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Summer Reading Lists
Below you will find reading lists for some of the courses offered. For all other enquiries please contact the tutor responsible for the course.
1st YEAR COURSES
While many of our incoming students have previously studied
History of Art at A-level or have other Art School training, we
recommend the following books in preparation for our BA programme, which
stresses the importance of both historical research and critical
The key component of the First Year curriculum is the
Foundation Course and the Core Course. The following is a suggested
1) Foundation Course
A familiarity with the overall history of art is essential. Students should consult any number of 'survey' textbooks to gain this knowledge. There is no specific bible for such a task and students should read broadly and voraciously in all areas.
Above all, students should familiarize themselves with the rich collections available to them in London.
2) Core Course
Students will also be introduced to the different critical approaches or 'methodologies' used in the discipline. For this we recommend the following as primers:
R. Nelson and R. Shiff (eds.), Critical Terms for Art History, 1996
D. Preziosi (ed.), The Art of Art History, 2009 [students should look for the revised 2nd edition]
Also of interest:
E. Fernie (ed.), Art History and Its Methodologies, 1995
P. Smith and C. Wilde (eds.), A Companion to Art Theory 2002
S. Edwards (ed.), Art and its Histories, New Haven and London 1999
F. Borzello and A. Rees (eds.), The New Art History, 1986
J. Harris, The New Art History: A Critical Introduction, 2001
N. Mirzoeff (ed.), The Visual Culture Reader, 1998
C. Harrison, P.J. Wood, and J. Geiger (eds.), Art in Theory: 1648-1815, 1815-1900, 1900-2000
S. Hall, Representation, 1997
M. Baxandall, Patterns of Intention, 1987
G. Pollock, Vision and Difference, 1987
J. Woolf, The Social Production of Art, 1981
N. Hadjinicolau, Art History and Class Struggle, 1973
A. Hauser, The Social History of Art, 4 vols., 1951 and re-editions
J. Berger, Ways of Seeing, 1972
|2nd YEAR COURSES|
HART2001 History of the Category 'Art'
Beardsley, M. C., Aesthetics from Classical Greece to the Present, Tuscaloosa, AL, University of Alabama Press, 1975
Bourdieu, P., Distinction: A Social Critique of the Judgment of Taste, (1979), Cambridge MA, Harvard University Press, 1984
Bowie, A., Aesthetics and Subjectivity: From Kant to Nietzsche, Manchester, Manchester University Press, 1990
Eagleton, T., The Ideology of the Aesthetic, Oxford, Basil Blackwell,, 1990
Elkins, J., ed., Art History versus Aesthetics, New York, Routledge, 2006
HART2002 Current Methodologies in Art History
Harris, Jonathan. The New Art History: A Critical Introduction. London: Routledge, 2001.
Hatt, Michael and Charlotte Klonk. Art History: A Critical Introduction to its Methods. Manchester: Manchester University Press, 2006.
Nelson, Robert S. and Richard Shiff. Critical Terms for Art History. Chicago: University of Chicago, 1996
HART 2005 Methodologies of Making
Alpers, Svetlana, Rembrandt's Enterprise. The Studio and the Market, London 1988
Benjamin, Walter, "The Author as Producer“ (1934), in Reflections. Essays, Aphorisms, Autobiographical Writings, New York 1986, 220-238
Didi-Huberman, Georges, "The Order of Material: Plasticities, Malaises, Survivals“ (1999), in Brandon Taylor (ed.) Sculpture and Psychoanalysis, Aldershot, Burlington 2006, 195-211
Jones, Amelia, Machine in the Studio. Constructing the Postwar American Artist, Chicago 1996, 1-20 (excerpt from "The Romance of the Studio“)
Kris, Ernst & Kurz, Otto, Legend, Myth, and Magic in the Image of the Artist: A Historical Experiment (1934), New Haven, London 1979, 1-12; 38-60
Latour, Bruno, "From Realpolitik to Dingpolitik or How to Make Things Public", in Peter Weibel (ed.), Making Things Public: Atmospheres of Democracy, Cambridge Mass., London 2005, 14-41
Lazzarato, Maurizio, "Immaterial Labour“, in: Paolo Virno / Michael Hardt (eds.), Radical Thought in Italy, Minneapolis 1996, 132-146
HART2217 Theory and History of Conservation
Alberro, Alexander & Stimson, Blake (eds.), Institutional Critique. An Anthology of Artists' Writings, Cambridge Mass., London 2009
Dillon, Brian (ed.), Ruins, London, Cambridge Mass. 2011
Eggert, Paul, Securing the Past. Conservation in Art, Architecture, and Literature, Cambridge 2009
O'Doherty, Brian, Inside the White Cube. The Ideology of the Gallery Space (1976), San Francisco 1986
Tate Papers, Autumn 2007 (Stephen Hackney, "Degradation of Naum Gabo's Plastic Sculpture“; Jackie Heuman & Lyndsey Morgan, "Tate Sculpture Replica Project“; Nina and Graham Williams, "A Statement by the Copyright Holders“), available online.
