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1. Malone University
ART 405: Art Theory and Criticism
Fall 2016
Course Instructor: Professor Christine Shearer
Class Meets: Tues. and Thurs. 9:00 - 10:15 a.m.
E-mail: cshearer@malone.edu
Cell Phone: 216.408.4124
Office Hours: Tuesday/Thursday 10:30-11:00 a.m. or by appointment
COURSE SYLLABUS
REQUIRED COURSE TEXTBOOKS:
Eric Fernie. Art History and Its Methods: A Critical Anthology. London and New York: Phaidon
Press Limited, 1995.
Michael Hatt and Charlotte Klonk. Art History: A Critical Introduction to Its Methods. Manchester
and New York: Manchester University Press, 2006.
Donald Preziosi, ed. The Art of History: A Critical Anthology. Oxford and New York: Oxford
University Press, 2009.
CATALOG DESCRIPTION: This course will introduce students to both the practice and history of
art theory and criticism. Students will study the theories and tactics that undergird art criticism
as a unique discipline and explore its links to art history. Special attention will be paid to the
various types of methodology that have been applied to the analysis of art, including
connoisseurship, biography, iconology, psychoanalysis, semiotic, and feminist approaches.
COURSE OBJECTIVES (INCLUDING KNOWLEDGE, SKILLS, ATTITUDES AND VALUES):
KNOWLEDGE: Students will:
a. See how different modes of inquiry have shaped and inspired what art historians do, why
we do it, and how.
b. Understand the analytical, political and cultural possibilities of a variety of approaches to
art history.
c. Have an enhanced sense of what it means to develop an original argument in the
discipline.
d. Gain a better understanding of the mechanics of reading, writing, and research in art
history.
SKILLS: Students will:
a. Sharpen their reading, writing and presentation skills.
b. Develop the ability to engage with complex ideas.
c. Develop the confidence to transfer or transform complex ideas into their own arguments.
d. Improve their capacities in visual analysis
e. Develop new communication skills and have enhanced understanding of working in, and
responding to, a group of colleagues.

2. Malone University
ART 405: Art Theory and Criticism
Fall 2016
ATTITUDES AND VALUES: Students will:
a. Value with understanding different means of artistic expression found in works of art
studied during the course.
b. Gain a deeper appreciation for the role imagination and artistic skill has played in world
history.
c. Learn to value a continued appreciation of the visual arts throughout their life.
SUGGESTED INSTRUCTIONAL STRATEGIES: Students will:
a. Attend class regularly.
b. Bring textbooks to class daily.
c. Read all required text selections and class handouts in preparation for each class.
d. Complete all required assignments in a timely manner and to the best of one’s ability.
e. Cultivate an investigative spirit. Questions are encouraged during class lectures.
f. Comply with the Academic Integrity Policy as stated in the catalog including a
demonstration of honorable behavior in all academic endeavors.
ACADEMIC INTEGRITY (FROM THE MALONE UNIVERSITY UNDERGRADUATE CATALOGUE,
2010-2011) Personal integrity is a behavioral expectation for all members of the Malone
University community: faculty, staff, and students. We are called to personal integrity by the
desire and obligation to model our lives after that of Jesus Christ. As noted in the biblical
Principles underlying the statement of Malone University Community Responsibilities, “Love for
and accountability to God are the primary motivation for Christian conduct.” Christ calls us in
John 14:15 to keep his commandments and in Ephesians 5:8-9 we are reminded to walk as
children of the light showing truth as a fruit of the Spirit. Academic integrity is that part of
personal integrity which encompasses all activities in the learning process. It is the consistent
demonstration of honorable behavior in all academic endeavors.
There are times, for example, when pressure to minimize work load, increase academic
standing, or assist other students may lead to actions that breach academic integrity, and
thereby personal integrity as well. Participation in academic activities and/or submission of
academic work that includes any form of deception is an inappropriate response to that
pressure. Appropriate resources for responding to this pressure are available by consulting with
faculty. Collaborative study endeavors are both permitted and encouraged under certain
circumstances. However, it is essential for faculty, staff, and students to have a common
understanding of the factors that distinguish acceptable and unacceptable academic behaviors.
The list of examples given below describes situations in which academic integrity is not being
maintained. It is provided to help clarify academic behaviors that must be avoided. While it does
not constitute an exhaustive list, it is sufficiently comprehensive to inform even those students
who might otherwise compromise academic integrity unintentionally, unconsciously or as a
result of lack of knowledge.
I. Exemplary, Non-Comprehensive Definitions and Explanations Regarding Unacceptable
Academic Conduct
A. Plagiarism1

