Barbara Kruger 2010: "whitney On Site" series at the Whitney Museum of American Art. Bold statements and words in vinyl are exhibited on the pavement and on top of buildings.
Barbara Kruger 2010: "whitney On Site" series at the Whitney Museum of American Art. Bold statements and words in vinyl are exhibited on the pavement and on top of buildings.
Barbara Kruger 2010: "whitney On Site" series at the Whitney Museum of American Art. Bold statements and words in vinyl are exhibited on the pavement and on top of buildings.
Barbara Kruger 2010: Whitney On Site series at the Whitney Museum of American Art. Bold statements and words in vinyl are exhibited on the pavement and on top of buildings. Much of the concept of this commissioned work reveals Krugers personality and also gives an answer to the conversion of artistic avenues across an area in NYC that was primarily known for meatpacking. http:]]hypebeast.com]2010]09]wh|tney-on-s|te-barbara-kruger]
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Contents
Cvervlew age 3
Alms and ob[ecLlves, 1eachlng and Learnlng age 3
Learnlng ouLcomes & Marklng CrlLerla and AssessmenL Lvldence age 6
Submlsslon of Work and AssessmenL age 7
1lmellne of Lhe unlL age 8
LssenLlal SLudy MaLerlal age 9
8ecommended SLudy MaLerlal age 10
LC's & 8lsk AssessmenL age 12
Self LvaluaLlon lorm age 13
Dates, dead||nes and tutors:
Durat|on of the un|t: 7 !anuary 2013 - 3 !une 2013 8r|ef|ng 1: 1ues 4 uecember 2012, 8r|ef|ng 2: 7 !anuary 2013 Draft /0"1(2(34&-5(60%745+$ subm|ss|on: lrlday 13 March 2013, 10.30am IINAL /0"1(2(34&-5(60%745+$(subm|ss|on: lrlday 31 May 2013, 10.30am ract|ca| work Subm|ss|on (ke|at|ng to your cr|t|ca| th|nk|ng): Wed 3 !une 2013 10am
ln Lhls unlL you explore dlfferenL research approaches and meLhods, applylng Lhem Lo your own worklng pracLlces. 1he Lheory elemenL mlghL be boLh lnformed by and supporL your developlng pracLlce or, equally, pracLlce mlghL lnform and develop your LheoreLlcal Lhlnklng. ?ou produce a !"#$%&%'()*+%,"-.(+/0 (formally referenced and lncludlng a blbllography) LhaL descrlbes and explores Lhe crlLlcal framework of your pracLlce. 1he unlL supporLs you ln presenLlng a clear approach Lo your lndlvldual pracLlce wlLh a vlew Lo your planned course of sLudy ln SLage 3 of Lhe course, preparlng ln parLlcular for unlL 9.
?ou wlll begln by looklng for LheoreLlcal and crlLlcal concerns LhaL lead Lo forms of pracLlce or begln by developlng forms of pracLlce LhaL wlll lead Lo enqulry lnLo LheoreLlcal and crlLlcal concerns.
?ou wlll selecL one area of worklng from a serles of quesLlons and polemlcs concerned wlLh performance and LheaLre pracLlce (see page 4). 1he ldea ls LhaL you use one of Lhese as a sLarLlng polnL Lo develop work. ?ou are advlsed Lo fully negoLlaLe, revlse and adapL your chosen Loplc and worklng meLhodology wlLh your LuLor aL Lhe LuLorlal meeLlngs. 1he ldea of Lhese quesLlons/polemlcs ls Lo help you dlrecL your personal lnLeresLs and Lo ldenLlfy ways of worklng.
keep conLexLual sLudy and pracLlce as a parallel concern. 8eflecL ln, on and for pracLlce Lhrough Lhe sLudy of conLexLs and Lhe evaluaLlon of experlmenLs. 1hroughouL Lhe process of u7 always cross-reference your pro[ecL work wlLh Lhls brlef.
