11/24/20 HD504 After Modernism: Postmodernism and Beyond | University of

Brighton

HD504 After Modernism: Postmodernismand Beyond(2017/18)

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Course overviewPage

Week 1: (9 items)Post the Post: A Retrospective View of Postmodernism

Culture and society: contemporary debates - Jeffrey C. Alexander, Steven Seidman, 1990Book | Key

Postmodernist culture: an introduction to theories of the contemporary - Steven Connor,1997

Book | Key

The cultural studies reader - Simon During, NetLibrary, Inc, 1999Book | Key

The cultural studies reader - Simon During, 2007Book | Key

Performatism in Art - Eshelman, Raoul, 2016-06-02Webpage

After the great divide: modernism, mass culture, postmodernism - Andreas Huyssen, 1988Book | Key

Postmodernism, or, the cultural logic of late capitalism - Fredric Jameson, 1992Book | Key

Postmodernism and its discontents: theories, practices - E. Ann Kaplan, 1988Book | Key

Culture & imperialism - Edward W. Said, 1994Book | Key

Week 1: Thursday 9 February (17 items)This lecture will survey the display methods and architecture associated with art museumsduring the twentieth and twenty-first centuries. In particular, we will focus on the shiftfrom the 'modern' to the 'postmodern' in museum design and exhibition practices, byscrutinizing two prominent examples of these two museological styles: those of New York’sMuseum of Modern Art, and a well known example of the postmodern art museum,

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London’s own Tate Modern. The focus of the discussion will be the claim that the modernart museum, through its architecture and display styles, fixes the history of art in a rigidnarrative of art as separate from life; and that the postmodern art museum, throughplayful spaces and provocative displays, creates a different mode of engagement with art.But do the postmodern art museum’s curatorial and architectural strategies represent aserious engagement with criticism of museum practices, or - as some critics suggest - arethey merely generating income by presenting art as entertainment?

Contemporary cultures of display - Emma Barker, 1999Book | Key

The postmodern art museumChapter | Key

The Modern Art Museum: It's a Man's WorldChapter | Key

The Modern Art Museum: It's a Man's WorldChapter | Key

The architecture of the museum: symbolic structures, urban contexts - MichaelaGiebelhausen, 2003

Book | Key

Spaces of experience: art gallery interiors from 1800 to 2000 - Charlotte Klonk, c2009Book | Key

The Cultural Logic of the Late Capitalist Museum - Rosalind Krauss, 1990-23Article | Key

Round Table: Tate Modern - Mignon Nixon, Alex Potts, Briony Fer, Antony Hudek, JulianStallabrass, 2001-23

Article | Key

Inside the white cube: the ideology of the gallery space - Brian O'Doherty, ThomasMcEvilley, 1999

Book | Key

Studio and cube: on the relationship between where art is made and where art is displayed- Brian O'Doherty, Temple Hoyne Buell Center for the Study of American Architecture,FORuM Project, c2007

Book | Key

Museums after modernism: strategies of engagement - Griselda Pollock, Joyce Zemans,NetLibrary, Inc, 2007

Book

Museums after modernism: strategies of engagement - Griselda Pollock, Joyce Zemans,NetLibrary, Inc, 2007

Book | Key

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Museums after modernism: strategies of engagement - Griselda Pollock, Joyce Zemans,2007

Book | Key

The museum establishment and contemporary art: the politics of artistic display in Franceafter 1968 - Rebecca J. DeRoo, 2006

Book | Key

The curator's egg: the evolution of the museum concept from the French Revolution to thepresent day - Karsten Schubert, 2009

Book | Further

Experience or interpretation: the dilemma of museums of modern art - Nicholas Serota,1996

Book | Key

Architecture for art: American art museums 1938-2008 - Scott J. Tilden, Paul Rocheleau,2004

Book | Key

Week 2: Wednesday 15 February. Visit to Tate Modern (RobertRauschenberg Exhibition)10:05am Train from Brighton Station to London Blackfriar12:30pm Entry to the ExhibitionYou must book your place for Exhibition and travel by sending a confirmation email toMartina Knight.

Week 2: Thursday 16th February. From Industrial Aesthetics toIndustrial Design: The Emergence and Development of the Professionin Post-War France 1945-1980 (Tania Messell) (5 items)The history of French design has only recently received the attention of French scholars,which reflects the laborious entry of the discipline in the country, and its slow recognitionby national institutions and the general public. To address this situation, the lecture willmap the development of design as a fully-fledged profession in France between 1945 and1970, by examining the establishment of leading professional organisations, and thestrategies deployed by designers to promote their expertise to industry, commerce, andofficials. As the lecture will reveal, longstanding debates raged within design circles, whichpredominantly resulted from the movement’s roots in decorative arts, Cold Warimperatives and the challenges of the Common Market, alongside continuous negotiationsbetween international standards and local practices. Employing a national perspective, thelecture will as such reflect on the benefits and pitfalls of such an approach, and highlightthe multi-layered, dynamic and transnational character of national design cultures.

