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ART 300:
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Contemporary Art Trends
Syllabus
he continuing challenge for all teachers is to create
classrooms that are responsive to and supportive and
nurturing of all kinds of diversity. If teachers are to be
effective, they must possess not only knowledge and skills,
but also attitudes and beliefs that are consistent with
pluralism and educational equity.
3 credit hours. This course represents an introductory level survey course in
fine art. The overall emphasis involves a focus on communication concerning
ourselves, our environment, and life around us.
Liberal Studies Distribution Block:
Aesthetic and Humanistic Inquiry and
Ethnic and Global Diversity
INSTRUCTOR:
Beth LaCour
School of Art
Northern Arizona University
Flagstaff, Arizona 86011
EMAIL: All correspondence will take place through BbLearn
Credit Hours: 3
Course Prerequisite: None
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COURSE DESCRIPTION:
Contemporary Art Trends will explore the historical, aesthetic, and artistic trends of the latter half of the
twentieth century in order to discern the influence those factors have had on the art of 1970 through the
present. The world of contemporary art and the values and aesthetics upon which it is based will form the
greater portion of this course.
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Art Now offers students an introduction to the theories and practices of contemporary
art with a focus on artwork since 1980. This course will approach contemporary art as a
global phenomenon and will consider material from many different regions of the
world.
This course is divided into a series of topics that offer different frameworks for addressing
the issue of contemporary identity in art. For each topic, I have included a list of
relevant artists.
Thematic Focus: Valuing the Diversity of Human Experience
Contemporary art represents a genre of communication which reflects our world and critically defines
each of us in our response to it. The process of engagement with the visual arts produces an ascending
conceptual awareness of the utilization or abandonment of formal design elements and principles
currently employed by the contemporary artist. In response to sensory, intellectual, and emotional
stimuli, each student will define and develop creative modes of visual analysis. Within a structure
integrating creative and critical thinking, visual awareness, and intuitive confidence, students will
develop skills in interpretative analysis and will learn to relate to artistic expression as it parallels
political, social, economic, and diversity issues of significant value in contemporary culture.
Aesthetic and Humanistic Inquiry
This course constitutes three credits in the NAU Liberal Studies block of aesthetic and humanistic
inquiry. In fulfillment of the nature and objectives of a Liberal Studies course, there is an expectation of
significant inquiry by the student into the processes and products of the visual arts. Within this context,
both creative and critical thinking skills will be defined, examined, and implemented to sustain the
inquiry throughout the structure of the course.
Ethnic and Global Diversity
This course constitutes three credits in the NAU Liberal Studies block of Ethnic and Global Diversity.
Through completion of this course, students will acquire an understanding of the perspectives (e.g.
theoretical; historical; social; political; economic; cultural; religious; geographic or sense of place;
environmental; or intellectual traditions and/ or ways of knowing) of non-Western peoples.
Essential Skills
It is expected that established design elements and principles will be utilized in providing the initial
interpretive exposure to the fine arts. This course will combine a series of visual experiences with
critical thinking skills, as specifically formulated through class presentations, discussion, and written
critiques of selected works. The intensity of this experience, as required of a Liberal Studies course, will
necessitate a focused level of inquiry provided through a specified reading curriculum. A synthesis
evidenced in written critiques as well as class discussions will integrate current critical analysis with the
individual response of each individual student through effective, succinct, and thoughtful writing.
Global Awareness:
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Utilize the making of art in its capacity as a form of communication and tool for thinking
to demonstrate an awareness of the interrelatedness of local, global, international and
intercultural issues, trends and systems from an historical and contemporary context.
Global Perspective:
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Be able to place the content of their own work within the context of their community,
the global community, and the international art world with an understanding of
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intercultural perspectives.
Global Engagement:
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Demonstrate a willingness to engage in philanthropic activities and analytical activities
pertaining to current affairs that have application in local, global, international and
intercultural problem solving.2
Students will be exposed to interviews, exhibitions, screenings and slide presentations
where concepts in contemporary art theory and international and intercultural art
practice are proposed and discussed. The course looks at contemporary artists from
around the globe, consider issues of hybridization and multiculturalism, displacement,
the contemporary artist nomad, belonging and audience definition, cultural identity and
cultural influences.
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COURSE CONTENT
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This course will introduce a formal vocabulary of specialized meanings in order to provide
students the opportunity to develop a disciplined style of investigation into the visual fine arts.
Preparation through reading and review will be essential in order to participate in and fully
appreciate class activities. This course will introduce a structure of inquiry, evaluation, and
understanding of the dynamics of artistic expression, with reference to pertinent historical,
cultural, and social influences. Be aware that the subject matter for contemporary may be
challenging and sexually explicit. Attempts are made to keep the level of this confrontation to a
minimum level without ignoring the essence of the subject matter. Thematic approach to
recent art history, focuses on eight central ideas recurring in art over the past few decades:
identity, the body, time, memory, place, language, science, and spirituality. the main
trajectories of contemporary art in different parts of the world! We will examine the
intersections of contemporary art with everyday life, politics, technology, mass-media and
architecture.
Course topics will include: Pop Art, Minimalism, Conceptual Art, Land Art, performance art,
installation art, new media, art and transnational politics, art and global concerns (ecology,
affect, socio-political affiliations).
thematic approach to recent art history, focuses on eight central ideas recurring in art over the
past few decades: identity, the body, time, memory, place, language, science, and spirituality.
a survey of and materials on contemporary art including consideration of issues of
representation in contemporary art and culture;
explore the role of autobiography, social identity, and self-expression in current visual
production.
Moving beyond medium-based categories, the course surveys a diverse range of issues that
motivate artists and create content in contemporary art, visual art of the present. We will
examine the importance and implications of the visual arts in the larger context of visual
culture. We will consider how cultural, social, economical and technological changes have
impacted the field of contemporary arts and how artists have responded to these changes. The
emphasis of the course is on providing you with tools to engage contemporary art on
discursive, critical, and intellectual levels. Weekly thematic topics provide an overview of
significant art movements, ideas, and artists related to the selected topics within the theme
and contextual framework for the information and assignments presented.
Assigned readings and research projects provide an opportunity to engage with ideas in a more
focused way, as well as to create a starting point for in-class discussions.
We will explore and examine America's diverse cultural heritage through the voices and visions
of the multicultural peoples of the United States: Native-American, African-American, and
Euro-American voices and visions will be explored in depth, but we will also look at other
specific ethnic groups such as Jewish-, Irish-, Asian-, Latino-Americans and more recent
immigrant groups. We will present the arts as an integral and essential voice in an ongoing
conversation about values and meanings of our diverse cultural heritage and the components
of our human and national identities. We will try to define identity and diversity historically
and aesthetically and we will link contemporary multicultural experiences with historical roots
and cultural contributions.
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COURSE OBJECTIVES
In order to gain an overview and understanding of the styles, techniques, and purposes of the visual arts of the past six
decades, Students will:
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Examine works of art in various media in assigned readings, in video presentations, and in
visuals shown in class in accord with specific criteria established in the course. (Critical
thinking, spatial reasoning)
Develop an understanding of the current accepted practices and criteria associated with the
critical evaluation of art. Within such an effort, each student will demonstrate an
understanding and utilization of a uniform structure for comprehensive interpretation. This
structure will evidence a foundational series of design elements and principles. (Critical
thinking)
Create a body of art critiques based on articles selected in class or on their own, which will
establish a scale of increasing complexity and sophistication in comprehensive and personal
interpretation. (Critical and creative thinking)
Students will acquire an understanding of the perspectives (e.g. theoretical; historical; social;
political; economic; cultural; religious; geographic or sense of place; environmental; or
intellectual traditions and/ or ways of knowing) of non-Western peoples.
Demonstrate comprehension of readings and other assignments through participation in
descriptive and analytical dialogue during Web-based discussion groups. (Critical and
creative thinking)
Understand and affirm diversity.
Understand learning differences across culture, ethnicity, gender, and individual development.
Students will learn about issues of difference with respect to non-Western regions or peoples.
Students will learn terminology, vocabulary, and means of conceptualizing the social world.
Students will learn about the values and histories underlying non-Western civilizations.
Students will develop a greater understanding of themselves and respect for the complex
identities of others, their histories, and their cultures.
Students will develop a discernment of the ethical consequences of decisions and actions
particularly with respect to intellectual honesty.
Students will have the ability to interpret and evaluate information from a variety of sources
pertaining to Global Diversity, demonstrating analytical or critical thinking skills, or problem
solving abilities.
Link contemporary multi-cultural experiences with historical roots and contributions;
Explore connections between concepts such as identity, ethnicity, culture, and nation;
Realize some of the complexities, key issues, and rewards of studying art, culture, folklore,
literature, history, and music;
Students are expected to demonstrate their ability to:
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Explore how contemporary art has become a global, connected phenomenon
Looks at the work of contemporary artists from across the world.
Recognize and understand critical and theoretical social frameworks of identity construction.
Use these frameworks to examine and interpret contemporary art practices.
These outcomes will be expressed and evaluated in the form of personal writing responses,
presentation outlines, and research papers.
While it is impossible to provide a comprehensive overview of contemporary global art
practices, this course aims to introduce students to a broad variety of artwork, including that
from outside of the United States and Europe. By the end of the semester, students should be
able to recognize major themes in contemporary art, critically examine a wide range of
artworks, and discuss/write about artworks in an informed way.
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TEXT & OTHER RESOURCES
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Supplemental readings provide additional examples or original texts by artists, art critics,
philosophers, and art historians.
For this course, you will need dependable Internet access. You are responsible for consulting
online materials on a regular basis. A copy of this syllabus and all other critical course
materials, readings, and links to video assignments are posted there
Announcements will be posted in BbLearn and by e-mail.
periodicals, handouts and required text purchases. (Variable semester to semester.)
Primary:
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Jean Robertson and Craig McDaniel: THEMES OF CONTEMPORARY ART Visual Art after 1980
2nd Edition Oxford University Press 2009
Terry Smith, Contemporary Art: World Currents, Prentice Hall, 2011.
Selected Readings:
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Atkins, Robert. (1990).Artspeak. New York, NY: Abbeville Press. ISBN: 1-55859-010-2.
TALKING and WRITING ABOUT ART:A short guide to writing about art, Sylvian Barnet, 9th
edition, Pearson/Prentice Hall, 2008
Criticizing Art, Terry Barrett, Mayfield Publishing Co, Mountain View, California, London,
Toronto, 2000
COURSE STRUCTURE AND APPROACH
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The learning environment for each student will include a combination of participatory webbased materials and discussions, media presentations, and identification of specific art
movements and their respective characteristics and artists. Students are expected to complete
the assigned readings in order to demonstrate the acquired levels of critical thinking skills in
defining the use of specific elements, techniques, and media in the creation of works of art.
Participation in Blackboard based discussions will constitute a portion of the overall
performance evaluation of each student in the course, there will be at least one topic per
week, but often there will more. Each topic will have a defined start and stop date.
It is essential for each student to meet the expectation of demonstrable proficiency in the
identification, definition, and description of art in a variety of styles, media and techniques.
Quizzes will be offered in each module. These will help demonstrate your comfort with the
terminology and concepts and serve as a vehicle to develop this proficiency. Each of these
quizzes must be taken during the availability of the module but may be taken as many times as
you desire. Your highest grade will be used in the computation of your final grade.
The course is divided into five units with each unit relating to a paper based thoughtful project
that will help links modules within the unit and bridge unit-to-unit. There is a total of three
papers for the course.
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Available Points
Grades will be calculated as
follows:
Quizzes (total points for 15 modules)
100 points
A = 90%- 100%
Discussions (total points for 15 modules)
75 points
B = 80% - 89%
Papers
3 * 100 points
C = 70% - 79%
D = 60% - 69%
F = 0% - 59%
Total Points Possible: (approximate)
The instructor may adjust the available
number of points over the course of the
semester.
475 points
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COURSE CALENDAR
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Please see the Course Calendar under “Calendar” on the course webpage for specific reading
assignments, class topics, critique due dates, and quiz availability. The information is also
provided as a .pdf from the Getting Started Section in BbLearn.
EVALUATIVE PROCEDURES
Student learning will be assessed primarily through written responses and objective tests.
Assessment will be based on the following criteria:
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Factual feedback will agree with the information in the readings and lectures;
Synthesizing feedback will respond to the assigned topic in the specified way;
It will be presented in clear, correct English;
There will be NO MAKEUP EXAMS OR ASSIGNMENTS without prior permission.
Computer problems and/or network outages are not acceptable excuses for late work or
missing deadlines
The process of performance evaluation involves a multi-modal approach that measures both
cognitive and written effort. This approach is intended to establish a process of inquiry into
valuing the diversity of human experience. Quizzes and written critiques (critical thinking)
provide each student with opportunities to demonstrate levels of knowledge acquisition within
the modern and contemporary visual arts. Design analysis will be founded in an understanding
of accepted principles and elements of design meant to enhance formal and comprehensive
interpretations (critical thinking, spatial reasoning).
Quizzes and discussions are made available from Sunday morning until the following Sunday
midnight MST some modules are available for eight days while others have an additional days
to provide some flexibility with holidays and the compressed nature of this class. This allows
for an overlap between modules. Please familiarize yourself with the course calendar.
Quizzes
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Quizzes will be objective, consisting of 5-25 questions worth two points each. Questions will be
of various types including multiple choice, matching, true and false, and fill-in-the-blank.
Students may use books and notes in order to complete the quizzes, which will be taken online
through the course website and will be available only for a designated period dependent upon
the appropriateness of subject matter covered. Quizzes will be available for a week each and
can be taken as many times as you like. Your highest score will be recorded. It is mandatory
that students take quizzes during the time they are available. Unless documented evidence is
presented to provide reason for non-compliance, students will lose the opportunity to take a
quiz. A link to "Quiz Study Guide" is included on most module sidebar navigation. In addition to
the "Things to Consider" items from the Module introduction page, the items and terms on the
Quiz Study page will help you prepare for the quizzes.
There will be vocabulary quizzes occurring each week on the previous week's vocabulary
terms. The current vocabulary list is available on the website
EVALUATION AND CONTENT OF WRITTEN ASSIGNMENTS:
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Students are required to write two papers during the course of the semester. The first paper
will be a formal analysis of 500-600 words analyzing the elements of a single work. The second
paper will be a comparative analysis of 700-800 words comparing and contrasting two
individual works. Papers must be written in 12-point Times New Roman font, with 1-inch
margins, and must be stapled. All papers must be submitted at the BEGINNING of the class
period they are due.
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MLA Style
NO LATE ASSIGNMENTS WILL BE ACCEPTED. Late papers will be penalized a letter grade per
week.
Papers may not be re-written for a higher grade.
You may consult the Professor for assistance prior to turning in your papers.
If you need assistance with grammar, spelling, or punctuation, please contact the English
department for tutoring.
Plagiarism will result in a failing grade for the course.
Student learning will be assessed primarily through written responses and objective tests.
Assessment will be based on the following criteria:
Factual feedback will agree with the information in the readings and lectures;
Synthesizing feedback will respond to the assigned topic in the specified way;
It will be presented in clear, correct English;
There will be NO MAKEUP EXAMS OR ASSIGNMENTS without prior permission.Computer
problems and/or network outages are not acceptable excuses for late work or missing
deadlines
Papers:
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Complete description of the expected content of the papers may be found in the
“Assignments” area of the course website. Writing assignments are intended to enhance your
understanding of the content so you may articulate and express your ideas and beliefs in a
satisfying and confident manner. These 2-3 page papers are focused on topics that link the
modules within the unit to a common theme. It is mandatory that you turn in papers by the
designated date. Unless documented evidence is presented to provide reason for noncompliance, you will lose points for lateness.
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Face to Face – Identity and Identification Project
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Choose an artist to research (I’ve suggested artists under each topic, but you can propose
others). As you research the artist over the course of the semester, you will do a preliminary
presentation of their work, develop a thesis about their work in relation to identity theories
and your own understanding of your identity, and then write a final paper that explores that
thesis.
Part II - Paper: 15 pages. Based on your presentation, you will make an outline and write a
research paper analyzing the intersubjective dimension between your identification with your
artist’s exploration of identity construction. Use at least 4 of the texts we have read and your
own research to help you elaborate. We will discuss specifics of the project over the course of
the semester.
Final Writing Assignment
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The Final requires you to synthesize concepts from the various topics discussed throughout the
quarter.
Evaluation of the projects will be based on the strength of the concept, overall content, project
development, and presentation.
Peer-review
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An essential part of this course is the peer-review of weekly writing assignments. For detailed
information, see link to "Preparation" on top of the page.
Homework assignments
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There is a homework assignment every week. Homework assignments should be completed in
a timely manner and submitted through your DROPBOX
The system will log your file with the time and day of submission. Please be aware that unless
otherwise noted the DROPBOX will not accept late submissions.
it is a significant demonstration of your keeping pace with what’s being discussed in class.
Homework will be assessed regularly, with written feedback from the instructor, TA, and your
peers.
Discussions:
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Since the discussions are graded, you are not able to post messages to topics anonymously.
You will receive points for participation in the discussion and in the quality of the participation.
It is not critical that your postings have perfect spelling, but a reasonable attempt is expected.
The quality of the post basically means that you be thoughtful. It is not necessary to make a
dramatically enlightening post.
You are expected to make at least one post and two responses during each module. Keep in
mind that when you post a message in the discussion forum, all class members will be able to
read it, including the instructor. Be polite when you decide to share your knowledge and
opinions. You are not allowed to edit your messages after you have posted them, that is part
of the reason why spelling errors are not going to weigh heavy on the grading. You may post
multiple times, so if you feel the need to clarify something in a previous post, then you should
post again. Anytime you include a quote from you reading or web surfing you must include
quotation marks and the source. New topics may be added as the module progresses
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STUDENTS RESPONSIBILITIES AND REQUIREMENTS
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Participate in all class activities
Complete weekly assignments as assigned (writing assignments: 1 single spaced page;
other types of assignments: please consult online weekly assignment schedule for
requirements) Assignments must be submitted through your BbLearn DROPBOX.
Complete peer-reviews
You are responsible for your own progress; the instructor and the TA are there to guide
and aid your progress along the way of exploring contemporary art. Keeping your eyes,
ears, and mind open for the many forms of art, even if they appear contrary to your
preferences or preconceived notions, is essential.
Course Policy
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It is mandatory that students take quizzes and participate in discussions during the time
they are available and turn in papers by the designated date. Unless documented
evidence is presented to provide reason for non-compliance, students will lose the
opportunity to take a quiz or points will be taken off critique grades for lateness.
All Northern Arizona University policies regarding academic dishonesty will be
followed without exception. Please review the attached sheet for the specific
guidelines. Violation of the Student Code of Conduct, or any other NAU policy that
occurs within the contract of this course may result in disciplinary action.
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NAU Academic Policies
Academic Dishonesty Policies
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Related University Policies:
Safe Environment Policy:
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NAU’s Safe Working and Learning Environment Policy seeks to prohibit discrimination
and promote the safety of all individuals within the university. The goal of this policy is
to prevent the occurrence of discrimination on the basis of sex, race, color, age, national
origin, religion, sexual orientation, disability, or veteran status and to prevent sexual
harassment, sexual assault or retaliation by anyone at this university. You may obtain a
copy of this policy from the college dean’s office. If you have concerns about this policy,
it is important that you contact the departmental chair, dean’s office, the Office of
Student Life (523-5181), the academic ombudsperson (523-9368), or NAU’s Office of
Affirmative Action (523-3312).
Policy for Students with Disabilities: y
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If you have a disability, you can arrange for accommodations by contacting the office of
Disability Support Services (DSS) at 523-8773 (voice) 523-6906 (TTY). You are
encouraged to provide documentation of the disability to DSS at least 8 weeks prior to
the beginning of the semester so arrangements can be made to meet your individual
needs. You must register with DSS each semester you are enrolled and wish to use
accommodations. Faculty are not authorized to provide accommodations without prior
approval from DSS. Students are encouraged to notify their instructors a minimum of
one week in advance of the need for accommodation. Failure to do so may result in a
delay in provision of the accommodation. Concerns may be brought to the attention of
the office of Disability Support Services or to the ADA coordinator in the Affirmative
Action Office.
Institutional Review Board Policy
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Any study involving observation of or interaction with human subjects that originates at
NAU—including a course project, report, or research paper—must be reviewed and
approved by the Institutional Review Board (IRB) for the protection of human subjects
in research and research-related activities. The IRB meets once each month. Proposals
must be submitted for review at least fifteen working days before the monthly meeting.
You should consult with your course instructor early in the course to ascertain if your
project needs to be reviewed by the IRB and/or to secure information or appropriate
forms and procedures for the IRB review. Your instructor and department chair or
college dean must sign the application for approval by the IRB. The IRB categorizes
projects into three levels depending on the nature of the project: exempt from further
review, expedited review, or full board review. If the IRB certifies that a project is
exempt from further review, you need not resubmit the project for continuing IRB
review as long as there are no modifications in the exempted procedures. A copy of the
IRB Policy and Procedures Manual is available in each department’s administrative office
and each college dean’s office. If you have questions, contact Carey Conover, Office of
Grant and Contract Services, at 523-488
Academic Integrity:
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The university takes an extremely serious view of violations of academic integrity. As
members of the academic community, NAU’s administration, faculty, staff and students
are dedicated to promoting an atmosphere of honesty and are committed to
maintaining the academic integrity essential to the education process. Inherent in this
commitment is the belief that academic dishonesty in all forms violates the basic
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principles of integrity and impedes learning. Students are therefore responsible for
conducting themselves in an academically honest manner. Individual students and
faculty members are responsible for identifying instances of academic dishonesty.
Faculty members then recommend penalties to the department chair or college dean in
keeping with the severity of the violation. The complete policy on academic integrity is
in Appendix F of NAU’s Student Handbook.
Classroom Management Statement:
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Membership in the academic community places a special obligation on all members to
preserve an atmosphere conducive to a safe and positive learning environment. Part of
that obligation implies the responsibility of each member of the NAU community to
maintain an environment in which the behavior of any individual is not disruptive. It is
the responsibility of each student to behave in a manner which does not interrupt or
disrupt the delivery of education by faculty members or receipt of education by
students, within or outside the classroom. The determination of whether such
interruption or disruption has occurred has to be made by the faculty member at the
time the behavior occurs. It becomes the responsibility of the individual faculty
member to maintain and enforce the standards of behavior acceptable to preserving an
atmosphere for teaching and learning in accordance with University regulations and the
course syllabus. At a minimum, students will be warned if their behavior is evaluated by
the faculty member as disruptive. Serious disruptions, as determined by the faculty
member, may result in immediate removal of the student from the instructional
environment. Significant and/or continued violations may result in an administrative
withdrawal from the class. Additional responses by the faculty member to disruptive
behavior may include a range of actions from discussing the disruptive behavior with
the student to referral to the appropriate academic unit and/or the Office of Student
Life for administrative review, with a view to implement corrective action up to and
including suspension or expulsion.
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Schedule:
WEEK 2: CONTROVERSIAL ART AND THE CLASSROOM
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Discussion of Mapplethorpe work and article.
Presentation of teaching philosophies in class.
Robert Mapplethorpe
Self-Portrait (1982)
©Estate of Robert Mapplethorpe. Scan
courtesy of Masters of Photography
(http://www.masters-ofphotography.com)
WEEK 11: ISSUES OF REPRESENTATION
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Focus on deconstructing monolithic group identities.
Assigned reading:
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“The Body in Question,” by Lisa Kennedy, in Black Popular Culture, pp. 106-11.
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“Ghost in the Machine” by Paul Chaat Smith, in Strong Hearts: Native American Visions
and Voices, (Aperture, 1990), pp. 6-9.
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“Photography’s Next Era” by Rick Hill in exhibition catalog for Silver Drum: Five Native
Photographers (Native Indian/Inuit Photographers’ Association: Hamilton, Ontario,
1986), pp. 20-23.
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“Nationalism and Latinos, North and South: A Dialogue,” with Coco Fusco and Guillermo
Gomez-Peña, in English is Broken Here, pp. 159-168.
WEEK 13:
EXPLORE THE ROLE OF AUTOBIOGRAPHY, SOCIAL IDENTITY, AND SELF-EXPRESSION IN CURRENT
VISUAL PRODUCTION.
Building Interdisciplinary and Multicultural Art-Based Connections
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Since the 1960s, many artists have abandoned the modernist notion of self-expression
for a concept of identity that involves an exploration of the dynamics between self and
society. With a new critical eye developed through the lenses of feminism, civil-rights,
the sexual revolution, and globalization, they examine identity as a socially constructed
representation of self. Often their art not only describes this condition in contemporary
culture, but also tries to formulate strategies to break out of these confining
representations of self. Many of the representational strategies artists use to do this
come out of recent philosophies in cultural studies, sociology, philosophy, psychology,
and semiotics. In this class we will learn how artists use these critical tools to negotiate
new representations of self and how those same tools can be used to formulate our
own visual expression. As the course moves from the 1970s forward, and as we explore
our own backgrounds and motivations, we will see that we can come to understand
identity not as a confining social “label,” but as a flexible, mobile, and open-ended
questioning and de-limiting of the self coming from our continual engagement with
culture.
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Examples:
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Cindy Sherman. (USA) (USA) Untitled #96, 1981
Yasumasa Morimura. (Japan). To My Little Sister For Cindy Sherman,
( born June 11, 1951) Japanese appropriation artist. Born in Osaka. Graduated from
Kyoto City University of Arts in 1978. Since 1985, Morimura has primarily shown his
work in international solo exhibitions, although he has been involved in various group
exhibitions.
Yasumasa Morimura. (Japan).
To My Little Sister: for Cindy Sherman (1998)
Assigned reading:
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Cindy Sherman. (USA) Untitled #96 1981.
Chromogenic color print, 24″ x 47 15/163″ Museum of
Modern Art, New York.
© 2012 Cindy Sherman
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WEEK 2:
INTRODUCING CONTEMPORARY THEORIES OF IDENTITY (2-3 CLASS)
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What is Identity?
Developing Thesis Questions on Contemporary Artists
Reading:


