the
ROBERT GORDON
UNIVERSITY
aberdeen
Gray’s School of Art
Stage 2 and 3: 2006-2007
Contextual and Critical Studies – Mini-Programme 1
Elevating the Ordinary
Narratives on the Everyday
Tutor: Andrea Peach
email: (tel: 263692)
ELEVATING THE ORDINARY
NARRATIVES ON THE EVERYDAY
This programme will look at the idea of ‘the everyday’ and its influence in contemporary art, design and material culture. It will examine the history of how everyday objects have influenced art and design, and why ‘readymades’ continue to provide a source of inspiration to contemporary artists and designers. Using examples from contemporary art and design, the programme will consider different narratives that encompass the notion of the everyday including: Situating the Everyday, the Secret Meaning of Things, the Strangely Familiar and Elevating the Ordinary.
1. INTRODUCTION AND TIMETABLE
This programme comprises one of three mini-programmes running in Semester One 2006/07. Each programme runs across 3 weeks, and includes a lecture on Mondays at 1.00 pm, SB42 Scott Sutherland School, followed by seminars for Stage 2 on Tuesdays in SC24 Scott Sutherland School and workshops for Stage 3 on Thursdays in SC24 Scott Sutherland School. Seminar and workshop groups and times will be posted on the CCS noticeboard (by the art school shop). Students must come to the seminars/workshops prepared to participate. Weekly seminar can be found in the course outline. Assessment will be based on seminar participation and a written assignment. Details of the assignment are given below.
In Semester One Stage 2 students elect 2 mini-programmes for assessment; Stage 3 students elect only 1 mini-programme for assessment.
Attendance of ALL lectures (of all 3 programmes) is mandatory for all students
WEEK
2006/07 / 125 Sept / 2
2 Oct / 3
9 Oct / 4
16 Oct / 5
23 Oct / 6
30 Oct / 7
6 Nov / 8
13 Nov / 9
20 Nov / 10
27 Nov / 11
4 Dec / 12
11 Dec / 13 / 14 / 15
STAGE TWO / Intro and sign up / Mini-Programme 1
Andrea Peach
Lecture Monday / Mini-Programme 2
Allan Harkness
Lecture Monday / Mini-Programme 3
Lesley Scott
Lecture Monday / Christmas Break / Reading Week / Assessment / Assessment
Seminar
1
Tuesday / Seminar
2
Tuesday / Seminar
3
Tuesday / Seminar
1
Tuesday / Seminar
2
Tuesday / Seminar
3
Tuesday / Seminar
1
Tuesday / Seminar
2
Tuesday / Seminar
3
Tuesday
WEEK
2006/07 / 125 Sept / 2
2 Oct / 3
9 Oct / 4
16 Oct / 5
23 Oct / 6
30 Oct / 7
6 Nov / 8
13 Nov / 9
20 Nov / 10
27 Nov / 11
4 Dec / 12
11 Dec / 13 / 14 / 15
STAGE THREE / Intro and sign up / Mini-Programme 1
Andrea Peach
Lecture Monday / Mini-Programme 2
Allan Harkness
Lecture Monday / Mini-Programme 3
Lesley Scott
Lecture Monday / Christmas Break / Reading Week / Assessment / Assessment
Work
shop
1
Thurs / Research Training
Thurs / Work
shop
2
Thurs / Work
shop
1
Thurs / Research Training
Thurs / Work
shop
2
Thurs / Work
shop
1
Thurs / Research Training
Thurs / Work
shop
2
Thurs
2. OVERALL OBJECTIVES OF THE CONTEXTUAL AND CRITICAL STUDIES MINI-PROGRAMMES
The Contextual and Critical Studies mini-programmes aim to encourage discussion of contemporary practice and theory with a view to situating that discussion in a wider cultural and historical framework, and enable you to make links with your studio practice. At the end of this series of mini-programmes you will be expected to:
· Demonstrate an increased understanding of both the historical and contemporary context relating to art and design theory and practice.
· Demonstrate, the ability to analyse and criticise your own studio work in relation to a wider cultural context.
· Demonstrate an ability to undertake research relevant to the critical aims of the programme, using both paper based and electronic sources.
· Build up confidence in discussing and sustaining a critical argument that is clear and consistent.
· Begin to develop self- directed areas of research in Contextual and Critical studies related to your studio practice and emerging critical interests
3. STAGE TWO COURSEWORK
Seminar Participation and Attendance
There are three seminars for each mini-programme in Stage 2. The seminars will follow the theme of the lectures and will address a particular issue each week. Students will be placed in groups and are expected to contribute to the seminars as part of their assessment. For this reason, it is essential that students attend all lectures and seminars relating to their elected mini-programme. If for any reason, you are unable to attend, please email your tutor. Details of the seminar tasks and groups will be found in the weekly schedule that follows and will be discussed in the first seminar.
