AHT1102 Modernism and the avant-garde

Yve-Alain Bois, Piet Mondrian 1872-1944 , Little, Brown & Co., 1995

T. J. Clark, The Painting of Modern Life: Paris in the Art of Manet and His Followers, Knopf, 1984 (‘Introduction’)

David Anfam, Abstract Expressionism , Thames and Hudson, 1990

Leslie Harding and Sue Cramer, Cubism and Australian Art , Miegunyah Press, Melbourne, 2009

Richard Andrews, Art into Life: Russian Constructivism 1914-1932 , Rizzoli, 1990.

Yve-Alain Bois, Painting as Model, MIT Press, 1990

Michael Wilson, The Impressionists , Phaidon, 1983

John Milner , Mondrian , Phaidon, 1992

David Shapiro, Abstract Expressionism: A Critical Record , Cambridge University Press, 1990

Bridget Fowler, 'Pierre Bourdieu and Modern Art: The Case of Impressionism', in Pierre Bourdieu and Cultural Theory , Sage, London, 1997

Rosalind Krauss, The Originality of the Avant-Garde and Other Essays , MIT Press, 1986

Gregory Battcock, Minimal Art: A Critical Anthology , Dutton, 1968

Hal Foster et al., Art since 1900: Modernism, Antimodernism, Postmodernism Thames and Hudson, 2004

Yve-Alain Bois, ‘Kahnweiler’s Lesson’, in Painting as Model , MIT Press, 1990

Kirk Varnedoe, Jackson Pollock , MoMA, 1998

Briony Fer, ‘Imagining a Point of Origin: Malevich and Suprematism’, in On Abstract Art

Kathleen Adler, Berthe Morisot , Phaidon, Oxford, 1987

Yve-Alain Bois, ‘The Semiology of Cubism’, in Picasso and Braque: A Symposium , ed. Lynn Zelvansky, MoMA, 1992

Clement Greenberg, ‘“American-Type” Painting’, in Art and Culture,Thames & Hudson, 1961

Richard Verdi, Cézanne , Thames and Hudson, 1992

Michael Fried, ‘How Modernism Works: A Response to T.J. Clark’, Critical Inquiry 9(1), 1982

Natasha Staller, A Sum of Destructions: Picasso’s Cultures and the Creation of Cubism , Yale University Press, 2001

John Elderfield, Matisse , MoMA, 1992

Introduction to Course; Critical Approaches to Modernism: Greenberg, Clark, Fried and Krauss

Clement Greenberg, Art and Culture: Critical Essays , Beacon Press, 1971

Christina Lodder, Russian Constructivism , Yale University Press, 1983

Kunsthalle Frankfurt, Women Impressionists , 2008

Leslie Harding and Sue Cramer, Call of the Avant-Garde: Constructivism and Australian Art , Heide, Melbourne, 2017

T. J. Clark, ‘Clement Greenberg’s Theory of Art’, Critical Inquiry 9(1), 1982

Charles Harrison and Paul Wood (eds.), Art in Theory 1900-1990 , Blackwell, 1992

Richard Shiff, Cézanne and the End of Impressionism: A Study in the Theory, Technique and Critical Evaluation of Modern Art (chapter ‘Cézanne’s Practice’), University of Chicago Press, 1984

Tutorial: Sergei Eisenstein's The Battleship Potemkin (1925), video recording

Linda Nochlin, 'Mary Cassatt's Modernity', in Representing Women , Thames and Hudson, New York, 1999

Christine Poggi, In Defiance of Painting: Cubism, Futurism and the Invention of Collage, Yale University Press, 1992 (Ch. 1)

Miles Unger, Picasso and the Painting that Shocked the World , Simon and Schuster, 2018 (ch. 'Exorcism')

Roger Benjamin, 'A New Modernist Hero', in Margot Neale, Emily Kngwarreye: Alhalkere , Queensland Art Gallery, 1998

Yve-Alain Bois, ‘On Matisse: The Blinding’ October 68

Herschel Chipp, Theories of Modern Art: A Source Book of and by Artists and Critics , University of California Press, 1968

Kermit Champa, chapter on Pissarro in Studies in Early Impressionism , Yale University Press, New Haven, 1973