Dunn, selection from Identifying Consumption
Appiah, The Ethics of Identity, 1-61.
Further Reading:



Zygmunt Bauman, “From Pilgrim to Tourist – or a Short History of Identity”
Stephen Mitchell, “True Selves, False Selves, and the Ambiguity of Authenticity”; Michel
Foucault, “Discourse on Language,” Key excerpts; Bethan Benwell and Elizabeth Stokoe,
“Introduction 1- 35” in Discourse and Identity;
Stuart Hall, “Who Needs Identity?”
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WEEK 4:
WRITING CLASS: AUTOBIOGRAPHY AND ART (1 CLASS)
Autobiography and Intersubjectivity
Reading:

Barthes, from Camera Lucida

Sylvan Barnet, “What is an Interpretation?” & “Critical Studies,” especially the section
on Biographical Studies from Short Guide to Writing about Art
Assignment: (Rough draft Due in 4 – 5 weeks)
•
Based on these writings, develop a visual autobiography that responds to a work by the
artist that you have chosen for your artist project.
•
With an emphasis on singular image describe how it affects you, encapsulates or
challenges certain things about your identity, identifications, personality, emotional
attributes etc. Use the externalized image to describe your interior life.
•
At least 2-3 pages. This can be used to develop your final thesis.
•
A rough draft is due in 4 weeks
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The Millennial Identity
WEEK 11:
ROOTED COSMOPOLITANISM – THE MILLENNIAL IDENTITY

Shilpa Gupta (India)


Abdel Adbessemad
(Algeria)


Shilpa Gupta (India)


Abdel Adbessemad
(Algeria)


Sylvie Fleury
(Switzerland)
Xu Bing (China)

Natlaie Durjberg
(Sweden, works
Berlin)
Corey Archangel
(USA)

Kahinde Wiley (USA)

Takashi Murakami
(Japan)
Natlaie Durjberg
(Sweden, works
Berlin)
Corey Archangel
(USA)

Kahinde Wiley (USA)

Takashi Murakami
(Japan)

Andrea Zittel (USA)


Wenda Gu (China,
works NYC)

Andreas Gursky
(German)
Yinka Shonibare
(Britian/Nigeria)
Yinka Shonibare MBE
(British-Nigerian).
Diary of a Victorian Dandy. (1998)
c. LaCour

Emily Jacir (Palestine)

Nikki S. Lee (Korea,
works NYC)


Aneta Grzeszykowska
(Polish, 1974)

Surasi Kusolwang
(Thailand)


Jenny Saville (Great
Britian)
Daniel Guzman
(Mexico)

Shaun Gladwell
(Australia)
Walid Raad
(Lebanon, works
NYC)




Julie Mehretu
(Ethiopia, works
NYC)
Christian Marclay
(Switzerland,USA)
Creative Time (NY
based organization)
Marcel van Eeden
(Netherlands, works
Zurich & The Hague)
Jenny Saville
Still (2003)
Oil on canvas
Metropolitan Museum of Art
NYC,NY
© artist
© Elizabeth LaCour
Reading:
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UNIT 1. CONTENT
WEEK TWO: WHAT IS ART


Why is that ART? What is ART for?
Looking at art: Description and Interpretation
VOCABULARY LIST -Week 2


Contemporary Art
Behavioral theory of art



Institutional definition of art
(George Dickie)
Aesthetics
Interpretation


Form / Formal elements /
Elements of composition




Context
Concept
Subject matter







Modern art (modernism)
Instrumental theory of art
Description
Medium/media
Content
Subject
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Homework Writing Assignment:

Consider a definition for ART. Due: in one week via dropbox

Create a set of criteria ART must have that distinguishes it from other things and
activities.

Be sure to consider your set of criteria from both the point of view of the maker/artist,
as well as that of the audience/receiver. Your definition should look more like a checklist
of clear, concise sentences.

Think about it as if you were to write an outline for a larger paper on what art
is. Important!:

Make your set of criteria well-rounded. Include examples from lectures, readings, where
possible. Be careful to reference sources correctly.
Site visit:

View the following two TED talks online:
 Mihaly Csikszentmihalyi on Flow
http://www.ted.com/talks/mihaly_csikszentmihalyi_on_flow.html
 JR (FRANCE) on Use Art to turn the world inside out http://www.ted.com/talks/lang/en/JR
(France)_s_ted_prize_wish_use_art_to_
turn_the_world_inside_out.html
Required Reading:


Describing Art, Terry Barrett, Criticizing Art, Mayfield Publishing 2000
Principles of Interpretation, Terry Barrett, Criticizing Art, Mayfield Publishing 2000
Supplemental Reading:

Themes of Contemporary Art, pp 9-35
The Art World Expands
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UNIT 5. NEW MEDIA & TECHNOLOGY
Reading Sources:
o
But is it art?, Cynthia Freeland, Oxford University Press, NY, 2001 Digitizing
and Disseminating pg. 177-205
UNIT 11. MUSEUMS
WEEK NINE: INSTITUTIONS OF CONTEMPORARY ART, ART MUSEUMS

Curatorial Issues. Museums and exhibitions.
Vocabulary



Cabinets of curiosities (Wunderkammer)
encyclopedic museum
salon style exhibition
9/6 . ARTIST VIDEO:

Doris Salcedo (Columbia)
Doris Salcedo (Columbia) : Istanbul 1:46 http://youtu.be/ZjYuDKFvsjY YouTube
Doris Salcedo (Columbia)
Doris Salcedo
Links from course webpages:
Doris Salcedo on:
Colombian Roots
importance of memory
Shibboleth


Artist video: Hiroshi Sugimoto (Japan)
Hiroshi Sugimoto (Japan)
sugimoto-worldtradecenter.jpg
c. LaCour
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22 | Page
9/6 . ARTIST VIDEO:

Artist video: Mark Bradford (African American)
Mark Bradford (African American)
9/6 . ARTIST VIDEO:

Artist video: Oliver Herring(German)

Artist video: William Kentridge(South Africa)
William Kentridge Metropolitan Museum of Art.
New York City, New York. USA.
© William Kentridge
Photo©Elizabeth LaCour
Many drawings and print images on class
webpages

Artist video: Vic Muniz (Brazil)

Artist video: Fazal Sheikh (USA)

Krzysztof Wodiczko (Poland):
 Peace 3:25 http://youtu.be/UIoVkbPEyuo YouTube
 ART21 artist
Krysztof Wodiczko–
WORK from Public Projections (1988)
Hirshhorn Museum & Sculpture Garden
Washington, D.C. USA
Source:
http://www.burrac.com/ah/45/45.htm


Artist video: JR (France)
Meet JR (France):
 Video interview and FAQ about the 2011 TED Prize winner http://blog.ted.com/2010/10/20/meetJR (France)/
23 | Page
23 | Page

The Atomic Artists (Japan):
 “Art Cannot Be Powerless,” Japan’s New Nuclear Generation; PRI’s The World, 2011
http://www.pbs.org/wgbh/pages/frontline/the-atomic-artists/

