ART 3085 - Critical Issues in Art
ART 3085 Critical Issues in Art
3 credit hours
Matthew Choberka, Office phone: 626-7270
Kimball Visual Arts Center KA150, T/TR 9:00 AM - 11:45 AM
Office hours Wednesdays 9/6-12/6/2023 2:30 PM- 4:30 PM, KA326 or via Zoom.
Anne Imhof, Faust, German Pavilion, Venice Biennale 2017
“In my own version of the idea of 'what art wants,' the end and fulfillment of the history of art is the philosophical understanding of what art is, an understanding that is achieved in the way that understanding in each of our lives is achieved, namely, from the mistakes we make, the false paths we follow, the false images we have come to abandon until we learn wherein our limits consist, and then how to live within those limits. ”
Arthur Danto
Course Overview
This course will introduce students to the history of ideas in art from the ancient Greeks to the most contemporary currents, with a focus on Modernism and Post-Modernism up to the present. The goal of this course is the creation of a critical and theoretical foundation that will allow students to locate themselves and their work within the context of critical dialogues in the contemporary art world. Class time will involve discussions of assigned readings, with images, videos, and other resources presented to supplement and inform the ideas under consideration.
Core Themes and Learning Outcomes for the class
The Department of Visual Art and Design's Learning Outcomes include several that are particularly applicable to this course, as we focus on a developing understanding of the ideas that have informed the making and experience of art. These outcomes state that we can judge our success when, within the three categories outlined below, our students' academic works demonstrate learning with these outcomes- whether they are Introduced (I), Developed (D), or Mastered (M). The outcomes highlighted in bold below are those specifically relevant to this Upper Division course.
Creation/Innovation
- Produce technically proficient visual work
- Utilize conceptual frameworks, ethical reasoning, and critical thinking skills in the making of visual media (D)
- Demonstrate the ability to learn, adapt, and apply new techniques, tools, processes and ideas
Analysis/Communication
- Assess, analyze, and synthesize historical and contemporary information regarding visual art and design (D)
- Communicate effectively and ethically about visual media through written or oral means (D)
- Recognize and identify historically influential styles, movements, periods, theories, and practitioners of art and design in a global context
Professionalization/Collaboration
- Implement contemporary professional practices in the field
- Demonstrate the ability to work cooperatively, ethically, and effectively with peers
- Explain visual art and design as a profession, practice, and global community (D)
Required Text:
Harrison, Charles and Wood, Paul J., Art in Theory 1900-2000: An Anthology of Changing Ideas (2nd edition). West Sussex: Blackwell Publishing 2002
Readings not covered in the above texts text will be posted on Canvas in pdf form.
Supporting Materials
Reference/support materials for reading difficult texts: Much writing on art can have the character of art itself, with new terms, historical references, and figurative language complicating our task. Take notes, highlight passages, and write down questions in order to help absorb these texts. Plan on reading them more than once. Please refer to the online module in Canvas with study guides and information and advice for reading difficult texts.
Other resources, including video lectures on important topics we will find in the readings, will be provided in Canvas. I will let you know which of these are required, and which are recommended. However, it is strongly recommended that you use all resources provided, as they can help with a foundation of knowledge of all of the ideas under discussion.
Evan Penny, Installation view, Venice, Summer 2017
Course Requirements:
This is a reading-intensive course, requiring that all students keep up on the readings and other assigned materials on a weekly basis.
Each week, you will be required to submit written responses for the required readings before our class discussions. Reading responses will always be due for electronic submission by the start of class as outlined on the Canvas calendar. These responses are numerous, and so I cannot accept any late work on them.
The purpose of these responses is to ensure that the readings are done prior to our discussions, so that each student has enough of a basis to engage in class discussions and more fully absorb the material as the semester progresses.
Format for written responses is as follows:
1) Select three sentences or passages that you feel are critical to your understanding of the overall ideas in the piece. Make sure these three selections come from different parts of the text, so that they reflect the fuller meaning of the essay, for example by finding a relevant passage from the beginning, middle, and end of each writing.