As parL of Lhe developmenL of your pro[ecL you wlll need Lo produce a urafL%!"#$%&% 1()*+%,"-.(+/0%2.3('44'"/%of beLween 1,300 and 2,000 words. WlLh Lhe llnal !"#$%&%1()*+ uocumenL you also need Lo show a porLfollo of pracLlcal work LhaL supporLs your enqulry. 1hls ls by submlsslon only (l.e. you do noL presenL lL ln person) on Wed 3 !une 2013.
1he pracLlcal work LhaL you do ln Lhls unlL wlll relaLe Lo Lhe way you develop your own pracLlce lndependenLly elLher as a progresslon from prevlous works or wlLh a vlew Lo fuLure work. 1he pracLlcal work wlll supporL your conLexLual enqulry and may lnclude proLoLypes, experlmenLs, roughs, Lrlal and error eLc. 1he pracLlcal work does noL necessarlly mean LhaL you need Lo presenL compleLe and flnlshed forms.
D|g|ta| formats 1hls may lnclude presenLaLlon packages such as 'rezl' or 'owerolnL', uvu, lnLeracLlve webllnks and so forLh. lease dlscuss Lhls wlLh your LuLor. 1he mosL lmporLanL aspecL Lo Lhls ls LhaL Lhe assessors can access Lhe formaL LhaL Lhe work ls ln. lor example make sure LhaL Lhe collage has Lhe correcL equlpmenL Lo vlew such works. 4 Choose one of the fo||ow|ng quest|ons]po|em|cs as a start|ng po|nt to deve|op a contextua| and pract|ca| enqu|ry.
1hls work should be focused upon a deep personal vlslon of a form of conLemporary performance and pracLlce work or works. 1hls pracLlce musL be LesLed and argued and Lhe quesLlons lnformed by research and analysls. lf you cannoL declde whlch lnvesLlgaLlon Lo pursue do all of Lhem wlLhln a sLrlcL perlod of Llme and leL Lhls lnform your declslon. 8ecord and dlscuss Lhls declslon maklng process.
1) AL whaL polnL does Lhe auLoblographlcal ln performance deslgn and pracLlce become relevanL Lo an audlence. Pow can a personal approach Lo work be LesLed for efflcacy?
2) !ean 8audrlllard malnLalned LhaL reallLy does noL exlsL, LhaL socleLy exlsLs ln 'codes' and LhaL as soon as anoLher seL of slgns comes along a dlfferenL LruLh appears. 1herefore, accordlng Lo 8audrlllard, a reallLy ls only deflned by someLhlng LhaL lL ls noL. Pow mlghL Lhls have an effecL on your pracLlce?
3) WhaL are Lhe problems ln communlcaLlng an ldea for a Llme based proposlLlon. WhaL may be an approprlaLe form of modellng ldeas for performance and whaL precedenLs do we have for Lhls? lor example worklng wlLh scale, pro[ecLlon, drawlng, sample and so forLh.
4) Arguably one of Lhe prlnclple elemenLs of performance ls Lhe faclllLy Lo porLray change ln respecL of place, oplnlon, geography, hlsLory and so forLh. WhaL mlghL be Lhe pracLlcal and soclo-pollLlcal lmpllcaLlons of Lhls?
S) ln maklng a llve performance whaL meLhodologles does one use and how can one malnLaln a susLalned and conslsLenL enqulry wlLh Lechnlques of experlmenLaLlon, Lrlal and error, fallure and mlsLakes?
6) ls lmmerslve LheaLre Lhe anLl-Lhesls of Lhe 8rechLlan noLlon of allenaLlon? Pow mlghL a producLlon LhaL lnvolves an lmmerslve experlence hold a crlLlcal value Lo an 'audlence' ln Lerms of conLemporary pollLlcs and culLure?
7) Pow can a performance work(s) Lake on a crlLlcal facLor ln socleLy? lor example leglslaLlon and [urlsdlcLlon seems Lo be sendlng more and more people Lo [all. Pow can 'play' be used Lo LesL an enqulry lnLo Lhe cause and recLlflcaLlon of crlme from Lhe boLLom up (so Lo speak).?
