BA Art History and English Literature
Year of entry: 2020
- View tabs
- View full page
Course unit details:
|Unit level||Level 3|
|Teaching period(s)||Semester 2|
|Offered by||Art History and Cultural Practices|
|Available as a free choice unit?||Yes|
Picasso is the most densely inscribed artist of the twentieth century, a key figure in histories of modernism and the avant-garde. This course tracks his production across narratives of art, culture and ideology, placing it in historical and theoretical contexts, while attending to the themes and fictions of the reception. Notwithstanding Picasso’s continuing recuperation as an institution or brand-name, his practice submitted the European world-picture to an unprecedented interrogation. This course brings this radical questioning of identity and meaning to the fore.
- To enable students to gain a detailed knowledge of the work of a major twentieth-century artist.
- To enable students to situate Picasso’s production in relation to modernism and the avant-garde, in particular Symbolism, Cubism, Surrealism
- To enable students to describe and analyse complex modernist and anti-modernist artworks
- To develop the capacity to apply knowledge of social and cultural history to the analysis of the work of major 20th century artists by the study of one example.
- To enable students to interpret Picasso by means of theoretical concepts
- To introduce students to challenging art-historical and art-critical texts, and promote good practices of reading and writing
- To encourage presentational and public speaking skills, in the context of complex discussions
By the end of this course students will be able to:
The following is a preliminary plan:
1. Introduction: The Picasso Myth
2. Early Picasso: Background and Bohemia
3. Les Demoiselles d’Avignon: The Question of the Primitive
4. Cubism and Representation
5. Neoclassical Picasso: Pastiche and the Return to Order
6. Picasso and Surrealism
7. Picasso and Documents Magazine
8. War and the Politics of Myth
9. Picasso and ‘the Masters’
10. Picasso and Sexuality
11. Picasso and Death
Teaching and learning methods
This course is seminar based. Student will participate in class discussion based on set reading. Readings will be available via BlackBoard.
Knowledge and understanding
- Demonstrate a first-hand knowledge of a wide range of Picasso’s production.
- Be proficient in the description and analysis of works by Picasso.
- Analyse Picasso’s statements and interviews in relation to his work and career.
- Analyse contemporaneous critical responses to Picasso’s work in their cultural and social context.
- Demonstrate a critical approach to theoretical, social-historical and biographical interpretations of Picasso.
- Demonstrate a critical approach to the placing of Picasso in general histories of twentieth-century art and culture.
- Develop writing skills
- Recall, analyse and articulate complex historical and conceptual data
Transferable skills and personal qualities
- Demonstrate independent learning through assessed work
- Demonstrate research skills through assessed work
- ¿ Carry out supervised research using available resources ¿ Critically evaluate written and visual sources ¿ Present coherent arguments in written work ¿ Manage time effectively in order to complete assignments ¿ Use Word in order to present work professionally ¿ Respond to feedback in order to improve their study skills and understanding of material discussed in class
|Written assignment (inc essay)||60%|
Formative or Summative
Written feedback on essay
Exam feedback (on request)
Verbal feedback on formative essay
Additional one-to-one feedback in consultation hours (or by appointment)
- Michael Bracewell, ed., The Dark Monarch: Magic and Modernity in British Art (Exhibition Catalogue: Tate Gallery, 2008)
- e-flux journal 36, 2012, ‘Animism’ http://www.e-flux.com/issues/36-july-2012/
- Alfred Gell, Art and Agency: An Anthropological Theory (Oxford: Oxford University Press, 1998)
- Hal Foster, ‘The Artist as Ethnographer’, in Foster, The Return of the Real (Cambridge MA and London: MIT Press, 1996)
- Philip Grant, ‘Too Real an Unreality: Financial Markets as Occult’, e-flux journal 62, 2015 http://www.e-flux.com/journal/too-real-an-unreality-financial-markets-as-occult/
- David Lomas, ‘Artist-Sorcerers: Mimicry, Magic and Hysteria’, Oxford Art Journal 35, 3, 2012, 363-388
- Paolo Magagnoli, ‘Critical Nostalgia in the Art of Joachim Koester’. Oxford Art Journal 34, 1, 2011, 97-121
- Birgit Meyer and Peter Pels, eds., Magic and Modernity: Interfaces of Revelation and Concealment (Stanford: Stanford University Press, 2003)
- Bernd-Christian Otto and Michael Stausberg, eds., Defining Magic: A Reader (London and New York: Routledge, 2014)
- P. Adams Sitney, Visionary Film: The American Avant-Garde 1943-2000 (Oxford: Oxford University Press, 2002)
- Michael Taussig, Mimesis and Alterity: A Particular History of the Senses (London and New York: 1993)
|Scheduled activity hours|
|Assessment written exam||2|
|Independent study hours|
|Charles Miller||Unit coordinator|