THE
ROBERT GORDON
UNIVERSITY
ABERDEEN
Gray’s School of Art
Stage 2
2005-2006
Contextual and Critical Studies – Mini-Programme 1
The Politics of Representation
Tutor: Lesley Scott
email: l.scott@rgu.ac.uk (tel: 263692)
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THE POLITICS OF REPRESENTATION
‘strictly speaking, one never understands anything from a photograph’
Susan Sontag. 1977
This programme aims to explore theory and practice relating to the concept of representation and its
counterpart, identity. Theories of representation are core to understanding postmodern conceptions of
identity; namely, how we construct and project our sense of self & how we view, position and understand
others. Postmodernism asserts that the construction of identity is fundamentally social and is
underpinned by a wider discourse, involving representation through image, text and language. The
deconstruction of this discourse provided a key stimulus and socio-political role for artists and designers in
the latter part of the 20th century, and the programme aims to explore the integration of theory and
practice presented in their work. Lectures will include reference to topics such as the self and the ‘other’,
stereotyping, race, masculinity, feminism and the body. Examples of relevant practice and imagery will
be taken from fashion, advertising, magazines, sculpture, painting and particularly, photography. Writers
and theorists who underpin programme themes are Stuart Hall, Susan Sontag, Michel Foucault, Judith
Butler and Julia Kristeva.
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1.
INTRODUCTION AND TIMETABLE
This programme comprises one of two mini-programmes running in Semester Two 2005/06. Each
programme runs across 3 weeks, and includes a lecture on Mondays at 1.00 pm, SB42, Scott Sutherland
Building, followed by seminars for Stage 2 on Tuesdays in SA32 Scott Sutherland School. Seminar groups
and times will be posted on the CCS noticeboard (by the art school shop). Students must attend all
lectures and seminars, and must come to the seminars prepared to participate. Seminar tasks will be
assigned in advance by tutors. Assessment will be based on seminar participation and a written
assignment. Details of the assignment are given below, and the Introductory lecture in Week 3 will
address this component of the course. In Semester Two Stage 2 students will elect to take 1 mini-
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Feb
5
6
7
8
9
20
Feb
27 Feb
6
Mar
13
Mar
20
Mar
27
Mar
Programme 1
Lesley Scott
‘The Politics of
Representation’
Programme 2
Andrea Peach
‘A Sense of Place’
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12
13
14
15
10
Apr
17
Apr
24
Apr
1
May
8
May
15
May
Assessment 2&3
6
Feb
4
Assessment 2&3
30
Jan
3
Hand in CCS
Coursework
2
3 April
Stage
2
23
Jan
Post Assessment
Break
SEMESTER 2
2006
1
BRIEFING
MONDAY 6 Feb
SB42 12-1
WK
April Break
programme.
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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,
enabling 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.
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 and groups will be found in the
weekly schedule that follows and will be discussed in the first seminar.
Critical Notebook Assignment
Students will be asked to submit a Critical Notebook, directly relating to the mini-programme theme and,
ideally oriented towards your own studio activity and interests. The Critical Notebook must 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 personal thoughts and responses in relation to lecture and seminar themes, as well as
any additional research and development you have undertaken in relation to these.
The Notebook should include a formal written component, which will critically address the following/…
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The Notebook should include a formal written component, which will critically address the following:
Using at least two specific images or objects, discuss how artists or designers might contribute to an
‘effective politics of representation’? Conclude by considering what you would understand by the
term, ‘beyond representation’.
You are advised to limit your focus by selecting, perhaps, one aspect of identity introduced by the
programme and ensuring that you only discuss a limited number of images, artists, photographers
etc.
Make links, where appropriate, between your own studio interests and the theme of your essay. This
written assignment should be 2,500-3,000 words, 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 and written assignment for this mini-programme is:
Monday March 20th 2006
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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 and Footnotes. You will find information on Vancouver in handouts available
from the CCS website, at www.studioit.org.uk See:

Vancouver Referencing System – Sheet of examples

Guide to Academic Referencing
Please note that failure to fully reference quotations and sources constitutes plagiarism which is a serious
academic offence with corresponding penalties.
Consult your tutor if you have any queries about
referencing.
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 not be marked. There will be no exceptions.
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LECTURE 1:
Key Issues and Questions
 Questioning identity; postmodernism and the self.
 Terminology and theory; representation, discourse, performativity and the 'other’.
 Representation in practice; being black.
 How have artists revealed and challenged the work of representation?
Key Practioners and Works
 Cindy Sherman
 Carrie Mae Weems
 Faith Ringold
 Adrian Piper
Key Writers
 Stuart Hall
 Michel Foucault
 Judith Butler
Required Reading  Majors R. Cool pose: Black masculinity and sports. In: Barrett F.J, Whitehead, S.M. The
masculinities reader, pp209-17.
