Contemporary Art (HART 293)

2023 Spring
Faculty of Arts and Social Sciences
History of Art(HART)
3
6
Sander Oosterom sander.oosterom@sabanciuniv.edu,
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English
Undergraduate
--
Interactive lecture
Interactive,Communicative
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Programs\Type Required Core Elective Area Elective
Art Theory and Criticism Minor *
Entrepreneurship Minor *
Visual Arts and Visual Communications Design *
Visual Arts and Visual Communications Design *

CONTENT

The course is an overview of the main currents in contemporary art starting from the 60's to the late 90's, set against political, social and technological developments of the world. It's a comparatively study of 60's-70's American and European art movements, and explores the art in the 80's Post-Modern area. The course later converges on the 90's Global art practices and their effects to recent developments within the artistic and social realm.

OBJECTIVE

An overall understanding of the main currents in artistic practice in the contemporary era

LEARNING OUTCOMES

  • understand how artistic practice reflects social and cultural changes from the 1960s to the present assess the main currents in artistic practice after the 1960s identify works of historical significance in the contemporary era differentiate between different trends within contemporary art practice analyze works of art in different mediums, ranging from painting, sculpture, performance, video, installation etc.

PROGRAMME OUTCOMES

1. Understand the world, their country, their society, as well as themselves and have awareness of ethical problems, social rights, values and responsibility to the self and to others. 3

2. Understand different disciplines from natural and social sciences to mathematics and art, and develop interdisciplinary approaches in thinking and practice. 3

3. Think critically, follow innovations and developments in science and technology, demonstrate personal and organizational entrepreneurship and engage in life-long learning in various subjects; have the ability to continue to educate him/herself. 3

4. Communicate effectively in Turkish and English by oral, written, graphical and technological means. 3

5. Take individual and team responsibility, function effectively and respectively as an individual and a member or a leader of a team; and have the skills to work effectively in multi-disciplinary teams. 3

1. Develop knowledge of theories, concepts, and research methods in humanities and social sciences. 3

2. Assess how global, national and regional developments affect society. 3

3. Know how to access and evaluate data from various sources of information. 3

1. Demonstrate safe working habits and a general understanding of materials and processes in the visual arts. 4

2. Demonstrate knowledge of representational processes using visual as well as audial material as mediums of representation. 3

3. Show working knowledge of the process of transforming abstract/textual concepts into concrete, audio/visual forms. 3

4. Appreciate and express the cultural significance of art and understand its evolution and purposes. 5

5. Develop an awareness of compositional and organizational strategies for the effective deployment of formal elements of visual art. 3

6. Read visual texts with a deep knowledge of art history and theory and the ability of situating the content and form of the visual representation both in a historical and thematic context. 5

7. Employ necessary background knowledge regarding art administration in the body of museums and galleries. 3

8. Show a practical and technical command of materials and methods in one or more media of the visual arts. 3

ASSESSMENT METHODS and CRITERIA

  Percentage (%)
Final 60
Midterm 40

RECOMENDED or REQUIRED READINGS

Readings

Reading: P. Wood-F.F Franciscina, J. Harris, C. Harrison (ed.), Modernism in Dispute-Art Since the Forties, Yale University Press, 1993; D. Hopkins, After Modern Art-1945-2000, Oxford University Press, 2000; S. Gablik, Has Modernism Failed?, Thames and Hudson, 1988; I. Sandler, Art of the Postmodern Era, Westview Press, 1998.

Week 2
Art and Mass Culture: Neo-Dada, Pop Art, Photo-Realism, New Realism
Reading: R. Hamilton, ?Letter to Peter and Alison Smithson? (1957) and ?Popular Culture and Personal Responsibility? (1960), , pp. 296-297, pp. 298-300; J. Johns, ?Interview with G.R. Swenson? (1964), pp. 323-324; A. Warhol, ?Warhol in His Own Words: Untitled Statements? (1963-87), pp.340-346; C. Oldenburg, ?I Am for an Art? (1961), pp. 335-337; R. Lichtenstein, ?Interview with G.R. Swenson? (1961), pp. 337-339; P. Restany, ?The Nouveaux Réalistes Declaration of Intention? (1960), pp. 306-308, all in K. Stiles-P. Selz (ed.), Theories and Documents of Contemporary Art, University of California Press, 1996.