Thompson, Michael, Rubbish Theory. The Creation and Destruction of Value, Oxford 1979, 1-12
HART2238 Methods and Materials II
Learner, J. S. ed. (2007) Modern Paints Uncovered, The Getty Conservation Institute, Los Angeles
Van Oosten, T. ed. (2002) Plastics in Art: History, Technology and Preservation, Verlag and Vertrieb, Munich
Corzo, M. A. ed. (1999) Mortality Immortality? The Legacy of 10th Century Art, J. Paul Getty Trust, Los Angeles
HART2010 (Gateway Course I) The Chapel in Italy
E. Welch, Art and Society in Italy 1350-1500, Oxford and New York, 1997, Chapter 5 "The Sacred Setting" and Chapter 6 "Sites of Devotion"
H. Colvin, Architecture and the After-Life, New Haven and London, 1991, Chap. X "The Family Chapel in Italy"
R.A. Goldthwaite, The Building of Renaissance Florence, Baltimore and London, 1980, pp. 12-13 (for demand for chapels creating boom in church construction), pp. 99-102 "The Need for Space" (including regional differences in ownership, a case study of S. Spirito), "Attitudes about Private Spending" pp. 77 ff.
And/or R.A. Goldthwaite, Wealth and the Demand for Art in Italy, 1300-1600, Baltimore 1993, pp. 121-9
J. Katz Nelson and Zeckhauser, The Patron’s Payoff: Conspicuous Commissions in Italian Renaissance Art, Princeton and Oxford 2008, Chapter 5 (though read this economics-based analysis with caution)
S. Cohn, The Cult of Remembrance and the Black Death, 1992, pp. 211-227 (and see also for section on altarpieces)
E. Borsook, The Mural Painters of Tuscany, Oxford, new ed. 1980, introduction
M. Baxandall, Painting and Experience in Fifteenth-Century Italy, Oxford, 1972, Section II "The Period Eye".
HART2011 (Gateway Course II) Modernity through the Lens: the European Avant-Garde, Utopia, Technology & Mass Culture
Andreas Huyssen, 'The Hidden Dialectic: Avantgarde - Technology - Mass Culture', in his After The Great Divide: Modernism, Mass Culture, Postmodernism, Indiana University Press, 1986, pp. 3-15
Matthew Witkovsky, ed., Avant-Garde Art in Everyday Life: Early Twentieth-Century European Modernism, Art Institute Chicago Ex Cat, Yale University Press, 2011.
Sascha Bru and Gunther Martens, eds., The Invention of Politics in the European Avant-Garde (1906-1940), Rodolpi, Amsterdam, 2000.
