THE
ROBERT GORDON
UNIVERSITY
ABERDEEN
Gray’s School of Art
Stage 2 and 3: 2005-2006
Contextual and Critical Studies – Mini-Programme 2
Turning to Beauty
Tutor: Lesley Scott
email: l.scott@rgu.ac.uk (tel: 263692)
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TURNING TO BEAUTY
“Beauty varies infinitely. We desire, and our beauties are as plural and unpredictable as we are”
C Sartwell. 2004. p.24
Beauty is subject to metamorphosis, as attested by its divergent path through Western philosophy and its
changing relationship to art and design. In the 18th & 19th centuries it was a concept core to practice and debate,
but in the 20th century, its value and status gradually altered and declined. As an aim or consideration in Fine Art,
it was silenced in both practice and critical writing. No longer aligned with goodness and truth, it was increasingly
assigned to the realms of mass consumption and to ideologies of power and class. Its associates became the
superficial, the ephemeral and trivial, its determinants, commerce, personal indulgence and taste. In consequence,
it emerged as largely unworthy of serious attention or analysis. However, philosophies of Beauty prevail
throughout history and the hiatus is perhaps temporary as theory turns once again to the debate.
This
programme correspondingly aims to re-introduce Beauty and will address three core questions; what is beauty,
what was the nature of its denigration and, finally, what might its re-evaluation offer contemporary practice?
2
Mini-Programme 1
Ken Neil
Lecture Monday
Seminar
1
Tuesday
Seminar
2
Tuesday
Mini-Programme 2
Lesley Scott
Lecture Monday
Seminar
3
Tuesday
Seminar
1
Tues
Seminar
2
Tues
Guest
Lect.
Seminar
3
Tues
1
2
3
4
5
6
7
8
26
Sept
3 Oct
10 Oct
17 Oct
24 Oct
31 Oct
7 Nov
14 Nov
Mini-Programme 1
Ken Neil
Lecture Monday
Work
shop
1
Thurs
Research
Training
Thurs
Mini-Programme 2
Lesley Scott
Lecture Monday
Work
shop
2
Thurs
Work
shop
1
Thurs
Research
Training
Thurs
9
21
Nov
1.00
SB42
9
21
Nov
10
11
28 Nov
5 Dec
12
12 Dec
Mini-Programme 3
Andrea Peach
Lecture Monday
Seminar
1
Tuesday
Seminar
2
Tuesday
Seminar
3
Tuesday
10
11
28 Nov
5 Dec
12
12 Dec
Mini-Programme 3
Andrea Peach
Lecture Monday
Work
shop
2
Thurs
Work
shop
1
Thurs
Research
Training
Thurs
Work
shop
2
Thurs
13
13
14
15
Assessment
8
14 Nov
14
15
Assessment
7
7 Nov
Assessment
6
31 Oct
Assessment
5
24
Oct
Reading
Week
4
17 Oct
Christmas
Break
3
10 Oct
Reading Week
STAGE
THREE
2
3 Oct
Christmas
Break
STAGE
TWO
WEEK
2005/06
1
26
Sept
Intro and sign
up
WEEK
2005/06
INTRODUCTION AND TIMETABLE
Intro and sign up
1.
This programme comprises one of three mini-programmes running in Semester One 2005/06. Each programme
runs across 3 weeks (Includes a Guest Lecture in 4th Week) and includes a lecture on Mondays at 1.00 pm, SB42
Scott Sutherland School, followed by seminars for Stage 2 on Tuesdays in SC24 Scott Sutherland School and
workshops for Stage 3 on Thursdays in SC24 Scott Sutherland School. Seminar and workshop groups and times
will be posted on the CCS noticeboard (by the art school shop). Students must come to the seminars/workshops
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prepared to participate in tasks to be assigned in advance by tutors. Assessment will be based on seminar
participation and a written assignment, details of which are given below (see 3. and 4.).
In Semester One Stage 2 students elect 2 mini-programmes; Stage 3 students elect 1 mini-programme.
2.
