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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 379"
COURSE NAME: "Issues and Trends in Contemporary Art"
SEMESTER & YEAR: Fall 2018
SYLLABUS

INSTRUCTOR: Ilaria Gianni
EMAIL: [email protected]
HOURS: MW 10:00-11:15 AM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: One previous course in Art History or permission of the instructor.
OFFICE HOURS:

COURSE DESCRIPTION:
This course focuses on the major artistic movements since 1960, in Italy and internationally. It provides direct experience of contemporary art through lectures and field trips, and may include guest lectures by critics and other art professionals. It is taught with a firm emphasis on professional curatorial and editing work, and on practical learning opportunities.
SUMMARY OF COURSE CONTENT:
The course will offer an overview on the past 50 years and will introduce to the contemporary art scene, by treating the prominent art movements (Abstract Expressionism, Pop Art, Fluxus, Arte Povera, Minimalism, Conceptual Art, Transavanguardia,YBA, Video Art).
Classes will investigate tendencies and interests dealt with in recent artistic practice, more specifically the course will address the use of performance and theatricality as an artistic device. 
Performance Art will be analyzed in its historical context and in its present use. We will focus on Performance Art’s connection to theater, cinema, and reflect on the way the audience relates to the direct experience offered by a live artwork, by its ‘here and now’. Why did artists decide to use live action as a means of expression? What traces does performance leave? What is the importance of being witness of a performance? How is it conveyed to future records? Where does it position itself in art history? What do Performance Art and Theatre have in common? The course will thus reflect historically and theoretically on performance as part of a contemporary art vocabulary, while reflecting on present systems of beliefs and ideals.
A part of the course will also focus on current methods of critical theory, research and practice, in the form of magazine reviews, essays on contemporary art, documentary films.
LEARNING OUTCOMES:

Students will learn how to experience contemporary art, how to read an artwork, how to relate with present art practices and how to interpret the relationship between cultural productions and social identities. 

Students will also learn how to write a review on a show, how to analyze a single artwork,  how to interview an artist, how to relate cultural theory through art practice.




TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Art Since 1900: Modernism, Antimodernism, Postmodernism,Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin BuchlohNew York, NY: Thames & Hudson0-500-23818-9  
Art Since 1960Michael ArcherThames & Hudson0-7148-3388-6  
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Theories and Documents of Contemporary Art: A Sourcebook of Artists’ WritingsKristine StilesUniversity of California Press978-0520257184  
After Modern Art, 1945-2000David HopkinsOxford University Press0-19-284234  
Book Title Conceptual ArtTony GodfreyPhaidon Press0-7148-3388-6  
Live Art Since the '60sRoselee GoldbergThames & Hudson0500282196.  
Land ArtBen TufnellTate Publishing1854376047  
The Story of YBAGregor Muir, Lucky Kunst,Aurum Press Ltd978-1845133900  

RECOMMENDED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Art and the Moving Image: A Critical ReaderTanya LeightonTate Publishing185437625X  
Critical terms for art historyRobert S. Nelson and Richard ShiffUniversity of Chicago Press0226571645  
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Attendance and participationParticipation in class discussions: involvement in class and readings 15%
Mid-term examsSlide identification and a short written critical analysis of a particular movement studied during the course20%
Final examSlide identification and a written critical analysis of a particular movement studied during the course35%
Reviews / Short Essays500 word short essays on a work of art analyzed in class30%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

Schedule *

AH 379 – Issues and Trends in Contemporary Art
Fall 2018

 

 

Monday, September 3

Introduction to the course

What is contemporary art?
Who is the contemporary artist?