2) Copy these passages, with quotation marks, into your response draft, and include page numbers.
3) Respond, with at least one full paragraph per passage, explaining your interpretation of the ideas. Discuss why these passages seem important to understanding the piece. You can include questions you have. Don't feel you have to speak definitively about the pieces, but take responsibility to make each response a clear piece of academic writing. 80% of overall grade
The point ranking system for submission of paragraphs and questions, as described above, will record your performance as follows:
Up to 5 points for:
Submitting a response in the correct format, with correct grammar and spelling. NOTE: Paragraphs must be grammatically sound and checked for spelling. Points for writings will be reduced as necessary for issues with grammar and spelling.
Up to 5 points for:
Substance and completeness of responses, in which
5 points Paragraphs reflect very close and thoughtful reading of the text, with specific references to the ideas and issues raised by each reading
4 points Paragraphs reflect comprehensive reading of the text, with general references to the ideas and issues raised by each reading
3 points Paragraphs reflect adequate reading of the text, with some references to the ideas and issues raised by each reading
2 points Paragraphs reflect inadequate reading of the text, with minimal references to the ideas and issues raised by each reading
0-1 points Paragraphs reflect little or no reading of the text, without meaningful references to the ideas and issues raised by each reading
for a TOTAL of 10 possible points per response.
Final Paper
For the final project, each student must curate (on paper) a group show and write a "catalog entry" and present this in class. The exhibition must include yourself* plus three other artists of your choice (they do not have to be contemporary or even modern artists). In presenting yourself and the other artists, you must apply at least three 'schools of thought' or critical, evaluative and theoretical approaches that you have studied during the semester. The "catalog entry" accompanying the exhibition should be 2-3 pages, must be written in the third person and should explain the affinity of the featured artists (including yourself) to your chosen 'ideologies'. It should also include captioned images from each artist in the imaginary show. 20% of overall grade
(*If you are not an art major, you will substitute for "yourself" a contemporary artist of your choice.)
Attendance Policy
Since we will be discussing ideas from our readings throughout each class meeting, attendance of all meetings is very important. Students should be sure to contact peers in order to catch up on any missed material or assignments.
Every student receives three (3) "free absences." Use these absences wisely, as any absences over three (even for the best of reasons) will count against your final grade. In addition, you must arrive at class each session on time, and stay for the entire session. For every two late arrivals to or early departures from class (10 minutes or more), you will be assessed one absence. Arriving in class 30 minutes late will be considered an absence.
IMPORTANT: Students with 6 absences will not be able to pass the class. See me to discuss withdrawing/dropping the course.
Grading Policies
Please be aware that a minimum grade of C is necessary for any art major to receive credit for a course in the Department of Visual Arts toward his or her major. In other words, a grade of C- or below will not count as credit towards a degree in any art major.
Each student is responsible for completing all assignments and projects fully and on time, and will be graded on this basis. In general, you should be prepared to spend a minimum of 6 hours per week outside of class to complete the assigned reading and writing. Your grade for the course will be determined by your full participation in all aspects of the course, including class discussions, writing, and projects.
Letter grades will be determined according to the following guidelines:
A Your work consistently embodies dedication and excellence.
B Your work meets and, occasionally, exceeds requirements on a consistent basis.
C Your work consistently meets minimum requirements of the course.
D Your work meets course requirements only occasionally.
E Your work consistently fails to meet requirements.
Grading Scale
A 93-100 C 73-76
A- 90-92 C- 70-72
B+ 87-89 D+ 67-69
B 83-86 D 63-66
B- 80-82 D- 60-62
C+ 77-79 E 0-59
IMPORTANT: Our schedule, assignments, class materials, and grades will be posted through the Canvas system on the My Courses menu of your Student Services tab in eWeber. You must check this site regularly for information, readings, announcements, and messages. I may also communicate with the class through Weber’s Wildcat Mail, which you must check on a regular basis. If you usually use other email accounts, make sure they link to your WSU email address. I will announce class changes (i.e. cancellations) through these channels, and it is each student’s responsibility to get current information. The class schedule will be based on our progress, and is subject to change. I will try to keep everyone informed as to our plans at least a few weeks in advance.
