TUT 102 - Monday, 12:00 - 13:00, IB 220, TA

Course Description

FAH289 examines many divergent international art movements and controversies in painting, sculpture, video, land art, installation art, performance, conceptual art, institutional critique, new media, relational art, social practice art, and activist art from 1945 to the present. We study and relate artworks, ideas, critical concepts, contexts and methods in interpretation of art since 1945.

Course Objectives

In this course, you will:

1.    Identify and study major art movements, artists, artworks, ideas,  issues, and topics in modern and contemporary art since 1945.

2.    Understand how modern and contemporary art practices relate to their broader

cultural and socio-political contexts such as such as Cold War, mass culture and consumerism, technological developments, wars in Korea and Vietnam, the 1960s student protests, Civil Rights movement, the rise of the art market, neoliberalism, globalization, social and climate justice, modern migrations, and more.

3.    Practice visual analysis of artworks and comparison between works.

4.   Apply creatively knowledge gained in the course to analyze and discuss artworks in your Critical Journals

5.    Read and discuss examples of art historical, artist, and critical writings on art since 1945

6.    Develop academic reading, writing, listening and oral skills necessary to actively participate in a rich discourse on modern and contemporary art.

Required Readings and Videos posted on Quercus

Required Readings and Videos are posted in weekly modules on the course homepage on Quercus.  It is your responsibility to complete the assigned readings and viewings each week before the lecture and tutorials. We will have regular class/tutorial discussions based on the weekly readings and other assigned module material. Your contribution to the class discussion is expected and considered an important and valuable aspect of the course.

Recommended Books:

1. Hopkins, David. After Modern Art : 1945-2017. Oxford: Oxford University Press, 2018.ProQuest Ebook Central.

After Modern Art: 1945-2017 is available asane-book from the  ProQuest Ebook Central via the UofT Libraries webpage. To access the e-version of the book and read it online, you need to be logged in with your UTOR ID and password & click on the book hyperlink provided in the course syllabus and Quercus.

2. Art in  Theory 1900-2000: An Anthology of  Changing Ideas. Edited by Charles Harrison and Paul Wood (Malden, MS: Blackwell, 2003).

Online component of the course - Quercus:

•   This course uses Quercus. In Quercus, you can access the course syllabus, the

course modules, required readings, videos, course handouts, lecture and tutorial slides, and read important announcements, view your grades, and communicate with the professor and TA via the Inbox.

•   To access the Quercus portal, you login using your UTOR ID and password.

Note that all communication through Quercus requires that you use an active U of T email address. If you have not activated your university email account, please do so immediately so that you will not miss any important messages or information.

•   For more help, tips, and guidance on Quercus, you should review“ Quercus Student Support”page.

Course Assignments and Evaluation Schedule

• 15%   Engagement –   regular   attendance   in   lectures   and   tutorials;   ongoing participation and contribution to  class discussion and activities  in  lectures and tutorials;

• 35%  Critical  Journals – 10 journals,  submitted  weekly  by  11:50PM  on  Friday. Journals format and expectations are posted in Quercus, reviewed in lectures and tutorials, and skills for writing an interesting and successful journal are practiced in tutorials. Journals submission is tracked in Quercus & and lateness penalty is applied if you do not submit your journal on time each week. Journal grades are returned according to a schedule posted on Quercus.

• 20% Midterm Exam - in class on October 30.

• 30% Final Exam – time and place TBA; during Fall 2023 Examination period.

Note: Assignment prompts and test and exam format and study tips are posted on

Quercus and reviewed in lectures and tutorials. Skills for writing Journals are practiced in the tutorials.

Attendance

If you wish to successfully complete this course, you must attend all lectures and tutorials. Failure  to  do  so  will  most   likely  result   in  an  inability  to  fulfill  the  course requirements and pass the course. Presences and absences will be recorded each week, during the first 10 minutes of the lecture and tutorial; therefore arriving late effectively amounts to being absent. Please make every effort to attend class and to arrive on time.

•    For up to and including the first three unexcused absences, your final course grade will be reduced by 10%. Four or more unexcused absences will

automatically result in failure of the course.

