AMERICAN ART Draft August 24, 2014
Art 124
Smith
Office 113 VAC
Hours: 9:30AM-10:30AM and by appointment
T-Th 8:15-9:30 AM
Fall 2014
Semans Lecture Hall
117 VAC
I. Elements of the Course
A.
Texts
Angela L. Miller et al., American Encounters: Art History and Cultural Identity,
Prentice Hall, 2008.
Marianne Doezema and Elizabeth Milroy, Reading American Art, Yale, 1998.
Keep up with the reading in detail in those parts covered by the course.
B.
Tests and Examinations
There will be two tests: the First Test is on September 18 and the Second Test is
on October 23, and one Final Examination (scheduled). The tests and
examination will consist of the definition of certain terms, the timed identification
of images, the comparison of works, and discussion questions. Please bring Green
Books for the tests. All tests and examinations are comprehensive.
C.
Term Paper
One five-page typed research and position (including a clearly stated thesis) paper
(with annotated footnotes)* and page numbers (pagination) and bibliography is
due on December 4 before class. Topics will be determined during the semester
and a typed, one-page outline and bibliography are due on November 20 at the
beginning of class. A typed draft of the paper may be read by the instructor with
the student through December 2. Higher grades will be given to those papers
using appropriate primary sources. Papers not written in third person and late
papers will have the grade adversely affected.
D.
Grading Policy
First Test 10%
Second Test 30%
Term Paper 30% (Must have a clearly defined thesis and argument)
Final Exam 30% (This must be passed with 70% to complete the course.)
E.
Attendance in class and at special events (such as the Art Openings and Gallery
Talks)** and discussions are a component of your final grade. Failure to
participate is a zero.
Images
Students are responsible for every image shown in class (including details and
related unknowns). Study those images covered in class and those reserved for
study on the WWW. To access course images on the web, go to Davidson College
Art History Major (http://www.davidson.edu/academics/art/major), and choose
the link "Image Review".
Or, you can go directly to https://teachingimages.davidson.edu . At the log-in
page, enter your email ID and current email password.
Within the MDID, under header "Experience", pull down to "Browse
Presentations". Then at the right of the page, uncheck the box "untagged" and
click on the box "tagged". Then choose the professor or "presenter" and the
course you need. (You may first have to click "Reset Search", then choose those
items.) Then at the left of the page choose the lecture you want.
To print out the images within a presentation for study purposes, mouse-hover
over the down arrowhead at the right of the title of the lecture you want. Hold
and drag to choose "Flash Cards".
F.
Field Trips
A visit to the American Museum at the Reynolda House in Winston-Salem is a
required field trip that will be scheduled toward the end of the semester. You also
must make an appointment to visit our own Davidson College collection (Lia
Newman or Rosemary Gardner 704-894-2575) on either a Monday or Tuesday
between 2:00 and 4:00 and list ten works by American artists or artists working in
the United States that you have examined there prior to the Thanksgiving Break.
There are also several local exhibitions which you might want to see and include
on your list such as at the Bechtler, the Mint and the Gantt Museums in Charlotte.
G.
Remember to respect the Honor Code at all times and to pledge your work.
H.
Responsibility:
You will be expected to think visually and coherently about your encounters with
American art of the period from 1014-2014, basing your thinking on the ideas and
context of the time, the life and works of the artists who were significant, and the
knowledge of the movements by which we know they were influenced. The
importance of dates is to keep the record straight. You must know when people
lived, exhibitions were held, and the events and encounters which interrupted and
redirected the course of people's lives.
I.
Electronic Devices
Please turn off all electronic devices during class unless given specific permission
by the professor.
J.
Lectures and Readings
Appropriate sections in our main text by Miller, American Encounters, and
Doezema, Readings, should be read carefully before the lecture on that topic. You
must keep up with the material on your own.
II.
Classes
I. Introduction
Readings: Miller, Encounters, Part One, From Ancient Times to the
Late Colonial Era, pp. 1 through 132.
1. Tuesday, August 26---"Encounters: What is American about America's
Art?"/Introduction to Formal Analysis (See sheet)
II. The Colonial Period: The Noble Savage, New Spain, and the New Adam
2. Thursday, August 28---Early Beginnings: Native Americans and New
Spain
Reading: Doezema (Ch. I), W. Craven, "Freake Portraits ..."