AUTUMN TERM PERIOD COURSES
HART2101 The Reception of Netherlandish Painting in the Mediterranean
Peter Spufford, Power and Profit. The Merchant in Medieval Europe, Thames and Hudson, 2002 (especially Chapter 1, pp. 12-25 and Chapter 5, pp. 228-232; 274-279)
The Age of Van Eyck, The Mediterranean World and Early Netherlandish Painting 1430-1530, ed. Till-Holger Borchert, Ghent and Amsterdam (Ludion), 2002 (good background reading would be Michael North on Art Markets, pp. 52-64)
Susie Nash, Northern Renaissance Art, Oxford University Press, 2008, Part II, pp. 71-99 (Centres, Products and Patrons)
Paula Nuttall, From Flanders to Florence. The Impact of Netherlandish Painting, 1400-1500, New Haven and London, 2004
Ashok Roy, ‘Van Eyck’s Technique: The Myth and the Reality, I’ and Raymond White, ‘Van Eyck’s Technique: The Myth and the Reality, II’, both in eds. Susan Foister, Sue Jones and Delphine Cool, Investigating Jan van Eyck, Brepols, 2000, pp. 97-106
Frances-Ames Lewis, ‘Sources and Documents for the Use of the Oil Medium in Fifteenth-Century Italian Painting’, Cultural Exchange Between the Low Countries and Italy, 1400-1600, (Museums at the Crossroads), ed. Ingrid Alexander-Skipnes, Brepols, 2007, pp. 47-62
Kim Woods, ‘Netherlandish Networks’, Locating Renaissance Art, ed. Carol M. Richardson, The Open University, 2007, pp. 65-99
C. M. Richardson, K. W. Woods, and M. W. Franklin (eds), Renaissance Art Reconsidered: An Anthology of Primary Sources, Oxford, 2007 (texts by Bartolommeo Fazio, Ciriaco of Ancona and Pietro Summonte)
HART 2229 Gender and Representation in France, c. 1750 – 1850
Stephen F. Eisenman, Nineteenth Century Art. A Critical History, London 1994
Hunt, Lynn, Politics, Culture, Class in the French Revolution, Berkeley 1984
Thomas Laqueur, Making Sex. Body and Gender from the Greeks to Freud, Cambridge/Mass., London 1990, especially chapter 1.
Hyde, Melissa, Making up the Rococo. François Boucher and his Critics, Los Angeles 2006
Richard Rand, Intimate Encounters. Love and Domesticity in Eighteenth-Century France, Dartmouth 1997
HART2227 Architecture and Modernity: Europe 1900-1945
Pevsner, Nikolaus, Pioneers of Modern Design: From William Morris to Walter Gropius, Harmondsworth, many editions
Bergdoll, Barry, European Architecture, 1750-1890, Oxford, 2000
Banham, Rayner, Theory and Design in the First Machine Age, London, 1960, and subsequent editions
Berman, Marshall, All That is Solid Melts into Air: The Experience of Modernity, New York, 1982
Colomina, Beatriz. Privacy and Publicity: Modern Architecture as Mass Media, MIT, 1996
Colquhoun, Alan, Modern Architecture, Oxford, 2002
Forty, Adrian. Objects of Desire: Design and Society from Wedgewood to IBM, London, 1986
Heynen, Hilde, Architecture and Modernity,
Richards, Thomas, The Commodity Culture of Victorian England. Advertising and Spectacle, 1851–1914, London, 1990
HART2107 Selected Themes in Art and Architecture 1850 to the present (2) Abstract Art, Matter and Mediation after Modernism
Andy Warhol, The Philosophy of Andy Warhol, from A – B and back again
ANDY WARHOL, edited by Annette Michelson, (essays by Benjamin H. D. Buchloh, Thomas Crow, Hal Foster, Annette Michelson and Rosalind E. Krauss), OCTOBER FILES, The MIT Press.
Abstraction (Documents of Contemporary Art), Maria Lind (Editor), Whitechapel.
SPRING TERM PERIOD COURSES
HART2102 The Manipulated Medieval Body
The texts listed below provide an introduction to several of the key ideas and objects that we will be examining during the 10 weeks of the course. They do so in three ways, each of which will require a slightly different approach.
First are texts by Camille, Bynum, and Jones. These are designed to give a general overview of the ways that the idea of “the body” has functioned in artistic and historical contexts, both in the Middle Ages and later periods. These should be read carefully but not obsessively, focussing on their detail but their broader theoretical ideas and conceptual similarities.
Second are writings by Park, Bildhauer, Scarry and Bentein. These works all take a more focussed look at the above ideas of the body and its actions, and relate them more specifically to different aspects of bodily analysis or to specific medieval objects. The topics they address in detail –dissection, blood, pain, and skin – will be some of those explored in more detail as the course progresses. Whilst they should be read with more general ideas in mind, they are listed here to draw focus, showing the kind of themes we will be concentrating on during the course.