8) A Loplc or quesLlon of your cholce. 5 A|m: 1o make Lheory and pracLlce a parallel concern
ou w||| ach|eve th|s a|m by the fo||ow|ng ob[ect|ves:
flndlng and demonsLraLlng meLhods of Lhlnklng crlLlcally abouL your work,
researchlng approaches and meLhods of worklng,
locaLlng and enhanclng your pracLlce alongslde a personal framework of crlLlcal concerns,
demonsLraLlng Lhe ouLcomes of research Lhrough experlmenLaLlon,
by flndlng ways of worklng LhaL comblnes Lheory and pracLlce Lhrough an lnvesLlgaLlon of a parLlcular pracLlce or Lheory,
maklng a work or serles of works LhaL explores Lhe crlLlcal framework of your pracLlce LhaL produces Lheory or acLlvaLes Lheory.
1each|ng and |earn|ng: 1he erformance ueslgn and racLlce 'Core ConLexLual SLudles' and 'Core Skllls' programmes supporL Lhls unlL LogeLher wlLh 4 group LuLorlals and Lwo personal LuLorlals (lndlvldual LuLorlal) LhroughouL Lhe pro[ecL. ?our LuLor wlll also glve you feedback on your drafL !"#$%&%1()*+%,"-.(+/0%submlsslon. lL ls cruclal LhaL you aLLend each Leachlng sesslon. ln Lhe LuLorlals lL ls expecLed LhaL you be fully prepared Lo presenL Lhe work ln progress ln Lhe mosL effecLlve way. lor example ln peer LuLorlals dlsplaylng work so LhaL everyone can vlew lL. Agaln, make sure you are famlllar wlLh Lhe room LhaL you are presenLlng ln, for example ways ln whlch Lo place work on Lhe wall, knowlng how Lo operaLe Av sysLems eLc.
key un|t quest|on Pow does a personal crlLlcal 'framework' locaLe your pracLlce, and how does your pracLlce lnform your undersLandlng of Lheory?
eer groups 1hese remaln largely Lhe same as your 5/'0%6%7)#0%8 7++#%9#".:4. ?ou can work ln collaboraLlve groups on Lhls unlL.
6 Learn|ng outcomes and mark|ng cr|ter|a:
Cn successful compleLlon of Lhls unlL you wlll: ldenLlfy, research, analyse and apply an aspecL of hlsLorlcal /conLemporary culLure Lo Lhe developmenL of your pracLlce ;#+4+)#-<%)/$%)/)=>4'4?@ LesL ldeas as parL of Lhe process of explorlng performance deslgn and pracLlce concepLs ;+A:+#'(+/0)0'"/?, employ skllls effecLlvely and efflclenLly ln order Lo communlcaLe ldeas (0+-</'-)=% -"(:+0+/-+?@ reflecL LhroughouL your worklng processes, upon your currenL pracLlce ln relaLlon Lo Lheory ;77,?B
Assessment ev|dence: ( 1o evldence your achlevemenL of Lhe learnlng ouLcomes of Lhls unlL, you are expecLed Lo submlL: a word and lmage documenL (2,300-3,000 words) Lo lnclude academlc referenclng and blbllography. 1hls should porLray an aspecL of hlsLorlcal and conLemporary crlLlcal pracLlce ln relaLlon Lo your lndlvldual currenL pracLlce. ?ou musL provlde an elecLronlc and hard copy of Lhls documenL,
a collecLlon (or porLfollo) of vlsual and analyLlcal maLerlal LhaL demonsLraLes your lndlvldual currenL pracLlce. 1hls can be ln any form - you should use formaLs of presenLaLlon approprlaLe Lo your ldeas and meLhodologles,
self-evaluaLlon documenL (230-300 words)
AssessmenL of Lhls unlL wlll allow for work compleLed as parL of a group Lo be presenLed as evldence. Powever you wlll recelve an lndlvldual grade and feedback reporL.
7 Subm|ss|on of Work and Assessment: 1he !"#$%&%1()*+%,"-.(+/0 (boLh Lhe drafL and Lhe flnal verslon) musL be porLable, assessors may need Lo Lake work home Lo read! ?ou musL also provlde an elecLronlc copy on a dlsc. lf your !"#$%&%1()*+%,"-.(+/0 ls dlfflculL Lo read on accounL of exLreme experlmenLaLlon please provlde 'A 8ead Cnly' verslon (l.e. a plaln copy for ease of readlng).
