HA298-001: POP ART
FALL 2015 MON-WED-FRI 10:15-11:05 160 Withers
James C. Boyles
252 Withers
office hours: MWF 2:00-3:00 pm
To contact me, please use e-mail (jcboyles@ncsu.edu).
There may be changes to this syllabus.
AUG 19
INTRODUCTION
AUG 21
WHAT IS POP?
ASSIGNMENT 1 DUE by 10:15 AM
AUG 24
POP’S ANTECEDENTS
AUG 26
POP’S ANTECEDENTS
AUG 28
ABSTRACT EXPRESSIONISM
AUG 31
ABSTRACT EXPRESSIONISM
SEP 2
ABSTRACT EXPRESSIONISM
Reading:
Greenberg
SEP 4
AMERICAN PROTO-POP
Reading:
Steinberg
SEP 7
LABOR DAY – NO CLASS
SEP 9
AMERICAN PROTO-POP
Reading:
Orton
SEP 11
AMERICAN PROTO-POP
SEP 14
AMERICAN POP IN THE 1960S: ANDY WARHOL
TOPICS DUE FOR SEMESTER PAPER
SEP 16
AMERICAN POP IN THE 1960S: ANDY WARHOL
Reading:
Collins on Warhol
SEP 18
AMERICAN POP IN THE 1960S: ANDY WARHOL
Optional readings:
Danto, “The Artworld”
Danto, “The End of Art”
FIRST ESSAY DUE BY 10:15 AM
SEP 21
AMERICAN POP IN THE 1960S: ANDY WARHOL
Readings:
Crow
Foster on Death
SEP 23
AMERICAN POP IN THE 1960S: ANDY WARHOL
SEP 25
AMERICAN POP IN THE 1960S: ROY LICHTENSTEIN
Readings:
Collins on Lichtenstein
Doris
2
SEP 28
AMERICAN POP IN THE 1960S: ROY LICHTENSTEIN
SEP 30
AMERICAN POP IN THE 1960S
Reading:
Lobel
OCT 2
AMERICAN POP IN THE 1960S
PAPER BIBLIOGRAPHIES DUE BY 10:15 AM
OCT 5
AMERICAN POP IN THE 1960S
OCT 7
AMERICAN POP IN THE 1960S: PHOTOGRAPHY AND TEXT
Readings:
Schwabsky
Foster on Ruscha
OCT 9
FALL BREAK – NO CLASS
OCT 12
AMERICAN POP IN THE 1960S: PHOTOGRAPHY AND TEXT
OCT 14
AMERICAN POP IN THE 1960S: SEXUALITY AND GENDER
Reading:
Meyer
OCT 16
AMERICAN POP IN THE 1960S: SEXUALITY AND GENDER
OCT 19
AMERICAN POP AFTER THE 1960S
SECOND ESSAY DUE AT 10:15 AM
OCT 21
AMERICAN POP AFTER THE 1960S
OCT 23
NO CLASS
OCT 26
AMERICAN POP AFTER THE 1960S
OCT 28
AMERICAN POP AFTER THE 1960S
OCT 30
AMERICAN POP AFTER THE 1960S
Reading:
Bonami
NOV 2
POP OUTSIDE OF AMERICA: GREAT BRITAIN
Reading:
Cooke
NOV 4
POP OUTSIDE OF AMERICA: GREAT BRITAIN
NOV 6
POP OUTSIDE OF AMERICA: NOUVEAU REALISME
Reading:
Handa-Gagnard
NOV 9
POP OUTSIDE OF AMERICA: NOUVEAU REALISME
NOV 11
POP OUTSIDE OF AMERICA: NOUVEAU REALISME
NOV 13
POP OUTSIDE OF AMERICA: GERMANY
Readings:
Huyssen
Silverman
3
NOV 16
POP OUTSIDE OF AMERICA: GERMANY
Reading:
Ziegler and Hemken
NOV 18
POP OUTSIDE OF AMERICA: GERMANY
SEMESTER PAPER DUE BY 10:15 AM
NOV 20
POP OUTSIDE OF AMERICA: JAPAN
NOV 23
POP OUTSIDE OF AMERICA: JAPAN
NOV 25-27
THANKSGIVING – NO CLASS
NOV 30
POP OUTSIDE OF AMERICA: RUSSIA AND CHINA
Reading:
Erofeev
DEC 2
POP OUTSIDE OF AMERICA: RUSSIA AND CHINA
Reading:
Chang
DEC 4
POP OUTSIDE OF AMERICA: RUSSIA AND CHINA
DEC 14
THIRD ESSAY DUE BY 11:00 AM
MOODLE
I have set up a Moodle site (wolfware.ncsu.edu) for this course with the syllabus, course readings and
guidesheets with the important course images. Titles, creators and dates are also listed with each image. You
should either bring your laptop to class or print the guidesheets (before class) so that you can write your notes
next to the images. If you bring your laptop, you are expected to use it ONLY for class-related activities. If it is
apparent that your use of any electronic device is distracting others in the class, you will be asked to turn it off
and not use it in class for the remainder of the semester. Your final grade will be reduced with each infraction.
