SYLLABUS (subject to change) History of Art 190F, Spring 2012 Cold War and Aftermath: Art and Politics

in Socialist and post-Soviet era Tuesday and Thursdays, 3:305:00pm, 106 Moffitt Instructor: Dr. Orna Tsultem Email: spring2012teaching@gmail.com Office Hours: Fridays, 12:00pm2pm, Doe FSM caf (or by appointment) Mailbox: 416 Doe Library, History of Art Department Office GSI: Yueni Zhong Email: historyofart190F@gmail.com Office Hours: Thursdays 1-3pm, FSM caf Mailbox: 416 Doe Library, History of Art Department Office This interdisciplinary course will discuss some critical issues of art production during totalitarian regimes taking art of Mao Zedongs China, former Soviet Union, and socialist Mongolia as cases of comparison. We will look at selected art works, watch episodes of classical cinematography, and read literary prose to expand our understanding of art and artists role in a society, artists uneasy struggle with ideological constraints and censorship. The course will introduce to the questions about socialist propaganda through art and Soviet-imposed style of socialist realism discussed by many scholars in the field. And yet, we will also consider cases of artistic experimentation and personal search in works of P. Baldandorj, G. Sosai, and Fu Baoshi, among others, to open new perspectives of looking at art of this period beyond strictly political agenda. One of the issues this course will be dealing with this fall is how artists find their own understanding of tradition in a modern society? Although such new terms and trends as guohua (national style) and Mongol Zurag (Mongol painting) were specifically invented in the course of the turmoil twentieth century, efforts to retrieve tradition during the Soviet-dominated era continue even today in post-Soviet modern days. Finally, the course will engage in readings and discussing images from post-Soviet era, as with the collapse of socialist block, new, and sometimes unusual turn in art production has raised questions of art in a global context. Required Texts: All readings and lecture images will be posted in PDF format online on the course website at bSpace. Due Dates: Midterm Paper Final Exam Final Paper March 6 February 17 May 11 April 27

Grades: Your grade will be based on successful completion of all writing assignments and active participation in discussion. The overall composition of the final grade is based on the following: 1

Midterm: Paper: Final Exam Final paper Sections

20% 15% 20% 25% 20%

A = excellent, B = good, C = satisfactory, D = barely satisfactory, F = unsatisfactory. Lectures: Regular attendance at lectures and discussions is a minimum requirement for success. Please refrain from playing computer games, surfing the web, texting, chatting with your neighbor, etc., during lectures and sections. Using your cell phones during class is strictly prohibited. Discussion Sections: This class is scheduled to have weekly discussion sections. You are responsible for coming to grips with the readings listed on the syllabus and should be ready to participate actively in discussions about them. Attendance records will be kept in sections and section participation will count for 20% of your final grade. Exams: There will be two exams: a midterm and a final. Both will be based on image identifications and short essays based on visual comparisons and class readings. Papers: You will also write two papers, one a visual/critical exercise (about 4 pages) and a final paper (about 8-10 pages). Grades: All assignments and exams must be completed for a passing final grade (Note: those taking the course Pass/No Pass are exempt from the final exam if their previous grade average is at least a B.) Judgment of your work will be based on an evaluation of your grasp of the material, the quality of your arguments, and the eloquence of your presentations. Proofread carefullysloppiness undermines the effectiveness of your work and will inevitably result in a less positive assessment. Accommodation: We will make every effort to accommodate students with special needs. Please let us know as soon as possible so we can make appropriate arrangements. Lateness: Late papers or failure to attend exams without a legitimate, demonstrable excuse will result in an F unless you make arrangements with us in advance or have a truly last-minute medical or family emergency. In such case, you must inform us immediately and provide an evidence. Academic Honesty: Plagiarism consists of duplicating, copying, or paraphrasing directly from a book, periodical, or website without acknowledging or documenting the author of the said material. Plagiarism includes directly copying from a text as well as taking original ideas as your own. The assignments given in this class are designed for you to present your ideas and not those of others. You must cite material from other sources with quotations and footnotes. If you are unsure about what constitutes plagiarism, please get in touch with us before the assignment is due. There is ZERO tolerance to plagiarism in any school/college/university. Plagiarism will result in an F (0) on that assignment. Cheating is neither tolerated. Any student caught cheating on an exam or paper assignment will be given an F (0) on that assignment and may be subject to disciplinary action through the University review board, which may result in suspension.

