2017/8 - AMAA4009B INTRODUCTION TO GALLERY AND MUSEUM STUDIES

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1 2017/8 - AMAA4003B FORM AND FUNCTION Organiser: Professor Dana Arnold Module Type: Examination with Coursework or Project Exam Paper(hrs):2 Exam Period:SPR-02 Most works of art, whether objects, buildings, or performances, are designed to serve a set of purposes. The interrelationship of their forms and their functions may be straightforward and practical, or complex and elusive. Drawing on a range of case studies presented by ART staff, this lecture module examines the connections between the uses, meanings and appearances of art. We will also consider how form and function may change over time, especially in the context of cross-cultural contact. 2017/8 - AMAA4009B INTRODUCTION TO GALLERY AND MUSEUM STUDIES Organiser: Dr Christina Riggs and Project This module introduces some of the key concepts and tenets underpinning art galleries and museums. One half of the module considers the ways in which museums engage visitors with their activities and their displays. The other half examines the reverse process, by reviewing the history of museums and considering the impact that society has on their development, structure and objectives. The teaching on this module uses the Castle Museum and Art Gallery and the Sainsbury Centre for Visual Arts as case studies, in addition to considering a range of galleries and museums around the world. 2017/8 - AMAA4024B INTRODUCTION TO ANTHROPOLOGY Organiser: Dr Ferdinand De Jong This module presents an overview of some key anthropological theories and their connections with history and archaeology through the works of classical and contemporary authors. It will examine various anthropological approaches to topics such as nature, human ecology, material culture, art, ritual, religion, globalization and socio-political complexity. This module is compulsory for V0L0 students.

2 2017/8 - AMAA4025B PORTRAITURE AND IDENTITY Organiser: Dr Jessica Barker Introducing students to portraiture as it has been practiced by visual artists working in the European tradition between the Middle Ages and the present day, this module considers issues such as 'likeness'; the face; the self-portrait; portraiture as the embodiment of political, social and aesthetic power; the ways in which portraiture has variously reinforced and challenged concepts of class, race and gender; the photographic portrait, and the role of portraiture in contemporary art and culture. We will analyse the works of art alongside histories and concepts of the individual self, perhaps the supreme artefact of all. 2017/8 - AMAA5012B IMAGE, WORD AND MODERNITY IN BRITAIN, c Organiser: Dr Sarah Monks and Project In this module, we will examine the interaction between the visual and the verbal in British culture during the nineteenth century, looking at images and/or texts produced by William Blake, the Pre-Raphaelite circle, Algernon Swinburne, Edward Burne-Jones, the English social realists, James McNeill Whistler, Aubrey Beardsley and Oscar Wilde, Walter Sickert, the Bloomsbury group and artists/poets of the First World War. In turn, we will consider the ways in which art historians, poets, novelists, literary critics and theorists have considered the often-vexed relationship between image and word. Thus, while largely chronological in form the course requires students to engage with the theoretical and critical literature on image/word relations, and considers issues such as the title, the calligram, ekphrasis, visual humour and the aesthetics of texts. 2017/8 - AMAA5085B VERNACULAR PHOTOGRAPHIES Organiser: Dr Ferdinand De Jong Right after the invention of photography in the nineteenth century, the technology of

3 photography was introduced in the colonial empires as a technique for surveying the subject populations. But these subjects soon appropriated this new technology and put it to their own, unanticipated uses, creating vernacular forms of photography that sometimes remained close to their Victorian origins, but at other times produced unexpected imaginaries. This module focuses on the materiality, storage, and circulation of photographs in photo albums, religious communities, archives, and social media that sustain other forms of imagination. Drawing on case studies from different countries across the globe, it explores how amateur photography is a technology people all over the world have used to produce indigenous forms of sociality. 2017/8 - AMAA5090B ART IN THE CONTEMPORARY WORLD Organiser: Dr Jack Hartnell and Project This module addresses contemporary issues in the production and display of art. It explores the status of contemporary art in relation to globalisation but also examines the problems confronting critics, curators and scholars today when they engage with the art of different regions and of all periods, from prehistory to the present. 2017/8 - AMAA5093B ART AND ARCHITECTURE IN VENICE Organiser: Dr Jack Hartnell This examines the development of the art and architecture of Venice over a period from the city s foundation until the 18th century. This is a preparation for a fieldtrip to the city. Students on this module will be able to apply to the Emma Jonathan Fund for support in meeting the costs of the trip. 2017/8 - AMAA5097B RENAISSANCE RECONSIDERED Organiser: Dr Jessica Barker Fourteenth and fifteenth-century Italy was shaped by the growth of urban centres and the development of new political, social, and sacred institutions. New patrons and uses for