Ai Weiwei (China)
 Dissident Creates by Remote Control, The New York Times, Melena Ryzik Published: October 12,
2011 http://www.nytimes.com/2011/10/13/arts/design/ai-weiweis-photo-shoot-fromchina.html?_r=2&ref=arts#
Have lots of images from Hirshhorn
exhibit. Need to make class webpage
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THEMES OF CONTEMPORARY ART
COURSE OVERVIEW AND INTRODUCTION TO CONTEMPORARY ART
•
Discussion of course objectives, materials and texts.
•
Discussion of definitions of contemporary art.
•
“lecture” and discussion on contemporary art.
•
intro to syllabus and parameters for discussion
•
guidelines for talking about and listening to difficult and personal issues and art.
INTRODUCTION TO CONTEMPORARY ART

Themes of Contemporary Art: What, Why, and How
 Richard Misrach (USA). Outdoor Dining, Bonnevile Salt Flats, Utah (1992), 40” x 90”
 Roxy Paine (USA). Crop (1997-98) Lacquer, epoxy, oil paint, 58” x 96” x 72”

Mathew Barney (USA). Cremaster 3 Production Still (2002)

Matthew Barney- Cremaster Suite (1994-2002) Series of five C-prints in self-lubricating
plastic frames. Hirshhorn Museum and Sculpture Garden. Washington, D.C. USA. ©
Matthew Barney Photo © Elizabeth LaCour

Matthew Barney. The Cabinet of Baby Fay La Foe (2000). Polycarbonate honeycomb,
cast stainless steel, nylon, solar salt cast in epoxy resin, top hat, &. & beeswax in nylon
and plexiglass vitrine. Museum of Modern Art. New York City, New York. USA. ©
Matthew Barney © Elizabeth LaCour
Matthew Barney- Cremaster Suite
(1994-2002)
Series of five C-prints in selflubricating plastic frames. Hirshhorn
Museum and Sculpture Garden.
Washington, D.C. USA.
© Matthew Barney
Photo © Elizabeth LaCour
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25 | Page

Format of the Book
Reading Sources:

What is Art For? Ellen Dissanayake, University of Washington Press, Seattle,
London, 1988 What is Art? Pg 34-42

Criticizing Art, Terry Barrett, Mayfield Publishing Co, Mountain View, California,
London, Toronto, 2000 Describing Art pg. 63-67;
SELF-DISCLOSURES / SOCIAL CONTRACTS (1 CLASS)

intro to syllabus and parameters for discussion

guidelines for talking about and listening to difficult and personal issues and art.
pick a theme and choose an artist that you would like to learn about by next
week
Week One: INTRODUCTION


W Introduction to the course: Syllabus, requirements, grading
F What is Contemporary Art?
Probably good to add items here from earlier Art 300:

Abstract Expressionism

Pop

NeoEx

Conceptual

Appropriation
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26 | Page
Assignment:

Pick a theme and choose an artist that you would like to learn about by next week.
Required Reading



Themes of Contemporary Art, Preface + pp 3-7 (1st edition)
Themes of Contemporary Art, Preface + pp 3-7 (2nd edition)
Themes of Contemporary Art,
(3rd edition)
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27 | Page
THEMES OF CONTEMPORARY ART
CHAPTER ONE: THE ART WORLD EXPANDS
PARADIGM CHANGE: STRATEGIES, MATERIALS, PLAY & PROCESSES IN
CONTEMPORARY VISUAL ART

Interpreting art.
 Anish Kapoor. Marsyas (2002) Installed October 2002- April 2003.

Overview of History and Art History: 1980-2008
 Cai Guo-Qiang. Inopportune: Stage One (2004) Nine cars and sequenced multichannel light tubes,
dimensions variable. Seattle Museum of Art.

Old Media Thrive, New Media Make Waves
NeoEx—painting does not die
No medium dominates
Sculpture as art form expands
New technologies produce new pradigms (Jerry Uelsmann)
Virtual reality blurs boundaries
Visual culture is duplicated and shared worldwide
 Neo Rauch, Die Fuge (2007) Oil on canvas. Kunstalle Hamburg
 Yoshio Itagaki. Tourists on the Moon #2 (1998) Triptych, color photograph, 40” x 90”
 Jeff Koons. Rabbit (1987) Stailess Steel, 40 15/16” x 18 15/16” x 11 ¾”
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28 | Page

A Spectrum of Voices
…..
 Cai Guo-Qiang. Cultural Melting Bath: Projects for the 20th Century (1997) First realized August
1997 at Queens Museum of Art, NY. 18 Taihu rocks, hot tubs with hydrotherapy jets, bathwater
infused with herbs, banyon tree root, translucent fabric, and live birds. Dimensions variable.
Various venues.

German NeoEx


Italian NeoEx





Cheri Samba (Zaire)
William Kentridge (South African)
Asia (China)




Sandro Chia
Francesco Clemente
Enzo Cucchi
Russian


Africa
Anselm Kiefer (German)
Georg Baselitz
Xu Bing (China) (China)
Wendy Gu (China)
Wang Guangyi (China)
Cai Guo-Qiangyi (China)
Asia (Japan)

Ilya Kabokov
Vitaly Komar & Aleksandr
Melamid (Russian)


Yasumasa Morimura.
(Japan)(Japan)
Yukinori Yanagi (Japan)
Mariko Mori (Japan)
William Kentridge Metropolitan Museum of Art.
New York City, New York. USA.
© William Kentridge
Photo©Elizabeth LaCour
Many drawings and print images on class
webpages
Georg BaselitzWoodmen (1968)
Charcoal & synthetic resin on unprimed
canvas
Museum of Modern Art. New York City,
New York.
©Georg Baselitz.
Photo ©Elizabeth LaCour.
Georg Baselitz- Man of Faith (1983) Oil on
canvas. Metropolitan Museum of Art. New
York City, New York. ©Georg Baselitz.
Photo ©Elizabeth LaCour.
Central/ South American


…

Alfredo Jaar (Chile)
Adrianna Varejão
Gerhard Richter (German)

Mid East


Shirin Neshat (Iran)
Mona Hatoum (Palestine)
…


Sherry Levine (American)
Cindy Sherman (American)
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29 | Page

The Art World Goes Global
…
 Cal Lane. Shovels (2005) Plasma cut steel.
 Gerhard Richter (German)
 Sherry Levine (American)
 Vitaly Komar & Aleksandr Melamid (Russian)
 Cindy Sherman (American)
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30 | Page

Theory Waxes and Wanes
Term postmodern commonly used appropriation
Appropriation:
 ..


 .

Art Meets Contemporary Culture
Cross fertilization between high and low art, found objects and readymades.:
 Jeff Koons. Rabbit
 Keith Tyson. Installation view of Keith Tyson: Large Field Array (September 7- October 20, 2007)
Pace Wildenstein, NYC
 Anish Kapoor. Marsyas (2002) Installed October 2002- April 2003.
Appropriation from consumer culture:
 Jeff Koons. Rabbit
 Ashley Bickerton (USA)
 Hain Steinbach (Israel)
Comic format:
 Raymond Pettibon (USA)
 Laylah Ali
 Glen Baxter
 Christine Schumann
 Japanese Anime & Manga

Post Studio Art Practice
 ...
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31 | Page

Art outside museums
 Jenny Holzer
 Felix Gonzales-Torres
Vocabulary

Content

Concept

Context
Required Reading

Themes of Contemporary Art, pp 9-35.
Chapter premise: “CONTENT MATTERS, even if the content is multilayerd and open
ended.”
Supplemental Research:

watch artist, Oliver Herring, create work "Spitting Food Dye..." on art21-YouTube
http://www.youtube.com/art21org#play/uploads/28/0mbtV83ZhhM
Reading Sources:

Craft in Art, Art as Craft, Donal Kuspit, New Art Examiner, April 1996
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32 | Page
THEMES OF CONTEMPORARY ART
TIME. NARRATIVE, MEMORY AND IDENTITY
 Peter Fischl & David Weiss. Still from Der Lauf der Dinge (The Way Things Go) (1985-87) 16mm film
 Heide Fasnacht. “Demo” (2000) Neoprene, Styrofoam, pigment, approximately 9 ½ x 10 ½ x 10
feet.

Time and Art History

Representing time
 Whitfield Lovell. “Epoch” (2001) Charcoal on wood, found objects. 77 ½” x 55” x 17 ½”
 Marianna Abramovic (Serbian) “The House with the Ocean View” (2002) Performance
 Rebecca Horn (German) “Concert for Anarchy” (1990) Performance
 Kinetic Sculptures, Film, Performance
 Felix Gonzales-Torres (Cuban born) Untitled (Perfect Lovers) (1987-90)
 Tommy Simpson. “Boy with Fish” (1994) Carved and painted wooden clock and cabinet. 73” x 32” x
11”
 Ann Hamilton (USA) “Offerings” (1991)Installation
 Sigmar Polke (German)

Embodying time
 .

Changing Views of Time
 Matthew Ritchie. “Self Portrait in 2064” (2001) Oil and marker on canvas.

Changing Views of the Past
 ..
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
Exhibits about Time
 ..

Exploring the Structure of Time

Fracturing time
 ..

Real time

Changing rhythm
..
 Sam Taylor-Wood (English) “Still Life” Time lapse photography film.
 Douglas Gordon. “24 Hour Psycho” (1993) Video installation
 Douglas Gordon. “Déjà vu” (2000) Video installation
 Bill Viola
 Felix-Gonzales-Torres (Cuban born). Untitled (Perfect Lovers) (1987-90)

Exploring endlessness
 ..
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34 | Page

Revisiting the Past
 Anselm Kiefer (German) (German)
 Komar & Melamid (Russian, emigrated to USA)
 Judy Baca. “The Great Wall of Los Angeles” (1976-83) mural project
 Kara Walker. “Camptown Ladies” (1998) Cut paper and adhesive on wall


Recovering history
 ..

Reshuffling the past
 Jake and Dinos Chapman (British) “ Great Deeds Against the Dead” (1994)
 Kara Walker
 Omer Fast (Israeli born, Berlin based)

Commemorating the Past
 Monuments & Memorials
 Maya Lin. Vietnam Memorial (1982)
 Krzysztof Wodiczko (Poland). “Hiroshima Project” (1999).

Profile #1: Brian Tolle
 Brian Tolle. “Irish Hunger Memorial” installed Battery Park (2002) Stone, landscaping, glass,
illumination, audio, concrete, 96’ x 170’
 Brian Tolle. “Job and Alice” Contemporary Art Center, Cincinnati, OH (2006) Hand carved
Styrofoam, robotics, acrylic paint. 14 ½’ x 10’ x 6’ each

Profile #2: Cornelia Parker
 Cornelia Parker. “Anti-Mass” (2005) Charcoal retrieved from a church burned by arson; nails, and
wire. 156” x 132” x 135” Fine Arts Museums of San Francisco (de Young)
 Cornelia Parker. “Breathless” (2001) Brass musical crushed in an industrial press. V&A London
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35 | Page
Artists:

Eric Fischl


Kara Walker

Anselm Kiefer
(German)
Walton Ford

Carrie Mae Weems

William Kentridge
William Kentridge Metropolitan Museum of Art.
New York City, New York. USA.
© William Kentridge
Photo©Elizabeth LaCour
Many drawings and print images on class
webpages

Jane Alexander


Trenton Doyle
Hancock

Doris Salcedo
(Columbia)
On Kawara

Tracy Moffatt

Ilya Kabokov
Doris Salcedo (Columbia)
Doris Salcedo





Amelia Mesa-Bains
Dinh Q Lê
Neo Rauch





Roger Shimomura
Omer Fast
Louise Bourgeois
Lorrain O’Grady





Raymond Pettibon
Peter Doig
Amy Cutler
Zoe Leonard
Reading:


Robertson and McDaniel, Themes of Contemporary Art, “Time and Art” pp 111-139
Alcoff, L., “The Problem of Speaking for Others”
Week Five: TIME / NARRATIVE

Earthworks hard copy of last week's homework for peer review today
Vocabulary




Subjective time (time experienced)
Embodied time
Kinetic art
Performance art





Matthew Barney: Drawing restraint

Objective time (time measured)
Represented time
Process art
David Weiss & Peter Fischli:
The Way Things Go
Andy Goldsworthy
Doris Salcedo (Columbia)
Doris Salcedo

Required Viewng:


(YouTube) William Kentridge: Felix in Exile
http://www.youtube.com/watch?v=vF5cngcXqSs;
YouTube) Automatic Writing
http://www.youtube.com/watch?v=OmvK7A84dlk&playnext=1&list=PLBC73455ABEC
D703E&index=13
William Kentridge Metropolitan Museum of Art.
New York City, New York. USA.
© William Kentridge
Photo©Elizabeth LaCour
Many drawings and print images on class
webpages
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THEMES OF CONTEMPORARY ART
PLACE, SPACE AND IDENTITY
 Paul Noble (British) “Nobspital” (1997-98) Pencil on paper, 98.5” x 59”….

Places Have Meanings
 Anselm Kiefer (German)

Places Have Value
 Nadja Daehnke (South African) “Shop/Site/Shrine” (1997)

Exhibits about Place

History's Influence

(Most) places exist in space
 Kerry James Marshall. “Better Homes Better Gardes” (1994) Acrylic Collage on canvas 100” x 144”
 Mona Hatoum. “Present Tense” (1996) Soap blocks, red beads

The work of art exists in a place
 Roxy Paine (USA). “Life size aluminum tree. In 2002 Whitney Biennial. On Met roof. FW Modern”
(1997-98)
 Earth/Land Art: Nancy Holt, Michael Singer, Alan Sonfist, Gabriel Orozco, Meg Webster, Christo,
Athena Tacha, Mary Miss, Vito Acconci

Looking at Places
 Roxy Paine (USA). “Crop” (1997-98)
 Earth/Land Art: Nancy Holt, Michael Singer, Alan Sonfist, Gabriel Orozco, Meg Webster, Christo,
Athena Tacha, Mary Miss, Vito Acconci
 Wayne Thiebaud
 Zhan Wang (China)
 Denis Wood & Cartter Crawford. “A Drawing from Denis Wood’s Dancing and Singing: A Narrative
Atlas of Boylan Heights: street signs (1982)
 Andreas Gursky (German) (German) large scale panoramic photos. Birds eye crowds.
37 | Page
37 | Page


Looking Out For Places
 Truman Lowe. “Red Banks” (1992) Wood, 36” x 144” x 96”
 Betsy Damon. “The living Water Garden” (1998) Chengdu, China
 Alfredo Jaar. “Geography=War” (1990) Double sided light box with color transparencies, framed
mirror broken in five pieces, overall dimensions: 50” x 40” x 28”


Real and Simulated Places
 Liza Lou. “Kitchen” (1991-95) Mixed media and beads. 8 x 11 x 24 feet.
 Liz Craft
 Hiroshi Sugimoto (Japan). “Permian Land” (1992) Black and white photo. 16” x 20”
 Mark Dion, Alexis Rockman

Constructing (and Deconstructing) Artificial Places
 ….

Placeless Spaces
 Craig Kalpakjian. “Corridor” (1997) Cibachrome mounted on aluminum. 29 ½” x 39 ½”
 Sven Pahlsson (Scandinavian) 3D computer animations

What's Public? What's Private?
 Bruce Nauman
 Julie Scher. “Security vy Julia II” (1997) mixed media, dimensions varialble
 Janet Cardiff: Walks
 Richard Serra Tilted Arc
 Barbara Kruger
 Jenny Holzer
 Krzysztof Wodiczko (Poland)
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38 | Page


In-Between Places
 Kcho (Alexis Leyvs Machado). “El Camino de la Nostalgia (Road of Nostalgia) (1994-95) Mixed
media installation, lengt of dock approximately 16.5 meters

Profile #1: Janet Cardiff
 Janet Cardiff and George Bures Miller. “The Paradise Institute” (2001) exterior and interior views.
Wood theater seats, video projectioin, headphones and mixed media, 118” x 698” x 210”
Janet Cardiff: Walks


Profile #2: Unilever Series at Tate Modern
 Anish Kapoor. Marsyas (2002)
 Olafur Eliasson. (Scandinavian) “The Weather Project” (2003)
 Carsten Holler. “ŒTest Site (2006)
 Doris Salcedo (Columbia) . “Shibbolet” (2007). Concrete and metal. (2007) (YouTube available)
Artists


Helio Oiticica
Wodiczko


Cildo Merieles
Tehching Hsieh


Fred Wilson
Maria Campos-Pons


Mona Hatoum
Anselm Keifer


Shahzia Sikander
Georges Adegbo


Tseng Kwong Chi
Gillian Wearing


Lorraine O Grady
Joseph Beuys


Renate Lucas
Do Ho-Suh


Rachel Whiteread
Christian Boltanski


Mthethwa
Mark Bradford (African
American)
Rikrit Tiravanija

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39 | Page

Paradigm change: Duchamp. Art / Craft; Process / Product

Objects in space, Site specificity, The monument

Review of description and interpretation; Writing workshop: Essay basics

Vocabulary










Appropriation
Marcel Duchamp
Tom Friedman
Sculpture
Tableau (e.g.Ed Kienholz)
Site specificity / Site specific
Mel Chin: Revival Field
Brian Tolle
Richard Long
Erwin Wurm: One minute
sculptures








Readymade
Oliver Herring: Task
Diorama (e.g.Mark Dion)
Installation
Earthworks / Land Art
Maya Lin (Vietnam Memorial)
Do Ho Suh
Mel Chin: Revival Field
Reading:

Themes in Contemporary Art, pp. 173-176, 179-187
 Supplemental Research
 Interview with Krysztof Wodiczko at PBS ART:21
http://www.pbs.org/art21/artists/wodiczko/clip2.html
Reading Sources:

Criticizing Art, Terry Barrett, Mayfield Publishing Co, Mountain View, California, London,
Toronto, 2000 Theory and Art Criticism pg. 29-62

Themes of Contemporary Art, pp 151-173

Watch video of artist, Maya Lin discussing her work "Wave
Field" http://video.nytimes.com/video/2008/11/07/arts/design/1194832296918/may
a-lins-wave-field.html
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THEMES OF CONTEMPORARY ART
IDENTITY POLITICS -- THE 80S AND 90S (4-6 CLASSES)
 James Luna. The Artifact Piece (1987) Mixed media installation and performance, dimensions
variable.

