In class on Thursday, 8/26:

• quotes for our first meeting

• Alex Potts, et al, "What is the History of Art?" History Today 35, no. 11 (Nov. 1985), 37-47
• Vernon Hyde Minor, Art History's History, 2nd ed. (Upper Saddle River, NJ, 2001), 19-27
• Henri Zerner, "Editor's Statement: The Crisis in the Discipline," Art Journal 42 (1982), 279
• excerpt from Jules David Prown, "Art History vs. the History of Art," Art Journal, Vol. 44, No. 4 (Winter 1984), 313-314

For Thursday, 9/2:

• Scott Heller, "What Are They Doing to Art History?," ARTnews 96, no. 1 (1977), 102-05
• William Innes Homer, "Visual Culture: A New Paradigm," American Art 12 (1998), 6-9
• Paul Duncum, "Visual Culture: Developments, Definitions, and Directions for Art Education," Studies in Art Education 42 (2001), 101-12
• Norman Bryson, Michael Ann Holly, and Keith Moxey, eds., Visual Culture. Images and Interpretations (Hanover, NH, 1994), xv-xviii

For Tuesday, 9/7:

• Mark Miller Graham, "The Future of Art History and the Undoing of the Survey," Art Journal 54 (1995), 30-34 [discussion leaders: Zachary Puls and Sarah Araldi]
• Robert S. Nelson, "The Map of Art History," Art Bulletin 79 (1997), 28-40 [discussion leaders: Kelsey Alderman and Stefan Haugen]
• Gill Perry, excerpt from "What is the Canon?" Critical Perspectives on Art History, John McEnroe and Deborah Pokinski, eds. (2002), 277-81 [discussion leaders: Parker Daley and Jessica Mancuso]
• short excerpt from Giorgio Vasari, The Lives of the Artists (1568)

For Thursday, 9/9:

• Blythe Cameson, "The Self-Assessment," in Great Jobs for Art Majors, 2nd ed. (2003), 3-18
• Peruse the "Career Alternatives for Art Historians" website (http://www.nd.edu/~crosenbe/jobs.html#index) that is linked to our course website

For Tuesday, 9/14:

• Vernon Hyde Minor, Art History's History (1994), 129-41 ("Visual Supremacy: Connoisseurship, Style, Formalism") [discussion leaders: Leah Arpadi and Katy Castle]
• Excerpt from Henri Focillon, The Life of Forms in Art (1934), trans. C. B. Hogan and G. Kubler (1989), 44-63, in Eric Fernie, Art History and Its Methods (1995), 170-78 [discussion leaders: Carla McBride and Kristina O'Connor]
• Jacques Dupont and François Mathey, The New Developments in Art from Caravaggio to Vermeer, trans. S.J.C. Harrison (The Great Centuries of Painting:  The Seventeenth Century) (1951), 15, 32-38

For Thursday, 9/16:

• Sotheby’s, London, 21 June 1988, Twenty Illuminated Manuscripts from the celebrated collection of William Waldorf Astor, first Viscount Astor, lot 60, 61-63
• Peter Landesman, "A Crisis of Fakes," New York Times Magazine (March 18, 2001), 36-41, 52, 66, 77

For Tuesday, 9/21:

• Linda Seidel, "On Telling Tales," Art Bulletin 76 (1994), 581-83
• Paul Barolsky, "Writing Art History," Art Bulletin 78 (1996), 398-400
• Rachel Aviv, "Don’t Be Shy," New York Times, Nov. 4, 2007
• David Carrier, "Why Art Critics Don't Matter Anymore," ArtUS no. 18 (May/June 2007), 30-32
• Kieran Long, "I Used to Rage at the Title '100,000,000 Bon Jovi Fans Can't Be Wrong'. They Can," Architects' Journal 226, no. 12 (October 4 2007), 3
• Martha Schwendener, "A Harmonic View of Nature, in a Cultural Tangle," New York Times, September 3, 2010
• Formal analysis of style and subject matter

For Thursday, 9/23:

• Robert Hughes, "A Bastion Against Cultural Obscenity," The Guardian, 3 June 2004, Arts section
• John Henry Merryman, "Comment: The Commodification of Art," Apollo 160 (July 2004), 26-27
• James Cuno, "Money, Power, and the Hstory of Art," Art Bulletin 79 (1997), 6-9
• Michael FitzGerald, "Next Year's Models," Art Bulletin 79 (1997), 10-11
• Martha Rosler, "Money, Power, Contemporary Art," Art Bulletin 79 (1997), 20-24
• Jerry Saltz, "Hammered: Are Auctions Out of Whack?" Modern Painters (July/August 2005), 26-27

