AHT 200
Coordinator: Michael Hill
Course outline 


Jaime's Class
Monday 10am
ID: 14797284
Password: AHT200

Monday 2pm
ID: 14797289
Password: AHT200

Michael's Class
ID: 15081048
Password: AHT200

ID: 15081062
Password: AHT200

Exam Shortlist Semester 2
Shortlist for Jaime's Classes (Mon): 

Shortlist for Shane and Michael's Classes (Wed/Thurs): 

Lecture Images 

Jaime's Monday Classes:
Week 4. Impressionism: http://www.nasaht.com.au/web_images/AHT200 Wk 4 JT.pdf          
Week 8. Cezanne: http://www.nasaht.com.au/web_images/AHT200 W8 JT.pdf             
Week 11. Cubism: http://www.nasaht.com.au/web_images/AHT200 W11 JT.pdf               
Week 22: Architecture: http://www.nasaht.com.au/web_images/AHT200 Architecture J.pdf             
Week 23: Post War USA 1: http://www.nasaht.com.au/web_images/AHT200_NewYork.pdf                     
Week 25: Pop and New Realism: http://www.nasaht.com.au/web_images/AHT200 New Realism and Pop .pdf                                                        

Michael's Wednesday and Thursday classes:

Shane's Thursday class:

Semester 1 Readings
Charles Baudelaire, "Of the Heroism of Modern Life" (1846), in Baudelaire,  Selected Writings on Art and Literature, trans. P. Charvet, London: Penguin, 104-07.

Champfluery on Courbet's Burial at Ornans (1848); Courbet on The Painter's Studio (1854); Courbet's Statement on Realism (1855). From C. Harrison, P. Wood, and J. Gaiger,   Art in Theory, 1815-1900, Oxford: Blackwell, 1998, 366-72.

Stephane Mallarme, "The Impressionists and Eduoard Manet" (1876), from Harrison and Wood,   Art in Theory, 1815-1900, 585-93.

Oliver Wendell Holmes, "The Stereoscope and the The Stereograph" (1859), from Harrison and Wood,   Art in Theory, 1815-1900, 669-72.

Louis Leroy, "The Exhibition of the Impressionists" (1876), from Harrison and Wood,   Art in Theory, 1815-1900, 573-76.

Vincent Van Gogh, Selected Letters, from Hershell Chipp ed.  Theories of Modern Art, Berkeley and Los Angelos: University of California Press, 1968, 36-41

Paul Gauguin, Selected Letters, Chipp,  Theories, 60-66

Rainer Maria Rilke,  Rodin (1903), London, 1946, 23-34

Paul Cezanne, Selected Letters, from Chipp,  Theories, 16-23
Henri Matisse, Notes of a Painter (1908) and Facility in Painting (1946). from Chipp,  Theories, 130-37 and 140-41 

Guillarme Apollinaire, "The Cubist Painters" (1913), from Chipp,  heories, 220-28; and Pablo Picasso, "Picasso Speaks" (1923), from Harrison and Wood,  Art in Theory, 1900-1990, Oxford: Blackwell, 1992, 210-13.

Filippo Marinetti, "Futurist Manifesto" (1908) and Umberto Boccioni "Manifesto of Futurist Sculpture" (1912), from Harrison and Wood,  Art in Theory, 1900-1990, 284-89 and 298-304

Semester 2 Readings
Kurt Schwitters, "Merz" (1921), from Chipp,  Theories, 382-84; Tristian Tzara, "Lecture on Dada" (1924),   from Chipp,   Theories, 385-89; Marcel Duchamp, "The Richard Mutt Case" (1917),   Harrison and Wood,   Art in Theory, 1900-1990  , 248.
Andre Breton, "What is Surrealism?" (1934),   from Chipp,    Theories  , 410-17.

Ignacio Javier Lopez, "  Film, Freud, and Paranoia: Dali and the Representation of Desire in An Andalusian Dog",  Diacritics  , vol. 31, n. 2 (2001), 35-48

Kasimir Malevich, "From Cubism and Futurism to Surematism: The new Realism in Painting", 1916, in  Harrison and Wood,     Art in Theory, 1900-1990   , 173-183
Naum Gabo, "Sculpture: Carving and Construction in Space" (1937)   from Chipp,    Theories  , 330-37.
Sergei Eisenstein, Introduction, Battleship Potemkin, London: Lorrimer, 1968, 7-23

Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction" (1938),   Harrison and Wood,    Art in Theory, 1900-1990  , 512-520. 

Abstraction and Bauhaus
Wasily Kandisky, "Concerning The Spiritual in Art" (1912), from   Harrison and Wood,     Art in Theory, 1900-1990,  86-94; De Stijl Manifesto (1922), from   Art in Theory, 1900-1990  , 278-79; Piet Mondrian, "Dialogue on the New Plastic" (1919),  from    Harrison and Wood,     Art in Theory, 1900-1990  , 282-87  .

Walter Gropius, "The Theory and Organisation of the Bauhaus" (1919), from   Harrison and Wood,    Art in Theory, 1900-1990,  338-43

William Curtius, Le Corbusier's Quest for Ideal Form,  Modern Architecture since 1900, London, 3rd ed. 1996, 163-181

Post War Modernism
Clement Greenberg, "Modernist Painting" (1960), from   Harrison and Wood,     Art in Theory, 1900-1990  , 754-760   
Clement Greenberg, "The Crisis of the Easel Picture" (1948), from  Collected Essays and Criticism, vol 2, 1945-49, ed. J. O'Brian, Chicago, 1986, 221-25

Post-War Modernism II
Barnet Newman, "The First Man was an Artist" (1947) and "The Sublime is Now" (1948), from Chipp,  Theories, 551-553
Ann Gibson, "Lee Krasner and Women's Innovations in American Abstract Expressionism,  Women's Art Journal, (Winter 2007), 11-19

Andy Warhol Interview (1963), from Harrison and Wood, Art in Theory, 1900-1990, 730-733; and Arthur Danto, "Warhol" (1986), from Danto,  Encounters and Reflections. Art in the Historical Present, Berkeley, 1990, 286-293

Minimalism and Post Painterly Abstraction
Donald Judd, "Specific Objects" (1965), from Judd,  Complete Writings, 1959-75, Halifax: New York University Press, 1975, 181-89.
Clement Greenberg, "After Abstract Expressionism" (1962), from   Collected Essays and Criticism, vol 4, 121-134