OVERALL OBJECTIVES OF THE CONTEXTUAL AND CRITICAL STUDIES MINI-PROGRAMMES
The Contextual and Critical Studies mini-programmes aim to encourage discussion of contemporary practice and
theory with a view to situating that discussion in a wider cultural and historical framework, and should enable you
to make links with your studio practice. At the end of this series of mini-programmes you will be expected to:

Demonstrate an increased understanding of both the historical and contemporary context relating to art and
design theory and practice.

Demonstrate, by way of a Critical Evaluation, the ability to analyse and criticise your own studio work in
relation to a wider cultural context.

Demonstrate an ability to undertake research relevant to the critical aims of the programme, using both
paper based and electronic sources.

Build up confidence in discussing and sustaining a critical argument that is clear and consistent.

Begin to develop self- directed areas of research in Contextual and Critical studies related to your studio
practice and emerging critical interests.
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3.
STAGE TWO COURSEWORK
Seminar Participation and Attendance
There are three seminars for each mini-programme in Stage 2. The seminars will follow the theme of the lectures
and will address a particular issue each week. Students will be placed in groups and are expected to contribute to
the seminars as part of their assessment. For this reason, it is essential that students attend all lectures and
seminars relating to their elected mini-programme. If for any reason, you are unable to attend, please email your
tutor. Details of the seminar tasks are detailed in the weekly schedule that follows and will be discussed at the first
lecture and seminar. Your seminar groups will be posted on the CCS Noticeboard (next to the photocopier in
Gray’s, before you pass the shop).
Written Assignment
Students will also submit a written assignment for assessment. The written assignment will allow you to explore
further, the theme selected for your presentation. With reference to ideas from the lectures and / or
recommended texts, and including a critical analysis of one or two chosen works, expand on your initial response
to one of the following two questions. Either: Should beauty matter to the artist and why? or Are analyses or
theories of beauty relevant to the designer and why? The final written assignment should not exceed 1,200 words,
must be fully word-processed and include a comprehensive bibliography. You will be expected to reference all
sources used in your text, using the Numeric referencing system (see section 5: ‘Referencing Sources’ for details).
The submission date for this Critical Evaluation is: Monday 28 November 2005.
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4.
STAGE THREE COURSEWORK
Workshop Participation and Attendance
There are two workshops for each mini-programme in Stage 3. The workshops will encourage students to develop
their own line of study and research related to the theme of the lecture. Students will be placed in groups and are
expected to contribute to the seminars as part of their assessment. For this reason, it is essential that students
attend all lectures and seminars relating to their elected mini-programme. If for any reason, you are unable to
attend, please email your tutor. Details of the workshop tasks will be discussed at the first lecture and subsequent
workshops. Your seminar groups will be posted on the CCS Noticeboard (next to the photocopier in Gray’s, before
you pass the shop).
Research Training
In addition to the workshops, there will also be a research training session at the RGU library. This session will
give students advanced information retrieval skills necessary to conduct their self-directed research and is a
mandatory part of the mini-programme. Details of the programme schedule and groups will be posted on the CCS
Noticeboard. (Research training, 10 November: Group 1 and 2. 10.00am. Room 123. Faculty of
Management)
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Critical Notebook Assignment
Stage 3 students will be asked to submit a Critical Notebook, which should explore a critical theme of your choice,
directly relating to the mini-programme, your own studio activity and interests. The Critical Notebook should be
contained within a hard-backed notebook, no larger than A3, and can comprise writing, drawings, photographs,
sketches and any other materials relevant to the analysis and criticism of your chosen mini-programme. It should
contain your responses and thoughts in relation to the lectures and seminars, as well as any additional research
and development you have undertaken in relation to these.
Your Notebook will also include a formal written component, to be based on a critical theme of your choice and
a specific research question to be developed in the workshops. Where possible your response should make links
between the programme theme and contemporary practice, and where appropriate, with your own studio
interests. Your final written assignment will be 2500-3000 words in length, fully word-processed and include a
comprehensive bibliography. You will also be expected to reference all sources used in your text, using footnotes
(see section 5: ‘Academic Presentation’ for details).
The submission date for the Critical Notebook for this mini-programme is: Friday, 9 December
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5.
