Art Studies 2: Art Around Us: Exploring Everyday Life .
1YambaoArt Studies 2Art Studies 2: Art Around Us: Exploring Everyday LifeAcademic Year 2016- 2017 Second SemesterFaculty: Yambao, Clod Marlan Krister V.SectionOffice:PH 221RoomOffice Hours: MTTh 9:00 – 2:00pm & by appointmentE-mail: yayoo com@yahoo.comCourse website: Accessible through www.ccle.ucla.edu or my.ucla.eduCourse DescriptionIntroduction: Modernity has often created a separation or dichotomy between the language of art and the livedeveryday experience. For the longest time, art has been placed within an elitist and exclusivist position of way ofliving and the everyday as a quotidian, invisible and “othered” way of cultural life. In the contemporary times, thestudy of the everyday gained a strong attention and currency because of the capacity of the everyday to reveal andexamine the operations and circulations of power, mode of production, representation and subjectivity of art. There- location of art, on the other hand, within the everyday further exposes the historical and spatial matrix of class,ethnicity, race, sex, gender, sexuality and the self. This course, therefore, explores different ways of integrating thetwo tropes and why it is necessary to expose their intersections, interlocutions, contingencies, redefinitions,nuances and debates.ESTIMATED PAGES OF PRESCRIBED READINGS IN THE CLASS: 100- 150 PAGESCourse Goals and ObjectivesAt the end of this course, students should be able to have a critical understanding and examination art andthe lived everyday experience. Furthermore, students should feel comfortable in understanding art in the everydayand its language . Students should also be able to identify not only major debates, issues in art and everyday butalso explore ways of performing and articulating it and argue their ideological positions.Objectives:1. to experience art as an integral part of human life;2. to study art in an everyday setting in various contexts; and3. to understand how art makes sense in and of everyday life.These goals and objectives will be enacted by the course components.Course ComponentsGrade Distribution:1. Participation and Activities2. Exam3. Attendance4. Reporting and Oral Presentation5. Review and Assignments6. Peer Evaluation7. Final Paper8. Recitation152015105101510Grading Scale: 100 points total1
2YambaoArt Studies 2100-95 1.094-90 3-602.502.753.059-50 4.050 below 5.0FLOW: Subject to RevisionNote: Students need to get a copy of the reading on or before Nov. 18 ,2011 : ( kindly read and understand the text)Sartwell, Crispin. “Aesthetics of the Everyday.” The Oxford Handboook of Aesthetics,USA:Oxford UniversityPress, 2003. 761-769 *Origin: (*) Materials are available at the Faculty Center 2nd Floor photocopy section. Look for Ate Jofel(**) Search It Yourself ( S.I.Y.)FLOW: Subject to RevisionPART I. Course Introduction: Redefining Art and the EverydayGuide Questions( GQ): What is the relationship between objects of the everyday and art? Why is there a needto redefine art and the everyday? How can we re-locate art as integral part of the everyday andeveryday as integral part of understanding art?PART II. STRUCTURE AND AGENCY OF THE EVERYDAY**GQ: Why is the everyday a site of struggle and between who and what? Who or what operates and performswithin the everyday? What is our understanding of the everyday? and why is everyday the way weunderstand it? How does everyday enable and disenable us?a. CultureCulture as dominant emergent and residual (Raymond Williams)Pop culture and culture industry, subculture and counter culture, culturalimperialism, mass culture, folk and traditionalb. Locating art and the everyday: public and private/ rural and urban/ local andglobalc. Habitus- (Pierre Bourdieu )d. Biopolitics( Michel Focault) and Necropolitics ( Achille Mbebe) andprecarity( Judith Butler)e. State and Marketf. Ideological State Apparatus(ISA) and Repressive State Apparatus ( RSA)( Louis Althusser)g. Discipline/ Punishment/ panopticon ( Michel Focault)h. Subversion and resistancei. Strategies and Tactics ( Michel de Certeau)j. Vita activa and Natality ( Hannah Arendt)k. Kitsch( Clement Greenberg) and simulacra ( Jean Baudrilllard)2
