Analysis Assignment | Homework Help Websites

It is master level. please try to write in professional level
When you analysis the five artworks, these five artworks have connections with each other.  you need to analysis around one central point.
the following are the chosen artworks by client:
1. A Video
Sex, Lies and Videotape(1989) Director: Steven Soderbergh
Related links:
2. A sculpture
Nature Study (1996, cast 2004 by LOUISE BOURGEOIS)
3. A painting
The Luncheon on the Grass
French: Le Déjeuner sur l’herbe
Artist Édouard Manet
Year 1863
4. A painting
A Bearded Woman
5. A painting
The Dance by Henri Matisse
I would like to focus on the topic of Gender.
So I chose these 5 pieces of artwork in different period.
They show the gender stereotypes and the reconstruction of the gender. Moreover they
give people a new understanding of gender.

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Essay 2 (2000 words, 70%): Curatorial Proposal


This assignment is an exercise in curatorial writing and the preparatory steps of an exhibition proposal. Choose no more than five artworks either discussed in class or of your choosing (or a combination thereof) that in their grouping provide the basis for a small-scale exhibition with a clear, compelling and focused premise. You may choose any medium, e.g. painting, sculpture, installation, video, performance, etc. You can also include other objects outside of the five artworks, e.g. archival materials, historical objects, etc., if you think they would enrich the content and display. Submit as one Word document, each section identified clearly.


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Your Curatorial Proposition comprises three parts, to be clearly identified in your submission:

1) Exhibition Proposal; 2) Wall Labels; 3) Checklist


  1. The Exhibition Proposal (approx. 1000 words) situates the artworks/objects you’ve chosen within your curatorial framework and needs to assert the significance of your exhibition. If there is any desired programming to accompany the exhibition (e.g. symposium, panel discussion, performance, artist talk, etc.), include a brief description at the conclusion of the essay. If you have an exhibition location in mind, please include this information, but it is not mandatory.


An effective exhibition proposal should:

  • succinctly highlight the strength of each individual work, attending to form and concept, and explain how the curated group of artworks provides illuminating and provocative lines of thought
  • reflect careful thinking on relevant issues and ideas from the class. Original and critical reflection on established terms and theoretical frameworks will make your proposal more exciting and provocative
  • use writing that is concise, elegant, and critical, but addresses a broader public than that of an academic paper (ask yourself if your language could be understood by a secondary school student or a member of a museum’s board of directors)
  • keep quotations, footnotes and theoretical jargon to a minimum (footnoted references should not be necessary).


  1. Your Wall Labels (150-200 words each)provide a brief and compellingexplanation of the artwork, and if relevant, a sense of how it relates to the artist’s own biography and practice. Each label should also give a sense of how it broadly engages with the curatorial scheme. An effective didactic wall label should make the viewer want to return to the artwork to think about it further. You can find examples at various museums in the London area.




Dinh Q. Lê

Vietnamese-American, b. 1968

Untitled, from the series Cambodia: Splendor and Darkness, 1998

C-print and linen tape


During his childhood in Ha Tien, a Vietnamese town near the border with Cambodia, Dinh Q. Lê witnessed violent incursions by the Khmer Rouge. In the late 1970s he and his family settled in the United States as refugees, and Lê later received an MFA from the School of Visual Arts in New York. The series Cambodia: Splendor and Darkness (1994-9) marked a significant moment in his practice, occurring around the time that Lê decided to return to Vietnam and make his home in Ho Chi Minh City. It is the first major series in which he used the method of interweaving strips of photographs, following bamboo mat weaving techniques he learned from his aunt during his childhood. Here he juxtaposes two different images associated with Cambodia: bas-reliefs of battle scenes from the 12th-century temple of Angkor Wat, and photographs of prisoners from the Khmer Rouge detention center known as S-21, now the TuolSleng Genocide Museum. Lê creates a dialogue between two episodes of Cambodian history that he sees as intrinsically rooted in violence, producing an alternative means of memorializing these victims.



Zarina Hashmi

Indian, b. 1937

Travels with Rani, 2008

Intaglio on Arches Cover buff paper

Edition of 25


Zarina has worked in a variety of media and forms. At the core of her practice is printmaking, especially woodcut, but also etching. Her practice raises broader issues concerning homelessness and dispossession in the modern world.


Travels with Rani maps the places that Zarina visited with her sister, against a background composed of the names of the places they traveled to written in Urdu. Although their trips took them to both India and Pakistan, the artist has deliberately left out the border in her diagram. Urdu, written in the nastaliq style of Persian script, was widely used by Muslims in India until Partition, when it became the official language of Pakistan, and its usage in India declined.  About this the artist has written:

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I chose Urdu not for the beauty of the calligraphy or the exoticism of its aesthetics. I was placing my work in a historical moment, capturing a time when one wrote and read in Urdu. Urdu was born in Delhi; Amir Khusrau called it Hindawi, the language of Hindustan. Now we are witnessing the slow death of this language in the same city.