ASSIGNMENTS and PAPERS
ASSIGNMENT: You have a one-page assignment, which is due at 10:15 on Aug. 21. Type a brief definition of
Pop Art. You can make it up or look it up. Also include 5 terms that help to define Pop Art. The terms can be
general or specific, but they cannot be proper names (such as Andy Warhol or Coca-Cola). This assignment
will be included in your participation score. If you turn it in and do exceptional work, your participation score
will be raised. If you do not turn it in, your participation score will be lowered. No late papers will be accepted.
PAPERS: For your major grades in this course you will write three papers. Most of you can choose to do
either Option One or Option Two. However, students taking this course for honors credit must do
OPTION TWO:
Option One: You will write three formal essays on themes covered in this course. Each essay will only cover
a section of the course (1st essay due by 10:15 on Sep. 18; 2nd essay due by 10:15 on Oct. 9; 3rd essay due by
11:00 on Dec. 14). I will give two or more questions from which you will choose one and write a formal essay
of 4-5 typed pages. You may use your notes, the assigned readings, additional research and me; you may not
consult with anyone else. You will have a week to write your essays. The rubric for grading your essays is on
p. 5 of this syllabus. The first essay is worth 30% and the other two are 35%.
4
Option Two You will write two of the essays from OPTION ONE; you choose which two and they are due on
the dates listed on the syllabus. In addition to these two essays, you will write a 6-8 page formal research
paper on a topic of your choice that is related to the material of this course. By September 14, you will meet
with the professor to discuss your topic. On September 14, you will submit a written proposal. On October 2,
you will submit an annotated bibliography of your sources. The final paper is due by 10:15 AM on November
18. Each essay is worth 30% and the semester paper is 40% of your final grade.
Concerned about your writing skills? I’ll help.
Also try the University Tutorial Center (tutorial.ncsu.ed).
If you feel that you have a compelling reason that requires an extension on an essay, e-mail me at least
twenty-four hours before the essay is due for me to consider your request and give you my decision.
Otherwise, 25 POINTS WILL BE DEDUCTED from the grade of any assignment that does not have an
approved extension and is turned in after the deadline.
In order to pass this course, you must turn in all three essays by noon on Dec 15. Email any
papers submitted after 11:00 AM on Dec. 14. An incomplete will only be given upon prior
arrangement with the professor.
OTHER GRADES
PARTICIPATION: I do not give extra credit assignments. However, one way to boost your grade is classroom
participation. Positive participation (such as consistent involvement in class discussions of the material) can
change your final course score, often enough to raise your final letter grade. On the other hand, negative
participation (such as coming late, leaving early, non-course-related chatter, ringing cell phones) can change
your final score, often enough to lower your final letter grade.
ATTENDANCE: Another factor that can affect your final grade is attendance. Attendance is required and, out
of courtesy to the other members of the class, please arrive on time. Once the doors to the classroom are
closed, you may not enter (unless you have made previous arrangements with me or you are returning from
the bathroom). Two unexcused tardies or early departures will equal one absence. No more than two
unexcused absences are acceptable. Three absences will drop your final grade five points; four absences will
drop your final grade ten points. If you have five absences, you will fail the course. Only the instructor can
excuse an absence. To receive an excuse for a medically-related absence, you must bring a written
explanation from a doctor or nurse. If you must leave class early, notify me before class begins. For additional
information on the University’s attendance policy, see:
http://policies.ncsu.edu/regulation/reg-02-20-03
COURTESY: Finally, the primary function of courtesy is to help us all get through difficult situations. Learning
is difficult and to do it well, we have to concentrate. So please be aware that your behavior in class can impact
others who are trying to understand what is being discussed. I ask that you treat everyone in the class – and
that includes your professor – with courtesy.
