THE
ROBERT GORDON
UNIVERSITY
ABERDEEN
Gray’s School of Art
Stage 2 & 3: 2007-2008
Contextual and Critical Studies – Mini-Programme 1
From Here to Modernity
Tutor: Andrea Peach
email: a.peach@rgu.ac.uk (tel: 263692)
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FROM HERE TO MODERNITY
What was modernism all about and why is it of interest to artists, architects and designers today?
What is modernity and what does it really mean to ‘be modern’?
This programme will look at the ongoing impact of Modernism on contemporary art, design and culture
and consider its relevance to 21st century practice. We will revisit key images and texts in twentieth
century modernism, locate modern art, design and architecture in a variety of contexts, and look at
modernism’s ongoing presence in today’s arguably post postmodern society.
1.
INTRODUCTION AND TIMETABLE
This programme comprises one of two mini-programmes running in Semester One 2007/08. Each
programme runs across 3 weeks, and includes a lecture on Mondays at 1.00 pm, SB42 Scott Sutherland
School, followed by seminars for Stage 2 on Tuesdays in SA46 Scott Sutherland and seminars for Stage 3
on Thursdays in in SA46 Scott Sutherland. Seminar and workshop groups and times will be posted on the
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CCS noticeboard (by the art school shop). Students must come to the seminars prepared participate in the
seminar. Assessment will be based on attendance, seminar participation, and written coursework (critical
notebook and essay).
8
12 Nov
9
19 Nov
Mini-Programme 1
Andrea Peach
Lecture Monday
1.00 SB42
Mini-Programme 2
Lesley Scott
Lecture Monday
1.00 SB42
Seminar
1
Tuesday
SA 46
Seminar
1
Tuesday
SA 46
Seminar
2
Tuesday
SA 46
Seminar
3
Tuesday
SA 46
Seminar
2
Tuesday
SA 46
Seminar
3
Tuesday
SA 46
9
19 Nov
1
2
3
4
5
6
7
8
24
Sept
1 Oct
8 Oct
15 Oct
22 Oct
29 Oct
5 Nov
12 Nov
Mini-Programme 1
Andrea Peach
Lecture Monday
1.00 SB42
Mini-Programme 2
Lesley Scott
Lecture Monday
1.00 SB42
Seminar
1
Thurs
SA 46
Seminar
1
Thurs
SA 46
Seminar
2
Thurs
SA 46
Seminar
3
Thurs
SA 46
Seminar
2
Thurs
SA 46
Seminar
3
Thurs
SA 46
10
11
26 Nov
3 Dec
12
10 Dec
13
17
Dec
10
11
26 Nov
3 Dec
12
10 Dec
13
17
Dec
14
15
Assessment
7
5 Nov
14
15
Assessment
6
29 Oct
Assessment
5
22 Oct
Assessment
4
15 Oct
Reading Week
3
8 Oct
Reading Week
STAGE
THREE
2
1 Oct
Intro and sign up
STAGE TWO
WEEK
2007/08
1
24
Sept
Intro and sign up
WEEK
2007/08
3
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 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 notebook and essay, the ability to analyse and criticise 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. The seminars will follow the theme of the lectures
and will address a particular issue each week. Students 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 for their
elected mini-programme. If for any reason, you are unable to attend, please email the mini-programme
tutor (a.peach@rgu.ac.uk) or leave a message with the CCS office (263692). Details of the seminar tasks
and groups will be found in the weekly schedule that follows.
There are two components to the assessment: a Critical Notebook and an Essay. Assessment criteria
can be found on: www.studioit.org.uk (under Contextual and Critical Studies).
STAGES 2 & 3 – CRITICAL NOTEBOOK
You are required to keep a Critical Notebook evidencing your ongoing personal reflection and academic
research inspired by the mini-programme theme. It should contain your responses and thoughts in
relation to the lectures and seminars (in particular, the weekly seminar tasks), as well as any additional
research and development you have undertaken in relation to these. Do not use the notebook simply as a
‘scrapbook’ for filing your lecture notes and photocopies of readings etc! Where possible, try to make
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connections between the mini-programme theme and your own studio activity and interests. Your Critical
Notebook should be a hard-backed notebook, no larger than A3, and can comprise personal writing,
drawings, photographs, sketches and any other materials relevant to the analysis and criticism of the
mini-programme.