Assessment
This semester you are asked to complete one piece of assessment. Select one of the two Mini Programmes followed and respond to the Brief in the relevant Course Programme. The brief for this Mini Programme is as follows:
Brief:
There are two components to the assessment comprising a Critical Notebook and an Essay.
Critical Notebook
Apply personal reflection and academic research to compile a Critical Notebook inspired by the mini-programme theme. Where possible relate the content to your own studio activity and interests. The Critical Notebook should be contained within a hard-backed notebook, no larger than A3, and can comprise writing, drawings, photographs, sketches and any other materials relevant to the analysis and criticism of your chosen mini-programme. It should contain your responses and thoughts in relation to the lectures and seminars, as well as any additional research and development you have undertaken in relation to these.
Essay
Using at least two specific images or objects, discuss how and why the idea of ‘the Everyday’ informs the work of artists or designers and why it continues to be an enduring and relevant theme in contemporary visual arts practice. Conclude by considering what you would understand by the term, ‘the Everyday’.
You are advised to limit your focus by selecting, perhaps, one aspect of the Everyday introduced by the programme and ensuring that you only discuss a limited number of images, artists, photographers etc. Remember that depth is always preferable to breadth in essays!
Your essay should comprise approximately 1000-1500 words, must be fully word-processed and include a comprehensive bibliography. You will be expected to reference all sources used in your text, using the Vancouver referencing system (see section 5: ‘Referencing Sources’ for details).
The latest submission date for this written assignment is: Friday 5 January 2007. If you have elected to take either Andrea or Allan’s programme for assessment, you should aim to hand in before Christmas.
4. STAGE THREE COURSEWORK
Workshop Participation and Attendance
There are two workshops for each mini-programme in Stage 3. The workshops will encourage students to develop their own line of study and research related to the theme of the programme. Students will be placed in groups and expected to contribute to the workshops as part of their assessment. For this reason, it is essential that students attend all lectures and workshops relating to their elected mini-programme. If for any reason, you are unable to attend, please email your tutor. Details of the workshop tasks and groups will be found in the weekly schedule that follows and will be discussed in the first workshop.
Research Training
In addition to the workshops, there will also be a research training session at the RGU library. This session will give students advanced information retrieval skills necessary to conduct self-directed research and is a mandatory part of the mini-programme. Details of the programme schedule and groups will be given in the first workshop.
Critical Notebook Assignment
Stage 3 students will be asked to submit a Critical Notebook, which should explore a critical theme of your choice, directly relating to the mini-programme, your own studio activity and interests. The Critical Notebook should be contained within a hard-backed notebook, no larger than A3, and can comprise writing, drawings, photographs, sketches and any other materials relevant to the analysis and criticism of your chosen mini-programme. It should contain your responses and thoughts in relation to the lectures and seminars, as well as any additional research and development you have undertaken in relation to these.
Your Notebook will also include a formal written component, to be based on a critical theme of your choice and a specific research question to be developed in the workshops. Where possible your response should make links between the programme theme and contemporary practice, and where appropriate, with your own studio interests. Your final written assignment will be 2500-3000 words in length, fully word-processed and include a comprehensive bibliography. You will also be expected to reference all sources used in your text, using footnotes (see section 5: ‘Academic Presentation’ for details).
The submission date for the Critical Notebook for this mini-programme is: Monday 6 November 2006.
5. REFERENCING SOURCES
RGU has adopted two systems for referencing sources: Harvard (also known as Author/Date) and Vancouver (also known as ‘endnotes’ or ‘footnotes’). For your written assignment, we recommend that you use Vancouver and Footnotes. You will find information on Vancouver in handouts available from the CCS website, at www.studioit.org.uk See:
· Vancouver Referencing System – Sheet of examples
· Guide to Academic Referencing
Please note that failure to fully reference quotations and sources constitutes plagiarism which is a serious academic offence with corresponding penalties. Consult your tutor if you have any queries about referencing.
6. EXTENSION REQUESTS
Extensions will only be granted in exceptional circumstances, which encompass serious and acute problems or events which genuinely affect your ability to complete coursework on time. Such circumstances could include: serious physical or mental illness (must have doctor's certificate), serious illness or death of an immediate family member or close friend. 'Exceptional circumstances' do not include colds, headaches, hangovers, poor time management, problems caused by English
not being your first language, and circumstances within your control (absence due to holidays, weddings, jobs etc). To request an extension please complete a Coursework Extension Request Form (available from your CCS tutor or School Office). This form must be submitted before the coursework submission date, and include written documentation (medical certificates etc.) where relevant. Claims are reviewed by your CCS tutor and treated as confidential.
Coursework handed in after the hand-in date, which is not supported by a fully approved Coursework Extension Request Form will be recorded as a non-submission. There will be no exceptions.
