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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 299"
COURSE NAME: "Special Topics in Art History: Art from 1990s to Today"
SEMESTER & YEAR: Spring 2022
SYLLABUS

INSTRUCTOR: Adrienne Drake
EMAIL: [email protected]
HOURS: MW 10:00 AM 11:15 AM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS: by appointment

COURSE DESCRIPTION:
Specialized courses offered periodically on specific aspects of concern in the field of Art History. Courses are normally research-led topics on an area of current academic concern.
May be taken more than once for credit with different topics.
SUMMARY OF COURSE CONTENT:

“Art from the 1990s to Today” focuses on significant contemporary art practices that have developed over the past thirty years. We will explore a variety of main issues, themes and positions – including post-conceptualism, identity politics, post-colonialism, relational aesthetics and performance – in relation to social and historical perspectives, and will discuss how these issues are negotiated in artistic practice, artworks and the participation of the viewer.

 

The field of contemporary art can be defined as one in which no subject, technique, intention, or aesthetic principle is off limits; a field in which the work of a contemporary artist is defined as much by their ideas as by their medium. How then do we navigate a knowledge and understanding of contemporary art, in all its myriad of expressions, especially in our globally influenced, culturally diverse and technologically dominated world? “Art from the 1990s to Today” will focus on significant contemporary art practices that have developed over the past thirty years through a survey of themes and concepts that came into prominence in each decade from 1990 to 2020.

 

We will analyze these themes by focusing our attention on specific case studies: exhibitions and artists that are not only representative of significant shifts in methods and materials, but which also continue to exert a profound influence on how art historians and curators think about contemporary art. The themes and artistic trends will be further situated within the context of cultural criticism, social movements and political debates – from globalization to the digital revolution, spirituality to interconnectedness, gender equality to Black Lives Matter, demonstrating how art can probe, critique or give agency to compelling issues of its time.

 

Besides these case studies, we will address the display of art within the context of institutions, biennials and art fairs, and examine how curatorial practices engage with this mutating methodology.

 

The semester will include a guest lecture by Researcher and Curator Donatella Saroli on the history and contemporary renaissance of fiber art, and we will visit an art institution in Rome for a first-hand experience in looking, thinking critically and analyzing a large-scale exhibition. 

 

Through the lectures, readings and fieldwork, this course will provide students with an understanding of contemporary art practices, and how artists and exhibitions reflect, interrogate and negotiate the modern world.
LEARNING OUTCOMES:

- Develop an understanding of the development, chronology and complexity of contemporary art practices.

 

- Recognize key artworks and issues from the 1990s to today.

 

- Explain the contributions of influential artists, exhibitions and curators in the construction of today’s art discourse, trends and debates.

 

- Identify, analyze and interpret significant aspects and themes in contemporary art within different social and historical contexts.

 

- Learn to think critically about works in relation to other genres and other fields of knowledge: historical, political, economic, intellectual.

 

- Formulate interpretative arguments and draw out observations on the cultural outlook, norms and histories that influenced the production, creation and reception of artworks.

 

- Develop skills in the critical analysis of contemporary visual culture.

 

- Acquire a comprehensive vocabulary and use terminology relevant to contemporary art history.

TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Attendance and participationContribution to class discussions, sharing of ideas, evidence of reading assigned texts.10%
Mid-term examShort answer questions that include definitions of terms and specific questions regarding artworks we have observed or issues discussed, both in class and in the assigned readings; an essay that addresses general themes discussed in the first half of the course, which must include specific examples taken from works and issues discussed.25%
Writing reflectionA visual and critical analysis of c. 300 words of the exhibition seen during our on-site museum visit.10%
Final paperA research paper of c. 2000 words on a specific contemporary art practice or the body of work of an artist discussed in class.30%
Final examThe format for the final exam will be the same as the midterm. It will be cumula-tive but weighted with material from the second half of the semester.25%

-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 May 6, 2022.
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

A complete bibliography for the course will be provided at the start of the semester. For a core (in-progress) selection of bibliographic works see below.