5
GRADES
OPTION ONE: The first essay is worth 30% and the other two are 35%.
OPTION TWO: Each essay is worth 30% and the semester paper is 40% of your final grade.
A+ =
A =
A- =
B+ =
B =
100-98 (4.333)
97-94 (4)
93-90 (3.667)
89-88 (3.333)
87-84 (3)
B- =
C+ =
C =
C- =
D+ =
83-80
79-78
77-74
73-70
69-68
(2.667)
(2.333)
(2)
(1.667)
(1.333)
D = 67-64 (1)
D- = 63-60 (.667)
F = 59-0 (0)
PLAGIARISM
All sections of the University’s Code of Student Conduct apply to this course. A complete explanation can be
found at:
http://policies.ncsu.edu/policy/pol-11-35-01
With each essay, you will be required to sign the University’s Honor Pledge (“I have neither given nor received
unauthorized aid on the test or assignment.”). Plagiarism is the unauthorized use of someone else’s ideas and
the representation of those ideas as your own. There is no excuse for it and all instances of plagiarism will
result in an F for the course and other sanctions authorized by the University. To avoid the dire consequences
of being accused of plagiarism, follow all of the instructions and consult with me if you have concerns. For the
essays, you may use your notes, the Moodle materials, me and, of course, your own brilliance. Except for me,
you cannot use anyone else to help you prepare your exam essays. You can also do additional research, but
you must include citations and a bibliography that specify your borrowings from other scholars. These markers
not only indicate that you have not cheated, but they are also signs of your participation in the scholarly
conversation on art history. In other words, they make you look better. So why even bother to plagiarize?
For more information, see the History Department’s website on the honor code:
http://history.ncsu.edu/ug_resources/plagiarism_honor_code
DISABILITY SERVICES FOR STUDENTS
Reasonable accommodations will be made for students with verifiable disabilities. The primary way that the
student formally discloses to the instructor is by requesting a DSO Letter of Accommodation. This letter informs
the instructor that the student has a documented disability, states which accommodations the student is eligible
to receive, and provides information about how to arrange the accommodations. No matter how
comprehensive and well-written the letters of accommodation are, there is no substitute for student input.
Therefore, once the letter is sent, the student must communicate with each instructor to discuss the letter and
to set up accommodations. Whenever possible, it is recommended that the student contact instructors before
the semester begins or at the start of the semester. This will allow instructors to have the necessary
information in time to arrange accommodations.
Additional information can be found at:
http://policies.ncsu.edu/regulations/reg.02.20.01
6
EMERGENCIES
For health, safety, fire, and medical emergencies, dial 911 (land line) or 919-515-3000 (cell phone). This will
connect you to an emergency operator who can send help to you. Be prepared to give the operator your name,
your location, and the nature of the emergency. Don’t hang up – remain on the line until help arrives in the form
of a police officer, fire truck, or ambulance (“EMT”) and they say you can hang up. If you are the victim of a
crime, are being followed by suspicious person, see a crime in progress, witness an accident, believe someone
needs an ambulance or emergency first aid, discover a very unsafe situation, etc., you should call. The
authorities and safety officers would rather respond to several cases of non-life threatening cases than to not
be called when they could have saved someone’s life. For more information about a campus-wide emergency,
check:
www. ncsu.edu/emergency-information
OBJECTIVES, OUTCOMES AND OTHER USEFUL INFORMATION
I. Course Objectives
This course will help students to:
1. understand the development and impact of Pop Art.
2. translate the visual stimulation of art into words.
3. learn to interrogate works of art to recover how they reflect their original times and the changing
attitudes since then.
4. move from learning facts to making critically reasoned judgments grounded in the academic content of
the course.
5. develop art historical research skills and the standard means for expressing those skills.
II. Student Outcomes
By the end of the semester, students will demonstrate the ability to:
1. identify:
a. the basic chronological development of Pop Art;
b. major artists and works of art associated with Pop Art;
c. important theories regarding the role of Pop Art in modern society.