  1. Your Checklist provides an inventory of the artworks. Please provide thumbnail images with the following information:
    1. The artist’s name followed by year of birth and, optionally, place of birth).
    2. The title of the work (italicized).
    3. The date of the work.
    4. The medium of the work.
    5. The size of the work (cm or in.).
    6. The current location of the work (e.g. private collection, museum, etc.)


Example: VandyRattana (b. 1980, Phnom Penh, Cambodia), Preah Vihear, 2008, digital C-print, 60 x 90 cm. Herbert F. Johnson Museum of Art.


**Formatting Guidelines:

  • 12 pt. Times New Roman or Calibri font, double-spaced, 1 inch margins.
  • Images embedded in text closest to first reference. Full image captions including source (see Formatting Guidelines document on class Moodle site).
  • Consistent system of citation, either footnotes or in-text parenthetical, MLA or Chicago Manual of Style. Footnotes are typically used in art historical publishing.





Cottington, David. Modern Art: A Very Short Introduction. Oxford University Press, 2005.

Dumbadze, Alexander B., and Suzanne P. Hudson, eds. Contemporary Art: 1989 to the Present. Chichester, West Sussex, UK: Wiley-Blackwell, 2013.

Foster, Hal, ed. Art Since 1900: Modernism, Antimodernism, Postmodernism. New York: Thames & Hudson, 2011.

Hlavajova, Maria and Simon Sheikh Former West: Art and the Contemporary After 1989 MIT Press, 2018

Jones, Amelia, ed. A Companion to Contemporary Art since 1945. Malden, MA: Blackwell Pub, 2006.

Meyer, Richard. What Was Contemporary Art? MIT Press, 2013.

Smith, Terry. What Is Contemporary Art? University of Chicago Press, 2009.

Smith, Terry. Contemporary Art: World Currents. London: Laurence King, 2011.

Stallabrass, Julian. Contemporary Art: A Very Short Introduction. Oxford University Press, 2006.

Wood, Paul, ed. Art of the Twentieth Century: A Reader. Yale University Press, 2003.






Art21, “Contemporary Art in Context,”

Tate, Online Resources,

Stanford Encyclopedia of Philosophy,


Recommended writing manuals:

  • Gordon Harvey, Writing with Sources, 2nd (Indianapolis, IN: Hackett Publ., 2008)
  • Graff, Gerald, and Cathy Birkenstein. “They Say / I Say”: The Moves That Matter in Academic Writing (New York: W.W. Norton & Company, 2017)




WEEK 1. (3 Oct.) We Have Always Been Contemporary

Hasn’t art always been “contemporary” at the moment of its inception and reception? This introduction will situate Contemporary Art as a mode of art practice, a sub-field of art history, and as a representational discourse shaped by art criticism and theory. It also emphasizes the interlinked nature of the contemporary art world and those processes encompassed by the umbrella term “globalization”. We will also question how contemporary art, as a constellation of networked, transnational developments, has pushed the question of whether or not art history has really become global.



  • Danto, Arthur. “The Artworld.” The Journal of Philosophy 61, no. 19 (1964): 571- 84.
  • Carroll, Noël. “Art and Globalization: Then and Now.” The Journal of Aesthetics and Art Criticism 65, no. 1 (2007): 131-43.
  • Smith, Terry. “The State of Art History: Contemporary Art.” Art Bulletin 92, no. 4 (December 2010): 366-83.
  • Kee, Joan. “The World in Plain View: Form in the Service of the Global.” In Contemporary Art: 1989 to the Present, eds. S. Hudson and A. Dumbadze. Wiley-Blackwell, 2012, pp. 95-104.
  • Elkins, James. “Why Art History is Global.” In Globalization and Contemporary Art, ed. Jonathan Harris. Wiley-Blackwell, 2011, pp. 375-86.



WEEK 2. (10 Oct.): Temporalities and Traditions

It is said that in many parts of the world, modernism persists in the contemporary. What does this mean? In order to discern the difference between modernism and contemporary art as artistic philosophies and praxes rather than as periods on a presumedly universal art historical timeline, we need to first grasp the multiple enunciations of “modernism” in its ideological and material manifestations. These definitions can then clarify, and perhaps further complicate, the argument that there have historically been multiple modernities and forms of global modernism. Of importance to this discussion are concepts of tradition, trans/nationalism, and cosmopolitanism.



  • Moxey, Keith. “Is Modernity Multiple?” In Visual Time: The Image in History (Duke UP, 2013), pp. 11-22.
  • Dadi, Iftikhar. Modernism and the Art of Muslim South Asia (University of North Carolina Press, 2010), pp. 1-20.
  • Wainwright, Leon Timed Out: Art and the Transnational Caribbean (Manchester UP, 2011) pp. 1-18.