Class policy in the event that unforeseen circumstances necessitate school closures
In the event of an extended campus closure, I will use Canvas to provide instruction utilizing that online course system. Text-based mini-lectures will be provided each week and I will expect you to login to the system on a regular basis to keep up with coursework. Assignments will be provided through the online system with clear due dates and expectations. If you should need to communicate with me, please use my regular (Weber) e-mail. If you are not familiar with the Canvas system, please sign up for orientation to the new online learning system as soon as possible.
Student Code
All students are responsible for knowing and adhering to the Weber State University Student Code.
Visit (http://www.weber.edu/ppm/Policies/6-22_StudentCode.html) for more information about the Weber State University Student Code. Violations of academic ethics and honesty include, but are not limited to, the following types of academic misconduct:
Plagiarism, which is the unacknowledged (uncited) use of any other person’s or group’s ideas or work. This includes purchased or borrowed papers.
Please be aware that in this class cheating of any sort will result in a grade of zero on the assignment in question and may be grounds for failure of the course. Instances of academic misconduct will be documented in a memo and forwarded to the Dean of Students for their records. If you are in doubt regarding any aspect of these issues as they pertain to this course, please speak with me.
Harassment/Discrimination
Weber State University is committed to providing an environment free from harassment and other forms of discrimination based upon race, color, ethnic background, national origin, religion, creed, age, lack of American citizenship, disability, status of veteran of the Vietnam era, sexual orientation or preference or gender, including sexual/gender harassment. Such an environment is a necessary part of a healthy learning and working atmosphere because such discrimination undermines the sense of human dignity and sense of belonging of all people in the environment. Thus, students in this class should practice professional deportment, and avoid treating others in a manner that is demeaning or derisive in any respect. While diverse viewpoints and opinions are welcome in this class, in expressing them, we will practice the mutual deference so important in the world of work. Thus, while I encourage you to share your opinions, when appropriate, you will be expected to do so in a manner that is respectful towards others, even when you disagree with them.
Note Regarding Course Content
This course may deal with material that may conflict with your core beliefs. It is my judgment that this material is relevant to the discipline I am teaching and has a reasonable relationship to my pedagogical goals. If you do not feel you can continue in this course, please drop it within the designated time frame to do so without penalty. I am not willing to make alternative assignments to the material in the syllabus.
PP-M 6-22 outlines the procedure for students to follow:
Determine before the last day to drop courses without penalty, when course requirements conflict with the student’s core beliefs. If there is such a conflict, the student should consider dropping the class. A student who finds this solution impracticable may request a resolution from the instructor. This policy does not oblige the instructor to grant the request, except in those cases when a denial would be arbitrary and capricious or illegal. This request must be made to the instructor in writing and the student must deliver a copy of the request to the office of the department head. The student’s request must articulate the burden the requirement would place on the student’s beliefs.
University Policy: Any student requiring accommodations or services due to a disability must contact Services for Students with disabilities (SSD) in room 181 of the Student Service Center. SSD can also arrange to provide course materials (including syllabus) in alternative formats if necessary.
Counseling Center
Being in college can add a whole new set of challenges to balancing family, work, friendships, and other responsibilities. If you’re feeling overwhelmed, anxious or even just a little down, please take advantage of the FREE, confidential services at the counseling center. Contact them at 801-626-6406; Student Services 280; weber.edu/CounselingCenter.
Stay Informed
The department and the Telitha E. Lindquist College of Arts & Humanities (www.weber.edu/cah) want to ensure you stay updated on all of the events, announcements and opportunities in our college. In addition, you will have the opportunity to win prizes on Facebook and Twitter that you will not want to miss. As such, we encourage students to follow our college on the various social media platforms listed below.
