MIRROR MUSEUM Syllabus

SYLLABUS: MIRROR MUSEUM at the Walker Art Center, Susannah Bielak
ArtS 8400-001 Grad Seminar: Theoretical Constructions in Art
Office Hours at the Walker Art Center, Monday 10 - 12, Wednesday 10 - 12
612.375.7593, susy.bielak@walkerart.org

Course description: This class is designed to acknowledge the parallels between facets of artistic practice and the framework of an art center. A hybrid theory and practice course, MIRROR MUSEUM will use the Walker Art Center as a laboratory for experimental production and experiential learning. This seminar will pursue two parallel and overlapping tracks. The first is reflexive, honing each student's vocabulary as an artist. You will have the opportunity to reflect upon, map out and describe your practice through a variety of means. The second track will employ tools and tropes of the museum. You will have the opportunity to produce interpretation for the Walker Art Center--using and expanding facets of your own artistic practice.

Method of Instruction and Study: This is a discussion-oriented course. Classes will involve very close reading of assigned texts, in which emphasis will be placed on how the class as individuals and as a group responds to the ideas presented therein. Careful reading of the assignments prior to class, thoughtful engagement with the issues, analysis of your own response, and informed participation are essential for the success of this course. Similarly, thoughtful engagement with course visitors is an integral component to the course.

In part, this seminar will be a writing course, using an ongoing series of exercises and assignments to flex
students' critical and creative writing. You will be expected to study and practice writing each week through exercises and assignments that focus on the craft of analysis and narrative.

This seminar will also be a studio course--an application of research to group and individual projects drawing upon a highly varied and evolving writing palette and your own artistic practices. Assignments will model formats used in the museum (e.g., tours, audio guides, written instructions) and artist writings (e.g., manifestos, written prompts, tools for meditation). In each assignment, you will be asked to focus on the underpinning relationship between form and concept.

Interpretation will be the spine of MIRROR MUSEUM. As defined by the National Association of Interpretation, interpretation is "a mission-based communication process that forges emotional and intellectual connections between the interests of the audience and meanings inherent in the resource." In the context of the museum, interpretation includes wall labels, audio guides, gallery guides, tours, and a wide array of other live and online programs. Often conflated with information, interpretation refers to the context surrounding work--including the informational, affective, personal, and spatial environment. In the case of artistic practice, interpretation is fundamental to the each stage of production--from ideation to distribution.

Interpretation can set a mood, articulate vision, spark conversation or participation. The final project will offer students the opportunity to participate in creating gallery interpretation for the museum context, using mediums explored in class and from their own practice.


Course requirements:
1. Weekly attendance: More than three unexcused absences results in failure of the course (see details below).
2. Class participation: Evidence of such includes coming prepared to class, speaking up during discussions, asking informed questions about readings, engaging other people's comments during discussions, engaging your own conceptual and material processes particularly as applied to the readings and writing assignments, and in general taking advantage of the critical environment offered by the course. Each student bears some of the responsibility for shaping the course.
3. Weekly assignments: Assignments are due on the day under which they are listed in the syllabus. Although there is great latitude in terms of your "voice" in these pieces, and you will be asked to try on distinct voices, styles, and formats of writing, your written work should be passionately intended, clearly written spell checked, and proofed or grammar. All written work must be typed. Late assignments are not accepted.
In addition to the assignments outlined below, you will be responsible for generating a 180 word label each week, participating in a weekly ritual of labeling anything in the world around you (e.g., a work in progress, the carpet below your feet, something on the kitchen table, or the B-movie you watched last night).
If you are unable to attend class, your writing assignments are still due on or before the day of that class, email your assignment by noon of that day. If I do not acknowledge your email, assume that I have not received it.
If a piece totally falls flat, you will have a chance to rework it and resubmit it. Incompletes are only granted in extraordinary circumstances and prior arrangements must be made.
4. Self syllabus: over the course of the semester, beginning with the first class, you will be asked to generate and revisit a self syllabus--an annotated bibliography of your practice comprised of the references that someone would need to understand your work. You will be expected to submit an initial outline of your syllabus on the second day of class and a completed version on the final day of class.
5. Readings: although some handouts will be distributed in class, all readings and articles will be available online on the class blog. Please note that the syllabus is a work in progress, and be sure to keep abreast of changes as they arise. Required readings for each class are listed under that course session. A supplemental reading list concludes the syllabus.
6. Location: We will use the Walker Art Center and Regis W123 as our base stations. Take note of our location each week.
7. Extracurricular events: once you begin the course, you may realize the extent to which this city is permeated with events that relate. As a starting point, I have included a list of events at the Walker and in your department. Your attendance is highly encouraged, but not required.