STAGE 2 - ESSAY
For the essay, you are required to select a work of art, architecture or design (historic or contemporary),
which you feel embodies the ideals of ‘modernity’ and argue why. In order to critically contextualise your
example, you should focus on one of the three lecture themes. You should also make reference to at least
two or more readings from the programme, and include images and relevant quotations to back up your
ideas. Make sure you explain, in your own words, what is meant by the term ‘modernity’. Try to make
links, if appropriate, between your own studio interests and this subject.
Your essay should be approximately 1,500-2,000 words, must be fully word-processed and include a
comprehensive bibliography. You should reference all sources used in your text, using the Vancouver
referencing system (see section 4: ‘Referencing Sources’ for details). Your Essay should be securely
attached to your Notebook.
STAGE 3 – ESSAY
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You should use either seminar task 2 or 3 as the starting point for your essay (if you base your essay on
seminar task two, you should approach the essay as an exhibition curator – in other words, your essay
should take the form of a catalogue essay, explaining the rationale for your ‘exhibition’ and choice of
objects and contextualise them using research material from the mini-programme). As well as addressing
your chosen seminar task, your essay should include an explanation, in your own words, of what is meant
by the term ‘modernity’. You should also make critical reference to at least three or more readings from
the programme, and include images and relevant quotations to back up your ideas. The essay should be
2500-3000 words in length, fully word-processed and include a comprehensive bibliography. You should
fully reference all sources used in your text, using the Vancouver referencing system (see section 4:
‘Referencing Sources’ for details). Your Essay should be securely attached to your Notebook.
STAGE 2 & 3 COURSEWORK SUBMISSION DATE:
The submission date for Stages 2 & 3 (critical notebook and essay) is: Friday 23 November 2007.
4.
REFERENCING SOURCES
RGU has two systems for referencing sources: Harvard (also known as Author/Date) and Vancouver (also
known as ‘endnotes’ or ‘footnotes’). For your essay, we recommend that you use Vancouver. You
will find information on Vancouver in handouts available from the CCS website, at www.studioit.org.uk
See Contextual and Critical Studies / Support Files 2007/8 / General CCS Documents:
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
Vancouver Referencing System – Sheet of examples

Guide to Academic Referencing
Please note: if you do not reference quotations and sources properly, you risk committing plagiarism - a
serious academic offence with corresponding penalties!
The study skills sessions offered below will help you with referencing and writing.
5.
STUDY SKILLS: STAGE TWO / STAGE THREE
This semester we will be offering taught sessions on plagiarism, referencing and writing skills. We strongly
recommend that you take advantage of this opportunity. The sessions will be held on the following dates:
Plagiarism
Monday 22 October / 12-1pm
SB225 (School of Management)
Referencing Sources
Monday 29 October / 12-1pm
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SB225 (School of Management)
Writing Skills
Monday 5 November / 12-1 / SB 225 (School of Management)
Monday 12 November / 12-1 / SB 225 (School of Management)
Monday 19 November / 12-1 /SB 225 (School of Management)
In addition to these Study Skills sessions, there will also be sessions on how to use Refworks software.
This software will facilitate the creation of bibliographies and will help you organise your research material.
Refworks Seminars
(Must sign up on CCS noticeboard for these sessions. First come, first served)
Wednesday 31 October / 12-1pm / SB205 (School of Management)
Wednesday 7th November / 12.30-1.30 / SB204 (School of Management)
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3
4
5
6
7
8
1
Oct
8
Oct
15
Oct
22 Oct
29 Oct
5 Nov
12 Nov
9
19 Nov
Plagiarism
Monday
12-1
SB 225
Referencing
Monday
12-1
SB 225
Writing
Skills
12-1
SB 225
Writing
Skills
12-1
SB 225
Writing
Skills
12-1
SB 225
Refworks
Wednesday
31 Oct
12.00-1.00
SB 205
Refworks
Wednesday
7 Nov
12.30-1.30
SB 204
10
11
26
Nov
3
Dec
12
10
Dec
13
17
Dec
14
15
Assessment
2
Assessment
STAGE TWO
STAGE THREE
6.
