FIN3046 : Installation, Exhibition, Environment (Inactive)
- Inactive for Year: 2024/25
- Module Leader(s): Dr Kevin Lotery
- Owning School: Arts & Cultures
- Teaching Location: Newcastle City Campus
Semesters
Your programme is made up of credits, the total differs on programme to programme.
| Semester 2 Credit Value: | 20 |
| ECTS Credits: | 10.0 |
| European Credit Transfer System | |
Aims
This course traces a genealogy of installation as an artistic practice from the 1920s to the present. Through a series of case studies, lectures identify the key formal characteristics of installation art, focusing primarily on its 1) cross-disciplinary combination of architecture, visual art, design, and technologies of image production and display, and 2) its attention to the fully sensory apparatus of the viewer’s body. In doing so, the course details the social contexts and historical conflicts—from revolutionary cultures of the 1910s and 20s to consumer cultures of the 1980s and 90s—that conditioned installation art’s development. By the end of the course, students will be able to situate installation in relation to (and in conflict with) the histories of other artistic mediums and visual technologies, including sculpture, architecture, scenography, exhibition design, collage, and film. They will also grasp theories of spectatorship and understand installation as a form able to situate politics within the full physiological capabilities of the viewer’s body. By engaging a range of visual examples, students will also gain fluency in theories of interdisciplinary research and aesthetic production and be able to view them against their historical contexts.
Outline Of Syllabus
Rather than a chronological survey, this course traces a genealogy of installation art by looking closely at key contexts and practitioners from the 1920s to the present. The following topics will be covered:
Disorientation and Activation in Dada and Constructivism: Kurt Schwitters, El Lissitzky, Berlin Dada
The Surrealist Environment: Marcel Duchamp, Frederick Kiesler, and their Legacies for Contemporary Art
Pop Exhibition Design and the Future in the 1950s: Richard Hamilton at Newcastle, Alison and Peter Smithson in London
Pop Feminism and Womb Space in the 1960s: Niki de Saint Phalle, Louise Bourgeois, Yayoi Kusama, Woman House, Carolee Schneemann
The Museum Fiction from the 1960s to the 90s: Marcel Broodthaers, Claes Oldenburg, Fred Wilson, Museum of Transgender Hirstory and Art
Installation and Natural History in the 1990s: Diorama, Demonstration, Habitat: Mark Dion, Dominique-Gonzalez-Foerster
Cosmic Degradation: Installation and the Commodity in the 1980s and 90s: Isa Genzken, Gretchen Bender, Sarah Sze
The Archive and Installation: Renée Green, Thomas Hirschhorn, Tacita Dean, Sharon Hayes
Platform and Participation: Installing the Social in the 1990s and 2000s
Theorizing Post-Installation, Part I: Approaches to Catastrophe and Creation: Mika Rottenberg, Camille Henrot, Anicka Yi, Tomás Saraceno, Paul Chan
Theorizing Post-Installation, Part II: Paranoid Spaces: Hito Steyerl, Fia Backström, Walid Raad, Sarah Sze
Teaching Methods
Teaching Activities
| Category | Activity | Number | Length | Student Hours | Comment |
|---|---|---|---|---|---|
| Scheduled Learning And Teaching Activities | Lecture | 20 | 1:00 | 20:00 | N/A |
| Guided Independent Study | Assessment preparation and completion | 1 | 60:00 | 60:00 | N/A |
| Guided Independent Study | Directed research and reading | 1 | 20:00 | 20:00 | Seminar preparation |
| Scheduled Learning And Teaching Activities | Small group teaching | 10 | 1:00 | 10:00 | Seminars |
| Scheduled Learning And Teaching Activities | Small group teaching | 3 | 1:00 | 3:00 | Student Consultation Hours |
| Scheduled Learning And Teaching Activities | Workshops | 2 | 3:00 | 6:00 | Fieldtrips and Workshops |
| Guided Independent Study | Independent study | 1 | 81:00 | 81:00 | N/A |
| Total | 200:00 |
Jointly Taught With
| Code | Title |
|---|---|
| FIN2046 | Installation, Exhibition, Environment |
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.
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.
3.Student Consultation Hours: to provide feedback and analysis of the strengths and weaknesses of submitted work, and increase awareness of the potential for individual development.
4. Workshops and fieldtrips to allow for more innovative and cross-curricular teaching
Assessment Methods
The format of resits will be determined by the Board of Examiners
Other Assessment
| Description | Semester | When Set | Percentage | Comment |
|---|---|---|---|---|
| Written exercise | 2 | M | 40 | 2000 word visual analysis assignment based on a work of art. |
| Essay | 2 | M | 60 | 2500 word essay based on a topic of their choice. |
Assessment Rationale And Relationship
2000 word visual analysis assignment based on a work of art. Students responsible for situating the work within specific themes or questions.
2500 word essay based on a topic of their choice. Students will be expected to compare and contrast at least 3 different works and situate them within a specific problem within the history of installation art.
The written assignments will give students the chance to develop key theoretical and historical questions covered in class by applying them to specific works of art. Both assignments will also push students to develop visual analysis skills by asking them to describe formal characteristics carefully and clearly and by critically positioning them in relation to larger theoretical questions and debates. The assignments also afford students the opportunity to delve more deeply into aspects of the course that intrigue them on an individual basis. Seminar discussion will be a place for generating and verifying their work through peer work and discussion.
Written assignments will also push students to reflect on methodological issues that bear on installation art, particularly in relation to theories of spectatorship, cognition, and spectacle. They will ask students to compare and contrast different approaches to these issues both in the artworks and literature covered in class.
Reading Lists
Timetable
- Timetable Website: www.ncl.ac.uk/timetable/
- FIN3046's Timetable