Attendance Policy:
Because students are required (except when noted) to attend the class, no unexcused absences are allowed. Excused absences are defined as 24 hour notification of an absence due to illness or emergency with supporting documentation from a professional (doctor, psychologist, or other appropriate professional). Notes from parents are not considered appropriate documentation of an excused absence.

Communications:
All out of class communications (e.g. cancelled classes, meetings, announcements) will be done via EMAIL AT STUDENT'S UMN ADDRESS ONLY (OR EMAIL YOU GIVE ME FIRST DAY OF CLASS).

University Grading Standards:
A: Achievement that is outstanding relative to the level necessary to meet the course requirements.
B: Achievement that is significantly above the level necessary to meet the course requirements.
C: Achievement that meets the course requirements.
D: achievement is worthy of credit even though it does not meet the course requirements.
S: Achievement that is satisfactory and equivalent to a C- or higher.
F/N: Represents failure (no credit) and signifies that the work was either (1) completed but at a level of achievement that was not worthy of credit or (2) was not completed and there was no agreement between the instructor and student that the student would be awarded an "I".
"I": Incomplete - assigned at the discretion of the instructor when due to extra-ordinary circumstances, e.g. hospitalization, a student is prevented from completing the work on time. Requires a written agreement between the instructor and the student.

Academic Dishonesty:
Academic dishonesty for any portion of the academic work for a course shall be grounds for awarding a grade of F or N for the entire course.

Disruptive Conduct:
All activities in the University, including this course, are governed by the University of Minnesota Student Conduct Code. Students who engage in behavior that disrupts the learning environment for others may be subject to disciplinary action under the Code. In addition, students responsible for such behavior may be asked to cancel their registration (or have their registration canceled).


COURSE SCHEDULE

CLASS 1: INTRODUCTIONS AND INTENTIONS

Friday, September 7
Walker Art Center (meet in lobby)
Guest: Jill Vuchetich, Walker Archivist
Objective: Articulate objectives for the course and understand the context in which we will be working, to include review of individual intentions and tour of Walker Art Center.

PREPARATION
N/A

CLASS 2: ARTIST WRITING AND ARTISTS BOOKS

Friday, September 14
Walker Art Center (meet in Barnes Conference Room, 8th Floor)
Guest: Bernadette Mayer
Objective: Critically engage with a range of artist writings, artist books, and concrete writing--including workshop with New York School poet Bernadette Mayer and field work in Printed Matter Pop Up Shop.

PREPARATION
Assignment: self syllabus
What are the references and experiences someone would need to understand your work? For the first draft, make a list of primary sources that you draw upon in your creative life: books, movies, music, other artists, ideas, sensations, experiences, etc. Feel free to create a list of more tangential sources. Upload/email your initial sketch of a self syllabus by Thursday.
Reference: http://filmvideo.calarts.edu/blog/2011-jan-15/suggested-syllabus-volume-1-gary-mairs

Readings
Review (scan for context to Bernadette's visit)
Recipe for writing a New York School Poem, http://jacket2.org/commentary/recipe-writing-new-york-school-poem
Bernadette Mayer's Writing Experiments, http://writing.upenn.edu/library/Mayer-Bernadette_Experiments.html
Nada Gordon, "Form's Life: An Exploration of the Works of Bernadette Mayer," http://home.jps.net/~nada/mayer2.htm

