Art and the Public
UGS302 – Unique: 61105
T Th 2-3:30
GAR 0.132
Fall 2015
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Professor Joan Neuberger
Dept of History – GAR 2.102
Office Hours: Weds 10-12
neuberger@austin.utexas.edu
What role does art play in our public lives?
How do we learn to respond to art?
Do artists have ethical responsibilities to society? Do societies have responsibilities to
artists?
How do societies think about and answer these questions?
In this seminar we will explore the ways we respond to art as individuals and as communities,
the ways public art creates communities, and the ways communities produce public art.
The installation of 28 large-scale modern sculptures on the UT campus in 2008-09, on extended
loan from the Metropolitan Museum of Art in New York, along with new installations by Mark di
Suvero, Sol LeWitt, James Turrell, Nancy Rubin, and Michael Ray Charles have transformed the
public space of our university community. The Landmarks public art project at UT gives us an
unusual opportunity to study the role art plays in public and private life. It also offers us unique
resources for learning how to carry out research using written texts, images, interviews, and
surveys. <http://landmarks.utexas.edu/>
Course goals:
 To learn to articulate and discuss ideas about art in public
 To learn to think critically about the ways artists and their works are commissioned and
viewed by various publics
 To master skills necessary for success at UT: reading difficult materials (texts, films,
artworks), identifying arguments, evaluating evidence, determining the reliability of
sources, writing lucid essays, organizing complex projects, and speaking clearly about
ideas.
 To become acquainted with the cultural resources of the UT campus
Reading
Available at Co-op (for $50) and online bookstores (for $28)
Claire Doherty, Out of Time, Out of Place, Public Art (Now)
Additional readings will be posted on Canvas (https://canvas.utexas.edu)
Films:
Richard Serra: The Trial of Tilted Arc (1986)
Tim Robbins (dir.), Cradle Will Rock (1999)
Assignments
The writing assignments in this course are meant to build on each other.
We begin with short paragraphs on our immediate responses to art works, readings, and films;
then we build to writing an essay; and finally we will write a project report based on a variety of
different kinds of sources.
Additional information on assignments will be distributed in class.
Grading
+ and – are used in this course.
Short informal writing assignments on reading and field trips, thoughts & feelings about the art
works we view, characterizations of artists in films, responses to lectures (20%)
Essay #1 (10%)
Essay #2 (15%)
Public Art Project Report (15%)
Interview Project –written and oral reports (10%)
Oral Presentations (20%)
Class Participation (10%)
Attendance is required
Students who miss more than 2 classes will see their grades drop automatically and must meet with me to
discuss continuing in and passing the course.
Students who will miss class for religious holidays or activities and students who need accommodations for
special needs (471-6259 or SSB 4.104 for more information) should contact me at the beginning of the
semester to make appropriate arrangements.
Academic Honesty is important. If you use words or ideas that are not entirely your own, you must cite
your sources, otherwise you will be guilty of plagiarism. We will discuss this issue in class, but you should
familiarize yourself with the rules on Academic Dishonesty:
http://deanofstudents.utexas.edu/sjs/acadint_whatis.php
Conduct
The university classroom must be a safe place for students to try out new ideas and feelings about
unfamiliar topics. The university as a whole should be a place students feel safe to grow as individuals and
as members of new communities. In order for this to happen, all students must express themselves with
respect for other members of the university community. This ought to be a no-brainer, but extreme
examples of disrespect will occur and will not to be tolerated.
Title IX makes it clear that violence and harassment based on sex and gender are Civil Rights offenses
subject to the same kinds of accountability and the same kinds of support applied to offenses against other
protected categories such as race, national origin, etc. If you or someone you know has been harassed or
assaulted, you can find the appropriate resources here:
http://catalog.utexas.edu/general-information/appendices/appendix-d/
http://www.cmhc.utexas.edu/vav/index.html
CLASS MEETINGS AND ASSIGNMENTS: SCHEDULE
All readings are posted as pdfs on Canvas. Some can also be accessed by clicking on links in the
online version of the syllabus on Canvas
Th 8/27 Introduce the course and ourselves.