3. Tuesday, September 2---Early Colonial Portraiture: Limners to
Professionals-Smith, Johnson, Hesselius, Smibert, and Feke
III. The Young Republic: The Search For a Tradition
Reading: Miller, Encounters, Part Two, Forging a New Nation, 17761865, pp. 133 through 278
4. Thursday, September 4---B. West
5. Tuesday, September 9---West and J. Copley
Reading: Doezema (Ch. 2), P. Staiti, "Copley”
6. Thursday, September 11---Copley continued
Reading: Doezema (Ch. 3), R. Stein, "Peale's Museum ..."
7. Tuesday, September 16--- History Painters and Portraitists: Peale,
Trumbull, Vanderlyn, Morse, and Sully
IV. The Landscape Concerns: The New Eden and Manifest Destiny
8. Thursday, September 18---First Test
9. Tuesday, September 23---Early Landscape Painting: Burgis, Guy, Peale
10. Thursday September 25---Landscape Painting Continued
11. Tuesday, September 30---The Hudson River School: Cole and
Durand
Reading: Doezema (Ch. 4), A. Wallach, "Thomas Cole and the
Aristocracy" (B. Novak “Double Edge Axe” Art in America, February
1976 ER)
12. Thursday, October 2---The Landscapes of Western Expansion
(Cropsey, Bierstadt, Bingham, Church) and Luminism: Kensett and
Heade
Reading: Doezema (Ch. 7), K. Hight, "George Catlin ..."
V. The Nature of American Realism: The War Between the States
13. Tuesday, October 7---Visual Traditions in the American South
14. Thursday, October 9---Genre Painting: Krimmell, Mount, Johnson,
Woodville, Bingham, Hicks
Reading: Miller, Encounters, Part Three: From Reconstruction to
Turn-of-the-Century, 1865-1900, pp. 279 through 388 and Doezema
(Ch. 6), Oedel and Gernes, "Mount ...."
Fall Break---October 10 (4:20PM)-October 15 (8:30AM)
15. Thursday, October 16---OPEN
16. Tuesday, October 21---Genre Painting and American Still Life
Painting
17. Thursday, October 23---Second Test
18. Tuesday, October 28---Remington and Russell
Reading: Doezema (Ch. 12), J. Prown "Homer ..."
19. Thursday, October 30---Homer
20. Tuesday, November 4---Homer (continued)
Reading: Doezema (Ch. 11), E. Johns, "Eakins and Gross ..."
21. Thursday, November 6---T. Eakins
VI. The Persistence of European Influence: The Magnet of Paris
Reading: Miller, Encounters, Part Four: The New Century, 19001960, pp. 389 through 586
22. Tuesday, November 11---Thomas Eakins (continued)
23. Thursday, November 13---Landscape Painting at the End of the
Century (Inness, Twachtmann, Weir, Hassam)
Reading: Doezema (Ch. 13), G. Pollock, "Mary Cassatt ..."
24. Tuesday, November 18---OPEN
VII. The Advent of Modernism: International Superpower and Globalism
25. Thursday, November 20---Americans Abroad: Cassatt, Whistler,
Sargent, and Chase (Read D. Craven “Whistler vs. Ruskin”Art
Journal, Winter 1977-1978 ER)
Typed outlines (maximum of one page) and bibliography for
term papers due at the beginning of class
26. Tuesday, November 25---Renaissance and Revivalism: La Forge,
Vedder, and Ryder
Thanksgiving Break---November 25 (4:20PM)-December 1 (8:30AM)
27. Tuesday, December 2---Early American Modernism: The Eight:
Henri, Glackens, et al., and Stieglitz, "291,” The Armory Show, The
Precisionists, Hopper, Davis, Burchfield, Marin, Hartley and The Loss
of Innocence between the Wars; Romare Bearden and the Harlem
Renaissance
Readings: Miller, Encounters, Part Five: The Sixties to the
Present, p. 587 through 655 and Doezema (Ch. 16), A. Chave,
"O’Keefe...”
28. Thursday, December 4---The "Triumph" of American Art and Pop Art
Term papers due at the beginning of class. Keep a hard copy.
Reading: Doezema (Ch. 20), M. Leja, "Pollock."
