![]() Gain confidence in handling a range of theoretically sophisticated methodologies including post-structuralism and psychoanalysis.Develop the ability to perceive and argue for connections across a range of artistic practices.Perceive and analyse the ways in which forms and ideas, including the monochrome, the grid and collage developed within earlier twentieth-century art continue to underpin later twentieth-century and contemporary art.Acquire knowledge and develop understanding of key twentieth-century artists and artistic movements, including Constructivism, Dada, Minimalism and Post-Mimimalism.On completion of this course, the student will be able to: You are also required to give one oral presentation during the course, which is not assessed, but which you can use as a basis for your essay.Īfter your presentation you will be given feedback in a one-to-one meeting, which will identify strengths and weaknesses to help you develop your work for your essay. Each essay question will relate to themes and topics studied on the course, and will ask you to demonstrate skills relating to the learning outcomes, including your ability to look closely at works of art, read difficult texts skillfully and with understanding, and present your ideas clearly. ![]() You will write a 4,000 word essay (worth 100%), choosing a title from a supplied list. Programme Level Learning and Teaching Hours 4,ĭirected Learning and Independent Learning Hours ![]() Learning and Teaching activities (Further Info) Information for Visiting Students Pre-requisitesĪvailable to visiting History of Art students with prior approval by course secretaryĪcademic year 2020/21, Available to all students (SV1) Artists whose work we may examine include Piet Mondrian, Kasimir Malevich, Alexander Rodchenko, Robert Delaunay, Sonia Delaunay, Marcel Duchamp, Agnes Martin, Gerhard Richter, Ellsworth Kelly, Robert Rauschenberg, Yves Klein, Lucio Fontana, Eva Hesse, Lee Lozano, John Cage, Bruce Nauman, Roni Horn, Gabriel Orozco, Hélio Oiticica, and Tacita Dean.Įntry Requirements (not applicable to Visiting Students) Pre-requisites These may include the monochrome the grid colour and colourlessness the everyday idleness the studio sacrifice formlessness the city nature the collective chance. Digging out the ambivalences and tensions within these paradigms, the course will study both idealist and anti-idealist traditions in the theorisation of abstraction, including both Breton and Bataille, and Baudrillard as well as Mondrian.Įach class is structured around a particular model of form, or way of making or viewing, originating for the most part in the early decades of the twentieth century and further developed in the post-war and contemporary periods considering how it has been developed, explored and complicated, even undermined or reversed, by artists working at different times and in different places. ![]() This course will explore these twin desires and the art to which they gave rise: offering a way of re-examining and expanding the histories of abstract art, traversing the tradition of heroic, or visionary, 'utopian' modernist abstraction and its key forms and paradigms (including the monochrome and the grid) as well as those emerging from more alternative or counter-traditions (such as silence, or the refusal of work). This impulse was often allied to the desire to remake society anew, finding new models for individual living and for social relations. The desire to transform art, cancelling and rejecting its previous histories and beginning again, lay behind much twentieth-century artistic experiment, and above all the development of abstraction. Postgraduate Course: Utopia Zones: Modernism and Abstraction (HIAR11100) Course Outline SchoolĬollege of Arts, Humanities and Social Sciences DRPS : Course Catalogue : Edinburgh College of Art : History of Art ![]()
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