Week 2 Semester 1Monday 2nd October
1.00 SB42
Scott Sutherland School /
LECTURE 1: Situating the Everyday: A Brief History
Key Issues and Questions· Brief History of The Everyday in Visual Art
· The Readymade
· Dada and Surrealism
Key Artists, Designers and Works
· Fountain (1917) – Marcel Duchamp (1887-1968)
· Gift (1921) – Man Ray
· Portrait of a Young American Girl in the State of Nudity (1915) Francis Picabia
Key Writers
· Sigmund Freud – The Psychopathology of Everyday Life, (1901)
· Marcel Duchamp – The Creative Act (1957)
Required Reading / · Marcel Duchamp The Creative Act; The Richard Mutt Case; Apropos of ‘Readymades’ in Theories and Documents of Contemporary Art, Kirstine Stiles, University of California Press: Berkeley CA, 1996, pp. 818-820
· Anti-Art Gestures in Early Modernism – Duchamp and Dada, in Conceptual Art, Tony Godfrey, Phaidon: London, 1998, pp. 19-52
Additional Reading / · Dada and Surrealism: The Poetics of Everyday Life, in Critiques of Everyday Life, Michael E. Gardiner, Routledge: London, 2000, pp. 24-42
· Surrealism – The Marvellous in the Everyday, in Everyday Life and Cultural Theory, Ben Highmore, Routledge: London, 2002, pp. 45-59
Seminar Assignment / · Reflect on the themes covered in the lecture and come to the seminar prepared to discuss the thinking behind Duchamp’s use of everyday objects in his Readymades. What contemporary parallels can be drawn?
Week 3 Semester 1
Monday 9th October
1.00 SB42
Scott Sutherland School /
LECTURE 2: The Secret Meaning of Things: Material Culture and The Everyday
Key Issues and Questions· The Study of Material Culture
· Utility and Significance in Everyday Objects
· Semiotics
Key Artists, Designers and Works
· Richard Hamilton – Just What is it that Makes Today’s Homes so Interesting (1956)
· Tony Cragg – Five Bottles on a Shelf (1982)
· Jake and Dinos Chapman – The Chapman Family Collection (2002)
Key Writers
· Roland Barthes – Mythologies (1957)
· Mihaly Csikszentmihalyi – The Meaning of Things (1999)
Required Reading / · Plastic, Roland Barthes, in The Everyday Life Reader, Ben Highmore (ed), Routledge: London, 2002, pp. 305-308
· Animate Objects, Krystal Chang, in things, 17-18, Spring 2004, pp.166-168
Suggested Reading / · Design and Order in Everyday Life, Mihaly Csikszentmihalyi in The Idea of Design A Design Issues Reader, Victor Margolin, Richard Buchanan (eds), The MIT Press: Cambridge Massachusetts, 1995, pp.118-126.
· Ideologies of the Everyday, in Cultural Studies, Will Brooker, Teach Yourself Books: London, 1998, pp. 41-48
· Utility and Significance, in Toothpicks and Logos – Design in Everyday Life, John Heskett, Oxford University Press, 2002, pp.36-54
· Rough Magic: Bags [2000], Steven Connor in The Everyday Life Reader, Ben Highmore (ed), Routledge: London, 2002, pp. 346-351
· Speck: A Curious Collection of Uncommon Things, Peter Buchannan-Smith, Princeton Architectural Press: New York, 2001
Seminar Assignment / · Barthes argues that in capitalist, secular cultures, commodities are imbued with magical qualities normally attributed to sacred objects, and that it is ‘the everyday’ which becomes ‘mythologised’. Come prepared to discuss an everyday artifact that can be ‘read’ as both object and sign, or object and ‘myth’.
Week 4 Semester 1
Monday 16th October
1.00 SB42
Scott Sutherland School /
LECTURE 3: Stangely Familiar: Art, Design and Evocation
Key Issues and Questions· Objects of Memory
· The Souvenir
· Personal Museums
Key Artists, Designers and Works
· Rachel Whiteread – Closet (1988)
· Christian Boltanski – Canada (1988)
· Tejo Remy – Rag Chair (1991)
· Gijs Bakker – Wallpaper Peepshow (1992)
Key Writers
· Marcel Proust – In Search of Lost Time (1912); www.tempsperdu.com
· Walter Benjamin - The Arcades Project (1940)
Required Reading / · Photographs as Objects of Memory, Elizabeth Edwards, in Material Memories: Design and Evocation, Marius Kwint (ed), Berg: Oxford, 1999. pp. 221-236.
· Memory and Objects, Juliet Ash, in The Gendered Object (ed Pat Kirkham), Manchester University Press, Manchester: 1996, pp. 219-224
Suggested Reading / · Introduction, Remembering as Cultural Process, Elizabeth Hallam and Jenny Hockey, in Death Memory and Material Culture, Berg: Oxford, 2001. pp. 1-21.
Seminar Assignment / · Many writers, most notably Marcel Proust, have written about the ways in which time and memory are encoded in our perception of everyday things. Come to the seminar with an example of work from a contemporary artist or designer, which explores the idea of memory and ‘the familiar’ using everyday objects.
7. BIBLIOGRAPHY AND ADDITIONAL SOURCES