AHIS W3650

p e r f e c t if u can, get Nick Croggon as your T.A. !

It depends how much you want to dedicate. I tried to do all the textbook and essay readings, so I probably did about 6-7 hours of reading outside class each week. It is way more important to read the essays than the TB, however, because you're required to use essays on the exams. We had one 1500 word analysis paper in April that was around 20% of our grade, a midterm in February that was also 20%, and a final. Not the worst workload, but a decent amount.

Rosalind krauss changed my life. i went on to read saussure and freud and fried and greenberg and stainberg on my own time i own her book, The Originality of the Avant Garde and Other Modernist Myths. I've read Grids four times and counting. I mean.....I will never forget her. i think it's because i took the class my freshman year— she carried me from art history to art theory. <b>the class is amazing if you're really familiar with 20th century art history but have yet to serisously delve into theory.</b> for me there was no going back. I mean, god ! she's an icon ! ________________________________ Rosalind Krauss... How do I begin to explain Rosalind Krauss? Rosalind Krauss is flawless. She has had two annuerisms and continues to write, teach, and publish. I hear her floor 9 Schermerhorn office is insured for $10,000,000. I hear she does sculptural theory... in the e x p a n d e d f i e l d. Her favorite movie is Entr'acte. One time she met Clement Greenberg at an post-panel talk reception... ...And he told her she was pretty. One time I told her my great grandfather was a communist party member and Socialist Realist painter and she told me socialist realism killed the soviet avant garde and was one of the worst things of the 20th century... It was awesome.

I took Professor Alberro's 20th Century Art this past semester as a requirement for the Visual Arts concentration (CC). I found the class interesting. We covered an enormous range of material, so it was impossible to get to everything in depth, but I could sense Professor Alberro trying to touch on a wide variety of styles and demographics in 20th century, Western art. Despite the interesting subject matter, I struggled with Professor Alberro's lecture style. He lectures like he's reading a highly detailed academic essay, therefore it is very difficult to follow him. He speaks in long, eloquent sentences, and it is easy to lose the point before he gets to the end. There also isn't much preamble to the class - we sit down and he starts lecturing - and there isn't much definition of key terms or concepts, like a general summary of poststructuralism, or a clear breaking down of the lectures into different units. I would not necessarily take this class with Professor Alberro again, just because I had such a hard time following him through the very fast lectures, but I am also a bad auditory learner, so that style may work for some people! Also a WARNING: during the Body and Performance Art lecture, we looked at a lot of really intense, bodily graphic imagery and had in depth discussions about these works of art. I wish Professor Alberro had given a content warning before class sta…

One-hour midterm, in section (slide IDs, comparison essay). Two-hour final (10 slide IDs, three comparison essays, one long essay). One 500-word review of an exhibition at MoMA. Weekly readings (completely manageable, always enjoyable, sometimes dense).

Light. 1 Midterm. 1 1500 word paper (go to museum, select a piece of art and write about it. make sure you are heavy on the visual description side). 1 Final Exam. Mandatory discussion section. Easy enough to get an A-range grade. Gotta work for the solid A

Taking Prof. Rosalind Krauss' class was a privilege, and in its best moments, a joy. If you like 20th century art—especially Cubism, de Stijl, and Russian Constructivism, all of which receive their due time—then you will love this class. Krauss draws on literature, history, linguistics, and semiotics to present arguments about the course of twentieth century art. It should be noted that the real span of the course is the 1900s to late 1960s, with brief mentions of the Pictures generation and some later Minimalism and Concept art. The textbook, of course, extends well into those decades. (Even if you don't take this course, I would recommend the textbook, which has gorgeous illustrations and engaging prose. Krauss is one of the four authors.) Additionally, in terms of content, there is no real coverage of post-Impressionism, but Cézanne, Gauguin, van Gogh, and Seurat are all mentioned, so you would be wise to read up on them a little before taking this class. Otherwise, a simple willingness to learn—and at times to grapple with Derrida and Foucault—is more than enough. Krauss' lectures, while engaging and illustrative, were often short—sometimes even just 30 minutes long. I never found them hard to follow, as other reviewers did, but it is frustrating to hear a teacher talk about cutting content because the semester is too short and then end class halfway through each day. As f…

This was an excellent course, and I highly recommend students (non-majors as well) take this course if they have the opportunity. Although Alberro's speech is long-winded, he responded well to questions and encouraged students to ask questions despite the size of the course. The mandatory discussion sections are highly useful and it is important to do the reading, as participation in the section contributes to part of your final grade calculation. I'd say that the discussion section is the most important part of the course, as your TA grades all of your assignments. You can definitely get away with reading the book and skipping lecture, but it is an enjoyable class so there is no real reason to skip. It is also important to understand what Alberro emphasizes throughout lectures, as it informs the questions on the midterm and final in ways that you cannot gleam from the textbook. The grading in the course is dependent upon your discussion section leader. Look at the TA's carefully before selecting a section and consider taking an undesirable time if it means choosing a "nicer" TA. The reading in the class are optional. I read the corresponding textbook readings during the first half of the semester, but did not do the readings during the second half. Alberro gives you a list of 25 images that could potentially show up on the exams (midterm and final), so you can do the reading…

Around 1-2 hours of reading a week. Two lectures that they do not take attendance at, and one mandatory discussion section per week. 1 midterm, 1 one page paper, and 1 final.

Krauss is one of the most reputable art historians of our time. I am so glad that I got the opportunity to take her class. Sometimes her lectures are difficult to understand, and there may be some blatant topic that was not fleshed out enough and everyone wants to ask a really blatant question about it, but at times no one does because it can be intimidating. Yet when she is on point, she is one of the (if not the) best lecture teachers I have ever seen. She points out numerous theories on artworks that you may have previously thought could never connect. Such an amazing class, I would highly recommend it. The TAs usually control your grades, so it all depends on whether or not you get a good TA. Luckily, my TA was completely understanding and AMAZING. Sometimes the discussion sections can get boring because no one reads, but if you read they should be almost as exciting as the lectures. It is manageable to get an A- on the exams by just studying the powerpoint and terms list (they provide a powerpoint of all of the artworks you could possibly need to know). The textbook for this class is by far my favorite I have ever read. Period. It's written by Krauss and some other art historians, and if I discovered it earlier I would have read it on my leisure time. I usually don't like reading extensively, so this gives you an idea.