JCU Logo

JOHN CABOT UNIVERSITY

COURSE CODE: "AH 283-B"
COURSE NAME: "Special Topics in Modern and Contemporary Art: Art, Ecology and Sustainability"
SEMESTER & YEAR: Spring 2024
SYLLABUS

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

COURSE DESCRIPTION:

Specialized courses offered periodically on specific aspects of the art of the modern and contemporary world. Courses are normally research-led topics on an area of current academic concern.
May be taken more than once for credit with different topics.

Satisfies "the Modern and Contemporary World" core course requirement for Art History majors

SUMMARY OF COURSE CONTENT:

This course explores the relationship between art and ecology. As environmental challenges and climate change continue to be the most pressing concerns of the 21st century, we will investigate how artists respond to the natural world, and how those responses have continued to shift and change to an ever-increasing ecological awareness and action.

 

Following a loose chronological framework, we will focus on significant art practices and trends from the 20th Century to today, including Land Art, Environmental Art, Ecofeminism, and Ecological and Cultural Restoration. These themes will be further situated within the context of social movements and political debates – from activism to social justice, from the Anthropocene to Posthumanism.

 

In addition to highlighting key artists in art and ecology, we will frame the discourse through four case studies on: Nature and Industry, Land and Labour, Man and Technology, Institutions and Care. By extending the interrogation of landscape, we will examine which artists and artworks represent significant shifts in ideas, methods and materials, while continuing to exert influence on how we investigate, innovate and interpret the nature of place.

 

The semester will include a guest lecture by Andrea Viliani, Director of Rome’s Museo delle civiltà (Museum of Civilizations), in which he will discuss the Museum’s radical interrogation and rewriting of its history, institutional ideology, and pedagogical methods. Also included in the schedule is a possible field trip to late artist Gianfranco Baruchello’s Agricola Cornelia S.p.A., a complex artistic experiment in which a series of themes converge to affect fields such as art, farming, politics, and economics. (Bear in mind that this could incur a small fee for travel, to be confirmed at the start of the semester.)

 

Students will cultivate historical and theoretical knowledge to think critically about art and ecology, its processes, networks of dissemination and exchange, methods of sustainability, and its social and cultural contexts. We will observe artists exploring in meaningful and transformative ways pressing ecological questions, the need for new ethical frameworks to address the challenges of our age, and the importance of sustainable practices, interconnectedness and ininterdependence.
LEARNING OUTCOMES:

- Develop an understanding of the development, chronology and range of artistic practices addressing ecology and sustainability.

- Recognize key concerns, artists and artworks of the environmental movement from the 1960s to today.

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

- Understand how ecological art has a political function in addition to an aesthetic function.

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

- Explain the contributions of influential artists in the construction of today’s pressing concern for ecological issues, materials and sustainable practices.

- Develop skills in the critical analysis of visual culture.

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

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%
Midterm examShort answer questions that include definitions of terms and specific questions regarding issues discussed, or artists and artworks we have observed, both in class and in the as-signed readings.15%
Term paperA term paper of c. 1500-2000 words on a specific practice pertinent to the course, or the body of work of an artist discussed in class. The essay must address precise research ques-tions, and contain complete captions if images are included, in addition to a full biblio-graphy (not included in word-count).30%
Research PresentationDrawing on artistic trends and case studies discussed in class, the reading of theoretical texts, and independent research, students will present 15-minute collaborative, group presentations pertaining to an innovative sustainability proposal relevant to JCU’s Guarini campus, or a nearby local site. The proposal should demonstrate art historical context and social potential. Research topics must be approved by the Professor by week 11; these can be submitted as a Word document on the Moodle course site, or handed in directly during class. The PDF of your presentation, including a complete bibliography, must be submitted to the Professor 24 hours before the presentation date. For a detailed explanation of the presentation, together with suggestions of local sites, see the guidelines on the Moodle course page.30%
Final examThe format for the final exam will be the same as the midterm. It will be cumulative but weighted with material from the second half of the semester.15%

-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 3, 2024.
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

COURSE SCHEDULE:

 

Week 1:

 Class 1. Course presentation, scope and requirements

 

 Class 2. The Anthropocene and Ecology

We will define and understand the new geological age, examine the term ecology, and explore how ecological conversations relate to artistic practices.

