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Information and Syllabus

Live Art - Spring '25 - CIN 473


Course: Live Art
Location: Cinema Soundstage (COMM 1116)
Time: R 11:00am-01:50pm

Course Syllabus Location:
http://www.robertspahr.com/liveart/

Course Information:
CIN 473 Live Art - 001 - 25392

Professor: Robert Spahr, MFA
Contact: rspahr@siu.edu
Office: Comm 1056C
Office Hours:
R  09:00am-11:00am and 02:00pm-03:00pm
F  12:00pm-03:00pm
& by appointment


Suggested Text:

Goldberg, Roselee. Performance Art: From Futurism to the Present (Third Edition)
Thames & Hudson World of Art

Description:

This course exposes students to the possiblities of interactivity within the media arts by exploring the history and theory of live art. We will look at the origins of performance art and the freedom and control that computer code and emerging networked media provides while focusing on interactivity and non-linear storytelling. A goal of this course will be to move beyond seeing the computer as a tool of production, but rather the beginning of a complete networked system. Students will be encouraged to discover new modes of expression with the computer and the network seen not as a tool, but as a medium.

For this interdisciplinary course we will define performance simply as live art by artists. We will draw on any number of disciplines and media for material, such as visual art, literature, theater, poetry, music, dance, and installation as well as video and film. Students will also look to Human-Computer Interaction (HCI), the Internet, computer science and information systems to further develop their media arts practice.

Upon successful completion of this course, students will have used historical texts, theoretical writings, analysis and ensemble work to better understand the history of performance art and the various forms it takes. Students will have further developed their own media art practice by creating individual and group performance pieces, which will be presented to the public in an evening of Live Art.


Objectives:

  • Increase knowledge relevant to the analysis and history of media arts, performance, live art and installation.
  • Develop technical skills for creating and analyzing media arts and interactivity by developing individual and collaborative live art performance.
  • Develop an awareness of the creative process as it applies to media arts practice.

Syllabus:

Be sure to check back often for any updated information.


Jan 16
INTRODUCTION TO LIVE ART

View:
The Case for Performance Art | The Art Assignment, 09:10
In Focus: Guerrilla Girls, 02:55
joseph beuys-I liked america and america likes me, 1974, 03:08
Chris Burden: Shot in the Name of Art | The New York Times, 04:39
Yoko Ono: Cut Piece 1965, 0:57
Jim Dine | Car Crash, 04:36
John Cage: Water Walk Score
John Cage: Water Walk - Jan, 1960, 03:58
Rebecca Horn Performance II (Pencil mask), 0:40
Laurie Anderson - O Superman (Official Music Video), 08:27
Keith Obadike: Blackness for Sale, 2001
Eva and Franco Mattes, No Fun, 2010

Live Art Workshop
Notes: Live Art Workshop Notes

Absence / Emptiness / Presence
Exercise: Absence / Emptiness / Presence

View:
Marina Abramovic on The Artist Is Present (2010), 02:07
Marina Abramovic on The House With the Ocean View (2002), 02:10
Regina Jose Galindo: Tierra (2013), 06:23
Interview with Agnes Martin (1997), 08:33
Art I Can't Show You, 07:00
Why Nothing Matters in the Art of John Cage and Samuel Beckett, 12:58
Robert Rauschenberg | TateShots, 05:17
Robert Rauschenberg, Willem de Kooning, and a bottle of Jack Daniels, 03:30

Further Resources:
Robert Wilson / Philip Glass - Einstein On The Beach, 08:11
How Robert Wilson Bends Time, 09:00
Benedict Cumberbatch reads Sol LeWitt's letter to Eva Hesse, 06:09
An Art Made of Trust, Vulnerability and Connection | Marina Abramović, 15:51
Agnes Martin with my back to the world, 56:52
Robert Rauschenberg, 04:20
Jim Dine | The House | The Smiling Workman, 05:23
Joseph Beuys, 09:47


Jan 23
ITALIAN FUTURISM
Read:
Luigi Russolo: The Art of Noises, July 1, 1913.
(Listen to Intonarumori)
F. T. Marinetti: The Founding and Manifesto of Futurism, February 20, 1909

Due: Exercise Absence / Emptiness / Presence

Further Resources:
A Collection of Futurist Manifestos
F.T. Marinetti, et al: The Futurist Cinema, November 15, 1916.
F.T. Marinetti, et al: The Futurist Synthetic Theatre, February 18th, 1915.
Futurism (art)
Intonarumori
Guggenheim: Futurist Performance and F. T. Marinetti, 04:14
Ballet Mécanique (1924, 2K Digitally Restored, With Score by George Antheil), 16:30
Wikipedia: Fernand Léger


Jan 30
DADA & SURREALISM
Read:
The Cut-Up Method of Brion Gysin and William S. Burroughs (PDF)
Tzara: Dada Manifesto 1918
Antonin Artaud: Theatre of Cruelty (First Manifesto) 1964

Juxtaposition & Simultaniety
Exercise: Juxtaposition & Simultaniety
Script: Advice from a Caterpillar


Feb 06
HAPPENINGS / FLUXUS / MEDIA GENERATION
Read:
Susan Sontag - Happenings: An Art of Radical Juxtaposition
Oldenburg: I Am For An Art
Jim Dine: Car Crash Happening
Allan Kaprow: Birds (pdf)
George Brecht: Chance-Imagery