  • Craven, David. “The Latin American Origins of ‘Alternative Modernism’.” In The Third Text Reader on Art, Culture, and Theory, eds. R. Araeen, S. Cubitt, and Z. Sardar (London; New York: Continuum, 2002), pp. 24-35.
  • Fink, Katharina, Susanne Gerhard and Nadine Siegert FAVT: Future Africa Visions in Time Bayreuth Academy of Advanced African Studies
  • Friedman, Susan Stanford. “Definitional Excursions: The Meanings of Modern/Modernity/Modernism,”

Modernism/modernity 8, no. 3 (2001): 493-513.

  • Habermas, Jurgen. “Modernity: An Incomplete Project.” In The Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster. Port Townsend, WA: Bay Press, 1983, pp. 3-15.
  • Harney, Elizabeth. In Senghor’s Shadow: Art, Politics, and the Avant-garde in Senegal, 1960-1995. Duke UP, 2004.
  • Huyssen, Andreas. “Geographies of Modernism in a Globalizing World.” New German Critique 100 34, no. 1 (Winter 2007): 189-207.
  • Kapur, Geeta. When Was Modernism: Essays On Contemporary Cultural Practice in India. New Delhi: Tulika, 2000.
  • Khullar, Sonal. Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930-1990. University of California Press, 2015.
  • Latour, Bruno, and Catherine Porter. We Have Never Been Modern. Harvard UP, 1993.
  • Lenssen, Anneka. “The Plasticity of the Syrian Avant-Garde, 1964-1970.” ArtMargins 2, no. 2 (June 2013): 43-70.
  • Mathur, Saloni. “A Retake of Sher-Gil’s Self-Portrait as Tahitian.” Critical Inquiry 3 (2011): 515-544.
  • Mercer, Kobena, ed. Cosmopolitan Modernisms. MIT Press, 2005.
  • Mitchell, Timothy, ed. Questions of Modernity. University of Minnesota Press, 2000.
  • Mitter, Partha. The Triumph of Modernism: Indian Artists and the Avant-garde, 1922-1947. London: Reaktion, 2007.
  • O’Brien, Elaine, ed. Modern Art in Africa, Asia, and Latin America: An Introduction to Global Modernisms. Wiley-Blackwell, 2013.
  • Okeke-Agulu, Chika. Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria. Duke UP, 2015.
  • Tiampo, Ming. Gutai: Decentering Modernism. The University of Chicago Press, 2011.



WEEK 3 (17 Oct.): Abstraction and Medium-Specificity



  • Greenberg, Clement. “Modernist Painting (1961).” In Modern Art and Modernism: A Critical Anthology, eds. F. Frascina, C. Harrison, D. Paul (London: Sage Publications, 1982), pp. 5-10.
  • Krauss, Rosalind. “Grids,” in The Originality of the Avant-Garde and Other Modernist Myths (MIT Press, 1988), pp. 8-22.
  • Craven, David. “Abstract Expressionism and Third World Art: A Post-Colonial Approach to ‘American’ Art.”Oxford Art Journal 14, no. 1 (1991): 44–66.



  • Bürger, Peter. Theory of the Avant-Garde (University of Minnesota Press, 1984).
  • Clark, T.J. Farewell to an Idea: Episodes from a History of Modernism (Yale UP, 1999).
  • Clark, T.J. The Painting of Modern Life: Paris in the Art of Manet and His Followers (NY: Knopf, 1985).
  • Clark, T.J. “Clement Greenberg’s Theory of Art.” In Postmodern Perspectives: Issues in Contemporary Art, 2nd ed., ed. Howard Risatti. 1998, 20-36
  • Foster, Hal. The Return of the Real: The Avant-garde at the End of the Century (MIT Press, 1996).
  • Fried, Michael. “How Modernism Works: A Response to T.J. Clark,” in Risatti, 37-52.
  • Fried, Michael. Art and Objecthood: Essays and Reviews (University of Chicago Press, 1998).
  • Greenberg, Clement. “Avant-Garde and Kitsch.” Partisan Review 6, no.5 (1939): 34-49.
  • Guilbaut, Serge. How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War (University of Chicago Press, 1983).
  • Joseph, Branden. “White on White.” Critical Inquiry27 (Autumn 2000): 90-121.
  • Mercer, Kobena, ed. Discrepant Abstraction (London: Cambridge, MA: Institute of International Visual Arts; MIT Press, 2006).



