READING SCHEDULE (Please complete all the readings prior to the date for which they are assigned). Group Reading Journals due every Thursday by 6:00PM in a single PDF or WORD Doc (email them to me).
Art 130 Reading Schedule: Summer Session A 2025
WEEK 1 (June 23 & 25): Course Introduction. Art and the Connected World Part I. Respini, Art in the Age of the Internet: 1989 to Today
Monday, June 23: Course Introduction via Zoom: https://ucsb.zoom.us/j/83111992304
Wednesday, June 25: Art and the Connected World Part I. Respini, Art in the Age of the Internet: 1989 to Today
Group 1: p. 11-30 (end at States of Surveillance)
Group 2: p. 30-41 (begin at States of Surveillance)
Group 3: p. 42-49
Group 4: p. 50-57
Group 5: p. 58-64
• Respini, Eva. “Preface” and “No Ghost Just a Shell.” Art in the Age of the Internet: 1989 to Today, 2018, p. 11-41.
• Jones, Caroline A. “Cybercultural Servomechanisms: Modeling Feedback around 1968.” Art in the Age of the Internet: 1989 to Today, 2018, p. 42-49.
• Conaty, Kim. “Machines, Tools, and Blueprints: Charting a Connected World.” Art in the Age of the Internet: 1989 to Today, 2018, p. 50-57.
• Sutton, Gloria. “CTRL ALT DELETE: The Problematics of Post-Internet Art.” Art in the Age of the Internet: 1989 to Today, 2018, p. 58-64.
WEEK 2 (June 30 & July 2): Art and the Connected World Part II. Art in the Age of the Internet: 1989 to Today
Monday, June 30:
Group 1: p. 66-72, p. 74-81
Group 2: p. 82-88, p. 90-95
Group 3: p. 96-104, p. 108-109
Group 4: p. 148-151, p. 154-155, p. 184-187
Group 5: p. 190-191, p. 224-225, p. 248-251, p. 254-255
• Griffin, Tim. “Gaming Reality.” Art in the Age of the Internet: 1989 to Today, 2018, p. 66-72.
• Lax, Thomas J. “Modern Problems.” Art in the Age of the Internet: 1989 to Today, 2018, p. 74-81.
• Jones, Caitlin. “IT’S A WEBSITE: The Enduring Promise of Art Online.” Art in the Age of the Internet: 1989 to Today, 2018, p. 82-88.
• Cornell, Lauren. “Professional Surfers.” Art in the Age of the Internet: 1989 to Today, 2018, p. 90-95.
• Kholeif, Omar. “HELLO WORLD, GOODBYE WORLD, AND HELLO AGAIN!: Looking at Art After the Internet.” Art in the Age of the Internet: 1989 to Today, 2018, p. 96-104.
• De Blois, Jeffrey. “Networks and Circulation.” Art in the Age of the Internet: 1989 to Today, 2018, p. 108-109.
• Leeson, Lynn Hershman and Hito Steyerl. “CONVERSATION: Lynn Hershman Leeson and Hito Steyerl.” Art in the Age of the Internet: 1989 to Today, 2018, p. 148- 151.
De Blois, Jeffrey. “Hybrid Bodies.” Art in the Age of the Internet: 1989 to Today, 2018, p. 154-155.
• Kline, Josh and Paul Pfeiffer. “CONVERSATION: Josh Klein and Paul Pfeiffer.” Art in the Age of the Internet: 1989 to Today, 2018, p. 184-187.
• De Blois, Jeffrey. “Virtual Worlds.” Art in the Age of the Internet: 1989 to Today, 2018, p. 190-191.
• De Blois, Jeffrey. “States of Surveillance.” Art in the Age of the Internet: 1989 to Today, 2018, p. 224-225.