Identity in Art History
 Pepòn Osorio. La Bicicleto (1985) Mixed mediums, approximately 42” x 60” x 24”

Identity is Communal or Relational
 Carrie Mae Weems. “Untitled” from the Kitchen Table

Social and cultural identities
 ….

Identity politics
 ….

Identity is Constructed
 Will Wilson. “Autoimmune Response #5” (2005) Digital inkjet, 44” x 109”
 Guillermo Gomez-Pena. “Border Brujo” (1989). Performance art still

Essentialism
 ….

Diversity
 Lyle Ashton Harris. Memoirs of Hadrian #26 (2003) Unique Poloroid 20” x 24”

Otherness and Representation
 Catherine Opie. “Chicken (from Being and Having) (1991) Chromogenic print, 17” x 22”

Deconstructing Difference
 ….

The Fluid of Identity
 Yasumasa Morimura. “Still from Dialogue with Myself(Encounter) (2001) DVD projection, one hour
loop
 Nancy Burson. “Evolution II (Chimpanzee and Man) (1984) Computer Composite, 11” x 14”
 ….
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41 | Page


Difference
….

Identity is Not Fixed
 DO HO SUH. “Karma (Installation at Artsonjie Center in Seoul, Korea) (2003) Urethane paint on
fiberglass/resin, 153.94” x 118” x 291”

Sexual Identity is Diverse
 ….

Hybridity
 Hung Liu. “Judgment of paris” (1992) Oil on canvas with lacquered wood, triptych, 72” x 96” x 4
3/4”

Reinventing Identities
 ….


Profile #1: Jaune Quick-to-See Smith
 ….

Profile #2: Shirin Neshat
 Shirin Neshat. “Rebellious Silence” (1994) B & W RC print & ink. 11” x 14”
 Shirin Neshat. “Fervor” (2000) Production Still

Profile #3: Nancy Burson
 Nancy Burson. “Evolution II (Chimpanzee and Man) (1984) Computer Composite, 11” x 14”
 Nancy Burson. “Mankind (Oriental, Causcasian, and Black, weighted according to current
population statistics) (1983-85) Gelatin Silver Print
 Nancy Burson. “Untitled from the He/She Series (1997) Poloroid
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42 | Page
Artists:

Anna Mendieta

Valie Export

Guerrilla Girls

Mary Kelly

Alison Saar

Guillermo Gomez-Pena

Faith Ringgold

Adrian Piper

David Hammons

Coco Fusco

Cathy Opie

Warhol

Iké Udé

Pepon Osorio

Robert Mapplethorpe

Kerry James Marshall

Judy Chicago

Martha Rosler

Barbara Kruger

Janine Antoni

Dorothy Cross

Pipilotti Rist

Andres Serrano

Lorna Simpson

James Luna

Michael Ray Charles

Romare Bearden

Nicole Eisenmann

Paul McCarthy

Nan Goldin

Felix Gonzalez-Torres

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43 | Page
Reading:

Robertson and McDaniel, Themes in Contemporary Art, Chapter 4 “Identity”

Griselda Pollock, Rethinking the artist in the woman, the woman in the artist, and that
old chestnut, the gaze,” in Women Artist at the Millennium

Piper, “Triple Negation of Black Women Artists”
Further Reading:

Selection from the Introduction to Art and Feminism; “Post-feminism” from
Understanding Contemporary Society: Theories of the Present;

Cornel West, Race Matters;

Coco Fusco, “Passionate Irreverence: The Cultural Politics of Identity”
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44 | Page
THEMES OF CONTEMPORARY ART
BEYOND IDENTITY POLITICS
Artists:

Felix Gonzalez Torres

Matthew Barney

Glenn Ligon

Cai Guo-Qiang

Kiki Smith

Beatrice Searle

Beatrice Searle

Elizabeth Peyton

Juan Munoz

Steve McQueen

Isaac Julien

Jimmie Durham

Blake Simpson

Ghada Amer

Gabriel Orozco

Vanessa Beecroft

Phil Collins


Mark Bradford (African
American)
Mike Kelley

Rineki Dijkstra
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45 | Page

Jiri Kovanda

Paul Pfeiffe

Laylah Ali

Ann Hamilton

Michael Arcega

Peggy Chan

Erwin Wurm

Tino Seghal

Jason Rhoades
READING:

Susette Min, “The Last Asian American Exhibition in the Whole Entire World” from One
Way or Another: Asian American Art Now

Suzi Gablik, “Connective Aesthetics, Art after Individualism”
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46 | Page
Week Seven: IDENTITY & the BODY

Identity as a construct; Situational & performing identity

Hybridity, Essentialism, Personalizing history, The BODY:Performing bodies

Materials and forms, Gaze
Vocabulary

Identity as a construct (constructed identity)

Cindy Sherman

Lynn Hershman Leeson: Roberta Breitmore

Essentialism

Activist Art / Guerrilla Girls

Kerry James Marshall

Kara Walker

Figurative art

Body Art (as an art movement)

Gaze

Zhang Huan

Mona Hatoum

Janine Antoni

Marina Abramovic

Stelarc
47 | Page
47 | Page
Required Reading:

Themes of Contemporary Art, on Identity: pp 37-39 (end of J. Luna), 42-46 (until
Diversity), 50-52, 54-55, 65-69; on The Body: pp 73-87 (until sexual bodies), 90-93
(Gaze only), 95-101, 102-107.
Supplemental Research:

(videos, interviews, slideshows http://www.pbs.org/art21/index.html for:
Kara Walker
Kerry James Marshall
Do-Ho Suh
Cindy Sherman
Jenny Saville
Still (2003)
Oil on canvas
Metropolitan Museum of Art
NYC,NY
© artist
© Elizabeth LaCour
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48 | Page
THEMES OF CONTEMPORARY ART
CHAPTER 5: THE BODY AND IDENTITY -- PERFORMING THE SELF (2 CLASS)
 Paul McCarthy. “Mutant” (1993) Acrylic, fur, metal, paint, foam rubber, fiberglass
 James Crook. “Decentered Skin” (1995) Mixed media.

Past Figurative Art
 Picasso
 Matisse
 Kollwitz

A New Spin on the Body








Judy Chicago. “dinner Party”
Cindy Sherman
Barbara Kruger
Mary Kelly
Helen Chadwick
Adrian Piper
Lorna Simpson
The body is a battleground
 ..

The body is a sign






Maureen Connor. “Thinner Than You” (1990) Stainless steel and cloth, 60” x 15” x 7.5”
Collier Schorr. “In the Garden (Karin in Grass) (1996) C-print, 9” x 13 ¼”
Bruce Nauman
Kiki Smith
Dinos and Jake Chapman
People are bodies
 ..

Performing Bodies
 Adrian Piper. “What Will Become of Me? Work in progress

The Body Beautiful
 Janine Antoni. “To Draw a Line” (2003) Performance tightrope stretched between one-ton spots.
September 5th, 2003. 4000 lbs of raw hemp fiber, 120 feet of handmade hemp rope spliced into
1200 feet of machine made hemp rope
 Maureen Connor
 Martha Wilson
 Nancy Davidson
 Jenny Saville (Great Britian)
 Matthew Barney
 ..
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49 | Page

Different bodies
 ..

Body parts
 ..

Mortal Bodies





David Wojnarowicz
Felix Gonzales-Torres
Hannah Wilke
Nancy Fried
Sexual Bodies
 Matthew Barney. “Cremaster 3” (2002) Production Still

The gaze
 Ed and Nancy Reddin Kienholz. “The Rhinestone Beaver Peep Show” (1980)
 Mona Hatoum. “Corps étranger” (1994) Video installation.

Sexual pleasure and desire
 ..

Sex and violence
 Yoko Ono. “Cut Piece” Performance

Post-Human Bodies
 Robert Gober. “Untitled” (1980) Beeswax, pigment, human hair. 23 ¾” x 17 ½” x 11 ¼” SFMOMA
 Alan Rath. Infoglut (1996) Aluminum, electronics, cathode ray tubes, 22” x 46” x 15”
 Stelarc. “The Third Hand” (1980)

Profile #1: Renée Cox
 Renée Cox. “Hott-En-Tot” (1994) Silver Gelatin Print.
50 | Page
50 | Page

Profile #2: Zhang Huan
 Zhang Huan “Giant #3 (2008) Cowskin, steel, wood, and polystyrene foam. 15’1” x 32’10” x 13’9”
Artists

Hannah Wilke

Eleanor Antin

Chris Burden

Cindy Sherman (American)

Nikki S. Lee (Korea, works NYC)

Cang Xin

Rosemary Trockle

Rebecca Horn

Gary Hill

Gilbert and George (British)

Marina Abramovic and Ulay

Carolee Schneemann

Jenny Saville (Great Britian)
Artists
Jenny Saville
Still (2003)
Oil on canvas
Metropolitan Museum of Art
NYC,NY
© artist
© Elizabeth LaCour

Zhang Huan

Patty Chang

Laurie Anderson

Tim Hawkenson
51 | Page
51 | Page

Kate Gilmore

Orlan

Viennese Actionists

Yasumasu Morimura

Song Dong

Pope L.

Rashaad Newsome

Mariko Mori

Vito Acconci

Hannah Wilke

Eleanor Antin

Chris Burden

Cindy Sherman (American)

Nikki S. Lee (Korea, works NYC)

Cang Xin
What is Identification?
Reading:


Robertson and McDaniel, Themes in Contemporary Art, Chapter 5: “The Body”
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52 | Page
THEMES OF CONTEMPORARY ART
CHAPTER SIX: LANGUAGE
 Colorplate 14
 Lorna Simpson. “Easy to Remember” (2001) film installation


Words with Art: A History





Chinese calligraphy
Pictographs
Symbolic communication
…
Art with Words: A History
 Pop Art
 Documentation
 Conceptual Art:
 Joseph Kosuth
 Lawrence Weiner
 Sol LeWitt
 Miranda July. “The Swan Tool” (2001) Performance

Recent Theories of Language
 Semiotics
 Linguistics

Reasons for Using Language
 Wu Mail (Taiwanese) “The Library” (1995) installation for Vwenice Biennale
 Duane Michals. “Necessary Things for Writing Fairy Tales” (1989) Cibachrome print with hand
applied text image
 David Salle
 Lawrence Weiner
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53 | Page

Exhibitions and Publications Concerning Language in Art
 …

Language Makes Meaning

Language Takes Form
 Gillian Wearing. “Work Towards World Peace” (1992-93) From the series “Signs That Say What You
Want Them to Say and Not What Someone Else Wants You to Say” C-type prit, mounted on
aluminum approx.. 16 ½” x 12”
 …

Transparency and translucency
 Lorna Simpson. “Easy to Remember”
 Christopher Wool (American)
 Ouattara (Ivory Coast)

Spatiality and physicality
 Vito Acconci. “Name Calling Chair” (1984)
 Ed Ruscha. “Better Get Your Ass Some Protection” (1997)
 Ghada Amer (Egyptian born). “Love Grave” (2003) Installation

Books made by artists
 Raymond Pettibon (American. Born Tucson)…”No Title (What’s Better Science)” (1985) Black ink on
paper. 12 ¼” x 8 15/16”

Art made with books
 Buzz Spector. “Toward a Theory of Universal Casuality” (1984-90) Installation of hard cover books.

Wielding the Power of Language
 ACT UP. Gorilla Girls, Group Material
 Jenny Holzer. “Truisms” series (1986)
 Jenny Holzer. “Inflammatory Essays”
 Keith Haring
 Glenn Lignon. “Untitled. I Am Not Tragically Colored) (1980) Oil on panel. 80” x 30”
54 | Page
54 | Page

Naming
 Fred Wilson. “Mining the Museum”

Confronting the Challenge of Translation
 Shigeaki Iwai (Japanese). “Dialogue” (199)
 Exploration of Chinese Writing:
 Wendy Gu
 Song Dong
 Xu Bing (China)
 Joseph Grigely. “White Noise” (2001) Installation

Using Text in the Information Age
 Mark Hansen & Be Rubin. “Listening Post” in 2002 Whitney Biennial

Profile #1: Ken Aptekar
 Ken Aptekar. “Pink Frick” (1993) Oil on Wood, sandblasted gloass, bolts. 60” x 60”

Profile #2: Nina Katchadourian
 Nina Katchadourian. “Primitive Art from the Akron Stacks” (2001) C print 12.5” x 19”
Reading:

Robertson and McDaniel, Themes in Contemporary Art, Chapter 6: “Language”
Optional Reading:

Jenny Holzer, Michael Auping, Universe Publ. 1992 pg 17-40

Jenny Holzer, Diane Waldman, Guggenheim Fund, with Harry N. Abrams Inc. NY
1989 Diane Waldman, The Language of Signs pg 9-14
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THEMES OF CONTEMPORARY ART
CHAPTER SEVEN: SCIENCE
 Escher
 Sam Easterson. “Animal, Vegetable, Video” (2003) video
 Motohiko Odani (Japanese) “Rompers (2003) video. Digital effect, c-print mounted on aluminum…

What is Science?
 Eve Andrée Laramée. “Apparatus for the Distillation of Vague Intuitions” (1994-98) Hand blown
and etched laboratory glass, steel, copper, saltwater, flowers, tables.



The Scientific Impulse
 …

The Scientific Method
 …

Artists as Amateur Scientists
 Stellar Axis.Anatarictica (colorplate)
 Sam Easterson. “Animal, Vegetable, Video” (2003) video
 Gary Scheider. “Genetic Self-Portrait” (1997-98) Installation 2000. International Center of
Photograph. NYC
 Natalie Jeremijenko. “Tree Logic” (1999) Six flame maple trees, telephone poles, stainless steel
planters and armature, aircraft cable, drip irrigation system.
 Damian Hirst. “Pharmacy” (1992) Mixed media.Nat


Artists Adopt Scientific Methods and Materials
 Alexis Rockman
 Patricia Piccinini. “The Young Family” (2002) Silicon, polyurethane, human hair, leather, plywood.
80 x 50 x 110 cm.
 Eve Andrée Laramée. “Apparatus for the Distillation of Vague Intuitions” (1994-98) Hand blown
and etched laboratory glass, steel, copper, saltwater, flowers, tables.
56 | Page
56 | Page

Creole Technologies
 Institute for Figuring. “Hperbolic Crochet Coral Reef” (ongoing since 2005) Yarn…

BioArt
 Kathy High. “Rat Habitat with live rats from Embracing Animal Installation at MASS MoCA (200506)

Science and Art: Intertwined Through History
 …

The Ideology of Science
 …

Is Science Running Amok? Activist Art Responds
 Helen and Newton Harrison. “Detail from The Mountain in the Greenhouse from Penisula Europe”
(2001) Image from CD-ROM. 3 minutes.