3YambaoArt Studies 2Part III. MAGNIFYING THE AESTHETICS OF LIVED EVERYDAY EXPERIENCE (1meeting)At the start of the reporting, each reporters are required to formulate their own GENERAL GUIDE QUESTIONSdedicated for their panel based on the required readings. This will help the class further understand the necessity ofthe panel.AFFECT, SENSES AND SENSIBILITIESGQ:Berger, John. “ Chapter 7”. Ways of Seeing. London: Penguin Books, 1972. 129- 155*Allison, Anne.”Japanese Mothers and Obentos: The Lunch-Box as Ideological State Apparatus.” AnthropologicaQuartery. :The George Washington University Institute for Ethnographic Research, 1991. 296-314*CORPOREAL/BODYGQ:Bordo, Susan. “Unbearable Weight”. Norton Anthology on Theory and Critcism. : W.W. Norton andCompany, 2001. 2360-2376*Balce, Nerissa. “The Filipina’s Breast: Savagery, Docility and The Erotics of American Empire.” Social Text, 87,Vol. 24, No 2 Summer. USA: Duke University Press, 2006. 89- 109 *PERFORMANCE:GQPerillo,Lorenzo. Smooth Criminals: Chroreographing Discipline in a Philippine Prison, Publication on- going,2009.*Macapagal, Katrina, The Fame Monster: Pastiche vs Parody in the Context ( and crisis) of Surplus Economy,Unpublished, 2010*IT’S ABOUT TIME:GQ:Paul Nadal , Infrastructural Futures: The Philippine Neocolonial State in Developmental Frame.Unpublished text Department of Rhetoric.U.C. Berkeley. July 2010.Jonathan Crary, 24/7: Late Capitalism and the The ends of sleep ( London: Verso, 2013)“ BEING” IN/AT SPACE AND PLACE3
4YambaoArt Studies 2GQ:Lico, Gerard, Imperial Manila: “ Empire Building and the Ideology of American Colonial Architecture andUrban Design (1898- 1936)” Espasyo Journal. Manila: NCCA,2010. 58-69*Cabalfin, Edson .“Malabaklang Espasyo sa Arkitekturang Filipino: Estetika, Morpolohiya, Konteksto.”Tabi-Tabi Sa Pagsasantabi Kritikal Na Tala Ng Mga Lesbiana at Bakla Sa Sining, Kultura, at Wika , Quezon City:UP Press, 2001, 157-209*TechnologyGQParks, Lisa. “Satellite Spectacular: Our World and the Fantasy of Globalized Presence” Cultures inOrbit: Satellites and the Televisual. Durnham and London Duke University 08/06/18-parks.pdfDavid, Bel. “Thinking About Technology and Culture” Science, Technology and Culture. : Open UniversityPress, 2005. 39-57*GlobalizationGQ:Harindranath, Ramaswami. One Global Culture Or Many? Perspectives On Global Cultures, Open University Press,England 2006 7-26*Said, Edward. “Intoduction” Orientalism. : First Vintage, 1979.*EcologyGQ:Tadiar, Nefarti. “ Metropolitan Dreams.” Fantasy Production. Ateneo de ManilaUniversity Press, 2004*Moore, Jason. “The Origins of Cheap Nature.” Capitalism in the Web of Life: Ecology and theAccumulation of Capital. Verso Publication. New York. 2015. 97- 114.PART IV.Art and the Everyday as Social and Critical Field (1 meeting)Note: Guide Questions and critical categories may be interchanged and/ or applicable in each and every thematic.GQ:How does art cue us of the everyday condition? How does art critically shape and make ourunderstanding of human social relations and aesthetic experiences both in theory and practice?Required Reading:4
5YambaoArt Studies 2* Datuin, Faludette May. “Critical Categories as Social Categories” “ Art Criticism Workshop: Context in Writing,Writing in Context. , .33-35*Art. Everyday and Race/ Ethnicity (2 meetings)GQ:How is race/ ethnicity represented in the arts and articulated in the everyday and vise versa ? Whatis the role of colonial history in the construction of race and ethnicity? How do we view our nationalidentity/ies after colonialism and how does it affect the production and representation of art and theeveryday?K: power/ colonialism / postcolonialism / orientalism / nationalism **Art and language (2 meeting )GQ:How does art re- create reality/ re-presentation? How does language construct the representation ofart? Is the language of art neutral?K:representation/semiotics / structuralism / post-structuralism / deconstruction**Art, Everyday and the notion of the “I” (2meetings)GQ:How do we locate the self in art