29. Tuesday, December 9---American Art Now and Evaluations
Thursday, December 11---Reading Day
December 12-18---Final Examinations
SAMPLE ANNOTATED FOOTNOTE FOR PAPERS
*2. See Robert Hughes, I, p. 43 for a detailed discussion of this portrait. Charles
had been promoted to Colonel at the battle of Bunker Hill and then taken prisoner
at the battle of Guilford Courthouse. He returned to America in 1789. A brother,
Henry, had been killed in the Battle of King's Mountain near Charlotte, North
Carolina.
OTHER FOOTNOTES AND FORMS
Also use the proper form of ibid. See any article in The Art Bulletin for this form
and the proper single spacing and indenting of quotations that are more than four
lines long. Students are encouraged to proof their paper thoroughly and to use
“Spell check." Italicize the title of a painting and use quotation marks for the “title
of a drawing or print."
COMPARISONS
Some categories for comparisons are composition, space and perspective, figural
arrangement, proportions and scale, light, color, brushstroke, iconography,
narrative, gestures, mood, genre details, intentions, audience or reception,
patronage, site or location, critical interpretations, social implications and
significance.
LIBRARY
By the First Test you must know the names at least 5 American Art Journals by
title.
Please remember to respect the Davidson College Honor Code at all times.
Angela Miller, American Encounters, 2008
Preface
Part One From Ancient Times to the Late Colonial Era, pp.1-2 to 132.
Chapter One: The Art of Indigenous Indians before 1500 CE, pp. 3-22
Chapter Two: The Old World and the New: First Phases of Encounter, 1492-1750, pp.
23-56
Chapter Three: Early Colonial Arts, 1632-1743, pp. 57-94
Chapter Four: Late Colonial Encounters: The New World, Africa, Asia, and Europe,
1735-1797, pp. 95-132
Part Two Forging a New Nation, 1776-1865, pp. 133-134 to 278
Chapter Five: Art, Revolution, and The New Nation, 1776-1828, pp. 135-170
Chapter Six: The Body Politic, 1828-1865, pp. 171-208
Chapter Seven: Native and European Arts at the Boundaries of Culture: The Frontier
West and Pacific Northwest, 1820s-1850s, pp. 209-240
Chapter Eight: Nature’s Nation, 1820-1865, pp. 241-278
Part Three: From Reconstruction to Turn-of-the-Century, 1865-1900, pp. 279-280
to 388
Chapter Nine: Post-War Challenges: Reconstruction, the Centennial Years, and Beyond,
1865-1900, pp. 281-320
Chapter Ten: A New Internationalism: The Arts in an Expanding World, 1876-1900, pp.
321-356
Chapter Eleven: Exploration and Retrenchment: The Arts in Unsettling Times, 18901900, pp. 357-388
Part Four: The New Century, 1900-1960, pp. 389-390 to 586
Chapter Twelve: The Arts Confront the New Century: Renewal and Continuity, 19001920, pp. 391-420
Chapter Thirteen: Transnational Exchanges: Modernism and Modernity Beyond Borders,
1913-1940, pp. 421-450
Chapter Fourteen: The Arts and the City, 1913-1940, pp. 451-484
Chapter Fifteen: Searching for Roots, 1918-1940, pp. 485-516
Chapter Sixteen: Social Visions: The Arts in the Depression Years, 1929-1941, pp. 517550
Chapter Seventeen: Cold War and the Age of the Atom: Consensus and Anxiety, 19451960, pp. 551-586
Part Five: The Sixties to the Present, p. 587-588 to 655
Chapter Eighteen: Art into Life, 1960-1980, pp. 589-622
Chapter Nineteen: American Art in Flux, 1980- Present, pp. 623-655
Glossary, pp. 656-660
Bibliography, pp. 665-670
(ER) Strongly Recommended Extra Readings
D. Craven, “Whistler versus Ruskin,” Art Journal, Winter 1977-1978.
B. Novak, “Double Edged Axe” Art in America, February 1976.
**See Campus Brochure Fall 2014 from Art Department and Gallery for list of art
events (including the HIV/AIDS exhibition and the Jaume Plensa exhibition). This Fall
also includes visits by Syrian visual artist, Etab Hrieb, who will present an art-making
workshop on “revolution and found objects” on September 24-27 on campus. And in
October Beverly McIver, artist in residence at the McColl Center in Charlotte, will offer
a public lecture and other events on campus in October. She is an internationally known
artist of color who works with portraits and documentary films related to Disabilities
Studies. See http://www.nytimes.com/2012/02/09/garden/at-home-with-the-artistbeverly-mciver.html?pagewanted=all&_r=0
CONTEMPORARY ART Draft August 24, 2014
Art 219
Smith
Office 113 VAC
Hours: T-Th 9:30AM-10:30AM and by appointment
T-Th 12:15PM---1:30PM
Fall 2014
VAC 108
I. Elements of the Course
A.
