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Art 189

Special Topics in Sculpture:

Art in the Global Context- Czech Republic

NS Harsha, “Nations”

Instructor: Professor Dee Hibbert-Jones hjdee@ucsc.eduArt Mill Dir: Barbara Benish barbara@artmill.eu Phone #: +420 724 256 617Mill Manager: Gabriela Kalná Phone # +420 724 703 409Host institution: Art Mill Center for Sustainable Creativity, Czech Republic

Definition: Globalization is the spread of products, technology, culture, information, and jobs across national borders. In economic terms, it describes an interdependence of nations around the globe fostered through free trade, the development of an increasingly integrated global economy marked by free trade, free flow of capital, and the tapping of cheaper foreign labor markets

On the upside, it can raise the standard of living in poor and less developed countries by providing job opportunity, modernization, and improved access to goods and services. On the downside, it can destroy job opportunities in more developed and high-wage countries as the production of goods and services moves across borders.

Globalization motives are idealistic, as well as opportunistic, but the development of a global free market has benefited large corporations based in the Western world. Its impact remains mixed for workers, cultures, and small businesses around the globe, in both developed and emerging nations.

Class Description: In this immersive studio art class students create site-responsive sculptures, drawings, performances and installations that explore art in a global context. Using the rich history and culture of Central Europe as site and locale, the class will travel to contemporary art museums, cultural and historical sites in Prague and Berlin (1 week), then create responsive artworks on-site at Art Mill’s Center for Sustainability, in the Bohemian countryside, Czech Republic (2 weeks). Studio assignments, lectures, conceptual, fabrication practices and critique will be led by UCSC Professor Dee Hibbert-Jones; artist and writer Barbara Benish, Director of Art Mill, as well as visiting faculty and professional artists from Czech Republic and other internationally recognized art schools and universities, such as the New School in New York, and the Dresden and Berlin Academies. Students will create original artworks that explore the

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complex relationship between object-making, place-making, aesthetics and cultural identity in a global context through four themed projects. There will be a final exhibition open to the public.

ITINERARY

Date location

Week 1 Topic: Global Immobility - free markets, art fairs, non-places This research project, with writings, questions and drawings compiled during site visits in Prague and Berlin for artwork (to be created later at Art Mill)Activity: Tours, artist walks, lectures, sketches and research

Aug 11 Sun Arrive in Prague Meet at 5.00pm Olšanka hotel in Prague, Czech Republic at

5:00pm, Sunday, August 11, 2019 in the Garden

Restaurant.

Welcome gathering – meet and greetAug 12 Mon Prague: Art Markets, Capital & Economies in post-totalitarian societies

Activity: visit Veletržni Palac, (National Gallery of Modern Art),Prague –built as the 1st trade fair building in Europe, early 20th century

• 10.30 Students meet in hotel foyer, travel as group to • 11.00-12.30 National Gallery of Contemporary Art Course introduction meeting, presentation of this week’s themes

•12.30- 2.00 students tour The National Gallery of Contemporary Art for an overview of European trends in art housed in the revolutionary architecture of Veletržni Palace, one of the icons of early Functionalist architecture. The site was also used as a deportation center for Prague Jews during WWII. The museum is also host to an exhibition of the Chalupecky (‘halupetski’ ) award winners- top contemporary Czech artist award. • 2.00- 3.00 meet up with Dee in café.

• 3.00-6.30 Free afternoon

• 6.30-8.30 Evening Welcome dinner/ Artist district visits Holešovice.Readings: **TBD may change**Lee, Pamela M. Forgetting the Artworld; Auge, Marc, Non-Places due for next lesson. Students will summarize the reading, present questions and one quote for discussion each week.

Aug 13 Tues Prague Project: Inter-war creative expressions, end of Colonial (Hapsburg) rule, end of totalitarianism and establishment of 1st Republic (Czechoslovakia)

• 10.30-1.30 Visit American architect Frank Geary’s “Fred & Ginger” Building in Prague’s historic river-front Baroque neighborhood;

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Walking tour with architecture expert and critic Dr. Jana Ticha. Dr. Ticha is editor of the nation’s top architectural magazine and is Professor at the Architecture Academy. Students will discuss public/private art, & Local/global culture.