WEEK 4 (24 Oct.): Socialist Realism, Pop and Politics

Behind the often humorous facades of works associated with Pop Art are profound critical reflections on social and political conditions. Beyond the collapse of high art and kitsch enacted by such figures as Andy Warhol and Roy Lichtenstein, “Pop” has frequently been used as a satirical strategy for commenting on major shifts in the economic, cultural, and political sectors following such events as the collapse of the Soviet Union, the fall of the Berlin Wall, and the dissolution of Communist ideologies throughout Asia and Eastern Europe. These expressions have been linked to such terms as Capitalist Realism, Cynical Realism and Political Pop. We will also look at pop as an expression of the “popular”, a means of engaging with vernacular visual idioms and vocabularies of the everyday, and a critical and creative strategy in contemporary art.



  • Groĭs, Boris Art Power MIT Press, 2008: 141-148. E-book in library catalogue
  • Groĭs, Boris ‘The Contemporary Condition’ in Hlavajova, Maria and Simon Sheikh Former West: Art and the Contemporary After 1989 MIT Press, 2018, 37-45
  • Sontag, Susan ‘Introduction’ in The Art of Revolution: 96 Posters from Cuba Pall Mall Press, 1970
  • Potts, Alex. “The Image Valued ‘As Found’ and the Reconfiguring of Mimesis in Post-War Art.” Art History 37, no. 4 (2014): 784-805.



  • Buck-Morss, Susan. Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West (MIT Press, 2002).
  • Citron, Beth. “Bhupen Khakhar’s ‘Pop’ in India, 1970-72.” Art Journal 71, no. 2 (2012): 44-61.
  • Curley, John. A Conspiracy of Images: Andy Warhol, Gerhard Richter, and the Art of the Cold War (Yale UP, 2013).
  • Dal Lago, Francesca. “Personal Mao: Reshaping an Icon in Contemporary Chinese Art.” Art Journal 58, no.2 (1999): 46-59.
  • Erjavec, Aleš, and and Boris Groĭs eds. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism(University of California Press, 2003).
  • Gardner, Anthony, Politically Unbecoming: Postsocialist Art Against Democracy MIT Press 2015
  • Hou Hanru. “Towards an ‘un’-unofficial art: De-ideologicalisation of Chinese contemporary art in the 1990s.” Third Text 34 (1996): 37–53.
  • Kapur, Geeta. “The Uncommon Universe of Bhupen Khakhar.” In Pop Art and Vernacular Cultures, ed. Kobena Mercer(MIT Press; Iniva, 2007), 110-135.
  • Koppel-Yang, Martina. “75% Red, 20% Black and 5% White: Pop Aesthetics in Post-Revolutionary China.” In Pop Art and Vernacular Cultures, ed. Kobena Mercer (MIT Press, 2007), pp. 198-218.
  • Morgan, Jessica, et al. The World Goes Pop(London: Tate, 2015).
  • Schudson, Michael. “Advertising as Capitalist Realism.” In Advertising, the Uneasy Persuasion: Its Dubious Impact on American Society. New York: Basic Books, 1984, pp. 209-33.
  • Weiner, Andrew S. “Stoffbilder: On Capitalist Realisms.” ArtMargins 4, no. 3 (2015): 81-102.




WEEK 5 (31 Oct.): Embodiment and Performance

Performance has long been considered a crucial vehicle for avant-garde practices in the 20th and 21st centuries, shaping numerous transnational artistic exchanges and communities. If performance art designates what is often considered a form of radical corporeal expression aimed at engaging a particular public, the notion of embodiment lends itself to what may be more materially-based yet abstract and dispersed forms of evoking and articulating the gendered body. This lecture considers actions by artists including the Japanese  Gutai Group and Brazilian artist Hélio Oiticica to consider the possibilities enacted through performance, public interventions, and embodied objects symbolising the gendered subject.



  • Phelan, Peggy. “The Ontology of Performance: Representation without Reproduction.” In Unmarked: The Politics of Performance. Routledge, 1993, pp. 146-66 (focus on the opening section; skim the rest if necessary).
  • Rodrigues da Silva, Renato (2005) “Hélio Oiticica’s Parangolé or the art of transgression”Third Text, 19:3, 213-231
  • Munroe, Alexandra “To Challenge the Midsummer Sun: The Gutai Group”, in Scream Against the Sky: Japanese Art After 1945, ed. Munroe, New York: Harry N. Abrams, and New York: Solomon R. Guggenheim Museum, 1994, pp 83-124.