B.
C.
D.
Texts (Required):
Jonathan Fineberg, Art Since 1940, 2011.
Alexander Dumbadze and Suzanne Hudson, Contemporary Art: 1989 to
Present, 2013. (See selections below listed by author).
Suggested Readings
Paul Fabozzi, Artists, Critics, Context: Readings in and around American
Art since 1945, 2002.
Terry Smith, Contemporary Art World Currents, 2011.
Howard Rizatti, Post Modern Perspectives: Issues in Contemporary Art,
1998.
Additional Required Reading
(To be given out during the term and listed as ER or Extra Readings)
Testing
All tests and examinations must be taken with Green Books and pens. There will
be one short FIRST TEST (September 18) a SECOND TEST (October 30) and
one Final Examination (SCHEDULED). They all are comprehensive. These tests
and the examination will consist of the identification of images (artist, title, year,
site if in situ, and significance), the comparison of works, the definition of certain
terms, and discussion questions that will include specific questions about the
readings. Some categories for comparisons are composition, space and
perspective, figural arrangement, proportions, light, color, stroke, iconography,
narrative, gestures, mood, materials, genre details, intentions, audience or
reception, patronage, site or location, critical interpretations, social implications
and significance.
E. You must be able to identify the location of contemporary art periodicals (at
least four by title) in the library by the First Test:
F.
Grading Policy
Critical Review 10%
First Test 10%
Second Test 30%
Term Paper 20% (The paper must have a clearly defined thesis)
Final Examination 30% (You must score at least 70% on the Final
Exam in order to pass the course.)
Class attendance and participation (including field trips and art
openings)* are considered in determining the final grade.
G. Term Paper
There will be a term paper (research and position paper with a clearly
stated thesis and annotated footnotes,** bibliography, pagination in proper paper
form) of 5 double-spaced, typewritten pages of text that is due November 6 before
class. Drafts will be read by the professor with you through November 4.Points
will be deducted for any unexcused late papers and for any papers not written in
third person. Topics will be chosen during the term and after consultation with the
instructor. Keep a Xerox copy of your paper when you turn it in to the professor.
The one-page, typed thesis statement, outline, and bibliographies will be
due on October 9 before class. Topics must be chosen from the art of the 21st
century.
**The following is an example of a proper, annotated footnote:
82. See Johnson, I, p. 43 for a detailed discussion of this painting. Jean
Baudrillard had made these comments at a special colloquium in Paris at the
Collège de France in which he had been challenged by a number of more
traditional professors.
Also use the proper form of ibid for other footnotes. See The Art Bulletin
for this form and the proper single spacing and indenting of quotations that are
more than four lines long. All students are encouraged to proof their papers
thoroughly and to use "Spell check."
The title of a painting or sculpture should be italicized. In the case of a
drawing or single print, the title should be placed in quotation marks.
H.
Critical Review
A 300-350 word, typed essay of one of the contemporary exhibitions in
the Davidson College Van Every Galleries. See professor before choosing a topic.
Also see "Reviews" in back of Art Papers for format and content of reviews.
Follow these exactly. Typed topics are due September 23. Reviews are due on
October 21 at the beginning of class. Please use third person only.
I.
Field Trips
You must make an appointment to visit our own Davidson College Art
Collection (Lia Newman or Rosemary Gardner 704-894-2575) on either a
Monday or Tuesday between 2:00 and 4:00 and list ten works by contemporary
artists of the last four decades that you have examined there prior to the
Thanksgiving Break. This collection also includes works of contemporary
sculpture in the Campus Sculpture Program collection. (There will be a first day
assignment on this. See brochure)**. Other field trips will be required during the
semester. For example, we may visit the Bechtler Collection of Modern Art, the
Mint Museum of Art, and the Gantt Center in Charlotte.
J.