• Syms, Martine and Wu Tsang. “CONVERSATION: Martine Syms and Wu Tsang.” Art in the Age of the Internet: 1989 to Today, 2018, p. 248-251
• De Blois, Jeffrey. “Performing the Self.” Art in the Age of the Internet: 1989 to Today, 2018, p. 254-255.
Wednesday, July 2: Gronlund. Contemporary Art and Digital Culture
Group 1: p. 1-16. Introduction.
Group 2: p. 17-35 (stop at "Not a version, not a copy: the introduction of the digital")
Group 3: p. 35-51 (start at "Not a version, not a copy: the introduction of the digital")
Group 4: p. 56-64 (stop at "Nouvelle Tendance")
Group 5: p. 64-84 (start at "Nouvelle Tendance")
• “Introduction: Beyond the Visible Image.” Contemporary Art and Digital Culture, 2017, p. 1-16.
• “Reproducibility and Appropriation in the Twentieth Century: Precursors to the Digital Age.” Contemporary Art and Digital Culture, 2017, p. 17-55.
• “Cybernetics and the Posthuman: The Emergence of Art Systems.” Contemporary Art and Digital Culture, 2017, p. 56-84.
WEEK 3 (July 7 & 9): Off Campus trip to LACMA on Saturday, July 12
(no on campus meetings on Monday, July 7 & Wednesday, July 9 in lieu of LACMA trip). This field trip is mandatory, and you need to fill out the liability waiver HERE.
Assignment (Due Monday, July 14 at 11:00AM in class): Write a 4-5 page (total) museum response paper for the following exhibits: 1) Digital Witness: Revolutions in Design, Photography, and Film (through July 13), 2) Imagining Black Diasporas: 21st-Century Art and Poetics (through July 27) and 3) Zheng Chongbin: Golden State (through January 4, 2026).
If you cannot make it on one of the LA museum field trips, then you may go to the Santa Barbara Museum of Art (SBMA) in lieu of one of the two museum trips (not both). If this is the case, then here is your alternative assignment at the SBMA:
Alternative Assignment at the SBMA (Due Monday, July 14 at 11:00AM in class): Write 5-6 pages total 1) Proscenium: Elliott Hundley (though August 31), 2) Math + Art (through August 24), 3) Guides to Enlightenment: Tibetan Paintings from the Museum’s Collection (through August 17), 4) Sea of Ice: Echoes of the European Romantic Era (through August 24).
WEEK 4 (July 14 & 16): Gronlund. Contemporary Art and Digital Culture.
Monday, July 14:
Group 1: p. 88-99
Group 2: p. 100-117
Group 3: p. 120-132 (stop at "The violence inherent in the system)
Group 4: p. 132-147 (start at "The violence inherent in the system)
Group 5: p. 151-161 (stop at "Foul perfections")
• “Challenges to Immateriality: Posthumanist Thought and Digitality.” Contemporary Art and Digital Culture, 2017, p. 88-119.
• “Violence and the Surveilled Internet.” Contemporary Art and Digital Culture, 2017, p. 120-150.
• “Identity, Language, and the Body Online.” Contemporary Art and Digital Culture, 2017, p. 151-187.
Wednesday, July 16: Gronlund. Contemporary Art and Digital Culture
Group 1: p. 161-171 (start at "Foul perfections" and stop at "Commodity aesthetics")
Group 2: p. 171-183 (start at "Commodity aesthetics")
Group 3: p. 188-194 (stop at "Blogospheres")
Group 4: p. 194-202 (start at "Blogospheres" and stop at "Historiography")
Group 5: p. 202-214 (start at "Historiography")
• “Identity, Language, and the Body Online.” Contemporary Art and Digital Culture, 2017, p. 151-187
• "The Art World Infrastruction Post-Internet." Contemporary Art and Digital Culture, 2017, p. 188-214.
WEEK 5 (July 21 & 23): Getty Field Trip on Saturday, July 26. No on campus meetings this week (on Monday, July 21 and Wednesday, July 23). We are meeting at the Getty Center instead.