The New CitroenChapter | Key

Selling the American Dream: MoMA, Industrial Design and Post-War France - Gay McDonald, 2004

Article | Key

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IntroductionChapter | Key

Jacques Viénot and the "Esthétique Industrielle" in France (1920-1960) - Jocelyne Le Boeuf,2006

Article | Key

Why a Culture of Design in France Never Took Off. - Laurent, Stéphane, 2012Article | Key

Week 3: Wednesdy 22 February. Complicity of Critique: Commodityfetishism from Hamilton to Koons (Glenn Ward) (13 items)This lecture discusses the often complex relationships between art and ‘mass culture’ in arange of postmodernist moments, from the Independent Group and the This is Tomorrowexhibition in the late 1950s to the commodity, simulation and appropriation art producedsince the 1980s. As we will see, these trends and movements are often debated in termsof art’s complicity with, or critical distance from, the supposed seductions of popularculture and mass culture (two different, but equally problematic constructs); thus they arebound up with issues concerning art’s social and political value. For example, in the caseof British Pop Art (such as the work of Richard Hamilton), readings of the work were oftenconnected to the reception of contemporary American popular culture, mass media, styleand design. Apparent fascination with ‘kitsch’, commodity fetishism and massconsumption continues in the work of artists from Andy Warhol to Jeff Koons; despiteimportant differences in the qualities and characteristics of their work, all of these artistsoccupy an ambiguous space between criticising and reproducing the values of thepopular/mass culture industries. In discussing the question of the art world’s position inrelation to the objects and signs of consumer culture, we will draw on notions offascination, seduction and commodity fetishism and will ask: is this work often validatedthrough a simplistic understanding of its pop culture Other?

High-pop: making culture into popular entertainment - Jim Collins, 2002Book | Key

Saturday Disasters: Trace and Reference in Early WarholChapter | Key

The first Pop age: painting and subjectivity in the art of Hamilton, Lichtenstein, Warhol,Richter, and Ruscha - Hal Foster, c2012

Book | Further

Collected words: 1953-1982 - Richard Hamilton, (1982)Book | Key

Fabulous Confusion! Pop before Pop? - Dick HebdigeChapter | Key

Fabulous Confusion! Pop before Pop? - Dick HebdigeChapter | Key

In Poor Taste: Notes on Pop

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Chapter | Further

In Poor Taste: Notes on PopChapter | Key

Pop art: a continuing history - Marco Livingstone, c1990Book | Key

Pop art - David McCarthy, 2000Book | Key

Jeff Koons - Hans-Ulrich Obrist, c2012Book | Key

Gerhard Richter: 40 years of painting - Robert Storr, Museum of Modern Art (New York,N.Y.), 2002

Book | Key

Art in the age of mass media - John Albert Walker, 2001Book | Key

Week 3: Art and Architecture in Postwar Japan in 1950s and 1960s(Yunah Lee) (8 items)This lecture will introduce new types of architecture and art practices emerged in Japan inthe context of post-war Japanese history. The lecture aims to unpick Charles Merewether’sclaim: “The conflict [of economy and society in occupied, post-war Japan] created a‘disjunctive modernity’ that was defined by the juxtaposition of a persistent imperialorder and elite culture with an expanding, industrially driven mass culture. Inresponse to these two forces, a small but culturally and intellectually progressivemovement emerged in the arts. The women and men that embraced it werecommitted to experimentation and, equally, to collaboration and interaction with boththe audience and the site of artistic practice.”(Charles Merewether, Art, Anti-art, Non-Art,p. 2). This will be discussed with reference to photographic practices recording memoryand history at Nagasaki and Hiroshima, using performance and public space interventionsof avant-garde artists and the new utopias in Metabolist architecture.

Tokyo, 1955-1970: a new avant-garde - Doryun Chong, Museum of Modern Art (New York,N.Y.), 2012

Book | Key

Art, anti-art, non-art: experimentations in the public sphere in postwar Japan 1950-1970 -Charles Merewether, Rika Iezumi Hiro, Getty Research Institute, c2007

Book | Key

Photography in Japan - Rebecca SenfChapter | Key

Gutai: decentering modernism - Ming Tiampo, 2011Book | Key

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The architecture ofTokyo: an architectural history in 571 individual presentations - Hiroshi Watanabe, c2001

Book | Key

Recommended Web Resources (3 items)

MIT Visualizing CulturesWebpage | Key | ‘Tokyo 1960s- Days of Rage and Grief’ and ‘Protest Art in 1950s Japan’

MoMA | Art in Tokyo, 1950s and 1960s: Conversations and FilmsWebpage | Key | This half-day symposium explores the art scene and artistic production

in Tokyo inthe 1950s and 1960s through a series of film screenings and discussions withdirectors, curators, critics, and artists.

Gutai: Splendid PlaygroundWebpage | Key

Week 4: Wednesday 1 March. Yo Mama: Feminist Art and the Maternal(FC) (5 items)‘For thousands of years, because of her awesome ability to spew forth a child, the motherhas been feared and revered. She has been the subject of taboos and witch-hunts,mandatory pregnancy and conferment to a separate sphere. She has endured appallinginsults and perpetual marginalisation. She has also been the subject of glorious painting,chivalry and idealisation. Through it all she has rarely been consulted. She is an object, nota subject.’Psychoanalytic theory holds that the normal development of a female child leads her todesire passive gratification and long for a child. This entails the ‘masochistic-feminine’willingness to sacrifice herself. Contemporary feminist challenge this view but in fact theybasically accept it. What they argue about is whether this capacity is innate or culturallyconditioned.This talk will begin by looking at the pioneering work done in the 70s by Mother Art in LAand Mary Kelly in this country. Having considered key works from each of the followingdecades we will conclude with the exhibition Home Truths; Photography and Motherhood(2013-14) which makes it clear the extent to which feminist principles have beeninternalised by the present generation

