Tuesday and Thursday 2:00-3:15pm
Chemistry and Physics, Room 197
Instructor: Dr. Alpesh Kantilal Patel
Assistant Professor, Department of Art + Art History
Director, Master of Fine Arts Program in Visual Arts
Contact information for instructor:
Department of Art + Art History
MM Campus, VH 235
Preferred mode of contact: alpesh.patel@fiu.edu
Office hours: By appointment on Tuesdays and Thursdays (preferably after class).
Course description: This course examines major artists, artworks, and movements after World War II; as well as broader visual culture—everything from music videos and print advertisements to propaganda and photojournalism—especially as the difference between ‘art’ and non-art increasingly becomes blurred and the objectivity of aesthetics is called into question. Movements studied include Abstract Expressionism, Pop, and Minimalism in the 1950s and 1960s; Post-Minimalism/Process Art, and Land art in the late 1960s and 1970s; Pastiche/Appropriation and rise of interest in “identity” in the 1980s; and the emergence of Post-Identity, Relational Art and Internet/New Media art in the 1990s/post-2000 period.
We will focus primarily on artistic production in the US, but we will also be looking at art from Europe, South and East Asia, Africa, and the Middle East. Emphasis will be placed on examining artworks and broader visual culture through the lens of a variety of different contextual frameworks: formal, authorial, socio-cultural, and identity-based (race, class, gender, and sexuality for instance).
Course structure: In each class, we will often discuss several artworks (produced in the last 10 to 15 years) that will then be genealogically linked to earlier artworks and movements. In other words, we will not move chronologically (itself a framework) but often through other frames (such as exploring minimalism past and present or issues of sexuality now and then).
Course Objective/ Student Learning Outcomes: To give students a broad survey of art from 1945 to the present and an introduction to the study of visual culture. At course completion, the student will be able to define specialized concepts and terms that are critical to the understanding of contemporary art; and name major developmental periods and movements from 1945 to the present. Overall, the student will gain valuable skills regarding visual analysis that are essential for success in any other art history or visual studies course he or she might take in the future; and will be given the appropriate tools to ‘see’ critically—a skill that will be transferable to careers in medicine and forensic analysis, for instance, and that will allow one to be better equipped in navigating the increasingly complex ways in which images (broadly construed) permeate our lives.
Readings: There is no textbook for this class. 1. Most readings and viewing assignments are available through links I provide in this syllabus for each week. 2. If I have written “See electronic course reserves,” then go to the library’s home page: http://library.fiu.edu/. Click on the “course reserves” tab; enter in your library account # and password; and then scroll to find this course or just type in my name. A number of documents will pop up; find and download the relevant document. 3. If I have written “download from journal through FIU’s e-journal platform” then go to the library’s home page: http://library.fiu.edu/. Click on the “E-journals” tab, search for the relevant journal and then article which you should download. 4. If I have written “instructor to provide” then I will email the relevant document a week or so before I need you to have read it.
Please read relevant materials before arriving to class; part of class will involve discussion of readings.
Methods of evaluation:
25% Exam #1: Tuesday, March 5
25% Exam #2: Tuesday, April 23
10% Attendance (see next section)
20% Short essays/responses (these are considered exercises and therefore not graded but copies of whatever you are able to complete must be uploaded onto blackboard before class meets on the day the assignment is due for you to get credit)
20% Visual Diaries (see next section)
Note: There will be no final exam.
Attendance: An attendance sheet will be placed in the front (or another designated location) of each class; or will circulate through the classroom. Please sign next to your name. Each class you miss lowers your attendance assessment by 5 points. It is your responsibility to make sure you sign the sheet to get credit. You will not be penalized for observance of religious holidays or for not attending field trips; however, you are required to complete any coursework connected to days/outside trips you missed. Once class has begun, the student may enter quietly and respectfully. Major disruptions (beyond just trying to quietly enter and taking a seat and getting situated on entering late) may result in the student being asked to leave.