2. translate the visual expressions of art works into verbal formats through class discussions and papers.
3. describe both the physical appearance and the contextual framework of art works in relation to their
roles as evidence of the history of ideas in relation to Pop Art.
4. evaluate their understandings of art works (as described in outcomes 1-3) as well as the responses of
other viewers in order to develop a coherent and well-reasoned synthesis of established data and new
assessments.
5. conduct art historical research and write a formal art historical paper.
III. Assessing Student Development
Students will demonstrate their mastery of the course’s outcomes through a variety of tasks, including class
participation during general discussions of the art and themes of this period and, more specifically, through
discussions of the assigned readings, and three essays or two essays and a research paper on themes
covered in the course material.
IV. Satisfaction of Degree Requirements
This course fulfills the Arts and Letters requirement for Humanities and Social Sciences majors or a History
and Analysis requirement for Art Studies majors with a concentration in the Visual Arts.
V. Topics Courses
This course is a topics course, as designated by the course number HA298. You can repeat topics courses
and get credit, as long as the topics are different.
7
BIBLIOGRAPHY OF READINGS
1. Bonami, Francesco. “Koons ‘R’ Us,” in Jeff Koons. Edited by Francesco Bonami. Chicago: Musuem of
Contemporary Art, 208. Pp. 8-15.
2. Chang Tsong-Zung. “Pop Notes from Greater China,” in Post Pop: East Meets West. Edited by Marco
Livingstone. London: CentreInvest UK Limited, 2014. Pp. 35-46.
3. Collins, Bradford R. “Dick Tracy and the Case of Warhol’s Closet: A Psychoanalytic Detective Story,”
American Art. 15:3 (Autumn 2001): 54-79.
4. Collins, Bradford R. “Modern Romance: Lichtenstein’s Comic Book Paintings,” American Art. 17:2
(Summer 2003): 60-85.
5. Cooke, Lynne. “The Independent Group: British and American Pop Art, a ‘Palimpcestuous’ Legacy,” in
Modern Art and Popular Culture: Readings in High & Low. Edited by Kirk Varnedoe and Adam Gopnik.
New York: The Museum of Modern Art, 1990. Pp. 192-216+.
6. Crow, Thomas. “Saturday Disasters: Trace and Reference in Early Warhol,” in Modern Art in the
Common Culture. New Haven: Yale University Press, 1996. Pp. 49-65 and 250-251.
7. Danto, Arthur C. “The Artworld,” Journal of Philosophy. 61:19 (1964): 571-584.
8. Danto, Arthur C. “The End of Art: A Philosophical Defense,” History and Theory. 37:4 (December
1998): 127-143.
9. Doris, Sara. “Missing Modernism,” in Roy Lichtenstein: A Retrospective. Edited by James Rondeau and
Sheena Wagstaff. Chicago: Art Institute of Chicago, 2012. Pp. 46-51.
10. Erofeev, Andrei. “The Birth of Soviet Post Pop Art,” in Post Pop: East Meets West. Edited by Marco
Livingstone. London: CentreInvest UK Limited, 2014. Pp.14-33.
11. Foster, Hal. “Death in America,” October. 75 (Winter 1996): 36-59.
12. Foster, Hal. “Ed Ruscha, or the Deadpan Image,” in The First Pop Age. Princeton, NJ: Princeton
University Press, 2012. Pp. 210-247 and 307-318.
13. Greenberg, Clement. “Avant-Garde and Kitsch.” Partisan Review. 6:5 (1939): 34-49.
14. Handa-Gagnard, Astrid. “Voyage through the Void: Nouveau Realisme, the Nature of Reality, the
Nature of Painting,” in Destroy the Picture: Painting the Void, 1949-1962. Edited by Paul Schimmel. Los
Angeles: The Museum of Contemporary Art, 2012. Pp. 212-223.
15. Huyssen, Andreas. “The Cultural Politics of Pop: Reception and Critique of US Pop Art in the Federal
Republic of Germany,” New German Critique. 4 (Winter 1975): 77-97.
16. Lobel, Michael. “F-111,” in James Rosenquist: Pop Art, Politics, and History in the 1960s. Berkeley:
University of California, 2009. Pp. 123-153 and 183-191.