Specific required reading assignments will be communicated weekly, together with further reading suggestions that will enhance and enrich the students' understanding of the course material. 


Course Bibliography:

Als, Hilton. White Girls. 2013.

Altshuler, Bruce. Biennials and Beyond. Exhibitions that Made Art History, Volume II: 1962-2002. 2013.

Ault, Julie. Felix Gonzalez-Torres. 2006.

Barney, Matthew, Nelson, Maggie, Spector, Nancy. Matthew Barney: Otto Trilogy. 2016.

Bourriaud, Nicolas. Relational Aesthetics. 1998.

Broackes, Victoria, Marsh, Geoffrey. David Bowie is. 2013.

Cornell, Lauren, Halter, Ed. Mass Effect: Art and the Internet in the Twenty-First Century. 2015.

Elger, Dietmar. Felix Gonzalez-Torres Catalogue Raisonne. 1997.

Enwezor, Okwui, Basualdo, Carlos, Fisher, Jean. Documenta11_Plattform5: The Catalog. 2002.

Foster, Hal, Krauss, Rosalind, Bois, Yve-Alain, Buchloh, Benjamin H.D. Art Since 1900: Modernism Antimodernism Postmodernism. 2004.

Goldberg, RoseLee. Performance: live art since the 60s. 2004.

Goldberg, RoseLee. Performance Now: Live Art for the 21st Century. 2018.

Green, Charles. Biennials, Triennials, and documenta: The Exhibitions that Created Contemporary Art. 2016.

Kelley, Mike. Foul Perfection: Essays and Criticism. 2003.

Kocur, Zoya, Leung, Simon (eds). Theory in Contemporary Art since 1985. 2007.

Laing, Olivia. Funny Weather: Art in an Emergency. 2020.

Muir, Gregor. Lucky Kunst: The Story of the YBA. 2009

Nelson, Maggie. The Art of Cruelty: A Reckoning. 2011.

Obrist, Hans Ulrich. Matthew Barney: The Conversation Series 27. 2012.

Rosenthal, Norman, Adams, Brooks, Royal Academy of Arts (Great Britain). Sensation: Young British Artists from the Saatchi Collection. 1998.

Spector, Nancy. Maurizio Cattelan: All. 2016.

Spector, Nancy, Neville Wakefield. Matthew Barney: The Cremaster Cycle. 2002.

Stallabrass, Julian. Contemporary Art. A Very Short Introduction. 2006.

Stiles, Kristin, Selz, Peter (eds). Theories and Documents of Contemporary Art. 2012.

Sussman, Elisabeth, Golden, Thelma, Hanhardt, John, Phillips, Lisa. 1993 Biennial Exhibition (Whitney Biennial). 1993.

Sztulman, Paul. Documenta X: Short Guide. 1997.
Welchman, John C. Mike Kelley, Interviews, conversations, and chit-chat (1986-2004). 2005.


 

COURSE SCHEDULE:

 

Week 1:

 

1. Monday, January 17

Introductory lecture and course presentation, scope and requirements

 

2. Wednesday, January 19

The art of the times: an overview of contemporary art practice from 1990 to today

 

Week 2:

 

1. Monday, January 24

Shifts, issues and trends in art from 1990 - 2000

We will begin week 2 by exploring more thoroughly issues and trends from 1990 – 2000, a decade bookended by two indelible events: the fall of the Berlin Wall and 9/11. 

 

2. Wednesday, January 26

The Brash, the Garish, the Notorious: Young British Artists

This class will focus on the loosely affiliated group of British artists who came into prominence in the late 1980s-early 1990s and went on to define an era.

 

Week 3:

 

1. Monday, January 31

Postcolonialism, politics of identity and the vision of “self”

Exhibition case studies that elucidate the burgeoning urgency in art to address, investigate and critique socio-political complexity through aesthetic enquiry.

