HIST08015 2022 Critical Writing: (Practice based)

The emphasis in the Critical Writing: Practice-Based module is on the student’s own evaluation and location of their work within a variety of relevant contexts. The aim is to provide a framework that affords the student the means of responding - through a 3.000 word Critical Writing piece - to methods, processes, subject matter and contextual reference points related to the development of a final year body of work.

Art Practice as Research: Inquiry in the Visual Arts presents a compelling argument that the creative and cultural inquiry undertaken by artists is a form of research. The text explores themes, practices, and contexts of artistic inquiry and positions them within the discourse of research. Author Graeme Sullivan argues that legitimate research goals can be achieved by choosing different methods than those offered by the social sciences. The common denominator in both approaches is the attention given to rigor and systematic inquiry. Artists emphasize the role of the imaginative intellect in creating, criticizing, and constructing knowledge that is not only new but also has the capacity to transform human understanding.

Contemporary Art: World Currents is the first comprehensive worldwide survey of contemporary art from the 1980s to the present day. Author Terry Smith argues that, in recent decades, a global shift from modern to contemporary art has occurred: artists everywhere have embraced the contemporary world's teeming multiplicity, its proliferating differences and its challenging complexities and new technologies. Alongside more than 350 carefully selected color images of key works, Terry Smith offers the first account of these changes, from their historical beginnings to the present day. Exploring key works by both well known and little-known artists, the author shows how contemporary art achieved definitive force in the markets and museums of the major art centres during the 1980s and then became a global phenomenon as artworlds everywhere began to connect more closely: new communicative technologies and expanding social media are now shaping the future of art. Contemporary Art: World Currents breaks new ground in tracing how modern, traditional and indigenous art became contemporary in each cultural region of the world, ranging across Western, East and Central Europe, North and South America and the Caribbean, Oceania, Africa, and the Middle East. Terry Smith lays the groundwork for a new comparative approach to contemporary art, emphasizing its relationships to all aspects of contemporary life. He argues that it is cultural diversity and individual artistic inventiveness, not a convergence towards sameness, which makes today's art contemporary. Contemporary Art: World Currents brings the subject right up-todate, highlighting the concerns of contemporary artists while giving the reader an invaluable insight to art today. Teaching and Learning Experience Improve Critical Thinking- Explore how contemporary art has become a global, connected phenomenon Engage Students- Looks at the work of contemporary artists from across the world. Support Instructors- Image PowerPoints slides are available for Contemporary Art: World Currents.

Presents concise and definitive instructions for writing about contemporary art, discussing key style, structural, and content elements with guidance for writing in specific forms, including academic, press releases, and essays.

Studies the work of the most original and influential present-day art critic, tracing her development from her formalist writings in the 1960s through the post-structuralism of the current academic climate.

The Orpheus Institute has been providing postgraduate education for musicians since 1996 and introduced the first doctoral programme for music practitioners in Flanders (2004). Acting as an umbrella institution for Flanders, it is co-governed by the music and dramatic arts departments of all four Flemish Colleges, which are strongly involved in its operation. Throughout the Institutes various activities (workshops, master classes, seminars, interviews, and associated events) there is a clear focus on the development of a new research discipline in the arts: one that addresses questions and topics that are at the heart of musical practice, building on the unique expertise and perspectives of musicians and constantly dialoguing with more established research disciplines. Within this context, the Orpheus Institute launched an international Research Centre in 2007 that acts as a stable constituent within an ever growing field of enquiry. The Orpheus Research Centre in Music [ORCiM] is a place where musical artist can fruitfully conduct individual and collaborative research on issues that are of concern to all involved in artistic practice. The development of a discipline-specific discourse in the field of artistic research in music is the core mission of ORCiM. This Subseries of The Collected Writings of the Orpheus Institute, will explicitly 'zoom in' on studies that take artistic practice as their point of departure and deal with questions and challenges that arise from that practice. It is this kind of research, in all its variety, which the Orpheus Researhc Centre in Music promotes and which the Subseries is designed to present. The contributions within the Subseries extend the possibilities and understanding of musical practice and act as a springboard for future research in this young but fascinating area. The emergent field of artistic research remains controversial, and is accepted with varying degrees of enthusiasm in academic institutions. The challenges and opportunities presented by this discipline may be better understood by re-emphasising the centrality of the artist through a fresh paradigm-an 'artistic turn'. The aim is to create a field of meaning that may illuminate the most promising, though correspondingly problematic, aspects of artistic research; the essential ineffability of artistic creativity, and the consequent insufficiency of verbal and written accounts. The discourse articulated charts a constellation of ideas that outlines the new disciplines and points to its manifold and open-ended possibilities.