Weekly CourseWork

You should plan on devoting 6 hours of study outside of lecture and tutorials. This will consist of:

•    Reading all the required readings and viewing required videos posted on Quercus.

•   Taking detailed notes and preparing questions based upon these readings. Bring your notes and questions to lectures and tutorials.

•    Studying the artworks’ images reproduced/discussed in the textbook, required readings, and videos.

•    Preparing for midterm exam and final exam.

•   Writing your Journal entries every week.

U of T statement on commitment to equity, human rights, and respect for diversity

The University of Toronto is committed to equity, human rights and respect for

diversity. All members of the learning environment in this course should strive to create an atmosphere of mutual respect where all members of our community can express

themselves, engage with each other, and respect one another’s differences. U of T does not condone discrimination or harassment against any persons or communities.

Classroom Conduct

Students  are  expected  to   assist   in   maintaining   a   classroom   environment   that   is conducive to learning and respectful. To assure that all students have an opportunity to gain from time spent in class, and unless otherwise approved by the instructor, students are prohibited from using cellular phones or pagers, eating or drinking in class, making offensive  remarks,  reading  newspapers,  sleeping  or  engaging   in  any  other  form  of distraction,  including  using  laptop  computers  and  other  devices  for  non-educational purposes.  Inappropriate  behavior  in  the  classroom  shall  result  in,  at  the  minimum,  a request to leave the classroom, and at the maximum substantial penalizationas reflected in your final grade for the course.

Contacting Professor Kurtovic

I encourage you to contact me regarding issues involving the course, including material covered and your own progress in the course. All major questions and concerns should   be addressed to Professor Kurtovic and not to the class TA. This can be best done

during my weekly office hours on Zoom or, if those are not convenient, at another scheduled time on Zoom or in person. Zoom link is shared on Quercus. E-mail is

another option, to which I will try to respond within 48 hours. I am not available or accessible in anyway on weekends. When communicating with me or with the course TA via email you must use your UofT email account and address, and clearly identify yourself in the main body of the message. Please, write your emails to the point and use a clear and courteous language.

FAH289 Course Schedule: Lectures, Tutorials, and Readings

Week 1 - September 11 - Course Overview

• Read: Course Syllabus

• Read: Julian Stallabrass, “A zone of freedom?,” in Contemporary Art: A Very Short Introduction, 2nded., Very Short Introductions (Oxford, 2020; online     edn, Oxford Academic), 1-25.

• Read: Alexander Alberro, “Periodising Contemporary Art,” Australian and New Zealand Journal of Art 9, no. 1/2 (2008): 66–73.

• Tutorials: Introductions; Review of Academic Honesty Policy & Writing Requirements; Journal Assignment Reviewed; Q&A.

Week 1 Key Terms: avant-garde, modernism, postmodernism, contemporary, globalization, hegemonic formation, transience.

Action: Weekly Key Terms Handouts are provided on Quercus in weekly modules. It is your responsibility to open, read, and use the handouts as study tools/guides for each  topic of the course.

Week 2 – September 18 – Abstract Expressionism and Art Informel

• Read: After Modern Art 1945-2017: pp. 5-32, 43-49.

• Read: Harold Rosenberg, from “American Action Painters,” pp. 589 -592;

Clement Greenberg, “Modernist Painting,” pp. 773-779, in Art in Theory.

• View: The Museum of Modern Art (4:32), "Barnett Newman.”

• View: The Museum of Modern Art, (4:49), "The Painting Techniques of Barnett Newman.”

• Tutorial: Journals Writing Practice; gender and abstract expressionism; Q&A;

• Due: Friday Sep. 22 – Journal 1

Week 3 – September 25 – Neo-dada, Pop Art, Nouveau Réalisme

Read: After Modern Art 1945-2017: pp. 35-43; 49-60; 71-79, 89-97; 103-119.

View:“Andy Warhol Eating a Hamburger,”(4;27) filmed by Jørgen Leth

View:“A performance by William Marx of John Cage, 4’ 33’”

View:“Jasper Johns, Flag.”(6:04)

View: "Homage to JFK: Rauschenberg’s Retroactive I,” (6:02)

Tutorial: Journals Writing Critiques; icons & objects in pop art; Q&A.