Home truths: photography and motherhood - Columbia College (Chicago, Ill.). Museum ofContemporary Photography, c2013

Book | Key

Feminist art and the maternal - Andrea Liss, 2009Book

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Feminist art and the maternal - Andrea Liss, 2009Book | Key

Laura Mulvey in conversation with Griselda Pollock - Griselda Pollock, Laura Mulvey,2010-01-01

Article | Key

Risking who one is: encounters with contemporary art and literature - Susan RubinSuleiman, 1994

Book | Key | 'Part One: Conflicts of a Mother'

Week 4: Thursday 2 March. Urban Space, Virtual space non-place (GW)(12 items)One of the key texts of postmodern cultural theory is Fredric Jameson’s analysis of theBonaventure hotel in Los Angeles. For Jameson (and for postmodern geographers such asEdward Soja, who have picked up on Jameson’s lead), one of the most significant featuresof this hotel is that its visitors struggle to navigate its spaces. The fact that it is easy to getlost in the Bonaventure is typical of what Jameson calls the “cultural logic of latecapitalism”: as visitors wonder through the building’s dislocated spaces, they enact acontemporary failure of “cognitive mapping”. As we will see in this lecture, thearchitecture itself – as perceived from the exterior - can be seen as ‘late modernist’, butthe spatiality within acts as a microcosm of postmodernist dislocation, disembodiment,fragmentation, pastiche, surveillance, simulation, hyperreality and free-floating (Jamesonalso calls it schizophrenic) ‘affect’. For Jameson and Soja, such spaces – and theexperience of them – suggest a potentially critical but ambivalent cultural politics,representing both the lures and the dangers of consumer capital and its products. We willalso touch on how other critics have explored the spatial dynamics of the ‘postmoderncity’ beyond the organisation of individual buildings. Here we find continual tensionsbetween global/local; homogeneity/heterogeneity; territory/deterritorialisation;centre/periphery.

Non-places: introduction to an anthropology of supermodernity - MarcAuge, 1995

Book | Key

Non-places - MarcAuge, 2008

Book | Key

City of quartz: excavating the future in Los Angeles - Mike Davis, Robert Morrow, 2006Book | Key

The postmodern urban condition - M. J. Dear, 2000Book | Further

The condition of postmodernity: an enquiry into the origins of cultural change - David

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Harvey, 1990Book | Key

Postmodernism and the Cultural Logic of Late Capitalism - Fredric JamesonChapter | Key

The People in Parentheses: Space under pressure in the post-modern city - ElisabethMahoney

Chapter | Key

World city - Doreen Massey, 2007Book | Key

Virtual cities: film and the urban mapping of virtual space - R. M. S. Juan, Geraldine Pratt,2002-09-01

Article | Key

Learning from Las Vegas: the forgotten symbolism of architectural form - Robert Venturi,Steven Izenour, Denise Scott Brown, 1977

Book | Key

Warped space: art, architecture, and anxiety in modern culture - Anthony Vidler, 2000Book | Key

City of panic - Paul Virilio, 2005Book | Key

Week 5: Wednesday 8 March. Disney and the Death of Authentic Place(Harriet Atkinson) (10 items)In 1955 Disneyland opened in California, to a great public fanfare. The development of thepark, designed and overseen by Walt Disney, was informed by his visits to previous USWorld’s Fairs and expos: in Chicago (1933-4), San Francisco (1939-40) and the Disneycompany’s contribution to the New York World’s Fair (1939-40). Disneyland took theestablished world’s fair’s model of creating a parallel world, a contained space for pleasureand leisure, and created the consummate entertainment space with full-scale toy housesin a pastiche of styles set along ‘streets’, inhabited by moving “Audio-Animatronic” peopleand animals and human-scale versions of Disney cartoon characters. Since it openedDisneyland - and its sister site Disney World - has been seen as embodying the totemicattributes of postmodern culture and, in particular, challenging notions of authentic‘place’. Disneyland was described by sociologist Jean Baudrillard as ‘a perfect model of allthe entangled orders of simulation’, the embodiment of the ‘hyperreal and imaginary’, byanthropologist Marc Augé as the spectacle of history made into a spectacle and by theoristLouis Marin as ‘a degenerate utopia’. In addition, sociologists like Sharon Zukin havecritiqued Disneyland as the most influential pattern-book for contemporary urbanplanning. This lecture will examine the way in which Disneyland built on the world’s fairmodel, how it was designed and presented and why it has provoked such interest fromanalysts and critics of postmodernism.

An Ethnologist in Disneyland - Auge MarcChapter | Key

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Non-places: introduction to an anthropology of supermodernity - MarcAuge, 1995

Book | Key

The Festival of Britain: a land and its people - Harriet Atkinson, 2012Book | Key

The Festival of Britain: a land and its people - Harriet Atkinson, 2012Book | Key

Simulations - Jean Baudrillard, c1983Book | Key

Travels in HyperrealityChapter | Key

Disneyland: A Degenerate Utopia - Louis MarinDocument | Key

Disney discourse: producing the magic kingdom - Eric Smoodin, 1994Book | Key

Disney discourse: producing the magic kingdom - Eric Smoodin, 1994Book | Key

The cultures of cities - Sharon Zukin, 1995Book | Key

Week 5: Thursday 9 March. Pop culture and design - Pop to punk(Verity Clarkson) (11 items)The aim of this lecture is to look at how the epicentre of high fashion comprehensivelyswitched from the couture wearing upper-classes to the young, with cheaper massproduced clothes and street fashion. It will take as its starting point 1958, the last seasonwhen debutantes were presented at court and the year Mary Quant opened her first shopin the King’s Road and end in 1977 with the Queen’s Silver Jubilee, Punk and the designs ofVivienne Westwood.

