Stage 6 Syllabus Support Document

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Stage 6 Syllabus Support Document

    Visual Arts Stage 6 Annotated Bibliography

    Stage 6 Visual Arts Support Document Annotated Bibliography

This Annotated Bibliography complements the Visual Arts Stage 6 Support

    Document and provides references and resources which are currently available to

    assist teachers in the implementation of the new Stage 6 Visual Arts Syllabus

    (1999). Many of these will be familiar to teachers. The focus is on references and

    resources for teacher use.

Existing resources held in school and professional collections are all useful and

    relevant to implementing the new syllabus. Teachers will have preferences for

    authors and titles they have used to plan and teach students with differing interests,

    needs and abilities. This compendium of references provides further suggestions to

    assist with implementing the new syllabus.

A large number of recent publications group an anthology of contributors to present

    a range of perspectives on concepts and issues in the visual arts. These

    publications are more flexible and useful than expensive survey-style texts.

Anthologies and collections of writings are useful in the classroom as they enable

    students to emulate research skills and peruse a range of explanatory examples

    within a single publication.

This bibliography is arranged under headings derived from the syllabus content.

    However, some categories such as the agencies in the conceptual framework,

    particularly the category world, are difficult to isolate and can be found contextually

    in most of the publications listed. Likewise, frames and practice are not confined to

    those works grouped under these headings. Teachers are encouraged to follow

    their interests in this regard.

Internet and website references are correct at the time of compilation but, due to

    the changing character of this resource, it is wise to use a range of search engines

    when browsing and to bookmark useful sites once visited.



    Architecture Australia

    Architectural Design

    Art and Australia

    Art in America

    Art Forum

    Art Link

    Art Monthly Australia

    Artonview (quarterly journal of the National Gallery of Australia)

    Art Asia and the Pacific


    Graphis Annual


    Visual Arts Stage 6 Annotated Bibliography

    Look (newsletter from the Art Gallery of NSW) National Gallery News

    Object (quarterly journal of the Crafts Council of NSW)

    Sight and Sound

    World Art

Internet Sites

    ? All large museums, galleries and universities have websites which can be accessed through a range of search engines. ? The following are a representative sample of Internet sources. URLs are rapidly changing, so checking updates and bookmarking useful sites is essential.

Educational Network Australia

    Australian, homepage, good search engine and subdirectory structure including publications, institutions and discussions.

Art Gallery of New South Wales


    State of the Arts visual arts in NSW, exhibition information and links.

National Library of Australia home page

The Art History Research Centre

    Good links and search engine accesses a range of art historical references and material.

Art history links site

    Another comprehensive search site with hotlinks to other resources.

Art Libraries of North America


    Provides access to a range of art library resources; is searchable using names, keywords, subjects and combined descriptors; useful for identifying bibliographic sources, giving biographical information on individual historians, together with a short bibliography of their works.

    The Getty Research Institute for the History of Art and the Humanities

    Includes access to large indexes such as BHA and RILA. The Getty also has a museum homepage and an art education site. Searching can be frustrating at times due to slowness in downloading files.


    Visual Arts Stage 6 Annotated Bibliography

General References

Jane Turner, (ed), The Dictionary of Art, New York: Grove, 1996. ISBN


    34 volumes of the most comprehensive and up-to-date historical and critical

    information, well worth a browse. The cost of this resource is beyond the scope of

    schools but it is widely available in State, regional and university libraries and is a

    contemporary standard reference work.

    Michael Greenhalgh and Paul Duro, Essential Art History. London: Bloomsbury,

    1992. ISBN 0747512760

    A dictionary-style publication which incorporates a succinct introduction to art

    historical concepts and a review of the literature of the discipline of art history. The

    remainder of the text is organised alphabetically with brief explanations of entries,

    many of which include references for further research. It is an excellent, portable

    class reference book that will suit students of all levels and encourage the

    development of research skills.