• 1.30-2.30 lunch • 2.30 meet up and travel to Museum Kampa• 2.30-5.30 Museum Kampa

Activity: Museum Kampa Topic for students: how the arts reflected the new democracies of Europe. This is the largest collection of modernist painter F. Kupka in Europe and the most comprehensive Central European contemporary art collection. Museum of Technology, documenting the rise of design in pre-WWII Czechoslovakia when the country was the 3rd largest industrial nation in Europe. Situated on Letna park, overlooking the Vltava River, it was the site of the largest Stalin statue in the world. Tour and discussion with some of the top Czech Contemporary Designers. Topic: cross-currents of inter-war Czechoslovakia and today’s art scene? The power of the object, readymade vs. mass production. Global regulations and the power of the internet. 5.30- 6.30 reading and discussion6.30-7.30 Optional Art Wall walking tour w/ Barbara Benish

Evening free

Research: Ludvík Hlavácek, “The Value of Individuality and its Limits,” 1990. Jindrich Chalupecky, “The Lessons of Prague,” in Cross Currents: A Yearbook of Central European Culture. Ed. by Ladislav Matejka and Benjamin Stolz. (Ann Arbor, MI: University of Michigan Press, 1985)

Aug 14 Wed Prague Project: Alternative art markets/spacesActivity: visit Zizkov district, Prague

• 10.30-2.00 Arts district. Walking tour of Wenceslas Square, traditional public space of demonstrations and historical events and on to the Žižkov district, home of Bohemian Prague’s historic working class neighborhood and today’s alternative art scene.

2.00 -6.30 independent work time/ free time. (Sketches and note book responses due Thursday Aug 15th 3.30 pm)

• 6.30-8.30 Lecture: Jan Urban, (Yan) former dissident/professor NYU Prague.

Aug 15 Thur

Prague Project: Project: Mainstream art markets/ Global economies

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• 10.30-1.30 Walk to Narodni Divadlo/National Theatre for behind the scenes tour with award-winning Scenographer Jana Prekova. Guided discussion on the “Velvet Revolution” (1989) and how artists contributed to political change (Narodni street).

• 1.30-2.30 lunch • 2.30-4.00 Visit DOX Centre for Contemporary Art Students identify one artwork for research, presentation and discussion at ArtMill which inspires/ Informs project 1, tour of Art Dialog exhibition• 4.00- 5.00 Meet up with Dee- Sketch books due feedback sessions

Evening freeAug 16 Fri Berlin Project: History & the present Global and local implications of

contemporary art practice

• 8.30-12.30 travel to Berlin by train. Check in to Hotel Acama Kreuzberg. Tempelhofer Ufer 8-9, 10963 BerlinTel.: +49 (0)30 25930480

• 3.00-5.00 Walking tour of galleries in bustling district of Kreuzberg and Sammlung Boros, in a massive former World War II bunker in the heart of Berlin….works by internationally renowned artists to be discussed by students on site. Discussion of cultural appropriation and the influence of ubiquitous US culture on the world.

Evening free (Gallery openings ) Aug 17 Sat Berlin Project: History & the present Global and local implications on

contemporary art practice

• 10.30-1.00 Tour KW Institute for Contemporary Art Students identify one artwork for research, presentation and discussion at ArtMill which inspires/ Informs project 1

• 1.00-2.00 lunch

• 2.00-4.00 Berlin Contemporary Fine Arts museum Students identify one artwork for research, presentation and discussion at ArtMill which inspires/ Informs project 1

Evening free Aug 18 Sun From Berlin to ArtMill (one on one check ins) Travel to Art Mill

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• 6.30-8.30 Welcome ArtMill dinner

Week 2 Topic: Global immobility, Introduction of topic themes, mini assignmentsActivity: Orientation at ArtMill Center & Studios Critique project 1

Aug 19 Mon • 10.30-12.30 ArtMill Orientation

• 12.30-1.30 lunch

• 1.30-2.30 Dee class set up and studio assignments

• 2.30-5.00 Students begin independent Studio work

• 5.00-6.00 dinner

• 6.30-7.30 Dee Lecture: Introduce students to all three themes - students produce mini experiments on-site. Students choose one project to develop for the final exhibition.