Swinging sixties: fashion in London and beyond 1955-1970 - Christopher Breward, DavidGilbert, Jenny Lister, Victoria and Albert Museum, 2006

Book | Key

From the bomb to the Beatles - Juliet Gardiner, Imperial War Museum, 1999Book | Further

All dressed up: the sixties and the counter-culture - Jonathon Green, 1998Book | Key

Boutique: a '60s cultural phenomenon - Marnie Fogg, 2003

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Book | Key

Streetstyle: from sidewalk to catwalk - Ted Polhemus, 1994Book | Key

England's dreaming: Sex Pistols and punk rock - Jon Savage, 2001Book | Key

Teenage: the creation of youth culture - Jon Savage, 2008Book | Key

Fifty years of fashion: new look to now - Valerie Steele, Irving Solero, Fashion Institute ofTechnology, 1997

Book | Key | Particularly Chapter 3 'Youthquake: The 1960s' p.49

Surfers soulies skinheads & skaters: subcultural style from the forties to the nineties - AmyDe la Haye, Cathie Dingwall, Daniel McGrath, Victoria and Albert Museum, Streetstyle(Exhibition), 1996

Book | Recommended

Ossie Clark: 1965-74 - Judith Watt, 2003Book | Key

Bill Gibb: fashion and fantasy - Iain R. Webb, 2008Book | Key

Week 6: Wednesday 15 March: 'The animal looks at us and we arenaked': Our Relationship with Animals in Recent Art (FC) (5 items)

In 2006 The Animal that therfore I am by Jacques Derrida was published, two yearsafter his death. In it he asserts that the entire history of philosophy has misrepresentedthe basic ontological difference between that which we call human and that which we callanimal. Animals can be seen as a core element in the debate about contemporary artpractice. In 2006 The Animal that therfore I am by Jacques Derrida was published, twoyears after his death. In it he asserts that the entire history of philosophy hasmisrepresented the basic ontological difference between that which we call human andthat which we call animal.Most people would agree that we need to re-think our relationship with them – at best we see them as accessories to the human conditionThe Village Pet Store and Charcoal Grill in New York was a work made by Banksy in NewYork in 2008. From outside it looked harmless enough although the second part of itsname should have sounded a warning note. Inside the ‘pets’ were made pet food. Animatronic chicken nuggets pecked repeatedly outside their henhouse while fish fingersswum round and round their fish bowls. It was clearly a critique of a society which fedcows the parts of themselves to save money and in so doing allowed the emergence of thehorrible ‘mad cow’s disease.The ethics of technology were also questioned by the artist Eduardo Zac who bred a rabbitincorporating a protein derived from a jelly fish and as a result her body glowed greenunder fluorescent light. The rabbit was quite unharmed but the authorities became soalarmed that the artist was prevented from taking her out of France back to Canada as a

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family pet, as he had originally planned.This talk will look at a range of the ethical issues raised by works such as these andconsider the role of art in increasing public consciousness.

Art and animals - Giovanni Aloi, 2012Book | Key

Ein Haus = A House for Pigs and People - Giovanni AloiArticle | Key | Scroll down for relevant article.

The postmodern animal - Steve Baker, 2012Book

The postmodern animal - Steve Baker, 2000Book | Key

The Status of Animality in Deleuze's Thought - Alain BeaulieuDocument | Key

Week 6: Thursday 16th March. Negotiating Postmodernism in the twoGermanys (Jeremy Aynsley) (7 items)The West German sculptor Josef Beuys declared that ‘postmodernism’ began in Germany1933, with the rise to power of the National Socialist party. For him, Adolf Hitler’s electionto Chancellor marked the end of the progressive hope in utopian ideals for the new andthe modern that are perhaps best epitomised by the Bauhaus, or expressed shorthand as‘Weimar culture’. In place of this optimism, for Beuys, the Nazi party represented a returnto history, myth and darkness. While strictly it may be difficult to apply postmodernism asa concept to a period before it was defined, Beuys’ comment nevertheless warns against atoo easy compartmentalised or tidy chronological approach to history. Progressive andreactionary forces, his comment suggests, can co-exist in time. The post-war history of Germany, divided into the Federal Republic of Germany (West) andthe German Democratic Republic (East), offers an interesting perspective on howModernism was used during the years of reconstruction. This lecture will show how modernand Modernist ideas informed artists, designers and architects in the 1950s and 60s onboth sides of political divide of the Iron Curtain. By 1968, however, many Europeancountries experienced a significant shift. Critics of capitalism saw Modernism as its officialstyle and reaction set in. It was expressed through counter-cultures, rebellion and a risingGreen movement. The ‘postmodern turn’ in West Germany became associated with thetriumph of the New German painting in the 1980s. For designers, postmodernism couldinvolve a break with formalism and the reductive visual language associated with Ulm andDieter Rams while in built form, ‘star’ architects contributed to the re-fashioning of majorGerman cities. But how can the term be meaningfully applied to the changing culturalactivity of the German Democratic Republic before the fall of the Berlin Wall in 1989?