Due: Friday Sep. 29 – Journal 2

Week 4 – October 2 – Minimalism and Post-Minimalism

• Read: After Modern Art 1945-2017: pp. 121-147.

• Read: Donald Judd, “Specific Objects,” pp. 824 -828; and Michael Fried, “Art and

Objecthood,” pp. 835-846.

• View: PBS (4:36),“The Case for Minimalism.”

• View: VTV (10:34) "Carl Andre: Sculpture as Place. Retrospective at Dia Beacon."

• Explore:“Rita McBride: Arena Momentum”,at DIA Beacon.

• Tutorial: Improvise a minimalist exhibition & Fried and Judd articles discussion; Q&A.

• Due: Friday Oct. 6 – Journal 3

October 9 – Thanksgiving – NO CLASSES

October 10-13 – Reading Week – NO CLASSES

Week 5 - October 16 - Conceptual Art & Institutional Critique

• Read: After Modern Art 1945-2017: 149- 158; 163-167;

• Read: Lawrence Weiner, “Statements,” pp. 893 -894; Sol LeWitt,“Paragraphs on Conceptual Art,” pp. 846-849.

• Read: 1.) Art Worker’s Coalition, “Statement of Demands ,1969” in Art in Theory 1900-2000, 926-927. 2.) Daniel Buren, “The Function of the Museum 1970,” and   “The Function of the Studio (1971)”; and 3.) Andrea Fraser, “From the Critique of

Institutions to An Institution of Critique,” Art Forum (2005).

• View: SFMOMA Video (3:37)“Hans Haacke: Fighting the Establishment."

• View: Tate Shots (6:57),"Guerrilla Girls, ‘You Have to Question What You See’ (interview),"https://youtu.be/8uKg7hb2yoo; Guerrilla Girls video (10:05)

"Guerrilla Girls Images & Projects 1985-

2018.  "https://youtu.be/UO0bCoamdDo\

• View: SFMOMA (3:06) video,“Fred Willson’s Museum Interventions.”

• Tutorial: Decolonizing a Museum Group Class Activity and Discussion; Q&A.

• Due: Friday Oct. 20 – Journal 4

Week 6 - October 23 - Land Art, Eco Art, Climate Justice and Art

• Read: After Modern Art 1945-2017: 158-163;

• Read: Robert Smithson, “Cultural Confinement,” pp. 970 -971.; RasheedAraeen, “Ecoaesthetics: A Manifesto for the Twenty-First Century,” Third Text 23.5

(September 2009):679-684;

• Read: T.J. Demos, “The Politics of Sustainability: Art and Ecology,” (2008).

• View: The Art Assignment, PBS Digital Studios (9:28 ) "The Case for Land Art ."

• View: Art 21 (13:21),“Olafur Eliasson in “Berlin”’

• View: Liberate Tate, “Licence to spill’: an oil spill at the Tate Summer Party celebrating 20 years of BP support (June 2010).(9 :37);“Human Cost – April 2011” (5:52);Time Piece -2015(6:23)

• Tutorial: Review for midterm exam

• Due: Friday Oct. 27 – Journal 5

Week 7 - October 30 - Midterm (15%)

• Journals general feedback

• Tutorials: Journals – Workshop and discussing strategies for improving your writing skills.

Week 8 - November 6 - Happening, Fluxus, Actions, Performance Art and Politics Note: Last day to drop F courses

• Read: After Modern Art 1945-2017: 97-102; 79-85 (Beyus); 168-180.

• Read: Allan Kaprow, excerpt from “Assemblage, Environments and

Happenings,” pp. 717-722; Joseph Beuys “Not Just a Few Are Called, But

Everyone,” pp. 903-906.

• Read:Carolee Schneemann, “Woman in the Year 2000 (1975),”Carolee Schneeman Foundation.

• Read: Amelia Jones, “The Artist is Present:  Artistic Re-enactments and the

Impossibility of Presence,” Drama Review, 55/1 (Spring 2011): 16-45.