Required
Louise Bourgeois, Marie-Laure Bernadac, Hans-Ulrich Obrist. Destruction of the father reconstruction of the father: writings and interviews, 1923-1997. Cambridge, Mass.: MIT Press in association with Violette Editions, London, 1998. pp 15-17, 18-20, 66-67, 74-76, 137.
Stan Brakhage. "From Metaphors on Vision," The Avante-Garde Film: A Reader of Theory and Criticism,
Ed. P. Adams Sitney. New York: Anthology Film Archives, 1978. pp 120-128.
Daniel Buren. "The Function of the Studio," October, Fall 1979. pp 51-58.
Michele Grabner. Introduction. The studio reader on the space of artists. Ed. Mary Jane Jacob and Michele Grabner. Chicago: University of Chicago Press, 2010. pp 1-11.
Susan Sontag. "Against Interpretation." Against Interpretation. London: Vintage, 1966. pp 3-14.
Molly Zucherman-Hartung, The 95 Theses on Painting; Michelle Grabner, Delicious Cake

Supplemental
Daniel Buren. "The Function of the Studio Revisited: Daniel Buren in Conversation." The studio reader on the space of artists. Ed. Mary Jane Jacob and Michele Grabner. Chicago: University of Chicago Press, 2010. 163-165.
Geoff Dyer. The Ongoing Moment. New York: Pantheon Books. pp 52-62.
Yoko Ono. Grapefruit. New York: Simon & Schuster, 2000. Excerpts.
Anthony Vidokle, "From exhibition to school: notes from Unitednationsplaza." Art School: Propositions for the 21st Century. Steven Henry Madoff. Cambridge, Mass.: MIT Press, 2009. 189-200.

CLASS 3: ARTISTS WRITINGS AND ARTIST STATEMENTS

Friday, September 21
Walker Flatpak
Guest: Julie Caniglia, Walker Art Center Managing Editor/Staff Writer
Objective: Conduct an anatomy of artist statements and discuss elements of good arts writing.

PREPARATION
Assignment: artist statement research
Select three of your favorite artists and find artist statements for each. Do a brief written assessment of how closely their statement matches their work (e.g., what's well described, what's missing, etc.). Upload your own artist statement by Wednesday. Upload the other artist statements and brief analyses by Thursday.

Readings:
*Artist statements from the group

Sophie Calle. Take Care of Yourself. Arles: Actes Sud, 2007. Excerpts.
Andrea Fraser, "There's No Place Like Home." Whitney Biennial. Ed. Elizabeth Sussman, Jay Sanders. New York: Whitney Museum of American Art ; New Haven ; London: Distributed by Yale University Press. 2012. pp 28-33. Also, http://whitney.org/Exhibitions/2012Biennial/AndreaFraser
Dan Graham ("Rock My Religion" or "Essay on Video, Architecture and Television")
Bob Nikkus. Theft Is Vision. New York: D.A.P./Distributed Art Publishers, Inc., 2007.
John Miller, Other Plans pp 5-8
Everything I Know About Art I learned from Andy Warhol and On Kawara, pp 14-17
Cady Noland. Publyck Sculpture pp 90-93
Steve Parrino. The Return of Goo Goo Muck pp 162-165
Verne Dawson: Painting the Vernal Equinox, or Party on the Green pp 176-179
John Water, "Guilty Pleasure." Crackpot: The Obsessions of John Waters. New York: Macmillan; London: Collier Macmillan, 1986. pp 120 - 128.


CLASS 4: CATALOG ENTRY

Friday, September 28
Walker Flatpak
Guest: Betsy Carpenter, Walker Curator
Objective: Consider various points of entry to works of art, gain context to scholarly and alternative modes of cataloguing, and generate a multifaceted catalog entry as a class.

PREPARATION
Assignment: redo artist statement; catalog research
Rewrite your artist statement based on prior class. In preparation for today's class, find one to three examples of what you think are outstanding and failed catalogs, scan and upload excerpts by Wednesday. Include a brief accompanying description of what you find exemplary.

Readings:
*Catalog entry examples from class

Louise Bourgeois and Lawrence Rinder. Louise Bourgeois: Drawings and Observations. Boston: Bulfinch Press Book. pp 26-27, 38-39, 58-59.
Louise Bourgeois, Anders Kold, and Anna Maria Lund. Louise Bourgeois: Life as Art. Humlebaek, Denmark: Louisiana Museum of Modern Art, 2003. pp 30-31, 46-47, 52-54.
Lynne Tillman. This is Not It. New York: D.A.P./Distributed Art Publishers, Inc., 2002. pp 42-47, 160-165, 252-283 optional.
Philippe Verge, "Don't Trust Anybody." Dan Graham: Beyond. Ed. Bennett Simpson and Chrissie Isles. Museum of Contemporary Art (Los Angeles, Calif.); Whitney Museum of American Art. Cambridge, Mass.: MIT Press, 2009. pp 139-146.