Cold War modern: design 1945-1970 - David Crowley, Jane Pavitt, Victoria and AlbertMuseum, 2008

Book | Key | Especially the essay 'Design and the Democratic Ideal' by Jane Pavitt

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German art in the 20th century: painting and sculpture 1905-1985 - Christos M.Joachimides, Norman Rosenthal, Wieland Schmied, Staatsgalerie Stuttgart, Royal Academyof Arts, 1985

Book | Key

Reunification: design in a global context 1975 - 2005 - Jeremy AynsleyChapter | Key | Chapter 5

How German is she?: postwar West German reconstruction and the consuming woman -Erica Carter, 1997

Book | Key

Consuming Germany in the Cold War - David F. Crew, 2003Book | Key

Consuming Germany in the Cold War - David F. Crew, 2003Book | Key

Anxious modernisms: experimentation in postwar architectural culture - Sarah WilliamsGoldhagen,Rejean Legault, c2000

Book | Key | Especially the essay Francesca Rogier, ‘The Monumentality of Rhetoric: thewill to rebuild in Postwar Berlin’.

Week 7: Wednesday 22 March. No More Trumpets: Recent Political Art(FC)Postmodernism can be studied in the context of the critique of everyday life controlled bythe state or relations of production and consumerism (capitalism). The Situationists(1960s-70s) engaged with ways of breaking down consumerism in urban spaces throughintervention in everyday life. Since then, groups of people and communities globally havebeen increasingly engaging in protest movements and using design and images tocommunicate messages, enable change through public performances and show solidarity.Looking to Occupy Movements, Adbusters and Craftivism, public spaces, images andthings are laden with symbolic and material meanings that are adopted and appropriatedto create messages for change.

Week 7: Thursday 23 March. The Development of Heritage Industry(Louise Purbrick)TBC

Week 8: Wednesday 29 March. Archive Fever: found images, collectingand repurposing (GW) (12 items)Since dada collage and Duchamp’s ready-mades, ‘appropriation’ has constituted assignificant a strand in art practice as sampling (a sonic parallel of visual appropriation) hasin music. The techniques, uses and potential meanings of appropriation are many andvarious, as this lecture will demonstrate. We will explore the use of ‘found’ objects – andimages as material objects –in painting, print, sculpture, photography and moving image

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art, focusing on those artists whose works arise from collecting, recombining andreframing of archival materials (e.g film footage, postcards, books). In this lecture we lookat some of the methods and concepts underpinning artists’ mobilisation of found imagery,particularly their implications for ideas about authorship, history, memory and our relationto the ever-expanding ‘image bank’ of visual culture. Artists mentioned will includeChristian Marclay, Robert Rauschenberg, John Stezaker, Susan Hiller, Richard Prince, JohnBaldessari, Martha Rosler.

Cut - Stefano Basilico, c2004Book | Key

The System of Collecting - Jean BaudrillardChapter | Key

The System of Collecting - Jean BaudrillardChapter | Key

Gerhard Richter's "Atlas": The Anomic Archive - Benjamin H. D. Buchloh, 1999-21Article | Key

Postproduction: culture as screenplay : how art reprograms the world - Nicolas Bourriaud,2005

Book | Key

Collecting and Collage-making : The Case of Kurt Schwitters - Roger CardinalChapter | Key

Collecting and Collage-making: The Case of Kurt Schwitters - Roger CardinalChapter | Key

Ghosting: the role of the archive within contemporary artists' film and video - JaneConnarty, Josephine Lanyon, Picture This Moving Image, 2006

Book | Key

On the Museum's Ruins - Douglas CrimpChapter | Key

Appropriation - David Evans, 2009Book | Key

The archive - Charles Merewether, Whitechapel Art Gallery, 2006Book | Key

Deep storage: collecting, storing, and archiving in art - Ingrid Schaffner, Matthias Winzen,Geoffrey Batchen, Hubertus Gassner, Siemens Kulturprogramm, Henry Art Gallery, P.S. 1Contemporary Art Center, 1998

Book | Key

Week 8: Thursday 30 March. Here we Go Again? Nostalgia and thePolitics of Design in Postmodern Advertising and Graphic

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Communications (PJ) (5 items)Advertising and graphic communications were instrumental vehicles for postmodernculture and its consumerist ethos. Thus publicity and branding and corporate identitysystems (for instance, Swatch watches) celebrated aspirational and inspirational valuesbased on lifestyle issues rather than the things that workers produced. Yet in doing so,they often resorted to earlier symbols and sign systems such that for the postmodernisteven modernism could be replayed at will and divested of their original political purpose;to this end Pete Savile’s branding devices for New Order were based on the Fascisticonography of 1930s Futurism and the Third Reich. But in conflating past with present, orgoing back to the future, not all postmodern visual culture was entirely depoliticised andbeneath superficial appearances even retro-styled ads such as those for Levi 501s, JohnPaul Gaultier and Brylcreem in the 1980s and 1990s reveal much about the social andpolitical concerns of the period in which they were produced and circulated.

Myth TodayChapter | Key

Hiding in the light: on images and things - Dick Hebdige, NetLibrary, Inc, 1988Book | Further | Read section 3, chapter 7: 'The Bottom Line on Planet One - Squaring

Up to The Face' - Dick Hebdige , 1985.

A report on the Western Front: Postmodernism and the "politics" of style - Dick Hebdige,1986-7

Article | Key | Available in Library print journal collection on the first floor of the library.