  • Auslander, Philip. Liveness: Performance in a Mediatized Culture. Routledge, 1999.
  • Berghuis, Thomas J. Performance Art in China. Hong Kong: Timezone 8, 2006.
  • Dadi, Iftikhar. “Shirin Neshat’s Photographs as Postcolonial Allegories.” Signs 34, no. 2 (Autumn 2008): 125-50.
  • Dadi, Iftikhar. “Ghostly Sufis and Ornamental Shadows: Spectral Visualities in Karachi’s Public Sphere,” in Comparing Cities: The Middle East and South Asia, ed. Martina Rieker and Kamran Ali. Oxford University Press, 2009, pp. 159–93.
  • Foster, Hal et al ‘1955a’ in Art Since 1900, New York: Thames & Hudson, 2011pp.373-378
  • Jones, Amelia. Body Art/performing the Subject. University of Minnesota Press, 1998.
  • Jones, Amelia. “Feminist Pleasures and Embodied Theories of Art,” The Art of Art History: A Critical Anthology, 1st edition; ed. Donald Preziosi. Oxford University Press, 1998, pp. 383-95.
  • Kee, Joan “Situating a Singular Kind of ‘Action’. Early Gutai Painting, 1954-1957”, Oxford Art Journal 26:2 (2003), pp 123-140.
  • Kee, Joan. “Why Performance in Authoritarian Korea,” Tate Issues 23 (May 2015)
  • Kunimoto, Namiko, “Tanaka Atsuko’s Electric Dress and the Circuits of Subjectivity.” Art Bulletin 95, no. 3 (September 2013): 465-83.
  • Mansoor, Jaleh. “A Spectral Universality: Mona Hatoum’s Biopolitics of Abstraction.” October 133 (Summer 2010): 49-74.
  • Rodenbeck, Judith. “Yayoi Kusama: Surface, Stitch, Skin.” In Inside the Visible: An Elliptical Traverse of 20th Century Art in, of, and from the Feminine, ed. Catherine de Zegher. MIT Press, 1996.
  • Yoshimoto, Midori. Into Performance: Japanese Women Artists in New York. Rutgers UP, 2005.
  • Zitzewitz, Karen. “Life in Ruins: Materiality, the City, and the Production of Critique in the Art of Naiza Khan.” Journal of Asian Studies74, no. 2 (May 2015): 323-46.



WEEK 6 (7-11 Nov.): READING WEEK



WEEK 7 (14 Nov.): Decoloniality and the Artist/Art Historian as Ethnographer

Postcolonial theory has had a profound effect on contemporary art discourse, especially as it provided critical language for the increasing inclusion of artists from places once considered peripheral to the map of the art world. With noted artistic efforts to chart colonial pasts and neocolonial presents, particularly within the very structures and institutions of the global art world, the term “postcolonial” may not be sufficient in theorizing these conditions. This lecture examines the concept of decoloniality and the use of ethnography as both an artistic and art historical strategy to account for shifts in contemporary art associated with the global turn.



  • Foster, Hal. “The Artist as Ethnographer.” In The Traffic in Culture: Refiguring Art and Anthropology, George E. Marcus and Fred R. Myers (University of California Press, 1995), pp. 302-309.
  • Mignolo, Walter. “4 Museums in the Colonial Horizon of Modernity: Fred Wilson’s Mining the Museum (1992).” In Globalization and Contemporary Art, Jonathan Harris (Wiley-Blackwell, 2011), pp. 71-85.
  • Treagus, Mandy. “Yuki Kihara’s Culture for Sale and the History of Pacific Cultural Performance” Touring Pacific Cultures, edited by Kalissa Alexeyeff and John Taylor, ANU Press, Australia, 2016, pp. 141–166 (open access)




  • Araeen, Rasheed, Sean Cubitt, and Ziauddin Sardar, eds. The Third Text Reader: On Art, Culture and Theory. London: Continuum, 2002.
  • Araeen, Rasheed. “The Art of Benevolent Racism.” Third Text 51 (Summer 2000): 57-64.
  • Chakrabarty, Dipesh. Provincializing Europe: Postcolonial Thought and Historical Difference. Princeton University Press, 2000.
  • Clifford, James. “Diasporas.” Cultural Anthropology 9, no. 3 (August 1994): 302-38.
  • Dirlik, Arif. “The Postcolonial Aura: Third World Criticism in the Age of Global Capitalism.” Critical Inquiry 20, no. 2 (1994): 328-56.
  • Enwezor, Okwui ‘The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition’ in Antimonies of Art and Culture Duke UP, 2008) pp207-234
  • Hall, Stuart. “Cultural Identity and Diaspora.” In Identity: Community, Culture, Difference, ed. Jonathan Rutherford. London: Lawrence & Wishart, 1990.
  • Hassan, Salah and Iftikhar Dadi, eds. Unpacking Europe: Towards a Critical Reading. Rotterdam, the Netherlands: Museum Boijmans Van Beuningen, 2001.
  • Jameson, Fredric. “Third-World Literature in the Era of Multinational Capitalism.” Social Text 15 (Autumn, 1986): 65-88.
  • Kirshenblatt-Gimblett, B. “The Ethnographic Burlesque (The ‘Couple in the Cage’ by Coco Fusco and Paula Heredia).” TDR42, no. 2 (1998): 175-80.
  • Mercer, Kobena. “Iconography after Identity.” In Bailey, David A., Ian Baucom, and Sonia Boyce. Shades of Black: Assembling Black Arts in 1980s Britain (Duke University Press, 2005), pp. 49-58.
  • Mignolo, Walter. The Darker Side of Western Modernity: Global Futures, Decolonial Options. Duke UP, 2011.
  • Smith, Terry, Okwui Enwezor, and Nancy Condee, eds. Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity. Duke UP, 2008.
  • Taylor, Diana. “A Savage Performance: Guillermo Gómez-Peña and Coco Fusco’s ‘Couple in the Cage’.” TDR 42, no. 2 (1998): 160-75.
  • Taylor, Nora. “The Southeast Asian Art Historian as Ethnographer.” Third Text 25, no. 4 (2011): 475-88.