Visual Diaries
A crucial component of this course is to think through images, still or moving. To that end, each student will be required to produce 10 series (or diaries) of 5 to 7 images or videos on www.tumblr.com. The images/videos of each of the 10 different series or diaries should be strung together in such a way to reveal something to the viewer that might otherwise be less obvious if the images were seen on their own. This is often what I attempt to do in class. I bring images/videos that might not normally be brought together to reveal something specific to you—something which otherwise escapes our notice. 1. Do at least one diary in connection to each of these frames: context, identity, authorship, and form (these will be explained in class). Label the diary with the frame you are exploring--“context,” “identity,” “authorship,” or ‘form’—to get credit; and then attach a sub-heading. For example: “Identity: Race and Gender in 1950s America;” “Form: The Color Red in Typography”; “Authorship: Eva Hesse and the Holocaust;” Inevitably, you will use more than one frame: “Context and Form: Use of blues and greens in Vogue magazine from the 1970s;” Context and Gender: Art produced in Latin America by woman in the post-2000 period.” 2. Incorporate contemporary art in 5 of the 10 diaries. Label any images of contemporary art as “contemporary art” to signal to me the image functions as art in your diary. You do not need to label your images unless it is important to what you are attempting to do in your diary; give me as much information as you think is relevant. It is okay to use artworks shown in class especially if you re-contextualize them, but overall use artworks that we have not seen in class. Visit the websites of the following contemporary art museums/collections for images of lots of work and for inspiration:
New Museum of Contemporary Art, NYC
Whitney Museum of American Art, NYC
Museum of Modern Art, NYC
LACMA in LA, CA
LA Museum of Contemporary Art (MoCA), La, CA
21st Century Museum of Contemporary Art, Japan
Daimler Art Collection, Germany
Walker Art Center, Milwaukee
Site Sante Fe, New Mexico
Devi Art Foundation, India....and many other countries have amazing contemporary art museums. 3. Otherwise, you are unrestricted: for instance, you can incorporate images from broader visual culture—from magazines and websites to your own artwork or personal trove of pics you snapped yourself. 4. You can do more than 10 diaries but not less that this number. 5. Provide brief text to explain linkages if necessary. You will probably need to do so.
Your grade will not be determined by quality but by following the rules above. However, your quality gives me a strong justification why you should get a A minus even though the numbers say otherwise.
Students are required to upload links to their tumblr account (make sure your link is not password-protected and that it works!) onto Blackboard by Friday, April 19 at 5pm.
Grading:
A = 90 – 100; B = 80 – 89; C = 70 – 79; D = 60 – 69; F < 60
Classroom policies: You CANNOT take notes on your laptops or have any electronic equipment on: turn off cell phones or any electronic communication or music listening devices before entering the classroom. Texting or checking messages will be considered equivalent to talking on the cell phone. Ignoring these rules of conduct or disrupting the class in any other way affects the entire class, so you will be asked to leave and forfeit the credit for that day.
Academic Misconduct: Cheating not only can lead to a failing grade but also permanent expulsion from the University. In other words, it is probably not worth it. If you show up to class, turn in all assignments, and make an effort to study for the exams, then the odds of you failing are slim to none. However, if you get caught cheating once, then all the work you have completed at university will be in jeopardy.
SCHEDULE OF CLASSES:
WEEK ONE: JAN 8 and 10
Introduction to course/go over course requirements
How do we organize visual information? Con/text
Context: Form
Context: Socio-Cultural
Context: Identity (Gender, Race, Class, Sexuality); and
Context: Authorship
Assignment 1 due Tuesday, Jan 15: Choose a poster from the AIDS poster exhibition at the Wolfsonian-FIU Museum last fall. Posters can be found here: http://graphicintervention.org. In one page (250 words) do a formal analysis (lines, color, shape, placement of various elements including text) to understand how ONE or TWO posters visually convey/s powerful meaning. Emphasis is on close visual reading.
WEEK TWO: JAN 15 and 17
Gender: Authorship vs. Representations on Canvas
Painting and Performance: Schneemann/Pollock
(Post) Post-Minimalism
Transtemporal Pop:Blurring High/Low Art
Readings/Visit Websites:
Gandee, Charles. “I am Curious (Yellow),” Talk magazine (April 2000). Available from: http://www.davidzwirner.com/wp-content/uploads/2011/10/LY-Talk-Gandee-00-04.pdf
Smith, Roberta. “ A Painter who loads the gun and let’s the viewer fire it,” New York Times, 12 January 2001. Available from: http://www.nytimes.com/2001/01/12/arts/art-review-a-painter-who-loads-the-gun-and-lets-the-viewer-fire-it.html?scp=1&sq=gun%20roberta%20smith&st=cse
Drohojowska-Philip, Hunter, “Superflat,” 2001, Artnet.com. Available from: http://www.artnet.com/Magazine/features/drohojowska-philp/drohojowska-philp1-18-01.asp Visit websites of artists Santiago Sierra, Carolee Schneemann, Jeff Koons, Takashi Murakami, and Andy Warhol: http://www.santiago-sierra.com http://www.caroleeschneemann.com/works.html http://www.jeffkoons.com http://english.kaikaikiki.co.jp/whatskaikaikiki/ http://www.warhol.org/collection/aboutandy/ WEEK THREE: JAN 22 and 24
Transtemporal Pop (cont.)