Reading due tomorrow: How Latitudes Become Forms: Art in the Global Age, Walker Art Center 2003, Peter The Global Contemporary & The Rise of New Artworlds, MIT 2013

Aug 20 Tues critique:

• 10.00- 1.00: Independent Studio work Students prepare project 1 drawings & inspirations for pm critique

• 3.00-5.00 Class with Dee Critique drawings & inspirations project 1 (Developed and researched week 1) Discuss project 2 in class

• 6.30-8.30 Visiting Artist Lecture (1) Martin Zet

Reading due tomorrow: Weibel, Peter Globalization & Contemporary Art from The Global Contemporary. Summarize the reading, present a minimum of one quote, ask at least one question and make one statement for discussion next lesson (this format due each week)

Aug 21 Wed Project #2 Appropriation of the World (Use of metal shop) (Local origins vs Americanization) sculptures as necessaires, everyday objects, production

• 10.00- 1.00: Independent Studio work am

• 3.00 -5.00 Dee Lecture presentation project 2. Reading discussion In class work day (demos/ individual guidance)

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• 6.30-8.30 Film presentation: the Artists’ RevolutionReadings: Belting Hans and Buddenseig Andrea from Art World to Art Worlds from The Global Contemporary; Marepe artist portrait, Global Art AiWeiWei and Bhagwati

Aug 22 Thur• 10.00- 1.00: Students prepare proposals.

• 3.00-5.00 Dee runs group reading and discussion of project proposals.

• 6.30-8.30 additional student work/ free time

Readings: from Art and Theory of Post 1989 Central and Eastern Europe, a critical Anthology

Aug 23 Fri • 10.00- 1.00 Visiting Artists/Critics: Tomaš Hruza and Andrea Průchova (2 people) sign up for one on one optional artist crits

• 3.00-5.00 Lecture presentation & meeting with Dee

• 6.30-8.30 Visiting Artists/Critics presentation: Tomaš Hruza and Andrea Průchova

Readings: from Art and Theory of Post 1989 Central and Eastern Europe, a critical Anthology, Ana Janevski (Editor), Roxana Marcoci (Editor), Ksenia Nouril, Duke University Press 2018

Aug 24 Sat Visit local sites (Rabi castle, Klatovy galleries)

Aug 25 Sun Free day / independent work day

Week 3 Topic: Focus on exhibition projectActivity: preparation and cleaning of studios; critique With whom/what is your work in conversation?

Aug 26 Mon • 10.00- 1.00 Margita Titlova, Jana Prekova, Lenka Klodova (3) sign up for one on one optional artist crits

• 3.00-5.00 Lecture presentation Individual meetings with Dee

• 6.30-8.30 Margita Titlova Studio Focus on exhibition project Lecture presentation

Research an artist who explores cultural appropriation in a way that

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interests you. Please approve the artist it can be an artist we visited in Prague or Berlin or in the collections. ArtMill libraries, internet cafe

Aug 27 Tue • 10.00- 1.00 Independent Studio work • 3.00-5.00 Individual meetings with Dee • 5.30-8.30 Student Installation of works at ArtMill Barn Gallery; labels preparation; invitations

Readings: Demos TJ, Decolonizing Nature: Contemporary Art the Politics of Ecology 2016The Donatella Meadows Project & Keller Easterling Extra Statecraft & Davis, Heather & Turpin Etienne, Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies, Critical Climate Change, 2015 (please download text and read chapter 1 at www.openhumanitiespress.org/books/titles/art-in-the-anthropocene/)