    James Hall, A History of Ideas and Images in Italian Art. London: John Murray,

    1983. ISBN 0719555558

    James Hall, Dictionary of Subjects and Symbols in Art. London: John Murray, 1979.

    ISBN 0719541476

    References to symbols, signs and iconography in subject matter are the core of

    structural and cultural accounts. James Hall’s works are a standard reference in

    this area.

Harold Osborne, Dennis Farr, and Ian Chilvers, (eds), Oxford Dictionary of Art.

    Oxford: Oxford University Press, 1997. ISBN 0198600844

    Harold Osborne, (ed), Oxford Companion to Twentieth Century Art. Oxford: Oxford

    University Press, 1981. ISBN 0198661193

    A number of general and specialist encyclopedias and dictionaries of art and

    architecture are available. Oxford is a standard and reliable example of this genre

    of referencing and is available in paperback.

    Anabel Thomas, Illustrated Dictionary of Narrative Painting. London: John Murray

    and the National Gallery, London, 1994. ISBN 0719552907

    Similar in intent to works by Hall but concentrating on Western artworks that ‘tell a story’.

Artmaking Practice: Conceptual Framework Artist/Audiences/Artworks/World

Peter Dormer, The Art of the Maker: Skill and Its Meaning in Art, Craft and Design.

    London: Thames and Hudson, 1994. ISBN 0500277788

    The classic account of the process and concepts of making art. Dormer questions

    notions of skill, creativity and inspiration in an account that details the notion of the

    naïve or novice maker, the master and the ‘craftsman’. A good reference for the

    development of artmaking case study structures, exemplifying the role and qualities

    of the artist and artwork.


    Visual Arts Stage 6 Annotated Bibliography Susan Woodford, Looking at Pictures. Cambridge: Cambridge University Press,

    1983. ISBN 0521286476

    An introductory text which looks at the subject matter of artworks and explores the

    process of analysing and understanding paintings.

    Michael Baxandall, Painting and Experience in Fifteenth Century Italy: a primer on

    the social history of pictorial style, Oxford: Oxford University Press, 1988.

    ISBN 019282144 (pbk)

    A groundbreaking work which immerses the reader in the world of the fifteenth

    century artist and audience. Can be challenging for students but is insightful in its

    revision of conventional wisdom regarding the Italian Renaissance.

Robert L Herbert, (ed), Modern Artists on Art: Ten Unabridged Essays. Englewood

    Cliffs: PrenticeHall, 1964.

    An older publication offering contributions from a range of artists working within

    traditions of Modernity and explaining aspects of their practice and of the Modern

    movement. Each essay is contextualised in a brief introduction. Contributions from

    Albert Gleizes and Jean Metzinger (Cubism), Wassily Kandinsky, Umberto Boccioni,

    architect Le Corbusier and painter Amadée Ozenfant, Paul Klee, Kasimir Malevich

    (Suprematism), Naum Gabo (Constructivism), Piet Mondrian, Max Beckmann, and

    Henry Moore. Useful as a primary source for investigations of artists and artmaking

    practices construed through Modern styles and movements.

Jeanne Siegel, ArtWords: Discourse on the 60s and 70s. Ann Arbor, Michigan: UMI

    Research Press, 1985. ISBN 0835716260

    Interview-style format ranging across the major contributors to avant-garde

    movements of the sixties and seventies including Ad Reinhardt, Adolph Gottlieb,

    Louise Nevelson, Carl Andre, George Segal and Allan Kaprow, Robert

    Rauschenberg and fellow Pop artists including Roy Lichtenstein. The author is an

    art critic whose interview approach exemplifies aspects of the practice of criticism.

