Media Arts Practice II: Live Art - S22
Location: Comm 1251
Time: M W 09:00am-10:50am
Professor: Robert Spahr
Contact: rspahr@siu.edu
Office: Comm 1056B
Office Hours:
M 11:00am-12:00pm & 01:00pm-02:00pm
W 11:00am-12:00pm
R 09:00am-12:00pm
& by appointment
Teaching Assistant: Leah Sutton
Contact: leah.sutton@siu.edu
Office: TBD
Office Hours: TBD
Course Syllabus Location: https://www.robertspahr.com/map2/
Course Information:
CIN 302 Media Arts Practice II
Session: Live Art
Required Text:
* All required readings will be available online. *
Suggested Text:
Goldberg, Roselee. Performance Art: From Futurism to the Present (World of Art)
Thames & Hudson World of Art (November 1, 2011)
Description:
This course exposes students to the history and theory of performance art as an open-ended medium, executed by artists impatient with the limitations of more traditional art, and determined to take their interdisciplinary message directly to the public.
For this 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 art as well as video, film, and the Internet. Each student will keep a journal to record his or her thoughts and responses to the semester's work, and use the journal to identify their strengths as artists and areas they may want to explore for future development.
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.
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:
### Syllabus is subject to change with notice. ###
SESSION ONE - LIVE ART
Jan 10
BODIES IN THE PRESENT MOMENT
Resources:
Mobile Device Event
The Case for Performance Art | The Art Assignment, 09:10
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
John Coplans: Back Torso From Below, 1985
Ana Mendieta: Nile Born, 1984
Benedict Cumberbatch reads Sol LeWitt's letter to Eva Hesse, 06:09
Exercise One:
Make Work Without Using Any Materials
Jan 12
FUTURISM and ELON MUSK
Lecture:
Futurism, Dada, & the Bauhaus
Read:
F. T. Marinetti: The Founding and Manifesto of Futurism, 1909
Presentation and Critique:
Exercise One is due.
Workshop:
Stillness, Repetition & Inconsistency
Exercise Two:
Juxtaposition & Simultaniety
Jan 17
MLK Day - University Closure
Jan 19
DADA, DISRUPTION and SHITPOSTING
Read:
The Cut-Up Method of Brion Gysin and William S. Burroughs (PDF)
Resources:
Duchamp: Readymades
John Cage: 4'33" (For Orchestra and Soloist), 07:20
Man Ray: Indestructable Object
John Cage: Water Walk - 1960, 03:58
Robert Morris: Litanies & Document
Pendulum Music / Steve Reich / 1968, 6:13
Tzara: How to Make a Dadaist Poem
Cut-Ups William S. Burroughs, 03:13
David Greilsammer - John Cage - "prepared piano", 01:12
Internet Shitposting
Presentation and Critique:
Exercise Two is due.
Workshop:
Stillness, Repetition & Inconsistency
Exercise Three:
Destroy. Combine. Deconstruct. Rebel.
Jan 24
TRAVESTY / CAMOUFLAGE / INTIMIDATION
Presentation and Critique:
Exercise Three is due.
Workshop:
Travesty / Camouflage / Intimidation
Note: Please bring extra clothes to class, such as shirts, pants, gloves, hats, jackets
Exercise Four:
Time, Clothing & Prosthesis
Jan 26
Directing Actors / Exercise Four in Progress
Resources:
Glengarry Glen Ross (Alec Baldwin)
Script - Alec Baldwin Scene
Jan 31
CRITIQUE
Presentation and Critique:
Exercise Four is due.
SESSION TWO - LIVE ART
Feb 02
BODIES IN THE PRESENT MOMENT
Resources:
Mobile Device Event
The Case for Performance Art | The Art Assignment, 09:10
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
An Art Made of Trust, Vulnerability and Connection | Marina Abramović, 15:51
John Coplans: Back Torso From Below, 1985
Ana Mendieta: Nile Born, 1984
Benedict Cumberbatch reads Sol LeWitt's letter to Eva Hesse, 06:09
Exercise One:
Make Work Without Using Any Materials
Feb 07
FUTURISM and ELON MUSK
Read:
F. T. Marinetti: The Founding and Manifesto of Futurism, 1909
Presentation and Critique:
Exercise One is due.
Workshop:
Stillness, Repetition & Inconsistency
Exercise Two:
Juxtaposition & Simultaniety
Feb 09
DADA, DISRUPTION and SHITPOSTING
Read:
The Cut-Up Method of Brion Gysin and William S. Burroughs (PDF)
Resources:
Duchamp: Readymades
John Cage: 4'33" (For Orchestra and Soloist), 07:20
Man Ray: Indestructable Object
John Cage: Water Walk - 1960, 03:58
Robert Morris: Litanies & Document
Pendulum Music / Steve Reich / 1968, 6:13
Tzara: How to Make a Dadaist Poem
Cut-Ups William S. Burroughs, 03:13
David Greilsammer - John Cage - "prepared piano", 01:12
Internet Shitposting
Presentation and Critique:
Exercise Two is due.
Workshop:
Stillness, Repetition & Inconsistency
Exercise Three:
Destroy. Combine. Deconstruct. Rebel.
Feb 14
TRAVESTY / CAMOUFLAGE / INTIMIDATION
Presentation and Critique:
Exercise Three is due.