Classic Minimalism: Specific Objects
Oxymoronical Minimalism: Sparingly Sublime/Embodied
Week 3 Study Questions on Blackboard
Readings:
Judd, Donald. “Specific Objects.” Arts Yearbook 8 (1965): 74-82. reprinted in ed. Charles Harrison & Paul Wood, Art in Theory: 1900-2000. Malden, MA: Blackwell Publishing, 2005. Available from: http://timothyquigley.net/vcs/judd-so.pdf.
Morris, Robert. ‘Notes on sculpture, part 1’, Artforum 4.6 (February 1966): 42-44 and ‘Notes on sculpture, part 2’, Artforum 5.2 (October 1966): 20-23. These essays are reprinted in Robert Morris, Continuous Project Altered Daily: The Writings of Robert Morris, Cambridge: MIT Press, 1993. Instructor to Provide
Fried, Michael. “Art and Objecthood,” Artforum reprinted in Minimal Art: A Critical Anthology edited by Gregory Battock. See electronic course reserves [article is listed under editor Gregory Battock’s name NOT Fried’s name.]
Artist Olafur Eliasson’s website. Look at works. Available from http://www.olafureliasson.net/index.html
WEEK FOUR: JAN 29 and 31
Post-Minimal: Process and Anti-Form: Eva Hesse/Kapoor/etc.
Authorship: Kapoor/Hesse
Thursday, January 31: Meet at Museum of Contemporary Art, Miami
Directions: https://mocanomi.org/sample-page/directions-parking/
Museum history: https://mocanomi.org/about/museum-history/
Information on Exhibitions: https://mocanomi.org/2012/08/bill-viola/
Assignment 2 due next week on Tuesday, FEB 5: Bring in a copy of your answers to the study questions on the Week 3 Judd, Morris, and Fried readings. Do the best you can; remember it will not be graded. I just want to get you thinking about ideas that will be discussed further in class.
‘Anti form,’ Artforum 6.8 (April 1968): 33-35. This essay is reprinted in Robert Morris, Continuous Project Altered Daily: The Writings of Robert Morris, Cambridge: MIT Press, 1993. Instructor to Provide.
Skim the following: Wagner, Anne M., “Another Hesse” October 69 (Summer 1994): 49-84. Download from journal through FIU’s e-journal platform
Chave, Anna C., “Response to Another Hesse,” October 71 (Winter 1995): 146-48. Download from journal through FIU’s e-journal platform
WEEK FIVE: FEB 5 and 7
Go over Fried, Morris, Judd readings
Maximal Intimacy: Kapoor, Serra, Stingel
Patten & Decoration: 70s/80s and Contemporary
Earth Body/work: Ana Mendieta
Gossip/Knowledge
Cotter, Holland. “Scaling a Minimalist Wall With Bright, Shiny Colors,” New York Times, 15 January 2008. Available from: http://www.nytimes.com/2008/01/15/arts/design/15patt.html
Kozloff Joyce and Robert Kushner, “Pattern, Decoration, and Tony Robbin,” artcritical, 2 August 2011. Available from: http://www.artcritical.com/2011/08/02/tony-robbin/
Snead, Gillian. “The Case of Anna Mendieta” Art in America, 12 October 2010. Available from: http://www.artinamericamagazine.com/news-opinion/news/2010-10-12/ana-mendieta/
See my review of Asad Faulwell’s 2011 NY exhibition on the artist’s blog: http://asadfaulwell.blogspot.com/2011/03/artforum-review.html
Smith, Roberta. “DIY Art: Walk on It, Write on It, Stroke It,” New York Times, 29 June 2007. Available from: http://www.nytimes.com/2007/06/29/arts/29stin.html?pagewanted=all
Week 5 Study Questions on Blackboard
Assignment 3 due on Tuesday, February 19: Bring in a copy of your answers to the Week 5 study questions on Greenberg. Again, do the best you can; remember it will not be graded. I just want to get you thinking about ideas that will be discussed further in class.