REFERENCING SOURCES
RGU has adopted two systems for referencing sources: Harvard (also known as Author/Date) and Vancouver (also
known as ‘endnotes’ or ‘footnotes’). For your written assignment, we recommend that you use Vancouver.
Details of Vancouver and information about how to cite references generally can be found on the RGU Library
website:
http://www.rgu.ac.uk/library/howto/page.cfm?pge=25531
(For Vancouver style, please follow the link provided)
You will also find important information about the University’s statement on plagiarism and other forms of
academic misconduct at this site, as well as examples of plagiarism.
6.
LATE HAND-INS AND EXTENSIONS OF WRITTEN COURSEWORK
Please note that extensions must be requested before the hand-in date. Requests for extensions must be
accompanied by a medical certificate or documentation of genuine extenuating circumstances.
Coursework handed in after the hand-in date, without a formally agreed extension, will either accrue a maximum
mark of 3 or will not be marked. There will be no exceptions.
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Week 6 Semester 1
Monday 3 October
1.00 SB42
Scott Sutherland
School
LECTURE 1: Where is Beauty?
Key Issues and Questions
 Distinguishing art, aesthetics and beauty
 Is Beauty objective or subjective?
 Beauty as objective; translating philosophy into form
 Beauty as subjective; the aesthetic response and taste
Key Writers
 Plato
 Hume
 Kant
 Danto
Required Reading 

Suggested Reading 








Stage 2 Assignment 
Sartwell, C. Six Names of Beauty. London: Routledge; 2004. p. 85-108
Freeland, C. But is it art? Oxford: Oxford University Press; 2001. p. 1-29
Crawford, D.W. Kant. In: Gaut, B and McIvor Lopes, D, editors. The Routledge
Companion to Aesthetics.London: Routledge; 2004. p. 51-63
Goldman, A. The Aesthetic. In: Ibid. p.181-92
Demetrion J.T. Regarding Beauty: A View of the Late Twentieth Century. Ostfildern:
Hatje Cantz; 2000. p. 89-131
Eco, U. On Beauty: A History of a Western Idea. London: Secker and Warburg;2004
Danto A. C. The Abuse of Beauty. La Salle (Il.): Open Court Publishing Company;
2003
Donoghue D. Speaking of Beauty.New Haven and London: Yale University Press;
2003.
Prettejohn E. Beauty and Art. Oxford: Oxford University Press; 2005 (partic. Chap.1)
http://etext.lib.virginia.edu/cgi-local/DHI/dhi.cgi?id=dv1-28
http://www.iep.utm.edu/k/kantaest.htm
http://eserver.org/philosophy/kant/critique-of-judgment.txt
(For outline of contents see Bibliography)
Where do you personally find beauty and do you consider it objective or
subjective? Come prepared to question and discuss. If you have any images
or writings you could share, please bring them.
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Week 7 Semester 1
Monday 6 November
1.00 SB42
Scott Sutherland
School
LECTURE 2: Consuming Beauty; ideologies of art and society
Key Issues and Questions
 Modernism, Dada and ‘the death of beauty’
 Re-casting beauty; formalism and its discontents
 The response of the ‘Anti-Aesthetic’
 Beauty devalued: class, taste and consumption
Key Writers (Relevant practitioners will be found in Danto and Prettejohn)
 Fry
 Bell
 Bourdieu
 Danto
 Kant
Required Reading  Bourdieu, P. The Modes of Appropriation of the Work of Art. In: Distinction. A Social
Critique of the Judgement of Taste.London: Routledge and Kegan Paul Ltd; 1986.
p.267-283
 The Beauty of Consumption. In: Eco, E. On Beauty. A History of a Western Idea.
London: Secker and Warburg; 2004. p.418-28
 Newman, B. The Sublime is Now. In: Harrison, C and Wood, P, editors. Art in Theory.
1900-1990. Oxford: Blackwell Publishers; 1992. p.572-574
Suggested Reading  Danto A. C. The Abuse of Beauty. La Salle (Il.): Open Court Publishing Company;
2003. (Most of this text is relevant but see p. 17-30 and p. 46-60, in particular)
 Bell, C. The Aesthetic Hypothesis. In: Harrison, C and Wood, P, editors. Art in
Theory. 1900-1990. Oxford: Blackwell Publishers; 1992. p.113-6.