Victor Margolin ,"Reflections on Art and Sustainability" in Beyond Green, Toward a Sustainable Art. Independent Curators International, New York. Smart Museum of Art, Chicago. 2005

Aug 28 Wed • 10.00- 1.00 Independent Studio work• 3.00-5.00 Preparation and cleaning of studios

Aug 29 Thur Activity: Opening to the Public; Critique; documentation of artworks • 10.00- 2.00 critique with Dee and Dominique Lang and Eva Kotatkova(2 guests)

• 5.30 Exhibition & Dinner Reception

Aug 30 Packing and return trip to Prague; fly outVisiting Artists Names:

Visiting Artists will include:1.Martin Zet, conceptual international artist and Professor (currently working on PhD at VSUP, Academy of Applied Arts)2. Margita Titlova, Performance, multi- media, painting professor 3. Lenka Klodova, performance artist, mixed media Conceptual art. Focus on the body, feminism4. Eva Kotatkova, younger generation international artist working across media of film, theatre, sculpture5. Tomas Hruza, photographer, Professor at FAMU. Gallerist, activist, publishes top Photography magazine in the country. His wife, Andrea Průhová Hrůzova is Profesor of Visual Culture at Charles University and runs the non-profit Fresh Eye 6. Jana Prekova, Top Czech Scenographer & Designer. Professor at Academy in Brno, Gold Medal at Prague Quadrienniel, 1999

Art 189, 5 CREDIT COURSE (3 hours per credit)Weekly Division of Credit Hours and Activities

Credit distribution15 hours

InstructionalActivity

Learning Activity Outcomes

8-10 hoursFaculty &

-Studio visits-Lectures

-exposure to professional artists in foreign milieu

Proficiency in a range of techniques and media

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Visiting Artist lectures& critiques

-films-demonstrations-group discussions-portfolio -critiques

-develop critical thinking & ability to question, probe-question artistic practices-learn new technical skill sets (mold-making, welding, wood-working technique, etc)-stimulate oral skills in art theory & historical perspectives

(PLO# 1 demonstrated)

3-4 hoursin studio

solitary -develop individual work practices & discipline-recognizing learning opportunity in new environments-expand knowledge base in rural environment with new materials-prepare new work in time-line-integrate foreign histories with contemporary work (learned from Prague, Berlin)-finish weekly assignments in timely manner

The ability to imagine, create and resolve a work of art (PLO# 2 demonstrated)

Familiarity with and ability to analyze both verbally and in writing issues and forms of contemporary art with a clear understanding of historical precedents (PLO# 3 demonstrated)

1-3 hoursresearch +study

Solitary + communal

-accessing ArtMill’s libraries-how to research contemporary art history, combined technologies-develop communication skills in oral research activities

The ability to articulate an insightful response and analysis of a work of art in order to participate in discussions and studio critiques(PLO# 4 demonstrated)

detailed description of projects 1-4:

Project 1: Global (im)/Mobility: free markets, art fairs, non–places

Part 1 As we explore and research artistic practice in Prague & Berlin, keep a sketch book of artists and inspirations- we will look at images you have taken and discuss your chosen artists and inspirations in week 2.

Choose everyday consumer product you find on your travels with week. Using any materials available to you create a 2D or 3D map which describes the entire life of your object) from fabrication (or growth) to transportation, sales, consumption and landfill (or recycling). You will need to research online and ask for information from our guides as you travel. Look for inspiration in making this work from objects in Art Nouveau, Cubist design form, or Functionalism.

Try to explore form, materials and metaphor rather than simply creating an illustration,. Think about the

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architecture of The Trade Fair (National Gallery of Modern Art/Veletrzni Palac think about form as you travel the Czech and Slovak Modern Art.

Begin by mapping the physical movement of your object (It may be helpful to use the string wire and push pins provided). Then think how this 2-D map could be translated into a 3D object. Begin by mapping the flight paths your object has taken using string. Then start to think about iconography and layering.