3. Malone University
ART 405: Art Theory and Criticism
Fall 2016
1. submitting as one’s own work, part or all of an oral or written assignment which is
copied, paraphrased, or purchased from another source, including world wide
web and other online sources, without proper acknowledgement of that source.
In written assignments, using three or more words in succession from a source
without quotation marks and proper acknowledgement can be considered
plagiarism.
2. submitting as one’s own, course work which has been prepared or extensively
revised by someone else
B. Accomplice in Plagiarism
1. allowing one’s work to be copied
2. doing work for another student
3. maintaining a file of papers with the intent that others may review them or use
them for submission
4. offering aid that differs from or exceeds that which is expressly approved by the
instructor for any exam or course activity
5. disseminating confidential information
C. Disruption of Learning
1. destroying educational resources and materials
2. removing, destroying, or otherwise compromising the academic work of another
student
D. Academic or Scientific Misconduct
1. misrepresenting attendance or reason for absence
2. using information or accepting aid which is not approved by the instructor; this
may include but is not limited to
a. using notes during a closed-book test
b. soliciting information about the contents of an assignment or test
c. looking at another student’s test paper during testing
3. accessing and/or disseminating unauthorized material
4. falsifying data or information for a course activity
5. submitting work that was already done for a previous course without prior
approval of the instructor of the current course
6. submitting the same work for two concurrent courses without prior approval of
both instructors
II. Faculty Responsibility in Upholding Malone University’s Academic Integrity Policy
A. Responsibility to Inform Students
1. Faculty members are responsible for clearly communicating the Academic
Integrity Policy to students. This is accomplished through two primary methods:
a. providing information about the policy, and about the importance of reading
and understanding the policy, at the beginning of each course
b. informing all incoming students of the policy through such vehicles as the
Humanities 100 course, freshman orientation, and orientation meetings for
graduate and other non-traditional programs.

4. Malone University
ART 405: Art Theory and Criticism
Fall 2016
COURSE REQUIREMENTS/EVALUATION:
The class meetings will consist of seminar-style discussions on specific topics. These meetings
will form the core of the course material so it is strongly advised that you attend class
consistently. ALL students are expected to participate in class discussion.
ATTENDANCE AND PARTICIPATION: 10%
READING RESPONSE PAPERS (10 WEEKLY): 20%
Each week students will be expected to turn in a 1 page Reading Response Paper that will
address a specific question about the readings for that week. In the case of an absence, it is the
student’s responsibility to get the assignment for the following week. Of the eleven reading
responses the student is required to turn in 10 assignments. This means that the student has
the freedom to not turn in one Reading Response Paper during the course of the term. Please
keep in mind that even though this excuses the student from one writing assignment, the
student is still expected to have done all of the readings for that week.
MID-TERM: 20%
The purpose of the mid-term is to assess the students’ assimilation of the course readings and
lectures. The mid-term will require the comparison and contrast of various methods and an
understanding of their consequences for the interpretation of art.
PAPER TOPIC PROPOSAL: 5%
All students will need to turn in a Paper Topic Proposal, in which the subject of the research
paper is discussed and bibliographic information is provided.
A written proposal, including a description of your topic (200 words) and annotated bibliography
(50 words per entry) must be submitted by September 20.
RESEARCH PAPER (8-10) PAGES: 25%
All students will write an 8-10 page position paper (2000-2500 words) on one methodology
(chosen among the Social History of Art; phenomenology; Foucauldian analysis; post-
colonialism; semiotics and structuralism; post-structuralism and deconstruction; psychoanalysis;
or feminism) by means of a concrete case study of an artwork, an artist, an exhibition, or an
institution. This paper should develop an argument about what the method brings to art
historical analysis and what its limitations might be. Comparisons and counter examples can be
useful in arguing your point but the focus of the paper is to demonstrate your depth of
understanding of one particular method.
While you are welcome to draw on the course readings, it is expected that you will consult 4-5
additional sources for your paper. These sources should be chosen with great care, and a
rationale for each choice should be included in an annotated bibliography. This research should
draw on scholarly sources. Blogs and unauthorized internet content, such as Wikipedia, do not
count as a scholarly source and should be used only as a starting point. You should also include
scholarly sources that are specific to your case study.