Excerpts from:
Andrew Blauvelt. Worlds away: new suburban landscapes. Minneapolis : Walker Art Center, 2008. Andrew Blauvelt and Ellen Lupton. Graphic Design: Now In Production. Minneapolis, MN: Walker Art Center; New York: Distributed by D.A.P./Distributed Art Publishers, 2011.
Peter Eleey. The Quick and the Dead. Minneapolis : Walker Art Center ; New York: D.A.P./Distributed Art Publishers, 2009.
Alec Soth, Siri Engberg, Geoff Dyer. From here to there: Alec Soth's America. Minneapolis, Minn: Walker Art Center; New York: Available through D.A.P./Distributed Art Publishers, 2010.
Philippe Vergne. Let's entertain: life's guilty pleasures. Minneapolis, MN: Walker Art Center, 2000.
Lawrence Weshler. Everything That Rises: A Book of Convergences. San Francisco: McSweeney's. 2006.

CLASS 5: ARTIST INTERVIEWS

Friday, October 5
UMN
Objective: Consider the art of the interview, including the research required and roles embodied by interviewer and interviewee. Focus on research and collaboration.

PREPARATION
Assignment: catalog entry for current/recent work
Following last week's course, generate a catalog entry for a piece of your own work. Upload by Thursday.

Readings:
John Ashbery. Reported Sightings: Art Chronicles 1957-1987. New York: Alfred Knopf, 1989. pp xi-xxiii, 98-101, 106-111.
Louise Bourgeois, Destruction of the Father, reconstruction of the father, writings and interviews 1923-1997. Cambridge, Mass.: MIT Press; London: Violette Editions.
Meanings, Materials, and Milieu- Reflections of Recent Work by Louise Bourgeois: from an Interview with Robert Storr, pp 140-145
Taking Cover: Interview with Stuart Morgan, pp 150-156
Philip Gourevitch, Ed. The Paris Review Interviews, Vol I. New York: Picador, 2006.
Introduction, vii-xi.
Joan Didion: The Art of Nonfiction." pp 473-500
Paul Auster: The Art of Fiction, pp 308-334
Dan Graham and Kim Gordon. "Dan Graham interviewed by Kim Gordon." Dan Graham: Beyond. Ed. Bennett Simpson and Chrissie Isles. Museum of Contemporary Art (Los Angeles, Calif.); Whitney Museum of American Art. Cambridge, Mass.: MIT Press, 2009. pp 167-177.
Terry Gross, All I Did Was Ask: Conversations with writers, actors, musicians, and artists. 1st ed. New York: Hyperion 2004. pp ix-xxiii, 37-44, 127-135.
Olukemi Ilesanmi. "Looking Back: e-mail interview between Julie Mehrutu and Olukemi Ilesanmi." Julie Mehrutu: Drawing into painting. Douglas Fogle and Olukemi Ilesanmi. Minneapolis: Walker Art Center. 2003. 11-16.
Interview with John Waters and Lily van der Stokker. Doesn't Mean Anything But It Looks Good. Ed. Martin Clark. London: Tate Publishing. 2010. Excerpt.
Kristen Kosmas, "Sibyl Kempson", Bomb 114, Spring 2011, http://bombsite.com/issues/115/articles/4911
Jennifer Higgie, "Play Write." Frieze January 10 2008 http://www.frieze.com/issue/print_article/play_write/
David Salle, "Questions without Answers for John Baldessari," The Paris Review Daily, December 13, 2010. http://www.theparisreview.org/blog/2010/12/13/questions-without-answers-for-john-baldessari/
Collier Schorr. "Weather Girls: An interview with Roni Horn." Frieze. Issue 32, January-February 1997. http://www.frieze.com/issue/article/weather_girls/
Walker 8-ball questionnaires, e.g., http://www.walkerart.org/magazine/2006/8-ball-sharon-lockhart

CLASS 6: MAPPING PRACTICE

Friday, October 12 FIND ALTERNATE DATE
Walker Flatpak
Objective: Map 1) an interview with an artist and 2) the anatomy of an artistic practice.
Guest: Susannah Schouweiler, editor of mnartists TBD

PREPARATION
Assignment: complete interviews

Reading:
Some of these readings will map the shifting reception of one to three artists from the Permanent Collection paired with their own writings. TBD.