17. Meyer, Richard. “Warhol’s Clones,” Yale Journal of Criticism. 1 (1994): 79-109.
18. Orton, Fred. “A Different Kind of Beginning,” in Figuring Jasper Johns. Cambridge, MA: Harvard
University Press, 1994. Pp. 89-146.
19. Schwabsky, Barry. “Sheer Sensation: Photographically-Based Painting and Modernism,” in The
Painting of Modern Life: 1960s to Now. London: Southbank Centre, 2007. Pp. 26-31.
20. Silverman, Kaja. “Photography by Other Means.” in The Painting of Modern Life: 1960s to Now.
London: Southbank Centre, 2007. Pp. 18-25.
21. Steinberg, Leo. excerpt from “Other Criteria: The Flatbed Picture Plane.” [based on a lecture given at
the Museum of Modern Art, March 1968]
22. Ziegler, Ulf Erdman and Kai-Uwe Hemken. “The Sons Die before the Fathers,” German Art from
Beckmann to Richter: Images of a Divided Country.” Edited by Eckhart Gillen. Cologne: DuMont
Buchverlag : Berliner Festspiele GmbH : distributed by Yale University Press, 1997. Pp. 374-403.
8
RUBRIC FOR ART HISTORY
adapted from written communication rubric developed by the Association of American Colleges & Universities
Context & Purpose
for
Writing
(x1)
Understands the topic
Content
Development (x4)
Clear, well-developed
essay
Genre & Disciplinary
Conventions/
Control of
Syntax & Mechanics
(x3)
Accepted rules for
academic writing
Use of ClassAssigned Readings
(x4)
Use of Art Works
Shown in Class
(x4)
Student’s Position
(perspective,
thesis/hypothesis)
(x4)
Follows Instructions
COMMENTS
JAW-DROPPING 5
MASTERFUL 4
PROFICIENT 3
DEVELOPING 2
At the beginning of the
essay, clearly
communicates a
thorough understanding
of the assigned task and
gives a clear statement
of approach to
answering the
assignment.
Uses appropriate,
relevant, and compelling
content to show mastery
of the assigned task
throughout the essay.
Communicates
adequate
understanding of the
assigned task and
gives a clear statement
of approach to
answering the
assignment.
.
Uses appropriate,
relevant, and engaging
content to explore
ideas pertaining to
assigned task
throughout the essay.
Demonstrates
consistent use of
important academic
conventions, including
organization, content,
presentation,
formatting, citations
and stylistic choices.
Uses straightforward
language that
generally conveys
meaning to readers.
The language has few
errors.
Demonstrates use of
course readings and
relevant sources to
support ideas that are
situated within the
discipline and genre of
the writing.
Communicates
awareness of the
assigned task and
gives a general
description of
approach to
answering the
assignment.
Communicates
minimal attention to
the assigned task
with few to no details
of approach to
answering the
assignment.
Uses appropriate and
relevant content to
develop and explore
ideas through most of
the work.
Uses appropriate
and relevant content
to develop simple
ideas in some parts
of the work.
Follows expectations
appropriate to
academic
conventions for basic
organization, content,
citations and
presentation. Uses
language that
generally conveys
meaning to readers
with clarity, although
writing may include
some errors.
Attempts to use a
consistent system for
basic organization
and presentation.
Uses language that
sometimes impedes
meaning because of
errors in usage.
Demonstrates an
attempt to use course
readings and relevant
sources to support
ideas that are
appropriate for the
discipline and genre
of the writing.
Demonstrates an
attempt to use
credible and/or
relevant art works to
support ideas that are
appropriate for the
assignment.
Demonstrates an
attempt to use
sources to support
ideas in writing.
Specific position
(perspective,
thesis/hypothesis)
asserted with
different sides of an
issue acknowledged.
Specific position
(perspective,
thesis/hypothesis) is
stated but is
simplistic and
obvious.
Demonstrates detailed
attention to
and successful execution
of academic
conventions, including
organization, content,
presentation, formatting,
citations and stylistic
choices. Uses graceful
language that skillfully
communicates meaning
to readers with clarity
and fluency and is
virtually error-free.
Demonstrates skillful use
of course readings and
other high quality,
credible, relevant
sources to develop ideas
that are appropriate for
the discipline and genre
of the writing.