A professor of art history explores the last four decades of art history, raising important questions about authorship and materials, beginning in the era of "anything is art" and continuing through post-modern expressions of pastiche art that combine materials from many sources. (Fine Arts)

Art criticism was once passionate, polemical and judgmental: now critics are more often interested in ambiguity, neutrality, and nuanced description. And while art criticism is ubiquitous in newspapers, magazines, and exhibition brochures, it is also virtually absent from academic writing. Here, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for these startling changes.

Why is that art? Why is it in an art museum? Who says it's art? Why is it good? Author Terry Barrett addresses these questions about contemporary art using four key sources: a broad, diverse, and engaging sampling of works, the artists who created the works, philosophers of art, and art critics.Why Is That Art?introduces students to established theories of art through the presentation of contemporary works that include abstract and representational painting, monumental sculpture, performance art, video installations, films, and photographs. Ideal for courses in aesthetics, art theory, art criticism, and the philosophy of art, this unique book provides students with a newfound appreciation for contemporary art, scholarship, and reasoned argumentation. FEATURES * Explores a variety of established theories of art,including Realism, Expressionism, Cognitivism, Formalism, and Postmodernist Pluralism * Applies each theory to contemporary works of art,discussing strengths and limitations of each mode of interpretation * Brings abstract ideas together in an accessible waythrough extended examples, giving students the understanding and vocabulary to confidently enter critical dialogue about art * Includes Questions for Further Reflectionat the end of each chapter * Includes seventy illustrations,twenty-five of which are in full color NEW TO THIS EDITION * Includes a new glossary of key terms * Expands the treatment of postmodernism,incorporating strategies of postmodernist art-making * Provides updated discussions of artistsJeff Koons, Kiki Smith, Paul McCarthy, and Andy Goldsworthy, as well as images of their new works

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Childers, P., Hobson, E. and Mullin, J. (1998). ARTiculating: Teaching writing in a visual world. Portsmouth, NH: Boynton/Cook.

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Clough, P. and Nutbrown, C. (2007) A Student's Guide to Methodology: Justifying Enquiry. London: Sage.

Danto, Arthur. (1998). Beyond the Brillo Box: The Visual Arts In Post-Historical Perspective. Berkeley: University of California Press.

D’Alleva, Anne. (2010). How to Write Art History, 2nd ed. London: Laurence King Publishing.

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Dumbadze, A & Hudson, S. (eds) (2013) Contemporary Art, 1989 to the Present, Wiley-Blackwell, Oxford.

Dombek, Kristin and Herndon, Scott. (2004) Critical Passages: Teaching the Transition to College Composition. New York: Teachers College Press.

Ehrenworth, M. (2003). Looking to Write: Students writing through the visual arts. Portsmouth, NH: Heinemann.

Foster, T., Prevallet, K. (2002). Third Mind: Creative writing through visual art. New York, NY: Teachers & Writers Collaborative.

Francis, Pat (2009) Inspiring Writing in Art & Design: Taking a Line for a Write. Bristol: intellect.

Gayford, M. & Wright, K. (ed.) (2000)The Grove Book of Art Writing Black Cat Publ.

Gray, C. and J. Malins (2004) Visualizing Research: a guide to the research process in art and design. Aldershot: Ashgate.

Guerin, F. & Hallas, R. (eds) (2007) The Image and the Witness: Trauma, Memory and Visual Culture, Wallflower Press, New York and London

Hall, Sean. (2012) This Means This, This Means That: A User’s Guide to Semiotics. London:  Laurence King.

Heartney, E. (2008), Art & Today, Phaidon, London.

Heiser, J (2008) All of a Sudden: Things that Matter in Contemporary Art, Sternberg Press, Berlin.

Hillocks, G. (2010). “Teaching argument for critical thinking and writing: An Introduction”. English Journal, 99 (6), 24- 32. Retrieved from http ://www.ncte.org/library/nctefiles/ej0996focus.pdf

Howells, Richard, and Joaquim Negreiros. (2012) Visual Culture. Cambridge: Polity.