Please AVOID

x Traditional map imagery or materialsx Your map can fold, bend or extend in space. It can be attached to a wall, suspend from the floor on

sticks, pile, stack or lean, sit on itself or on other objects.x your final map should be three-dimensionalx How can you describe movement across boundaries and borders? x How to employ alternative icons as markers? Dare to be abstract!

For next lesson

x Choose a consumer object, seen in Prague or Berlinx Research your object thoroughly, bring your research to class- find out where it was fabricated,

packaged, shipped, purchased and consumed and what happens when it is discardedx Think about the path this object has travelled – draw out your ideas as a traditional map. x Now think of a second way you could create this sculpture by looking at travel routes between these

countries, shipping lines. Think about where on the globe in relation to each other these objects are (North, South)

x Does the process begin with the growing or fabrication of several parts of the object? Then your sculpture should have several strands- does each strand take the same amount of time to make.

x Think about color- based on country, industryx Think about texture and formx Bring sketches to class and the materials to begin your projectx We will discuss idea as a group in class.x Think carefully about your choice of materials and reasons for the overall form

Part 2: For your second sculpture-map, explore the movement of a group of people (or a person) across borders. This map could look at travel, immigration, migration- moving or being forced to move. Your map should consider ideas of inclusion/exclusion and the idea of rewriting in your reading Globalization & Contemporary Art, and echo the histories of colonial empire in Central Europe, Nazism, or Czech Nationalism, or the current migration crisis of Africa/Europe.

Your map could be a method for guiding those in need; an indication of migration, forced removal etc. Is your map transportable across borders, what is the function of your map- is it stacked, layered, nested or compartmentalized (this map doesn’t have to use linear materials)? Is it visible or hidden? How are you related to this map, where are you located? You will need to do some research before you begin. Consider carefully what materials you will use to describe mapping this movement.

Part 3: Choose one or both of your maps and explore these ideas further to produce a final map sculpture ( in week 2). Add this thought to your exploration: Doreen Massey (geographer and social scientist) defines space and place as being “a pincushion of a million stories” instead of a flat surface. She argues that places have multiple identities; they are not frozen in time, they do not have clear insides and outsides. Does your map tell stories; map a moment, offer a perspective, say something about what you are mapping?

Readings: All Is Fairs - The New Yorker and An Artist’s Mythic, Rebellion for the Venice Biennale NY Times, If you’re lucky enough to earn a living from your art, you’re probably white, Washington Post. The Critique

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Handbook pg 112-122 (We will explore exercise 2 Five Categories for critique)

Project #2 Appropriation of the World (Use of metal shop) (Local origins vs Americanization) sculptures as necessaires, everyday objects, productionThis project asks you to think about raw materials, cultural origins, and cultural appropriation in a global economy. Your work can either look at the ways local/minority cultures have been appropriated by mass markets; or investigate the ways cultural groups (and artists) have created self-sufficient local economies in opposition to cultural appropriation.

1) Research an artist you discovered in Prague or Berlin who explores cultural appropriation in a way that interests you. Please approve the artist with Dee- it could be an artist from the museums and galleries, or Visiting Artist to ArtMill.

2) ) Present the artist to the group- include 4 images of the artists’ work and a 5 min presentation of the ways this artist responds to the title of this project “appropriation of the world”

3) Respond to their work with a sculpture, performance or installation of your own that explores these issues. Please use either recycled, temporal or non-tangible materials for this work.

Reading: Primary reading Belting Hans From World Art to Global Art, Worlds from The Global Contemporary). Optional reading: Global Art Tscape, Jittish Kallat, John Baldessari and Yves Carcelle. Read Formal Matters in sculpture checklist from The Critique Handbook to critique this project for critique.