Donald Kuspit, The Cult of the Avant-Garde Artist. Cambridge: Cambridge

    University Press, 1993. ISBN 0521413451

    Examination of the philosophical, psychological and aesthetic premises of the

    avant-garde and its evolution in the twentieth century. Kuspit engages his critique of

    modernism with a speculation regarding the emergence of the postmodern. Useful

    in a number of contexts including the shape and differentiation of the structural and

    postmodern frames, the cultural idea of the artist as an avant-garde and a

    reinterpretation of modern art history.

Artmaking Practice/Conceptual Framework: The Artist

? Many monograph publications are devoted to the work of single artists, as is the

    solo exhibition and the retrospective. Any number of publications dealing with

    historical and contemporary artists are useful references for preliminary

    investigations and case studies.


    Visual Arts Stage 6 Annotated Bibliography

? The solo exhibition and the retrospective exhibition provide opportunities for first-

    hand experience of the evolving practice of the artist and make comparisons of

    works possible. The catalogues which accompany such events further inform

    and extend the experience.

? The practice of artmaking may also be investigated through publications and

    exhibitions which explore particular subject matter such as landscape, still life,

    portraiture and genres of images and objects, the figure, the history painting or

    particular kinds of media (eg printmaking or photography).

    ? Individual artists are neither the central component in either innovation or

    traditions nor in the explanation of these phenomena; rather, artists form

    allegiances in formal or informal groups which can be investigated as

    movements, styles, periods. The notion of a practice is often best identified

    through a collective tradition such as Cubism, Pop Art, Fluxus, or Magic Realism.

Emma Barker, Nick Webb and Kim Woods, (eds), The Changing Status of the

    Artist, New Haven: Yale University Press, 1999. ISBN 0300077424

    An Open University text which includes activities for discussion and review. Deals

    with the rising status of artists from the fourteenth through the eighteenth centuries

    in a range of European contexts. Includes case studies of individuals such as

    Lorenzetti, Cellini, Dürer, Vermeer and Breughel. Also examines concepts such as

    genius, subject matter, patronage and styles.

Svetlana Alpers, The Making of Rubens, New Haven: Yale University Press, 1995.

    ISBN 0300060106

    Alpers’s work on Northern European styles and movements combines cultural,

    structural and feminist perspectives. This accessible monograph examines

    Rubens’s artmaking and the making of his reputation. His subject matter,

    studio/workshop practices and audiences are explored. This is an exemplary case

    study of an individual artist’s practice, both historically situated and critically


Svetlana Alpers, work, Rembrandt’s Enterprise: The Studio and the Market,

    Chicago: The University of Chicago Press, 1988.

    A revisionist account of the work of Rembrandt, which looks at his art practice as a

    commercial enterprise; she examines the notion of a house style, the creation of

    the genre of the artist self-portrait which Rembrandt perfected and the relationship

    between artist, artwork and audience.

Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century,

    London: Penguin Books 1989. ISBN 0140228616

    This account redefines the historical position of Dutch art by adopting a cultural and

    structural stance and reassessing this descriptive style against the dominance of

    the narrative Italian Renaissance and Baroque art. This is a subtle and

    sophisticated account which embodies Baxandallian ideas and is informed by

    feminist methods.

    Jonathan Feinberg, Art Since 1945: Strategies of Being, Laurence King, 1994.


    Visual Arts Stage 6 Annotated Bibliography

    Writing about Art Criticism and Art History

     rdMarcia Pointon, History of Art: A Student’s Handbook, 3 edition, London:

    Routledge, 1994. ISBN 0415090369

    A succinct guide to the methods and orientations of contemporary art history.

    Frequently revised, and oriented towards to senior secondary and first year

    university students. Uses the UK syllabus but is very useful in explaining the

    process of historical writing and the language of historical practice. Includes

    bibliographical references and index.

     thSylvan Barnet, A Short Guide to Writing About Art, 5 edition, New York: Longman,


    ISBN 0673524876

    A short and accessibly written guide to the task of writing which is relevant to art

    historical and art critical kinds of explanation. Useful self-directed guide for students.

