Contemporary Art: 1980 to the Present
Philosophical, Historical and Interdisciplinary Studies (School of)
Undergraduate: Level 6
Monday 15 January 2024
Friday 22 March 2024
06 September 2023
Requisites for this module
BA V351 Curating,
BA V352 Curating (Including Year Abroad),
BA V353 Curating (including Placement Year),
BA V359 Curating (Including Foundation Year),
BA V35B Curating (Including Foundation Year and Year Abroad)
This module offers students an overview of the most significant and paradigmatic artistic transformations in Europe and North America from the 1980s to the present. It presents the development, successes and failures of modernism over the late 20th century, and the eventual dissolution of modernist practice into the disparate possibilities of postmodernism.
We will problematize contemporary art as a field where a countless set of artistic theories and practices take place, practices that have constantly challenged and reconfigured our very understanding of art. Students will have the opportunity to closely examine a wide range of artists, projects, and institutional ruptures that will inform our debates on the distinctions between modern, postmodern, contemporary and new media art.
We will be submerged into the world of contemporary art, a world full of paradoxes, contradictions and controversies, in which is possible to buy god's love for £50m (For the Love of God, Damian Hirst) while simultaneously asking the Congolese population to 'enjoy poverty' (Episode III: Enjoy Poverty, Renzo Martens). Questions that are at the heart of this module include: can enjoying a carrousel ride (Golden Mirror Carousel, Carsten Holler) be a more radical gesture than an artist initiated socio-political movement (Immigrant Movement International, Tania Bruguera)?; What is the spirit of contemporary art? Does it have one? What have been the most significant changes in the relationship between the contemporary artist and the art institution? Have the three market booms since the 1980s had an impact on the production, reception, and dissemination of contemporary art? How has the biennial impacted our understanding of the local and the global? What can confessional artworks (Everyone I have Ever Slept With 1963-1995, Tracy Emin) tell us about our conceptions of the public and the private?
Contemporary art has allowed for experimentation with an unlimited range of media, methods of production, dissemination, and engagement. In this module, we will also open up space for speculation and debate: has artistic production exhausted itself? Is there art beyond contemporary art? If there is, what would it look like?
The aim of this module is to expose students to the widest possible range of contemporary art practice after the 1980s, and to give them the opportunity to consider this work in a number of different contexts, including those of national and international origins, of media, of politics, and of the institution. Moreover, this module sets out to make clear the intricate connections between artistic practice, art history, theory and criticism, and the wider culture in which art is produced.
At the end of this module students will have knowledge and understanding of:
1. the distinction between modern, postmodern, contemporary, and new media art
2. the conditions that paved the wave for the emergence of contemporary art
3. the work of a wide variety of artists, the production of various seminal exhibitions and events in the period, including their reception and social impacts
4. the role of a variety of media in forming the practices of contemporary artists.
No additional information available.
There will be a two-hour combined lecture and seminar each week. There will also be a Reading Week when no teaching will take place, exact week to be confirmed.
This module does not appear to have a published bibliography for this year.
Assessment items, weightings and deadlines
|Coursework / exam
||Reading Summaries TOTAL
||2500 word essay
||Main exam: In-Person, Open Book, 120 minutes during Summer (Main Period)
||Reassessment Main exam: Remote, Open Book, 24hr during September (Reassessment Period)
Exam format definitions
- Remote, open book: Your exam will take place remotely via an online learning platform. You may refer to any physical or electronic materials during the exam.
- In-person, open book: Your exam will take place on campus under invigilation. You may refer to any physical materials such as paper study notes or a textbook during the exam. Electronic devices may not be used in the exam.
- In-person, open book (restricted): The exam will take place on campus under invigilation. You may refer only to specific physical materials such as a named textbook during the exam. Permitted materials will be specified by your department. Electronic devices may not be used in the exam.
- In-person, closed book: The exam will take place on campus under invigilation. You may not refer to any physical materials or electronic devices during the exam. There may be times when a paper dictionary,
for example, may be permitted in an otherwise closed book exam. Any exceptions will be specified by your department.
Your department will provide further guidance before your exams.
Module supervisor and teaching staff
PHAIS General Office - 6.130; firstname.lastname@example.org.
Dr Dominic Paterson
University of Glasgow
Senior Lecturer in History of Art / Curator of Contemporary Art
Available via Moodle
Of 566 hours, 18 (3.2%) hours available to students:
548 hours not recorded due to service coverage or fault;
0 hours not recorded due to opt-out by lecturer(s).
* Please note: due to differing publication schedules, items marked with an asterisk (*) base their information upon the previous academic year.
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