The codes of advertising: fetishism and the political economy of meaning in the consumersociety - Sut Jhally, 1990,cc1987

Book | Key

Between Words and Images: Simulation, Deconstruction and Postmodern Photography -Paul Jobling

Chapter | Key

Easter Break

Week 9: Wednesday 26 April. Ornament is no Crime: Design and thepolitics of 'authenticity' in the postcolonial Arab East (Zeinar Maasri) (5items)In the postcolonial Arab East, questions of modernity in the everyday life were permeatedby the politics of locality and cultural identity. Artists and designers sought to reclaimthrough their practice indigenous cultural forms and aesthetics, thought lost by years ofEuropean colonization. In this lecture we will look at the works of graphic designers fromEgypt, Iraq and Syria to examine how each respectively politicized their aesthetic practicethrough particular discourses of ‘authenticity’ and modern interpretations of an Islamicheritage and vernacular visual culture.

On Alternative ModernitiesChapter | Key

Agents, Aesthetic Genres and Localities

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Chapter | Key | Chapter 1

Agents, Aesthetic Genres and LocalitiesChapter | Key | Chapter 1

Typographic matchmaking in the city: propositions for a pluralistic public space =voorstellen voor een pluralistische openbare ruimte - Huda SmitshuijzenAbiFares, Khatt Foundation, c2010

Book | Key

Modern Arab art: formation of Arab aesthetics - Nada M. Shabout, c2007Book | Key | Especially pp. 1-31 and 61-144

Week 9: Thursday 27 April. Telling Stories: historical narratives,textuality and metafiction (9 items)“The past is only known to us through textual traces ... History is not so much ‘what hurts’so much as ‘what we say once hurt’ – for we are both irremediably distanced by time andyet determined to grant meaning to that real pain of others (and ourselves)” (Hutcheon,‘Representing the past’, p81-2). This lecture explores the implications of this statementfor visual representation. Recent controversies over the representation of World War One in the media and inschools remind us that history remains contested. Meanwhile arguments over therepresentation of slavery in Django Unchained (Tarantino, 2113) and 12 Years a Slave(McQueen 2013) raise questions about the extent to which artists have responsibility tohistorical fact. In this lecture we will look at examples of recent and contemporary culturalproduction – particularly but not exclusively cinema - which use intertextual and reflexivevisual, narrative and auditory strategies in their depiction of historical events. Discussingthe implications of depicting history through ‘retro’ images and styles, we will see thatthese works address an apparent tension between, on the one hand, the need to representthe past ‘truthfully’, and on the other hand the modernist and postmodernistproblematisation of representation. As we will see, metafictional practices offer a complexperspective on the past and its representations, not least by implying that history itself is akind of narrative text. Suggesting that a neutral, direct or unmediated relationship withhistorical fact is not possible, the lecture will mention critical accounts historical traumaand touch on how Linda Hutcheon’s theory of “historiographic metafiction” might apply tothe visual field.

Remnants of Auschwitz: the witness and the archive - Giorgio Agamben, c1999Book | Key

The Archaeology of knowledge - Michel Foucault, 1972Book | Key

Historiographic Metafiction, Parody and the Intertextuality of History - Linda HutcheonArticle | Key

The politics of postmodernism - Linda Hutcheon, NetLibrary, Inc, 2002

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Book | Key | "Postmodernist Representation" and "Re-Presenting the Past"

The politics of postmodernism - Linda Hutcheon, 1989Book | Key | "Postmodernist Representation" and "Re-Presenting the Past"

Anselm Kiefer: The Terror of History, the Temptation of Myth - Andreas Huyssen, 1989-21Article | Key

Reconstructing the Past through Cinema: The Occupation of France - Keith ReaderChapter | Key

Anselm Kiefer and art after Auschwitz - Lisa Saltzman, Anselm Kiefer, 1999Book | Key

The 'Rememory' of Slavery: Kara Walker's The End of Uncle Tom and the Grand AllegoricalTableau of Eva in Heaven - Gwendoline DuBois Shaw

Chapter | Key

Week 10: Wednesday 3 May. Fashion Utopias, Dystopian Futures?Science, Fashion and Textiles in the 20th and 21st centuries (CherylRoberts)In our Post-post modern world we are living in a dystopia rather than an imagined utopiapromised by the 1960’s futurists. Yet amongst the societal decay and oppressivegovernments there is fragmentation. This can be strongly seen in fashion and textileswhere we are in a constant state of flux about ethical, mass production, art, craft andsustainability. But can these paths work together and what can we learn from pastattempts to provide positive futures?We are entering a new material age. It is driven by creativity, sustainability andenvironmental responsibility. Sustainability weaves through ethical, transparent, scienceand future. To be sustainable does not automatically mean it is ethical. Sustainability isabout longevity.Longevity is the antithesis of fashion. Textiles and fashion constantly move with the tidesof taste, style and demand. They go in and out of favour.This lecture will investigate if current scientific collaborations are our sustainablefashion/textiles future. A positive or negative impact applies to every fashion fabric andhas a deep influence on levels of manufacture and consumption. By considering thehistorical success of the synthetic fibre industry we will look at how science and fashionarrive at the smart fabrics and biotechnology that are available today.