PART I: LOOKING AT ART
Tu 9/1
Read: Confederate Monuments at UT Austin
“Task Force on Historical Representation of Statuary at UT Austin”
“James Loewen, “Why do People Believe Myths about the Confederacy?”
Lauren McGaughey, “Monuments to the Confederacy…at the Texas Capitol”
“Battle Flag: An ongoing documentary” < http://battleflag.us/ >
Discuss: Be prepared to discuss:
The 5 options that the Task Force recommended
The role of the historical background in shaping debates over public
commemorations of the Confederacy
All the factors that shape the construction and reception of public art works
Write: Choose one of the Task Force options and briefly defend it (no more than one paragraph,
approx. 200 words). Email to me before class on Tuesday 9/1.
Th 9/3
Walking Tour #1: Campus Sculpture
Read:
“Metropolitan Museum of Art Loans Sculptures…”
read online:
<http://www.utexas.edu/news/2008/08/05/met_sculptures/>
It will be HOT. Wear light clothes, comfortable shoes, (a hat is also a good idea) and bring water.
Also bring paper and pen that you can use to jot down your reactions as we walk around
campus. You will need to take notes.
Write: Based on these notes, write 250-300 words about your responses to the sculpture:
thoughts, feelings, questions, and reactions. Remember you do not have to “like” everything you
see, but you must begin to articulate the reasons for your reactions. Email by 5pm Friday 9/4
Tu 9/8
How to Look
Read: James Elkins, Pictures & Tears, 1-19 (and optional 182-95).
Discuss: In this chapter, Elkins tries to figure out the best way (or ways) to look at a set of Mark
Rothko’s paintings. Be prepared to discuss the questions the author asks, answers he gives, and
evidence he uses. How many different ways does Elkins try to look at paintings?
Write: 200-250 words: first list the ways Elkins looks at these paintings and then chose one and
describe its strengths and weaknesses. Email to me by Monday 9/7, 5pm.
Th 9/12
Read: Landmarks [website: <landmarks.utexas.edu>]
Familiarize yourself with the Landmarks project, and read about 5-6 sculptures in detail.
Walking Tour #2: Campus sculpture.
This time we will look at the sculptures with the aid of more information.
It will probably still be HOT. Wear light clothes, comfortable shoes, (a hat?) and bring water. Also
bring paper and pen that you can use to jot down your reactions as we walk around campus.
Write: 300-350 words comparing your experience this week with last week: uninformed and
informed looking. Think about your preferences, new questions, new insights, and specific
differences in your responses to the art. Write an essay with an argument (state your position)
and examples or evidence to support that argument.
Email to me by Friday 9/11, 5pm.
Tu 9/15
Lewitt, Turrell, Rubins: Public art in Public space
Guest Speaker: Catherine Zinser, Landmarks
Read:
Sol LeWitt, “Paragraphs on Conceptual Art.” Artforum 5: 10 (June 1967): 79–83
James Turrell, Interview (1999) http://www.conversations.org/story.php?sid=32
Read the material and watch the videos on the Landmarks website (on Lewitt and Turrell and
Rubins)
Look BEFORE CLASS: go take a look at the installations by Sol LeWitt, James Turrell, and
Nancy Rubins. Play with them. Sit on them (when possible). Look at them from all sides.
Discuss: 1. Does the literature reflect your own experience of the works?
2. Modern sculpture as public art.
**WED 9/16 8PM * SPECIAL EVENT * “POWER GOES”**
Texas Performing arts Center
A dance about President Lyndon B. Johnson
Th 9/17 Power Goes
Dramaturg and historian Michael Kramer will speak to class about creating a dance work about
presidential power. Write down and bring oto class at least one question about the performance
as public art.
**
Signature Course Required Lecture Series
Students in Sig Courses are required to attend these lectures.