Recent Exhibits about science and art
 …

The Visual Culture of Science
 …

Scientific imaging and art
 …

Deconstructing the visual culture of science
 …

Scientific displays and archives
 Damian Hirst. “Pharmacy” (1992) Mixed media.Nat

Science in popular culture
 …

Classifying Humans in the Genomic Age
 Suzanne Anker. Zoosemiotics: Primates, Frog, Gazelle, Fish (1993) Glass vessel, water, steel,
hydrocal, metallic pigment
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57 | Page

Is Nature Natural?
 …

Marveling at the Universe
 …

Profile #1: Patricia Piccinini
 Patricia Piccinini. “The Young Family” (2002) Silicon, polyurethane, human hair, leather, plywood.
80 x 50 x 110 cm.


Profile #2: Eduardo Kac
 Eduardo Kac. “Encryption Stones” (2001) Laser etched granite (diptych) 20” x 30”
Reading:

Robertson and McDaniel, Themes in Contemporary Art, Chapter 7: “Science”
58 | Page
58 | Page
THEMES OF CONTEMPORARY ART
CHAPTER EIGHT: SPIRITUALITY—SOUL SEARCHING
 Fred Tomaselli. “Untitled (Expulsion)” (2000)
 Shahzia Sikander. “Uprooted Order!” (1996-97) Vegetable color, dry pigment, watercolor, tea on
hand prepared Washi paper. 17 ½” x 12”

A Short History
 Controversery: Andre Serrano. Piss Christ


A Few Strategies
 …

Manipulating forms, materials, and processes
 Bill Viola. “The Crossing” (1996) Videosound installation
 Amalia Mesa-Bains. Queen of the Waters, Mother of the Land of the Dead” (1992) Mixed media
installation

Manipulating meanings and minds
 Anthony Gormley. “A Case for Angel II (1990)
 Kiki Smith. “Born” (2002) Bronze 39” x 101” x 24”
 Shirazeh Houshiary. “Turning Around a Centre” (1993) Four parts.

Finding Faith and Harboring Doubt
 Xenobia Bailey. “Sistah Paradise’s Great Wall of Fire Revival Tent (1993) Acyrlic and cotton yarn,
hand crocheted. 112” x 63” diameter
 Robert Gober. “Installation view of Untitled” (1995-97)
 …

Expressing Religious Identities
 Wilfredo Lam (Cuban)
 Ana Mendietta (Cuban)

Facing Death, Doom, and Destruction
 Vanitas
 Ross Bleckner
 Gabriel Orozco. “Black Kites” (1997) Graphite on Skull

59 | Page
59 | Page

Mingling the Sacred and the Secular
 Amalia Mesa-Bains. Colorplate 20
 Jeff Koons. “Ushering in Banality” (1988)
 Elayne Goodman (Columbus, MS) “Altar to Elvis” (1990) Mixed media: wood costruction with
attachments, collage, Elvis collectables, fake relics, poster and prints, buttons, braids, sequins, 74” x
66” x 22”
 Workshop of Kane Kwei. “Hen with Chicks fantasy coffin made by workshop of Kane Kwei. Wood
cloth and paint.
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60 | Page

Profile #1: José Bedia
 José Bedia. “Las Cosas Que Me Arrstran (The Things That Drag Me Along)” (1996) Wax, crayon,
acrylic, found objects. Approximately 10 x 10 x 30 feet.
 José Bedia. “Miro, Mamita, Estoy Arriba” (1991) Acrylic on canvas with found objects. 73” x 94 ½”.


Profile #2: Bill Viola
 Bill Viola. “The Crossing” (1996) Videosound installation
Artists:

Shirit Neshat

Wolfgang Liab

John Feodorov

Pierre Huyghe

Bruce Conner

Center for Tactical Magic

Shirit Neshat

Mona Hatoum

Anish Kapoor

Shahzia Sikander

Douglas Gordon

Paul Chan

Willy Tjungurrayi (Pintupi)

Bill Viola

Mel Chin

James Turrell

Sigmar Polke

Doug Aitkins

Joseph Beuys
61 | Page
61 | Page
Week Six: SPIRITUALITY

Spirituality, Vanitas


…
The sublime, Iconography; Manipulating meanings;
VOCABULARY LIST

Iconography

The Sublime

Bill Viola

Wolfgang Laib

Shahzia Sikander

Vanitas

Ritualistic (artwork and practice)

Félix González-Torres

Kiki Smith
Reading:



Robertson and McDaniel, Themes of Contemporary Art, “Spirituality and Art”
Themes of Contemporary Art, pp 273-297, 302-306
Reading Sources:


Andres Serrano, Letter to the NEA pg. 280-281
Defending Serrano pg. 18-21
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62 | Page
UNIT 1: BECOMING CONTEMPORARY
U01: WEEK 1 (1.7-1.9): INTRODUCTION
CONTEMPORARY ART IN TRANSITION: FROM LATE MODERN TO NOW
The main trajectories of contemporary art in different parts of the world!
We will examine the intersections of contemporary art with everyday life, politics, technology, mass-media and
architecture.
Course topics will include: Pop Art, Minimalism, Conceptual Art, Land Art, performance art, installation art, new
media, art and transnational politics, art and global concerns (ecology, affect, socio-political affiliations).
Readings:


Contemporary Art: World Currents. Terry Smith,
General Introduction: Contemporary Art in Transition: From Late Modern to Now. Pp. 8Paul Wood, “Art of the Twentieth Century,” 16-32, beginning at subsection “Modernity
and modernism” until “Toward postmodernism”
 Jeff Koons. Puppy 1992. (see chp 2)
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UNIT 1: BECOMING CONTEMPORARY
U01: WEEK 2 (1.14-1.16): MODERNISM AND AFTER
PART I BECOMING CONTEMPORARY IN EUROAMERICA
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Transformations in Late modern Art: Its Contemporary Aspects 19
Situationism, Gutai, Happenings: Art into Life/Life into Art 19
Pop: The Social Mirror, Refracted 24
The Object Materialized: Minimalism 27
Earthworks: Extending Sculpture’s Field 29
Conceptualism: Reconceiving Art Political Interventions: Direct Democracy, Body, Self,
Sexuality 36
Readings:

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Terry Smith. Contemporary Art: World Currents.
Chapter 1: Late Modern Art Becomes Contemporary 16
Jean Robertson, “The Art World Expands”
Illustrations:
 Picasso. Three Figures, Sept 6, 1971. Oi on canvas, 51 1/5” x 63 ¼”
 DeKooning. Woman VI, 1953, oil on canvas. 68 ½” x 58 ½
 Morris Louis, Alphi Pi, 1960 102 ½” x 177”
 Anthony Caro. “Early One Morning” (1962) Painted Steel and aluminum 114 x 244
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Transformations in Late modern Art: Its Contemporary Aspects 19
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Situationism, Gutai, Happenings: Art into Life/Life into Art 19
 Asger Jorn. “Paris by Night” (ca. 1959 from the modifications series. Oil on extant painting. 20 7/8”
x 14 5/8”
 Guy Debord and Asger Jorn- The Naked City: A Hypothetical Illustration of the Psychogeographic
Battle Between Places (1957)
 Kazuo Shiraga-Challenging Mud (1955) Performance Courtesy of the Ashiya City Museum of Art &
History
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 Robert Rauschenberg-Retroactive I (1964) Oil and silkscreen, ink on canvas, 84 x 60 in
 Alan Kaprow- Preparing for 18 Happenings in Six Parts-(1959) Performance, Ruben Gallery, NYC

Pop: The Social Mirror, Refracted 24
 Independent Group- Poster advertising the exhibition This Is Tomorrow at the Whitechapel Art
Gallery, showing collage by Richard Hamilton, Just What is It That Makes Today’s Homes So
Different, So Appealing? (1956)
 Andy Warhol, 1947 White, (1963) Silkscreen ink and graphite on linen, 121 x 78 in

The Object Materialized: Minimalism 27
 Frank Stella- Die Fahne Hoch! (1959) Enamel paint on canvas, 121 ½ x 73 in
 Donald Judd Untitled (1969) Galvanized iron and plexiglass, overall 120 x 27 1/3 x 24 in. Ten boxes
each box 6 x 27 1/8 x 24 in.
 Robert Morris Untitled 1965/71. Mirror plate glass on board, four pieces, each 36 x 36 x 36. Tate
Modern
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Earthworks: Extending Sculpture’s Field 29
 Robert Smithson The Spiral Jetty (1970) Long-term installation. Rozel Point, Box Elder County, Utah
1500 ft long, apx 15 ft
 Christo and Jeanne-Claude. IWrapped Coast-One Million Square Feet, Little Bay, Syndey, Australia
(1968-9) Erosion control fabric and 35 miles of rope, 1 million sq feet of seim transparent woven
polypropylene fabric, 17,000 manpower hours, 110 laborers, 15 professional mountaineers, Length
1 mile, 151-800 ½ ft wide 85 1/3 feet high at northern cliffs and at sea level at the southern beach
 Richard Long. A Line Made by Walking (1967) Photograph and pencil on board 14 ¾”” x 12 ¾”

Conceptualism: Reconceiving Art Political Interventions: Direct Democracy, Body, Self,
Sexuality 36
 Joseph Kosuth One and Three Chairs (1965) Wood folding chair, mounted photographic
enlargement of a dictionary definition of a chair.
 Art & Language. Index 01, (1972). Installation, Documenta 5, Kassel, eight file cabinets, 48
photostats, text pasted to walls.
 Joseph Beuys with Johannes Stuttgen. Blackboard from the Office for DDirect Democracy. (1971)
 Hans HHaacke. Shapolsky et al., Manhattan Real Estate Holdings, a Real Time Social System, as of
May 1, 1971,(1971). Suite of panels with photographs and typed text.
 Judy Chicago. The Dinner Party (1974-79) Ceramic, Porcelain, textile, 576 x 576 in
 Carolee Schneeman Interior Scroll.(1975) Performance
 Mary Kelly. Post-Partum Document: Documentation VI; Pre-writing Alphabet Exergue and Diary
(1978) (detail) Perspex unit, white card, resin, slate. One of the 15 units, each 7 ¾ x 10 in.
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Contemporary Art: World Currents
Chapter 2:
The Contemporary Art Boom 44
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The Postmodern Return to Figuration 46
The Two Germanys 46
Trauma of the Victimized 53
The Italian Transavantgarde 53
The American Scene Again 55
British Schools 56
Critical Postmodernism 58
Retro- Sensationalist Art 65
Remodernism in Sculpture and Photography 66
Big Photography 70
Spectacle Architecture as Contemporary Art 75
Contemporary Art Becomes a Style 79
ILLUSTRATIONS
The Postmodern Return to Figuration 46
The Two Germanys 46
 Bernhard Helsig. The Unteachable Soldier’s Christmas Dream (1974-75) Oil on canvas 39 1/3 x 42”
 Georg Baselitz. The Great Friends (Die Grossen Freundel) (1965) Oil on canvas. 98 ½ x 118 1/10 in
Georg BaselitzWoodmen (1968)
Charcoal & synthetic resin on unprimed
canvas
Museum of Modern Art. New York City,
New York.
©Georg Baselitz.
Photo ©Elizabeth LaCour.
Georg Baselitz- Man of Faith (1983) Oil on
canvas. Metropolitan Museum of Art. New
York City, New York. ©Georg Baselitz.
Photo ©Elizabeth LaCour.
 Anselm Kiefer. Germany’s Spiritual Heroes (1973) Oil and charcoal on burlap mounted on canvas.
 Jorg Immendorff. Café Deutschland I (1978) Oil on canvas, 111 x 130 in.
 Neo Rauch. Art (2002)) Oil on canvas, 98 2/5 x 82 2/3 in
 Gerhard Richter- Hanged (1988) Oil on canvas 79 1/10 x 40 7/8 in. MoMA
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Trauma of the Victimized 53
 Christian Boltaski. Resrve: the Dead Swiss (1990) Installation.
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The Italian Transavantgarde 53
 Francesco Clemente. Teaching Emotions with Feeling. (1980) Fresco, 3 panels. 118 1/10 x 236 ¼”
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The American Scene Again 55
 Philip Guston-Pit (1976) Oil on canvas. 74 ½ x 116
 Julian Schnabel. Circumnavigating the See of Shit (1979) Broken ceramics, bondo and oil on wood.
96 ½ x 96
 Eric Fischl. The Power of Rock and Roll (1984) Oil on linen. 120 x 80 in
 David Salle. What is the Reason for Your Visit to Germany? (1984) Acrylic, lead, oil on canvas, wood
96 x 191 in
 Jean Michel Basquiat. Untitled (1981) Acrylic and mixed media on canvas, 81 x 69 ¼.
 Antony Gormley. Field for the British Isles (1993) Terracotta, dimensions variable, apx 40,000
figures, each figure 3-10 ¼ inchesInstallation view, MoMA Dublin
British Schools 56
 Anish Kapoor. I (1987) Limestone and pigment, 23 ¼ x 24 1/10 x 37 1/3 in
Critical Postmodernism 58
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Jenny Holzer. From Truisms (1977-79) Installation, NY 36 x 24 in
Barbara Kruger All Violence is the Illustration of a Pathetic Stereotype (1991) Installation
Cindy Sherman Untitled Film Still #6 (1977) Black and White Photograph, 10 x 8 inch
Thomas Lawson Don’t Hit Her Again (1981) Oil on canvas. 48 x 48 in
Tony Oursler. System for Dramatic Feedback (1994) Rag dolls & 10 channel video & sound
installation
 Gary Hill Inasmuch As It Is Always Already Taking Place (1990) Sixteen channel video/sound
installation. 16 modified ½ inch to 23 inch black and white video monitors (cthode ray tubes
removed from chassis) two speakers, 16 DVD players and 16 DVDs (black and white; one with
stereo sound).
 Lorna Simpson. Corridor (Phone) I(2003). Photograph, 27 x 72 inches, based on Corridor (2003),
double projection video installation
 Kara Walker. Slavery! Slavery! Presenting a GRAND and LIFE LIKE Panoramic Journey in Picturesque
Southern Slavery or “Life at Ol’Virginny’s Hole’ (Sketches from Plantation Life) See Peculiar
Institution as Never Before! All Cut from Black paper by the Able Hand of Kara Elizabeth Walker, an
Emanicipated Negress and a Leader in Her Cause (1997) Cut paper on wall, 12 x 85 ft
Retro- Sensationalist Art 65
 Jeff Koons. Puppy (1992) Stainless steel, soil, geotextile fabric, internal irrigation system, and live
flowering plants
 Damien Hirst. The Physical Impossibility of Death in the mind of Someone Living (1991) Tiger shark,
formaldehyde, glass, and steel 883/4” x 204”
 Tracey Emin. My Bed (1998) Mattress, linens, pillows, objects 31 x 83 x 92 in
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Remodernism in Sculpture and Photography 66
 Richard Serra Tilted Arc (1981) Federal Plaza, NYC 120 ft x 12 ft x 2 ½ inch
 Maya Lin. Vietnam Veterans Memorial (1982) Washington DC Black granite 493 ½ x 10 ¼ feet
 Richard Wilson. 20:50 (1987) Used sump oil, steel, dimensions variable.
 Rachel Whiteread. House (1993) Concrete, full cast size, dimensions variable.
 Josiah McElheny. Endlessly Repeating Twentieth Century Modernism (2007) Hand blown mirror
and glass, low iron and transparent mirror, metal, wood, electrical, lighting, 94 ½ x 92 ¾ in
Big Photography 70
 Andreas Gursky (German) , Time Square, NY 1997 (1997) C print 73 x 98 in
 Thomas Demand. Poll (2001) C-print/ Diasec 71 x 102 1/3
 Jeff Wall. The Vampires’ Picnic (1991) Transparency in light box. 90 1/10 x 132 inch
 Jeff Wall. Dead Troops Talk (A Vision after and Ambush of a Red Army Patrol near Moqor,
Afghanistan, Winter 1986) (1992) transparency in light box. 90 1/10 x 164 1/5 inch
Spectacle Architecture as Contemporary Art 75
 Renzo Piano and Richard Rodgers. Georges Pompideau National Centre of Art and Culture, Paris,
1972-78.
 Frank Gehry. Guggenheim Museum, Bilbao 1991-97. Exterior view and atrium view
 Richard Serra. The Matter of Time (2005) Installation view, Guggenheim Museum, Bilbao, 1997
Contemporary Art Becomes a Style 79
 Matthew Barney. Cremaster 5: Her Giant (1997) Production Still.
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Week 3 (1.21-1.23): Formal Analysis
Readings:


Sylvan Barnett, “Formal Analysis and Style”
Sylvan Barnett, “Visual Analysis: Some Things to Consider”
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Unit 2: GLOBAL CURRENTS
WEEK 5:
Readings:
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
Contemporary Art: World Currents. Terry Smith, Ch. 3: “Russia and the (East of) Europe”
PART II THE TRANSNATIONAL TRANSITION
Introduction 82
Illustrations
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Rasa Dragoljub Todosijevic. God Loves the Serbs (1993) Mixed Media. Dimensions
variable. Installation view.