Week 10: Thursday 4 May. Here Comes Everybody? Mass-participationPhotography (Annebella Pollen) (7 items)With increasingly accessible camera technology and the apparently democratic nature ofdigital communication, ‘crowdsourced’ media projects abound like never before. From AMoment in Time (New York Times, 2009) and 2010’s One Day on Earth, to Ridley Scott andKevin MacDonald’s 2011 YouTube-sponsored film, Life in a Day, such projects often seekto secure a snapshot of a single day as a kind of visual time capsule. Yet how will thefuture make sense of such efforts? To explore this question, and to analyse the seeminglyinsatiable appetite for harnessing mass-participation, this lecture revisits, 30 years on, thevast archive resulting from a day-in-the-life project that aimed to be ‘the biggest

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photographic event the world had ever seen’.

Artificial hells: participatory art and the politics of spectatorship - Claire Bishop, 2012Book | Key

The photographic image in digital culture - 2013Book | Key

The photographic image in digital culture - 2013Book | Key

Photography and collaboration: from conceptual art to crowdsourcing - Daniel Palmer,2017

Book

Photography and collaboration: from conceptual art to crowdsourcing - Daniel Palmer,2017

Book | Key

Mass photography: collective histories of everyday life - Annebella Pollen, 2016Book | Key

The rising tide of photographs: Not drowning but waving? - Annebella Pollen, May 2016Article | Key

Week 11: Wednesday 10 May. Memory and its Discontents (FC)By and large monuments have fallen out of favour as people have become more distrustfulof the rhetoric of glorifying military victories and individual heroes. Most of us however stillfeel the need for memorials to the dead, even though traditional methods ofcommemoration have largely become impoverished.Several artists though have risen to the challenge, even making public work which dealswith the unimaginable horror of the Holocaust. In 1986 Jochen Gerz erected his Monumentagainst Fascism in Hamburg. It was a plain column and passers-by were invited to addtheir name and comments: when the space that could be reached was full, that portion ofthe column was lowered into the earth. Now there is nothing to be seen. Whereas RachelWhiteread’s Holocaust Memorial in the Judenplatz in Vienna is a building made of steel andconcrete. And yet again in a sense it is mute. It is the cast of a library turned inside out,the books are blank, they serve only as a notion to represent a whole culture as well asall the people who died.In contrast Steve McQueen’s Ashes is a memorial to one particular boy he didn’t evenknow. In 2002 he took some footage of a beautiful young Grenadian, full of life, as he saton the prow of a sailboat with the wide blue ocean and, by implication, his whole life infront of him. When McQueen came back to the island he discovered that the boy had beenshot because he had found a bag of drugs on the beach. The second part of his videorecords the making of a simple concrete grave for him by the local grave-diggers. The workhas been described as ‘a heartbreaking meditation on young black men dying before theirtime’.

Week 11: Thursday 11 May. Popular Culture, Kitsch and Design in

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Postmodern India (Megha Rajguru) (7 items)This lecture traces the influence of popular culture and vernacular design, such asBollywood posters, street graphics, street fashion and food and chai stalls on Design inpostmodern India (post 1991). It will examine the ways in which kitsch became a newvisual language of the urban youth and has been appropriated by Indian fashion designers,creating Kitsch-chic.

Redefining Kitsch: The Politics of Design - Judy Attfield, 2006-11Article | Key

Redefining Kitsch: The Politics of Design - Judy Attfield, 2006Article | Key

Distinction: a social critique of the judgement of taste - Pierre Bourdieu, 1984Book | Key

Kitsch: an anthology of bad taste - Gillo Dorfles, John McHale, 1969Book | Further

Art and culture: critical essays - Clement Greenberg, 1961Book | Key

The Politics of Kitsch - Monica Kjellman-Chapin, 2010-01Article | Key

India contemporary design: fashion, graphics, interiors - Divia Patel, 2014Book | Key

Week 12: Wednesday 17 May. The Art Biennales as GlobalPhenomenon (HA) (3 items)The first Venice Bienniale – the bi-annual contemporary art fair – was held in 1895. Itsfocus on new art was a novel twist on the phenomenon of the great exhibition and world’sfair, which had become so prominent during the nineteenth century. It took more thanhalf a century for other cities to follow Venice’s lead: São Paulo was the first in 1951. Butin recent decades, biennials, triennials and other cyclical contemporary art exhibitionshave expanded exponentially and around 300 are now held across the world. This lecturewill explore what this global proliferation means for the production of art and design.

Biennials and beyond: exhibitions that made art history, 1962-2002 - 2013Book | Key

The global art world: audiences, markets, and museums - Hans Belting, AndreaBuddensieg, c2009

Book | Key

The price of everything: perspectives on the art market - Martin Braathen, WhitneyMuseum of American Art, 2008

Book | Key

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Week 12: Thursday 18 May. Not African Enough? Africa-basedDesigners and the Global Fashion Market (Helen Mears) (14 items)Kenyan stylist and fashion consultant Sunny Dolat explained the title of a recent fashionbook produced by Nairobi-based collective, The Nest, describing how “Not African Enoughis a derogatory term routinely lobbed at artists, creators and thinkers who step outside thenarrow confines of what the world - and Africans - think it means to dress like, talk like,think like and be an African".This lecture interrogates the challenges and opportunities posed to Africa-based designerswho wish to insert themselves into global fashion systems. Despite the supposedlyexpanded horizons of what constitutes fashion in the postmodern, postcolonial era, it isclear that practitioners situated in regions traditionally under-represented in fashionproduction have to perform complex manoeuvrings around issues of identity and heritagein order to secure international attention. ‘African’ fashion is also complicated by its representation and dissemination amongst itsdiasporas and the discussion will consider the usefulness of theories of cosmopolitanismand Afropolitanism in relation to fashion practices and their representation through print,online media and exhibitions such as the recent Brighton Museum & Art Gallery exhibitionFashion Cities Africa.

