THE
ROBERT GORDON
UNIVERSITY
ABERDEEN
Gray’s School of Art
Stage 2 and 3: 2006-2007
Contextual and Critical Studies – Mini-Programme 2
Art and Psyche
(on fairy tales, mud and horror)
Tutor: Allan Harkness
email:a.harkness@rgu.ac.uk (tel: ext. 3679)
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ART AND PSYCHE
The psyche as a machine for transforming the real or evading the real? Our subjectivity formed in relation
to both a pleasure principle and a reality principle, self and society caught in perpetual conflict and
anxiety? The modern discourse of psychoanalysis, as formulated in the work of Sigmund Freud, Carl Jung
and Julia Kristeva, offers helpful ways in approaching contemporary art.
Lectures and seminars explore particular works by artists - video, photographs, sculpture and installation and short texts on key concepts from the three theorists.
Themes: the uncanny; the unconscious, fantasy and gestalt; fetishism; individuation, archetype and
neurosis; abjection and semiotic chora.
1.
INTRODUCTION AND TIMETABLE
This programme comprises one of three mini-programmes running in Semester One 2006/07. 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 SC24 Scott Sutherland School and workshops for
Stage 3 on Thursdays in SC24 Scott Sutherland School. Seminar and workshop groups and times will be
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posted on the CCS noticeboard (by the art school shop). Students must come to the seminars/workshops
prepared to participate. Weekly seminar topics can be found in the course outline. Assessment will be
based on seminar participation and a written assignment. Details of the assignment are given below.
In Semester One Stage 2 students elect 2 mini-programmes for assessment; Stage 3 students
elect only 1 mini-programme for assessment.
Attendance of ALL lectures (of all 3 programmes) is mandatory for all students
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2 Oct
3
9 Oct
Mini-Programme 2
Allan Harkness
Lecture Monday
Seminar
3
Tuesday
4
16
Oct
Mini-Programme 1
Andrea Peach
Lecture Monday
Work
shop
1
Thurs
Research
Training
Thurs
9
20
Nov
Seminar
1
Tuesday
5
23
Oct
6
30 Oct
Seminar
2
Tuesday
7
6 Nov
Work
shop
1
Thurs
Research
Training
Thurs
11
12
11 Dec
4 Dec
Mini-Programme 3
Lesley Scott
Lecture Monday
Seminar
3
Tuesday
8
13 Nov
Mini-Programme 2
Allan Harkness
Lecture Monday
Work
shop
2
Thurs
10
27 Nov
Seminar
1
Tuesday
9
20
Nov
10
27 Nov
Seminar
2
Tuesday
11
4 Dec
Seminar
3
Tuesday
12
11 Dec
Mini-Programme 3
Lesley Scott
Lecture Monday
Work
shop
2
Thurs
Work
shop
1
Thurs
Research
Training
Thurs
13
Work
shop
2
Thurs
14
13
14
15
Assessment
Seminar
2
Tuesday
8
13 Nov
15
Assessment
Seminar
1
Tuesday
7
6 Nov
Assessment
Mini-Programme 1
Andrea Peach
Lecture Monday
6
30 Oct
Assessment
5
23
Oct
Reading
Week
4
16 Oct
Christmas
Break
3
9 Oct
Reading Week
1
25
Sept
2
2 Oct
Christmas
Break
STAGE
THREE
Intro and sign
up
STAGE
TWO
WEEK
2006/0
7
1
25
Sept
Intro and sign up
WEEK
2006/0
7
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, 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 and groups will be found in the
weekly schedule that follows and will be discussed in the first seminar.
Assessment
This semester you are asked to complete one piece of assessment. Select one of the two Mini
Programmes followed and respond to the Brief in the relevant Course Programme. The brief for this Mini
Programme is as follows:
Brief:
There are two components to the assessment comprising a Critical Notebook and an Essay.
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Critical Notebook
Apply personal reflection and academic research to compile a Critical Notebook inspired by the miniprogramme theme. Where possible relate the content to 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.
Essay
Outlining one of the course themes with reference to essays by the relevant theorist
(Freud/Jung/Kristeva) explore three works by a contemporary artist or designer. Speculate upon the
power of attraction and repulsion in such works and their place in contemporary culture.
Your essay should comprise approximately 1000-1500 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 Vancouver referencing system (see section 5: ‘Referencing Sources’ for details).
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The latest submission date for this written assignment is: Friday 5 January 2007. If you have elected to take
either Andrea or Allan’s programme for assessment, you should aim to hand in before Christmas.
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 programme. Students will be
placed in groups and expected to contribute to the workshops as part of their assessment. For this reason,
it is essential that students attend all lectures and workshops relating to their elected mini-programme. If
for any reason, you are unable to attend, please email your tutor. Details of the workshop tasks and
groups will be found in the weekly schedule that follows and will be discussed in the first workshop.
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 self-directed research and is a
mandatory part of the mini-programme. Details of the programme schedule and groups will be given in
the first workshop.
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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: Monday 4th December 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.
EXTENSION REQUESTS
Extensions will only be granted in exceptional circumstances, which encompass serious and acute
problems or events which genuinely affect your ability to complete coursework on time. Such
circumstances could include: serious physical or mental illness (must have doctor's certificate), serious
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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 (absence due to holidays, weddings,
jobs etc). To request an extension please complete a Coursework Extension Request Form (available from
your CCS tutor or School Office). This form must be submitted before the coursework submission date,
and include written documentation (medical 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.
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Week 6 Semester 1
Monday 30th October
1.00 SB42
Scott Sutherland
School
LECTURE 1: Freud, "The Uncanny" and 'the mark of the beast'
Key Issues and Questions
 Freud on the uncanny
 Ego, id and superego; Eros, Ananke and Thanatos
 Sexuality and violence in the fairy tale
Key Artists, Designers and Works
 Interlocking Chairs 1,2 & 3 Langlands & Bell
 Kassel Documenta 1982 - 6 pieces John Baldessari
Required Reading 
Additional Reading 