Schedule of Lectures, Readings, and Assignments UNIT I: MODERNITY AND TRADITION WEEK 1. End of Buddhist History in Mongolia Tuesday, January 17: Introduction Thursday. January 19. Required Reading: Morris Rossabi, Mongolia: From Chinggis Khan to Independence in Patricia Berger and Terese Tse Bartholomew eds., Mongolia: The Legacy of Chinggis Khan (Thames and Hudson, 1995), 25-49. Charles Bawden, Mongolia and the Mongolians: An Overview in Shirin Akiner ed., Mongolia Today (London and New York, 1991), 9-31. WEEK 2: Imperial Dynasty Ends in China Tuesday, January 24. Required Reading: Angela Zito, Signifying Emperorship: Of Portraits and Princes in Of Body and Brush: Grand Sacrifice as Text/Performance in Eighteenth-Century China (The University of Chicago Press, Chicago, London, 1997), 14-50. Chu-Tsing Li, Traditional Painting Development During the Early Twentieth-Century in Mayching Kao ed., Twentieth-Century Chinese Painting (OUP, Oxford, Hong Kong, 1988), 78108. Thursday, January 26. Required Reading: Eric J. Hobsbawm, Introduction in Eric J. Hobsbawm and Terence Tanger eds., The Invention of Tradition (CUP, 1983) Jonathan Hay, Painting and the Built Environment in Late-19th c. Shanghai, in Chinese Art: Modern Expressions, ed. Maxwell Hearn and Judith Smith (New York: The Metropolitan Museum of Art, 2001), 60101. Kuiyi Shen, Patronage and the Beginning of a Modern Art World in Late Qing Shanghai in Jason C. Kuo ed., Visual Culture in Shanghai: 1850s-1930s (Washington, DC: New Academia Publishing, 2007), 13-28. WEEK 3. NO CLASS (at UC Merced) Required Reading: Mikhail Bulgakov, The Heart of a Dog (1925) Lu Xun, A Mad Mans Diary (1918) Lu Xun, The True Story of Ah Q (1921) WEEK 4. The Quest for New Art 3

Tuesday, February 7. Required Reading: Dilip Parameshwar Gaonkar, On Alternative Modernities in Gaonkar ed., Alternative Modernities (Durham, NC : Duke University Press, 2001). Leo Ou-fan Lee Shanghai modern: reflections on urban culture in China in the 1930s Dilip Parameshwar Gaonkar ed., Alternative Modernities (Durham, NC: Duke University Press, 2001). Thursday, February 9. Required Reading: Fujiko Isono The Mongolian Revolution of 1921 in Modern Asian Studies, Vol. 10, No. 3 (1976), 375-394. Thomas Nivison Haining Between the Kremlin and the Forbidden City in Shirin Akiner ed., Mongolia Today (London and New York, 1991), 32-56. Nakami Tatsuo, Russian Diplomats and Mongol Independence, 1911-1915 in Stephen Kotkin and Bruce Al Elleman eds., Mongolia in the Twentieth-Century (M.E. Sharpe: Armonk, New York, London, 1999), 69-78. WEEK 5. Old Art and New Art? Tuesday, February 14. Required Reading: Julia Andrews, Traditional Chinese Painting in an Age of Revolution, 1911-1937 in Chinese Painting and the Twentieth-Century: Creativity in the Aftermath of Tradition (Hangzhou: Zhejiang Art Press), 579-95 Xu Beihong, "I Am Bewildered (1929)," in ed. Jo-Anne Birnie Danzker, Ken Lum, and ZHENG Shengtian, Shanghai Modern, 1919-1945 (Ostfildern-Ruit: Hatje Cantz, 2005), 373-74. Xu Zhimo, "I Am Bewildered TooA Letter to Xu Beihong (1929)," in Shanghai Modern, 37477. Thursday, February 16. Required Reading: Kuiyi Shen, The Modernist Woodcut Movement in 1930s China, in Jo-Anne Birnie Danzker, ed., Shanghai Modern 1919-1945 (Munich: Hatje Cantz, 2004), 262-95. Bulcsu Siklos, Mongolian Buddhism: a Defensive Account in Shirin Akiner ed., Mongolia Today (London and New York, 1991), 155-183. ***Paper is due in section on Friday, February, 17. WEEK 6: Impact of new media Tuesday, February 21. Required Reading: 4