and the everyday, how can we understand the subjectivities of theartists/ producers and consumer/ audience?K: subjectivity/psychoanalysis / agency / subjectivity**Art, Everyday Sex, Gender and Sexuality (3meetings)GQ:Is there such thing as gendered and sexed aesthetics/ reading of the art? How do we experiencegender in the everyday? Why do we need to study art based on these categories? How are these categoriesrepresented in the arts? How does art becomes transformative and interventive in understanding gender andsexualityK: subjectivity/feminism / gay and lesbian studies / queer/ masculinism and patriarchy**Art and Class (2 meetings)GQ: How are material conditions/ class issues represented in the arts? How are they affecting our view ofart? What is the role of art in understanding and changing the fate of everyday class struggle? How do weunderstand the everyday political- economy of art?K:mode of production/ Marxism/ social realism /dialectics/ neocolonialism **. :1. ACTIVE PARTICIPATION (also please refer to CLASS ATMOSPHERE)New topics will be introduced each week. The syllabi is rigorous and specific, hence, it is expected thatstudents come on time and PREPARED/ READY on the expected discussions. Case studies and questions will beposted every time and students are expected to initiate and resurface issues, dialogues, discussions and debates aboutthe topic in order to generate healthy and meaningful ideas. Students will be given advanced notice should there beany changes and alterations from the syllabus.2. EXAMS5
6YambaoArt Studies 2There will be 1 long exam and the Final Exam. The exams will be both “critical objective” and subjective.Schedule of the exams will be posted 3 weeks before the final date.3.ASSIGNMENTS:Assignments might come through the form of a 800 word ( basic info not included) response/position paper fromthe film, art exhibition, theater play and other activities that the instructor will require. For students who for somevalid/ official reason cannot make it to the required event, please inform the instructor as early as possible.Alternative activity will be given to augment the grade.Note: Due to the work load and the tedious process of checking the papers, the student should anticipate the delayof returning the result.4.GROUP REPORTING AND ORAL PRESENTATION GUIDELINESPreparation:Students shall have an assigned panel and group members to work with. It is the responsibility of the groupto reserve or bring their AV equipment. Please look for Kuya Nap (PH Room 217) ahead of time for thereservation of the equipment. Each group will be given 5 minutes to set-up and prepare for the reports. Thefirst group is highly advised to come on time. Since this is cooperative learning type of group work, thegroup only needs one presenter to discuss whole report and the rest as back- up support.1) THE REPORTING (See preparation for instructions)This is the second set of reporting.Each group will be given 30 minutes only to report ALL the required readings. The task of the reporters is tomethodologically dissect the reading by following the structure below.a. Highlight a brief overview about the text (What the reading is all about?)b. Present the objectives of the text / author.c. Reveal the statement of the problem of the text/ author (What is the the author trying toproblematize? And why is the author problematizing it?)d. Provide the materials and methods used by the author that s/he used in order to answer the text’sstatement of the probleme. Present the set of arguments, positions and propositions of the text/ author. ( How did the authorprovide the answer ,argument, proposition and positions?)f. Expose the theoretical framework of the text/authorg. Give the Conclusion of the text.h. Lift 3 important quotations or passages from the reading that can flesh- out debates, issue andperspectives about the panel for the productive discussion of the classi. Finally, give your own contemplation of the reading by answering, what do you think is not rerepresented in the re- presentation of the whole reading and why? In other words, reporters shallprovide