Seminar Assignment 
Sigmund Freud, "The Uncanny" - download from
social.chass.ncsu.edu/wyrick/debclass/uncan.htm
Sigmund Freud, Civilisation and its Discontents, Penguin Books: London, 2004
Bruno Bettelheim, The Uses of Enchantment: The Meaning and Importance of
Fairy Tales, Penguin Books: London, 1991 (1975)
Adam Phillips, ed., The Penguin Freud Reader, Penguin Books: London, 2006 for
'An Outline of Psychoanalysis' pp.1-63
Ivan Ward, Ideas in Psychoanalysis, Icon Books UK, 2000, 2001
Sigmund Freud, Leonardo Da Vinci: A Memory of Childhood, trans. Alan Tyson,
Routledge:London, 2001
A. Easthope & K. McGowan, eds., A Critical and Cultural Studies Reader, Open
Univ. Press: Buckingham, 1992, Sections 3,4 & 5
Reflect upon the themes of the lecture as preparation for 'text and image' group work
and discussion. Bring a photocopied image/a few lines or paragraph from your reading
relevant to the issues of the lecture. Reading from your own research findings is
worthy too, if the reserved reading list works are not yet available.
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Week 7 Semester 1 LECTURE 2:Charles Simonds/Clay/Abandonment
Mon. 6th November Key Issues and Questions
 Material imagination
1.00 SB42  Jungian values and terms (myth, collective unconscious, archetypes)
Scott Sutherland  pharmakon
School Key Artists, Designers and Works
Charles Simonds - 'Dwelling' and 'Landscape/Body/Dwelling'
Ana Mendieta
Mona Hatoum
Key Writers
 C.G. Jung
 Gaston Bachelard
Key Reading  C.G.Jung, Memories, Dreams, Reflections, ed. Aniela Jaffé, trans. Richard & Clara
Lecture in full, see
Winston, Fontana Press: London, 1995
studioit website
 C.G.Jung Speaking: Interviews and Encounters,eds. William McGuire and R.F.C.
[week7]
Hull, Thames & Hudson: London, 1978
 Gaston Bachelard, Water and Dreams: An Essay on the Imagination of Matter,
trans. Edith R. Farrell, The Pegasus Foundation: Dallas, 1983
Suggested Reading  Sonu Shamdasani, Jung and the Making of Modern Psychology, Cambridge
University Press: Cambridge, 2003
 Lucy Lippard, Overlay: Contemporary Art and the Art of Prehistory, The New
press: New York, 1983
 C.M.Joachimedes and N. Rosenthal, eds., American Art in the 20th Century:
Painting and Sculpture 1913-1993, Royal Academy of Arts: London, 1993
 Charles Simonds, Institute of Modern Art, Valencia ( IVAM): Valencia, 2003
 Lea Vergine, Body Art and Performance: The Body as Language, Skira: Milan,
2000
Seminar Assignment  Come to the seminar having done brief preliminary searches on one of the following:
Jung's archetypes, anima & animus, self and shadow, dream.
 Relate the lecture material to other performance/film/sculptural works by artists
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Week 8 Semester 1
Monday 13th November
1.00 SB42
Scott Sutherland School
LECTURE 3: Kristeva and Abjection
Key Issues and Questions
 Horror , bodies, waste, filth & defilement
 Non-narcissistic being
 Abandonment/loss/love
 formlessness
Key Artists - various works, including work by
 Grunwald, Goya, Gericault
 Jake and Dinos Chapman
 Marina Abramovic
 Cindy Sherman, Gilbert and George
Key Writers
 Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon S. Roudiez,
Columbia University Press: New York, 1982
 Antonin Artaud, Georges Batailles
Required Reading  Julia Kristeva, 'Powers of Horror' and 'Interview' in Art in Theory 1900-1990, eds.,
Harrison & Wood, pp. 1015-17, pp.1084-85
 Victor Burgin, 'The Absence of Presence' in Art in Theory, pp.1097-1101
Suggested Reading  Julia Kristeva: Interviews, ed. Ross Mitchell Guberman, Columbia University
Press: New York, 1996
 Julia Kristeva, Black Sun: Depression and Melancholia, trans. Leon Roudiez,
Columbia University Press: New York
 Mary Douglas, Purity and Danger, Routledge and Kegan Paul: London 1969
Seminar Assignment 
Bring images of work by artists or designers which tests the limits of your acceptance
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7.
BIBLIOGRAPHY AND ADDITIONAL SOURCES
Forthcoming as a separate document, to be posted on website during Week 8
* = On Academic Reserve
Journals
There are many relevant journals in the Library. To make them easier to find, those related to art and
design will have a red line under them on the shelves.
For ideas related to this mini-programme, try Art Index searches for articles in :

Art in America
Artforum

Women's Art Magazine
October
Parkett
Oxford Art Journal
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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 either a 2 hour loan
or a one day loan. 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: Allan Harkness
(a.harkness@rgu.ac.uk)
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