Modern Art II

Pre-requisites: The student shall attend classes regularly and prepare timely for teaching units based on the previously determined reading list. No special prerequisites.

Course objectives: The course aims to provide candidates with superior competences in terms of theoretical knowledge, abilities and skills, and this is achieved through guided study of theoretical and methodological problems, and independent research study.

Course description: The course is mostly theoretical. It is organised in such a way that the phenomena of modernity is discussed in an active dialogue with students; problem-oriented and selective study of the works or parts of works of some authors and the specific aspects abstracted from one or several movements, which fall into the domain of either formal and linguistic, or theoretical-programmatic, conceptual, ideological and political determinants of the modern era. Along with theoretical insights, the course refers to specific examples of artistic practice that are relevant to the problematisation of the main topic. The course is not conceived as an interpretation of the genesis of Modern Art, but rather as a consideration of its key theoretical, conceptual, ideological, formal and linguistic content. Practical part of teaching involves compulsory discussions based on the literature studied in teaching units.

Learning Outcomes: Improvement of abilities to interpret theories, languages and action practices of modern art. Application of capability to analyse and interpret a work of art, as well as to evaluate expressive languages and conceptual content of Modernism and Postmodernism.

Literature/Reading:

• T. J. Clark, Farewell to an Idea. Episodes from a History of Modernism, Yale University Press, New Haven and London 2001.
• G. Pollock, Differencing the Canon. Feminist Desire and the Writing of Art’s Histories, Routledge, London and New York 2006.
• Foster, Krauss, Bucloh, Bois, Art Since 1900, Thames& Hudson, London 2004.
• S. Mijuškovic, Od samodovoljnosti do smrti slikarstva. Umetničke teorije (i prakse) ruske avangarde, Geopoetika, Beograd 1998
• Dokumenti za razumevanje ruske avangarde, priredio S. Mijušković, Geopoetika, Beograd 2003
• Fer,Batchelor,Wood, Realism, Rationalism, Surrealism, Art between the Wars, The Open University/Yale University, 1993
• Yve-Alain Bois, Painting as Model, The MIT Press, Cambridge, Massachusetts, 1993
• Art in Theory 1900-1990, An Anthology of Changing Ideas (ed. C.Harrison & P. Wood), Oxford/Cambridge 1992. (/ KDA / KSJ)
• Arthur C. Danto, After the End of Art, Princeton University Press, New Jersey, 1997
• Rosalind Krauss,The Originality of the Avant-Garde and Other Modernist Myths, The MIT Press, Cambridge, Massachusetts, 1985
• C.Greenberg, Ogledi o posleratnoj američkoj umetnosti, Novi Sad 1997
• Hal Foster, "What’s Neo about the Neo-Avant-Garde?", October 70 (Autumn 1994)
• Thierry de Duve, "The Monochrome and the Blank Canvas", Reconstructing Modernism (ed. by Serge Guibaut), The MIT Press, Cambridge, Massachusetts, str. 299
• Benjamin Buchloh, "The Primary Colors for the Second Time: A Paradigm Repetition of the Neo-Avant-Garde," October 37 (Summer 1986)
• Thomas McEvilley, "Seeking the Primal through the Paint. The Monochrome Icon", u: The Echile’s Return. Toward a Redefinition of Painting for the Post-Modern Era, Cambridge University Press, 1993