 SAN Long Chin. "Composite Pictures and Chinese Art (1942)." In Jo-Anne Birnie Danzker, Ken Lum, and Zheng Shengtian, eds., Shanghai Modern, 1919-1945 (Ostfildern-Ruit: Hatje Cantz, 2005), p. 154-71. Wen-hsin Yeh, Shanghai Splendor (Berkeley: University of California Press, 2007), 1-74. Thursday, February 23. NO CLASS (CAA Conference in Los Angeles) WEEK 7: Gender and Body in art. Tuesday, February 28. Required Reading: Julia F. Andrews and Kuiyi Shen, Traditionalism as a Modern Stance: The Chinese Womens Calligraphy and Painting Society, Modern Chinese Literature and Culture 11/1 (Spring 1999): 1-30. Peter Kenez, The Cultural Revolution in Cinema in Slavic Review, Vol. 47, No. 3 (Autumn, 1988), 414-433. Thursday, March 1. Required Reading: Dorothy Ko, Jazzing into Modernity: High Heels, Platforms, and Lotus Shoes, in China Chic, 141-53. Martha Huang, A Woman Has So Many Parts to Her Body, Life is Very Hard Indeed, in Valerie Steele and John S. Major, ed., China Chic: East Meets West (New Haven and London: Yale University Press, 1999), 133-39. UNIT II. SOCIALIST ERA. WEEK 8: Emergence of Socialism Tuesday, March 6. MIDTERM EXAM. Thursday, March 8. Required Reading: Archie Brown, The Idea of Communism in The Rise and Fall of Communism (Harper Collins Publishers, 2009), 9-25. Vladimir Lenin on Proletarian art and literature, primary documents translated in C. Vaugham James, Soviet Socialist Realism: Origins and Theory (The Macmillan Press, London and Basingstoke, 1973), 103-120 Elena Boikova, Aspects of Soviet-Mongolian Relations, 1929-1939 in Stephen Kotkin and Bruce Elleman eds., Mongolia in the Twentieth-Century: Landlocked Cosmopolitan (New York/London: M.E. Sharpe, 1999), 107-1216 WEEK 9: Socialist Realism, the Style. 5

Tuesday, March 13. Required Reading: Meyer Schapiro, Style in Donald Preziosi ed., The Art of Art History: A Critical Anthology (OUP, 1998), 143-149. Ernst Gombrich, Style in Donald Preziosi ed., The Art of Art History: A Critical Anthology (OUP, 1998), 150-163. Bonnie S. McDougall, Mao Zedong's "Talks at the Yan'an Conference on Literature and Art": A Translation of the 1943 Text with Commentary, Michigan Papers in Chinese Studies, No. 39 (Ann Arbor: Center for Chinese Studies, University of Michigan, 1980), 57-86. Margaret M. Bullitt, Toward a Marxist Theory of Aesthetics: The Development of Socialist Realism in the Soviet Union in Russian Review, Vol. 35, No. 1 (Jan., 1976), 53-76. Thursday, March 15. Required Reading: Christina Lodder, Art of the Commune: Politics and Art in Soviet Journals, 1917-20 in Art Journal, Vol. 52, No. 1, (Spring, 1993), 24-33. Ale Erjavec Socialism and Socialist Culture and National Culture in Ale Erjavec ed., Postmodernism and the Post socialist Condition (University of California Press), 8-17. WEEK 10: Art and censorship Tuesday, March 20. Required Reading: Bruce A. Elleman, The Final Consolidation of the USSRs Sphere of Interest in Outer Mongolia in Stephen Kotkin and Bruce Al Elleman eds., Mongolia in the Twentith-Century (M.E. Sharpe: Armonk, New York, London, 1999), 123-137. Christopher Atwood Sino-Soviet Diplomacy and the Second Partition of Mongolia, 19451946 in Stephen Kotkin and Bruce Al Elleman eds., Mongolia in the Twentieth-Century (M.E. Sharpe: Armonk, New York, London, 1999), 137-163. Thursday, March 22. Required Reading: Wolfgang Holz Allegory and Iconography in Socialist Realist painting in Matthew Bown and Brandon Taylor eds., Art of the Soviets: Painting, Sculpture and architecture in a one-party state, 1917-1992 (Manchester UP), 73-85. Evgeny Dobrenko, The Pretrified Utopia: Time, Space and Paroxysms of Style in Socialist Realism in Nina Kolesnikoff and Walter Smyrniw eds., Socialist Realism Revisited (McMaster University, Hamilton, Ontario, Canada, 1994), 13-29. WEEK 11: March 27-30: SPRING BREAK! Week 12. Cultural Revolution and Totalitarianism. Tuesday, April 3. Required Reading: Aleksandr Kamenski Art in the Twilight of Totalitarianism in Matthew Bown and Brandon 6

Taylor eds., Art of the Soviets: Painting, Sculpture and architecture in a one-party state, 19171992 (Manchester UP), 154-160. Zheng Shengtian. "Brushes are Weapons: Art Schools and Artists During the Cultural Revolution." Yishu: Journal of Contemporary Chinese Art 1, 2 (Fall 2002): 61-65.

