n11p11x111111$21&2121202121212121 30@31&41(41440 @04141414151.50l51516161,61(71*71@71B71j71l7081L81N81d8181491691<91H91V91h90919191919191:1:1R:0:1:1:1:1:1:1:1:0:1:1;1F;1j;1;1;1;1;1;0,<1<07071<1<1<1<1=1=071=1=1=1>0^>1`>1>1?1V?1?1?0?1?1F@1X@1r@1x@1@1@1@1@1@1@1@1A12A1BA1HA0`A1bA1 B1 B0B1 B1"B1$B12B1E07070 @0 @0 @0 @0 @0: @0Z @0 @1J1 J1:J0 @0 @0 @0 @1L1L1L1PM1M1M1M0*N1,N1N0N1N1N1O0&P1(P1*P02P1S1S1S0S1T1U1U0U1V1V0V1V0V0V1W1W0W1W1W1W0X0 @0 @0$ @0D @0 @0 @1X0X0X1Y1 Y1Y1.Z1\Z1^Z0vZ0Z1p[1r[1[1[1[1 \1$\1&\04\16\0\1\1]1]1]1z]1]1]1]0]1]1:^1<^1l^1^1^1^0&_1_1_1_1f`1`1`1`0a1a1a1a1b1b1 c1c16c1:c1Bc1c1c0c1c1c0c0 @ 0 @0 @0 @0@0@0>@0@@0^@0`@0@0@0@0@0@0@06@08@0T@0V@0r@0t@0@0@0@0@0@0@0J@1L@0d@GTimes New Roman5Symbol3 Arial3Times"1hcXadX }P 4!42" Digital Media CenterDigital Media Center Christoph Grunenberg Guest lecture Brendan Prendeville To do Week 9: Englishness and Modern Art David Peters Corbett Brandon Taylor Guest lecture Week 10: Strangers, Jews and Modernism Raymond Williams Juliet Steyn Week 11: The Politics of Modernsim Benjamin Buchloh Frank Whitford Week 12: Realism and Revisionism Peter Wollen Neil McWilliam Week 13: Rockwell, Parrish, and Modern Art Paul DiMaggio Wanda M. Corn Week 14: Aesthetics ad the Canon Keith Moxey Hal Foster Week 15: Fe FMicrosoft Word DocumentNB6WWord.Document.8BBFFIIHHHHHHHH ՜.+,D՜.+,< hp  'Columbia University4 2:  Title 6> _PID_GUID'AN{7D8D2501-8F2D-11D5-963A-000A278CED6C}OOOOdd}}sswwqqffQQ Oh+'0p  , 8 DPX`h'ososDigital Media Center 8igiNormal Digital Media Center 810iMicrosoft Word 8.0r@.Yv@TS[#@\v#x@1@1@1@1@1@1@1@1A12A1BA1HA0`A1bA1 B1 B0B1 B1"B1$B12B1E07070 @0 @0 @0 @0 @0: @0Z @0 @1J1 J1:J0 @0 @0 @0 @1L1L1L1PM1M1M1M0*N1,N1N0N1N1N1O0&P1(P1*P02P1S1S1S0S1T1U1U0U1V1V0V1V0V0V1W1W0W1W1W1W0 @0 @0$ @0D @0 @0 @0 @0 @0 @0 @0@0@0>@0@@0^@0`@0@0@0@0@0@0@06@08@0T@0V@0r@0t@0@0@0@0@0@0@0J@1L@0d@GTimes New Roman5Symbol3 Arial3Times"1hcXTdX pP 4!42 Digital Media CenterDigital Media Center6 FMicrosoft Word DocumentNB6WWord.Document.8BBFFIIHHHHHHHH ՜.+,D՜.+,< hp  'Columbia University4 2:  Title 6> _PID_GUID'AN{7D8D2501-8F2D-11D5-963A-000A278CED6C}OOOOdd}}sswwqqffQQ Oh+'0p  , 8 DPX`h'ososDigital Media Center 8igiNormal Digital Media Center 89giMicrosoft Word 8.0r@n@TS[#@t#P^^``֨eevvjjHHkknnpprrrrrrBBFFIIMMRR[[iipprrxxtt}}KK}}GGKKQQWW__jjxxԅvvKKKKQQWW``iiwwїVVOOVV^^ggssѫ]]TT[[Discussion of English painting from 1914 to end of 1920's : the difficulty of understanding modernism in Enland: the incomprehensible break between works such as the two pictured by Edward Wadsworth Bradford: View of a Town (1914) and Wadsworth's Wings of the Morning (1928-29) Categories Corbett outlines for discussion of art in England between 1914-1929include: avant-garde, radical modernism, explicit social engagement. Most difficult to fill with regards to English art, but can include the Vorticists in 1914, Wyndham Lewis Less aggressive modernism, usues formal elements and technical devices of extremism but is not oppositional, or 'engaged'. This category includes most weel known people of the period: Paul Nash, ex-Vorticists after 1914-15 like Wadsworth, Roberts; ex-radicals like Nevinson, Bomberg, Epstein,; English post-impressionists of Bloomsbury, artists of the younger generation like Christopher Wood, also rising stars like Barbara Hepworth, Henry Moore, Ben Nicholson Work which sustains earlier concerns. English Impressionism, including Walter Sickert, John Lavery, Philip Wilson Steer, John Singer Sargent Fourth category is related