Details provided at end of syllabus
Monday, September 21
6:30pm-7:30pm & 8:30pm-9:30pm (two shows)
Hogg Memorial Auditorium
“Two Guys On Your Head”
Tuesday, September 22
6:30pm-7:30pm & 8:30pm-9:30pm (two shows)
Hogg Memorial Auditorium
Lessons in Leadership
**
Tu 9/22
Writing workshop
Writing a paper, plagiarism, resources on-line
UT Writing Center
Asking the Right Questions
The author’s argument
Looking for evidence
Evaluating evidence
Evaluating the argument
Taking Notes
Outlines
Th 9/24
Blanton Museum: Collection Highlights
Bring pencil and paper for note taking (no pens allowed)
Meet at entrance near MLK promptly at 1:55.
Write 300 words on the work that you found most powerful or interesting. Briefly identify and
describe the work and describe your reaction to it. Give at least two reasons why you responded
strongly to it. Email to me by 5pm Friday 9/25.
*Monday 9/28: Essay #1 due via email, 5pm.
We have been viewing art in a variety of contexts. We have been reading artists’ statements and
viewing videos about how art affects the viewer (by Elkins, Lewitt, Turrell, and Rubins). And we
have been writing short pieces about how art affects us as viewers. Write an essay about what
you have learned so far this semester and about how your ideas and feelings about art have
changed. Be specific and give specific examples of works and experiences that have taught you
something. 700-1000 words.
Tu 9/29
Blanton Museum: Getting to know the Collection
Meet at entrance near MLK promptly at 1:55.
Part II: CONTROVERSIES IN PUBLIC ART
Th 10/1
Public Art Controversy #1: Richard Serra & Tilted Arc
Read: Harriet Senie, “Preface,” The Tilted Arc Controversy, xi-xvii.
Watch: in class Trial of Tilted Arc (55 mins)
Tu 10/6
Richard Serra & Tilted Arc
Read: Senie, The Tilted Arc Controversy, 1-54
The Destruction of Tilted Arc, Part II, “The Public Hearing.”
Optional: Calvin Tomkins, “Richard Serra,” Lives of the Artists
Richard Serra on Art 21 (watch online):
http://www.art21.org/artists/richard-serra
Discuss: What role should the public have in decisions about public art? Who is the Public?
Th 10/8 Public Art Controversy #2:
Maya Lin and the Vietnam Veterans’ Memorial
Read: Elizabeth Wolfson, “’The Black Gash of Shame,’ Revisiting the Vietnam Veterans Memorial
Controversy”
Maya Lin, “Making the Memorial,” New York Review of Books
Write: 300 words: Compare the controversy over the VVM with that over Serra’s Tilted Arc. Did
they raise the same problems? Discuss at least two similarities or differences. Email to me by
5pm 10/11.
Discuss: Commemorating the controversial
Tu 10/13 Public Art as Political Challenge:
José Posada at the Harry Ransom Center
Read: “Printmaker to the Mexican People,”
http://www.hrc.utexas.edu/enews/2009/october/insider.html
Meet in the lobby of the Harry Ransom Center promptly at 1:55pm.
READ: Blake Gopnik, “Rarely One for Sugar Coating: Kara Walker,” (read on line so you can see
the photographs
Hilton Als, “Kara Walker’s Vision” the New Yorker
Th 10/15 Library Research session
READ: Public Art (Now), pp. 1-49
Introduction to research resources at UT libraries and online.
Assistance with individual research projects.
Meet in the lobby of PCL at 1:55 sharp.
Be prepared before the library session: Choose the projects you will compare for Essay #2
on controversies over public art. Compare two controversies, one discussed in class and one from
the list below or from Public Art (Now). 1200-1500 words This will be due on 11/5.
Write: 300 words: Explain why you chose the projects your choise to compare. List 3 online or
text sources you plan to use in your research (not including Wikipedia or Gale or the like and not
including sources assigned in class). Describe each source and why you think it will be
interesting. Email to me by 5pm Oct 18.
Th 10/20 Public Art Controversy #3:
The Berlin Holocaust Memorial
Read:
Stephen Greenblatt, “Ghosts of Berlin,” NY Times, April 28, 1999
James Young, “Germany’s Holocaust Memorial Problem – and Mine” (2002)
Richard Brody, “The Inadequacy of Berlin’s ‘Memorial to the Murdered Jews of Europe,” The New
Yorker, July 12, 2012
Interview with Peter Eisenman, Spiegel Online, May 9, 2005.