WEEK 8 (21 Nov.): Rematerializing Conceptualism

This lecture considers Conceptualism as a movement in contemporary art, however disputed, and conceptualism as a broader discursive category for a plurality of practices at the intersection of the artistic, political, and pedagogical. We will question the assumption that conceptual art is somehow “dematerialized”, and consider instead the ways in which “materiality” and interdisciplinary perspectives may actually ground such characteristics as process, seriality, fragmentation, and duration.



  • Lippard, Lucy. “Escape Attempts.” In Six Years: The Dematerialization of the Art Object from 1966 to 1972: A Cross-Reference Book of Information on Some Esthetic Boundaries … New York: Praeger, 1973, pp. vii-xxii.
  • Okoye, Stanley “Tribe and Art History”Art Bulletin, 4, 1996: pp610-15
  • Hassan, Salah, and Olu Oguibe. “‘Authentic/ex-centric’ at the Venice Biennale: African Conceptualism in Global Contexts.” African Arts 34 (Winter 2001): 64-75; 95-96.




  • Ward, Frazer. “Alien Duration: Tehching Hsieh, 1978-99.” Art Journal65, no. 3 (2006): 6-19.
  • Alberro, Alexander, and Blake Stimson. Conceptual Art: A Critical Anthology. MIT Press, 1999.
  • Buchloch, Benjamin H. D. “Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions.” October 52 (1990): 105-143.
  • Buszek, Maria Elena, ed. Extra/Ordinary: Craft and Contemporary Art. Duke University Press, 2011.
  • Corey, Pamela N. “Beyond yet Toward Representation: Diasporic Artists and Craft as Conceptualism in Southeast Asia.” Journal of Modern Craft 9, no. 2 (July 2016): 161-81.
  • DeDuve, Thierry. “When Form Has Become Attitude and Beyond.” In Theory in Contemporary Art since 1985, ed. Zoya Kocur and Simon Leung. John Wiley & Sons, 2013, pp. 21-33.
  • Kee, Joan. “Orders of Law in the One Year Performances of Tehching Hsieh.” American Art 30, no. 1 (2016): 72-91.
  • Knabb, Ken. Situationist International Anthology. Berkeley, CA: Bureau of Public Secrets, 2006.
  • Krauss, Rosalind.A Voyage on the North Sea: Art in the Age of the Post-Medium Condition. London: Thames & Hudson, 2000.
  • Lewitt, Sol. “Paragraphs on Conceptual Art.” Artforum (1967),
  • Lippard, Lucy, and John Chandler. “The Dematerialization of Art.” In Conceptual Art: A Critical Anthology, eds. Alberro and Stimson (MIT Press, 1999), pp. 46-51.
  • Mariani, Philomena, et al. Global Conceptualism: Points of Origin, 1950s-1980s. New York: Queens Museum of Art, 1999.
  • Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. University of Chicago Press, 2013.
  • Rattemeyer, Christian, and W A. L. Beeren. Exhibiting the New Art: ‘op Losse Schroeven’ and ‘when Attitudes Become Form’ 1969. London: Afterall, 2010.
  • Rorimer, Anne. “The Date Paintings of On Kawara.” Art Institute of Chicago Museum Studies 17, no. 2 (1991): 120-37; 179-80.
  • Small, Irene.“Believing in Art: The Votive Structures of Conceptual Art.” Res: Anthropology and Aesthetics55/56 (Spring/Fall 2009): 294-307.



WEEK 9 (28 Nov.): The Social Turn

The “social turn” in contemporary art references a multiplicity of practices and objectives largely centered on the notion of art’s capacity for edification and engagement outside of the art world. The forms and methods of socially-engaged practices often fall under scrutiny, as does the language of art criticism that attempts to place and assess such projects and artworks as “art”. This lecture considers the trajectory of such buzz words as collectivity, participation, activism, collaboration and community within contemporary art, and in particular, how such endeavors are often contingent upon the very structures and institutions of the global art world that they often critique.