Week 3
An Expanding Field: Minimalism and Beyond
Reading: R. Hamilton, ?Letter to Peter and Alison Smithson? (1957) and ?Popular Culture and Personal Responsibility? (1960), , pp. 296-297, pp. 298-300; J. Johns, ?Interview with G.R. Swenson? (1964), pp. 323-324; A. Warhol, ?Warhol in His Own Words: Untitled Statements? (1963-87), pp.340-346; C. Oldenburg, ?I Am for an Art? (1961), pp. 335-337; R. Lichtenstein, ?Interview with G.R. Swenson? (1961), pp. 337-339; P. Restany, ?The Nouveaux Réalistes Declaration of Intention? (1960), pp. 306-308, all in K. Stiles-P. Selz (ed.), Theories and Documents of Contemporary Art, University of California Press, 1996.
Week 4
Word and Image Revisited: Linguistic Conceptualism and Conceptual Photography
Reading: L. Lippard-J. Chandler, ?The Dematerialisation of Art? (1966), pp. 46-50; L. Lippard, ?Postface, in Six Years: The Dematerialization of the Art Object, 1966-1972? (1972), pp. 294-295; S. Lewitt, ?Paragraphs on Conceptual Art? (1967), pp. 12-18; S. Lewitt, ?Sentences on Conceptual Art? (1969), pp. 106-108; Art&Language, ?Introduction? (1969), pp. 98-104; J. Kosuth, ?Art after Philosophy? (1969), pp. 158-177, in A. Alberro-B. Stimson (ed.), Conceptual Art: A Critical Anthology, The MIT Press, 2000; L. Weiner, ?Statements? (1969), pp. 881-883, C. Harrison-P. Wood (ed.), Art in Theory 1900-1990, Blackwell Publishing, 1994; V. Burgin, ?Looking at Photographs?, pp. 142-153; A. Sekula, ?On the Invention of Photographic Meaning?, pp. 84-109, in V. Burgin (ed.), Thinking Photography, The MacMillan Press, 1982; J. Wall, ?Marks of Indifference: Aspects of Photography in, or as, Conceptual Art? (1995), pp. 145-164, in J. Gaiger-P. Wood, Art of the Twentieth Century-A Reader, Yale University Press, 2003.

Week 5
Framing the Frame: Institutional Critique Past and Present
Reading: H. Haacke, ?All the Art That?s Fit to Show? (1974), pp. 53-55; M. Eichorn, ?On the Avertissement: Interview with Daniel Buren? (1998), pp. 85-121; A. Fraser, ?From the Critique of Institutions to an Institution of Critique? (2005), pp. 123-135; J. Hoffmann, ?The Curatorialization of Institutional Critique? (2005), pp. 323-335, in J. Welchman (ed.), Institutional Critique and After, SoCCas Vol. 2, Jrp/Ringier, 2005; H. Haacke-J. Siegel, ?What Makes Art Political?? (1984), pp. 63-74, Art Talk-The Early 80?s, J. Siegel (ed.), Da Capo Press, 1988; B. Doherty, Inside the White Cube: The Ideology of the Gallery Space, University of Cali fornia Press, 1976; Art Worker?s Coalition, ?Statement of Demands? (1969), pp. 901-902; H. Haacke, ?Statement? (1974), pp. 904-905, in C. Harrison-P. Wood (ed.), Art in Theory 1900-1990, Blackwell Publishing, 1994.

Week 6
Beyond the White Cube: From Earthworks and Site Sculpture to Ecological Art
Reading: W. De Maria, ?On the Importance of Natural Disasters? (1960), pp. 527; R. Smithson, ?The Spiral Jetty? (1972), pp. 534; M. Heizer, D. Oppenheim, R. Smithson, ?Discussion? (1968-69), pp. 534-536; A. Denes, ?Wheatfield-A Confrontantion? (1982), pp. 543-544; A. Sonfist, ?Natural Phenomena as Public Monuments? (1968), pp. 545-547; R. Long, ?Five Six Pick Up Sticks? (1980), pp. 563-566, in K. Stiles-P. Selz (ed.), Theories and Documents of Contemporary Art, University of California Press, 1996.

Week 7
Art and the Body: Performance Art
Reading: J. Yoshihara, ?The Gutai Manifesto? (1956), pp. 695-697; A. Kaprow, ?Untitled Guidelines for Happenings? (c. 1965), pp. 709-714, O. Mühl, ?Materialaktion: Manifesto?( 1964), pp. 750-751, in K. Stiles-P. Selz (ed.), Theories and Documents of Contemporary Art, University of California Press, 1996; A. Jones, ?Body Art: Performing the Subject (1998), J. Gaiger-P. Wood, Art of the Twentieth Century-A Reader, Yale University Press, 2003.


Week 8
Performance and Process: Fluxus, Arte Povera
Reading: J. Beuys, ?Not Just a Few Are Called, But Everyone? (1972), pp. 889-892; J. Beuys, ?I Am Searching for Field Character? (1974), pp. 902-905, G. Celant, ?Art Povera? (1969), pp. 886-889, in C. Harrison-P. Wood (ed.), Art in Theory 1900-1990, Blackwell Publishing, 1994; J. Beuys, ?Untitled Statement? (c. 1973), pp. 633-634; J. Beuys, ?An Appeal for an Alternative? (1981), pp. 634-644; M. Merz, ?Untitled Statements? (1979, 1982, 1984), pp. 671-673; G. Penone, ?Untitled Statements? (1970-1974), pp. 674-675, in K. Stiles-P. Selz (ed.), Theories and Documents of Contemporary Art, University of California Press, 1996.