5. Malone University
ART 405: Art Theory and Criticism
Fall 2016
FINAL EXAM: 25%
The main objective of the final is to test the students’s grasp of the fundamental concepts
addressed through readings and lectures. Students will be asked to demonstrate their
understanding of the differences and/or links between methods. The exam will cover the entire
course.
PRESENTATION GUIDELINES:
• Only printed copies of written assignments will be accepted — no electronic submissions
• Written assignments must be typed and double-spaced on 8 1/2” x 11” paper with 1” margins.
• The font must be roughly equivalent to Times New Roman 12 point.
• Include a typed title page.
• All pages except your title page must be numbered.
• Images should appear on separate pages at the end of your paper. Images must have typed
captions including artist, title, date, medium, and dimensions.
• Written assignments must include proper citations, in the form of footnotes and a bibliography.
Notes must be included not only for direct quotations but for ALL ideas that are not your own.
They must be formatted according to an accepted academic style guide, such as The Chicago
Manual of Style. Do not use in-text parenthetical references.
• All titles of books must be italicized. Titles of articles are in quotation marks. All titles of
artworks must be italicized. Their dates must be indicated, either in the text, or in parentheses
after the title.
• Quotations that exceed four lines of text must be indented from the left margin and single-
spaced. They do not need quotation marks when indented.
• Grammar counts! Be sure to check carefully.
• Staple papers together (no paper clips, please).
LATE POLICY:
Assignments are due at the beginning of class on the date indicated. Late papers will be
penalized 5% (or one grade point per day), including weekends.
GRADING SCALE:
A 100-96
A- 95-91
B+ 90-88
B 87-85
B- 84-82
C+ 81-79
C 78-76
C- 75-73
D 72-64
F 63-0

6. Malone University
ART 405: Art Theory and Criticism
Fall 2016
COURSE SCHEDULE (SUBJECT TO CHANGE):
Tues. Aug. 30 Week 1: Welcome/Introduction
Thur. Sep. 1 Introduction: Fernie, Eric. “Introduction: A History of Methods.” In Eric Fernie, ed.
Art History and its Methods. London and New York: Phaidon, 1995. 10-21.
Hatt, Michael and Charlotte Klonk. “A variety of interpretations: a preview.” In
Micheal Hatt and Charlotte Klonk. Art History: A Critical Approach to Its
Methods. Manchester: Manchester University Press, 2006. 11-20.
Preziosi, Donald. “Art as History.” In Donald Preziosi, ed. The Art of History: A
Critical Anthology. Oxford and New York: Oxford University Press, 2009. 13-21.
Moxey, Keith. “Motivating History.” The Art Bulletin 77, 3 (Sept. 1995): 392-401.
(Supplementary Materials)
Tues. Sep. 6 Week 2: Collection and Connoisseurship
“Hegel and the birth of art history” and “Connoisseurship.” In Micheal Hatt and
Charlotte Klonk. Art History: A Critical Approach to Its Methods. Manchester:
Manchester University Press, 2006. 21-64.
Grann, David. “The Mark of a Masterpiece.” In The New Yorker, July 12, 2010.
http://www.newyorker.com/magazine/2010/07/12/the-mark-of-a-masterpiece
Thur. Sep. 8 Art as History (and Biography)
Morelli, Giovanni. “Italian Painters, 1890.” In Eric Fernie, ed. Art History
and its Methods. London and New York: Phaidon, 1995. 103-115.
Vasari, Giorgio. “Lives of the Painters, Sculptors and Architects.” In Donald
Preziosi, ed. The Art of History: A Critical Anthology. Oxford and New York:
Oxford University Press, 2009. 22-26
Winckelmann, Johann Joachim. “Reflections on the Imitation of Greek Works in
Painting and Sculpture. In Donald Preziosi, ed. The Art of History: A Critical
Anthology. Oxford and New York: Oxford University Press, 2009. 27-34.