 Endell, A. The Beauty of Form and Decorative Art. In: Ibid. p.62-5
 Fry, R. An Essay in Aesthetics. In: Ibid. p.78-86
 Tzara, T. Dada Manifesto 1918. In: Ibid. p.248-53
 Foster, H. Postmodernism: A Preface. In: Foster, H. editor. The Anti-Aesthetic.
Essays on Postmodern Culture. New York: The New Press; 1998. p.ix-xvi
 Demetrion J.T. Regarding Beauty: A View of the Late Twentieth Century.
Washington, U.S.A. Ostfildern: Hatje Cantz; 2000. p 7-37
 Modernism: Fry and Greenberg. In: Prettejohn E. Beauty and Art. Oxford: Oxford
University Press; 2005. p. 157-91
Stage 2 Assignment  In pairs, please prepare a 5 minute response to one of the following
questions. 1. Should beauty matter to the artist and why? 2. Are analyses or
theories of beauty relevant to the designer and why? When delivering your
presentation, please make reference to one or two readings from the
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programme. Where possible, bring images and/or relevant quotations.
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Week 8 Semester 1
Monday 13 November
1.00 SB42
Scott Sutherland
School
LECTURE 3: Reviving Beauty; reflections on a new aesthetics
Key Issues and Questions
 The resurgence of Beauty
 The debate: old oppositions and new controversies
 A new Beauty; on whose terms?
Key Practitioners and Works: See Exhibition Catalogues and Readings
Key Writers
 Bourriaud
 Danto
 Hickey
 Dewey
 Shusterman
Required Reading  Internal and External Beauty. In: Danto A. C. The Abuse of Beauty. La Salle (Il.):
Open Court Publishing Company; 2003. p.81-102
 Beauty and Politics. In: Ibid. p.103-124
 Shusterman, R. Pragmatism: Dewey. In: Gaut B, Lopes D.M, editors. The Routledge
Companion to Aesthetics. London: Routledge; 2005. p.97-106
 Bourriad N. Relational Aesthetics. Dijon: Les Presses du Reel; 2002.
Suggested Reading
 Hickey, D. The Invisible Dragon: Four Essays on Beauty. Los Angeles: Art Issues
Press; 1993)
 Doherty, C. Contemporary Art: From Studio to Situation. London: Black Dog
Publishing; 2004.
 See Bibliography under Periodicals and Websites for description of materials relevant
to the debate.
 New critical explorations of beauty can be found in the following texts (see
Bibliography: Donoghue, D. Speaking of Beauty; Pacteau, F. The Symptom of
Beauty. Essays in Art and Culture; Sartwell C. Six Names of Beauty; Schefer, D.
What is Beauty? New Definitions from the Fashion Vanguard.(Light but provocative);
 A renewed exploration of aesthetics, can be found in: Armstrong, I. Radical
Aesthetic De Bolla, P. Art Matters; Shusterman, R. Pragmatist Aesthetics: Living
Beauty, Rethinking Art.
Stage 2 Assignment  In pairs, please prepare a 5 minute response to one of the following
questions. 1. Should beauty matter to the artist, and why? 2. Are analyses
or theories of beauty relevant to the designer, and why? When delivering
your presentation, please make reference to one or two readings
13from the
programme. Where possible, bring images and/or relevant quotations.
Week 9. LECTURE 4
Guest Lecture. Monday, 21 November. 1.00pm. SB42. Scott Sutherland
Brian Grassom
This Lecture is additional to the Programme and arises from the Doctoral research interests of Brian Grassom.
Brian graduated in Sculpture at Gray’s and progressed to Phd study shortly after. The theme of Brian’s Doctoral
research coincides with the theme of this Mini Programme and he has therefore kindly agreed to contribute a
lecture.