The Practice of Art Criticism and Art History

Stephen Bann and William Allen, (eds), Interpreting Contemporary Art. London:

    Reaktion Books, 1991. ISBN 0948462140

    The editors, an art historian and an art critic, present a range of contributors who

    interpret a chosen painting, sculpture, photograph or installation. The methods and

    practices of contemporary critics are exemplified in the essays.

Terry Barrett, Criticizing Art: Understanding the Contemporary, Mountain View,

    California: Mayfield, 1994. ISBN 1559341475

    A guide to the practice of art criticism oriented towards the school experience.

    Gives useful exemplars and student-oriented examples.

Terry Barrett, ‘Description in Professional Art Criticism,’ Studies in Art Education

    1991, 32:2 83-93.

    A journal article of interest to teachers who wish to focus on criticism as a learning


Michael Baxandall, Patterns of Intention: On the Historical Explanation of Pictures,

    New Haven: Yale University Press, 1985. ISBN 0300037635

    A classic explanation of the historical and critical processes of explaining cultural

    materials which has an accessible introduction followed by a series of exemplary

    case studies investigating individual artworks from a range of periods. Uses the

    components of a conceptual framework to investigate selected material


    John Berger, Ways of Seeing, Banbury: Art and Language Press, 1978. ISBN


    A classic critical text from a culturally oriented British Marxist critic. Together with

    the accompanying four video (1974) set, this remains a relevant resource.


    Visual Arts Stage 6 Annotated Bibliography

David Carrier, Artwriting, Amherst: University of Massachusetts Press, 1987. ISBN


    An analysis of the processes and principles of art critical writing. Good reference to

    the history and contemporary practice of art criticism.

    David Carrier, Principles of Art History Writing, University Park: The Pennsylvania

    State University Press, 1991. ISBN 0271007117

    An accessible contemporary analysis of the art historical enterprise considers the

    (agents of the artworld artist, artwork, spectator and world) and engages in

    investigation of models of interpretation (frames).

Mark A Cheetham, Michael Ann Holly and Keith Moxey, (eds) The Subjects of Art

    History: Historical Objects in Contemporary Perspective, Cambridge:

    Cambridge University Press, 1998. ISBN 0521455723. Hardback:


    An introduction to the historiography and theory of the history of art. Each essay

    demonstrates how a theoretical approach can be applied to the understanding of

    specific artworks.

    Malcolm Gee, Art Criticism Since 1900, Manchester: Manchester University Press,

    1993. ISBN 0719037840

Robert Hughes, Nothing If Not Critical: Selected Essays on Art and Artists, London:

    Collins Harvill, 1990. ISBN 0002720752

    An anthology of critical writings from TIME magazine’s senior art critic, useful to

    exemplify accessible critical writing, as a source of information for case studies and

    as an instance of a contemporary art critic’s practice.

    Thomas McEvilley & G Roger Denson, Capacity: History, the World and the Self in

    Contemporary Art and Criticism. Amsterdam: Netherlands: G+B Arts, 1996.

    ISBN 9057010518

    A complex collection of critical essays by McEvilley with interpretive commentary by

    Denson. A hard read, but a worthwhile one, of a theoretically informed critic who

    combines cultural, structural and postmodern approaches with the subjective

    perspective of the critic.

Robert Nelson and Richard Shiff, (eds) Critical Terms for Art History. Chicago:

    University of Chicago Press, 1996. ISBN 0226571645

    A great resource, useful for the committed student and essential for teachers. Uses

    essay formats and eminent contributors to explore and define contested terms in

    contemporary art history practice.

John O’Brian, (ed), Clement Greenberg, The Collected Essays and Criticism, 4

    volumes.Chicago: University of Chicago Press, 1986-1995. ISBN/ISSN

    0226306240 (v4:pbk), 0226306208(v4)


    Visual Arts Stage 6 Annotated Bibliography

The classic modernist critic, anthologies of whose work constitute a resource for

    modernist North American criticism, and also for mid-twentieth century art

    movements and trends.