1he submlsslon of pracLlcal work LhaL relaLes Lo your crlLlcal Lhlnklng: ?ou wlll need Lo brlng Lhls on Lhe assessmenL day, and place Lhe work ln Lhe room, ln Lhe space provlded before 10.30am. ?ou wlll noL be requlred Lo be Lhere afLer 10.30am, on Lhe followlng day you need Lo plck up Lhe work afLer 4.30pm.
1he self-evaluaLlon form musL be compleLed and presenLed ln Lhe flnal pracLlcal submlsslon.
1he drafLs and Lhe flnal !"#$%&%1()*+%,"-.(+/0 can be submlLLed ln Lhe followlng ways: LlLher, aL Lhe sLudenL cenLre aL 10.30am on Lhe deadllne daLe (Lhls maybe more pracLlcal for larger submlsslons), C8 aL any Llme up Lo Lhe deadllne ln Lhe posL box slLuaLed ln kx M306. In every case, where poss|b|e you shou|d p|ace the work |n an enve|ope. ou must f||| |n a cover |abe| and attach f|rm|y to a|| p|eces of work. Do not use paper c||ps. (Cover sheets are |ocated near the post box |n kk M306 and 8|ackboard s|te |n the stage 3 genera| f||e).
All word and lmage documenLaLlon wlll be reLurned Lo you aL Lhe end of Lhe academlc year. Cn occaslon we may ask Lo keep work for a year afLer you leave for Lhe purpose of Leachlng and exhlblLlng.
9 Essential Study Material Books Bakhtin, M, (1986) The Dialogic Imagination, Four Essays by M. M. Bakhtin. (1965-1975), translated by Caryl Emerson and Michael Holquist, Austin, University of Texas Press. Butt, G (ed.). (2004) After Criticism: New Responses to Art and Performance. Oxford: Blackwell. Chapters 1, 3 & 6 Jones, A and Stephenson, A (eds). (1999) Performing the Body, Performing the Text. London: Routledge. Introduction, 3, 8, 9, 14, 16. Lecht, J. (1994) Fifty Key Contemporary Thinkers: From Structuralism to Postmodernity. London: Routledge Lecht, J. (1994) Fifty Key Contemporary Thinkers: From Structuralism to Postmodernity. London: Routledge. Sections: Bachelard, Bakhtin, Mauss, Merleau-Ponty, Lacan, Lvi-Strauss, Bataille, Deleuze, Derrida, Foucault, Kristeva, Irigaray, Benjamin, Baudrillard Lehmann, H-T. (2006) Postdramatic Theatre. Routledge p 68 133 Panorama of postdramatic theatre Rogers, H. and Burrows, D (eds). Making a Scene. (2002), Birmingham: ARTticle (University of Central England in Birmingham). Sections: Posing the Subject: Performing the Other as Self and After Mourning Sex Essays & Abstracts Foster, H. (1996) The Crux of Minimalism In: The Return of the Real: The Avant-Garde at the End of the Century. London: Cambridge Mass: MIT Press. Sontag, S. (1966) Against Interpretation. London: Vintage.