to the third, including wrk that is pre-avant garde in its concerns and orientation. Including amateur and non-proft of the works owned by the museum Possibly compare the floor plan of MoMA provided in the article with the current floor plan of the museum, discuss the applicability of the analysis with the current design: does the idea of the mainstreeam of art history and its side off-shoots still apply to the layout of the museum? Comparison of MoMA to a labyrinth. This offers a nice illustration opportunity: The organisation of the building is seen to encourage a contrast of the devouring Great Mother through the images of Picasso (Les Demoiselles, Girl Before athe Mirror, Seated Bather), Kirchner, De Kooning's Woman, Munch's vampire, Leger's sphinx's, Miro's Creation of the World. This is contrasted with the garden which show woman in the midst of trees, water and animals, presented as a massive bountiful feminine in Lachaise, Renoir, Maillol sculptures, all overseen by tRodin's Balzac as 'male procreativity as artistic potency'. MoMA's collection additionally read in terms of: triumph of thought over matter in Cubist, Purist, de Stijl Mystical, sublime experience encouraged withsurrealism, abstract expressionism Absence of images of labout Absence of images of love The final revelation of nothingness in Ad Reinhardt's work The article includes images of MoMA's faade, general scenes from the permanent collection, the gardenV'X''0(():))...02&44577777L89::.<`>? & F  & F & F & F Focus on relationship of modernsim and sexual difference between 1905 and 1915. is Artistic engagement in the issue of the relationship of women to modernity, modernism and moderist art history in: Mary Cassatt's mural for the Woman's Building at the World's Columbian Exposition in Chicago (1873) Young Women Plucking the Fruits of Knowledge and Science; the work of the Artists' Suffrage League (1907); Suffrage Atelier (1909) Use of relationship of women to modernity as subject matter in novels by Thomas Hardy, George Gissing, George Meredith, George Moore, Sarah Grand, Mona Caird: ? inessional art. The production of the Royal Academy The book is broken down into the following sections: Paul Nash Wyndham Lewis Revisionist writings of the Sitwells, exrebels like C.R.W. Nevinson, Wadsworth Academic artists and English Impressionismcorporate extracts Images of a new female consumer in advertising and department store imagery Epstein's The Rock Drill (1913-1915) is seen a 'resolution of his obseessions with pregnacy and copulation To become an artist at the turn of the century required imagining oneself as an artist: popularity of the artist as a character in fiction, journalism, biography at the turn of the century, the doom associated with the category of the 'lady artist' P^^``֨eevvjjHHkknnpprrrrrrBBFFIIMMRR[[iipprrxxtt}}KK}}GGKKQQWW__jjxxԅvvKKKKQQWW``iiwwїVVOOVV^^ggssѫ]]TT[[8Q Many literary examples, maybe have this week illustrated with extracts The relationship between the avant garde and the metropolis Discussion of the hegemony of the metropolis: ? interesting to include sections on who owns what media; standard plot summaries of Hollywood movies, the subject matter of The Player; the reappearance of various favoured starts, e.g. Julia Roberts Analysis of how themes in art and thought developed as specific responses to 19th century city - how these were transformed into art in the early 20th century the mystery attached to the city: came