Marina Abramovic, Rhythm 0, 1979

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Final Syllabus WOMEN, ART, and IDENTITY Fall 2017 Copenhagen European Humanities 3 credit course Major Disciplines: Art History, Gender Studies, and Visual Arts Instructor: Andrea Homann Time: 11:40

modern and contemporary culture. Significant female artists from the time of the Impressionists to the present will be analyzed.

1 Final Syllabus WOMEN, ART, and IDENTITY Fall 2017 Copenhagen European Humanities 3 credit course Major Disciplines: Art History, Gender Studies, and Visual Arts Instructor: Andrea Homann Time: 11:40 13:00 Mondays and Thursdays Location: V10 A13 Marina Abramovic, Rhythm 0, 1979 Content This course is an investigation of women artists from a wide geographical selection and their impact on early modern and contemporary culture. Significant female artists from the time of the Impressionists to the present will be analyzed. The course discusses the social and art historical contexts in relation to shifting female identities in art, including a debate on women in the context of institutional practices. The analysis of individual artistic achievements in a variety of media will be supported by the respective literature, providing a historical, theoretical and critical background. Field studies to significant museums and contemporary exhibitions in the Copenhagen area form an essential part of this course. The visits require active student participation (e.g. student presentations and group work). 1

2 Instructor Andrea Homann, Dipl. Ing. (Apparel Engineering/Fashion Design, FH Mönchengladbach, 1989) Designer at Westfalenstoffe, Münster/Germany, , Educator at the Museum of Contemporay Art, Los Angeles (MOCA), the Los Angeles Municipal Art Gallery. Since 1994, Educator at the Danish National Gallery (Statens Museum for Kunst). With DIS since Consultation: Preferably after class, DIS Contact Sanne Rasmussen, Program Coordinator, European Humanities Department, Objectives To gain knowledge of the primary manifestations of women s art from the late 19 th century to the present To acquire the ability to formally analyze and discuss specific art works and related historical and cultural parameters To enable students to critically evaluate the contexts of artistic practice, with a special focus on gender and identity To utilize museums and art galleries in Copenhagen as sites for experiential learning To elaborate specific topics from the period in oral and written assignments Course Requirements Attendance and active participation in class discussions and during museum visits, including oral presentations Written assignments: exhibition review, research paper (in accordance with Writing Papers at DIS), test To be eligible for a passing grade in this class you must complete all of the assigned work Course Evaluation Research paper (8 pages) 30% In class test 25% Exhibition review (4 pages) 15% Oral presentation in class 10% Active class participation 10% In class essay 10% Disability and Resource Statement Any student who has a need for accommodation based on the impact of a disability should immediately contact Office of Academic Support (acadsupp@dis.dk) to coordinate this. In order to receive accommodations, students should inform the instructor of approved DIS accommodations. 2

3 Field Studies (dates and times in detailed schedule) GL Strand Gammel Strand København K Statens Museum for Kunst (The Danish National Gallery) Sølvgade 48 50, 1307 København K The Black Diamond (The Royal Library) Søren Kirkegaards Plads 1, København Louisiana Museum of Modern Art Gl Strandvej 13, 3050 Humlebæk Required reading: Nochlin, Linda: Why have there been no great women artists? In: Amelia Jones (ed.): The Feminism and Visual Culture Reader. London New York, Routledge, Pp Reilly, Maura: Toward Transnational Feminisms, in Global Feminisms New Directions in Contemporary Art, Brooklyn Museum, Merell Publishers, 2007, pp (available on canvas) Kuehn, Julia: Elisabeth Jerichau Baumann, Egypt 1870, Victorian Literature and Culture, Vol.38. No1, Cambridge University Press, 2010, pp (available on canvas) Pollock, Griselda: Modernity and the Spaces of Feminity. In Vision and Difference, New York: Routledge, pp Søndergaard, Sidsel Maria and Tea Baark Mairey: Like a Quivering Between Things in Søndergaard, Sidsel Maria (ed.): Women in Impressionism, From Mythical Feminine to Modern Woman. Milan: Skira, pp ,230, 234, ,246 48, , ). Breuning, Malene: A Room of One s Own. The Intimate Quality of Anna Ancher,s Portraits and Interiors in: I am Anna, A Hommage to Anna Ancher. Skagens Museum, Radycki, Diane, Pictures of Flesh: Modersohn Becker and the Nude, Women s Art Journal Fall/Winter (available on canvas) Chadwick, Whitney: #9 Modernism, Abstraction &The New Woman, in Whitney Chadwick: Women, Art and Society, London: Thames and Hudson, 1990, pp Rendell, Clare: Sonia Delaunay and the Expanding Definition of Art, Womens Art Journal, Vol.4, No1, 1983, pp (available on canvas) Lavin, Maude: Hanna Höch s From an Ethnographic Museum. In: Sawelson Gorse, Naomi: Women in Dada: essays on Sex, Gender and Identity. Cambridge: MIT Press, 1998.pp Davis, Caitlin S: Lee Millers Revenge on Culture: Photojournalism, Surrealism and Autobiography, Woman s Art Journal, Vol.27, No.1, New art Publications, 2006, pp