7. Malone University
ART 405: Art Theory and Criticism
Fall 2016
Tues. Sep. 13 Week 3: Formalism and Style
“Formalism: Heinrich Wölfflin and Alois Riegl.” In Micheal Hatt and Charlotte
Klonk. Art History: A Critical Approach to Its Methods. Manchester: Manchester
University Press, 2006. 65-95.
Wölfflin, Heinrich. “Principles of Art History.” In Eric Fernie, ed. Art History and
its Methods. London and New York: Phaidon, 1995. 127-151.
Thur. Sep. 15 Gombrich, Ernst. “Style.” In Donald Preziosi, ed. The Art of History: A Critical
Anthology. Oxford and New York: Oxford University Press, 2009. 129-140.
Bell, Clive. “The Aesthetic Hypothesis.” In Art. London: Chatto and Windus,
1949. (Supplementary Materials)
Greenberg, Clement. “Modernists Painting.” In Charles Harrison and Paul
Wood, eds. Art in Theory: 1900-1990. Cambridge: Blackwell Publishers, 1993.
(Supplementary Materials)
Tues. Sep. 20 Week 4: Iconography (Paper Topic Proposal Due)
“Iconograpy—iconology: Erwin Panofsky.” In Micheal Hatt and Charlotte Klonk.
Art History: A Critical Approach to Its Methods. Manchester: Manchester
University Press, 2006. 96-199.
Panofsky, Erwin. “The History of Art as Humanistic Discipline.” In Eric Fernie,
ed. Art History and its Methods. London and New York: Phaidon, 1995. 181-195.
Thur. Sep. 22 Bann, Stephen. “Meaning/Interpretation.” In Micheal Hatt and Charlotte Klonk.
Art History: A Critical Approach to Its Methods. Manchester: Manchester
University Press, 2006. 256-268.
Holly, Michael Ann. “Witnessing an Annunciation.” Past Looking: Historical
Imagination and the Rhetoric of the Image.” Ithaca and London: Cornell
University Press, 2003. (Supplementary Materials)
Moxey, Keith. “Panofsky’s Melancholia.” In The Practice of Theory:
Poststructuralism, Cultural Politics, and Art History. Ithaca: Cornell University
Press, 1994. (Supplementary Materials)