Finally, the list ends with one exhibition catalogue, one online database, and one book of collected critical extracts taken from texts about the body. These three contain a very large variety of objects and writings. In all three cases I have highlighted sections that might be of particular relevance or interest, however, these volumes are suggested so that you can begin to develop your own areas of interest and ask your own questions: What kinds of objects are presented? Which appeal to you in particular and why? What kinds of texts are reprinted? What are the different ways that they each intersect with the readings above? In short, they are prompts for you to take your own routes through these objects and ideas.
- Michael Camille, “The Image and the Self: Unwriting Late Medieval Bodies,” in Framing Medieval Bodies, edited by Sarah Kay and Miri Rubin (Manchester: Manchester University Press, 1996), pp 62-99. UCL Library (HISTORY 82 cu KAY)
- Caroline Walker Bynum, “Why All the Fuss About the Body? A Medievalist’s Perspective,” Critical Inquiry, vol. 22 (1995), pp. 1-33. JSTOR
- Amelia Jones, “Body,” in Critical Terms for Art History, edited by Robert S. Nelson and Richard Schiff (Chicago: University of Chicago Press, 1996), pp. 251-266. UCL Library (ART BK NEL)
- Katharine Park, “The Criminal and the Saintly Body: Autopsy and Dissection in Renaissance Italy,” Renaissance Quarterly, vol. 47, no. 1 (1994), pp. 1-33. JSTOR
- “Introduction,” (pp. 3-26) in Elaine Scarry, The Body in Pain: The Making and Unmaking of the World (Oxford: Oxford University Press, 1985). Senate House Library, (AHN Sca)
- “Making Bodies Through Blood,” (pp. 1-15) in Betinna Bildhauer, Medieval Blood (Cardiff: University of Wales Press, 2006). UCL Library, (D 30 BIL)
- “Introduction: The Depth of Surface” (pp. 1-17) in Claudia Benthien, Skin: On the Cultural Border Between Self and the World, translated by Thomas Dunlop (New York: Columbia University Press, 2004). UCL Library (D 30 BEN)
- The Body: A Reader, edited by Mariam Fraser and Monica Greco (London: Routledge, 2004). Senate House Library (KEE Bod) Especially important is Fraser and Greco’s “Introduction,” pp.1-42.
Also of interest are:
- Elizabeth Grosz, “Refiguring Bodies,” pp. 47-51
- Judith Butler, “Bodies that Matter,” pp. 62-65
- Georges Canguilhem, “Monstrosity and the Monstrous,” pp. 187-194
- Peter Brown, “Clay Cunningly Compunded,” pp. 305-311
- Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe, exhibition catalogue edited by Martina Bagnoli, Holger A. Klein, C. Griffith Mann, and James Robinson. (London: British Museum Press, 2010). Senate House Library (V8P Tre) As well as the objects discussed, interesting articles might be:
- Arnold Angenendt, “Relics and Their Veneration,” pp. 19-28
- Holger A. Klein, “Sacred Things and Holy Bodies,” pp. 55-68
- Cynthia Hahn, “The Spectacle of the Charismatic Body,” pp. 163-172
- The Gothic Ivories Project (www.gothicivories.courtauld.ac.uk) – an ongoing, online database of over 3100 ivory panels and sculptures with exceptionally good, high-res images (London, 2008–)
HART2208 Making, Exchanging and Evaluating Art in Europe, c. 1500-c. 1700
Ways of thinking about art and material culture:
Ajmar-Wollheim, M and Dennis, F At Home in Renaissance Italy (Ex. Cat.), V&A, London, 2006
Appaduri, A ed. The Social Life of Things. Commodities in cultural perspective, Cambridge, 1986
Bredekamp, H The Lure of Antiquity and the Cult of the Machine: The Kunstkammer and the evolution of nature, art and technology, 1995
Goldthwaite, R A Wealth and the demand for art in Italy, 1300-1600, 1993
The world of goods and consumption:
Baudrillard, J For a Critique of the Political Economy of the sign,  Telos Press, 1982
Brewer, J & Porter, R Consumption and the World of Goods, London/NY 1993
Jardine, L Worldly Goods,London 1996
Welch, E Shopping in the Renaissance: Consumer Cultures in Italy, 1400–1600, Yale, 2005
The history of renaissances:
Burckhardt, J The Civilisation of the Renaissance in Italy, 1860, etc.