Discuss: Commemorating the impossible
*Th 10/22 No Class. Work on research papers.
*MONDAY: 10/26 special screening. GAR 1.102. 6:30pm
Tim Robbins, dir. Cradle Will Rock
Tu 10/27 Politics and Art in the US
Discuss: Cradle will Rock. Compare politics and public art projects in the US, Germany, and
Czech Republic
Start Oral Presentations on papers
Th 10/29
Finish Oral presentations on papers.
Tu Nov 3: No Class.
Work on Papers
*Th 11/5: Essay #2 due via email, before class 2:00pm.
Controversies over public art. Compare two controversies, one discussed in class and one from
the list below or from Public Art (Now). 1200-1500 words.
PART III: MAKING PUBLIC ART
Th 11/5 : Final Project Planning Session
Each student will help plan a virtual work of public art.
Oral Presentations: Dec 1-3.
Written Reports Due: Dec 3.
Tu 11/10 Logistics: How do Public Art Works Appear at UT?
Read: Public Art (Now) pp. 78-122
Write: Imagine a work of public art that requires a complicated process of construction. Describe
your imaginary project in a paragraph. Think about the logistics of organizing your work. Email it
to me before class. Email to me by 2pm Nov 10 (that is, before class)
Guest: Landmarks, Catherine Zinser
Th 11/12 Public Art as Direct Public Engagement
Read: Public Art (Now) pp. 125-97.
Write: Imagine a work of public art that involves direct engagement with the public through
participation or intervention or other action. Describe your imaginary project in a paragraph.
What is the purpose of this work in terms of public engagement: what do you want to happen?
How do you want the public to react? Email to me by 2pm Nov 12 (that is, before class)
Tu 11/17 Public Art and New Forms of Commemoration
Read: Public Art (NOW) pp. 200-238
Write: Imagine a work of art that commemorates an event (it doesn’t have to be a sad event) in
an original way. Describe your imaginary work of art. Email to me by 2pm Nov 17 (that is,
before class)
Plan interviews
Th 11/19 No Class. Carry out interviews
Tu 11/24 Oral Presentation on Interviews
Interview Reports due.
Tu-Th 12/1-3
Oral Presentations on Public Art Projects
Final Project Report Due Dec 8, by 5pm via email.
**
Controversial Public Art Projects
John Ahern, The South Bronx Bronzes (1988)
Seward Johnson, Forever Marilyn (2011)
David Hammons, How Ya Like Me Now? (1988)
Lei Yikin, Martin Luther King Jr Memorial ((2011)
David Cerny, Nation to Itself (2002)
Guerilla Girls, various posters and actions (1990s)
Pussy Riot, public performances (2011-12)
Gran Fury, Kissing Doesn’t Kill (1989)
Chris Drury, Carbon Sink (2011)
Diego Rivera, Man at the Crossroads (1932-34)
George Segal, Gay Liberation (1994)
A few helpful websites
Basic UT Library Guide:
http://www.lib.utexas.edu/students/
Undergraduate Writing Center
http://www.utexas.edu/cola/centers/uwc/?path[0]=uwc
Blanton Museum of Art
http://blantonmuseum.org/index.cfm
Blanton Student activities page:
http://blantonmuseum.org/experience_the_blanton/education_programs/students.cfm
Landmarks: Public Art Program at the University of Texas
http://www.landmarks.utexas.edu/
Center for American History
http://www.cah.utexas.edu/
Harry Ransom Center for Research in the Humanities
http://www.hrc.utexas.edu/
The Metropolitan Museum of Art
http://www.metmuseum.org/
The Hirshhorn Museum and Sculpture Garden
http://hirshhorn.si.edu/
The Museum of Modern Art
http://www.moma.org/
International Sculpture Center
http://www.sculpture.org/
Sculpture Parks in Texas
http://www.sculpture.org/documents/parksdir/usa/soutwest.shtml#texas
Resources on a few major modern sculptors
http://www.sculpture.org/documents/archive/arch.shtml