Week 9
Women?s Rights: Art and Feminism
Reading: L. Nochlin, ?Why Have There Been No Great Women Artists?? (1971), pp. 145-178, Women, Art, and Power and Other Essays, Thames and Hudson, 1994; V. Export, ?Women?s Art: A Manifesto? (1972), pp. 206; M. Schapiro, ?The Education of Women as Artists: Project Womanhouse? (1973), pp. 208-209; R. Parker-G. Pollock, ?Critical Stereotypes: The Essential Feminine or How Essential is Femininity? (1981), pp. 230-232; A. Piper, ?The Triple Negation of Coloured Women Artists? (1990), pp. 253-254, in H. Reckitt-P. Phelan (ed.), Art and Feminism, Phaidon Press, 2001; J. Barry-S. Flitterman-Lewis, ?Textual Strategies: The Politics of Art-Making? (2003), pp. 53-59; The Guerilla Girls, ?Introduction and Conclusion to the Guerilla Girls? Bedside Companion to the History of Western Art? (2003, pp. 349-354 in A. Jones (ed.), The Feminism and Visual Culture Reader, Routledge, 2005.

Week 10
The Return to Painting: Neo-Expressionism and Other Tendencies
Reading: A. Kiefer-D. Kuspit, ?Interview? (1987), pp. 85-90; G. Baselitz-Henry Geldzahler, ?Interview? (1984), pp. 93-103; G. Richter-B. Buchloh, ?Legacies of Painting? (1987), pp. 105-118; F. Clemente-G.Politi/H. Kontova, ?Interview? (1984), pp. 121-138; E. Cucchi-G. Politi, ?Interview? (1983), pp. 141-151; J. Schnabel-D. Kuspit, ?Interview? (1987), pp. 153-158; D. Salle-P.. Schjeldahl, ?Interview? (1981), pp. 161-172, all in J. Siegel (ed.), Art Talk-The Early 80?s, Da Capo Press, 1988.


Week 11
Postmodernism and Appropriation
Reading: C. McCormick, ?Steal That Painting! Mike Bidlo?s Artistic Kleptomania? (1985), pp. 191-195; J. Siegel, ?After Sherrie Levine? (1985), pp. 245-255; J. Siegel-C. Sherman, ?Interview? (1987), pp. 269-282; J. Siegel, ?Barbara Kruger: Pictures and Words? (1987), pp. 299-311, all in J. Siegel (ed.), Art Talk-The Early 80?s, Da Capo Press, 1988; J. Welchman, ?Global Nets: Appropriation and Postmodernity? (2001), pp. 1-64, Art After Appropriation-Essays on Art in the 1990?s, G+B Arts International Publishing, 2001.

Week 12
Art, Identity and Globalisation
Reading: R. Araeen, ?The Artist as a Post-Colonial Subject and thes Individual?s Journey towards the Centre?, pp. 229-256, in C. King (ed.), Views of Difference: Different Views of Art, Yale University Press, 1999; A. Piper, ?Ideology, Confrontation and Political Self-Awareness? (1981), pp. 787-791 in K. Stiles-P. Selz (ed.), Theories and Documents of Contemporary Art, University of California Press, 1996; R. Araeen, ?New Internationalism, or the Multiculturalism of Global Bantustans?, pp. 3-12; H. Foster, ?The Artist as Ethnographer?, pp. 12-20; S. Maharaj, ?Perfidious Identity: The Untranslatability of the Other?, pp. 28-37; J. Wilson, ?Will the New Internationalism be the Same Old Story??, pp. 60-79; H. Hanru, ?Entropy; Chinese Artists, Western Art Institutions: A New Internationalism?, pp. 79-89; G. Mosquera, ?Some Problems in Transcultural Curating?, pp. 133-140, all in J. Fisher (ed.), Global Visions-Towards a New Internationalism in the Visual Arts, Kala Press, 1994.

Week 13
New Technology, New Media
Reading: L. Manovich, The Language of New Media, The MIT Press, 2001; L. Manovich, ?Introduction to Info-Aesthetics?, pp. 333-344, in T. Smith-O. Enwezor-N.Condee (ed.), Antinomies of Art and Culture-Modernity, Postmodernity, Contemporaneity, Duke University Press, 2008; C. Paul, ?New Media Art and Institutional Critique: Networks vs. Institutions? (2005), pp. 191-211, J. Welchman (ed.), Institutional Critique and After, JRP/Ringier, 2005.

Week 14
Public Art and Participation
Reading: O. Enwezor, ?The Production of Social Space as Artwork?, pp. 223-251 in B. Smitson-G. Sholette (ed.), Collectivism after Modernism, University of Minnesota Press, 2007; B. Groys, ?A Genealogy of Participatory Art?, pp. 18-32; R. Frieling, ?Toward Participation in Art?, pp. 32-50; R. Atkins, ?Politics, Participation, and Meaning in the Age of Mass Media?, pp. 50-66, all in The Art of Participation, Thames and Hudson, 2008; N. Bourriaud, Relational Aesthetics, L Presses de Réel, 2002.