--------------------

Wednesday, September 5

The 1950s
Abstract Impressionism: Action Painting & Color Field

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- Abstract Expressionism – p. 348-354

- Pollock – p. 355 – 359

----------------------

Monday, September 10

The 1950s
Pop Art
 

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- The Independent Group – p. 385-390

- John and Stella – p. 404-410

- American Pop Art – p. 445-449

----------------------

Wednesday, September 12

The 1950s
Pop Art
 

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- The Independent Group – p. 385-390

- John and Stella – p. 404-410

- American Pop Art – p. 445-449

----------------------

Monday, September 17

The 1960s
Pop Art

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- Oldenburg and Happenings – p. 450-455

- Warhol – p. 486-491

----------------------

Wednesday, September 19

The 1960s
Andy Warhol's cinema

Reading:

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 11-25 (end of first paragraph on page 25)

----------------

Monday, September 24

The 1950s – 1960s
Nouveau Realisme – Kinetic Art – Op Art

Reading:

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 25 (beginning of second paragraph ) – 33 (end of second paragraph)

----------------------

Wednesday, September 26

The 1960s – 1970s
Minimal Art

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- Judd, Morris, and Minimalism – p. 492-495

- Andre, Flavin, Lewitt – p. 470 - 474

 

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 43 (second paragraph) - 59

----------------------

Monday, October 1

The 1960s – 1970s
Land Art

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- Smithson and Entropy – p. 505-508

- Site Specific Art – p. 540 - 544

 

From: Ben Tufnell, Land Art, London: Tate Publishing, 2007

- Introduction – The New Landscape Art – p. 6-19

- Simple, Practical, Emotional. Quiet, Vigorous. The Art of Richard Long – p. 20-32

 

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 88 (beginning of second paragraph – 96 (end of first paragraph)

-------------------------

Wednesday, October 3

The 1960s – 1970s
Arte Povera

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- Arte Povera – p. 509-514

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 84 (beginning of second paragraph) – 88 (end of first paragraph)

----------------------

Monday, October 8

The 1960s – 1970s
Conceptual Art

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- Conceptual Art – p. 527 – 539

- Postminimalism and Process – p- 534-537

- Marcel Broodthaers – p. 534-537

- Documenta 5 – p. 555-558

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 61-84 (end of first paragraph)

 ---------------------

Wednesday, October 10

Mid term exams

 *** 1st REVIEW DUE ***

----------------------

Monday, October 15

The 1950s – 1970s
Performance Art: Gutai, Fluxus and Viennese Actionism 

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- Gutai – p. 373-378

- Fluxus – p. 456-463

- Viennese Actionism – p. 464-469

- Beuys – p. 480-485

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 100 (beginning of second paragraph - 108

-------------------------

Wednesday, October 17

The 1950s – 1970s
Performance Art

Reading:

From: RoseLee Goldberg, Performance Art, New York, NY: Thames & Hudson, 2001

p. 128 – 132

p 144 – 171

----------------------

Monday, October 22

Performance Art – 1970s – 1990s

Reading: 

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- American Performance Art – p. 565-569

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 100 (beginning of the last paragraph) – 108

From: RoseLee Goldberg, Performance Art, New York, NY: Thames & Hudson, 2001

- p. 128 – 132

- p 144 – 171

----------------------

Wednesday, October 24

Performance Art – 1970s – 1990s

Reading: 

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- American Performance Art – p. 565-569

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 100 (beginning of the last paragraph) – 108

From: RoseLee Goldberg, Performance Art, New York, NY: Thames & Hudson, 2001

- p. 128 – 132

- p 144 – 171

 
--------------------

Monday, October 29

 

Performance Art

Guest Lecture: to be confirmed 

----------------------

Wednesday, October 31


Performance Art

Guest Lecture: to be confirmed 

------------------

Monday, November, 5

The 1980s
Return to Painting: Transavanguardia / Neo-Expressionists / Graffiti 

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- Richter and Kiefer – p. 612- 616

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 143 – 152 (end of second paragraph)

----------------------

Wednesday, November 7

The 1980s
Return to Painting: Transavanguardia / Neo-Expressionists / Graffiti 

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- Richter and Kiefer – p. 612- 616

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 143 – 152 (end of second paragraph)

*** 2nd REVIEW DUE ***
----------------------

Monday, November 12

The 1980s
Photography: staged and straight

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- Richter and Kiefer – p. 612- 616