Other readings will provide references of distinct forms of mapping, drawing upon psychogeography, mapping as an interdisciplinary strategy, and artist maps. TBD.

CLASS 7: WRITTEN TOUR, ARTIST INSTRUCTIONS

Friday, October 19 FIND ALTERNATIVE DATE
Walker Flatpak
Guest: Eric Crosby, Assistant Curator
Objective: Gain context to the apparatus of exhibitions. Review maps of practice. Share examples of tours and artist instructions, and consider against backdrop of the Walker.

PREPARATION
Assignment: map practice of permanent collection artist; map own practice
Each student to map the practice of the work of one artist from Midnight Party or Living Years exhibition. Apply same technique to your own practice (flow chart, mind map, drawing, parable, etc.).

Readings:
http://yourinstructions.org/
http://www.learningtoloveyoumore.com/
Svetlana Alpers, "The Museum as a Way of Seeing." Exhibiting cultures: the poetics and politics of museum display. Ed. Ivan Karp and Steven Lavine. Washington : Smithsonian Institution Press, 1991. pp 25-32.
Sophie Calle and Paul Auster. Double Game. London: Violette Editions, 1999. Excerpts.
Jon Hendricks; Marianne Bech; Media Farzin; Eric Andersen. Fluxus scores and instructions : the transformative years: "make a salad" : selections from the Gilbert and Lila Silverman Fluxus Collection, Detroit. Detroit : Gilbert and Lila Silverman Fluxus Collection ; Roskilde, Denmark : Museum of Contemporary Art, 2008. Excerpts.
Lisa Yun Lee. "Peering into the Bedroom: Restorative Justice at the Jane Addams Hull-House Museum." Routledge Companion to Museum Ethics: Redefining Ethics for the Twenty-First Century Museum. Ed. Janet Marstine. Milton Park, Abingdon, Oxon; New York, NY: Routledge, 2011. Excerpt.
Hans Ulrich Obrist, ed. Do It. New York: e-flux, 2004. Excerpts.
Charles Renfo. "Undesigning the new art school." Art School: Propositions for the 21st Century. Steven Henry Madoff. Cambridge, Mass.: MIT Press, 2009. pp 160-175.
Paul Rooney. "Let Me Take You There." Situation. Claire Doherty. London: Whitechapel Gallery ; Cambridge, Mass.: MIT Press 2009., pp 56-60.
Richard Sennett. The Craftsman, New Haven: Yale University Press c2008. Expressive Instructions, pp 179-193, http://lcst3789.files.wordpress.com/2012/01/sennett-the-craftsman.pdf

CLASS 8: TOOLS FOR MEDITATION

Friday, October 26
Walker Flatpak
Guests: Matt Olson, RO/LU design studio, Jill Vuchetich, Walker Archivist
Objective: How do artists occupy the site of an arts institution in 2012? This class will serve as a turning point in the class, shifting from a focus on writing to expanding the breadth of working methods. As reference, gain insight into recent Walker Open Field residency and revisit library and archive for artist projects with adjacencies to potential final projects.