Thursday, April 5. Required Reading: Geremie Barm, The Irresistible Fall and Rise of Chairman Mao, in Shades of Mao: The Posthumous Cult of the Great Leader (Armonk, NY: M.E. Sharpe, 1996), 3-54. Orville Schell, Chairman Mao as Pop Art, in The Mandate of Heaven (NY: Simon and Schuster, 1994), 279-92. UNIT III. POST-SOCIALIST ERA. WEEK 13: The Later Days of Socialism and the Grand Fiasco. Tuesday, April 10. Required Reading: Susan Reid, The Art of Memory: Retrospectivism in Soviet painting of the Brezhnev era in Matthew Bown and Brandon Taylor eds., Art of the Soviets: Painting, Sculpture and architecture in a one-party state, 1917-1992 (Manchester UP), 161-187. Robert Rupen, The Age of Tsedenbal in How Mongolia is Really Ruled: a Political History of the Mongolian Peoples Republic, 1900-1978 (Hoover Institution Press, Stanford, 1979), 73130 Aleksandr Borofski. Non-conformist art in Leningrad in Matthew Bown and Brandon Taylor eds., Art of the Soviets: Painting, Sculpture and architecture in a one-party state, 1917-1992 (Manchester UP), 196-204. Thursday, April 12. Required Reading: Sarah E. Fraser, Antiquarianism or Primitivism? The Edge of History in the Modern Chinese Imagination, in Wu Hung, ed., Reinventing the Past: Antiquarianism in East Asian Art and Visual Culture (Chicago: Center for the Art of East Asia, Dept. of Art History, University of Chicago: Art Media Resources, 2010). J. Boldbaatar, The 800th Anniversary of Chinggis Khan: The Revival and Suppression of Mongolian National Consciousness in Stephen Kotkin and Bruce Al Elleman eds., Mongolia in the Twentieth-Century (M.E. Sharpe: Armonk, New York, London, 1999), 237-246. Wu Hung, Tiananmen Square: A Political History of Monuments, Representations 35 (Summer 1991): 84-117. WEEK 14: Post-Socialist milieu Tuesday, April 17. Guest Lecture. Yueni Zhong: Cai Guo Qiang Required Reading: 7

 Britta Erickson, Cai Guo-Qiang Takes the Rent Collection Courtyard from Cultural Revolution Model Sculpture to Winner of the 48th Venice Biennale International Award. In John Clark, ed., Chinese Art at the End of the Millennium, pp. 18489. Gao Minglu, Toward a Transnational Modernity: An Overview of Inside Out: New Chinese Art (Berkeley: UC Press, 1999), 15-40. Thursday, April 19. Required Reading: Kitty Zijlmans, The Discourse on Contemporary Art and the Globalization of the Art System in Kitty Zijlmans and Wilfred Van Damme eds., World Art Studies: Exploring Concepts and Approaches (Valiz, Amsterdam, 2009), 135-150. WEEK 15: Contemporary art. Tuesday, April 24: Required Reading: Wu Hung, A Case of Being Contemporary: Conditions, Spheres, and Narratives of Contemporary Chinese Art, Making History: Wu Hung on Contemporary Chinese Art (Hong Kong: Timezone 8, 2008), 11-28. Stanley K. Abe, ""Reading the Sky," in Wen-hsin Yeh, ed., Cross-Cultural Readings of Chineseness: Narratives, Images, and Interpretations of the 1990s (Berkeley: Center for Chinese Studies, 2000), 53-79. Patricia Berger, "Pun Intended: A Response to Stanley Abe," in Wen-hsin Yeh, ed., CrossCultural Readings of Chineseness, 80-99. Thursday, April 26. Required Reading: John Clark Modernities in Art: How Are They Other? in Kitty Zijlmans and Wilfred Van Damme eds., World Art Studies: Exploring Concepts and Approaches (Valiz, Amsterdam, 2009), 401-418. Wu Hung, Contemporary Asian Art as Global Art: A Diachronic Approach, Making History: Wu Hung on Contemporary Chinese Art, 249-255. Ian Finley in Asian Art News WEEK 16: RRR Additional Office Hours and Consultation for the final exam. Final Research Paper Due: Friday, April 27, 2012. Final Exam: May 11, 2012, 7-10pm.