1
24
Sept
Reading
Week
WEEK
2007/08
ADVANCED STUDY SKILLS: STAGE THREE ONLY
This semester we will also be offering training for Stage Three students on advanced study skills. These
sessions will familiarise students with academic databases on art and design, and advanced research
techniques (searching for journals etc).
Three sessions will be held on the following dates:
Mini-programme 1: Thursday 11 October - 9.15 / 10.45 / 12.00
Mini-programme 2: Thursday 15 November - 9.15 / 10.45 / 12.00
See CCS noticeboard for details on groups, times and rooms.
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3
4
5
6
7
8
1
Oct
8
Oct
15 Oct
22
Oct
29
Oct
5 Nov
12 Nov
MINI PROG 1
Advanced
Research Skills
Thursday 11
October
9.15 H403 Fohsc
10.45 434 Library
12.00 434 Library
MINI PROG 2
Advanced
Research Skills
Thursday 15
November
9.15 434 Library
10.45 434 Library
12.00 434 Library
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19
Nov
10
11
26
Nov
3 Dec
12
10
Dec
13
17
Dec
14
15
Assessment
2
Assessment
STAGE
THREE
7.
1
24
Sept
Reading Week
WEEK
2007/08
EXTENSION REQUESTS
Extensions will only be granted in exceptional circumstances, which include serious problems or events
which genuinely affect your ability to complete coursework on time. Such circumstances might include:
serious physical or mental illness (must have doctor's certificate), serious illness or death of an immediate
family member or close friend. 'Exceptional circumstances' do not include colds, headaches, hangovers,
poor time management, problems caused by English not being your first language, and circumstances
within your control (such as: absence due to holidays, weddings, jobs etc). To request an extension,
please complete a Coursework Extension Request Form (available from the School Office). This form
must be submitted before the coursework submission date, and include written documentation (medical
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certificates etc.) where relevant. Claims are reviewed by your CCS tutor and treated as confidential.
Coursework handed in after the hand-in date, which is not supported by a fully approved Coursework
Extension Request Form will be recorded as a non-submission. There will be no exceptions.
8.
MITIGATING CIRCUMSTANCES
If you feel that you have genuine and legitimate circumstances that may affect your performance on this
mini-programme, and therefore your coursework, you should fill out a Mitigating Circumstances form.
Mitigating circumstances are exceptional, serious and acute problems or events which have genuinely
affected your performance in your assessments or your ability to complete coursework (these do not
include ongoing issues – such as dyslexia etc.). Mitigating Circumstances forms are treated confidentially
and are considered at the end of year Examination Board when making final decisions about your mark.
To make a claim for mitigating circumstances you must complete a Mitigating Circumstances Request
Form (available from the School Office). This form must be submitted no later than the coursework
submission date. See the form for further details.
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Week 2 Semester 1
Monday 1 October
1.00 SB42
Scott Sutherland School
Required Reading
Additional Reading
LECTURE 1: What is MODERNITY?
Key Issues and Questions
 What is modernity? When was it? Can it be now?
 What does it mean to be modern?
 Revisiting the modernist ‘canon’
Key Writers
 Charles Baudelaire
 Roger Fry
 Clive Bell
 Clement Greenberg
 Wood, P. ‘Art of the Twentieth Century’, in Graiger, J. (ed) Frameworks for Modern Art. London: Open
University; 2003. Try to read the whole chapter if you can, but as a minimum you should look at the
section ‘Modernity and Modernism’ pp. 16-27.




Seminar Assignment


Greenberg, C. ‘Modernist Painting’, Art in Modern Culture – An Anthology of Critical Texts. London: The
Open University; 1992 pp. 308-314.
Graiger, J. and Wood, P. ‘Modernism and the Crisis of Modernism’, Art of the Twentieth Century – A
Reader, New Haven: Yale University Press, 2003, pp. 3-52.
Hopkins, D. After Modern Art 1945-2000. Oxford: Oxford University Press; pp. 25-34.
Meecham, P. and Sheldon, J. ‘What is and When Was Modernism?’ Modern Art: A Critical Introduction,
London: Routledge; 2000, pp. 1-31.
Williams, R. ‘When Was Modernism’, The Politics of Modernism. Verso: London, 1989, pp. 31-35.
Reflect on the ideas raised in Lecture 1 and in the Required Reading. Make notes in your
Critical Notebook and come to the seminar with preliminary questions about what is and
when was Modernity and Modernism.
