Contemporary Art
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ECTS |
6 |
|
Type |
obligatory |
|
Semester |
1 |
Course of Contemporary Art provides students with essential knowledge of the shifts of paradigms in making and understanding art production across the timeline of 20th century until nowadays. Lectures and seminars are oriented to expand student's knowledge in less known (locally) non-formalist tendencies in modern art and the consequences of this outlook on current situation of contemporary art. Particular program consists on four parallel lines of review of Modern/Postmodern Art and its relationship with theoretical background.
Prerequisites
Basics in philosophy and art history. Skills in drawing and composition are required, however, creativity and curiosity are of utmost importance.
Outcomes
Critical thinking and creative activities of students is a result of abilities to analyze, evaluate and suggest their own ways of issues to be solved.
Связи между результатами программы, результатами предмета, методами обучения и методами оценивания достижения результатов
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№ |
Результаты обучения в программе/ Program Learning Outcomes |
Результаты обучения в курсе/ Learning outcomes |
Методы обучения/ Teaching methods |
Методы оценивания результатов обучения в курсе/ Methods for assessing learning outcomes in the course |
|
1 |
Знания и их применение |
To analyze and compare the shifts of paradigms in 20th century modern art and to identify those effects on current situation of contemporary art |
Lectures, seminars, discussions, planning and implementation of creative ideas |
Student is able to understand the shifts of paradigms in modern art and its dependancy/connections with theory of its time. Reviews, final show. |
|
2 |
Исследовательские умения |
To evaluate and predict local tendencies under the influence of international/global contemporary art |
Planning and mapping of individual creative ideas |
Student is able of visual mapping of his/her artistic research and articulation of its content. |
|
3 |
Специальные способности |
To suggest the ways how local cultural developments might be fullfiled/enriched with the experience of international art achievements |
Critical Thinking |
Student is ready for discussion about the results he/she presented. Reviews. |
|
4 |
Индивидуальные способности |
To identify how local art and culture might affect global processes in contemporary art |
Implementation and presentation of individual creative ideas |
Student is able to implement and to present an individual artwork. Exhibition. |
Topics
1. Introduction starts with mapping the (sketch of program) timeline of whole program and a case study of transformation of East European artist at the break of 21 st century.
Objecthood : Apropos of "Readymades"; "The Large Glass" by Duchamp; Freud revisited by Lacan; Energy plan by Joseph Beuys; Banalities by Jeff Koons; YBA (Young British Art) and Saatchi phenomena; Object Oriented Ontology.
(1 - hour introduction, 3 - hour lecture, 4 - hour seminar including a review of students' creative ideas and mappings).
Dematerialization : Conceptual Art - Seth Siegelaub and Co; Derrida and "not a method" of Deconstruction.
(2 - hour lecture, 4 - hour seminar including presentation of students' creative ideas).
Installation : Site, specificity, context. Decentring and fragmentation of human subject in Post - Structuralism. Lyotard, Foucault, Baudrillard.
(4 - hour lecture, 4 - hour seminar and presentation of students' plans on the issue).
Performativity : Social engagement in Participatory, Performance and Live Art; Nicolas Bourriaud and Relational Aesthetics. Claire Bishop and Artificial Hells. Richard Martel and Art Action.
(2 - hour lecture, 4 - hour seminar including presentation of creative ideas).
Hybridization : Speculative Realism and Object Oriented Ontology.
(2 - hour lecture, 2 - hour seminar).
Workload
32 h. – contact hours
128 h. – individual work
Format
Lectures, seminars, mappings, discussions, planning, and finally - implementation of individual ideas.
Grading
Activities in seminars (20%)
Visual planning and mapping (20%)
Presentation of final project (60%)
Literature
- Stephen Wright "Toward a Lexicon of Usership", Deltahage, The Hague, 2014;
- "The Duchamp Effect", edited by Martha Buskirk and Mignon Nixon, The MIT Press, 1996;
- Thierry de Duve "Kant after Duchamp", The MIT Press, 1996;
- Lucy R. Lippard "Six Years: The dematerialization of the art object from 1966 to 1972", University of California Press, 1997 (first published 1973);
- Alexander Alberro "Conceptual Art and the Politics of Publicity", The MIT Press, 2003
- Robert C. Morgan "Art Into Ideas. Essays on Conceptual Art", Cambridge University Press, 1996;
- Claire Bishop "Installation Art. A Critical History", Tate Publishing, 2005;
- Douglas Crimp "On the Museum's Ruins", The MIT Press, 1993;
- Miwon Kwon "One Place after Another. Site Specific Art and Locational Identity", The MIT Press, 2002;
- Claire Bishop "Artificial Hells: Participatory Art and the Politics of Spectatorship", Verso, 2012;
- Nicolas Bourriaud "Relational Aesthetics", Les presses du reel 1998, (2002 in English);
- Julian Stallabrass "Art Incorporated. The Story of Contemporary Art", Oxford University Press, 2004;
- "Art Action 1958 - 1998", edited by Richard Martel, Editions Intervention, Quebec, 1998;
- RoseLee Goldberg "Performance Now. Live Art for the 21st Century", Thames&Hudson, 2018.