PREPARATION
Assignment: imaginary tours

Readings for this week:
Huberman, Anthony. "Take Care." Circular Facts. Ed. Mai Abu ElDahab, Binna Choi, Emily Pethick,. Berlin: Sternberg Press, 2011. pp 9-17.
Ingrid Schaffner, "Wall Text." What Makes a Great Exhibition. Ed. Paula Marincola, Chicago: University of Chicago Press, 2003/6. pp 154-167.
From Doherty's Situation:
Vito Acconci, excerpted statements from 'Leaving Home: Notes on Insertions into the Public,' lecture for the International Congress on 'Public Art' at the Academy of Fine Arts, PAGE
Michel de Certeau, 'Spaces and Places', PAGE
Guy Debord, extracts from 'Preliminary Problems in Constructing a Situation,' Internationale Situationiste, no 1 (Paris June 1958); trans. Ken Knabb, in idem, ed., Situationist International Anthology (Berkely: Bureau of Public Secrets, 1982; revised edition 2006). PAGE
T.J. Demos, extract from 'Desire in Diaspora: Emily Jacir', Art Journal (Winter 2003)68-78.
Michel Foucault, Other Spaces, pp 53-54
Robert Irwin, Being and Circumstance, pp 43-
Miwon Kwon, extracts from 'One Place after Another: Notes on Site-Specificity,' October, no. 80 (Spring 1997) pp 100-102; 103-6.
From Peter Noever/MAK The Discursive Museum. Ostfildem-Ruit, Germany/New York: D.A.P., 2001
Hans Belting, Place of Reflection or Place of Sensation? pp 72-82
Joshua Decter, Synergy Museum, pp 83-87 (optional)
Museums: The Masoleum, the laboratorium, the meditation chamber & the rave, Vito Acconci, Hans Ulrich Obrist, pp 142-156
Marina Abromovic, Lynne Cook, Boris Groys, Viktor Misiano, Herbert Muschamp, Peter Noever, Art Institutions in conflict between monoculture and cosmopolitanism, pp 157-167 (optional)
Della Pollock. "Performing Writing." The ends of performance. Ed. Peggy Phalen and Jill Lane. New York: New York University Press, 1998. pp 73-103.
Robert Smithson. "Some void thoughts on museums." Robert Smithson, Jack D Flam. Robert Smithson: The Collected Writings. Berkeley: University of California Press, 1996. pp 41-51.


CLASS 9: PERFORM AND MANIFEST

Friday, November 2
Walker
Objective:
Consider how artists stage encounters, situations, and performances in the site/context of the art institution. How do you make life in the museum (and counter Smithson's "life in the museum is like making love in the cemetery")?

PREPARATION
Assignment: preliminary thoughts for final project

Readings for this week:
http://www.moca.org/kaprow/
Claire Bishop, Participation. London : Whitechapel ; Cambridge, Mass. : MIT Press 2006.
Lygia Clark and Helio Oticica, Letters, pp 110-116
Joseph Beuys and Dirk Schwarze, Report on a Day's Proceedings at the Bureau for Direct Democracy, pp 120-124
Joseph Beuys, I Am Searching for Field Character, pp 125-6
Adrian Piper, Notes on Funk, I-II, pp 130-134
Mary Ann Caws. Manifesto: A Century of Isms. Lincoln: University of Nebraska Press, 2001.
Shannon Jackson, Social Work: Performing Art, Supporting Publics. Abingdon, Oxon; New York: Routledge 2011. pp 1-10, Prologue: Pacing in Public; pp 104-143, Staged Management: Theatricality and Institutional Critique.
Allan Kaprow, materials from Walker Archive.
Nato Thompson. Living as Form: Socially Engaged Art from 1991-2011. New York: Creative Time Books; Cambridge, Mass and London, The MIT Press, 2012.
Robert Smithson Some Void Thoughts on Museums, 41-42; What Is A Museum? A Dialogue between
Susan Sontag, "Happenings: an art of radical juxtaposition" Against Interpretation. pp 263-274.
The Art of Participation, New York and London: San Francisco Museum of Art, Thames & Hudson, 2008
Boris Groys, A Geneology of Participatory Art, pp 12-31.
Rudolf Frieling, Toward Participation in Art, pp 32-49.
Nato Thompson, Gregory Sholette. Interventionist's Manual: Users Manual for the Creative Disruption of Everyday Life. Cambridge, Mass: MIT Press, 2004. pp 10, 41-2, 119-120, 148,154.

CLASS 10: STUDIO SESSION

Friday, November 9

PREPARATION
TBD

CLASS 11: FIELD TRIP / GALLERY AND STUDIO VISITS

Friday, November 16
Guest: Scott Stulen, Director of mnartists.org
Objective: Become familiar with Twin Cities arts ecosystem.