Johnstone, S, (ed), (2008) The Everyday, Documents of Contemporary Art, Whitechapel: MIT, London

Kocur, Z and Leung, S, (eds) (2005) Theory in Contemporary Art Since 1985, Blackwell, Oxford.

Kromm, Jane, and Susan Benforado Blakewell. (2010). A History of Visual Culture: Western Civilization From the 18th to the 21^st Century. New York: Bloomsbury Academic.

Mackleod K. & L Holdridge (2006) Thinking Through Art: Reflections on Art as Research, Innovations in Art & Design, London & New York: Routledge.

Mirzoeff, Nicholas. (2009) An Introduction to Visual Culture. London: Routledge.

Mirzoeff, Nicholas, ed. (2012) The Visual Culture Reader. London: Routledge.

Naftalis, Sarah. (2014) “What Goes Up Must Come Down: The Ghosts of Muscle Beach: Summer 1949” in The Art of Description: Writings on the Cantor Collections. Stanford University: Cantor Arts Center.

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Robertson, M (2005) Themes of Contemporary Art: Visual Art after 1980, Oxford University Press.

Rose, Gillian (2000) Visual Methodologies: An Introduction to Interpreting Visual Objects. London: Sage.

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Stiles, Kristine and Peter Selz, eds. (1996) Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings. Berkeley: University of California Press

Sturken, Marita, and Lisa Cartwright. (2007) Practices of Looking: An Introduction to Visual Culture. Oxford: Oxford UP

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Art Monthly www.artmonthly.co.uk

Art Newspaper www.theartnewspaper.com

Aesthetica combines editorials with critical debate on contemporary visual culture.

Afterall: A Journal of Art, Context and Enquiry: In depth analysis of contemporary art related to society, politics and philosophy.

Artforum / Artforum International Contemporary art magazine containing essays and reviews by noted critics and artists www.artforum.com.

Art Bulletin and Art Journal: Peer reviewed articles on the visual arts. Published by the College Art Association (CAA).

Critical Inquiry www.criticalinquiry.

E-flux www.e-flux.com/journal

Flash Art www.flashartonline.com

Frieze Art Journal www.frieze.com

Journal of Visual Culture www.sagepub.com/journals

Parkett International contemporary art explored by writers and critics.

IMMA The What Is_? Programme What is https://imma.ie/what-is-art/overview/  An introduction to some of the key concepts and themes in modern and contemporary art for all audiences.

Irish Arts Review www.irishartsreview.com

Printed Project www.visualartists.ie

Third Text www.tandf.co.uk/journals/ titles/09528822.asp

The Visual Artists News Sheet https://visualartistsireland.com/

NIVAL NCAD Library www.nival.ie

Archive of Circa Art Magazine www.recirca.com

Documenta, Kasel www.documenta.de  ev+a, Limerick www.eva.ie  Frieze Art Fair, London www.friezeartfair.com Liverpool Biennial www.biennial.com/  Manifesta,European Biennale of Contemporary Art www.manifesta.org Skulptur Projekte Münsterwww.skulptur-projekte.de  Venice Biennale www.labiennale.org 

Baltic Centre for Contemporary Art, Gateshead www.balticmill.com Centres Georges Pompidou, Paris www.cnac-gp.fr Guggenheim Museum, Bilbao www.guggenheim-bilbao.es ICA Institute of Contemporary Arts, London www.ica.org.uk Kunst-WerkeInstitute for Contemporary Art, Berlin www.kw-berlin.de Maxxi, Rome www.maxxi.parc.beniculturali.it/english/museo.htm Metropolitan Museum of Art, New York www.metmuseum.org  MOMA Museum of Modern Art, New York www.moma.org  Reina Sofia, Madrid www.museoreinasofia.es  Saatchi Gallery, London www.saatchi-gallery.co.uk Serpentine Gallery, London www.serpentinegallery.org Solomon R. Guggenheim Museum, New York www.guggenheim.org Stedelijk Museum, Amsterdam www.stedelijk.nl Tate Modern, London www.tate.org.uk Whitechapel Gallery, London www.whitechapel.org

VLE Moodle Resources

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