Workshop:
Travesty / Camouflage / Intimidation
Note: Please bring extra clothes to class, such as shirts, pants, gloves, hats, jackets
Exercise Four:
Time, Clothing & Prosthesis
Feb 16
Directing Actors / Exercise Four in Progress
Resources:
Glengarry Glen Ross (Alec Baldwin)
Script - Alec Baldwin Scene
Feb 21
CRITIQUE
Presentation and Critique:
Exercise Four is due.
SESSION THREE - LIVE ART
Feb 23
BODIES IN THE PRESENT MOMENT
Resources:
Mobile Device Event
The Case for Performance Art | The Art Assignment, 09:10
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
An Art Made of Trust, Vulnerability and Connection | Marina Abramović, 15:51
John Coplans: Back Torso From Below, 1985
Ana Mendieta: Nile Born, 1984
Benedict Cumberbatch reads Sol LeWitt's letter to Eva Hesse, 06:09
Exercise One:
Make Work Without Using Any Materials
Feb 28
FUTURISM and ELON MUSK
Read:
F. T. Marinetti: The Founding and Manifesto of Futurism, 1909
Presentation and Critique:
Exercise One is due.
Workshop:
Stillness, Repetition & Inconsistency
Exercise Two:
Juxtaposition & Simultaniety
Mar 02
DADA, DISRUPTION and SHITPOSTING
Read:
The Cut-Up Method of Brion Gysin and William S. Burroughs (PDF)
Resources:
Duchamp: Readymades
John Cage: 4'33" (For Orchestra and Soloist), 07:20
Man Ray: Indestructable Object
John Cage: Water Walk - 1960, 03:58
Robert Morris: Litanies & Document
Pendulum Music / Steve Reich / 1968, 6:13
Tzara: How to Make a Dadaist Poem
Cut-Ups William S. Burroughs, 03:13
David Greilsammer - John Cage - "prepared piano", 01:12
Internet Shitposting
Presentation and Critique:
Exercise Two is due.
Workshop:
Stillness, Repetition & Inconsistency
Exercise Three:
Destroy. Combine. Deconstruct. Rebel.
Mar 05 - Mar 13
Spring Break
Mar 14
TRAVESTY / CAMOUFLAGE / INTIMIDATION
Presentation and Critique:
Exercise Three is due.
Workshop:
Travesty / Camouflage / Intimidation
Note: Please bring extra clothes to class, such as shirts, pants, gloves, hats, jackets
Exercise Four:
Time, Clothing & Prosthesis
Mar 16
Directing Actors / Exercise Four in Progress
Resources:
Glengarry Glen Ross (Alec Baldwin)
Script - Alec Baldwin Scene
Mar 21
CRITIQUE
Presentation and Critique:
Exercise Four is due.
SESSION FOUR - INDEPENDENT PROJECTS
Mar 23
Independent Project
Exercise: Ways of Working
Worksheet: Initiate Your Project
Worksheet: Step 1 & Step 2 - details
Mar 28
Independent Project
Mar 30
Independent Project
Apr 04
Independent Project
Apr 06
Independent Project
Apr 11
Independent Project
Apr 13
Independent Project
Apr 18
Independent Project
Apr 20
Independent Project
Apr 25
Presentations and Critique of Independent Projects
Independent Project is due.
Apr 27
Presentations and Critique of Independent Projects -- Continued
May 02
University Final - 10:15am-12:15pm
Projects
Live Art Exercises
Students will increase their skills of observation and eye-hand coordination through exercises in contour drawing, value drawing, perspective, rendering, composition and colage. We will use the principles of visual organization and the elements of art: line, value, shape/volume, texture and color, to develop drawing and design skills as well as a mindful awareness of the creative process as it applies to the visual arts and everyday life. Documentation is required for all work.
Journals
Each student will respond to the lectures/readings/discussions, their own performance 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.
Independent Projects / Exhibit / Portfolio
The entire class will be working together for a longer session during the last 6
weeks of the semester to develop independent projects, portfolios and an exhibit. Our semester will culminate with an exhibition of
selected works created in Media Arts Practice I & II.
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: Attendance to all classes is expected. You are allowed up to ONE unexcused absences. Unexcused absence beyond this threshold may result in failing this course.
Assignments: All assignments and projects are due at the beginning of class. Late projects will not be accepted.
Critique: Students will work closely with each other to develop their projects. This includes learning to speak clearly expressing oneself when respectfully discussing their own and others artwork.
Grading:
A 95-100, A- 92-95Outstanding 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:
- 20% Originality of concept
- 20% Delivery (execution of the concept)
- 20% Documentation / Process
- 20% Craft
- 20% Critique & participation
Your final grade for the Live Art Session will be determined by the following:
- 10% Discussions / Participation
- 10% Journal
- 80% Exercises
Your final grade for the MAP II course will be determined by the following:
- 15% Session 1 (Rob)
- 15% Session 2 (HD)
- 15% Session 3 (Jay)
- 55% Independent Project / Exhibit / Portfolio
COVID-19
Masks are required on the SIUC campus and in our classrooms. We will follow the mandated guidelines established by the university. Should the conditions change and we need to work remotely, I will work on transitioning our class 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 '22 - PDF