Michael Fried, ‘Optical Allusions’, Artforum , April 1999

Rainer Crone , Kazimir Malevich: The Climax of Disclosure , Reaktion Books, 1997

Douglas Cooper, The Essential Cubism: 1907-1920 , Tate Gallery, 1983

Sherwin Simmons, ‘Malevich’s Black Square ’, Arts Magazine 53

Paul Smith, Impressionism: Beneath the Surface (‘Introduction’), Weidenfeld and Nicolson, 1995

Yve-Alain Bois, ‘Piet Mondrian, New York City’ and ‘Matisse and Arche-Drawing’, in Painting as Model

Rosalind Krauss, ‘In the Name of Picasso’, in The Originality of the Avant-Garde and Other Modernist Myths

Briony Fer, On Abstract Art , Yale University Press, 1997

The Painting of Modern Life: Edouard Manet and His Contemporaries

Maria Gough, The Artist as Producer: Russian Constructivism in Revolution , University of California, 2005

Yve-Alain Bois, ‘Cézanne: Words and Deeds’, October 84

Metropolitan Museum f New York, Matisse: In Search of True Painting , 2012

Michael Fried, Art and Objecthood: Essays and Reviews , University of Chicago Press, 1998

John Golding, Cubism: A History and Analysis 1907-1914 , Faber & Faber, 1988 (Ch. 1)

T.J. Clark, ‘In Defence of Abstract Expressionism’, in Farewell to an Idea: Episodes from a History of Modernism , Yale University Press, 1999

Rosalind Krauss, The Optical Unconscious , MIT Press (esp. Ch. 6)

Marjorie Perloff, The Futurist Moment: Avant-Garde, Avant Guerre and the Language of Rupture , University of Chicago, 2003

Carol Blotkamp, Mondrian: The Art of Destruction , Reaktion, London, 1994

T. J. Clark, ‘Jackson Pollock’s Abstraction’, in Reconstructing Modernism: Art in New York, Paris and Montreal , ed. Serge Guilbault, MIT Press, 1990

Ian Dunlop, Degas , Thames & Hudson, 1979

William Rubin, Picasso and Braque: Pioneering Cubism , MoMA, 1989

Alan Krell, Manet and the Painters of Contemporary Life , Thames and Hudson, 1996

Rosalind Krauss, ‘Picasso/Pastiche’, The Picasso Papers , Farrar, Straus & Giroux, 1998

Rosalind Krauss, ‘The Originality of the Avant-Garde’, in The Originality of the Avant-Garde

Hal Foster, ‘The Crux of Minimalism’ in Individuals: A Selected History of Contemporary Art , Abbeville Press, 1986

Clement Greenberg, ‘Modernist Painting’, in The New Art: A Critical Anthology, ed. Gregory Battcock, Dutton,1966

Yve-Alain Bois, Matisse and Picasso , Flammarion, 1998

Nancy Troy, The Afterlife of Piet Mondrian , University of Chicago Press, 2014

Maurice Merleau-Ponty, ‘Cézanne’s Doubt’, in The Merleau-Ponty Aesthetics Reader: Philosophy and Painting , Northwestern University Press, 1993

James Meyer, Minimalism , Phaidon, 2000

Griselda Pollock, Differencing the Canon: Feminist Desire and the Writing of Art's Histories , Routledge, 1999.

Philip Cooper, Cubism , Phaidon, 1996

Griselda Pollock, Mary Cassatt, Painter of Modern Women , Thames & Hudson, London, 1998

Briony Fer, ‘Russian Constructivism’, in Realism, Rationalism, Surrealism: Art Between the Wars , Open University, 1993

Yve-Alain Bois, ‘Perceiving Newman’, in Painting as Model

Leo Steinberg, ‘The Philosophical Brothel’, October 44

Michael Fried, ‘Art and Objecthood’ and ‘Shape as Form’ and ‘Three American Painters’, in Art and Objecthood

Max Kozloff, Cubism/Futurism , Thames & Hudson, 1977

John Milner, Vladimir Tatlin and the Russian Avant-Garde , Yale

John Rewald, The History of Impressionism , Secker and Warburg, 1973

Rosalind Krauss, ‘The Crisis of the Easel Picture’, in Jackson Pollock: New Perspectives , ed. Kurt Varnedoe, MoMA, 1999