Project #3 Participation/networks, labor forces, global relationshipsThis project is an investigation of systems and structures, participation, imposed order and (in)stability. Part 1: Choose one item from the Art and Social Practice Workbook – create this project, make it into a project you can own, think expansively and collaboratively. Think of ways your project relates to notions of globalization we have been exploring.Part 2: Critique your project in relation to Jen Delos Reyes A Contact Proposed and Tania Bruguera’s Refections on Useful ArtPart 3: Present, document or reenact your project. Reflect on the ways your project undermined built or extended networks- how to “fail better?”Reading: Belting, Hans, Buddensieg, Andrea & Weibel Peter, The Global Contemporary and the Rise of the New Art Worlds. Reading to support project 3: The Art and Social Practice Cookbook

Project #4: Wastelands: global environmental impact on local ecologiesThis final project requires the student to choose a methodology and approach before beginning the project. Will you:Offer warning signs • Expose Systems • Repair • Rebuild • Disrupt?Choose a method, isolate an issue, make a project. Who/ what is your work in dialog with? This project explores embodied experience – you will be asked to describe the experience you are attempting to evoke, and think hard how to communicate this through material, form and concept. Who/ what is your work in dialog with? This project explores embodied experience – you will be asked to describe the experience you are attempting to evoke, and think hard how to communicate this through material, form and concept.

Program Reading list• All Is Fairs, The New Yorker; An Artist’s Mythic, Rebellion for the Venice Biennale NY • Auge, Marc, Non-Places, An Introduction to Supermodernity, Verso 2009 • Benningsen, Silvia, Gludowacz, Von Hagen Susanne, Global Art, Hatje Cantz, 2009 • Bruguera Tania Refections on Useful Art• Buster Kendall & Crawford Paula The Critique Handbook, The Art Student's Sourcebook and Survival Guide 2nd Edition, Pearson, 2009

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• The Castle, Kafka, Franz Oxford World Classics, 2009• Davis, Heather & Turpin Etienne, Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies, Critical Climate Change, 2015 • Delos Reyes, Jen A Contract Proposed • Demos TJ, Decolonizing Nature: Contemporary Art the Politics of Ecology 2016• Demos, TJ The Migrant Image: the Art and Politics of Documentary During Global Crisis, Duke University Press 2013• Dialogues with Marcel Duchamp, Cabanne, Pierre 1971, A Da Capo • Energy Plan for the Western Man: Joseph Beuys in America. Writings and interviews with the Artist, compiled by Kuoni. Carin 1990, Four Wall Eight Windows Press• Exit into History, Hoffman Eva, 1993 Penguin Books (selected chapter)• Keller Easterling, ExtraStatecraft, The Power of Infrastructure State, 2016 • Lee, Pamela M, Forgetting the Artworld, MIT Press 2012• The Lessons of Prague Chalupecky Jindrich in Cross Currents: A Yearbook of Central European Culture. Ed. by Ladislav Matejka and Benjamin Stolz. (Ann Arbor, MI: University of Michigan Press, 1985)• Meadows Donatella Archive, A Synopsis Limits to Growth , A Thirty Year Archive, Academy for Change • Reflections on Art and Sustainability in Beyond Green, Toward a Sustainable Art. Victor Margolin, Independent Curators International, New York. Smart Museum of Art, Chicago. 2005• Seeing is Forgetting The Name of the Thing One Sees, A life of Contemporary Artist Robert Irwin, Weschler, L 1982, UC Press • Smith, Steve, Herkenhoff Paulo, Hidenega Otori • The Collaborative Turn and To Be Put Up in a Public Debate by Maria Lind, WHW (What, How & for Whom) in Taking the Matter into Common Hands, On Contemporary Art and Collaborative Practices. Maria Lind in Ed: Johanna Billing, Maria Lind and Lars Nilsson. Black Dog Publishing, London. 2007 • The Value of Individuality and its Limits, Hlavácek, Ludvík 1990• How Latitudes Become Forms: Art in the Global Age, Walker Art Center 2003, Peter The Global Contemporary & The Rise of New Artworlds, MIT 2013

Additional short readings will be assigned for each Czech artist we will be working with or visiting.Transportation for this program will be via:

x trams/metro in the cityx cab from airport or city busx train (national) from Prague to Berlin, then Berlin back to ArtMill (Horazdovice)x mini-bus with local company at ArtMill (contracted for 12 years w/same

company)x walking/biking at ArtMill from hotel each day

On-campus components at UCSC before the program: There will be a pre-meeting for all selected students with a video of Art Mill with required readings held at UCSC during the quarter before the program begins. Pre-departure Reading/ selected essays:

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1.Vaclav Havel. “The Power of the Powerless,” in Cross Currents: A Yearbook of Central European Culture. (Ann Arbor, MI: University of Michigan Press, 19832. Jindrich Chalupecky . “The Lessons of Prague,” in Cross Currents: A Yearbook of Central European Culture. Ed. by Ladislav Matejka and Benjamin Stolz. (Ann Arbor, MI: University of Michigan Press, 1985)3. Tina Rosenberg. "The Haunted Land, facing Europe's Ghosts after Communism". 1995, Random House4. The Czech Reader, History, Culture, Politics, Jan Bazant , 2010 Longditude Press

1.Vaclav Havel. “The Power of the Powerless,” in Cross Currents: A Yearbook of Central European Culture. (Ann Arbor, MI: University of Michigan Press, 1983

2. Jindrich Chalupecky . “The Lessons of Prague,” in Cross Currents: A Yearbook of Central European Culture. Ed. by Ladislav Matejka and Benjamin Stolz. (Ann Arbor, MI: University of Michigan Press, 1985)

3.Tina Rosenberg. "The Haunted Land, facing Europe's Ghosts after Communism". 1995, Random House

Program Reading list, selected essays: (distributed at Prague Orientation)

1. Eva Hoffman. "Exit into History". 1993 Penguin Books (selected chapter)

2. Franz Kafka. "The Castle"

3.Ludvík Hlavácek. “The Value of Individuality and its Limits,” 1990.

4. L. Weschler, “Seeing is Forgetting The Name of the Thing One Sees, A life of Contemporary Artist Robert Irwin”,1982, UC Press (selected chapter)

5. Pierre Cabanne, “Dialogues with Marcel Duchamp”, 1971, A Da Capo (selected chapter)

6. Energy Plan for the Western Man: Joseph Beuys in America. Writings and interviews with the Artist, compiled by Carin Kuoni. 1990. Four Wall Eight Windows Press. (selected chapter)

7. Victor Margolin ,"Reflections on Art and Sustainability" in Beyond Green, Toward a Sustainable Art. Independent Curators International, New York. Smart Museum of Art, Chicago. 2005 (selected chapter)

8. Maria Lind, "The Collaborative Turn", and "To Be Put Up in a Public Debate" by WHW (What, How & for Whom) in Taking the Matter into Common Hands, On Contemporary Art and Collaborative Practices. Ed: Johanna Billing, Maria Lind and Lars Nilsson. Black Dog Publishing, London. 2007 (selected chapter)

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9. Jindrich Chalupecky . “The Lessons of Prague,” in Cross Currents: A Yearbook of Central European Culture. Ed. by Ladislav Matejka and Benjamin Stolz. (Ann Arbor, MI: University of Michigan Press, 1985)

Art Works: Place Paperback – May 1, 2005by Tacita Dean (Author), Jeremy Millar (Author)10/1: Terry Smith. “Currents of World-Making in Contemporary Art.” World Art, 1:2, 2011. 171-188.

10/3: Okwui Enwezor, “The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition.” Fault lines: Contemporary Art and Shifting Landscapes, 2003. 65-78.

10/5: Jacques Ranciere, “The Distribution of the Sensible: Politics and Aesthetics.” The Politics of Aesthetics: The Distribution of the Sensible. New York: Continuum Publishing, 2000.

Week 2: Art, Power, Knowledge, and Difference 10/8: Stuart Hall, “Foucault: Power, Knowledge, and Discourse.” Representations.72-81.

10/10: Frantz Fanon, “The Fact of Blackness.” Black Skin, White Masks. New York: Grove Press, 1967, 257-265. Coco Fusco, “Passionate Irreverence: The Cultural Politics of Identity.” Sussman, et al., Whitney Biennial 1993, NY: Whitney, 1993, pp. 74-85.