4 Grimberg, Salomon: Frida Kahlo s Still Lifes: I Paint Flowers So They Will Not Die, Women s Art Journal, Vol 25, No.2, Woman s Art Iinc, , pp Helland, Janice: Aztec Imagery in Frida Kahlo s Paintings: Indigenity and Political Commitment, Woman s Art Journal, Vol. 11, No.2, Woman s Art Inc., , pp Block, Rebecca and Lynda Hoffman Jeep: Fashioning National Identity: Frida Kahlo in Gringolandia, Women s Art Journal, vol.19, No.2, 1998/99, pp (available on canvas) Kotik, Charlotta, The Locus of Memory: An Introduction to the Work of Louise Bourgeois, in Louise Bourgeois, The Locus of Memory, New York, The Brooklyn Museum, 1994, pp.13,16 19, Bishop, Claire: Installation Art and Experience in Claire Bishop, Installation Art: A Critical History. London, Tate Publishing, pp. 6, 8, 10, 11, 13. Blocker, Jane: Exile in Jane Blocker, Where is Ana Mendieta? Identity, Performativity and Exile. Durham London: Duke University Press, Klaus Biesenbach: Marina Abramovic: The Artist is Present. The Artist was Present. The Artist will be Present, in Klaus Biesenbach: Marina Abramovic: The Artist is Present. New York, MOMA, 2010 (available on Canvas) Wellendorf, Kassandra: Elastic Looking and Negotiations of Invisibility in Public Spaces in Transvisuality: The Cultural Dimension of Visuality, Liverpool University Press, Williams, Judith: Images of Woman, The Photography of Cindy Sherman. in Hilary Robinson: Feminism Art Theory: an Anthology , Oxford:Blackwell, pp Mulvey, Laura: Visual Pleasure in Narrative Cinema. in Art in Theory, An Anthology of Changing Ideas. Oxford: Blackwell Publishers.pp Wagstaff, Sheena: Uncharted Territory: New Perspectives in the Art of Mona Hatoum, in Said, Edward and sheena Wagstaff: The Entire World as a Foreign Land London, Tate Publishing, Satrapi, Marjane, Persepolis, London, Jonathan Cape, pp Ravenal, John B.: Shirin Neshat:Double Vision, in Norma Broude, Reclaiming Female Agency, Feminist Art History after Postmodernism, Berkeley, University of California Press, pp , Danto Arthur C. and Shirin Neshat: Shirin Neshat, Bomb, No. 73, New Art Publications, Fall 2000, pp Körber, Lill Ann: Figurations of the Hybrid, Julie Edel Hardenbergs Visions of Post Colonial Greenland, in Globalizing Art, pp , Aarhus University Press, Mathias Danbolt, Striking Reverberations. Beating back the Unfinished History of the Colonial Aesthetic with Jeanette Ehlers Whip it Good, in Lotte Løvholm (ed.): Say it Loud, Nemo, Copenhagen, 2016, p