Note: No class Friday, November 23 due to Thanksgiving Holiday

CLASS 12: STUDIO SESSION

Friday, December 7

PREPARATION
TBD

CLASS 13: FINAL PROJECT PRESENTATION

Friday, December 14

EXTRACURRICULAR EVENTS/ACTIVITIES

Thursday, September 13
UMN: Willie Cole Public Lecture, InFlux, 7pm
Walker: Free Verse: Bernadette Mayer with Jennifer Karmin and Philip Good, Cinema, 7 pm;
Printed Matter Pop-Up Shop & Opening Reception, Shop & Hennepin Lobby, 5-9

Saturday, September 15
Walker: Over-Booked Local Fair and Open Studio, 11am - 5pm; artist book display at Walker Library, 12 - 3pm, Open Studio with Duncan Hamilton 12 - 3pm, Printed Matter executive director James Jenkin lecture 1pm

Thursday, September 20
UMN: Yesomi Umolu Lecture on transnational art practice and public space, InFlux, 5:30pm
Walker: Renegades: American Avant-Garde Film 1953-73, opening reception, 6:30-9 pm; screening-films selected by Apichatpong Weerasethakul, 7:30 pm, Lecture Room

Thursday, September 27
UMN: Religious Studies Symposium, InFlux, 5:30 pm
Walker: Screening, Natalie Almada short films, Cinema, 7:30 pm

Monday, October 1
UMN: Walker Art School Lecture Series, InFlux at 5:00 pm

Wednesday, October 3
Walker: Civics at the Center: Eyal Weizman, Cinema, 7 pm

Friday, October 5
UMN: Reception for Scholarship Exhibition, Quarter Gallery, 6:00 - 8:00 pm

Thursday, October 11
Walker: Social/Brief: A Night of Festive Brevity, Writing Workshop, 6-7 pm, Garden Café, Poetry Party, 7-8 pm, Garden Terrace Room (TBD); Gallery Performance with Voices of Strength artists TBD
Thursday, October 18, Walker
UMN: Reception for shadows traces undercurrents, Regis Center for Art, 6 - 8pm
Walker: Renegades, an Evening of Stan Brakhage-films selected by Cameron Gainer, 7:30 pm, Cinema

Thursday, October 25
Lecture: Kickstarter co-founder Yancey Stricktler, Cinema, 7 pm

Thursday, November 1
Walker: Regis screening: Claire Denis, Cinema, 7 pm

Monday, November 5
UMN: Walker/UMN Art School Lecture Series, InFlux at 5:00 pm

Thursday, November 8
Walker: Dave McKenzie, Gallery 1, 2, or 3, time TBD

Saturday, November 10
Walker: Cindy Sherman Opening-Day Panel, Cinema, 2pm, Malik Gaines, Tom Kalin, Lynne Tillman

Thursday, November 15
Walker: Teen Student Open House, 5-9 pm

Tuesday, November 27
UMN: Walker/UMN Art School Lecture Series, InFlux, 5pm

Thursday, November 29
Walker: Renegades, films selected by Sally Dixon, 7:30 pm, Cinema

Wednesday, December 5
Walker, Talking Dance: Deborah Hay, A Lecture on the Performance of Beauty, McGuire, 7 pm

Thursday, December 6
UMN: Reception for Minnesota Funk, Regis Center for Art, 8pm

SUPPLEMENTAL READING LIST
(may expand and contract)

Suggested texts for course
Jacob, Mary Jane; Grabner, Michelle. The studio reader on the space of artists. Chicago, IL: University of Chicago Press, 2010.

Madoff, Steven Henry, Editor. Art School: Propositions for the 21st century. Cambridge, MA and London: The MIT Press, 2009.

Additional readings
Albers, Josef. Interaction of color. Rev. and expanded ed. New Haven [Conn.]; London: Yale University Press, 2006.

Altshuler, Bruce; Sharmacharja, Shamita. A Manual for the 21st Century Art Institution. London: Koenig Books; London: Whitechapel Gallery 2009

Bachelard, Gaston. The poetics of space: The classic look at how we experience intimate places. Trans. Maria Jolas. Boston: Beacon Press, 1994.