 

Week 2:

 Class 1. Nature and Industry

Case study: from Thomas Cole’s The Course of Empire to Ed Ruscha to David Brooks

 

Class 2. Materials of the everyday: the ordinary, the recycled, the reclaimed

Artists in focus: David Hammons, Robert Rauschenberg, Nancy Rubins

 

Week 3:

 Class 1. The natural landscape as an artistic field of operation

The emergence of the Land art movement and subsequent issues of conservation I 

Artists in focus: Beverly Buchanan, Walter de Maria, Michael Heizer, Nancy Holt, Richard Long, Robert Smithson, Alan Sonfist

 

Class 2. Radical Ecology: The interconnectedness of culture, nature and ecological systems

Artist in focus: Joseph Beuys

 

Week 4:

 Class 1. Environmental Art I

We will explore radical shifts in thinking as artists begin to work with the natural environment through cohesiveness, rather than disruption.

Artists in focus: Betty Beaumont, Agnes Denes, Andy Goldsworthy, Pierre Huyghe, Meg Webster

 

Class 2. Environmental Art II

We will explore radical shifts in thinking as artists begin to work with the natural environment through cohesiveness, rather than disruption.

Artists in focus: Betty Beaumont, Agnes Denes, Andy Goldsworthy, Pierre Huyghe, Meg Webster

 

Class 3. Architecture, Experimentation and Ecology: Blueprints for a Future?

Architects in focus: Buckminster Fuller and Paolo Soleri

 

Week 5:

 Class 1Land and Labour

Case study: from Jean-Francois Millet’s The Gleaners to Agnes Varda to Will Benedict

 

Class 2. Class 2. Screening and discussion of Agnes Varda’s film, The Gleaners and I 

 

Week 6:

 Class 1. Midterm review

 

Class 2. Midterm exam

 

Week 7:

no classes, Spring Break 

 

Week 8:

 Class 1. Gender and Ecofeminism I

Artists in focus: Andrea Bowers, Ana Mendieta, Aviva Rahmani, Hanae Utamura, Cecilia Vicuna, Faith Wilding

 

Class 2. Gender and Ecofeminism II

Artists in focus: Andrea Bowers, Ana Mendieta, Aviva Rahmani, Hanae Utamura, Cecilia Vicuna, Faith Wilding

 

Week 9:

 Class 1. Ecologies, Land, and Belonging: how First Nations and Indigenous artists use ecological knowledge in their practices

 

Class 2. From Protest to Proposals: Ecological Restoration

 

Week 10:

 Class 1. Cultural Restoration: Institutions and Care

Case study: from Mierle Laderman Ukeles to an institution of the 21st Century

 

Class 2. Guest lecture: Andrea Viliani, Director of the Museum of Civilizations

 

Week 11:

 Class 1. Artists and Community Practices

Artists in focus: Theaster Gates, Ibrahim Mahama

 

Class 2. Monuments to Sharing: Permaculture and Artists’ Collaborative Projects

We will explore several examples of artists engaging in ecological consciousness and the sustaining of creative, land-based ways of life specific to the region of Puglia.

 

Week 12:

 Class 1. holiday - no class

 

Class 2. Farming as Political Activism and a Work of Art

FRIDAY possible site-visit to Agricola Cornelia S.p.A., a farm founded by artist Gianfranco Baruchello (exact date to be confirmed)

 

Week 13:

 Class 1. In-class presentations

 

Class 2. In-class presentations

 

Week 14:

 Class 1.Man and Technology

Case study: from Umberto Boccioni’s Unique Forms of Continuity in Space to Donna Haraway to the posthuman condition

 

Class 2. no class (re: Friday field trip, week 12)

 

Week 15:

 Class 1Posthumanism

Contemporary artistic responses to technological advancements, globalization, and mass extinction in the Anthropocene

 

Class 2. Final exam review + Research paper due

 

Week 16:

Final Exam week