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Week 3 Semester 1
Monday 8th October
1.00 SB42
Scott Sutherland School
Required Reading
Additional Reading
LECTURE 2: Modernity and The Machine Age
Key Issues
 Form Follows Function
 The Machine Aesthetic
 Utopia and Dystopia
Key Practioners and Writers
 Ludwig Mies Van der Rohe (1886-1969)
 Le Corbusier (1887-1965)
 Adolf Loos (1870-1933)
 Meecham, P. and Sheldon, J. ‘From the Machine Aesthetic to Technoculture’ Modern Art: A Critical
Introduction. London: Routledge; 2000. It would be helpful to read the whole chapter, but as a
minimum read: pp. 113-119.
 Wilk, C. ‘Introduction: What was Modernism?’ in: Modernism – Designing a New World. London: V&A
Publications, 2006, pp.11-21. The issue of modernity is explored on page 17!





Films




Seminar Assignment

Green, C. ‘The Machine’ in: C. Wilks (ed) Modernism – Designing a New World. London: V&A
Publications, 2006, pp.71-111. This chapter is long but packed with great information and images.
Le Corbusier. ‘Mass Production Houses’ and ‘Architecture or Revolution’, Towards a New Architecture,
London: Butterworth Heinemann; 1989 (1923) pp.6-8.
Loos. A. ‘Ornament and Crime’ (1908) in Greenhalgh, P. (ed) Quotations and Sources on Design and
the Decorative Arts. Manchester: Manchester University Press; 1993, pp.14-15.
Marcus, G. ‘Machine Art’ Functionalist Design. New York: Prestel; 1995, pp. 115-126.
Read, H. ‘The Function of Ornament’ (1936) in Greenhalgh, P. (ed) Quotations and Sources on Design
and the Decorative Arts. Manchester: Manchester University Press; 1993, pp.19-20
Modern Times – Charlie Chaplin (1936) – V2772
Things to Come - William Cameron Menzies, (1936) – V2573
Metropolis - Fritz Lang (1926) – DVD12
Modernism Exhibition V& A Museum 2006 (website has some good links)
http://www.vam.ac.uk/vastatic/microsites/1331_modernism/flash.html
Imagine that you are curating an exhibition on Modernity and the Machine Age. You must
choose 3 objects that you feel best exemplify the spirit of the age. Which objects would you
choose? Why? Can you write a short label for each object and explain your reasons for why
they have been chosen. You may wish to do this in small groups.
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Week 4 Semester 1
Monday 15 October
1.00 SB42
Scott Sutherland School
Required Reading
Additional Reading
Films
Seminar Assignment
LECTURE 3: From Here to Modernity
Key Issues and Questions
 Less is more? – or is Less is a bore?
 The end of modernity?
 Minimalism and neo-Modernity
Key Practioners
 Donald Judd /Sol LeWitt /Dan Flavin
 John Pawson / Rem Koolhaas
 Droog Design
 Tomma Abts
 Danto, A. ‘Introduction: Modern, Postmodern and Contemporary’ in After the End of Art. Princeton:
Princeton University Press, 1997, pp. 3-10.
 Hadid, Z. ‘The Eighty-Nine Degrees’ in Jencks. C. (ed) Theories and Manifestoes of Contemporary
Architecture. Chichester: Academy Editions; 1997, p. 280.
 Ramakers, R. ‘Introduction’, Less is More – Droog Design in Context. Rotterdam: 010 Publishers;
2002, pp.6-10.
 Andre, C. ‘Minimalism’, Cuts – Texts 1959-2004, Cambridge, MIT Press, 2005, pp. 149-151.
 Berman, M. ‘Modernity, Yesterday, Today and Tomorrow’, in P. Greenhalgh (ed) Quotations and
Sources on Design and the Decorative Arts. Manchester: Manchester University Press; 1993, pp.19-20
 Causey, A. ‘Modernism and Minimalism’, Sculpture Since 1945, Oxford: Oxford History of Art; 1998,
pp.109-129
 Crouch, C. ‘After Modernism? Or Developing Modernism?’ Modernism in Art, Design and Architecture,
London: St Martin’s Press; 1999, 162-179.