through in Wordsworth's poetry the lonely individual in a crowd conjoins with Romantic themes of mystery: link James Thompson and Eliot's early city poems, Degas' The Absythe Drinker alienation is given social rather than psychological emphasis in Elizabeth Gaskell, Mary Barton, Dicken's Dombey and Son Gissing's Demos, The Nether World - interesting to include extracts from these works View of the city as strangeness, crowding, impenetrable, illustrated through character of Jack the Ripper, Peter Greenaway's film of the drowned in the Thames, Roni Horn's Thames' series, figure of theurban detective, Sherlock Holmes 'penetration by isolated rational eye', Dick Tracy The social emphasis given to the idea of the 'darkest London', pioneering use of statistics, the use of generalising panoramic perspectives of 20th century novels Dos Passos, Tressell: naturalistic accounts in 1890's e.g. Morrison's Tales of Mean Streets; New possibilites for unity,8Qqc d3jbjbSS X11]6 4 6xxxxxxxx#######,78z#Zxxxxx#xx8@xRxx#@@x#f "#, * z#Modernism, Realism, and Gender. Web site suggestions Week 2: The Painting of Modern Life George Simmel done Charles Baudelaire done Week 3: Women and Modernity Janet Wolff done Griselda Pollock done Week 4: The Ascendency of Modernism Clement Greenberg done Eva Cockcroft Done Week 5: Institutions of Modernism Howard Becker Done Week 6: Gender and Modernism Carol Duncan done Whitney Chadwick Done Week 7 Gender and Modernism (cont.) Lisa Tickner To do Janet Wolff done Week 8: Realism and Modernism Christoph Grunenberg Guest lecture Brendan Prendeville To do Week 9: Englishness and Modern Art David Peters Corbett Brandon Taylor Guest lecture Week 10: Strangers, Jews and Modernism Raymond Williams Juliet Steyn Week 11: The Politics of Modernsim Benjamin Buchloh Frank Whitford Week 12: Realism and Revisionism Peter Wollen Neil McWilliam Week 13: Rockwell, Parrish, and Modern Art Paul DiMaggio Wanda M. Corn Week 14: Aesthetics ad the Canon Keith Moxey Hal Foster Week 15: Feminism and the Critique of Modernism Craig Owens. 9]AUsIm0Rp&3"$$$$(%T%|*.1&2447779R:::F;j;;;;;\<<==>`>>?V????@F@X@r@x@@@@@A2ABAJAbAA B2B*bManet's Bar at the Folies-Bergere, Cezanne's Les Ondines and La Toilette, Redon's Feeme d'Orient, Gauguin's Maternite, Negresses, Tahitiennes, van Gogh's Madone and Jeune Fille Vanessa Bell's Frederick and Jessie Etchells Painting in the Studio at Asheham 1912 (pictured) ?Include Blast and Vorticist manifestos, Futurist manifestos Jessica Dismorr and Helen Saunders - two women painters who signed Vorticist manifestos: Dismorr's Rhythm drawing of Isabella Duncan (1911); Dismorr's The Rock Driller and Helen Saunders Female Figures Imprisoned (1913) (pictured), Helen Saunder's Abstract Composition in Blue and Yellow (1915) (pictured) . Compared to William Robert's The Vorticists at the Restaurant de la Tour Eiffel: Spring 1915, ?bA BB,NN(PSTfVhVVVWW & F  & F D>EEKMMM,NW6Heavily illustrated article, it seems appropriate that the website should provide better reproductions of the images discussed in the article. human solidarity in Dickens, Engels's, communist use of heroic masses Dicken's Coketown is darker than his London. H.G. Wells, escape to innocent, rural, makes city vital, variety, diversityc t3jbjbSS f11$]6D 4z <@@@@@@@@ ''''''',=?z;'s@@@@@;'"@@@"""@r@@ '@@@ '""~#& ' z 2!