Assignment (Due Monday, July 28 at 11:00AM in class): Write a 4-5 page (total) response paper for the following exhibits at the Getty: 1) Artemisia's Strong Women: Rescuing a Masterpiece (through September 14), 2) Queer Lens: A History of Photography (through September 28), 3) Select an exhibition at the Getty that you were particularly interested in, and discuss why it impacted you.
If you cannot make it on one of the LA museum field trips, then you may go to the Santa Barbara Museum of Art (SBMA) in lieu of one of the two museum trips (not both). If this is the case, then here is your alternative assignment at the SBMA:
Alternative Assignment at the SBMA: Write 5-6 pages total 1) Proscenium: Elliott Hundley (though August 31), 2) Math + Art (through August 24), 3) Guides to Enlightenment: Tibetan Paintings from the Museum’s Collection (through August 17), 4) Sea of Ice: Echoes of the European Romantic Era (through August 24).
WEEK 6 (July 28 & 30): MacDowall and Budge. Art After Instagram: Art Spaces, Audiences, Aesthetics. Getty Museum response paper due on Monday, July 28 at 11:00AM (in class).
Monday, July 28:
Group 1: Chapter 1. p. 1-10.
Group 2: Chapter 2. p. 12-25.
Group 3: Chapter 3. p. 29-42.
Group 4: Chapter 4. p. 45-58.
Group 5: Chapter 5. p. 63-78.
• “Art Spaces, Audiences, Aesthetics.” Art After Instagram: Art Spaces, Audiences, Aesthetics, Chapter 1, p. 1-10.
• “The Architecture of Instagram.” Art After Instagram: Art Spaces, Audiences, Aesthetics, Chapter 2, p. 12-25.
• “Art Spaces: Places and Spaces of Art.” Art After Instagram: Art Spaces, Audiences, Aesthetics, Chapter 3, p. 29-42.
• “Instagram, Art and Space.” Art After Instagram: Art Spaces, Audiences, Aesthetics, Chapter 4, p. 45-58.
• “Instagram’s Audiences.” Art After Instagram: Art Spaces, Audiences, Aesthetics, Chapter 5, p. 63-78.
Wednesday, July 30: MacDowall and Budge. Art After Instagram: Art Spaces, Audiences, Aesthetics
Group 1: Chapter 6. p. 80-92.
Group 2: Chapter 7. p. 97-111.
Group 3: Chapter 8. p. 114-128.
Group 4: Chapter 9. p. 130-143.
Group 5: Chapter 10. p. 145-151.
• “How Instagram us Changing Art Audiences.” Art After Instagram: Art Spaces, Audiences, Aesthetics, Chapter 6, p. 80-92.
• “Instagram and Aesthetics.” Art After Instagram: Art Spaces, Audiences, Aesthetics, Chapter 7, p. 97-111.
• “Artists on Instagram.” Art After Instagram: Art Spaces, Audiences, Aesthetics, Chapter 8, p. 114-128.
• “The Alchemy of Aesthetics and the Social.” Art After Instagram: Art Spaces, Audiences, Aesthetics, Chapter 9, p. 130-143.
• “Instagram as Institution and Infrastructure.” Art After Instagram: Art Spaces, Audiences, Aesthetics, Chapter 10, p. 145-151.
Research Paper Due: Saturday, August 2 by 11:30 PM PT.
*************************************************************************************************If you cannot make it on one of the LA museum field trips, then you may go to the Santa Barbara Museum of Art (SBMA) in lieu of one of the two museum trips (not both). If this is the case, then here is your alternative assignment at the SBMA:
Alternative Assignment at the SBMA: 1) Proscenium: Elliott Hundley (though August 31), 2) Math + Art (through August 24), 3) Guides to Enlightenment: Tibetan Paintings from the Museum’s Collection (through August 17), 4) Sea of Ice: Echoes of the European Romantic Era (through August 24).
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