 Freedland, Jonathan, Is Less More? The Guardian newspaper, Saturday, December 1, 2001
http://www.guardian.co.uk/saturday_review/story/0,3605,609721,00.html
 Hopkins, D. ‘Modernism in Retreat: Minimalist Aesthetics and Beyond’, After Modern Art 1945-2000.
Oxford: Oxford University Press; 2000, pp.131-159.
 Marcus, G. ‘Where are we at?’ Functionalist Design, New York: Prestel; 1995, pp.152-165.
 Pawson, J. Minimum, London: Phaidon; 1996, pp.7-21.
 Modern Times: Bare – V256
 Three Minute Wonder – Tomma Abbts
http://www.tate.org.uk/britain/turnerprize/2006/tommaabts.htm
 Is modernism still relevant in the 21st century? Bring in an example of early modernism
(art, design, architecture) and try to find a contemporary example of art, design,
architecture which you feel might be in some way connected or indebted to this early
example. It may compliment or contradict, but should relate to the overall concept of
modernity in some way.
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9.
BIBLIOGRAPHY AND ADDITIONAL SOURCES
Berman, M. All that is Solid Melts into Air – The Experience of Modernity. London: Vergo; 1983
Brettell, R. Modern Art 1851-1929. Oxford: Oxford University Press; 1999
Causey, A. Sculpture Since 1945. Oxford: Oxford History of Art; 1998
Crouch, C. Modernism in Art, Design and Architecture. London: Macmillan Press; 1999
Danto, A. After the End of Art. Princeton: Princeton University Press; 1997
Foster, H. (ed), The Anti-Aesthetic – Essays on Postmodern Culture. New York: The New York Press;
1983
Franscina, F. and Harris, J. Art in Modern Culture – An Anthology of Critical Texts. London: Phaidon
Press; 1992
Graiger, J. and Wood, P. Art of the Twentieth Century – A Reader. New Haven: Yale University Press;
2003
Greenhalgh, P. (ed), Modernism in Design. London: Reaktion Books; 1990
Greenhalgh, P. (ed) Quotations and Sources on Design and the Decorative Arts. Manchester: Manchester
University Press; 1993
Harris, J. Writing Back to Modern Art – After Greenberg, Fried and Clark. London: Routledge; 2005
Harrison, C. and Wood, P. (eds), Art in Theory 1900-2000 An Anthology of Changing Ideas. London:
Blackwell; 2003
Harrison, C. Modernism. London: Tate Publishing; 1997
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Hopkins, D. After Modern Art 1945-2000. Oxford: Oxford University Press; 2000
Jencks, C. Critical Modernism – Where is Post Modernism Going?: Wiley Academy; 2007
Le Corbusier. Towards a New Architecture. London: Butterworth Heinemann; (1923) 1989
Marcus, G. Functionalist Design. New York: Prestel; 1995
Meecham, P. and Sheldon, J. Modern Art: A Critical Introduction. London: Routledge; 2000
Pawson, J. Minimum. London: Phaidon; 1996
Ramakers, R. Less is More – Droog Design in Context. Rotterdam: 010 Publishers; 2002
Weston, R. Modernism. London: Phaidon; 2001
Wilk, C. (ed). Modernism – Designing a New World. London: V&A Publicataions; 2006
Williams, R. The Politics of Modernism. London: Verson; 1989
Wood, P. Frameworks for Modern Art. London: Open University; 2003
Wood, P. (ed), Varieties of Modernism. New Haven: Yale University Press; 2004
Wood, P., Franscina, F., Harris, J., and Harrison, C. Modernism in Dispute – Art Since the Forties.
New Haven: Yale University Press, 1993
Woodham, J. Twentieth Century Design. Oxford: Oxford History of Art; 1997
An excellent interactive website on Modernism in Britain:
www.open2.net/modernity/home.htm
Also try Tate Modern website:
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www.tate.org
Ubu Web:
Check out this brilliant site for sound/film (Kurt Schwitters, Fortunato Depero, John Cage, Marcel
Duchamps etc.)
www.ubu.com/historical
www.ubu.com/sound
Let me know if you find others!
10.
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. Most books on Academic Reserve are issued as a one-day loan
and must be back by 10 the next morning. 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: Andrea Peach
(a.peach@rgu.ac.uk)
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