Module Catalogue 2024/25

Pre Requisite Comment

Students should have successfully completed stage 1 Art History modules and one stage 2 Art History module.

Co Requisite Comment

N/A

Aims

In the 1980s, the idea of national schools of art gave way to the notion of a “global” contemporary art. Biennials, international events and the internet have all drawn artists into globalised networks of art-world attention and opened up possibilities for collaboration. At the same time, global inequalities, neoliberal policies and neo-colonial politics continue to shape the art world. This course will explore the manner in which globalisation has both shaped and itself become a theme in artistic production that intentionally reviews its own conditions and parameters. It will introduce students to theoretical concepts surrounding globalisation and their implications for artistic practice. Particular areas of focus will include the rise of the biennial and international exhibitions, the possibilities for the exercise of the political in contemporary art, articulations of migration and displacement through the visual, the impact of digitisation on art production and reception, as well as the emergence of the “archival turn”.

Outline Of Syllabus

The course will examine the relationship between contemporary art and globalisation concentrating on the period from the 1980s to the present. It will begin with a consideration of biennales and international exhibitions such as Documenta, the Dakar Biennale and Bamako Encounters, and their role in the globalisation of contemporary art. It will also question whether only contemporary art can be considered “global” by introducing selected international exhibitions of modern art in the Global South. It will then explore the work of artists including Larissa Sansour, Fred Wilson, Khalil Rabah, Marwa Arsanios, Doris Salcedo and others in relation to questions of politics, memory, migration and the digital. Integral to the course will be a consideration of how vernacular and studio photography from Africa has become reframed as contemporary art when exhibited in international contexts. Consideration of these issues will be informed by writings of theorists, artists and curators including Salah Hassan, Hito Steyerl, Okwui Enwezor and Fredric Jameson. The course will be structured around a series of lectures and seminars, which will provide an opportunity for further exploration of art works and theory.

Intended Knowledge Outcomes

On completion of Contemporary Art and Globalisation, student at Stage 3 should have knowledge of:

The major themes and art works in contemporary art, 1980s-Present, as they relate to issues surrounding globalisation.

Contextual factors - cultural, social, political and institutional - that influence the creation of artworks, their exhibition and reception.

Key theoretical texts pertaining to contemporary art and globalisation, as well as their critiques

A range of interpretational methods from art history, theory and curatorial practice.

The distinct contributions made by theory after postmodernism to the study of art.

Intended Skill Outcomes

On completion of Contemporary Art and Globalisation, students should have developed skills in:

1)       Analysing contemporary art in relation to theoretical texts.

2)       Presenting ideas in a clear and engaging manner through essays and oral presentations.

3)       Thinking critically about cultural production, historiography and theory.

4)       Researching a topic and making productive use of the library and appropriate online resources.

5)       Engaging with interdisciplinary texts and evaluating appropriate material to inform relevant debates.

6)       Assessing information, ideas and theoretical points of view in order to reach independent conclusions.

7)       Debating ideas in both in-person and online group discussions.

8)       Using visual analysis as a critical tool.

9) Curatorial practice, e.g. through writing exhibition labels or conceptualising an exhibition idea in relation to the visual material and theoretical texts studied in the course.

Teaching Rationale And Relationship

1. Lectures: to allow definition of the scope of the syllabus, an introduction to a body of knowledge, and modelling of the level and nature of the analysis required. PIP lectures will be supplemented with online material (in the form of pre-recorded lecture materials, relevant videos, etc.) to make the module content more accessible, manageable and digestible.

2. Seminars: to encourage interaction and the development of cognitive and key skills; to allow preparation and presentation of directed research on specific issues and case studies. Seminars help to foster collegiality among the cohort and are an important supplement to the teaching delivered by group discussions.

3. Canvas discussion groups: to allow for more innovative, interactive and cross-curricular teaching.

Nb. In person lectures and seminars can move to synchronous and asynchronous online delivery as required in response to pandemic-related restrictions.

Assessment Rationale And Relationship

The Essay affords students the opportunity to conduct academic research into a topic of their choice relating to the module content, with the question(s) set by the module leader. The questions encourage students to engage closely with the key topics, critical ideas and practices studied on the module curriculum. The assessment will be supported by critical discussions undertaken during the seminars and/or discussion boards. The assignment is designed to develop critical thinking, the ability to develop an argument, writing skills, visual analysis and theoretical comprehension.

The Visual Analysis Case Study offers students the chance to hone writing and analytical skills in advance of the essay in a formative and less pressurised context. The formative nature of the assessment will permit faster feedback, allowing the case study analysis to feed fully into the summative essay.

General Notes

NA