Facebook.com/WSUartsandhumanities.com and Facebook.com/WSUDOVA
@WeberStateArts and @DOVAWEBER
Lindquist College of Arts and Humanities
Department of Visual Art & Design website: https://www.weber.edu/artanddesign/ Links to an external site.
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Tentative Schedule (subject to change)
Notes:
Readings and other materials are listed for the weeks in which they are due to be discussed
Numbers in parentheses refer to page numbers in our primary text, Art in Theory 1900-2000
Readings without page numbers are found in electronic form on Canvas
Week 1 Introduction
Tuesday:
Introduction of syllabus, requirements, expectations. Best practices on deep reading.
Intro images. General Introduction from Art in Theory 1900-2000, read in class as a group.
Thursday:
Before class, listen to podcast: The Ezra Klein Show, interview with Maryanne Wolf, titled This Conversation about the "Reading Mind," is a Gift, originally posted on November 22, 2022.
Class discussion of podcast, what it can help us understand about our readings this term.
Look ahead to : De Duve and Danto readings for Week 2
Week 2 Historical Overview and Context
Tuesday:
Thierry de Duve, When Attitude Has Become Form- And Beyond
Thursday:
Arthur Danto, Art After the End of Art
Look ahead to Week 3 readings on the Greeks
Week 3 The Greeks: Plato, Socrates, and Aristotle
Read Introduction to Aesthetics a Comprehensive Anthology, section on the Greeks
Tuesday:
Plato, excerpts from Ion, The Republic
Recommended reading: Plato, Symposium
In-class supporting reading, Imitation as an Aesthetic Term
Thursday:
In-class reading (no written response due), Aristotle, excerpts from the Poetics
Look ahead to Week 4, Idealism and Romanticism
Week 4 Idealism and Romanticism
Tuesday:
Edmund Burke, A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and the Beautiful
Thursday:
Introduction to Aesthetics, a Comprehensive Anthology, section on Kant (no written response)
Written response DUE for: Selections from Immanuel Kant, The Critique of Judgment
Week 5 Conclusion of Idealism and Romanticism, review of historical theories
Tuesday:
Friedrich Schiller, Letter of an Aesthetic Education of Man
Friedrich Wilhelm Joseph von Schelling, Philosophy of Art
Suggested further reading: Selections from Georg Wilhelm Friedrich Hegel, The Philosophy of Fine Art
Thursday:
Review of historical theories, connections and questions.
Look ahead to emerging Modernist Approaches (please read all of Art in Theory's General Introduction before starting next week's readings responses)
Week 6 Emerging Modernism -Early 20th century Approaches
Tuesday:
Roger Fry, from An Essay in Aesthetics (75)
Clive Bell, from The Aesthetic Hypothesis (107)
Thursday: Discussion of Reading Responses (due before start of class)
Wassily Kandinsky, from Concerning the Spiritual in Art (82)
Recommended further reading:
Julius Meier-Graefe, from The Mediums of Art, Past and Present (51)
Look ahead to Week 6, art & technology, Walter Benjamin
Week 7 Art in the Age of Mechanical Reproduction and the Age of Technology
Tuesday: Discussion of Reading Responses (due before start of class)
Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction (520)
View film examples
Recommended further reading:
Laura Mulvey, Visual Pleasure and Narrative Cinema (982)
Thursday:
Film screening (TBA), and discussion of Benjamin's ideas in relation to our viewing.
Look ahead to Week 8
Week 8 Isms! Isms! Isms!