WEEK SIX: FEB 12 [no class on FEB 14]
Color Field Painting: ‘Minimalist’ Painting
Gesture/Field: Willem de Kooning, Franz Kline, Philip Guston, Robert Motherwell versus Rothko, Newman, Reinhardt
Gestural painting and Erasure of East Asian influences
Winther-Tamaki, Bert. “Japanese Margins of American Abstract Expressionism” in Art in the Encounter of Nations: Japanese and American artists in the early postwar years. Hawaii: University of Hawaii Press, 2001. Instructor to provide
Interview with Anoka Faroquee by Liena Vayzman,“I’d Rather Be Here and Now: The Performative Verb of Painting,” http://x-traonline.org/issues/volume-15/number-3/id-rather-be-here-and-now-the-performative-verb-of-painting/
View Jeremy Blake’s videos:
Liquid Villa 15 min, 30 sec (2000): http://www.ubu.com/film/blake_liquid.html Guccinam, 14 min, 12 sec (2000): http://www.ubu.com/film/blake_guccinam.html
Century 21, 12 min, 06 sec (2004): http://www.ubu.com/film/blake_century-21.html
WEEK SEVEN: February 19 and 21
Moving Away from Ab-Ex
Clement Greenberg essay
Readings:
Greenberg, Clement. “Modernist Painting” in Clement Greenberg: The Collected Essays and Criticism, Volume 4: Modernism with a Vengeance, 1957-1969, edited by John O’Brian, 85-94. Chicago and London: The University of Chicago Press, 1993 [recorded, 1960; broadcasted, 1961]. See electronic course reserves
11am on Thursday, February 21: Meet in lobby of Rubell Family Collection.
Directions: http://rfc.museum/contact-us
Background info on collection: http://rfc.museum/about-us
Info on exhibition: http://rfc.museum/current-exhibition/alone-together
Assignment 4 due next week Tuesday, February 26: Students to write a 250 word paper that considers frames. The exhibition “Alone Together” at the Rubell’s disavows the frame and replaces it with….another frame. Can an artwork ever speak for itself outside of a frame? This is a crucial question worth thinking about given the ongoing popular claim that art speaks for itself.
Exam 1 slides uploaded to Blackboard.
WEEK EIGHT: February 26 and 28
Feminism and the Visual Field: Hannah Wilke/Mary Kelly
Sexuality of Abstraction/Assemblage/Minimalism: Robert Rauschenberg, Jasper Johns, Cy Twombly, Agnes Martin, and John Cage
Reading/Listening Assignments:
Look at artists’ work on http://www.cytwombly.info/twombly_gallery1.htm (50s and 60s only) http://www.marykellyartist.com/postpartumdocument.html http://www.hannahwilke.com/
‘Listen’ to John Cage’s 4’ 33’’. Available from: http://www.youtube.com/watch?v=hUJagb7hL0E
Katz, Jonathan. “Committing the Perfect Crime: Sexuality, Assemblage, and the Postmodern Turn.” Unpublished manuscript. Available from: http://www.queerculturalcenter.org/Pages/KatzPages/Katz%20Art%20Journal.pdf
Katz, Jonathan. “Agnes Martin and the Sexuality of Abstraction” in Agnes Martin, ed. Lynne Cooke and Karen Kelly. New Haven: Yale University Press, 2012: 170-197. See electronic reserves
EXAM #1 REVIEW
………………………..
Everything covered above (Wks 1-8) will be on Exam #1; Everything covered below (Wks 9-14) will be on Exam #2
………………………….
WEEK NINE: March 5 and 7
TUESDAY, MARCH 5: EXAM ONE
Thursday, March 7: Meet at Patricia & Phillip Frost Art Museum on campus to begin your own psychogeography. We will also see Race and Visual Culture under National Socialism exhibition. Check in all of your bags at the front desk except for paper and pencil.
Directions: http://thefrost.fiu.edu/map.htm For more information on the exhibition, visit: http://www.bassmuseum.org/art/tc/ Assignment 5 due after Spring Break on Tuesday, March 19: Do your own psychogeography. Details on Blackboard.
WEEK TEN: March 19 and 21
Robert Smithson
Non/Site and Sight: Space as Im/material/ Robert Smithson and Gordon Matta-Clark
More Earthworks
Reading:
Smithson, Robert “Monuments of Possaic” in Jack Flam, ed. Robert Smithson: The Collected Writings. Berkeley and Los Angeles: University of California Press, 1966. See electronic course reserves
Kennedy, Randy, “How to Conserve Art That Lives in a Lake?,” NY Times, November 18, 2009 Available from: http://www.nytimes.com/2009/11/18/arts/design/18spiral.html
Visual Culture: Advertising
Week 10 Study Questions on Blackboard
Assignment 6 due on Tuesday, March 26: Bring in a copy of your answers to the study questions (which can be found on Blackboard) on the Week 10 Yau and McEvilley readings.