8. Malone University
ART 405: Art Theory and Criticism
Fall 2016
Tues. Sep. 27 Week 5: Psychoanalysis
“Psychoanalysis.” In Micheal Hatt and Charlotte Klonk. Art History: A Critical
Approach to Its Methods. Manchester: Manchester University Press, 2006.
174-199.
Liebert, Robert S. “Michelangelo’s Mutilation of the Florence Pieta: A
Psychoanalytic Inquiry.” Art Bulletin 59 (March 1977), 47-54. (Supplementary
Materials)
Lacan, Jacques. “The Mirror Phase as Formative of the Function of the I.” In
Charles Harrison and Paul Wood, eds. Art in Theory 1900-1990: An Anthology
of Changing Ideas. Oxford: Blackwell, 1992. (Supplementary Materials)
Thur. Sep. 29 Social History of Art and Marxist Approaches
“Marxism and the social history of art.” In Micheal Hatt and Charlotte Klonk. Art
History: A Critical Approach to Its Methods. Manchester: Manchester University
Press, 2006. 120-142.
Hauser, Arnold. “The Philosophy of Art History.” In Eric Fernie, ed. Art History
and its Methods. London and New York: Phaidon, 1995. 201-213.
Clark, T.J. “The Conditions of Artistic Creation.” In Eric Fernie, ed. Art History
and its Methods. London and New York: Phaidon, 1995. 245-253.
Tues. Oct. 4 Week 6: Social History and Marxist Approached Continued
Clark, T.J. “Introduction.” In The Painting of Modern Life: Paris in the Art of
Manet and His Followers. Princeton: Princeton University Press, 1984.
(Supplementary Materials)
Clark, T.J. “Manet’s Exposition Universelle de 1867.” In The Painting of Modern
Life: Paris in the Art of Manet and His Followers. Princeton: Princeton University
Press, 1984. (Supplementary Materials)
Lipton, Eunice. “The Laundress in Nineteenth-century French Culture.” In
Modern Art and Modernism: A Critical Anthology. New York: Harper & Row,
1982. (Supplementary Materials)
Thur. Oct. 6 Review for Midterm Exam

9. Malone University
ART 405: Art Theory and Criticism
Fall 2016
Tues. Oct. 11 Week 7: Midterm Exam
Thur. Oct. 13 Gender, Feminism and Sexuality
“Feminism.” In Micheal Hatt and Charlotte Klonk. Art History: A Critical Approach
to Its Methods. Manchester: Manchester University Press, 2006. 145-173.
Pollock, Griselda. “Feminist Interventions in the Histories of Art.” In Eric Fernie,
ed. Art History and its Methods. London and New York: Phaidon, 1995. 296-313.
Nochlin, Linda. “Why Have there been no Great Women Artists.” ARTNews
(January 1977). (Supplementary Materials)
Tues. Oct. 18 Week 8: Authorship and Identity
(First Draft of Paper Due)
“Introduction.” In Donald Preziosi, ed. The Art of History: A Critical Anthology.
Oxford and New York: Oxford University Press, 2009. 317-320.
Foucault, Michel. “What is an Author?” In Donald Preziosi, ed. The Art of History:
A Critical Anthology. Oxford and New York: Oxford University Press, 2009.
321-334.
Owens, Craig. “The Discourse of Other: Feminists and Postmodernism.” In
Donald Preziosi, ed. The Art of History: A Critical Anthology. Oxford and New
York: Oxford University Press, 2009. 335-351.
Butler, Judith. “Performative Acts and Gender Constitution: An Essay in
Phenomenology and Feminist Theory.” In Donald Preziosi, ed. The Art of
History: A Critical Anthology. Oxford and New York: Oxford University Press,
2009. 356-366.
Thur. Oct. 20 No Class: Fall Break
Tues. Oct. 25 Week 9: Semiotics: Structuralism, Post-Structuralism, and Deconstruction
“Semiotics.” In Micheal Hatt and Charlotte Klonk. Art History: A Critical Approach
to Its Methods. Manchester: Manchester University Press, 2006. 200-222
Fernie in the glossary: “Discourse Analysis,” Poststructuralism,”
“Representation,” and “Semiotics.”