5 Detailed Schedule Thursday, August 24 Gender and Art An Introduction Nochlin, Linda: Why have there been no great women artists? In: Amelia Jones (ed.): The Feminism and Visual Culture Reader. London New York, Routledge, 2003, pp Monday, August 28 Differencing the Canon Exhibiting Women the measure of sexism facts figures and fixes/ (Reilly, Maura: Taking the Measure of Sexism, available on Canvas). Recommended Reading: Reilly, Maura: Toward Transnational Feminisms, in Global Feminisms New Directions in Contemporary Art, Brooklyn Museum, Merell Publishers, 2007, pp (available on canvas). beauvoir/2nd sex/introduction.htm Thursday, August 31 Tove Jansson: Art, Love and Moomins Field Study: GL Strand press release_tove jansson_eng.pdf Monday, September 4 Elisabeth Jerichau Baumann and the Victorian World: A Book in the Making Guest Lecture: mag.art. Sine Krogh Kuehn, Julia: Elisabeth Jerichau Baumann, Egypt 1870, Victorian Literature and Culture, Vol.38. No1, Cambridge University Press, 2010, pp (available on canvas). 5

6 Thursday, September 7 Women in Impressionism: Models and Painters Søndergaard, Sidsel Maria and Tea Baark Mairey: Like a Quivering Between Things in Søndergaard, Sidsel Maria (ed.): Women in Impressionism, From Mythical Feminine to Modern Woman. Milan: Skira, 2006, pp Pollock, Griselda: Modernity and the Spaces of Femininity. In Vision and Difference, New York: Routledge, Short Program Study Tours Monday, September 18 Anna Ancher: A Room of her Own Nordic Artist Couples Around 1900 Breuning, Malene: A Room of One s Own. The Intimate Quality of Anna Ancher s Portraits and Interiors in: I am Anna, A Hommage to Anna Ancher. Skagens Museum, (exhibition: I am Anna ) Thursday, September 21 Paula Modersohn Becker and the Female Nude Radycki, Diane, Pictures of Flesh: Modersohn Becker and the Nude, Women s Art Journal Fall/Winter 2009 (available on canvas). Monday, September 25 Modern Women in the Context of the Avant Garde I EXHIBITION REVIEW DUE Chadwick, Whitney: #9 Modernism, Abstraction &The New Woman, in Whitney Chadwick: Women, Art and Society, London: Thames and Hudson, 1990, pp Thursday, September 28 Modern Women in the Context of the Avant Garde II Sonia Delaunay: Art and Fashion Rendell, Clare: Sonia Delaunay and the Expanding Definition of Art, Womens Art Journal, Vol.4, No1, 1983, pp (available on canvas). 6

7 Monday, October 2 The Dada Collages of Hanna Höch Lavin, Maude: Hanna Höch s From an Ethnographic Museum. In: Sawelson Gorse, Naomi: Women in Dada: essays on Sex, Gender and Identity. Cambridge: MIT Press, 1998, pp Wednesday, October 4, 13:00 18:00 Field study: Louisiana Museum of Modern Art Marina Abramovic: The Cleaner Rineke Dijkstra: The One and the Many Assignment : Klaus Biesenbach: Marina Abramovic: The Artist is Present. The Artist was Present. The Artist will be Present, in Klaus Biesenbach: Marina Abramovic: The Artist is Present. New York, MOMA, 2010 (available on canvas). Recommended Reading: Jones Amelia: Survey in Tracey Warr: The Artist s Body. London, Phaidon Press pp Thursday, October 5 Strangely Familiar Artists and Muses in Surrealism Davis, Caitlin S: Lee Millers Revenge on Culture: Photojournalism, Surrealism and Autobiography, Woman s Art Journal, Vol.27, No.1, New art Publications, 2006, pp.3 9. Long Program Study Tours/Break Monday, October 16 Duality and Identity in Frida Kahlo s Paintings Grimberg, Salomon: Frida Kahlo s Still Lifes: I Paint Flowers So They Will Not Die, Women s Art Journal, Vol 25, No.2, Woman s Art Iinc, , pp Helland, Janice: Aztec Imagery in Frida Kahlo s Paintings: Indigenity and Political Commitment, Woman s Art Journal, Vol. 11, No.2, Woman s Art Inc., , pp