Farago, C (ed.) Reframing the Renaissance, New Haven, 1995
Huizinga, J The Waning of the Middle Ages, 1924, etc.
Grieco, AJ et al. (eds) The Italian Renaissance in the Twentieth Century, Florence, 2002
Art and artists:
Ladis, A & Wood, C The Craft of Art: originality and industry in the Italian Renaissance, Univ. of Georgia, 1995
Vasari, G Lives of the Artists, 2 vols, (tr. Bull), Harmondsworth, 1987
Woods, K M (ed.) Making Renaissance Art,Yale, 2007
HART2202 London and Paris, c.1700 - c.1850
The course will involve close reading of texts and so the best preparation for the course will be careful looking.
In London visit the Foundling Hospital, The Wallace Collection, Dr Johnson's House Museum and the Tate Britain. UCL Art collections has a considerable collection of French Revolutionary prints English and French caricature from the 18th and 19th centuries so try to get familiar with these.
If you can get to Paris, visit the Place Vendôme, the church of the Invalides, the Pantheon the gardens of the Palais royal (and the surrounding architecture) and the Galerie Vivienne just north of there (one of the best-preserved of the Arcades that Walter Benjamin made famous); as well as the C18 and early C19 painting collections in the Louvre. In the Musée Carnavalet in a noble city palace (Hôtel) in the marais district is a great collection of Revolutionary objects and images. Other ‘hôtels’ in the Marais and the Faubourg St Germain (many turned into museums) are worth visiting.
If possible, try to find your way around both cities (use a walking or bus tour if you are not familiar with the geography ) and think about the types of space you are occupying: which aspects of the landscape are official, which are unofficial; what has evolved and what has been cultivated? Look out for hubs or exclusionary spaces and areas which have been regenerated. This will get you thinking about the problems that will be engaged in the course.
Reading should not be learning texts to the letter at the moment but about forming ideas and opening perspectives:
H de Balzac, The History of the Thirteen.Trans H Hunt. London: Penguin, 1978. (Opening chapter)
T. Crow Painters and Public Life in C18 Paris 1985
G. Debord, The Society of the Spectacle, 1st published 1967, English translation 1984.
B. Fort, The Other Hogarth: Aesthetics of Difference, 2001. (No need to read every essay but look at the methodologies used)
M. Hallett, The Spectacle of Difference, 1999.
Goldberg, Roselee, Performance Art: From Futurism to the Present (2001)
Jones, Amelia, Body/Art: Performing the Subject (1998)
Schimmel, P. and Stiles, K eds, Out of Actions: Between Performance and the Object 1949-1979 (1998)
Stiles. K and Selz, P. eds., Theories and Documents of Contemporary Art. A Sourcebook of Artist’s Writings (1996)
HART2236 American Geographies: Figuring the West 1848-1914
Anders Stephanson, Manifest Destiny: American Expansion and the Empire of Right (New York: Hill and Wang, 1995)
Barbara Novak, Nature and Culture: American Landscape and Paintings, 1825-1875 (Oxford: Oxford University Press, 1980)
Frederick Jackson Turner, “The Significance of the Frontier in American History,” in The Early Writings of Fredrick Jackson Turner (Madison: University of Wisconsin Press, 1938)
David Harvey, “Notes Towards a Theory of Uneven Geographical Development,” in Space of Global Capital (London: Verso, 2006)
Roland Barthes, “Myth Today,” in Mythologies, trans. Annette Leavers (1957; New York: Farrar, Straus and Giroux, 1972)
HART2108 Gender, Sexuality and the Avant-Garde
Patricia Allmer, Angels of Anarchy: Women Artists and Surrealism (Munich; London: Prestel, 2009)
André Breton, Nadja (London: Penguin Books, 1999)
Irene Gammel, Baroness Elsa: Gender, Dada and Everyday Modernity (Cambridge, MA: MIT Press, 2002)
Ulrike Müller, Bauhaus Women: Art, Handicraft, Design (Paris: Flammarion, 2009)
Naomi Sawelson-Gorse, Women in Dada: Essays on Sex, Gender and Identity (Cambridge, MA: MIT Press, 2001)
3rd YEAR COURSES
HART3238 Place, Space and Imagination: Reviewing the Renaissance City c. 1420-1520
Henri Lefebvre, The Production of Space, trans. Donald Nicholson-Smith, Oxford: Blackwell (1991), esp. pp. 1-67 [Chapter 1].
