Undergraduate Course: Dada and Surrealism: The Shattered Subject (HIAR10104)
|School||Edinburgh College of Art
||College||College of Humanities and Social Science
||Availability||Available to all students
|Credit level (Normal year taken)||SCQF Level 10 (Year 3 Undergraduate)
|Home subject area||History of Art
||Other subject area||None
||Taught in Gaelic?||No
|Course description||This course explores some of the variety of ways in which a challenge to traditional forms and values of art was mounted by artists associated with the key avant-garde movements of Dada and Surrealism between circa 1910 and 1945. Moving from Zurich, to Berlin, to New York and Paris we will chart the ways in which artists including Hans Arp, John Heartfield, Hannah Höch, Marcel Duchamp, Francis Picabia, André Breton, Georges Bataille, Salvador Dalí, Joan Miró, Pablo Picasso and Hans Bellmer shared and developed key forms and techniques, including collage, photomontage, the readymade, found objects and word games, aimed at shattering traditional painting and sculpture, as well as at destroying conventional aesthetic responses. We will also trace the ways in which the explosive energy, radical politics and artistic innovation of these years took shape in furious polemics, manifestos and counter-manifestos, as well as in the founding of rival periodicals and journals and in unprecedented experimentation with exhibition design. Ironically, the experiments of these artists established paradigms of aesthetic innovation which reverberated throughout the art of the rest of the twentieth century, and which are still developed and explored by artists today. This course, however, aims to return to the original source of ideas and forms which even today remain uncompromisingly radical.
Entry Requirements (not applicable to Visiting Students)
||Other requirements|| None
|Additional Costs|| None
Information for Visiting Students
|Displayed in Visiting Students Prospectus?||Yes
Course Delivery Information
|Delivery period: 2011/12 Semester 1, Available to all students (SV1)
||WebCT enabled: Yes
|Central||Seminar||Seminar Room 2, Minto House||1-11|| 16:10 - 18:00|
||Week 1, Monday, 16:10 - 18:00, Zone: Central. Seminar Room 2, Minto House |
|Main Exam Diet S2 (April/May)||Dada and Surrealism: The Shattered Subject||2:00|
Summary of Intended Learning Outcomes
|&· Students will acquire knowledge of important artists and artworks and key artistic issues and debates from the early decades of the twentieth century.
&· Students will come to appreciate the revolutionary ideals which drove key innovations in artistic making in the early decades of the twentieth century, and will be equipped to perceive and analyse the ways in which Dada and Surrealist forms and ideas continue to underpin later twentieth-century and contemporary art.
&· Students will develop the ability to perceive and argue for connections across a range of artistic practices.
&· Students will gain confidence in handling a range of theoretically sophisticated methodologies.
Students will develop their existing abilities to:
&· Look closely at works of art;
&· Read difficult texts skilfully and with understanding;
&· Analyze ideas and arguments successfully;
&· Present their own ideas clearly and well in writing and in debate;
&· Prepare and organize their work effectively to deadlines.
|One Essay 50%|
One Degree Examination 50%
||Hans Richter, Dada: Art and Anti-Art (London: Thames and Hudson, 1978).
Leah Dickerman and Brigid Doherty, Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris (New York: Distributed Art Publications, 2008).
Dawn Ades ed., The Dada Reader: A Critical Anthology (Chicago; London: University of Chicago Press, 2006).
Robert Motherwell ed., The Dada Painters and Poets (New York: Wittenborn, 1951).
William Camfield, Marcel Duchamp: Fountain (Houston Fine Art Press, 1989).
Hal Foster, Prosthetic Gods (Cambridge, Mass.: MIT Press, 2004).
Leah Dickerman ed., The Dada Seminars (National Gallery of Art, Washington, 2005).
Rosalind Krauss and Jane Livingstone, L&©amour fou (London: Abbeville Press, 1985).
Ian Walker, City gorged with dreams (Manchester University Press, 2002).
André Breton, Nadja trans. Richard Howard (1928; New York: Grove Press, 1960).
André Breton, Manifestos of Surrealism, trans. Richard Seaver and Helen R. Lane (Ann Arbor: University of Michigan Press, 1972).
André Breton, Surrealism and Painting, trans. Simon Watson Tyler (Boston: Museum of Fine Arts, 2002).
Dawn Ades, Dada and Surrealism Reviewed (London: Arts Council, 1978).
Lucy Lippard ed., Surrealists on Art (New Jersey: Prentice Hall, 1971).
Whitney Chadwick, Women Artists and the Surrealist Movement (London: Thames and Hudson, 1985).
Lewis Kachur, Displaying the Marvellous: Marcel Duchamp, Salvador Dalí and Surrealist Exhibition Installations (Cambridge, Mass.: MIT Press, 2001).
Mathew Gale, Dada and Surrealism (London: Phaidon, 1997).
|Course organiser||Dr Tamara Trodd
Tel: (0131 6)51 3120
|Course secretary||Mrs Sue Cavanagh
Tel: (0131 6)51 1460
© Copyright 2011 The University of Edinburgh - 16 January 2012 6:12 am