Fashioning Africa: power and the politics of dress - Jean Marie Allman, c2004Book

Fashioning Africa: power and the politics of dress - Jean Marie Allman, c2004Book | Key

Cosmopolitanism: ethics in a world of strangers - Anthony Appiah, 2007Book | Key

The cosmopolitan imagination: critical cosmopolitanism and social theory - Gerard Delanty, 2006-03

Article | Key

British journal of sociology - London School of Economics and Political ScienceJournal | Key

Rethinking African culture and identity: the Afropolitan model - Chielozona Eze,2014-05-04

Article | Key

New African fashion - Helen Jennings, c2011Book | Key

Fashion cities: Africa - 2016Book | Key

African fashion, global style: histories, innovations, and ideas you can wear - VictoriaRovine, 2015

Book

African dress: fashion, agency, performance - Karen Tranberg Hansen, D. Soyini Madison,

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2013Book

African dress: fashion, agency, performance - Karen Tranberg Hansen, D. Soyini Madison,2013

Book | Key

Bye-Bye Babar | The LIP Magazine - Taiye Tuakli-WosomuWebpage | Key

The birth of cool: style narratives of the African diaspora - Carol Tulloch, 2016Book | Key

African fashion, global style: histories, innovations, and ideas you can wear - Rovine,Victoria, author

Book

Week 13: Wednesday 24 May. Psyched out: Life in the Digital Age (FC)Postmodern identities are discussed in terms of plurality and multiplicity and the digitalplatform or online media as spaces where these identities are performed and enacted.This seminar will explore online spaces as sites of identity construction, as networks thatgenerate interactivity and dialogue, and where the ordinary person is rendered visible.Artists and designers work with digital technology to create networks and interactivity,explore notions of identity and create virtual environments. Is the digital space a mere extension of our physical environment or does it have distinctcharacteristics? How do we as users of digital media present ourselves online when weinteract with others - do we have an authentic self? How have the designs of digital spacesshaped recent art and design?

Week 13: Thursday 25 May. Exclusivity and the Dynamics of DesignEconomies (Damon Taylor) (9 items)This lecture examines the way in which design is made to appear valuable and luxurious. Itdiscusses how mechanisms of exclusivity, such as the creation of limited editions and thelimitation of access, are used to do this and goes on to ask what the role of suchconspicuous consumption may be in straightened economic times.

Distinction: a social critique of the judgement of taste - Pierre Bourdieu, 1984Book | Key

Design Loves a Depression - The New York Times - M Cannell, 2009Webpage | Further

Limited edition: prototypes, one-offs and design art furniture - Sophie Lovell, c2009Book | Key

Design Hates a Depression - M Moss, 2009Webpage | Key

Inside the white cube: the ideology of the gallery space - Brian O'Doherty, Thomas

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McEvilley, 1999Book | Key

Luxury world: the past, present and future of luxury brands - Mark Tungate, 2009Book

Luxury world: the past, present and future of luxury brands - Mark Tungate, 2009Book | Key

The theory of the leisure class - Thorstein Veblen, Dawsonera, 2007Book

The theory of the leisure class - Thorstein Veblen, Martha Banta, 2007Book | Key

Essay due by 12pm Friday 26 MayHD504 After Modernism: Postmodernism and Beyond

Essay (2500-3000 words) Deadline: 12pm (Noon) Friday 26 May 2017

You MUST choose an essay question that is NOT related to the topic of your seminar paperthis semester.

Essay Questions

1.The erosion of the boundaries between elite culture and mass or popular culture andbetween disciplines is the defining feature of postmodernism. Discuss this by usingexamples from any relevant field of art and design.

2.To what extent have political agenda been addressed in art and design of the later partof the 20th century? Discuss it by using examples from any relevant field of art anddesign.

3.Discuss to what extend has pop culture influenced art and design since 1960s by usingexamples from any relevant field of art and design.

4.Jean-Francois Lyotard once defined the postmodern ‘as incredulity towardsmeta-narratives’. What does this mean and what implications has it had for the art of thelast thirty years?

5.By and large the advances made by feminism towards empowering women have beenachieved by attacking their identification with maternity. Discuss your response to thisstatement with reference to the work of three artists.

6.Many people would agree that we need to rethink our relationship with animals today.Discuss using the example of artists whose work suggests different ways of doing this.

7.Discuss how and why postmodernist artists/designers/makers have responded to the

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idea of commodities or commodification.

8.How and why might practices of appropriation be said to criticise notions of authorshipand originality?

9.Some forms of postmodernist culture can be said to problematise history andhistoriography. Discuss this through reference to any relevant field of art, design, popularculture or cinema.

10.How does postmodernist architecture or urban design respond to either thesocio-economic conditions of postmodernity, or the contested meanings of social space?

11.Globalization had a huge impact on the way in which we understand the world in whichwe inhabit. Discuss how we can understand art and design in global context by examiningno less than three examples from post-1945 period.

12.Discuss how postmodern identities were explored in digital space.

13. Discuss how museums engage with postmodern debates.

14. What constitutes heritage? Answer this question in consideration with historical and/orcontemporary debates on heritage industry since the second part of 20th century.

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