WEEK ELEVEN: MARCH 26 and 28
Film screening: Robert Smithson’s Spiral Jetty
“Identity” Exhibition History
Appropriation: Richard Prince, Cindy Sherman, Barbara Kruger, Sherrie Levine, Jeff Koons, and Robert Longo
Readings:
Yau, John. “Please Wait By the Coatroom.” In Out There: Marginalization and Contemporary Cultures, edited by Russell Ferguson, Martha Gever, Trinh T. Minh-Ha and Cornel West, 133-141. Cambridge, MA: The MIT Press, 1990. See electronic reserves
McEvilley, Thomas. “Doctor Lawyer Indian Chief: ‘Primitivism’ in 20th Century Art at the Museum of Modern Art in 1984.” Artforum 23:3 (November 1984): 54-61. See electronic reserves
Eklund, Douglas. “The Pictures Generation.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/pcgn/hd_pcgn.htm (October 2004)
“At the Met, Baby Boomers Leap Onstage,” New York Times, April 23, 2009. Available from http://www.nytimes.com/2009/04/24/arts/design/24pict.html? pagewanted=all
Kennedy, Randy. “Apropos Appropriation,” New York Times, 28 December 2011. Available from: http://www.nytimes.com/2012/01/01/arts/design/richard-prince-lawsuit-focuses-on-limits-of-appropriation.html?pagewanted=all
Richard Prince: Thoughts on Spiritual America http://richardprinceart.com/2011/09/12/richard-prince-thoughts-spiritual-america/
Johnson, Paddy. “Parsing Patrick Cariou v. Richard Prince: The Copyright Infringement Ruling.” Art Fag City (blog), March 23, 2011. Available from: http://www.artfagcity.com/2011/03/23/parsing-patrick-cariou-v-richard-prince-the-copyright-infringement-ruling/
Also see: Amicus brief in support of Richard Prince: http://www.scribd.com/doc/80960431/AMSP-Amicus-Brief-in-support-of-Patrick-Cariou
Taub, James. “Art Rogers vs. Jeff Koons.” Design Observer [website] , January 21, 2008. Available from: http://observatory.designobserver.com/entry.html?entry=6467
Taylor, Kate. “In Twist, Jeff Koons Claims Rights to ‘Balloon Dogs,’” New York Times, January 11, 2011. Available from http://www.nytimes.com/2011/01/20/arts/design/20suit.html
Vogel, Carol. “Painting, rebooted,” New York Times, September 27, 2012 http://www.nytimes.com/2012/09/30/arts/design/wade-guytons-computer-made-works-at-the-whitney.html?pagewanted=all&_r=0
WEEK TWELVE: April 2 and 4
Culture Wars: Then…and Now
Identity
Film screening: Paris is Burning (1990) directed by Jennie Livingston
Assignment 7 due next week on Tuesday, April 9: Bring in a copy of your answers to the study questions (which can be found on Blackboard) on Paris is Burning?