a critique about the reading or what is absent in the reading. This way, the reporters can assertits own voice within the text.The group will only assign one reporter per reading. It is necessary to prepare for a structured reporting.The other members, on the other hand, may help in technical operations like PowerPoint or flash operationand distribution of material hand-out.Specific and full detail of the reporting can be provided and demonstrated through the hand-out. Reportersshould not cut and paste the the PowerPoint as hand- out. It is highly encouraged that reporters be creative to makesure that the class can easily understand the report.a)The PANEL REACTOR: Each group reporter shall have an assigned panel reactor coming from theother group panels. This will be assigned two weeks before the reporting. The panel reactors will bethe first line of people to give feedbacks, critical comments, sensible questions, provoke debates,reactions, suggestions, other arguments and clarifications about the report. They will be given 10minutes to do their jobs as panel reactors. Moreover, It is the responsibility of the GROUP6
7YambaoArt Studies 2PRESENTER to provide a copy of their script- be it raw or not— a week before the presentation to theassigned PANEL REACTORS. This will give the PANEL REACTORS enough time to read, discussand prepare for your final presentation. For the PANEL REACTORS, it is yourtask to be wellversed about their positions, knowing the ins and outs of you
Yambao Art Studies 2 1 1 Course Description Introduction: Modernity has often created a separation or dichotomy between the language of art and the lived everyday experience. For the longest time, art has been placed within an elitist and exclusivist position of way of
Oct 22, 2014 · ART ART 111 Art Appreciation ART 1301 Fine Arts ART 113 Art Methods and Materials Elective Fine Arts . ART 116 Survey of American Art Elective Fine Arts ART 117 Non Western Art History Elective Fine Arts ART 118 Art by Women Elective Fine Arts ART 121 Two Dimensional Design ART 1321 Fine Arts ART
ART-116 3 Survey of American Art ART ELECTIVE Art/Aesthetics ART-117 3 Non-Western Art History ART ELECTIVE Art/Aesthetics OR Cultural Elective ART-121 3 Two-Dimensional Design ART ELECTIVE Art/Aesthetics ART-122 3 Three-Dimensional Design ART ELECTIVE Art/Aesthetics ART-130 2 Basic Drawing
ART 110 . Art Appreciation (2) ART 151 . Introduction to Social Practice Art (3) ART 281 . History of Western Art I (3) ART 282 . History of Western Art II (3) ART 384 . Art Since 1900 (3) ART 387. History of Photography (3) ART 389 . Women in Art (3) ENGL 270 . Introduction to Creative Writing (3)* HON 310 . Art in Focus (3)** each semester .
Printmaking/Digital Media: Art 231, Art 235, Art 270, Art 331, Art 370, Art 492 Painting: Art 104, Art 203, Art 261, Art 285, Art 361, Art 461, Art 492 The remaining 21 credits of Fine Arts electives may be selected from any of the above areas as well as
ART GLO: ART 103: History of Non-Western Art 3: F2 903N ARTH: Elective ART: GLO ART: 104 History of Photography: 3 F2 904: ARTH Elective: 3 ART: GLO ART: 105 Gender and Art: 3 F2 907D: ARTH Elective: 3 ART: GLO ART: 106 Contemporary Art 1945 to Present: 3 F2 902: ARTD Elective: 3 ART: GLO ART: 110 Design I:
Cambridge AICE Art & Design 1 AS Level . 0101371 AICE ART&DESIGN 2 AL 3/Y PF 1.0 ART ED @4 ART 6 . Cambridge AICE Art & Design 2 A Level . 0101375 PRE-AICE ART&DES3DIG 3/Y PF 1.0 ART ED @4 ART 6 . Cambridge AICE Art & Design: 3D . Studies IGCSE Level . 0101440 FIN CFT STUD ART 1 2/Y
ART V02A Intro to Hist of Western Art I 3 ARHS 200 Art of Western World I 3 EHAP, TCNA ART V02B Intro to Hist of West Art II 3 ARHS 2XXX Intro to Hist of West Art II 3 EHAP, EHAP ART V02C Intro to Non-Western Art 3 ARHS 2XXX Intro to Non-Western Art 3 ART V02D Art of Ancient Mediterranean 3
– Ceramics ART 7300 – Printmaking ART 7255 – Digital Art ART 7700 – Sculpture ART 7500 – Graphic Design ART 7800 – Painting & Drawing ART 7900 – Photography ART 7040 – Graduate Teaching Seminar (and Professional Practices, 3cr.) Teaching Seminar required in Spring of first