  • Bishop, Claire. “The Social Turn: Collaboration and its Discontents.” Artforum (2006): 178–83.
  • Bourriaud, Nicolas. “Relational Form” in Relational Aesthetics (France: Presses du réel, 2002): 11-24.
  • Gordon, Leah (ed) The Ghetto Biennale / Geto Byenal (London: No Eraser, 2017)



  • Bishop, Claire. “Antagonism and Relational Aesthetics.” October 110 (Fall 2004): 51-79.
  • Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso Books, 2012).
  • Gillick, Liam. “Contingent Factors: A Response to Claire Bishop’s ‘Antagonism and Relational Aesthetics’.” October 115 (Winter 2006): 95–107.
  • Kester, Grant. The One and the Many: Contemporary Collaborative Art and the Many in a Global Context (Duke UP, 2011).
  • Mouffe, Chantal. “Artistic Activism and Agonistic Spaces.” Art Research: A Journal of Ideas, Contexts and Methods 1, no. 2 (Summer 2007),
  • O’Neill, Paul, and Mick Wilson. Curating and the Educational Turn (London; Amsterdam: Open Editions, 2010).
  • Papastergiadis, Nikos. “Collaboration in Art and Society: A Global Pursuit of Democratic Dialogue.” In Globalization and Contemporary Art, Jonathan Harris (Wiley Blackwell, 2011).
  • Teh, David. “Who Cares a Lot? Ruangrupa as Curatorship.” Afterall 30 (Summer, 2012),
  • The Sahmat Collective: Art and Activism in India since 1989 (Chicago: Smart Museum of Art, University of Chicago, 2013).
  • Tomii, Reiko. “After the ‘Descent to the Everyday’: Japanese Collectivism from Hi Red Center to The Play, 1964–1973.” In Collectivism After Modernism: The Art of Social Imagination After 1945, eds. Stimson and Sholette (University of Minnesota Press, 2007), pp. 45-76.
  • Tomii, Reiko. Radicalism in the Wilderness: International Contemporaneity and 1960s Art in Japan (MIT Press, 2016).
  • Vasudevan, Ravi S., et al. Sarai Reader 02: The Cities of Everyday Life (Amsterdam; New Delhi: Centre for the Study of Developing Societies, 2002).
  • Wilson, Mick. “Autonomy, Agonism, and Activist Art: An Interview with Grant Kester.” Art Journal 66, no. 3 (2007): 106-118.



WEEK 10 (5 Dec.): Siting the Object

With art history’s growing interdisciplinary intersections and politico-cultural rhetorics surrounding multiculturalism and globalization that proliferated at the wane of the 20th century, the object has not always been the working center within the discursive regime of contemporary art. This lecture seeks to re-evaluate different approaches to “siting” the artwork, including formalist methodologies and considerations of the object’s relationship to space and place. As some argue, the increasingly globalized networks and discourses in which contemporary art is located necessitates a heightened attention to form, scale, site and locality as both products and vehicles of broader critiques.



  • Bunn, David. “Art Johannesburg and its Objects.” In Johannesburg: The Elusive Metropolis, eds. Sarah Nuttall and J.-A. Mbembé (Duke UP, 2008), pp. 137-69.
  • Filipovic, Elena. “The Global White Cube” Oncurating Issue 22 (open access) 2014
  • Kwon, Miwon. “One Place after Another: Notes on Site Specificity.” October 80 (Spring, 1997): 85-110.
  • Enwezor, Okwui “Place-Making or in the ‘Wrong Place’: Contemporary Art and the Postcolonial Condition” in Former West: Art and the Contemporary After 1989 MIT Press, 2018, 37-45



  • Dal Lago, Francesca, Song Dong, Zhang Dali, Zhang Wang and Wang Jianwei. “Space and Public: Site Specificity in Beijing.” Art Journal 59, no. 1 (Spring, 2000): 74-87.
  • Davis, Whitney. “What is Post-Formalism? (Or, Das Sehen an sich hat seineKunstgeschichte).” 7 (October 2012),
  • Deutsche, Rosalyn. “Architecture of the Evicted.” Theory in Contemporary Art since 1985. Ed. Zoya Kocur and Simon Leung. Malden, MA: Blackwell Publishing, 2005, pp. 150-65.
  • García, Canclini N, and David L. Frye. Art beyond Itself: Anthropology for a Society without a Story Line(Duke UP, 2014).
  • Kee, Joan. “What Scale Affords Us: Sizing the World Up through Scale.” ArtMargins 3, no. 2 (2014): 3-30.
  • Kee, Joan. “Why Chinese Paintings are so Large.” Third Text 26, no. 6 (2012): 649-63.
  • Krauss, Rosalind. “Sculpture in the Expanded Field.” In The Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster (Port Townsend, WA: Bay Press, 1983), pp. 31-42.
  • Kwon, Miwon. “The Wrong Place.” Art Journal 59, no. 1 (Spring, 2000): 33-43.
  • Lee, Pamela M. Forgetting the Art World (MIT Press, 2012).
  • Small, Irene. “Medium Aspecificity/Autopoietic Form.” In Contemporary Art: 1989 to the Present, ed. A. Dumbadze and S. Hudson. Wiley-Blackwell, 2013, pp. 117-25.
  • Summers, David. Real Spaces: World Art History and the Rise of Western Modernism (London: Phaidon Press, 2003).