Readings:
Green, Jesse. “Paris has burned,” New York Times, 18 April 1993. http://www.nytimes.com/1993/04/18/style/paris-has-burned.html?pagewanted=all&src=pm
Hooks, bell. “Is Paris Burning?” in Black Looks: Race and Representation. Boston: South End Press, 1999. Available from: http://stjsociologyofgender.files.wordpress.com/2010/09/paris_burning_bell_hooks.pdf
Bernstein, Jacob. “Paris is Still Burning,” New York Times, 26 July 2012. Available from: http://www.nytimes.com/2012/07/26/fashion/a-lively-house-of-xtravaganza-ball-scene-city.html
Itzkoff, David, “Video Deemed Offensive Pulled By Portrait Gallery,” New York Times, 1 December 2010. Available from: http://www.nytimes.com/2010/12/02/arts/design/02portrait.html
Cotter, Holland, “Critic’s Notebook: David Wojnarowicz’s ‘A Fire in My Belly’” and “As Ants Crawl Over Crucifix, Dead Artist Is Assailed Again,” 9 and 10 December 2010, New York Times. Available from: http://artsbeat.blogs.nytimes.com/2010/12/09/critics-notebook-david-wojnarowiczs-a-fire-in-my-belly/?scp=1&sq=david%20Wojnarowicz&st=cse and http://www.nytimes.com/2010/12/11/arts/design/11ants.html?scp=6&sq=david%20Wojnarowicz&st=cse
Rosenberg, Karen. “A Voyeur Makes Herself at Home in the Louvre,” 8 December 2011, New York Times. Available from: http://www.nytimes.com/2011/12/09/arts/design/nan-goldin-scopophilia-at-matthew-marks-gallery-review.html
Visit website for timeline regarding controversy in government funding: http://www.franklinfurnace.org/research/essays/nea4/neatimeline.html WEEK THIRTEEN: April 9 and 11
Exam 2 slides uploaded
1. Pastiche: Blank Parody
--Case Studies
Pastiche & Institution
2. Visualizing Uncomfortable Racialities: Fred Wilson and Kara Walker
Readings:
Press release for “Andy Warhol Retrospective at Los Angeles Museum of Contemporary Art (LA MoCA)” Archived copy available from: http://www.tfaoi.com/aa/3aa/3aa253.htm
Cotter, Holland. “Everything About Warhol But the Sex,” New York Times, 14 July 2002. Available from: http://www.nytimes.com/2002/07/14/arts/art-architecture-everything-about-warhol-but-the-sex.html?pagewanted=all&src=pm
Look at images and read press release for the 2002 exhibition, Piss and Sex Paintings and Drawings at Gagosian Gallery, NYC: http://www.gagosian.com/exhibitions/september-19-2002--andy-warhol
Jones, Amelia. “Post Black Bomb.” Tema Celeste (March/April 2002): 52-55. See electronic reserve
“Introduction” to Thelma Golden’s Freestyle exhibition catalogue. See electronic reserve.
Cotter, Holland. “The Topic is Race, The Art is Fearless,” New York Times, 30 March 2008. Available from: http://nytimes.com/2008/03/30/arts/design/30cott.html?pagewanted=all “Introduction” from Jana, Reena and Mark Tribe. New Media Art. Köln; London: Taschen, 2006. Available from: http://bit.ly/xDOzwd
Cornell Lauren and Kazys Varnelis. “Down the Line” Frieze 114: September 2011. Available from: http://www.frieze.com/issue/article/down-the-line/
Bishop, Claire. “Digital Divide” Artforum. Sept 2012. Available from: http://www.artforum.com/inprint/issue=201207&id=31944 [you will need to create a username/password to access the article.]
WEEK FOURTEEN: April 16 and April 18 [no class]
Go over questions: Relational Aesthetics/Antagonism
Review for Exam 2
2pm on Thursday, April 16: Go to Frost Museum to see “Relational Antagonism” exhibition.
Assignment 8 due week on Thursday, April 18
Readings:
Bishop, Claire. “Antagonism and Relationship Aesthetics,” October 110 (Fall 2004): 51-79. Available through e-journals: http://www.mitpressjournals.org.ezproxy.fiu.edu/doi/pdf/10.1162/0162287042379810
Saltz, Jerry. “The Long Slide: Museums as Playgrounds,” December 4, 2011, New York Magazine, Available from: http://nymag.com/arts/cultureawards/2011/museums-as-playgrounds/
Schjeldahl, Peter. The Art World, “Up In the Air,” The New Yorker, November 21, 2011. Instructor to provide
Visit:
Solomon R. Guggenheim’s website on its recent retrospective of Maurizio Cattelan’s work: http://www.guggenheim.org/new-york/exhibitions/past/exhibit/3961
New Museum of Contemporary Art’s website on its recent exhibition, “Carsten Höller: Experience” http://www.newmuseum.org/exhibitions/449. View documentary videos and slides.
View:
Hennessy Youngman’s (Jayson Musson) video Art Thoughtz: Relational Aesthetics: http://www.youtube.com/watch?v=7yea4qSJMx4
Peter Schjeldahl of the New Yorker’s audio slide show of Maurizo Cattelan’s retrospective, November 21, 2011: http://www.newyorker.com/online/multimedia/2011/11/21/111121_audioslideshow_cattelan
Friday, April 19: Link to visual diaries due. Please upload link onto Blackboard by 5pm SHARP. Make sure your link is not password-protected and that it works!
WEEK FIFTEEN: April 23
Tuesday, April 23: EXAM TWO
Syllabus disclaimer: Information contained in this syllabus is, to the best knowledge of this instructor, considered correct and complete when distributed to the student. The instructor reserves the right, acting within policies and procedures of FIU, to make necessary changes in course content or instructional techniques without prior notice.