10 kecommended Study Mater|a|: % Books Evans, C. (2007) Fashion at the Edge. Yale University Press Foster, H. (1996) The Return of the Real: The Avant-Garde at the End of the Century. London: Cambridge Mass: MIT Press. Fusco, C, (2001) The Bodies That Were Not Ours. London, New York: Routledge. Herzogenrath, W. (1988) Nam June Paik: Video Work 1963-88. London. Kristeva, J. (1991) Strangers to Ourselves. Translated by Leon S. Roudiez, New York, Columbia University Press. Lefebvre, H. (1991) The Production of Space. Translated. By Donald Nicholson-Smith. Oxford: Blackwell. Read, A. (1993) Theatre of Everyday Life: An Ethics of Performance. Routledge Turner, V. (1986) The Anthropology of Performance. London: Routledge. Film /Video /DVD Afternoon Breezes (1980) Dir: Hitoshi Yazaki Alphaville. (1965) Director: Jean-Luc Godard. Black Orpheus. (1959) Director: Marcel Camus. Derrida. (2002) Directors: Kirby Dick and Amy Ziering Pink Flamingos. (1972) Director: John Waters
11 Essays & Abstracts Benjamin, W. (1973) The Storyteller. In: Illuminations. (trans. H. Zohn). London: Fontana. Benjamin, W. (1973) The Work of Art in The Age of Mechanical Reproduction. In: Illuminations. Trans. H. Zohn. London: Fontana. Burgin, V. (1996) Brecciated Time. In: In/Different Spaces: Place and Memory in Visual Culture. Berkley: University of California Press. Burgin, V. (1996) Geometry and Abjection. In: In/different Spaces: Place and Memory in Visual Culture. London: Berkeley: University of California Press. Burgin, V. (1996) Seiburealism. In: In/different Spaces: Place and Memory in Visual Culture. London: Berkeley: University of California Press. Foster, H. (1996) The Artist as Ethnographer. In: The Return of the Real. Cambridge Mass; London: The MIT Press. Gilane T. (2000) Vladimir and Estragon are Still Waiting. In: Making a Scene. Rogers, H. and Burrows, D (eds). Birmingham: ARTticle (University of Central England in Birmingham). Schneider, R. (2004) Solo Solo Solo. In: After Criticism, New Responses to Art and Performance. Butt, G. London: Blackwell Publishing. Tatchell, P. (2000) The Art of Activism Protest as Performance. In: Making a Scene. Rogers, H. and Burrows, D (eds). Birmingham: ARTticle (University of Central England in Birmingham). Refer to general bibliography and additional reference material for materials appropriate to your work. Further guidance and study material will be provided by your tutor in accordance with the needs of your individual study.
12 Extenuating Circumstances & Retrieval for failure of Unit
The procedure is the same as for previously completed units and is available for reference on your notice-board, the course Blackboard site and in the Course Handbook.
Risk Assessment: For your own and everyone elses safety you may be required to complete a Student Risk Assessment Form available on Bb in the General file for all 3 stages. Advice on how to complete this form is a scheduled session within the curriculum but if in doubt consult one of the Centre for Performance technicians. There could be several reasons why you are asked to do this: you wish to make some kind of construction within the course studio facilities as part of your work on this unit e.g. sculpture, installation etc. you wish to create some kind of independent live performance event within the course studios facilities as part of your work on this unit eg scratch performance, filmed experiments etc. you wish to incorporate some kind of performance element into the presentation of your work at the final assessment
This list is not finite, but if you do intend to do any of these things as part of your work or anything else you think might be potentially dangerous to anyone in any way: 1. you must first consult either your Unit Tutor or one of the Centre for Performance technicians, who will tell you if you need to complete a Student Risk Assessment Form or not. 2. if appropriate the form must be submitted electronically, and only after it has been agreed by Centre for Performance Technical Manager /Course Leader, it can the proposed action be undertaken. 3. a copy of the completed and agreed Risk Assessment is kept on file by the Course Leader If this process is not completed, normally at least three days prior to the potential risk then, for example, the tutor/s may refuse to assess the work on grounds of Health & Safety. This could result in a Fail being recorded at an initial assessment point, unless there are upheld ECs as to why the procedure was not undertaken.
13 Un|t 7 C#'0'-)=%D<'/E'/*%8% %%%%%%%% 2012-2013 CenLral SalnL MarLlns 8A (Pons) erformance ueslgn & racLlce Se|f-eva|uat|on form noLe: 1hls form ls avallable on 8lackboard as a word documenL. nAML: ----------------------------------------------------------------------------- uA1L: -------------------------------------------------------------------------------- lease wrlLe your self-evaluaLlon below, word processed, and hand ln aL Lhe scheduled llnal AssessmenL. lease do noL exceed 300 words. ALLach a 2 nd sheeL of paper lf necessary. 1ry Lo address Lhe followlng quesLlons ln your self-evaluaLlon.
What fields of thinking and practice are you involved in and why? How might your critical thinking and practice relate to modes of professional practice in theatre, live art or performance? What have you gained from this unit? How can you describe the aims and contexts of your practice critically?