• View: The University of Chicago (3:24), “Marina Abramovic: Performance.”

• View: The Art Assignment, PBS Digital Studios video (6:49) "The Case for Yoko Ono."

• View: theartVIEw (2:54),Július Koller at mumok;TATE, “Julius Koller.”

• View: Art21 (11:26), “Shaun Leonardo: The Freedom to Move.”

• View: Art 21 (17:24), "Tanya Aguiñiga in "Borderlands"

• Tutorial: Jones article discussion

• Due: Friday Nov. 10 – Journal 6

Week 9 - November 13 - Art and Identity

• Read: 1987, 1989,1993 in Art Since 1900.

• Read: “Tactic: Détournement/Culture Jamming&Tactic: Mass Street Action,” in Beautiful Trouble: A Toolbox for Revolution. Edited by Andrew Boyd and David

Oswald Mitchell (Toronto: Between the Lines, 2014), 28-30; 68-70.

• Read: Coco Fusco, “Passionate Irreverence: The Cultural Politics of Identity,”;

Homi K.Bhabha, “Beyond the Pale: Art in the Age of Multicultural Translations”

• View: The Big Idea video (5:14), "Kimberle Crenshaw on Intersectionality."

• View: Art 21 (2:52), "Glenn Lingon: Layers of Meaning."

• View: Art 21(3:08),“Carrie Mea Weems: “The Kitchen table Series.”

• View/Read: Whitney Museum of American Art Collection, "Pepon Osorio, Angel, 1993."

• View: TATE shots (5:51),Zineb Sedira – The Presonal is Political;

• Tutorial: Discussion - Immigration, Belonging, Identity in Yinka Shonibare’s “The British Libaray (2014)”andKen Lum, “There is no Place Like Home”(2000); Q&A.

• Due: Friday Nov. 17 – Journal 7

Week 10 - November 20 - Relational Aesthetics, Social Practice, Activist Art

• Read: Claire Bishop, “Antagonism and Relational Aesthetics,” October 110 (Fall

2004): 51-79.

• View: Art21 "Extended Play"(7:16),Thomas Hirschhorn: "Gramsci Monument

• View:Santiago Sierra,”160 cm tattooed on 4 people” (2000); Santiago Sierra, “133 Persons Paid To Have Their Hair Dyed Blond,”Arsenal, Venice, Italy, June

2001.

• Read: Suzanne Lacy, “The Name of The Game (1991),” in Theories and

Documents of Contemporary Art: A Sourcebook of Artists’ Writings. Edited by   Kristine Stiles (Berkeley, Los Angeles, London: University of California Press,

2012), 895-899.

• Read: Suzzane Lacy,“The Oakland Projects (1991-2001),”artist webpage.

• Visit online: Rick Lowe, Project Row Houses, 1993-2018, Huston (Texas).

• Read Online:Assemble, the Granby Four Streets project.(1 page)

• View: Tate (6:39),Tania Bruguera and Tate Neighbours – The Art of Social Change, Tate Exchange .

• View: Art 21 (6:30),Tania Bruguera, “Immigrant Movement International.”

• Read:“Interview: Nitacha Dilon and Amin Husain- MLT Collective,”interviewed

by Annabelle Bossier, Arts Cabinet, April 22, 2017.

Read/View:Artlords.(webpage for the Artlords collective).

Tutorial: Ai Wei Wei Drifting- Art, awareness, and the refugee Crisis,DW documentary (42:26); Viewing instructions and questions are posted on     Quercus.

Due: Friday Nov. 24 – Journal 8

Week 11 - November 27 - Black Atlantic and Indigenous Perspectives

• View: Tate four-part mini-series “Exploring the Black Atlantic 1 -4” with curator  Ekow Eshun.“Episode 1- What is Black Atlantic” (7:42) ; “Episode 2 – Identity and Nationhood” (8:11); “Episode 3 – “Toppled Monuments and Hidden Histories” (6:05); “Episode 4 – Afterlives of Slavery in Contemporary Art” (9:05).

