WEEK 1 (June 22 & 24): Course Introduction. Art and the Connected World Part I. Respini, Art in the Age of the Internet: 1989 to Today
Monday, June 22: Course Introduction
Wednesday, June 24: 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 29 & July 1): Art and the Connected World Part II. Art in the Age of the Internet: 1989 to Today
Monday, June 29:
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 1: 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 6 & 8): Off Campus trip to LACMA on Saturday, July 11
(no on campus meetings on Monday, July 6 & Wednesday, July 8 in lieu of LACMA trip). This field trip is mandatory, and you need to fill out the liability waiver HERE.
Assignment (Due Wednesday, July 15 at 11:00AM in class): Write a 4-5 page (total) museum response paper for the following exhibits:
LACMA Response Paper: This is a 4-part assignment:
1) Write a 1-2-page response to the LACMA SUEÑO PERRO: A Film Installation by Alejandro G. Iñárritu exhibition.
2) Write a 1-2-page response to the LACMA Deep Cuts: Block Printing Across Cultures exhibition.
3) Write a 1-2-page response to the LACMA Fútbol Is Life: Animated Sportraits by Lyndon J. Barrois, Sr. exhibition.
4) Write a 1-2-page response to any of the exhibitions in the David Geffen Galleries at LACMA, and also discuss your response to the architecture.
Alternative Assignment for the SBMA. If you did not go to LACMA, then you must go to The Getty for the second field trip. (Due: Wednesday, July 15 by 11:00AM in class). This is a 5-part assignment:
- Write a 1-2-page response to the SBMA: Perceptual Shifts: Photographs from the Collection exhibition.
- Write a 1-2-page response to the SBMA: RANDOM-ACCESS MEMORY: Internet Art exhibition.
- Write a 1-page response to the SBMA: Remixed: Entwined Histories & New Forms exhibition.
- Write a 1-page response discussing other works of art or exhibitions that you particularly enjoyed at the SBMA.
Nota Bene: The museum trip is all-day immersive experience, and therefore the museum field trip is in lieu of both of the Art 130 seminars that week (section attendance is as scheduled that week). If you do not go to the museum that week, or do the writing assignment, then you will receive two absences for the missed lectures that week, and you won't be able to do your written assignment. Take a selfie at the museum, and works of art that were of interest to you, and include it in your paper as proof of attendance.
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 Wednesday, July 15 at 11:00AM in class): Write 5-6 pages total.
WEEK 4 (July 13 & 15): 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 15: 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 20 & 22): Getty Field Trip on Saturday, July 25. No on campus meetings this week (on Monday, July 20 and Wednesday, July 22). We are meeting at the Getty Center instead.
Assignment (Due Wednesday, July 29 at 11:00AM in class): Write a 4-5 page (total) response paper for the following exhibits at the Getty:
This is a 4-part assignment:
- Write a 1-2-page response to the Getty: Odilon Redon: Otherworldly Visions exhibition.
- Write a 1-2-page response to the Getty: Stendahl’s World: Marketing Ancient Mexico and Modern Art in Los Angeles exhibition (in the Getty Research Institute building).
- Write a 1-page response to another Getty exhibition of your choosing.
- Write a 1-page response discussing other works of art or exhibitions that you particularly enjoyed at the Getty. You may also discuss the gardens and architecture.
Alternative Assignment for the SBMA. If you did not go to the Getty Center, then you must have gone to LACMA for the first field trip. Only one alternative field trip to the SBMA in lieu of one LA museum field trip is allowed. (Due: Wednesday, July 29 by 11:00AM in class). This is a 5-part assignment:
- Write a 1-2-page response to the SBMA: Perceptual Shifts: Photographs from the Collection exhibition.
- Write a 1-2-page response to the SBMA: RANDOM-ACCESS MEMORY: Internet Art exhibition.
- Write a 1-page response to the SBMA: Remixed: Entwined Histories & New Forms exhibition.
- Write a 1-page response discussing other works of art or exhibitions that you particularly enjoyed at the SBMA.
Nota Bene: The museum trip is all-day immersive experience, and therefore the museum field trip is in lieu of both of the Art 130 seminars that week (section attendance is as scheduled that week). If you do not go to the museum that week, or do the writing assignment, then you will receive two absences for the missed lectures that week, and you won't be able to do your written assignment that week. Take a selfie at the museum, and works of art that were of interest to you, and include it in your paper as proof of attendance.
WEEK 6 (July 27 & 29): MacDowall and Budge. Art After Instagram: Art Spaces, Audiences, Aesthetics. Getty Museum response paper due on Wednesday, July 29 at 11:00AM (in class).
Monday, July 27:
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 29: 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 is 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 1 by 11:30 PM PT.
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