10/12: QuizJonathan Katz, “‘The Senators Were Revolted’: Homophobia and the Culture Wars.” Companion to Contemporary Art Since 1945, London: Blackwell, 2009, 231-248.

Week 3: Identity and Diaspora10/15 Stuart Hall, “Cultural Identity and Diaspora.” Colonial Discourse & Postcolonial Theory: A Reader.

10/17: Gloria Anzaldúa, "La Conciencia de la Mestiza" from Borderlands/La Frontera

10/19: QuizKobena Mercer, "Diaspora Culture and the Dialogic Imagination: the Aesthetics of Black Independent Film in Britain." Welcome to the Jungle: New Positions in Black Cultural Studies, London: Routledge, 1994, 53-66.

Week 4: The Bodies Made Subject10/22: María Lugones, “Heterosexualism and the Colonial/Modern Gender System.” Hypatia, Vol. 22, No. 1, Writing Against Heterosexism (Winter, 2007), pp. 186-209

10/24: Guest Lecture: Kate Korroch, “Queering Identity”Ara Wilson, “Queering Asia.” Intersections: Gender, History and Culture in the Asian Context. Issue 14, November 2006

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10/26: QuizDavid Getsy, “Histories for the Future: Visionary Identification in the Work of Carlos Motta.” 2016

Week 5: The Social Turn10/29: Exhibition class visit: Forest Law, Mary Porter Sesnon Gallery

10/31: Nicolas Bourriaud, Excerpt from Relational Aesthetics, Dijon: Les Presses du reel, 2002Claire Bishop, “Antagonism and Relational Aesthetics.” October 110, Fall 2003, 51–7

11/2: QuizKathy Nobles, "Useful Art," Frieze Magazine, Issue 144, January - February 2012.Pablo Helguera “Definitions” Education for Socially Engaged Art

Week 6: Institutional Critique and Beyond11/5: Exhibition Reflection DueTony Bennett “The Exhibitionary Complex” The Birth of the Museum: History, Theory, Politics (London: Routledge, 1995) 11/7 Eric Golo Stone, “Legal Implications: Cameron Rowland’s Rental Contract.”

11/9: QuizNicholas Mirzoeff, “Empty the Museum, Decolonize the Curriculum, Open Theory”Manifest of Occupy Museums at the 9th Berlin Biennale http://blog.berlinbiennale.de/en/allgemein-en/manifest-of-occupy-museums-21623

Week 7: The Global Commons 11/14: Chantal Mouffe, “Art and Democracy: Art as an Agonistic Intervention in Public Space.” Open. No. 14, 2008. 6-15.Michael Hardt “Production and Distribution of the Common: A Few Questions for the Artist.” Open. No 16, 2009. 20-28

11/16: QuizNicholas Mirzoeff. The Appearance of Black Lives Matter. Name, 2018, 33-54.

Week 8: Art, Globalization, Crisis 11/19: Saskia Sassen. “Expelled: Humans in Capitalism’s Deepening Crisis.” American Sociological Association, Volume 19, Number 2, 2013. Pages 198-201

11/21: Guest Lecture, Alison Dean, PhD, “Photographing Displacement”Giorgio Agamben, “Beyond Human Rights.” Open, No 15, 2008.

Week 9: Art and Ecology11/26 2 page Abstract Due

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Françoise Vergès, “Racial Capitalocene: Is the Anthropocene Racial?” Futures of Black Radicalism. Verso, 2017.

11/28: Naomi Klein, “Let Them Drown: The Violence of Othering in a Warming World,” Edward Said Memorial Lecture, 2016.

11/30 T.J. Demos, “On Terror and Beauty: John Akomfrah’s Vertigo Sea.” 2017.

Week 10: Art and Activism: The Right to Look12/3: Rolando Vazquez and Walter Mignolo, “Decolonial Aesthesis”

12/5: Nicholas Mirzoeff, “The Right to Look.” Critical Inquiry, Vol. 37, No. 3 (Spring 2011): 473-496.