Mark Roskill, The Interpretation of Pictures. Amherst: University of Massachusetts

    Press, 1989. ISBN 087023661X

    An illuminating examination of the interpretive and explanatory qualities of art

    historical practice. Looks at semiotics in a discussion of the rhetorical and textual

    process of interpretation, perception and subjective responses to art and the

    revisionist qualities of art historical writing.

Leo Steinberg, Other Criteria: Confrontations with Twentieth Century Art. London:

    Oxford University Press, 1975. ISBN 019501846X

    Leo Steinberg is interesting as he is an art historian who also writes criticism. This

    collection assembles a range of his essays from the seventies. It deals with art

    works and movements that challenge the notion of art and thus also challenge

    aesthetic criteria for determining excellence. Essays include reference to Picasso,

    Pollock, de Kooning, Johns and artworld issues.


? Historians and critics tend to use the frames and investigative methodologies to

    construct explanations of cultural material, historical events, styles and genres of


    ? The following books are representative of both current practices and concerns

    and include exemplars of a range of kinds of interpretation.

Rudolf Arnheim, Art and Visual Perception: a psychology of the creative eye.

    Berkeley: University of California Press, 1974. ISBN/ISSN 0520026136 (pbk),


    Arnheim’s explanatory program throughout his many publications has been an

    exploration of the psychology of perception which may be interpreted as a

    subjective and structural enterprise. This is a classic example of these explanatory


Norman Bryson, Looking at the Overlooked: Four Essays on Still Life Painting,

    London: Reaktion Books, 1990. ISBN 0948462078

Norman Bryson: Vision and Painting: The Logic of the Gaze. New Haven: Yale

    University Press, 1983. ISBN 0300028555

    Two exemplary instances of a structural (semiotic) interpretive approach to the

    explanation of visual material.

    Keith Moxey, The Practice of Theory: Poststructuralism, Cultural Politics and Art

    History. Ithaca: Cornell University Press, 1994. ISBN 0801481538 An analysis and application of poststructural, semiotic and deconstructive methods

    to art historical explanation. Analyses politics of interpretation and assesses the

    cultural importance of history. A sophisticated application of the postmodern to the

    contemporary practice of art history.


    Visual Arts Stage 6 Annotated Bibliography

    Norman Bryson, Michael Ann Holly & Keith Moxey, (eds), Visual Theory: Painting

    and Interpretation. Polity (in association with Blackwell), 1991. ISBN

    0745606681(pbk), 0745606334

Norman Bryson, Michael Ann Holly & Keith Moxey, (eds), Visual Culture: Images

    and Interpretations. Hanover: Wesleyan University Press, 1991. ISBN


    Anthology includes contributions by Griselda Pollock, Lisa Tickner, John Tagg,

    Thomas Crow, and Mieke Bal, together with essays by the editors concerning the

    fields of visual theory and art history. A variety of interpretive frames are

    represented and applied to cultural debates.

Stephen Melville and Bill Readings, (eds), Vision and Textuality. Basingstoke:

    Macmillan, 1995.ISBN 0333609700

    Organised into five parts with contributions from the editors and Griselda Pollock,

    John Tagg, Michael Ann Holly, Mieke Bal, Norman Bryson, Hal Foster, Thomas

    Crow, Rosalind Krauss, Martin Jay and Victor Burgin. Deals with current debates

    about the practice of art history and the revisionist approach taken by contemporary

    art historians, literary theorists, aestheticians and art theorists. The writing and

    theoretical ideas are demanding but insightful and represent a good introduction to

    the intersection of ideas from literary theory with traditions in the visual arts and art

    history. An excellent survey of contemporary interpretive concerns and artwriting


John Tagg, Grounds of Dispute: Art History, Cultural Politics and the Discursive

    Field. Basingstoke: Macmillan, 1992. ISBN 0333557409

    Tagg belongs to the movement known as New Art History which arose in the early

    eighties in opposition to traditional art historical conventions. This book brings

    together a collection of his historical and critical essays articulating cultural,

    postmodern and structural (semiotic) interpretations of issues in the visual arts.