10. Malone University
ART 405: Art Theory and Criticism
Fall 2016
Foucault, Michael. “Las Meninas.” In The Order of Things: An Archaeology of
the Human Sciences. London: Tavistock Publications, 1970. (Supplementary
Materials)
Thur. Oct. 27 Chapter 6 in Donald Preziosi, ed. The Art of History: A Critical Anthology.
Oxford and New York: Oxford University Press, 2009. 271-316.
Tues. Nov. 1 Week 10: Post-Colonialism, Subaltern Studies
“Postcolonialism.” In Micheal Hatt and Charlotte Klonk. Art History: A Critical
Approach to Its Methods. Manchester: Manchester University Press, 2006.
223-240.
Oguibe, Olu. “In the ‘Heart of Darkness.’” In Eric Fernie, ed. Art History and its
Methods. London and New York: Phaidon, 1995. 314-322.
Coombes, Annie. “Inventing the ‘Postcolonial’: Hybridity and Constituency in
Contemporary Curating.” (Supplementary Materials)
Thur. Nov. 3 Primitivism
Fry, Roger. “Vision and Design.” In Eric Fernie, ed. Art History and its Methods.
London and New York: Phaidon, 1995. 157-168.
Torgovnick, Mariana. “Politics of Roger Fry’s Vision and Design.” In Gone
Primitive: Savage Intellects Moderns Lives. Chicago: Chicago University Press,
1990. (Supplementary Materials)
Tues. Nov. 8 Week 11: Orientalism
Mitchell, Timothy. “Orientalism and the Exhibitionary Order.” In Donald Preziosi,
ed. The Art of History: A Critical Anthology. Oxford and New York: Oxford
University Press, 2009. 409-423.
Jung, Carl. “What India Can Teach Us.” In Psychology and the East. F. C. Hull
trans. Princeton: Princeton University Press, 1978. (Supplementary Materials)
Grabar, Oleg. “Roots and Others.” In Noble Dreams Wicked Pleasures:
Orientalism in American 1870-1930. H. Edwards ed. Princeton: Princeton
University Press, 2000. (Supplementary Materials)

11. Malone University
ART 405: Art Theory and Criticism
Fall 2016
Thur. Nov. 10 Responses to the West—Historiography and Subject Position
Mitter, Partha. “Towards the Twentieth Century: A Reassessment of Present
Attitudes,” Much Maligned Monsters: A History of European Reactions to Indian
Art. Chicago: Chicago University Press, 1977. 252-286 (Supplementary
Materials)
Clunas, Craig. “Oriental Antiquities/Far Eastern Art.” Positions: East Asia
Cultures Critique. Vol. 2, No. 2 (Fall 1994). (Supplementary Materials
Tues. Nov. 15 Week 12: Gallery Installations and the “Ideal’ Viewer
Duncan, Carol. “The Art Museum as Ritual.” In Donald Preziosi, ed. The Art of
History: A Critical Anthology. Oxford and New York: Oxford University Press,
2009. 424-434.
Thur. Nov. 17 Staniszweski, Mary Anne. The Power of Display: A History of Exhibition
Installations at the Museum of Modern Art. Cambridge: MIT Press, 1998. 61-83.
(Supplementary Materials)
O’Doherty, Brian. “Notes on the Gallery Space.” Inside the White Cube: The
Ideology of the Gallery Space. Intro. Thomas McEvilley. Berkeley: University of
California Press, 1999. 13-34. (Supplementary Materials)
Tues. Nov. 22 Week 13: Phenomenology and “Affect”
Boetzkes, Amanda. “Phenomenology and Interpretation Beyond the
Flesh. Art History 32, 4. (September 2009): 690-711 (Supplementary Materials)
Thur. Nov. 24 Thanksgiving Break, NO CLASS
Tues. Nov. 29 Week 14: Prior, Nick. “Having One’s Tate and Eating It: Transformations in a
Hypermodern Era.” In Art and Publics. ed. Andrew McClellan. Malden, MA:
Blackwell Publishing, 2003. (Supplementary Materials)
Thur. Dec. 1 Foucault and Institutional Critique (Research Paper Due)
Foucault, Michael. “The Subject and Power.” In Critical Inquiry. Vol. 8, No. 4
(Summer 1982): 777-795. (Supplementary Materials)
Crary, Jonathan. “Eclipse of the Spectacle.” (Supplementary Materials)

12. Malone University
ART 405: Art Theory and Criticism
Fall 2016
Tues. Dec. 6 Week 15: Student Presentations
Thur. Dec. 8 Review for Final Exam
Tues. Dec 13 Final Exam: 7:30-9:30 a.m.