Postwar American Avant-Garde Art (Μεταπολεμική Αμερικανική Πρωτοπορία)

Much experimental and avant-garde art in the US from the late 1950s onwards emerged against the backdrop of an intense questioning of the modernist canon, and responded to wider historical shifts that involved the dissolution, and the redefinition of boundaries in diverse and interconnected areas of cultural and social life. The course maps important strands in the post-WWII avant-garde from the late 1950s to the present day. The reaction against Abstract Expressionism, the emergence of happenings in the late 1950s, will constitute the point of departure for an examination of the work of artists who experimented with diverse forms, practices, and media, moved beyond traditional genres, and challenged the boundaries, and the institutions that had defined the production of art. We will work with a variety of sources and documents, including poems, paintings, films, performances, videos, and artists’ writings. Throughout the course, we will be establishing connections between artistic movements and developments in postwar American poetry. Teaching consists in lectures, as well as seminar activities and discussions developing connections across different themes and artistic forms. Course material and bibliography can be accessed online on the e-class site. Depending on attendance and participation, additional seminar sessions may be organised during term-time.




Γνώση της Αγγλικής γλώσσας επιπέδου Proficiency Ικανοποιητικές γενικές γνώσεις Αγγλο-Αμερικανικής λογοτεχνίας (Μαθήματα ΤΑΓΦ ΛΥ02, ΛΥ05) Γενικές γνώσεις θεωρίας και κριτικής της λογοτεχνίας και του πολιτισμού (Μαθήματα ΤΑΓΦ ΛΥ06, ΛΥ07)


Week 1 General Introduction to the postwar period [Overview and Aims] Week 2 Beyond Abstract Expressionism: happenings and the “blurring of art and life” Seminar Material Allan Kaprow, “How to Make a Happening” (LP record 1965), [transcript and sound on] “The Happenings Are Dead: Long Live the Happenings!” (1966) [pdf file on the eclass], “Some Recent Happenings” (1966), [on], “Art Which Can’t Be Art” (1986) Week 3 Pop art: breaking down the boundaries between high and low Seminar Material Claes Oldenburg, “Store Days” (1967), Andy Warhol, “Work” in The Philosophy of Andy Warhol from A to B and Back Again (1975) [pdf files on the eclass], Robert Rauschenberg, “Monogram, Free Standing Combine (1955-59), James Rosenquist, “President Elect” (1961-2), Andy Warhol, “Marilyn Diptych” 1962 Week 4 Conceptual art and the critique of the institution of art Seminar Material Joseph Kosuth, Titled (Art as Idea as Idea) (1966), Art After Philosophy (1969), Mel Bochner, Language is not Transparent (1970), Theory of Boundaries (1969-70), Sol Le Witt, “Paragraphs on Conceptual Art” (1967), Dan Graham, “Poem, March 1966 / Dan Graham” (1967) [on] Week 5 Feminism and the (en)gendering of postmodernism: power, difference, and the politics of meaning Seminar Material [overview] Linda Nochlin ‘Why Have There Been No Great Women Artists? (1971) [pdf file on the eclass], Mary Beth Edelson, Some Living American Women Artists/Last Supper (1971), Martha Rosler, “Semiotics of the Kitchen” (1975), “The Bowery in Two Inadequate Descriptive Systems” (1974-1975), “Domination and the Everyday” (1975) Week 6 MID TERM I Week 7 “There is no such thing as art for art's sake”: The Black Arts Movement and Beyond Seminar Material Amiri Baraka, “Black Dada Nihilismus” (1964), “Black Art” (1966), Faith Ringgold, The Flag is Bleeding’(1967), Betye Saar, “The Liberation of Aunt Jemina”(1972), “Victory of Gentleness (For Rosa Parks) (1975), Nikki Giovanni, “Nikki-Rosa” (1968), Adrian Piper, The Mythic Being: I/Your (Her) 1974 Week 8 Earthworks, Video, Performance Seminar Material Robert Smithson, “A Tour of the Monuments of Passaic- New Jersey” (1967) [pdf file on the eclass], and [selections from William Carlos Williams’s Patterson (1946-51), Gordon Matta-Clark, “Fresh Kill” (1972), Vito Acconci, “Three Adaptation Studies” (1970), Joan Jonas, “Organic Honey’s Visual Telepathy” (1972) Week 9 “We the mestizas and mestizos, will remain”: Chicano/a Art and Poetry Seminar Material John Valadez, Getting Them Out of the Car (1984), Judy Baca, Dead Homeboy Killed by a Placa (1974) Yolanda López, Portrait of the Artist as the Virgin of Guadalupe (1978), Alma Villanueva, “Of Utterances” (1978) Week 10 Beyond “survivance”: Native American Art Seminar Material Gerald Vizenor’s “Survivance,” Jaune Quick to-See Smith, Indian, Indio, Indingeouns (1992) Trade (Gifts for Trading Land with White People) (1992), Hulleah Tsinhnahjinnie, from Portraits against Amnesia (c2000) Week 11 Student Presentations Week 12 Mid-TERM 2 –Submission of Research Paper






Instructors: Stamatina Dimakopoulou
Department: Faculty of English Language and Literature
Institution: National and Kapodistrian University of Athens
Subject: Languages and Literature
Rights: CC - Attribution-NonCommercial-ShareAlike

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