Special Lectures and Events
There are several special lectures and gallery events that will be scheduled
for this semester. (See campus art brochure for events and dates). You are asked
to attend and pledge the ones as indicated by the professor. Attendance at the art
opening and gallery talk at the beginning of the semester is required.
K.
Responsibility
You will be expected to think and write coherently about the art of the
period from 1950 to 2014, basing your thinking on the ideas of the time, the life
and works of the artists and critics we study, and the knowledge of the conditions
in which they were created and have been critiqued.
L.
Images
Students are responsible for every image shown in class (including details
and related unknowns). Study those images covered in class and those reserved
for study on the WWW. To access course images on the web, go to Davidson
College Art History Major (http://www.davidson.edu/academics/art/major), and
choose the link "Image Review".
Or, you can go directly to https://teachingimages.davidson.edu. At the login page, enter your email ID and current email password.
Within the MDID, under header "Experience", pull down to "Browse
Presentations". Then at the right of the page, uncheck the box "untagged" and
click on the box "tagged". Then choose the professor or "presenter" and the
course you need. (You may first have to click "Reset Search", then choose those
items.) Then at the left of the page choose the lecture you want.
To print out the images within a presentation for study purposes, mousehover over the down arrowhead at the right of the title of the lecture you want.
Hold and drag to choose "Flash Cards".
M.
Electronic Devices
Please turn off all electronic devices during class unless given specific
permission by the professor.
**************Please remember to respect the Honor Code at all times.*************
II.
Class Meetings (Read indicated sections of Fineberg and Dumbadze and the Extra
Readings (ER), before class; also assignments from “YouTube,” “Art 21,” and The
History of Video Art” will be given out and required during the semester).
*******PART ONE: MODERNISM*******
ABSTRACT EXPRESSIONISM OF 40's AND 50's: (Read Fineberg, Greenberg,
Duncan, Cockcroft, and Rosenberg (ER).
1. T-August 26
2. Th-August 28
3. T-September 2
4. Th-September 4
5. T-September 9
6. Th-September 11
7. T-September 16
8. Th-September 18
9. T-September 23
Introduction (Campus Sculpture Assignment due next class)
Abstract Expressionism: Action Painting and Color Field Painting
European Modernism in Art and Sculpture
Post War European Art: Bacon and Dubuffet
Washington School: Noland and Louis, and Post-Painterly
Abstraction: Stella and Reinhardt
Early Pop Art: Rauschenberg and Johns
High Pop Art in New York: Warhol and Lichtenstein
First Test
High Pop Art in Chicago and California
Typed critical review topic due at the beginning of class
*******PART TWO POST MODERNISM*******
POP ART AND THE SIXTIES:
Read Fineberg
10. Th-September 25
11. T-September 30
12. Th-October 2
13. T-October 7
14. Th-October 9
OPEN
Minimalism
Post Minimalism: Process and Environmental Art
Post-Minimalism: Beuys, Buren, and Kossuth
OPEN
Typed paper thesis and outline (one page) due before class
Fall Break---(4:20PM October 10-8:30AM October 15)
POST MODERNISM AND PLURALISM IN THE SEVENTIES:
Read Fineberg
15. Th-October 16
16. T-October 21
17. Th-October 23
18. T-October 28
19. Th-October 30
Photo-Realism and Neo-Realism
Regionalism and Social Realism and Activism
Read Nochlin and Solomon (ER)
Critical Reviews due at the beginning of class
Social Realism and Activism
OPEN
Second Test
POST-MODERNISM AND THE EXPRESSIONISM OF THE EIGHTIES:
Read Fineberg; Dumbadze and Hudson (Griffin, Smith, Antoine, Amor, Ellegood,
Buchman, Kuo, Gioni, Kapur, Jones, Burton, Cuy,Giunta, Raqs, Rebentisch,Lutticken,
Ribas, Relyea, Velthuis, Anastas, Siegel, Vidokle, Li, Speed, Okeke-Agulu, Lambert
Beatty)
20. T-November 4
Neo-Expressionism
21. Th-November 6 Neo-Geo and Recent Soviet Art; Read Heartney, “Neo-Geo” (ER)
Term papers due at the beginning of class
22. T-November 11 Identity and Irony at the End of the Twentieth-Century
Read Adams (ER) and Barthes (ER) and Finish Fineberg
THE TWENTY-FIRST CENTURY (Read Dumbadze)
23. Th-November 13 Sensations: Young British Artists; Read Adams, Calembalest, and
Heartney “Simulationism”(ER)
24. T-November 18 Salon of Young Painters: French Art in the Twenty-First Century
25. Th-November 20 Art of the Global World: Asia
26. T-November 25 Art of the Global World: Africa
Thanksgiving Break---(4:20PM November 25-8:30AM December 1)
27. T-December 2 Art of the Global World: Environmentalism
28. Th-December 4 OPEN
29. T-December 9
Evaluations
30 Th-December 11 Reading Day
December 12-18
Final Examinations
Please remember to respect the Honor Code at all times.