Michel de Certeau, ‘Walking in the City’, in The Practice of Everyday Life, trans. Steven Rendall, Berkeley, Los Angeles and London: University of California Press (1984), pp. 91-110 [Chapter 7].
Mircea Eliade, The Sacred and the Profane: the Nature of Religion, transl. From French by Willard R. Trask, New York and London 1959 [first published 1956 chap. 1 on ‘Sacred space and Making the world Sacred’]
Marvin Trachtenberg, ‘Framing and Grounding Urbanism in Theory and the Arts’, in Dominion of the Eye: Urbanism, Art, and Power in Early Modern Florence, Cambridge: Cambridge University Press (1997), pp. 149-243 [Chapter 4].
R. Trexler, ‘Ritual Behavior in Renaissance Florence: the Setting’ in Medievalia et Humanistica n.s. 4, 1973, pp. 125-44
Or Richard C. Trexler, ‘The Ritual of Celebration’, in Public Life in Renaissance Florence, 2nd Edition, Ithaca and London: Cornell University Press (1991), pp. 215-278, [Chapter 8].
Sharon T. Strocchia, ‘Theaters of Everyday Life’, in Roger J. Crum & John T. Paoletti (eds), Renaissance Florence: A Social History, Cambridge: Cambridge University Press (2006), pp. 55-80 (and other articles in this volume esp. Gaston)
E. Muir and R.F.E. Weissman, ‘Social and Symbolic places in Renaissance Venice and Florence’ in eds. J.A. Agnew and J.S. Duncan, The Power of Place: Bringing together Geographical and Sociological Imaginations, Boston 1989
Margaret Iversen, ‘The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan’, Oxford Art Journal, 28, no. 2 (2005), 191-202
You might also want to dip into:
P. Hubbard and R. Kitchin, Key Thinkers on Place and Space, London 2004 (and subsequent editions)
HART3223 Love and Death in Italian Art c. 1500-1700
Plato, The Symposium
Ovid, The Amores (the Loves), Ars Amatoria (the Art of Love), Remedia Amoris (The Cure for Love)
Ovid, The Metamorphoses
Dante, The New Life (La Vita Nuova)
Petrarch, The Canzoniere
Boccaccio, The Decameron
Georges Bataille, Tears of Eros
Georges Bataille, Eroticism: Death and Sensuality
HART3205 Patrons and Painters in Elizabethan and Stuart England
Gent, L & Llewellyn N (eds) Renaissance Bodies: The Human Figure in English Culture c. 1540 – 1660 (Reaktion Books, 1990)
Howarth, D Images of Rule: Art and Politics in the English Renaissance, 1485 – 1649 (Macmillan, 1997)
Sharpe, K & Lake, P Culture and Politics in Early Stuart England (Macmillan, 1994)
Aughterson, K (ed) Renaissance Woman: Constructions of Femininity in England (Routledge, 1995)
Sharpe, K Selling the Tudor Monarchy: Authority and Image in Sixteenth-Century England (Yale, 2009)
Sharpe, K Image Wars: Promoting Kings and Commonwealth in England 1603 – 1660 (Yale, 2010)
Griffiths, A The Print in Stuart Britain (British Museum Publications, 1998).