4 artworks prompted a wealth of artistic activity that responded to and also forged contemporary values, beliefs and identities. Bankers, merchants, mercenaries, and religious institutions exploited the power of art and architecture to promote their professional interests, ambitions, and families. Focusing on spaces (palaces, churches, city squares) and bodies (princely, female, sacred, dead). Reconsidering the Renaissance explores evolving forms and functions of painting, sculpture and architecture made by a range of artists. We will also consider exchanges and cultural links between the centres on the Italian peninsula and an expanding image of the world. 2017/8 - AMAA5098B ARCHAEOLOGIES OF THE MEDITERRANEAN WORLD Organiser: Dr Joanne Clarke Using case studies from around the Mediterranean world, this module provides a grounding in the archaeology of the Mediterranean World. Case studies range from Palaeolithic Europe, to the Neolithic of the Aegean, Cyprus, The Near East, or North Africa, depending on the expertise of the module convener. Themes include early artistic endeavour (Palaeolithic Europe), the transition from hunting to farming (Crete, the Aegean, Cyprus the Near East), the emergence of urban societies (Egypt, the Near East), climate and society (the Mediterranean). 2017/8 - AMAA5106B THE ANTHROPOLOGY OF ANDEAN ART AND MUSIC Organiser: Dr Aristoteles Barcelos Neto This module is an anthropological approach to the arts and music of Amazonia and Andean Indigenous peoples. The subjects will be discussed through key Amerindian themes with a special focus on cosmology, shamanism, ritual, animal symbolism, and cultural identity. In many Amerindian societies, ritual itself is a major artwork combining music, dance, body art and artefacts into an integrated oeuvre. We will read anthropological texts and watch ethnographic films to analyse the relationships between ritual and music and its sociocosmological meanings. Documentary film will also be covered as an important and innovative art among Native South Americans, with a special focus on the Kuikuro Indians of Southeastern Amazonia. 2017/8 - AMAA6112B DISSERTATION

5 UCU: 30 Organiser: Dr Sarah Monks Module Type: Project Timetable Slot:U ART students on this module undertake a research project on a topic related to their specialised interests, in consultation with an appropriate member of ART Faculty, leading to a 9,000 word dissertation. 2017/8 - AMAA6127B MAKERS' MYTHS: THE PERSONA OF THE ARTIST AFTER 1945 UCU: 30 Organiser: Dr Edward Krcma The figure of the artist has for centuries been the object of celebration, curiosity and mythmaking. Since World War II powerful narratives have developed around some of the most prominent artists: Francis Bacon s dark world of intensity, anxiety and sado-masochism; the blank stare of Andy Warhol s commercial indifference; Joseph Beuys s redemptive shamanism; Louise Bourgeois the child abused using her art to resolve inner conflicts; and Ai Weiwei the great political dissident of contemporary China. This module explores the construction of such makers myths and asks: How is an artist s public persona constructed and what bearing does it have on the interpretation of specific artworks? What idea of art s social role do different personae imply? How do these roles relate to our idea of what art can or should contribute to the contemporary world? 2017/8 - AMAA6130B JIHAD AND ICONOCLASM: ERASING ART AND CULTURE UCU: 30 Organiser: Dr Joanne Clarke MODULE - 40% PASS ALL COMPONENTS In the last seven years, more art, archaeology and heritage has been lost to the actions of jihadist groups than ever recorded in modern history. This is principally because of the systematic looting of archaeological sites and museums and the purposeful destruction of ancient cities and monuments. ISIS evoke the unholy worship of false gods as their justification for the destruction of the famous statuary and carved relief panels from the palaces and temples of Neo-Assyrian cities, such as Nineveh and Nimrud. In this module we will examine iconoclasm in the context ofjihad (literally, the struggle against unbelievers)and consider what role iconoclasm in the context of jihad has played in the systematic destruction

6 of art and culture. 2017/8 - AMAA6134B GALLERIES AND MUSEUMS PRACTICE UCU: 30 Organiser: This module explores a variety of practical and conceptual considerations in Gallery and Museum Studies by focusing on specific aspects of these institutional structures: from building and housing collections, to curating shows, producing exhibition texts, and writing art criticism. We will make use of the extraordinary resource of the Sainsbury Centre for Visual Art, exploring its operational structure, permanent collection and new temporary exhibitions. We then develop our engagement with the practice of conceiving, designing and mounting exhibitions themselves, exploring both the conceptual demands of putting on a successful show as well as practical considerations in doing so: from meeting artists in the studio, to transporting works, to making funding applications. Finally we consider the role of education and interpretation in galleries and museums practice, thinking also about how texts of various sorts operate in exhibitions and collections displays, and about the practice of art criticism. Along the way we will also be hearing from members of the Sainsbury Centre staff, and the module involves a study trip to London.