Contemporary Art: World Currents
Chapter 3:
Russia and (East of) Europe 84
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Russia 85
Art under Late Socialism 86
Russian Art Becomes Contemporary 89
Late Cold War Modern Art Elsewhere (East of) Europe 91
Parodies of Official Imagery 93
Performance Art Tests the Limits 97
Czechoslovakia 100
Hungary 100
The Baltic Nations 103
After the Fall: Post-Communist Art? 105
Romania 106
The Breakup of Yugoslavia 110
Beyond "Eastern" and "Central" Versus "Western" Europe 113
Translating the European Ideal 114
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Illustrations
Russia 85
 |RW|N, Frontspiece in |RW|N, ed East Art Map: Contemporary Art Eastern Europe(London:
Afterall, 2006)
Art under Late Socialism 86
 Iya Kabakov, The Man Who Flew into Space from his Apartment, from the Ten Characters series,
1981-88. Installation, interior view, wood, rubber, rope, paper, electric lamp, chinaware, paste up,
rubble and plaster powder, dimensions variable.
 Komar and Melamid. The Origin of Socialist Realism (1982-83) Oil on canvas, 72 x 48 in.
Russian Art Becomes Contemporary 89
 Boris Mikhailov. Case History (1999) (detail) Set 400 photographs, dimensions variable.
 Oleg Kulik. I Love Europe but Europe Doesn’t Love Me Back (1996) Performance.
 AES+F. Last Riot 2 (2006-07) Video Projection. Stills: Panorama #1 (left). Digital collages, digital
prints on canvas.
 Roman Opatka. 1965/1-, Detail 1-35327, (1965) Tempera on canvas 77 1/8” x 53 1/10 inch
Late Cold War Modern Art Elsewhere (East of) Europe 91
Parodies of Official Imagery 93
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Braco Dimitrijevic. Casual Passers-by I Met at 1:15 PM, 4.23 PM, 6.11 PM, Zagreb (1971)
Krzysztof Wodiczko (Poland). Vehicle (1972) Mixed media, dimensions variable.
Krzysztof Wodiczko (Poland). Lenin Monument (1990) Public projection at the Lenin Monument
Sandor Pinczehelyi. Hammer and Sickle (1973) Acrylic on canvas 55 1/10 x 39 1/3
Mladen Stilinovic. Exploitation of the Dead (1984-90) Mixed media installation, dimensions
variable. Detail of exhibition view, Whatever Happened to Social Democrarcy.
 Zofia Kulik. May-Day Mass. (1990) Photographs
Performance Art Tests the Limits 97
 Sanja Ivekovic. Triangle (1979) Four black and white photographs documenting performance,
Zagreb, May 19, 1979, each 12 x 15 7/8
 Marina Abramovic. Rhythm 5 (1974) published 1994. Gelatin silver print with inset letterpress
panel. Artist print 1 of 3. Photograph: 22 7/8 x 31 7/8 in
 Laibach. Concert in Hala Tivoli. (April 1989)
 Nedko Solakov. Top Secret (1989-90) AAcrylic, drawing in, oil, photographs, graphite, bronze,
aluminum, wood, a shameful secret, 179 index cards in original box. 5 ½ x 18 1/10 x 15 1/3 inch.
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Video film on DVD, color sound, 40 mins 7 sec, looped.
Czechoslovakia 100
 David Cerny. Entropa: Europe, as Seen by Artists from the 27 Member States (2009)
Hungary 100
 Imre Bukta. Intelligent Landscape (1993) Corncobs, wire, shelled maize, plastic bags, 165 1/3 x
39Kai
The Baltic Nations 103
 Kaljo. Loser (1997) 3 ¾ x 6 inch. Single channel video 1 min 24 sec
 Leonards Laganovskis. From the Fossils series, 1988-89. Amber, carved and backed with resin, and
military pin ½ x 2 ½ x 1 ½ inch.
 Henrikas Natalevicius. Untitled (1980) Oil on canvas 46 x 35 in.
 Romanas Vilkauskas. Interior X. (1981) Oil on canvas. 35 ½ x 43 1/3 inch
After the Fall: Post-Communist Art? 105
 |RW|N, Retroavantgarda,(1996) Mixed media 47 ¼ x 78 ¾
Romania 106
 Lia Perjovschi. Endless Collection (1990-today) Installation view, Generali Foundation (1005)).
Display of approx 1000 objects
 Dan Perjovschi. What Happened to US? (2007)
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Beyond "Eastern" and "Central" Versus "Western" Europe 113
 Mladen Stilinovic. “An Artist Who Cannot Speak English Is No Artist” (1992) Artificial silk. 54 ¾” x
78” Van Abbemuseum, Eindhoven.
 Zbigniew Libera. “Lego 6772 and Lego 6773” (1996) Lego® 19” x 11” 3 1/10” Courtesy of Faurschou
CPH
 Nedko Solakov. “A Life (Black and White)” (1998) Black and white paint; two workers/painters
constantly repainting the walls of the exhibition space in black and white for the entire duration of
the exhibition, day after day (following each other). Dimensions variable. Edition of 5 and 1 artists
print. Collections of Peter Kogler, Vienna; Susan and Lewis Manilow, Chicago; Sammlung Hauser
und Wirth, St. Galen; Museum fur Moderne Kunst, Frankfort am Main, Tate Modern, London. .
Courtesy of Nedko Solakov. “Plateau of Humankind”, 49th Venice Biennale, Venice, June 9November 4, 2001).
The Breakup of Yugoslavia 110
 subREAL. “Draculaland 2 (room #2)” (1993) Mixed media. Dimensions variable Installation at
Museum Bistritza
 subREAL. “The Castle” (1994) Mixed media. Dimensions variable Installation detail, Center for
Contemporary Arts (Ujazdowski Castle), Warsaw, December 1994-January 1995.
 Rasa Dragoljub Todosijevic. “God Loves the Serbs” (1993) Mixed media, dimensions variable.
Installation view, Stadtmuseum, Graz, during the exhibition Europeans, 1993.
Translating the European Ideal 114
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WEEK 6: READINGS:

Contemporary Art: World Currents. Terry Smith, Ch. 5: “China and East Asia”
Contemporary Art: World Currents
Chapter 5:
China and East Asia 150
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China 150
Modern Chinese Art 151
Contemporary Chinese Art 152
Taiwan 169
Japan 169
Experimental Art in the 1950s to 1970s 169
Contemporary Art 169
Korea 171
Illustrations:
China
Modern Chinese Art
 Shi Lu. “Fighting in Northern Shaanxi” (1959) Originally ink and color on paper. 93 5/8” x 85”.
Museum of the Chinese Revolution, Beijing.
 Dong Xiwen. “The Founding of the Nation” (1953) Poster; original oil on canvas. 90 ½” x 157 1/2
“.Museum of the Chinese Revolution, Beijing.
 Ye Yushan and a team of sculptors from the Sichan Academy. “The Rent Collection Courtyard”
(1965) Over 100 life size clay figures, dimensions variable. Sichaun Academy of Art.
 Chen Minsheng and Zhang Lin. “Contemporary Yu Gongs draw a new picture. Selection from the
Huxian peasant painting exhibition (Dangdai Yu Gong hui xintu-Xua zo Huxian nongmin huazhan)
Two sheets, published by Shanghai renmin chubanshe. January 1975, set no. 8171.89
Contemporary China
 Cheng Conglin. “Snow, an Unknown Day from an Unknown Month in the Year of 1968” (1979) Oil
on canvas. 79 ½” x 118 1/10”. Chinese National Gallery, Beijing.
 Luo Zhogli. “Father” (1980) Oil on canvas. 89 1/3” x 60 ½”. Chinese National Gallery, Beijing.
Taiwan
 Huang Yong Ping. “The History of Modern Western Art Washed in the Washing Machine for Two
Minutes” (1987-93) Chinese teabox, paper pulp, glass. 30 ¼” x 19 x 27 ½”. Walker Art Center,
Minneapolis.
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Japan
 Wu Shanzhuan. “Red Humor Series: Big Character Posters” (1986) Installation, dimensions variable.
Courtesy of the artist and Asia Art Archive.
 Xiao Lu. “Dialogue” (1989) Installation and performance, dimensions variable. Courtesy of the
artist.
 Fang Lijun. “Series Two No. 1” (1991-92) Oil on canvas. 78 ¾” x 78 ¾” Courtesy of the artist.
 Wang Guangyi. “Great Criticism—Coca-Cola” (1993) Oil on canvas. 59 x 39 1/3”. Courtesy of the
artist.
 Yue Minjun. “Execution” (1995) Oil on canvas. 59 x 118 1/10”. Courtesy of the Artist.
 Zhu Yu. “Cannibalism” (2000) Images of performance. Courtesy of the artist.
 Song Dong. “Breathing, Part 1 and Part 2. (1996) Color transparencies and compact disc. Courtesy
of the artist and Chambers Fine Art.
 Lin Tianmiao. “Braiding” (1998) Installation, mixed media, dimensions variable. Courtesy of the
Artist and Long March Space Gallery, Beijing.
 Enda Gu. “Wisdom Comes from Tranquility” (1986) Mixed media ink and woven installation. Silk,
cotton, wool, hemp, bamboo, ink, rice paper, lacquer, weaving, traditional mounting, splashing ink.
197 x 315 x 31 ½”. Installation view, 13th International Biennale of Tapestry, Lausanne, 1987.
Commissioned by Zhejiang Academy of Arts, Hangzhou.
 Xu Bing (China). “Book from the Sky” (1987-91) Handprinted books, ceiling and wall scrolls printed
from wood letterpress type using false Chinese characters, dimensions variablr. Installatin view,
Crossings, National Gallery of Canada, Ottawa, 1998.
 Xu Bing (China). “Where Does the Dust Collect Itself? (2004). 9/11 dust, stenciled text, scaffolding,
process photos, gallery space. 27 ¼ x 28 ¼ feet. Installation view, exhibition for Artes Mundi: Wales
International Visual Art Prize 2004, National Museum & Gallery, Cardiff, Wales 2004.
 Cai Guo_Qiang. “Nine Dragon Wall (Drawing for Dragon or Raibow Serpent: A Myth Gloried or
Feared: Project for Extraterrestrials No. 28” (1996) Gunpowder on paper. 118 1/10” x 708 ½” Nine
drawings, each 118 1/10” x 78 ¾” Queensland Art Gallery, Brisbane.
 Zhang Dali. “Demolition: Forbidden City, Beijing” (1998) Chromogenic print. 35 ½” x 23 ½”.
Collection Andrew Lewin. Courtesy of Eli Klein Fine Art, New York and Beijing.
 Zhou Xiaohu. “Utopian Theatre” (2006) Installation, dimensions variable. Gallery of Modern Art,
Brisbane.
 Qin Ga. “The Miniature Long March- Site 23 Nanniwan” 2002-05. C-print. 65” x 47 ¼” Part of Long
March: A Walking Cisual Display, 2002-ongoing, a project curated by Lu Jie/ Courtesy of the Artist
and Long March Space Gallery, Beijing.
 Huang Chin-Ho. “Fire” (1992) Oil on canvas. 321” x 157 ½”. Taipei Fine Arts Museum, Taiwan.
 Yasumasa Morimura. “Daughter of Art History (Theater B)” (1990) Color photograph mounted on
canvas. 71” x 97”. Courtesy of the artist and Luhring Augustine, New York.
 Mariko Mori. “Wave UFO” (1999-2002) Brainwave interface, vision dome, projector, computer
system, fiberglass, Technogel® acrylic carbon fiber, aluminum, magnesium. 194” x 446 ½” x 207
7/8” Courtesy of Pinchuk Art Center, Kiev.
 Takashi Murakami (Japan) . Kaikai, Kiki, Jellyfish Eyes, Time Bokan – Black, and Time Bokan-Red.
(2007) View of exhibition. C. Murakami. Museum of Contemporary Art, Los Angeles
Korea
 Hyungkoo Lee. “Felis Catus Animatus” (2006-07) Resin, aluminum sticks, stainless-steel wires,
springs, oil paint, 30 ¾” x 39” 21 ¼”. Courtesy of Hyungkoo Lee..
 Hyungkoo Lee. “Mus Animatus” (2006-07) Resin, aluminum sticks, stainless-steel wires, springs, oil
paint, 6 ½” x 8” 3 1/10”. Courtesy of Hyungkoo Lee.
 Do-Ho Suh. “Floor” (1997-2001) Glass plates, phenolic sheets, polyurethane resin. Dimensions
variable. Installlation view. 49th Venice Biennale, Korean Pavilion, Venice, 2001.
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WEEK 7 (2.18-2.20):


In-class screening – In the Mood for Love by Wong Kar-wai
Readings:


Giuliana Bruno, “Surface, Fabric, Weave: The Fashioned World of Wong Kar-wai”
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WEEK 8 (2.25-2.27):
Readings:

Contemporary Art: World Currents. Terry Smith,
Ch. 4: “South and Central America, the Caribbean” pp. 116-
Contemporary Art: World Currents
Chapter 4:
South and Central America, The Caribbean 116
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South America 116
Argentina 121
Brazil 125
Colombia 135
Chile 137
Mexico 139
Cuba 139
Elsewhere in the Caribbean 144
Seeing the World's Currentsv149