$&Modernism, Realism, and Gender. Web site suggestions Week 2: The Painting of Modern Life George Simmel done Charles Baudelaire done Week 3: Women and Modernity Janet Wolff done Griselda Pollock done Week 4: The Ascendency of Modernism Clement Greenberg done Eva Cockcroft Done Week 5: Institutions of Modernism Howard Becker Done Week 6: Gender and Modernism Carol Duncan done Whitney Chadwick Done Week 7 Gender and Modernism (cont.) Lisa Tickner To do Janet Wolff done Week 8: Realism and Modernism Christoph Grunenberg Guest lecture Brendan Prendeville To do Week 9: Englishness and Modern Art David Peters Corbett Brandon Taylor Guest lecture Week 10: Strangers, Jews and Modernism Raymond Williams Juliet Steyn Week 11: The Politics of Modernsim Benjamin Buchloh Frank Whitford Week 12: Realism and Revisionism Peter Wollen Neil McWilliam Week 13: Rockwell, Parrish, and Modern Art Paul DiMaggio Wanda M. Corn Week 14: Aesthetics ad the Canon Keith Moxey Hal Foster Week 15: Feminism and the Critique of Modernism Craig Owens. 9]AUsIm0Rp&3"$$$$(%T%|*.1&2447779R:::F;j;;;;;\<<==>`>>?V????@F@X@r@x@@@@@A2ABAJAbAA B2B*bManet's Bar at the Folies-Bergere, Cezanne's Les Ondines and La Toilette, Redon's Feeme d'Orient, Gauguin's Maternite, Negresses, Tahitiennes, van Gogh's Madone and Jeune Fille Vanessa Bell's Frederick and Jessie Etchells Painting in the Studio at Asheham 1912 (pictured) ?Include Blast and Vorticist manifestos, Futurist manifestos Jessica Dismorr and Helen Saunders - two women painters who signed Vorticist manifestos: Dismorr's Rhythm drawing of Isabella Duncan (1911); Dismorr's The Rock Driller and Helen Saunders Female Figures Imprisoned (1913) (pictured), Helen Saunder's Abstract Composition in Blue and Yellow (1915) (pictured) . Compared to William Robert's The Vorticists at the Restaurant de la Tour Eiffel: Spring 1915, ?bA BB,NN(PSTfVhVVVWWXXYZZ6\\]_acd & F  & F  & F D>EEKMMM,NW^ZvZ[[ \$\]]^^^&_bbc:ccceH*6Heavily illustrated article, it seems appropriate that the website should provide better reproductions of the images discussed in the article.Discussion of English painting from 1914 to end of 1920's : the difficulty of understanding modernism in Enland: the incomprehensible break between works such as the two pictured by Edward Wadsworth Bradford: View of a Town (1914) and Wadsworth's Wings of the Morning (1928-29) Categories Corbett outlines for discussion of art in England between 1914-1929include: avant-garde, radical modernism, explicit social engagement. Most difficult to fill with regards to English art, but can include the Vorticists in 1914, Wyndham Lewis Less aggressive modernism, usues formal elements and technical devices of extremism but is not oppositional, or 'engaged'. This category includes most weel known people of the period: Paul Nash, ex-Vorticists after 1914-15 like Wadsworth, Roberts; ex-radicals like Nevinson, Bomberg, Epstein,; English post-impressionists of Bloomsbury, artists of the younger generation like Christopher Wood, also rising stars like Barbara Hepworth, Henry Moore, Ben Nicholson Work which sustains earlier concerns. English Impressionism, including Walter Sickert, John Lavery, Philip Wilson Steer, John Singer Sargent Fourth category is related to the third, including wrk that is pre-avant garde in its concerns and orientation. Including amateur and non-professional art. The production of the Royal Academy The book is broken down into the following sections: Paul Nash Wyndham Lewis Revisionist writings of the Sitwells, exrebels like C.R.W. Nevinson, Wadsworth Academic artists and English Impressionism