Synopsis of Lecture: Other than Beauty
Since the time of Plato, Western thought has tended to separate Reason and the Senses. Truth belongs to Reason
and the intelligible and Beauty to the senses. In a modern context the meaning of Truth or Beauty is often
indeterminate, but if questions surrounding Beauty and Truth are difficult to answer then perhaps “unheard of
thoughts are required” (Derrida. Speech and Phenomenon). This lecture will briefly scan the history of Truth and
Beauty and discuss their place in a modern context.
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7.
BIBLIOGRAPHY AND ADDITIONAL SOURCES
Most of the following texts are on Academic Reserve in the Georgina Scott Sutherland Library. Texts highlighted in
black are good general introductions and are recommended for purchase.
Donoghue, Pacteau and Sartwell and are evocative texts on the subject of Beauty, and would be nice to have.
Books (Vancouver)
Adorno T. Aesthetic Theory, London: Athlone Press; 1997. On Academic Reserve.
Armstrong I. Radical Aesthetic. Oxford: Blackwell; 2000. On Academic Reserve.
Bourdieu P. Distinction. A Social Critique of the Judgement of Taste.London: Routledge and Kegan Paul Ltd. 1986.
Bourriad N. Relational Aesthetics. Dijon: Les Presses du Reel; 2002. On Academic Reserve.
Danto A. C. The Abuse of Beauty. La Salle (Il.): Open Court Publishing Company; 2003. On Academic
Reserve.
De Bolla P. Art Matters. Cambridge (Mass.): Harvard University Press; 2001. On Academic Reserve.
Doherty C. Contemporary Art: From Studio to Situation. London: Black Dog Publishing; 2004. On Academic
Reserve.
Donoghue D. Speaking of Beauty.New Haven and London: Yale University Press; 2003. On Academic Reserve.
Eco U. On Beauty: A History of a Western Idea. London: Secker and Warburg; 2004. On Academic Reserve.
Freeland C. But is it art? Oxford: Oxford University Press; 2001. On Academic Reserve.
Foster, H. The Anti-Aesthetic. Essays on Postmodern Culture. New York: Bay Press. 1983. On Academic Reserve.
Gaut B Lopes D.M, editors. The Routledge Companion to Aesthetics. London: Routledge; 2005. On
Academic Reserve.
Harrison C, Wood P. editors. Art in Theory. 1900-1990. An Anthology of Changing Ideas. Oxford: Blackwell
Publishers; 1992.
Hickey D. The Invisible Dragon: Four Essays on Beauty. Los Angeles: Art Issues Press; 1993. On Order. Should
shortly be placed on Academic Reserve
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Keiran M. Contemporary Debates in Aesthetics and the Philosophy of Art. London: Blackwell Publishing; 2005. On
Academic Reserve.
Kirwan J. Beauty. Manchester: Manchester University Press; 1999. On Academic Reserve.
Meredith J.C. Immanuel Kant. The Critique of Judgement. Translated with Analytical Indexes by James Creed
Meredith Oxford: Clarendon Press; 1952.
Pacteau F. The Symptom of Beauty (Essays in Art and Culture). London: Reaktion Books Ltd; 1994. On Academic
Reserve.
Prettejohn E. Beauty and Art. Oxford: Oxford University Press; 2005. On Academic Reserve.
Sartwell C. Six Names of Beauty. London: Routledge; 2004. On Academic Reserve.
Schefer D. What is Beauty? New Definitions from the Fashion Vanguard. London: Thames and Hudson Ltd. 1997.
On Academic Reserve.
Shusterman R. Pragmatist Aesthetics: Living Beauty, Rethinking Art. Oxford: Rowman and Littlefield; 2000. On
Academic Reserve.
Exhibition Catalogues (Vancouver)
Demetrion J.T. Regarding Beauty: A View of the Late Twentieth Century. Catalogue of an exhibition at the
Hirshhorn Museum; 1999 Oct 7–Jan 17 2000; Washington, U.S.A. Ostfildern: Hatje Cantz; 2000. On Academic
Reserve.
Rosenthal, N. Apocalypse: Beauty and Horror in Contemporary Art. Catalogue of an exhibition at the Royal
Academy of Arts; 2000 Sep 23-Dec 15 London, U.K. London: Royal Academy of Arts; 2000. On Academic
Reserve.