Demonstrates innovative
and skillful use of a
variety of relevant art
works to develop ideas
that are appropriate for
the assignment and the
student’s approach to it.
Specific position
(perspective,
thesis/hypothesis) is
imaginative, taking into
account the complexities
of an issue. Limits of
position (perspective,
thesis/hypothesis) are
acknowledged. Others’
points of view are
synthesized within
position (perspective,
thesis/hypothesis).
Turns in on time; proper
essay format; proper
citation format; name
only on rubric
(5 pts deducted per item.
25 pts deducted if late)
Demonstrates
consistent use of a
variety of relevant art
works to support ideas
that are appropriate for
the assignment and
the student’s approach
to it.
Specific position
(perspective,
thesis/hypothesis)
takes into account the
complexities of an
issue. Others’ points of
view are
acknowledged within
position (perspective,
thesis/hypothesis).
FLOP
0
Demonstrates an
attempt to use art
works to support
ideas in response to
the assignment.
Late
SCORE
9
Universal Intellectual Standards by Linda Elder and Richard Paul
Universal intellectual standards are standards which must be applied to thinking whenever one is interested in checking
the quality of reasoning about a problem, issue, or situation. To think critically entails having command of these standards.
To help students learn them, teachers should pose questions which probe student thinking, questions which hold students
accountable for their thinking, questions which, through consistent use by the teacher in the classroom, become
internalized by students as questions they need to ask themselves.
The ultimate goal, then, is for these questions to become infused in the thinking of students, forming part of their inner
voice, which then guides them to better and better reasoning. While there are a number of universal standards, the
following are the most significant:
CLARITY: Could you elaborate further on that point? Could you express that point in another way? Could you give me an
illustration? Could you give me an example?
Clarity is the gateway standard. If a statement is unclear, we cannot determine whether it is accurate or relevant.
In fact, we cannot tell anything about it because we don't yet know what it is saying. For example, the question,
"What can be done about the education system in America?" is unclear. In order to address the question
adequately, we would need to have a clearer understanding of what the person asking the question is considering
the "problem" to be. A clearer question might be "What can educators do to ensure that students learn the skills
and abilities which help them function successfully on the job and in their daily decision-making?"
ACCURACY: Is that really true? How could we check that? How could we find out if that is true?
A statement can be clear but not accurate, as in "Most dogs are over 300 pounds in weight."
PRECISION: Could you give more details? Could you be more specific?
A statement can be both clear and accurate, but not precise, as in "Jack is overweight." (We don't know how
overweight Jack is, one pound or 500 pounds.)
RELEVANCE: How is that connected to the question? How does that bear on the issue?
A statement can be clear, accurate, and precise, but not relevant to the question at issue. For example, students
often think that the amount of effort they put into a course should be used in raising their grade in a course. Often,
however, the "effort" does not measure the quality of student learning, and when this is so, effort is irrelevant to
their appropriate grade.
DEPTH: How does your answer address the complexities in the question? How are you taking into account the problems
in the question? Is that dealing with the most significant factors?
A statement can be clear, accurate, precise, and relevant, but superficial (that is, lack depth). For example, the
statement "Just say No" which is often used to discourage children and teens from using drugs, is clear, accurate,
precise, and relevant. Nevertheless, it lacks depth because it treats an extremely complex issue, the pervasive
problem of drug use among young people, superficially. It fails to deal with the complexities of the issue.
BREADTH: Do we need to consider another point of view? Is there another way to look at this question? What would this
look like from a conservative standpoint? What would this look like from the point of view of...?
A line of reasoning may be clear accurate, precise, relevant, and deep, but lack breadth (as in an argument from
either the conservative or liberal standpoint which gets deeply into an issue, but only recognizes the insights of
one side of the question.)
LOGIC: Does this really make sense? Does that follow from what you said? How does that follow? But before you implied
this and now you are saying that; how can both be true?
When we think, we bring a variety of thoughts together into some order. When the combinations of thoughts are
mutually supporting and make sense in combination, the thinking is "logical." When the combination is not
mutually supporting, is contradictory in some sense, or does not "make sense," the combination is not logical.
www.criticalthinking.org
Copyright©Foundation for Critical Thinking
ALL RIGHTS RESERVED