article and then lead discussion for that class period. You are also required to turn in a 3 -5 page summary of the article and not the short reading summary. Female Artist (25%) This is an opportunity to investigate the work of any female artist from 1500 until today. The paper is between 8 - 10 pages. You are required to present the paper in class, with a polished powerpoint. You will read directly from the paper. This is the way professionals present papers at conferences. COURSE CALENDAR Provisional Schedule of lectures and readings: (subject to change) Introduction/Course Requirements; January 19 Lecture (come to class prepared to discuss reading) January 11: Linda Nochlin, have there been no great women artists?” (1970) 145-178. “Why Lecture (come to prepared to discuss reading) January 16: Stereotypes: The Essential Feminine or How Essential is Femininity,” in Old “Critical eds. Parker, Rozsika and Griselda Pollock. pay Mistresses: Women, Art and Ideology. special attention to pages 1- 14; 44- 49. European Female Artists of the Past Discussion of reading (summary required; individual sections will be January 18: assigned) Griselda Pollock, Female Hero and the Making of a Feminist Canon” in “The Differencing the Canon: Feminist Desire and the Writing of Art’s Histories. New York: Routledge, 1999. 97-127. Discussion of reading (summary required) James M Saslow, January 23: and Constriction of the Lesbian Body in Rosa Bonheur’s Horse Fair,” in “Construction The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard, 1992. Discussion of reading (summary required; individual sections will be January 25: assigned) Griselda Pollock, and the Spaces of Femininity”, in Vision and Difference: “Modernity Femininity, feminism and histories of art. 50 90. –
article and then lead discussion for that class period. You are also required to turn in a 3 -5 page summary of the article and not the short reading summary. Female Artist (25%) This is an opportunity to investigate the work of any female artist from 1500 until today. The paper is between 8 - 10 pages. You are required to present the paper in class, with a polished powerpoint. You will read directly from the paper. This is the way professionals present papers at conferences. COURSE CALENDAR Provisional Schedule of lectures and readings: (subject to change) January 19 Introduction/Course Requirements; January 11: Lecture (come to class prepared to discuss reading) Linda Nochlin, “Why have there been no great women artists?” (1970) 145-178. January 16: Lecture (come to prepared to discuss reading) “Critical Stereotypes: The Essential Feminine or How Essential is Femininity,” in Old Mistresses: Women, Art and Ideology. eds. Parker, Rozsika and Griselda Pollock. pay special attention to pages 1- 14; 44- 49. European Female Artists of the Past January 18: Discussion of reading (summary required; individual sections will be assigned) Griselda Pollock, “The Female Hero and the Making of a Feminist Canon” in Differencing the Canon: Feminist Desire and the Writing of Art’s Histories. New York: Routledge, 1999. 97-127. January 23: Discussion of reading (summary required) James M Saslow, “Construction and Constriction of the Lesbian Body in Rosa Bonheur’s Horse Fair,” in The Expanding Discourse: Feminism and Art History, eds. Norma Broude and Mary Garrard, 1992. January 25: Discussion of reading (summary required; individual sections will be assigned) Griselda Pollock, “Modernity and the Spaces of Femininity”, in Vision and Difference: Femininity, feminism and histories of art. 50 – 90.
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