8 Thursday, October 19 IN CLASS TEST Monday, October 23 The Displacement of Ana Mendieta Blocker, Jane: Exile in Jane Blocker, Where is Ana Mendieta? Identity, Performativity and Exile. Durham London: Duke University Press, Recommended Reading: Peggy Phelan, Survey in Helena Reckitt (ed.): Art and Feminism. London: Phaidon Press, pp Thursday, October 26 Female Spaces: Installation Art Bishop, Claire: Installation Art and Experience in Claire Bishop, Installation Art: A Critical History. London, Tate Publishing, 2005, pp. 6, 8, 10, 11, 13. Long Tour Break Monday, November 6 Artist talk with photographer Lærke Posselt TBA Thursday, November 9 Constructing Female Stereotypes: Cindy Sherman Mulvey, Laura: Visual Pleasure in Narrative Cinema. in Art in Theory, An Anthology of Changing Ideas. Oxford: Blackwell Publishers. pp ISBN , 1258p. Williams, Judith: Images of Woman, The Photography of Cindy Sherman. In Hilary Robinson: Feminism Art Theory: an Anthology , Oxford: Blackwell, pp

9 Monday, November 13 Louise Bourgeois: The Spider, the Mistress and the Tangerine Kotik, Charlotta, The Locus of Memory: An Introduction to the Work of Louise Bourgeois, in Louise Bourgeois, The Locus of Memory, New York, The Brooklyn Museum, 1994, pp.13, 16 19, bourgeois EN/ENS bourgeois EN.html Siri Hustvedt, My Louise Bourgeois, in A Woman Looking at Men Looking at Women, Sceptre Books, 2016, pp Thursday, November 16 Gillian Wearing Family Stories Field Study: Statens Museum for Kunst wearing/a press Monday, November 20 Places of (Be) Longing: Mona Hatoum and Notions of Home Wagstaff, Sheena: Uncharted Territory: New Perspectives in the Art of Mona Hatoum, in Said, Edward and Sheena Wagstaff: The Entire World as a Foreign Land, London: Tate Publishing, Break Monday, November 27 Shifting Geographies: Julie Edel Hardenberg Körber, Lill Ann: Figurations of the Hybrid, Julie Edel Hardenbergs Visions of Post Colonial Greenland, in Globalizing Art, pp , Aarhus University Press, Wednesday, November 29, 9:00 12:30 Field study: Black Diamond, Blind Spots Images of the Danish West Indies Colony Mathias Danbolt, Striking Reverberations. Beating back the Unfinished History of the Colonial Aesthetic with Jeanette Ehlers Whip it Good, in Lotte Løvholm (ed.): Say it Loud, Nemo, Copenhagen, 2016, pp

10 Thursday, November 30 Complexities of the Veil: Shirin Neshat Danto Arthur C. and Shirin Neshat: Shirin Neshat, Bomb, No. 73, New Art Publications, Fall 2000, pp Satrapi, Marjane, Persepolis, London, Jonathan Cape, 2006, pp ISBN ,343p. Ravenal, John B.: Shirin Neshat:Double Vision, in Norma Broude, Reclaiming Female Agency, Feminist Art History after Postmodernism, Berkeley, University of California Press, 2005, pp , Monday, December 4 In Class Test, wrap up Monday, December 11 RESEARCH PAPER DUE Please upload your papers directly to the assignment in canvas by Monday, December 11. Late papers will be downgraded. 10

Course Specification. Course Code: TBC. 1. Course Title: History of Architecture and Urban Studies (HAUS) Academic Session: 2011/12

Course Specification. Course Code: TBC. 1. Course Title: History of Architecture and Urban Studies (HAUS) Academic Session: 2011/12 Course Specification Course Code: TBC 1. Course Title: History of Architecture and Urban Studies (HAUS) 3 2. Academic Session: 2011/12 3. Level: SCQF 8 4. Credits: 20 5. Lead School/Board of Studies: Mackintosh