Tuesday: Futurism, Bauhaus
Filippo Tommaso Marinetti, The Founding and Manifesto of Futurism (146)
Walter Gropius, The Theory and Organization of the Bauhaus (309)
Recommended additional reading:
Umberto Boccioni, et al., Futurist Painting: Technical Manifesto (150)
Naum Gabo and Anton Pevsner, The Realistic Manifesto (298)
Thursday: Dada and Surrealism
Hugo Ball, Dada Fragments (250)
Tristan Tzara, Dada Manifesto 1918 (252)
(one written response due for Dada, with two excerpts from each text, four total)
Andre Breton, from The First Manifesto of Surrealism (447)
Recommended further reading:
Marcel Duchamp, The Richard Mutt Case (252)
Richard Huelsenbeck, First German Dada Manifesto (257)
Louis Aragon, et al., Declaration of the Bureau de Recherches Surrealistes (456)
Look ahead to Greenberg and Fried for Week 9
Week 9 Modernism and Form: Greenberg, Fried
Tuesday:
Clement Greenberg, Modernist Painting (773)
Recommended further reading:
Leo Steinberg, from Other Criteria (971)
Harold Rosenberg, from The American Action Painters (589)
Rosalind Krauss, from The Originality of the Avant-Garde (1032)
Thursday:
Michael Fried, Art and Objecthood (835)
Recommended further reading:
Donald Judd, Specific Objects (824)
Robert Morris, Notes on Sculpture 1-3 (828)
Guy Debord, Writings from the Situationist International 1957-61 (701)
Asger Jorn, Detourned Painting (707)
George Maciunas, Neo-Dada in Music, Theater, Poetry, Art (727)
Allan Kaprow, from Assemblages, Environments, and Happenings (717)
Look ahead to Week 10 Art and Politics
Week 10 Modernist Problems: Art and Politics
Tuesday:
Theodor Adorno, from Commitment (779)
Recommended further reading:
Leon Trotsky, from Literature and Revolution (442)
Ana Mendieta, Art and Politics (1064)
Thursday:
Clement Greenberg, Avant-Garde and Kitsch (539)
Recommended further reading:
Daniel Bell, from Modernism and Capitalism (1117)
Week 11 Modernist Problems: Colonialism, Feminism, Multiculturalism
***NOTE: Schedule Change so that students can attend artist visit in Ceramics
No Class Tuesday:
Conlin Ceramics Visit
Thursday:
Linda Nochlin, Why Have There Been No Great Women Painters?
Recommended further reading:
Hannah Hoch, The Painter (321)
Mary Kelly, Re-Viewing Modernist Criticism (1059)
Look ahead to Week 12
Important: Before beginning your formal readings and responses for next week, please read over these two introductions to Postmodernism:
Ideas of the Postmodern, Introduction (1013)
Eleanor Heartney, Postmodernism (introduction) pdf
Week 12 Toward Postmodernism: Post-structuralism and Deconstruction
Tuesday:
Roland Barthes, from Myth Today (693)
Roland Barthes, From Work to Text (965)
Wednesday:
Roland Barthes, The Death of the Author
In class-reading of Jacques Derrida, from Of Grammatology (944)
Further recommended reading:
Michel Foucault, What is an Author? (949)
Week 13 Simulation and Simulacra
Note: Thanksgiving week, only one class meeting
Tuesday:
Jean Baudrillard, The Hyper-realism of Simulation (1018) and Simulacra and Simulations (only one submission, with 4-5 citations, see instructions on the assignment)
Week 14
Tuesday:
Yuk Hui, ChatGPT, or the Eschatology of Machines
Thursday:
Jean Fisher, The Syncretic Turn
Olu Oguibe, ‘In the “Heart of Darkness”’ (1170)
Recommended further reading:
Edward Said, from Orientalism (1005)
Week 15
Tuesday:
Jean-Francois Lyotard, Introduction to the Postmodern Condition (1122)
Jean-Francois Lyotard, What is Postmodernism? (1131)
Further recommended reading:
Jurgen Habermas, Modernity-An Incomplete Project (1123)
Craig Owens, from The Allegorical Impulse: Towards a Theory of Postmodernism (1025)
Thursday:
Peer Review of writing samples, drafts for final paper
Recommended further reading:
Richard Rorty, Private Irony and Liberal Hope (1091)
Raymond Williams, When was Modernism? (1085)
Victor Burgin, from The Absence of Presence (1068)
W.J.T. Mitchell, Image and Word and Mute Poesy and Blind Painting (1081)
Week 16
Final Exam Week, Final papers due, last class meeting