 Hooks B. In our glory. Photography and black life. In: Wells L, editor. The Photography
Reader’ pp387-94
Additional Reading  Hall S. The spectacle of the ‘other’. In: Hall S, editor. Representation. Cultural representation
and signifying practices. pp 223-77 (A long chapter. Read the sections which interest you)
 Hall S. The work of representation. In: ibid. pp36-56
 Hooks B. Reconstructing black masculinity. In: Perchuk A, Posner H, editors. The masculine
masquerade: Masculinity and representation, pp67-88
 Judith Butler. Gender trouble and Bodies that matter, are the key texts. An overview of
core ideas including performativity, can be found in Salih, Sara. Judith Butler.
 Michel Foucault. The concept of Discourse is found in number of his works. An overview of
this concept and its relation to gender can be found in Mills, Sara. Michel Foucault.
Week 3 Semester 2
Monday 13 February
1.00 SB42
Scott Sutherland
School
Seminar Assignment 
Who are you? What contributes to your sense of identity? Come prepared to discuss? Also
consider how black people currently ‘represented’ in ‘discourse’? What positives or negatives
do you perceive? What stereotypes prevail? Bring supporting text or images, if possible?
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LECTURE 2:
Key Issues and Questions
 ‘Performing’ masculinity today?
 How does masculinity function within representation?
 How does art/design challenge existing cultural conceptions of masculinity?
Key Practioners and Works
 Matthew Barney
 Grayson Perry
 Barbara Kruger
 Jean Paul Gaultier
 See Exhibition Catalogue – Typical Men
Key Writers
 Stuart Hall
 Judith Butler
 Stephen M Whitehead
Required Reading  Worton M. The Way Men Look. Seeing, representing and living masculinity today. In: Still J,
Worton M. Typical men. Recent photography of the male body by men. pp6-23
 Brod H. Masculinity as masquerade. In: Perchuk A, Posner H, editors. The masculine
masquerade, pp13-30 (includes subsequent essay on masculinity in contemporary art).

Barrett F.J, Whitehead S.M. The Sociology of Masculinity. In: Barrett F.J, Whitehead, S.M.
Suggested Reading
The masculinities reader.pp.1-26. (See also Ch. 1,2,3 & 17).
 Donald R.R. Masculinity and machismo in Hollywood’s war films. In: ibid.
 Hall S. Exhibiting Masculinity. In: Hall S, editor. Representation. Cultural representation and
signifying practices.
 Whitehead S.M. Materialising male bodies. In: Whitehead S.M. Men and masculinities. Key
themes and new directions.
Week 4 Semester 2
Monday 20h February
1.00 SB42
Scott Sutherland
School
SeminarAssignment 
Bring an object, text or image which contributes to the discourse of masculinity. What
representations of men currently prevail and what does this indicate about masculinity?
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Week 5 Semester 2
Monday 27h February
1.00 SB42
Scott Sutherland
School
LECTURE 3:
Key Issues and Questions
 The politics of female representation; the nude and the ‘gaze’.
 Feminist art practice - from object to subject
 Women and self-portraiture
 What might femininity be ‘beyond representation’?
Key Practioners and Works (Too many to mention. Here are a few from feminist art files )
 Judy Chicago
 Martha Rosler, Hannah Wilke, Carole Schneeman, Janine Antoni
 Helen Chadwick, Tracey Emin, Sarah Lucas
Key Writers (Again there are many but these will provide an introduction – see bibliography:)
 Whitney Chadwick
 Lucy R Lippard (see bibliography – From the centre. An important text)
 Julia Kristeva
 Griselda Pollock & Rozsika Parker
Required Reading  Sontag S. A photograph is not an opinion. Or is it? In: Sontag S. Where the stress falls.
pp238-51
 Chadwick W. An infinite play of empty mirrors. In: Chadwick W. Mirror images: Women,
surrealism and self-representation. pp2-35.
Suggested Reading  Berger J. Chapter 3. In: Berger J. Ways of seeing. (Also see video version in Library).
 Betterton R. An intimate distance. Women, artists and the body. In: Betterton R. An
intimate distance: Women artists and the body. pp7-19. (See also Ch. 4 on abstraction).
 Kelly A. Self image: Personal is political. (1979) In: Wells L, editor. The Photography Reader.
 Kristeva J. Women’s time. In: Kristeva J. The portable Kristeva.(See also: McAfee N. Julian
Kristeva, Ch 6, for explanation and review)
 Tickner L. The body politic: female sexuality and women artists since 1970. In: Parker R,
Pollock G. Framing Feminism. Art and the Women’s Movement. 1970-85.
Seminar Assignment

Choose an image by a female artist to help you discuss how female artists might represent
feminity ‘beyond representation’. What does this mean? Come prepared to discuss.
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7.
BIBLIOGRAPHY AND ADDITIONAL SOURCES
The core text for this programme is Stuart Hall’s study, Representation, highlighted below.
However, each lecture has its own bibliography. (Also included, is a short section, indicating texts
which will specifically contextualize this theme for Textile/3DD students).
Texts are listed by lecture theme and can be found on the Academic Reserve unless indicated
otherwise:
Lecture 1 – general introduction
Barthes R. Mythologies. New York: Hill and Wang; 1998 (Originally published in 1957. See final
essay; Myth today).
