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HU Credits:
2
Degree/Cycle:
2nd degree (Master)
Responsible Department:
History of Art
Semester:
2nd Semester
Teaching Languages:
Hebrew
Campus:
Mt. Scopus
Course/Module Coordinator:
Dr Noam Gal
Coordinator Office Hours:
TBA
Teaching Staff:
Dr. Noam Gal
Course/Module description:
The course will focus on curatorial issues in contemporary art. For this reason, we
will explore some of the major texts about the question of 'the contemporary' and
the periodization of art history. Via several contemporaneous exhibitions, we will
meet the main mediums in contemporary art, such video-art, performance,
installation and sound-art, and inquire about their relation to painting, drawing,
sculpture and photography. We will explore these questions in the presence of
actual artworks from the collections of contemporary art of the Israel Museum, from
the sculptural experiments of Minimalism from the 1960s in our Sculpture Garden
and up to the effects of conceptual and 'post-conceptual' arts in current exhibition
in the galleries.
Course/Module aims:
Learning outcomes - On successful completion of this module, students should be able to:
The course will provide tools for analysis of contemporary art and will introduce its students to the main trends and mediums of the field.
Attendance requirements(%):
70
Teaching arrangement and method of instruction:
Course/Module Content:
SESSION 1 – INTRODUCTION TO JOINT SPECTATORSHIP
SESSION 2 – WHAT IS AVANTGARDE
SESSION 3 – CONCEPTUAL ART BEFORE WW2
SESSION 4 – THE RETURN OF CONCEPTUAL ART
SESSION 5 – SCULPTURE AFTER MINIMALISM
SESSION 6 – SITE SPECIFIC ART
SESSION 7 – AFTER PAINTING
SESSION 8 – RADICAL PERFORMANCE
SESSION 9 – PHOTOGRAPHY ALL INCLUDED
SESSION 10 – VIDEO IS LIFE
SESSION 11 – NATURE IS DEAD LOONG LIVE ENVIRONMENT
SESSION 12 – THE ART WORLD AND THE WORLD
SESSION 13 – VIEWERS TODAY
Required Reading:
Alexander Alberro. .Periodizing Contemporary Art?., in: Theory in Contemporary Art since 1985 , Zoya Kocur and Simon Leung (eds.), Blackwell 2012, pp. 64-71 Terry Smith. .The State of Art History: Contemporary Art., The Art Bulletin 92(4), 2010, 366-383 Peter Osborne. "The Fiction of the Contemporary", in: Anywhere or Not At All, (Verso, 2013), 1-36. Miwon Kwon. .Notes on Site Specificity., October 80, 1997, 85-110 Peggy Phelan. .Marina Abramovic: Witnessing Shadows., Theater Journal 56(4), 2004, 569-577 Amelia Jones. "The Artist is Present: Artistic Re-enactments and the Impossibility of Presence", TDR 55(1), 2011, 16-45 Benjamin Buchloh. .Andy Warhol.s One-dimensional Art., Andy Warhol: A Retrospective (1989), 39-57 Jacques Ranciטre. "Notes on the Photographic Image", Radical Philosophy 156 (August 2009), 8-15 Cristophe Cox. "From Music to Sound: Being as Time in the Sonic Arts", in: Sound, ed. Caleb Kelley (Cambridge, MA: MIT Press, 2011), 80-87 [excerpt] Alisa Lebow. "Faking What?: Faking a Mockery of Documentary", in: F is for Phony, eds. Alexandra Juhasz and Jesse Lerner, (Minneapolis: U of Minnesota Press, 2006), 231-248. Paul O'Neill. "The Curatorial Turn: From Practice to Discourse", in: Issues in Curating Contemporary Art and Performance, J. Rugg and M. Sedgwick eds. (London: Intelect Ltd, 2012), 13-28. Tim Griffin. "Global Tendencies: Globalism and the Large-Scale Exhibition", roundtable for Artforum, November 2003, pp. 1-25 Frascina, F. 2013. 'Berlin, Paris, Liverpool: "Biennialization" and Left Critique in 2012', Journal of Curatorial Studies, vol. 2 (1), 2-31. Claire Bishop, "Antagonism and Relational Aesthetics", October 110 (Fall 2004), 51-79. bell hooks. "The Oppositional Gaze: Black Female Spectators", The Feminism and Visual Culture Reader, Amelia Jones ed., (London: Routeledge, 2003), 94-104
Additional Reading Material:
Course/Module evaluation:
End of year written/oral examination 0 %
Presentation 0 %
Participation in Tutorials 70 %
Project work 30 %
Assignments 0 %
Reports 0 %
Research project 0 %
Quizzes 0 %
Other 0 %
Additional information:
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