Exhibitions in focus: Whitney Biennial, Whitney Museum, New York, 1993; Black Male: Representations of Masculinity in Contemporary American Art, Whitney Museum, 1994

 

2. Wednesday, February 2 

Artists in focus: Matthew Barney, Mike Kelley

 

Week 4:

 

1. Monday, February 7

Reclaiming the Political Project of the Avant-garde 

In this case study, we will examine prescient shifts in an exhibition’s traditional spectrum, from presentation and display to critical assessment and discussion.

Exhibitions in focus: Documenta X, Kassel, 1997; Documenta 11, Kassel, 2002

 

2. Wednesday, February 9

Artists as facilitators, viewers as participants: Relational Aesthetics

This class will address the practice of making art based on interpersonal relations and their social context, a tendency that framed the art of the decade.

 

3. Friday, February 11 – make-up day for Monday, April 18

Artists in focus: Felix Gonzalez Torres, Cady Noland

 

Week 5:

 

1. Monday, February 14

Biennial focus: The Biennial Boom

The 1990s was the decade when biennials, from Dakar to Johannesburg to Rotterdam, became central nodes in artistic production and transmission.

 

2. Wednesday, February 16 

Shifts, issues and trends in art from 2000 to 2010

In this class we will explore the major issues and trends that came to the fore in the new millennium.

 

3. Friday, February 18 – make-up day for Monday, April 25

New Directions in Exhibition Making: the discursive and the flexible versus the immersive and the experiential

This class will consider the engagement of the viewer, as experienced in apparently opposing trends in exhibition making.

 

Week 6:

 

1. Monday, February 21

Once More, With Feeling: Performance and re-enactment

We will discuss the resurgence of performance art as one of the most vibrant, topical, and discussed arenas in the arts.

 

2. Wednesday, February 23 

Artist focus: Marina Abramović

 

Week 7:

 

1. Monday, February 28

Midterm review

 

2. Wednesday, March 2 

Midterm Exam

 

Week 8:

 

1. Monday, March 7

Artists in focus: Maurizio Cattelan, Ai Weiwei 

 

2. Wednesday, March 9 

The Center Will Not Hold

An exploration of transnational connections and themes: geography, formal concerns, and collective aesthetic and political impulses.

Exhibition in focus: WACK! Art and the Feminist Revolution, MOCA, Los Angeles, 2007

 

Week 9:

 

1. Monday, March 14

Art fair focus: the curatorial turn

More art festival than art fair, it becomes a breeding ground for research, discovery and activation, not necessarily originating from the market.

 

2. Wednesday, March 16

Shifts, issues and trends in art from 2010 to today

In this class we will explore the most recent issues and trends of the now.

 

Week 10:

 

1. Monday, March 21 – no class, Spring Break

 

2. Wednesday, March 23 – no class, Spring Break

 

Week 11:

 

1. Monday, March 28

Post-Internet art: the techno sublime 

We will discuss the purview of art being made in the context of digital technology.

 

2. Wednesday March 30

Artists in focus: Hito Steyerl, Zanele Muholi

 

Week 12:

 

1. Monday, April 4

Medium appropriation or immersive art forms?

The growth of visual culture into an interdisciplinary field of study.

Exhibitions in focus: Tim Burton, Museum of Modern Art, New York, 2009; Alexander McQueen: Savage Beauty, Metropolitan Museum of Art, New York, 2011; Bowie is, Victoria & Albert Museum, London, 2013

 

2. Wednesday, April 6

The long overdue: readdressing the canon with late-in-life retrospectives of women artists

Through a constellation of exhibition examples, we will examine how the traditional artistic canon is being reevaluated and rewritten through the inclusion of once marginal practices. 

 

Week 13:

 

1. Monday, April 11

Guest lecture: Donatella Saroli on fiber arts

 

2. Wednesday, April 13

On-site visit to an exhibition in Rome (exact date TBC)

 

Week 14:

 

1. Monday, April 18 – holiday, no class

 

2. Wednesday, April 20

Artists in focus: Theaster Gates, Arthur Jafa

 

Week 15:

 

1. Monday, April 25 – holiday, no class

 

2. Wednesday, April 27

Final Exam review and final research paper due

 

Week of May 2-6th Final Exam (date and time TBA)