Illustrations:
South America
 Gego. “Reticularea(Atmosphere) (1969) Stainless-steel wires, and aluminum. Dimensions variable
Museo de Bellas Artes, Caracas. Courtesy of Fundcion Gego, Caracas.
 Antonio Dias. “Note on the Unforseen Death” (1965) Acrylic on wood, fabric/ Plexiglass,
agglomerate (Duratex) 76 ¼” x 69 ¼” x 23 ¾”. Courtesy of Antonio Dias and Cristiane Oliveri.
 Luis Camnitzer. “Uruguayan Torture Series” (1983-84) Photo etchins, 35 parts, each 29 ½” x 21 ½”.
Edition of 15. Courtesy of the artist and Alexander Gray Associates, New York, NY
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Argentina
 Leon Ferrari. “Western and Christian Civilization” (1965) Polyester, wood, cardboard. 78 ¾” x 47 ¼”
x 236 ¼” Alicia and Leon Ferrari Collection. Courtesy of the artist.
 Ruben Sanantonin. “Thing 1 and Thing II) (1961) Paper, wood, glue, paint, hardboard. 19 7/8” x 37
¾” x 31 in. replica. Museo Nacional de Bellas Artes, Buenos Aires.
 Victor Grippo. “Life, Death, Resurrection” (1980) Five hollow geometrical lead bodies with black
and red beans, painted wood base, and glass vitrine. 69 ¾” x 47 ¼” x 31 ½”. Courtesy of Alexander
and Bonin, New York.
 Leon Ferrari. “Letter to a General” (1963) India ink on paper. 5 ¾” x 8 ½” on cover off the artist’s
first solo exhibition catalogue, “Writings, Wires, and Hands. Alicia and Leon Ferrari Collection. Cou
 Marta Minujin. “The Parthenon of Banned Books” (Homage to Democracy)” (1983) Installation,
books wrapped in plastic on steel frame, Buenos Aires. Courstesy of the artist and Alejandra von
Hartz Gallery, Miami.
 Carloa Alonso, Nora Aslan, Mireya Bagietto, Remo Bianchedi, Diana Dowak, Leon Ferrari, Rosana
Fuertes, Carlos Gorranrena, Adolfo Nigro, Luis Felipe Noe, Daniel Ontiveros, Juan Carlos Romero
and Marcia Schvartz. “Identity” (1998) Twenty four wall texts, 132 mirrors, 224 photographs, each
12” x 12”. Installation view, “The Disappeared” North Dakota Museum of Art. Collection of the
Association of the Grandmothers of the Plaza del Mayo.
 Guillermo Kuitca. “Untitled” (1992) Acrylic on mattress with wood and bronze legs. Twenty beds,
each 15 ¾” x 23 5/8” x 47 ¼”. Tate, London
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Brazil
 Lygia Clark. “Pocket Critter” (1966) Dimensions variable. Courtesy of the World of Lygia Clark
Cultural Association, Rio de Janeiro.
 Lygia Clark. “The Structuring of the Self” (1978-80) Dimensions variable. Courtesy of the World of
Lygia Clark Cultural Association, Rio de Janeiro.
 Helio Oticica. “Parangole P4 Cape I. (1964) Worn by Nildo da Mangueira. Mixed media. Courtesy of
Galerie LeLong, New York.
 Helio Oticica. “Eden’. (1969) Mixed media. Dimensions variable. Installation view, Whitechapel Art
Gallery, London.
 Artur Barrio. “Unleashing Confusion on the Streets: Situation ( Situacao…DEFL..+s+…ruras…Abril)
(1970) Mixed media, dimensions variable.
 Cildo Meireles. “The Sermon on the Mount: Fiat Lux” (1973) Installation, dimensions variable.
Courtesy of Cildo Meireles.
 Jac Leirner. All the Devils” from the “Blue Phase” series. (1995) Banknotes, uckram. 45 ¼” x 45 ¼”.
Alfonso Pons Collection, Caracas.
 Adriana Varajao. “America” (1996) Oil on canvas and linen. 76 ¾” x 65”. Private collection Sao
Paulo
 Iole de Freitas. “Untitled” (2007) Installation piece for Documenta 12, Kassel. Stainless Steel and
polycarbonate, dimensions variable.
 Vik Muniz. “Aftermath (Angelica) (1998) Cibachrome print. 71 x 47 ¼”. Courtesy of the artist and
Sikkema Jenkins & Co. Gallery, New York.
 Rubem Valentim. “Totem” (ca. 1974) Painted wood. 50 3/8” x 30” x 30” Courtesy of Musea
Nacional de Belas Artes, Rio de Janeiro.
 Mestre Didi. “Iwin Igi-Ancestral Spirit of the Tree” (1999( Bundled palm ribs, leather, beads, and
cowrie shells. 75” 23 ½”. Collection of the artist.
Columbia
 Fernando Bolero. “Massacre in Columbia” (1999) Oil on canvas. 50 ¾” x 75 ¾” Courtesy of
Marlborough Gallery, New York.
 Fernando Bolero. “Abu Ghraib 57” (2005) Oil on canvas. 55 1/10” x 76” University of California.
Berkley and Pacific Film Archive
 Doris Salcedo (Columbia) “Atrabiliarios” (1993) detail. Timber, gyproc, cow bladder, shoes and
surgical thread, wall niches, animal fibre. Dimensions variable. South Wales, Sydney.
 Oscar Munoz. “Project for a memorial” (2005) Video installation, five projections synchronized, 7
min 30 secs. e/o no sound/ Courtesy of the artist and Iturralde Gallery, Los Angeles.
 Chile
 Eugenio Dittborn. “All Its Second Life, Airmail Painting No. 77. (1990) Paint, stitching and
photosilkscreen on two sections of nonwoven faric. 78” x 110 ¼” Courtesy of Alexander and Bonin,
New York.
 Lotty Rosenfeld. “A Mile of Crosses on the Pavement” (1984) Videotaple of art action with white
tape, Santiago. Courtesy of the artist.
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Mexico
Cuba
 ASCO. “Instant Mural” (1994) Patssi Valdez taped to wall by Gronk. Courtesy of the artist.
 Ana Mendieta. “Untitled (Guanaroca (First Woman)) (1981) Estate print: 1994. Box mounted black
and white photograph. 53 ½” x 39 ¼”. Courtesy of Galerie Lelong, New York.
 Flavio Garciandia de Oraa. “From the Tropicalia I series, 1989. Acrylic, enamel, and glitter on
canvas, wood, and plants, dimensions variable. Detail of the installation, The Central Space, Faroe
Road Studios, London.
 Juan Francisco Elso Padilla. “Heart of America” from the “The Transparency of God” series. (198688) Branches, wax, volcanic, sand, iron, and fabric. 90 ½” x 67”
 Kcho (Alexis Leyva Machado). “Monument. (2007) Charcoal and pastel on canvas. 126” 555 1/8”
Courtesy of Marlborough Gallery, New York.
 Los Carpinteros (Marco Castillo Valdes, Alexandre Arrechea Zambrano, Dagoberto Rodriguez
Sanchez). “Jewelry Case (Estuche) (1999) Wood. 88 ½” x 51 1/6”. Collection of Frankie Diago, New
York.
 Tania Bruquera. “The Burden of Guilt” re-enactment of a historical event. (1997-99) Decapitated
lamb, rope, water, salt. Cuban soil, dimensions variable.
 Tania Bruquera. “Untitled (Havana 2000)”Video performance-installaation, milled sugar cane, lack
and white monitor, Cubans, DVD. DVD player. 13 x 39 ½ x 164 feet.
Carribean
 Wilfredo Prieto. “Apoltical” (2001) Flags from every country designated by the United Nations in a
scale of black, grap and white, with official designs. Installation view, VIII Havann Biennial, Havana,
2003. Daros-Latinamerica Collection, Zurich.
 Hew Locke. “El Dorado” (2005) Wood and cardboard base, screws, plastic, fabric, mixed media. (
114 1/10” x 69” 23 ½” Courtesy of the West Collection.
 Arnaldo Roche-Rabell. “Like a Thief in the Night” (1990) Oil on canvas. 96 1/8” x 96 ¼”. Hirshhorn
Museum and Sculpture Garden, Washington, D.C.
 Satch Hoyt. “Say It Loud!” (2004-07) Books, staircase, microphone, and 4 speakers, dimesnsions
variable. Courtesy of the artist.
Seeing the World’s Currents
 Arthur Simms and Peter Orner. “Globe, The Veld” (2004) Globe, artists’ nails, metal, wood, plastic,
wire, tools, objects. 17” x 14” x 14” Text by Peter Ormer.
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WEEK 9 (3.4-3.6):
Contemporary Art: World Currents
Chapter 8:
Africa 214






Modern Art in Africa 215
South Africa Under Apartheid 216
Popular Painting and Sculpture in Central Africa 221
Commercial to Art Photography 227
South Africa After Apartheid 228
African Art Enters the International Circuit 235
Readings:

Contemporary Art: World Currents. Terry Smith, Ch. 8: “Africa”
Illustrations:
Modern Art in Africa 215
 Yinka Shonibare (Britian/Nigeria) MBE (British-Nigerian). “Victorian Philanthropist’s Parlour” (199697). Reproduction furniture, fire screen, carpet, props, Dutch wax printed cotton textile.
Approximately 103” x 193” x 209” Overall size according to installation SHO 12. Courtesy of the
artist. Stephen Friedman Gallery, London and James Cohan Gallery, New York.
 Amir Nour. “Grazing at Shendi” (1969) Stainless steel (202 pieces) 119 ¾” x 161 ¾”, variable.
Yinka Shonibare (Britian/Nigeria) MBE
(British-Nigerian).
Diary of a Victorian Dandy. (1998)
Photo: LaCour
 Twins Seven Seven. “Healing of Abiku Children” (1973) Pigment on wood, carved. 51 1/3” x 51 ½”.
Indianapolis Museum of art, Indianapolis.
South Africa Under Apartheid 216
 Sam Nhlengethwa. “It Left Him Cold-The Death of Steve Biko” (1990) Collage, pencil and charcoal
on paper. 27 1/10 x 36 ½” Standard Bank Collection housed at the University of Witwatersrand Art
Galleries, Johannesburg
 Billy Mandidi. “Necklace of Death” (1986). Construction
 Nelson Mukhuba. “Self-Portrait” (ca. 1987) Enamel paint, strainers on wood.
 Johannes Segogela. “Burial of Apartheid” (1993) Carved and painted wood. 72” x 41 ¾” x 26”
Courtesy of CAAC-The Pigozzi Collection, Geneva.
 Jane Butler. “Butcher Boys” (1985-86) Reinforced plaster, oil paint, animal bone, horns, wood, 50
½” x 84 x 35” South African National Gallery Collection, Cape Town. Courtesy of the artist.
 William Kentridge. “Drawing for the film “Sobriety, Obesity & Growing Old (Soho and Mrs. Eckstein
in Pool) (1991) Charcoal and pastel on paper. 47 1/44” x 59”. Courtesy of the artist and Marian
Goodman Gallery, New York.
William Kentridge Metropolitan Museum of Art.
New York City, New York. USA.
© William Kentridge
Photo© Elizabeth LaCour
and about 8 more
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Popular Painting and Sculpture in Central Africa 221
 Middle Art (Augustine Okoye). “Middle Art’s Suffering Stages of Life from the War Until Now I am in
Ife-Ife” (1970s) Oil on board. 35 ½” x 23 ½”
 Moke. “Express Taxi Populaire Kinshasa” (1990 Acrylic on canvas. 45 ¼” x 61 ½” Courtesy of CAACThe Pigozzi Collection, Geneva.
 Cheri Samba. “Apres le 11 SEP 2001, May-September 2002. Acrylic on canvas and glitter. 78 ¼” x
137 ¾” Courtesy of CAAC-The Pigozzi Collection, Geneva.
 Bodys Isek Kingelez. “Kimbembele thunga (Kimbeville) (1993-94) Dimensions variable. Courtesy of
CAAC-The Pigozzi Collection, Geneva.
 El Anatsui. “Fresh and Fading Memories, Part I-IV” (2007) Aluminum ad copper wire. 354 1/3” x
236 1/3” Courtesy of the artist and Jack Shainman Gallery, New York.
 Romuald Hazoume. “The King’s Mouth (La Bouche de Roi) (1997-2005) Sound and media
installation, plastic, glass, pearls, tobacco, fabrics, mirrors, cauris, calabashes. Dimensions variable.
The British Museum, London.
 Laboratorie Agit-Art. “Objects of Performance”. (1992) Courtyard of Issa Samb, Dakar.
 Georges Adeagbo. “African Socialism” (2001) Mixed media. Dimensions variable. Created for Okwui
Enwezor show “The Short Century” which toured Munich, Berlin, Chicago and New York. Courtest
of the artist and jointadventures.org
El Anatsui
Ghana, born 1944
Dusasa II (2007)
Found aluminum, copper, wire, and plastic
disks
Metropolitan Museum of Art
©Elizabeth LaCour
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Commercial to Art Photography 227
 Seydou Keita. “Untitled, #453” (1950-60) Silver gelatin print. 63” x 45” Edition of 3. Courtesy of
CAAC-The Pigozzi Collection, Geneva.
 Malick Sidibe. Photographs (1962-72) and Siaka Paul, sculptures (1999) “The Clubs of Bamako”
Installation. Museum of Fine Arts, Houston.
 Lalla Essaydi. “Converging Terriories #30” (2004) Chromogenic print mounted on Plexilas® 30” x
40” Courtesy of Edwynn Houk Gallery, New York.
South Africa After Apartheid 228
 Kagiso Pat Mautloa. “Reconstruction” (1994) Canvas, wood, acrylic. 96” x 50” Courtesy Iziko, South
African National Gallery, Cape Town.
 Sue Williamson. “Messages from the Moat” (1997). Installation view and detail, mixed media,
dimensions variable. Collection of Iziko, South African National Gallery, Cape Town.
 Churchill Madikida. “Blood on My Hands” (2004) Video. Courtesy of the artist and Michael
Stevenson Gallery, Cape Town.
 Kendal Geers. “My Traitor’s Heart” (2000) Scaffolding. 12 television monitors, 12 DVD players,
dimensions variable. Courtesy of the artist
 Marlene Dumas. “The Next generation” (1994-95) Mixed media on paper. 45 parts each
approximately 26” x 20” Courtesy of Marlene Dumas and Iziko, South African National Gallery,
Cape Town
 Tracey Rose. “The Kiss” (2001) Lambda photograph. 50” x 49” South African National Gallery, Cape
Town.
 Nkosinathi Khanyile. “Wathinta’ Bafazi Wathinta’ Imbokodo” (1992-2002) Red and white clay, cow
dung, wire, and grass. Courtesy of the artist.
 Sandile Zulu. “Involution 2 (2002) Fire, water, air,earth, metal, barbed wire, and canvas. 94 ½” x 35
½” x 9
African Art Enters the International Circuit 235
 Meschac Gaba. “The Museum of African Art” (1997) Ongoing installations, dimensions variable.
Installation, Witte de With, Rotterdam. Courtesy of the artist.
 Frederic Bruly Bouabre. “Releve sur noix de cola” (1991) One drawing froma series of 70. Colored
pencil and ballpoint pen on carton. 7 ½” x 5 ½” “Musee du Visage Africain, Scarifications” One
drawing from a series of 162. Colored pencil and ballpoint pen on car 5 1/3” x 7 ½”. Courtesy of
CAAC-The Pigozzi Collection, Geneva.
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WEEK 10 (3.11-3.13): NO CLASS – SPRING BREAK
WEEK 11 (3.18-3.20):
Assignment:

Comparative Analysis due 3.18
Readings:


Contemporary Art: World Currents. Terry Smith, Ch. 9: “West Asia”
In-class screening – Ten by Abbas Kiarostami
Contemporary Art: World Currents
Chapter 9:
West Asia 236






Iraq 237
Jordan 238
Iran 241
Palestine 245
israel 249
From Hurufiyah to Contemporary Cosmopolitanism 253
Illustrations
 …
Iraq 237
 Jamil Hamoudi. “People Are Equal (Alnas Swaiya ka al-musht) (1976) Oil on canvas. 57 x 39 1/3”
The permanent collection of the Jordan National Gallery of Fine Arts, Amman.
 Shakir Hassan al-Said. “The Envious Shall Not Prevail (Al-Hasud la yasud) (1979). Acrylic on wood.
33 ¼” x 48 ½” Private Collection.
 Walid Siti. “Moonlight” Ilustration to “Dark Interludes” by Kanaan Makia (1988) Woodcut. 11 ¾” x
15 ¾”. Courtesy of the artist.
 …
Jordan 238
 Nassar Mansour. “Be I (Kun !) (2002) Black ink and gold leaf drawing on muraqqa paper. 18 1/10” x
10”. The British Museum, London.
 Hassan Massoudy. “Untitled” (1995) Colored pigments on paper. 30” x 22 ¼” The British Museum,
London.

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Iran 241
 Parviz Tanavoli. “Heech Tablet” (1973) Bronze on travertine stone base. 71 ½” x 18 ½” x 11 7/8”
including integral base. Grey Art Gallery, New York University Art Collection.
 Abbas. “Young Woman at Anti-Shah Demonstration, Tehran” (1978) Gelatin silver print. 24” x 20”
 Monir Shahroudy Farmanfarmaian. “Lightning for Neda” (2009) Mirror mosaic, reverse glass
painting, plaster on wood, six panels, each 118 1/10” x 78 ¾” Comissioned for APT6 and the
Queensland Art Gallery Collection. The artist dedicates this work to the loving memory of her late
husband Dr. Abolbashar Farmanfarmaian. Queensland Art Gallery, Brisbane.
 Shirin Neshat. “Fervor” (2000). Gelatin silver print. 66” x 47” Courtesy of Gladstone Gallery, New
York.
 Shirin Neshat. “Passage Series” (2001). Cibachrome print. 42” x 63 1/8” Courtesy of Gladstone
Gallery, New York.
 Afshan Ketabchi. “Self-Portrait” (2004) Digital print on canvas, 2 of 7 editions. 59” x 47 ¼”
 Ghazel. “Toilet” still from video installation from the ongoing series “Me” (1997-2000)
 Shirazeh Houshiary. “Fine Frenzy” (2004) White and Black aquacryl, white pencil and ink, 75” x 75”
Courtesy of the artist and Lisson Gallery, London.
Palestine 245
 Tina Malhi Sherwell. “Map of Palestine” (1990) Mixed media and fabrics.
 Kamal Boullata. “Light upon Light (Nur ‘ala nur)” (1982) Screenprint on paper. 30” x 22” The British
Museum, London.
 Mona Hatoum. “Measures of Distance” (1988) Color video, sound, 15 mins. A Western Front Video
Production, Vancouver.
 Yazan Khalili. From the “Camp” Series (2007) Color correction #2, 2010. Digital photographic print,
39 1/3” x 24”
 Emily Jacir (Palestine). “Ramallah/New York” (2004-05) Two channel video installation. Courtesy of
Alexander and Bonin, New York.

israel 249
 Michal Rovner. “Time Left” (2002) Video installation. 26 ¼” x 26 ¼” Installation view. 50th Venice
Biennale, Venice. Israeli Pavilion, 2003)
 Sigalit Landau. “Barbed Hula” (2000) DVD 1 min 52 secs. Courtesy of the artist.
 Yael Bartana. Stills from “Dreams and Nightmares (Mary Koszmary)” (2007)
 16mm film transferred to video, 10 mins 50 ses. Courtesy of Annel Gelink Gallery, Amsterdam and
Foksal Gallery Foundation, Warsaw.
 Ghada Amer. “The Line (La Ligne) (1996) Embroidery and gel medium on canvas. 70” x 64”
Courtesy of the artist and Cheim & Read, New York.
 Walid Raad (Lebanon, works NYC). “Notebook Volume 38: Already Been in a Lake of Fire Plates
55/56” (1991) Color Photograph. 11 ¾” x 15 ¾” Attributed to Dr Fadl Fakhouri. Courtesy of Paula
Cooper Gallery, New York.
 Youssef Nabil. “Big, Bright Shining Star, Self Portrait, Madrid” (2002) Handcolored gelatin print. 10
¼” x 15 1/3”
From Hurufiyah to Contemporary Cosmopolitanism 253
 …
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Unit 3: CONTEMPORARY CONCERNS
WEEK 12 (3.25-3.27): ART AND CONTEMPORARY POLITICS
Readings:
READING TBA
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WEEK 13 (4.1-4.3): ARCHITECTURE NOW