WEEK 11 (12 Dec.): Making Exhibitions Global

This lecture provides an entry point into the intersecting disciplines and theories of art criticism, anthropology, and museology in the context of the late 20th and 21st centuries, which have witnessed the rise of the global curator and the “biennale”. We will consider how the exhibition and the museum have become key sites for the historicization of contemporary art in numerous regions that lack institutional infrastructure for art history. In an era in which “the global” has signaled an ultimate aspiration for representation, both on the part of artists and the institutions striving for monumental status, we will discuss how exhibition-making has become a powerful but vexed strategy at the nexus of critique, commodity, and cultural representation.



  • Ramirez, Carmen. “Brokering Identities: Art Curators and the Politics of Cultural Representation.” In Thinking about Exhibitions, ed. Greenberg, Ferguson, and Nairne (Routledge, 1996), pp. 15-26.
  • Griffin, Tim. “Worlds apart: contemporary art, globalization, and the rise of biennials.” In Contemporary Art: 1989 to the Present, ed. S. Hudson and A. Dumbadze (Wiley-Blackwell, 2013), pp. 7-16.
  • Buchloch, B. and Jean-Hubert Martin. “The Whole Earth Show: An Interview with Jean-Hubert Martin by Benjamin H.D. Buchloch.” Art in America (May 1989): 150-58; 210-13.



  • Bharucha, Rustom. “The New Asian Museum in the Age of Globalization.” In The Third Text Reader on Art, Culture, and Theory, ed. R. Araeen, S. Cubitt and Z. Sardar (London; New York: Continuum, 2002), pp. 290-99.
  • Choy, Lee Weng. “Biennale Demand.” Contemporary Art in Asia: A Critical Reader (MIT Press, 2011), pp. 211-22.
  • Enwezor, Okwui. “The Black Box.” In documenta 11 Platform 5: Exhibition: Catalogue (Hatje Cantz, 2002), pp. 42-55.
  • Gioni, Massimiliano. “In Defense of Biennials.” In Contemporary Art: 1989-Present, ed. S. Hudson and A. Dumbadze (Wiley-Blackwell, 2012), pp. 171-77.
  • Hall, Stuart. “Museums of Modern Art and the End of History.” In Annotations 6: Stuart Hall and Sarat Maharaj: Modernity and Difference, Sarah Campbell and Gilane Tawadros (INIVA, 2001), pp. 8-23.
  • Hou Hanru and Hans-Ulrich Obrist. “Cities on the Move.” Contemporary Art in Asia: A Critical Reader (MIT Press, 2011), pp. 139-152.
  • Kapur, Geeta. “Curating in Heterogeneous Worlds.” In Contemporary Art: 1989-Present, ed. S. Hudson and A. Dumbadze (Wiley-Blackwell, 2012), pp. 178-91.
  • Krauss, Rosalind. “The Cultural Logic of the Late Capitalist Museum.” October 54 (Fall 1990), 3-17.
  • Lee, Pamela. “Boundary Issues: The Art World under the Sign of Globalism.” Artforum International42: 3 (2003): 164-67.
  • McEvilley, Thomas. “Arrivederci, Venice: The Third World Biennials.” In The Biennial Reader, eds. Filipovic, Van Hal, and Ovstebo (Hatje Cantz Verlag, 2010), pp. 88-105.
  • Morin, France, et al. “Beyond Boundaries: Rethinking Contemporary Art Exhibitions.” Art Journal 59, no.1 (2000): 4-21.
  • Steeds, Lucy. Making Art Global (part 2): Magiciens De La Terre, 1989 (London: Afterall, 2013).
  • Vergne, Philippe. “Globalization from the Rear: ‘Would You Care to Dance, Mr. Malevich’?” In How Latitudes Become Forms: Art in a Global Age, eds. P. Vergne et al. (Minneapolis: Walker Art Center, 2003), pp. 18-27.
  • Weiss, Rachel. Making Art Global: The Third Havana Biennial 1989. (Part 1)(London: Afterall Books, 2011).
  • Wu, Chin-Tao. “Biennials without Borders.”  New Left Review 57 (May/June 2009): 107-15. (Can be accessed at Tate Papers 12 (2009),




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