Due: Exercise Juxtaposition & Simultaniety

Mashups, Generative Processes & Chance
Exercise: Mashups, Generative Processes & Chance

View:
Inside New York's Art World: Jim Dine 28:15

Further Resources:
theFluxusPerformanceWorkbook
Fluxus: BUTTER + EGGS = ART, sometimes, 13:40

Feb 13
Open Studio
Due: Exercise Mashups, Generative Processes & Chance

Chimaera: Hybridized Imagery
Exercise: Chimaera: Hybridized Imagery

Feb 20
Open Studio
Due: Exercise Chimaera: Hybridized Imagery
Assign: Project One

Feb 27
Open Studio
Developing Project One

Mar 06
Open Studio
Developing Project One

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Mar 10-14    Spring Break
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Mar 20
Critique Project One
Due: Project One and Journal/Sketchbooks
Assign: Project Two

Mar 27
Open Studio
Developing Project Two & Group Performance / Exhibit

Apr 03
Open Studio
Developing Project Two & Group Performance / Exhibit

Apr 10
Open Studio
Developing Project Two & Group Performance / Exhibit

Apr 17
Critique Project Two
Due: Project Two and Journal/Sketchbooks

Apr 24
Open Studio
Developing Group Performance / Exhibit

May 02
Group Project / Public Performance
Details TBD

May 05-09
Finals Week
Final documentation of all work is due.


Projects

Two Projects
In addition to class exercises each student will complete Two Projects. During the semester we may look at some works-in-progress during Open Studio time. Details regarding the requirements for each of these two assignments will be discussed in detail on the day that they are assigned. All projects must be documented in a suitable medium. Documentation will be collected at the final class meeting.

One Group Live Art Event & Exhibition for the public.
A group exhibition and event will be organized by the class. This live art event will be created and structured by the group. This Live Art event will be presented to the general public. Exact date and location TBD.


Evaluation:

The work in this course requires motivation, exploration, risk-taking, and most importantly, an openness to new ideas. The grading policy of this class is meant to encourage you to explore new ideas and take chances. Do not think in terms of "What must I do to receive an A grade", but think in terms of what you would like to learn.

Attendance:
You are expected to attend ALL classes. You are allowed up to ONE unexcused absence. Unexcused absence beyond this threshold may result in failing this course. Attendance will be taken at the beginning of class. Absences will affect your grade. After three absences that are not accompanied by a doctor’s note, the student will be subject to a letter drop.

Due to the nature of practiced based courses, the class itself cannot be made up due to absences as it is an experiential course dependent on in-class participation in critiques and completion of exercises/projects. You will be marked "late" if you are not in the classroom five minutes after class begins. Leaving during class and/or leaving class early will be considered equivalent to being absent.

For absences due to medical issues to be excused, appropriate documentation is necessary. You must also email the professor at rspahr@siu.edu prior to being absent.

Journal/Sketchbook: Each student will respond to the class readings, their own projects, and any recorded performances we watch in the class. Students should also document their creative process, and artistic development within the journal. Think of the journal as a resource, to contain your present ideas and hints of future directions to explore.

Readings:
We will be exploring a variety of writings about art. For each of the assigned readings, you should add into your sketchbook the date and a quote that you found significant. Be prepared to explain and discuss each quote in your own words. Readings are due the day they are listed on the syllabus.

Critique:
Students will work closely with each other to develop their projects. This includes developing your verbal skills, confidence, and insights about receiving and providing criticism. Students will work to express themselves clearly while respectfully discussing their own and others artwork.

As a practiced based course, you are required to actively participate in class conversation and critique. Missing class and not participating in class activities will result in a lower grade in the course. In critique, always be respectful when discussing others’ work and practice constructive criticism. Be prepared to explain your reasoning if simply stating "I like it." or "I hate it." Failure to participate in class will result in a poor participation grade.

Grading:

A 95-100,   A- 92-95
Outstanding work.
Solution shows excellent depth of understanding and innovation. The solution has been fully developed in form and concept.

B+ 88-91,   B 85-87,   B- 82-84
Good work.
Solution exceeds all requirements and shows above average depth of understanding. Demonstrates more than adequate clarity of idea and execution.

C+ 78-81,   C 75-77,   C- 72-74
Average work.
Problem has been solved adequately, but the solution lacks depth of understanding, development and innovation.

D+ 68-71,   D 65-67,   D- 62-64
Poor work.
Solution is extremely weak and lacks understanding and innovation. Technical skills are weak.

F 61 or less
Unacceptable work.
Solution to the problem is unresolved and incomplete resulting in a failing grade.


Each project will be graded on artistic, creative and intellectual merit.

Grades will be based on the following:

  • 25% Originality of Concept
  • 25% Delivery (execution of the concept)
  • 25% Craft & Documentation
  • 25% Critique & Participation

Your final grade will be determined by the following:

  • 20% Project One
  • 20% Project Two
  • 20% Group Project
  • 20% Exercises
  • 20% Sketchbook

COVID-19

We will follow the mandated COVID-19 guidelines established by the university. Should the conditions change and we need to work remotely, the course will transition to a hybrid online format. Further information on the SIU policy on COVID-19: https://siu.edu/coronavirus/


SIU Syllabus Attachment

SIU Syllabus Attachment - Spring '25 - PDF