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 143 – 152 (end of second paragraph)

-----------------------

Wednesday, November 14

The YBA Generation and Video Art

 Reading:

From; Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson 

- Postminimalism revisted – p. 635-638 

From: Gregor Muir, Lucky Kunst, The Story of YBA, London: Aurum Press Ltd, 2009 

- Year Zero: Birth of the White Cube – p. 17-25

- Building One: A Career Decision – p. 25-34

- Founder Members: Hirst, Joplin and Saatchi – p. 35-42

- Icons: The Shock of the New – p. 43-47

- Penetration: The Emerging Scene – p. 49-56

- Closing Down: Recession – p. 59-71

- White Cube – p. 73-77

- Champagne Supernova: New Labour, Cool Britannia and Sensation – p. 195-205

 

------------------------

Monday, November 19

The YBA Generation and Video Art

 Reading:

From; Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson 

- Postminimalism revisted – p. 635-638 

From: Gregor Muir, Lucky Kunst, The Story of YBA, London: Aurum Press Ltd, 2009 

- Year Zero: Birth of the White Cube – p. 17-25

- Building One: A Career Decision – p. 25-34

- Founder Members: Hirst, Joplin and Saatchi – p. 35-42

- Icons: The Shock of the New – p. 43-47

- Penetration: The Emerging Scene – p. 49-56

- Closing Down: Recession – p. 59-71

- White Cube – p. 73-77

- Champagne Supernova: New Labour, Cool Britannia and Sensation – p. 195-205

 

----------------------

Wednesday, November 21

The 1990s
Video Art
Focus on: Bill Viola / William Kentridge 

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson 

- The resurgence of drawing – p. 650- 653

From: Sylvia Martin, Uta Grosenick (edited by), Video Art, London: Taschen, 2006.

Pages tbc

Watching:

*Bill Viola, The Reflecting Pool (1979)
http://www.youtube.com/watch?v=D_urrt8X0l8&feature=related

*Bill Viola, The Greeting (1995)
http://www.youtube.com/watch?v=Dg0IyGUVXaQ 

*Bill Viola, The Lovers (2005)
http://www.youtube.com/watch?v=SfnqQmmttxE&feature=related

*William Kentridge, Johannesburg (1989)
http://www.youtube.com/watch?v=CXxCknnNPOI&feature=fvst

*William Kentridge, Monument (1990)
http://www.youtube.com/watch?v=kSjqwzPjbe0

*William Kentridge, Mine (1991)
http://www.youtube.com/watch?v=w7WtFZKwdtc 

*William Kentridge, Sobriety, Obesity and Growing Old (1991)
http://www.youtube.com/watch?v=sZIvwKtMzZ0

*William Kentridge, Felix in Exile (1994)
http://www.youtube.com/watch?v=pk5tPkqQoL0 

*William Kentridge, History of the Main Complaint (1996)
http://www.youtube.com/watch?v=q1sPLXMg1BQ 

*William Kentridge, Weighing and Wanting (1997)
http://www.youtube.com/watch?v=45rudITu8Zc

*William Kentridge, Stereoscope (1999)
http://www.ubu.com/film/kentridge_stereoscope.html

 

-----------

Monday, November 26

The 1990s
Video Art
Focus on: Douglas Gordon / Matthew Barney / Pierre Huyghe

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- The projected image – p. 654-658

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 213 - 244

From: Sylvia Martin, Uta Grosenick (edited by), Video Art, London: Taschen, 2006

Pages tbc

Watching:

*Meet Douglas Gordon
http://www.youtube.com/watch?v=DXY99WS-Byo&feature=related
http://www.youtube.com/watch?v=SjYb6EN0v8w&feature=channel

* Matthew Barney
http://www.cremaster.net/

 

---------------------

Wednesday, November 28

The 1990s
Video Art
Focus on: Douglas Gordon / Matthew Barney / Pierre Huyghe

Reading:

From: Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson

- The projected image – p. 654-658

From: Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 2006

- p. 213 - 244

From: Sylvia Martin, Uta Grosenick (edited by), Video Art, London: Taschen, 2006

Pages tbc

Watching:

*Meet Douglas Gordon
http://www.youtube.com/watch?v=DXY99WS-Byo&feature=related
http://www.youtube.com/watch?v=SjYb6EN0v8w&feature=channel

* Matthew Barney
http://www.cremaster.net/

 


---------------

Monday, December 3

 Course Recap

---------------

Wednesday, December 5

 Course Recap

*** 3rd REVIEW DUE ***

* Alterations and/or additions to the schedule may take place. Programs will be confirmed during the course.

 * More reading indications will be given during the course. 










 

BIBLIOGRAPHY

Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, New York, NY: Thames & Hudson. ISBN0-500-23818-9

Michael Archer, Art Since 1960, New York, NY: Thames & Hudson, 1997/2002      . ISBN 0-7148-3388-6           

Edward A Shanken, Art and Electronic Media, London: Phaidon Press, 2009. ISBN 0714847828          

Sylvia Martin, Uta Grosenick (edited by), Video Art, London: Taschen, 2006. ISBN 3822829501

David Hopkins, After Modern Art, 1945-2000, London: Oxford University Press, 2000. ISBN 0-19-284234      

Roselee Goldberg, Live Art Since the '60s, New York, NY: Thames & Hudson, 2004. ISBN 0500282196.         

Ben Tufnell, Land Art, London: Tate Publishing, 2007. ISBN 1854376047

Tony Godfrey, Conceptual Art, London: Phaidon Press, 1998/2004. ISBN 0-7148-3388-6         

Mark Rosenthal, Understanding Installation Art, Munich, Berlin, London, New York: Prestel. ISBN 3-7913-2984-7      

Gregor Muir, Lucky Kunst, The Story of YBA, London: Aurum Press Ltd, 2009. ISBN        978-1845133900        

Stuart Comer (edited by), Film and Video Art, London: Tate Publishing, 2008. ISBN 1854376071         

Yvonne Spielmann, Video: The Reflexive Medium, Cambridge MA: The MIT Press, 2008. ISBN 0262195666 

Tanya Leighton, Art and the Moving Image: A Critical Reader, London: Tate Publishing, 2008. ISBN 185437625X   

Tanya Leighton and Pavel Büchler (edited by), Saving the Image. Art after Film, Glasgow: Centre for Contemporary Arts, 2003        . ISBN 1-873331-24X     

Michael Carter and Adam Geczy, Reframing Art, Oxford: Berg, 2006. ISBN 1-84520-463-6       

Rudolf Arnhein, Film as Art, Berkeley. Los Angeles: University of California Press, 1957. ISBN 0-520-24837-6 

Catherine Elwes, Video Art. A Guided Tour, London: I.B. Tauris & Co Ltd, 2005. ISBN 1-85043-546-4

Florian Matzner, Public Art, Hatje Catz Verlag, 2001. ISBN 3-7757-9073-X           

Jorinde Seijdel, Art as a Public Issue, Rotterdam: NAI Publishers, 2008. ISBN 978-90-5662-435-4        

Alexander Alberro, Sabeth Buchmann, Art After Conceptual Art, Cambridge, MA: The MIT Press, 2006. ISBN 978-0262511957

Charles Harrison Paul J. Wood (edited by), Art in Theory, 1900-2000: An Anthology of Changing Ideas, Oxford: WileyBlackwell, 2002. ISBN 0-262-63338-8

Robert S. Nelson and Richard Shiff (edited by), Critical terms for art history, Chicago: University of Chicago Press, 1996. ISBN 0226571645 

John Welchman, Art after Appropriation: Essays on Art in the 1990s, London and New York, Routledge, 2001. ISBN 9057010437 

Nicolas de Oliviera, Nicola Oxley, Michael Petty, Installation Art , London: Thames and Hudson, 1994/2004. ISBN 0-500-27828-8