Course Syllabus

JOHN CABOT UNIVERSITY

COURSE CODE: "AH 379H"
COURSE NAME: "Issues and Trends in Contemporary Art - HONORS (This course carries 4 semester hours of credits. A minimum CUM GPA of 3.5 is required)"
SEMESTER & YEAR: Fall 2016

SYLLABUS

INSTRUCTOR: Ilaria Gianni
EMAIL: [email protected]
HOURS: MW 10:00AM 11:45PM
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 upon the major artistic movements since 1960, and an introduction to galleries, museums, foundations, auctions, and other arts organizations in Rome. The course provides direct experience of contemporary art through lectures and field trips and is taught by an independent curator and editor, whose current exhibition projects at museums and festivals in Italy and Europe will provide on-site learning opportunities to students. Guest appearances by critics and other art professionals. Depending on interest of students, an exhibition concept can be developed in class. Previous class experiences include visits to art museums, galleries, churches, and art fairs, as well as the production of an exhibition with renowned Russian-American children's book illustrator, Vladimir Radunsky.

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 then concentrate on 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 focuses on visits to galleries, artist's studios, museums, foundations, not-for-profit spaces and foreign cultural institutes. An actual connection with the contemporary Roman art scene will be offered. Current methods of critical theory, research and practice, in the form of magazine reviews, essays on contemporary art, documentary films will be studied.

The course will also feature the series of guest lectures:

CRITICS PICK – Guest Lectures on Video and Performance Art Today

Five artists will be invited to select a specific work, introduce it, frame it within the contemporary art context, show it in class, and then engage in a conversation with the students. These guest lectures aim at exploring current ideas and trends within contemporary art practices, while analyzing the employment of performance as medium in art.

Honors course

Students will be asked to examine the development of Conceptual and Performance Art in the 20th century, from its roots in Italian Futurism and Dada to contemporary practices. Extra readings, viewings of video documentation and discussions on Performance Art will be assigned during class. Students will need to research and write a paper on a specific performance artist and present it in class as if delivering a lesson.

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 with art practice.

TEXTBOOK:

Book Title	Author	Publisher	ISBN number
Art Since 1900: Modernism, Antimodernism, Postmodernism	Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh	New York, NY: Thames & Hudson, 2004	0-500-23818-9
Art Since 1960	Michael Archer	New York, NY: Thames & Hudson, 1997/2002	0-7148-3388-6
The Artist’s Body	Tracey Warr, Amalia Pica (edited by)	Phaidon, 2000	0714835021

REQUIRED RESERVED READING:

Book Title	Author	Publisher	ISBN number
Live Art Since the '60s	Roselee Goldberg	New York, NY: Thames & Hudson, 2004	0500282196
Land Art	Ben Tufnell	London: Tate Publishing, 2007	1854376047
Video Art	Sylvia Martin, Uta Grosenick (edited by)	Taschen, 2006	3822829501
Conceptual Art	Tony Godfrey	London: Phaidon Press, 1998/2004	0-7148-3388-6

RECOMMENDED RESERVED READING:

NONE

GRADING POLICY
-ASSESSMENT METHODS:

Assignment	Guidelines	Weight
Attendance and participation	Participation in class discussions and gallery visits: questions asked, involvement in the visit	15%
Mid-term exams	Slide identification and a short written critical analysis of a particular movement studied during the course	20%
Final exam	Slide identification and two written critical analysis of two movements studied during the course	35%
Reviews / Short Essays	1000 word essays on a work of art analyzed in class - you are requested to give in 6 essays.	30%

-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 th
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:
Weekly readings will be assigned. Students will be asked to participate in class through the discussion of the analyzed readings.

Students will be also asked to familiarize with the panorama of Roman art and cultural scene visiting galleries, museums, foreign cultural institutes on their own.
Every month starting from the end of September students are requested to write reviews on different artworks analyzed in class (3 reviews total).

The final exam with consist of a slide identification and a written critical analysis of a particular movement studied during the course.

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 279 – Issues and Trends in Contemporary Art
Fall 2016

Monday, August 29

Introduction to the course

What is contemporary art?
Who is the contemporary artist?

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

Wednesday, August 31

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 5

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 7

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 12

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 14

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 19

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 21

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, September 26

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, September 28

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 3

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 5

Mid term exams

*** 1st REVIEW DUE ***

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

Monday, October 10

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 12

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 17

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 19

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

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

Monday, October 24

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

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, October 26

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

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)

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

Monday, October 31

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 2

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

*** 3rd REVIEW DUE ***
----------------------

Monday, November 7

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 9

Performance Art

Guest Lecture: to be confirmed

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

Monday, November 14

Performance Art

Guest Lecture: to be confirmed

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

Wednesday, November 16

Performance Art

Guest Lecture: to be confirmed

-----------

Monday, November 21

Performance Art

Guest Lecture: to be confirmed

*** 4th REVIEW DUE ***

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

Wednesday, November 23

Course Recap

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

Monday, November 28

Course Recap

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

Wednesday, November 30

Course Recap
*** 5th and 6th 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