Fumerton, P “Secret Arts”: Elizabethan Miniatures and Sonnets’ in Greenblatt, S Representing the English Renaissance (University of California Press, 1988)
Levy Peck, L Consuming Splendour: Society and Culture in Seventeenth-Century England (CUP, 2005)
Hill, C The Century of Revolution 1603 – 1715 (London, 1961)
HART3206 Dutch Genre Painting
Alpers, S, The Art of Describing: Dutch Art in the Seventeenth Century, University of Chicago Press, 1983
Duff, D (ed.), Modern Genre Theory, Pearson Education, 2000
Franits, W (ed.), Realism Reconsidered Looking at Seventeenth-century Dutch Art, Cambridge, 1994
Hollander, M, An Entrance for the Eyes. Space and Meaning in Seventeenth-Century Dutch Art, University of California Press, 2002
Panofsky, E, 'Iconography and Iconology: An introduction to the Study of Renaissance Art', in Meaning in the Visual Arts, Harmondsworth, 1970, pp 51-81
Stoichita, V I, The Self-Aware Image. An Insight into Early-modern Metapainting, Cambridge University Press, 1997.
Stott, A, Comedy, Routledge, 2005,
Westermann, M, The Art of the Dutch Republic, 1585-1718, London, 1996
Nederlands Kunsthistorisch Jaarboek and Leids Kunsthistorisch Jaarboek are two important sources. Published in volumes devoted to themes, with most of the articles in English, they will be necessary reading for anyone doing this course.
The Dutch/English-language journal Simiolus is available on JStor.
HART3218 Hogarth and Visual Satire
Clayton, Tim, The English Print, 1688-1802 (Yale UP, 1997)
Donald, Diana, The Age of Caricature: Satirical Prints in the Reign of George III (Yale UP, 1996)
Gatrell, Vic, City of Laughter: Sex and Satire in Eighteenth-Century London (Atlantic, 2006)
George, M. Dorothy, Hogarth to Cruikshank: Social Change in Graphic Satire (Viking, 1967)
Hallett, Mark, The Spectacle of Difference: Graphic Satire in the Age of Hogarth (Yale UP, 1999)
McCreery, Cindy, The Satirical Gaze: Prints of Women in Late Eighteenth-Century England (Clarendon Press, 2004)
Recommended museum/gallery visits:
The Cartoon Museum, Little Russell Street (entry charge £3 with student card)
National Gallery - look at Hogarth's Marriage a-la-Mode
British Museum - prints and drawings in Room 90 (displays change regularly)
HART3239 Forming Collectives
Silvia Federici: Revolution at Point Zero. Housework, Reproduction, and Feminist Struggle, Oakland, Brooklyn 2012
Alastair Gordon: Spaced Out. Radical Environments of the Psychedelic Sixties, New York 2008
Donna Haraway: The Companion Species Manifesto, Chicago 2003
Michael Hardt / Antonio Negri: Empire, Cambridge Mass., London 2000
The Invisible Committee: The Coming Insurrection, Cambridge Mass., London 2007
A. S. Neill: Last Man Alive, Gollancz 1970
Richard Noble (ed.): Utopias, Cambridge Mass., London 2009
HART3103 Us & Them: Modernity and the Representation of Armed Conflict
Danchev, Alex, On Art and War and Terror, Edinburgh University Press, 2009
Hichberger, J. W. M., Images of the Army: The Military in British Art, 1815-1914, Manchester University Press, 1988
Malvern, Sue, Modern Art, Britain and the Great War: Witnessing, Testimony and Remembrance, Yale University Press, 2004
Sebald, W. G., On the Natural History of Destruction, Modern Library, 2004
Stallabrass, Julian (ed.), Memory of Fire: Images of War and The War of Images, Cornerhouse, 2013
HART3102 Art and Technology
Illuminating Video: an Essential Guide to Video Art, (eds) Hall, D. & Fifer, S. J. (Aperture: 1992)
Art and the Moving Image: a Critical Reader, (ed) T. Leighton (Tate Publishing: 2008)
Jones, Amelia Self/Image: Technology, Representation and the Contemporary Subject (Routledge: 2006)
Macdonald, Scott A Critical Cinema: Interviews with Independent Filmmakers (University of California Press: 1988)
Cubit, Sean Digital Aesthetics (Sage Publications: 1998)
McHugh, Gene Post-Internet (Link: 2011)
HART3101 ‘We Capture the Walls’: The Politics of 20th Muralism from the Mexican Revolution through to Contemporary Street Art
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