    Berel Lang, (ed), The Concept of Style. Revised edn. Ithaca: Cornell University

    Press, 1987. ISBN 0801494397

    Style and semiotics are integral to the structural view of interpretation and this

    collection of essays is a classic exploration of that frame of meaning. Contributors

    include leading historians, critics and philosophers of art including Kendall Walton,

    Albert Hofstader, Svetlana Alpers, George Kubler, Richard Wollheim, Monroe

    Beardsley and Hayden White. The Appendix by Lang —‘A Checklist of Questions

    About Style’— is particularly useful.

Donald Kuspit, Signs of Psyche in Modern and Postmodern Art. Cambridge:

    Cambridge University Press, 1993. ISBN 0521446112

    Analyses how psychoanalysis can be used to understand art and culture. Kuspit

    argues that modern art affirms subjectivity and postmodern art is unable to escape

    it. The content and methods embrace the subjective, cultural and postmodern

    frames of meaning.


    Visual Arts Stage 6 Annotated Bibliography

Salim Kemal and Ivan Gaskell, (eds), Explanation and Value in the Arts, Cambridge:

    Cambridge University Press, 1993. ISBN 0521419263

    Includes essays by Michael Podro, Svetlana Alpers, Mark Roskill and Pierre

    Bourdieu among other contributors. Essays deal with fiction and reality in painting,

    film and ideology, contemporary art history and other topics.

Salim Kemal and Ivan Gaskell, (eds), The Language of Art History. Cambridge:

    Cambridge University Press, 1991. ISBN 0521445981

    Includes essays by Michael Baxandall, Hean Franscois Lyotard, Richard Shiff,

    Richard Wollheim and others, canvasses contemporary concepts and critical issues

    in artwriting.

    Norma Broude and Mary D Garrard, (eds), The Expanding Discourse: Feminism

    and Art History, New York: Harper and Row, 1992. ISBN 0064302075

    Norma Broude and Mary D Garrard, (eds), Feminism and Art History, Questioning

    the Litany. New York: Harper and Rowe, 1982. ISBN 00643011176

    In these two volumes, a range of feminist artwriters use case studies to interrogate

    feminist concepts. The contributors use a variety of explanatory frames in their

    investigations, especially cultural and structural perspectives.

Michael Ann Holly, Past Looking: Historical Imagination and the Rhetoric of the

    Image. Ithaca, Cornell University Press, 1996. ISBN 080143209X

    Holly takes a poststructural approach to the art historian’s task of explaining works

    of art. Uses Lacan and other interpretive theorists to analyse the explanatory

    strategies of decoding works of art. A great reference for teachers and appropriate

    for advanced students.

Donald Preziosi, (ed), The Art of Art History: A Critical Anthology. Oxford: Oxford

    University Press, 1998. ISBN 0192842420

    An anthology oriented around classic topics and debates in art writing including

    style, iconography, modernity, gender, deconstruction and museums. Uses classic

    contributors including Wölfflin, Shapiro, Panofsky, Gombrich, Winckelmann,

    together with contemporary representatives including David Summers, Baxandall,

    Bal and Bryson, Mary Kelly and Stephen Melville. Includes intelligent commentary

    by Preziosi throughout.

    Vernon Hyde Minor, Art History’s History. Englewood Cliffs: Prentice Hall, 1994.

    ISBN 0131946064

    A small work which provides an accessible overview of the historiography of art

    historical methods, it covers material relevant to frames and the conceptual

    framework. Information includes contemporary interests such as decontruction and


Steve Edwards, (ed), Art and Its Histories: A Reader. New Haven: Yale University

    Press, 1999. ISBN 03000077440


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