Strongly Recommended Extra Reading and Research Materials (ER):
B. Adams, “Thinking of You: An American’s Growing Imperfect Awareness,”
The Young British Artists: Sensations, 1999-2000.
R. Barthes, “The Wide World of Wrestling,” Mythologies, 1957.
E. Cockcroft, “Abstract Expressionism: Weapon of the Cold War,” Artforum,
June 1974.
R. Calembalest “The New Climate,” Art News, November 2001.
C. Duncan, “MOMA’s Hot Mamas” Art Journal, Summer 1989.
C. Greenberg, “Modernist Painting” Art and Literature, Spring 1965.
D. Gustafson, “Food and Death: Vanitas in Pop Art,”Arts Magazine, February
1986.
E. Heartney, “Simulationism” Art News, January 1987.
E. Heartney, “Neo-Geo Storms New York,” New Art Examiner, September 1986.
L. Nochlin, “Why Have There Been No Great Women Artists?” Women, Art and
Power, 1989.
R. Rosenberg “Abstract Sublime,” Art News, February 1961.
F. Solomon, “Semiotics: The Science of the Sign” The Signs of Our Time,1988.
Limited Extra Credit (maximum 5 points on final grade)
Selections from YouTube: Interviews and Performances (TBD)?
Here is the list of links to the Art 21 series and parts.
Art 21-----DC Library has:
Streaming video:
 Season 1, episodes 1 and 2:
http://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=25
2
 Season 1, episodes 3 and 4:
http://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=25
3
 Season 2, episodes 1 and 2:
http://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=25
4
 Season 2, episodes 3 and 4:
http://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=25
5
 Season 3, episodes 1 and 2: ht
tp://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=250
 Season 3, episodes 3 and 4:
http://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=25
1
 Season 4, episode 1:
http://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=45
5
 Season 4, episode 2:
http://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=45
6
 Season 4, episode 3:
http://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=45
7
 Season 4, episode 4:
http://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=45
8
 Season 5, episode 1:
http://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=45
9
 Season 5, episode 2:
http://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=46
0
 Season 5, episode 3:
http://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=46
1
 Season 5, episode 4:
http://ezproxy.lib.davidson.edu/login?url=http://media.nclive.org/play_video.php?vid=46
2
 Also, Season 5 through Films on Demand:
http://ezproxy.lib.davidson.edu/login?url=http://digital.films.com/PortalSearch.aspx?psti
d=20607&aid=23263
DVD:



Seasons 1 and 2: see http://davidson.worldcat.org/oclc/57558752
Season 3: see http://davidson.worldcat.org/oclc/61711264
Season 6: DVD on order [it should arrive well before the start of the semester]
The urls for the streaming videos will work both on and off campus. We are trying to get the
records loaded into the library catalog too, but that may take a few more weeks.
Christine Hill, Rewind: The History of Video Art from 1968-1980, 1995 and after (2
volumes and 8 programs).
**See Campus Brochure Fall 2014 from Art Department and Gallery See Campus
Brochure Fall 2014 from Art Department and Gallery for list of art events (including the
HIV/AIDS exhibition and the Jaume Plensa exhibition). This Fall also includes visits by
Syrian visual artist, Etab Hrieb, who will present an art-making workshop on
“revolution and found objects” on September 24-27 on campus. And in October Beverly
McIver, artist in residence at the McColl Center in Charlotte, will offer a public lecture
and other events on campus in October. She is an internationally known artist of color
who works with portraits and documentary films related to Disabilities Studies. See
http://www.nytimes.com/2012/02/09/garden/at-home-with-the-artist-beverlymciver.html?pagewanted=all&_r=0