• Read: Mark Watson, "Centring the Indigenous: Postcommodity's Trans-

Indigenous Relational Art," Third Text 29, no. 3 (2015): 141 -154.

• View: Art 21 (14:13),“Postcommodity in “Borderlands” Extended Segment.” • View: Art 21 (13:40), "Rose B. Simpson in “Everyday Icons”

• View: NFB, Kent Monkman,“Sisters and Brothers.”(3:42)

• View: TVOToday Docs. “Kent Monkman, Resurgence of the People,”(9:49). • View: Art 21,“Brian Jungen: Printing Two Perspectives,“(4:47).

• Tutorial: 1). View/Discuss: Ontario Arts Council,“Indigenous Arts Protocols,” (10:04); 2.) View/ Discuss: Assembly of First Nations. “ Indigenous Peoples

Space: Building the Future Together.”(PDF on Quercus)

• Due: Friday Dec. 1 – Journal 9

Week 12 – December 4 – “Radical Futurisms” & Exam Review

• Read: T.J. Demos, “Preface: Winning the World We Want” and “Chapter 1:     Radical Futurisms,” in Radical Futurisms: Ecologies of Collapse, Chronopolitics,

and Justice-to-Come (Sternberg press & MIT: 2023), 11-12; 14-23.

• Explore:The Otolith group

• Exam Review

• Tutorial: Exam Review

• Due: Monday Dec. 4 – Journal 10

December 7 -20 – Exam period

DVS Policies for Coursework and Academic Integrity

Late Assignments: Term work must be submitted by the assigned date. A penalty of 5% per day of lateness up to and including work submitted on the last day of the term will be applied by the Instructor. Work will not be accepted beyond one week after the  due date (unless granted an extension due to special considerations).

Absence Declarations and Extensions

Beginning in the Fall 2023 – Winter 2024 academic year, students who miss an

academic obligation during the term (i.e., in-class assessment, quiz, paper) may use the ACORN Absence Declaration Tool once per academic term (e.g., the Fall

term).

•   When you declare your absence on ACORN, you must also submit a Request for Special Consideration formto the DVS Undergraduate  Counsellor,[email protected], (but without the need to present additional supporting documentation).

•   Additional absences must follow the DVS missed term work policy and supporting documentation is required.

•   An ACORN-based absence declaration covers a period of up to 7 consecutive calendar days.

•   The declaration cannot be used formatters that require a petition (e.g., final exam/final assessment).

In addition to the above, please note that you are responsible for submitting a Request for Special Consideration formto the DVS undergraduate counsellor, s.sullivan@utoronto.caon the day of absence, to request the academic

consideration you are seeking. Extensions or deferred tests can only be granted

because of circumstances beyond your control (severe illness, accident, death of a

loved one, etc.).  All such requests must be submitted within 48 hours from the date of the missed test or assignment. Late submissions will NOT be considered.

In case of emergencies (medical or other) contact the Undergraduate Counsellor Steph Sullivan ats.sullivan@utoronto.cawithin 24hrs of the due date of an assignment or

test.

No penalty will be assigned if your request for special consideration, described above, was successful.

For the fall 2023 term, electronic copies or any other kinds of documentation will suffice.

Taping/Recording/Photographing Lectures: Lectures and course materials prepared by the instructor are considered by the University to bean instructor’s intellectual

property covered by the Canadian Copyright Act. Students wishing to record lecture or other course material in anyway are required to ask the instructor’sexplicit permission and may not do so unless permission is granted. This includes tape recording, filming,    photographing Zoom sessions, PowerPoint slides, Quercus materials, etc. Such

permission includes accommodations from Accessibility Services. Any permission

granted is only for that individual student’s own study purposes and does not include permission to “publish” them in anyway. It is absolutely forbidden for a student to publish an instructor’s notes to a website or sell them in other forms without formal permission.

DVS Grammar and Spelling Standard for Written Assignments: We expect students  enrolled in university courses to have mastered basic skills in spelling and grammar. All papers must exhibit proper spelling (including proper names, places, and words in foreign languages) and g