AHT1102 Modernism and the avant-garde

Christina Lodder, Russian Constructivism , Yale University Press, 1983

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

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

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

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

Kirk Varnedoe, Jackson Pollock , MoMA, 1998

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

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

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

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

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

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

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

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

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

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

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

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

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

David Anfam, Abstract Expressionism , Thames and Hudson, 1990

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

Leo Steinberg, ‘The Philosophical Brothel’, October 44

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

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

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

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

Ian Dunlop, Degas , Thames & Hudson, 1979

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

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

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

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

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

James Meyer, Minimalism , Phaidon, 2000

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

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

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

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

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

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

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

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

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

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

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

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

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

John Milner , Mondrian , Phaidon, 1992

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

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

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

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

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

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

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

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

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

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

The Painting of Modern Life: Edouard Manet and His Contemporaries

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

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

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

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

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

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

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

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

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

Richard Verdi, Cézanne , Thames and Hudson, 1992

Kathleen Adler, Berthe Morisot , Phaidon, Oxford, 1987

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

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

Philip Cooper, Cubism , Phaidon, 1996

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

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

Michael Wilson, The Impressionists , Phaidon, 1983

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

Kunsthalle Frankfurt, Women Impressionists , 2008

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

John Elderfield, Matisse , MoMA, 1992