Periodicals: (Vancouver)
Danto A. A Future for Aesthetics. Journal of Aesthetics and Art Criticism. 1993; 51; 271-7. See L. Scott
Charlesworth JJ. Art and Beauty. Art Monthly. 2004; 279: 7-10. On Academic Reserve.
James S. The Ethics of Aesthetics. Art Monthly. 2005; 284: 7-11. On Academic Reserve.
16
Jackson L. Beauty and the Beast. Craft. 2004; 191; 62-65. On Academic Reserve.
Perling Hudson, Suzanne. Beauty and the Status of Contemporary Criticism. October. Spring 2003; 104.
Powers Alan. Beauty without the Beast. Craft. 2004; 191; 62-65. On Academic Reserve.
Wilsher M. Judgement Call. Art Monthly. 2004; 280: 7-10. On Academic Reserve.
Yarowsky M. The Beauty Fallacy. Art Criticism. 2002; 16 (1) See L. Scott
Websites
http://eserver.org/philosophy/kant/critique-of-judgment.txt
Full text of the first part of Kant’s Critique of Judgement, including the ‘Analytics’ of Aesthetic Judgement, of
the Beautiful and of the Sublime.
http://etext.lib.virginia.edu/cgi-local/DHI/dhi.cgi?id=dv1-28
From the Dictionary of the History of Ideas, a broad overview of Theories of Beauty to the Mid-Nineteenth
Century.
http://www.iep.utm.edu/k/kantaest.htm
A useful overview of Kant’s theory of Aesthetics (Section 3.) from the Internet Encyclopedia of Philosophy
http://www.utm.edu/research/iep/
The Internet Encyclopedia of Philosophy. Index to key philosophers.
http://www.artmonthly.co.uk/ethics.htm
See Bibliography. From the current debate on Beauty, Sarah James’ recent article from Art Monthly: The
Ethics of Aesthetics.
http://jjcharlesworth.com/
See Bibliography. From the current debate on Beauty, JJ Charlesworth’s recent article from Art Monthly: Art
and Beauty.
http://www.findarticles.com/p/articles/mi_m0425/is_n1_v56/ai_19827688
17
From Art Journal, 1997, a review of Hickey’s ideas within the context of the wider debate; Learning from
aesthetics: old masters and new lessons - Aesthetics and the Body Politic. This article assumes some
knowledge of aesthetics. See the website below .
http://digitalarts.ucsd.edu/~gkester/GK_Website/Research/Hickey.htm
Kester, G. The World He Has Lost: Dave Hickey’s Beauty Treatment. Variant. 2003; 18. Grant Kester’s
mostly accessible and biting critique of Hickey’s text.
http://www.findarticles.com/p/articles/mi_m0268/is_8_39/ai_75830815/pg_2
On the search for a new aesthetics, an informative interview from ArtForum, 2001, with Nicholas Bourriaud
http://place.unm.edu/relational_art.html
An introduction to Relational Aesthetics including links to a range of artists and websites
http://www.divus.cz/umelec/en/pages/umelec.php?id=270&roc=2002&cis=4#clanek
http://www.divus.cz/umelec/en/pages/umelec.php?id=271&roc=2002&cis=4#clanek
http://www.divus.cz/umelec/en/pages/umelec.php?id=272&roc=2002&cis=4#clanek
Extracts from Relational Aesthetics by Nicholas Bourriaud
8.
ACADEMIC RESERVE
Core texts will be placed on Academic Reserve in the Library. The Academic Reserve is the desk at the far end of
the Issue desk as you enter the Library. Books on Academic Reserve are issued for a 2 hour period during the day,
but after 4pm you can take them out overnight but they are due back early the next day. On Friday, books can be
taken out after 2pm and they are not due back until 10am on Monday. Books can be booked in advance, and 2
can be borrowed at a time. Fines for overdue Academic Reserve books are charged at the following rate: £1 per
hour for the first hour overdue, 50 pence per hour thereafter, every hour, with a maximum fine of £15 per item.
TUTOR FOR PROGRAMME: Lesley Scott (l.scott@rgu.ac.uk)
____________________________________________________________
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