Guest lecture - Spenser Goar
Readings:

Reading TBA
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WEEK 14 (4.8-4.10): CLIMATE CHANGE: ART AND ECOLOGY
From Section introduction to Contemporary Art World Currents: Part 3
Contemporary Concerns

… in which we will trace the evolution of art from Land Art through a rising awareness of
threats to the natural world to the current state of concern about the viability of
interactions between nature, industrial and urban societies, and virtual domains—that
is, planetary consciousness.” (p.257)
Readings:

Contemporary Art: World Currents. Terry Smith, Ch. 11 “Climate Change: Art and
Ecology”
Contemporary Art: World Currents
Chapter 11:
Climate Change: Art and Ecology 274







Art and Enviromentalism 275
Crisis and Catastrophe 279
Collective Actions, Sustainable Solutions 282
Designs for Living 285
Experimental Geography 287
Imaging the Future Dystopia 290
Eco-Chic, Greenwashing, Spectacle 292
Illustrations
Joseph Beuys- Eurasia Siberian Symphony
(1963) Panel with chalk drawing, felt, hat,
hare, and painted poles.
©Joseph Beuys.
Photo ©Elizabeth LaCour
Art and Enviromentalism 275
Joseph Beuys- We Are the Revolution
(1972) Diazotype and rubber stamp on
polyester.
©Joseph Beuys.
Photo ©Elizabeth LaCour
 Charles Ross. “Star Axis: Looking North out of the Hour Chamber, One Hour of Star Trails.” (1971ongoing) (interior and exterior views)
 Andy Goldsworthy. “Reconstructed icicles/around a tre/ finished late afternoon/catching the
sunlight/ Glen Martin Falls, Dumfriesshire, 28 December 1995” (1995)
 Andy Goldsworthy. “Storm King Wall” (1997-98) Fieldstone. Approx. 5 ft. x 2 ½ ft x2,278 ½ ft.
Storm King Art Center, Mountainville, New York.
 Maya Lin. “Storm King Wavefield” (2007-08) Earth and Grass. 240,000 sq ft. Storm King Art Center,
Mountainville, New York.
Joseph Beuys - Earth Telephone (1973)
Screenprint on felt board.
©Joseph Beuys.
Photo ©Elizabeth LaCour
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Crisis and Catastrophe 279
 Agnes Denes. “Wheatfield—A Confrontation: Battery Park Landfill, Downtown Manhattan—With
Agnes Denes Standing in the Field. (1982) Two acres of wheat planted and harvested by the artist
on a landfill in Manhattan’s financial district, a block away from Wall Street and the Wold Trade
Center, Summer 1982. Comissioned by Public Art Fund, New York City.
 Joseph Beuys. “7,00 Oaks. (1982-87) Kassel
 Mierle Laderman Ukeles. “Touch Sanitation Performance: Fresh Kills Landfill (1977-80). “Handshale
Ritual” with workers of New York City Department of Sanitation. Color photograph. 60” x 90”
Courtesy of Ronald Feldman Fine Arts, New York.
 The Institute for Figuring and Companions. “Crochet Coral and Anemone Garden” (2005-ongoing)
Created and curated by Margaret and Christine Wertheim.
Collective Actions, Sustainable Solutions 282
 Newton Harrison and Helen Mayer Harrison. “Peninsula Europe I: Bringing Forth a New AState of
Mind” (4/12-5/10, 2003) Installation view, South Gallery. Courtesy of Ronald Feldman Fine Arts,
New York.
 Marjetica Potre. “A Hippo Roller for Our Rural Times” (2005) Utilitarian object and printed drawing,
dimensions variable. Courtesy of the artist and Max Protech Gallery, New York.
Designs for Living 285
 Lucy Orta. “Nexus Architecture—2nd Johannesburg Biennale, 1997. Original Lambda color
phtographs. 23 ½” x 35 ½” Collection of the artist.
 Ralph Borland. “Suited for Subversion” (2002) Nylon reinforced PVS, padding, speaker, and pulse
reader. 47 ¼” x 31 ½” x 23 5/8”. Museum of Modern Art, New York
 Michael Rakowitz. “parasite Shelter for Michael McGee” (2000) Plastic bags, polythene tubing,
hooks, tape. Various sites, Cambridge, Boston, New York, Baltimore, MD, and Ljubljana. Courtesy of
the artist and Lombard-Freid projects, New York.
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Experimental Geography 287
 Center for Land Use Interpretation. “Toyon Canyon Landfill” (2008) Exhibition poster
 Trevor Paglen. “Code Names: Classified Military Programs Active between 2001 and 2007, 2008
(detail) Print on paper. Courtesy of the artist and Altman Siegel Gallery, San Francisco.
 Critical Art Ensemble. “Evidence” (2004) Still from video showing television broadcast material
documenting the Federal Bureau of Investigation raid on CAE member’s home. Courtesy of Steve
Kurtz, University of Buffalo.
 Hans Haacke. “DER BEVOLKERUNG (To The Population)” (1999-2000) Northern interior courtyard,
Reichstag, Berlin
 Jennifer Allora and Guillermo Calzadilla. “Land Mark (Footprints) (2001-02) Twenty-four color
photographs , each 20” x 24”. Courtesy of Gladstone Gallery, New York.
 …
Imaging the Future Dystopia 290
 Eduardo Kac. “’Free Alba!’ (Folha de Sao Paolo)” and (New York Times” (2001) Color photographs
mounted on aluminum with Plexiglass® 36” x 46 ½” Edition of 5. Collections of Richard Snador and
Alfredo Hertzog da Silva
 Patricia Piccinini. “Still Life with Stem Cells” (2002) Silicone, polyurethane, human hair, clothing,
carpet, life-size, dimensions variable. Courtesy of the artist.
Eco-Chic, Greenwashing, Spectacle 292
 Tea Makipaa. “10 Commandments for the 21st Century. (2006) Print, dimensions and media
variable. Courtesy of the artist.
 Emily Floyd. “Our Community Garden. (2009) Five black pliths with sculptural elements: fluid acrylic
paint and beeswax on wood (huon pine, kauri, sugar pine, blue gum, beechwood, cherry wood),
hemp rope, dimensions variable. Installation view. Anna Schwartz Gallery, Sydney, 2009.
 Olafur Eliasson. “The Weather Project” (2003) Monofrequency lights, projection foil, haze machine,
mirror foil, aluminum, and scaffolding, 87 ½ ft x 73 1/10 ft. x 509 ¾ ft. Installation view, Turbine
Hall, Tate Modern, London. Courtesy of the artist and Tanya Bonakdar Gallery, New York, and
neugerriemschneider, Berlin.
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WEEK 15 (4.15-4.17): CONTEMPORARY ART AND ITS INSTITUTIONS

Visit to UMFA - Salt 7: Lynette Yiadom-Boakye
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WEEK 16 (4.22-4.24): REVIEW
Author Terry Smith argues that, in recent decades, a global shift from modern to contemporary art has occurred:
artists everywhere have embraced the contemporary world’s teeming multiplicity, its proliferating differences
and its challenging complexities and new technologies. Alongside more than 350 carefully selected color images
of key works, Terry Smith offers the first account of these changes, from their historical beginnings to the
present day. Exploring key works by both well known
and little-known artists, the author shows how contemporary art achieved definitive force in the markets and
museums of the major art centres during the 1980s and then became a global phenomenon as artworlds
everywhere began to connect more closely: new communicative technologies and expanding social media are
now shaping the future of art.
Contemporary Art: World Currents breaks new ground in tracing how modern, traditional and indigenous art
became contemporary in each cultural region of the world, ranging across Western, East and Central Europe,
North and South America and the Caribbean, Oceania, Africa, and the Middle East. Terry Smith lays the
groundwork for a new comparative approach to contemporary art, emphasizing its relationships to all aspects of
contemporary life. He argues that it is cultural diversity and individual artistic inventiveness, not a convergence
towards sameness, which makes today’s art contemporary.
UNIT 10. CONTEXT
Week Eight: PUBLIC / PRIVATE

Art in the public space
VOCABULARY LIST



Janet Cardiff: Walks
Richard Serra: Tilted Arc
Barbara Kruger



Jenny Holzer
Krzysztof Wodiczko (Poland)
Contemporary Art: World Currents
Chapter 6:
India, South and Southeast Asia174
Reading:

Contemporary Art: World Currents
Chapter 6: India, South and Southeast Asia174





India 174
Pakistan 180
Thailand 185
Indonesia 188
The Philippines 191
Illustrations
India 174
 ..
Pakistan 180
 ..
Thailand 185
 ..
Indonesia 188
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 ..
 .
Reading:

Contemporary Art: World Currents
Chapter Chapter 7 Oceania 196
Chapter 7 Oceania 196



Papua New Guinea 196
Aotearoa/New Zealand 199
Australia 203
Reading:
Illustrations
Papua New Guinea 196
 Abiara Orere inging group from Bereina Village, Central Province, performing “Kairuku” Goroka
Show, Goroka, Papua New Guinea, 1994
 Oscar Towa. “This Main Was Thrown into the Sea. It Made the B.R.A. Angry, so the Fighting
Continues
Aotearoa/New Zealand 199
 7.5..
Australia 203
 7.11..
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PART III CONTEMPORARY CONCERNS
Introduction 256
From Section introduction

… in which we will examine the work of artists living in EuroAmerica who have
responded to the transnational turn, and the work of artists—many from previously
colonized societies—who live and work internationally, in a worldly fashion.” (p.257)
Reading:

Contemporary Art: World Currents
Chapter 10: World Pictures: Making Art Politically 258
Contemporary Art: World Currents
Chapter 10:
World Pictures: Making Art Politically 258





One World 259
Global Networks 260
Intervening Critically 264
Profiles in Shadowland 269
Bare labor 271
Illustrations
One World 259
 ..
 ..
Global Networks 260
 ..
 ..
Intervening Critically 264
 ..
 ..
Profiles in Shadowland 269
 ..
 ..
Bare labor 271
 ..
 ..
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From Section introduction to Contemporary Art World Currents: Part 3
Contemporary Concerns
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… in which we will explore the changes in the sense of self-hood being experienced by
all of us as our lives become more thoroughly mediated by new technologies, competing
models of desirable forms of life, and changed relationships to time.” (p.257)
Contemporary Art: World Currents
Chapter 12:
Social Media: Affects of Time 296
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Mediation, Immersion, Intervention, Agency 297
To be With Time is All We Ask 309
Illustrations
Mediation, Immersion, Intervention, Agency 297
 Neil Brown, Dennis Del Favero, Matt McGinity, Jeffrey Shaw, and Peter Weibel. “T_Visionarium II”.
(2008) Interactive environment, general interior view. Courtesy of iCinema Centre, Sydney, and
ZKM, Center for Art and Media, Karlsruhe.
 Pierre Huyghe. “The Third Memory” (1999) Installation, double projection film, Beta digital color,
sound, 9 mins 46 secs. Detail: photographs of the shooting. Images showing a clip from “Dog Day
Afternoon” (Pacino with rifle), and Wojtowicz explainging to camera.
 Candice Breitz. “King (A Portrait of Michael Jackson) (2005) 516-channel installation, 16 hard drives,
42 mins 20 secs Shots at UFO Sound Studios, Berlin. Courtesy of White Cube, London.
 Jeremy Deller. “Re-enactment of the Battle of Orgreave” (2001) Still from 2002 film directed by
Mike Figgis. Co-commissioned by Artangel and Channel 4.
 Gerard Byrne. “1984 and Beyond” (2005-07) Detail of video: conversation at Kroller-Muller Art
Museum, Krefeld. Three channel video installation, non linear duration (approx.. 60 mins total), 20
black and white photographs. Courstesy of the artist and Lisson Gallery, London.
 Alfredo Jaar. “A Logo for America” (1987) Public intervention at Times Square, New York.
 Alfredo Jaar. “The Sound of Silence” (2006) Installation, wood, aluminum, flourecent lights, strobe
lights, and video projection, dimensions variable. Software design by Ravi Rajan. Installation views,
Musee Cantonal des Beaux-Arts, Lausanne, 2007.
 Kevin Carter. “Famine in Sudan” (1993) Photograph.
 The Yes Men. “Bhopal Apology, BBC TV” December 3, 2003.
 Banksy. “Kissing Coppers” (ca. 2005) Spraypaint on wall, various sites, Brighton and London.
 Blu. “MUTO” (2007-08) Still from a video animation of mural paintings, 7 mins 26 secs
 Rafael Lozano-Hemmer. “Under Scan” (2005) Digital interactive public art project using robotic
projectors, media servers, Pani 12kW projectors, scissor lifts, computerized surveillance system,
custom software. Courtesy of the artist.
 Blast Theory. “Day of the Figurines” (2005-06) Pervasive SMS text-messaging game and installation.
Courtesy of the Artists.
 Felix Gonzalez-Torres. “Untitled” (Perfect Lovers. (1987-90) Wall clocks, overall 35 ½” x 27” x 1 ¾”
two parts, 13 ½” diameter each. Edition of 3. 1 of artist print.
 Tehching Hsieh and Linda Montano. “Art/Life One Year Performance” (1983-84). Courtesy of the
artists and Sean Kelly Gallery, New York.
To be With Time is All We Ask 309
 Bill Viola. “Five Angels for the Millenium” (2001) Video/sound installation five channels of color
video projection on walls in large, dark room; stereo sound for each projection. Installation view,
showing “Departing Angel, Fire Angel, and Birth Angel” Courtesy of the artist.
 Tacita Dean. “Merce Cunningham Performs STILLNESS (in Three Movements) to John Cage’s
Composition 4’33” with Trevor Carlson, New York City, 28 April 2007” (six performances, six films)
(2008). Six 16mm color films, optical sound, projected simultaneously, continuous loops. Edition of
4. Courtesy of the artist and Frith Street Gallery, London.
 Rivane Neuenschwander. “I Wish Your Wish” (2003) (full view and detail) Screenprinted textile
rbbons, drilled holes in wall, dimensions variable, installation view, “My Life on Mars: 55th Carnegie
International, Carnegie Museum of Art, Pittsburgh, 2008. Collection of Juan and Patricia Vergez,
Argentina; Thyssen-Bornemisza Contemporary Art Foundation, Vienna.
 Barbara Campbell. “The Challenge of Healing” Writing prompt for performance #1 of 1001 Nights
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Cast” Watercolor on paper 3 1/10” x 4 1/10” 17 March 2008
 Nell Brown, Dennis Del Favero, Matt McGinity, Jeffery Shaw, and Peter Weibel. “T_Visionarium II
(2008) (interior view) Biennale of Seville. Interactive environment. Courtesy of iCinema Center,
Sydney and ZKM, Center for Art and Media, Karlsruhe.
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 …
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Contemporary Art: World Currents
Chapter 13:
Coda: Permanent Transition 316
Illustrations
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Josphine Meckseper. “Complete History of Postcontemporary Art” (2005) Mixed media
in display window. 63” x 98 ½” x 23 ½” Courtesy of the artist and Elizabeth Dee Gallery,
New York.
Hany Armanious. “Wishful Thinking” (2009) Cast polyurethane, pigmaent. 27 ½” x 22 ½”
x 22 ½” Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.
Steve McQueen. “Images from “Gravesend” (2007) 35 mm film transferred to HD for
installation. Courtesy of Thomas Dane Gallery, London and Marian Goodman Gallery,
New York.
Issac Julien. “Ten Thousand Waves” (2010) Nine-screen installation, 35mm film,
transferred to HD, 9.2 surround sound, 49 mins 41 secs. Installation view, 17th Biennale
of Sydney
Fiona Tan. “Disorient” (2009) HD installation, color film, 5.1 surround, two screens, two
HD projectors. Courtesy of the artist and Frith Street Gallery, London.
Francis Alys. “When Faith Moves Mountains (2002) In collaboration with Cuauhtemoc
Medina and Rafael Ortega. Photographic documentation of an event, Lima.
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Art Shows
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Documenta
Venice Bienniale
Whitney Biennial
Johannesburg Biennale
Biennale of Sydney