Clark G. The photograph. London: Oxford University Press; 1997. ( Chapters 6 and 7. The Portrait
in Photography. The Body in Photography ).
Dyer R. The matter of images: Essays on representation. London: Routledge; 2002.
Hall S, editor. Representation. Cultural representation and signifying practices. London:
Sage Publications Ltd in association with the Open University; 1997.
Mills S. Michel Foucault. London: Routledge; 2004 (Chapters 3, 4 and 5; Discourse.
Power/knowledge. The body and sexuality. These summarise key ideas and identify key texts)
Perchuk A, Posner H, editors. The masculine masquerade: Masculinity and representation. Catalogue
of an exhibition held at the MIT List Visual Arts Centre; 1995 Jan 21-Mar 26, Cambridge,
Massachusetts, U.S.A. Cambridge. M.A.: The MIT Press; 1995 Not on Academic Reserve.
Not on Academic Reserve.
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Salih S. Judith Butler. London: Routledge; 2004 (Chapters 2 and 3; These summarise key ideas and
identify key texts).
Sontag S. On photography. London: Penguin Books Ltd; 1977 (Chapter 1. In Plato’s Cave)
Woodward K. Identity and difference. London: Sage Publications Ltd; 1997
Lecture 2 – representing masculinity
Barrett F.J, Whitehead, S.M. The masculinities reader. Cambridge: Polity Press in association with
Blackwell Publishers Ltd; 2002.
Breward C. The Hidden Consumer: Masculinities, fashion and city life. 1860-1914. Manchester:
Manchester University Press; 1999.
Dyer R. The matter of images: Essays on representation. London: Routledge; 2002. (Predominant
focus on the representation of homosexuality but includes much general discussion of
representation, stereotyping, masculinity plus detailed analyses of images and specific films).
Perchuk A, Posner H, editors. The masculine masquerade: Masculinity and representation.Catalogue
of an exhibition held at the MIT List Visual Arts Centre; 1995 Jan 21-Mar 26, Cambridge,
Massachusetts, U.S.A. Cambridge. M.A.: The MIT Press; 1995
Not on Academic Reserve.
Still J, Worton M. Typical men. Recent photography of the male body by men. Catalogue of an
exhibition at the Djanogly Art Gallery; 2001 Mar 3-Apr 22, Nottingham, U.K. Nottingham: University
of Nottingham Arts Centre; 2001.
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Whitehead S.M. Men and masculinities. Key themes and new directions. Cambridge: Polity Press in
association with Blackwell Publishers Ltd; 2002.
Lecture 3 – representing femininity
Berger J. Ways of seeing. London: Penguin Books Ltd; 1972. (Chapter 3. See also, video from the
BBC series, to be found in the Library).
Betterton R. An intimate distance: Women artists and the body. London: Routledge; 1996.
Chadwick W. Women, art and society. London: Thames and Hudson Ltd; 2002.
Chadwick W. Mirror images: Women, surrealism and self-representation. Cambridge. M.A.: The MIT
Press; 1998.
Lippard L. From the centre. Feminist essays on womens’ art. New York: E.P. Dutton; 1976
Kristeva J. New maladies of the soul. New York: Columbia University Press; 1998 (Women’s time).
Not on Academic Reserve.
McAfee N. Julian Kristeva. London: Routledge; 2004 (See Ch 6. Full explanation of Women’s time).
Meecham P, Sheldon J. Modern art: A critical introduction. London: Routledge; 2000. (Chapters 4
and 7. The female nude as the site of modernity. Self and identity politics in photography and
performance art.)
Parker R, Pollock G. Framing Feminism. Art and the Women’s Movement. 1970-85. London: Harper
Collins Publishers; 1987
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Rich S.K. Through the looking glass: women and self representation in contemporary art. Catalogue
of an exhibition held at the Palmer Museum of Art; 2003 Oct 21-2004 Jan 25, Pennsylvania, U.S.A.
Pennsylvania: Pennsylvania State University; 2003.
Sontag S. Where the stress falls. London: Vintage; 2003. (A photograph is not an opinion. Or is it?)
Wells L, editor. The Photography Reader. London: Routledge; 2003. (See Part Seven, The
Photographic Gaze, and Part Eight. Image and Identity)
Textile / 3DD students – the following texts contextualize this theme:
Crane D. Fashion and its social agendas. Class,gender and identity in clothing. London: University of
Chicago Press Ltd; 2000.
Entwistle J. The fashioned body. Fashion, dress and modern social theory. Cambridge: Polity Press;
2000.
Jefferies J editor. Reinventing textiles. Volume 2. Gender and identity. Winchester: Telos Art
Publishing; 2001.
Kirkham P, editor. The gendered object. Manchester: Manchester University Press; 1996 (becoming
dated but still includes relevant thinking)
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8.
ACADEMIC RESERVE
Core texts will be placed on Academic Reserve in the Library. 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 they go out overnight and are due back 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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