For Tuesday, 9/28:

• Roelef van Straten, "What Is Iconography?," in An Introduction to Iconography, rev. ed. (1994), 3-23
• Meyer Schapiro, "'Muscipula diaboli,' The Symbolism of the Mérode Altarpiece," Art Bulletin 27 (1945), 182-87

For Thursday, 9/30:

• Brendan Cassidy, "Introduction:  Iconography, Texts, and Audiences," in Iconography at the Crossroads, ed. Brendan Cassidy (Princeton, 1993), 3-11
• Richard A. Lanham, "Who's Kicking Who?" from Revising Prose, 2nd ed. (New York and London, 1987), 1-9

For Tuesday, 10/5:

• Paul Goldberger, "What should a museum building be?," ARTnews (Oct. 1975), 33-38

For Tuesday, 10/12:  NONE!  But we will be watching a film, and I will ask you to take notes, since we will be relying upon this film in our discussions after fall break.

For Tuesday, 10/19:

• Vernon Hyde Minor, Art History's History (1994), 183-93
• Selected sonnets by Michelangelo
• Quotes related to Freud and Salvador Dali

For Thursday, 10/21:

• Joan Didion, "Georgia O’Keeffe," in The White Album (1979), 126-30
• Michael Brenson, "How O’Keeffe Painted Hymns to Body and Spirit," New York Times, Nov. 8, 1987, H37 (2 pp.)
• Barbara Buhler Lynes, "Georgia O'Keeffe and Feminism," in Norma Broude and Mary D. Garrard, eds., The Expanding Discourse. Feminism and Art History (New York, 1992), 436-49

For Tuesday, 10/26:

• Natalie Boymel Kampen, "On Not Writing the History of Roman Art," Art Bulletin 77 (1995), 375-78 (one of a series of essays under the rubric "Art><History")
• Edmund Burke Feldman, "A Socialist Critique of Art History in the U.S.A.," Leonardo 11 (1978), 23-28
• O. K. Werckmeister, "From a Better History to a Better Politics," Art Bulletin 77 (1995), 387-91 (one of a series of essays under the rubric "Art><History")

For Thursday, 10/28:

• Barbara Abou-El-Haj, "Santiago de Compostela in the Time of Diego Gelmírez," Gesta 36 (1997), 165-79

For Thursday, 11/4:

• excerpt from Matthew Rampley, "Art History and Cultural Difference: Alfred Gell's Anthropology of Art," Art History 28 (2005), 525-29
• Gwendolyn Wright, "Building Global Modernisms," Grey Room 07 (Spring 2002), 124-34
• Michael Kimmelman, "Who Draws the Borders of Culture?," New York Times (May 4, 2010)
• Gavin Stamp, "Keeping Our Marbles" in Critical Perspectives in Art History,McEnroe and Polinski, eds. (Upper Saddle River, Prentice Hall, 2002), 14-20.
• Melina Mercouri, "1986 Speech to the Oxford Union," in Critical Perspectives in Art History, McEnroe and Polinski, eds. (Upper Saddle River, Prentice Hall, 2002), 21-28

For Tuesday, 11/9:

• Gill Perry, "Introduction: gender and art history," from Gender and Art, Gill Perry, ed. (1999), 8-31
• John Berger, Ways of Seeing (London, 1972), 45-64

For Thursday, 11/11:

• Linda Nochlin, "Why Have There Been No Great Women Artists?" from Linda Nochlin, Women, Art, and Power and Other Essays (New York, 1988), 145-69

For Tuesday, 11/16:

• Douglass C. McGill, "Scholars Warn Vatican of Danger of Frescoes," New York Times, November 6, 1986, C. 21
• John Russell, "Conservators Endorse Sistine Restoration," New York Times, April 16, 1987, C. 17

For Thursday, 11/18:

• M. Kirby Talley, Jr., "Michelangelo Rediscovered," ARTnews 86 (Summer 1987), 159-70
• James Beck, "Michelangelo's 'Pentimento' Bared," Artibus et Historiae 12, no. 24 (1991), 53-63

For Tuesday, 11/30:

• peruse the Art History department's online catalog presence, including the way it structures its majors, and the kinds of courses it offers
• Peruse the College Art Association's website and the Society of Architectural Historians website (both linked to our course website)
• Patricia Cohen, "In Tough Times, the Humanities Must Justify Their Worth," New York Times, Feb. 25, 2009
• Stanley Fish, "Will the Humanities Save Us?" New York Times, January 6, 2008