Barthes, Roland. The Pleasure of the text. New York: Hill and Wang, 1975.

Bishop, Claire. Participation. London: Whitechapel; Cambridge, Mass. : MIT Press 2006

Bourriaud, Nicolas. Relational aesthetics. Dijon: Les Presses du Réel, 2002.

Carbonell, Bettina Messias. Museum studies: an anthology of contexts. Malden, MA : Blackwell Pub. 2004

Carson, Ann. The autobiography of red. 1st ed. New York: Alfred A. Knopf 1998

Corbett, John, Extended play: Sounding off from John Cage to Dr. Funkenstein. Durham : Duke University Press 1994

Didion, Joan (selected excerpts)

*Documenta, 100 Notes - 100 Thoughts series; http://d13.documenta.de/#to-buy/

Frieling, Rudolf, Boris Groys, Robert Atkins, and Lev Manovich. The Art of Participation: 1950 to Now. New York: Thames & Hudson, Inc., 2008.

Foster, Hal (on artist archives--use for catalog section), and/or Design and Crime: And Other Crimes?)

Helguera, Pablo. Education for Socially Engaged Art. New York: Jorge Pinto Books Inc., 2011.

Hickey, Dave. Air Guitar: Essays on Art & Democracy / Art issues. Press; Distributed by D.A.P. (Distributed Art Publishers), c1997.

Itten, Joseph. The elements of color; a treatise on the color system of Johannes Itten. New York: Van Nostrand Reinhold Co. 1970.

Karp, Ivan.; Lavine, Steven. Exhibiting Cultures: The Poetics and Politics of Museum Display. Rockefeller Foundation. Washington: Smithsonian Institution Press 1991.

Kwon, Miwon. One Place After Another: Site-specific art and locational identity. Cambridge, Mass. : MIT Press, 2002.

Los Angeles County Museum of Art; Machine Project. A Field Guide to the Los Angeles County Museum of Art. Los Angeles, Calif.: Machine Project. 2009.

Miessen, Markus, and Shumon Basar (eds.). Did someone say participate? : An atlas of spatial practice: a report from the front lines of cultural activism looks at spatial practitioners who actively trespass into neighbouring or alien fields of knowledge. Cambridge, Mass.: MIT Press, 2006.

McShine, Kynaston. The Museum as Muse: Artists Reflect. New York: The Museum of Modern Art, 1999.

Obrist, Hans-Ulrich. Formulas for now. London; New York: Thames & Hudson 2008.

Obrist, Hans-Ulrich. Boutoux, Thomas. Hans Ulrich Obrist: interviews. Florence : Fondazione Pitti Immagine Discovery; Milan: Charta, 2003-2010.

O'Neill, Paul, and Mick Wilson (eds.). Curating and the Educational Turn. London: Open Editions, 2010.

O'Neill, Paul.; Søren, Andreasen. Curating Subjects. London: Open Editions, 2007.

Putnam, James. Art and Artifact: The Museum as Medium (second edition). New York: Thames & Hudson Inc., 2009.

Rothfuss, Joan and Elizabeth Carpenter. Bits & Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections. New York: D.A.P./Distributed Art Publishers for The Walker Art Center, 2005.

Sherman, Daniel J.; Rogoff, Irit. Museum culture: histories, discourses, spectacles. Minneapolis : University of Minnesota Press c1994

Sholette, Gregory. Dark Matter: Art and Politics in the Age of Enterprise Culture. London: PlutoPress, 2011. (Part of the Marxism and Culture series, Series Editors Esther Leslie and Mike Wayne)

Simon, Nina. The Participatory Museum. Santa Cruz, Calif.: Museum 2.0, 2010.

Steward, Susan. The Open Studio: Essays on Art and Aesthetics. University of Chicago Press, Jan 1, 2005

Taussig, Michael (selected excerpts)

Tempest Williams, Terry. Leap. Vintage, 2001.

Thea, Carolee. Micchelli, Thomas. On Curating: Interviews with Ten International Curators. New York, NY: D.A.P./Distributed Art Publishers 2009

Thompson, Nato, and Gregory Sholette (Eds.). The Interventionists: Users' Manual for the Creative Disruption of Everyday Life. Cambridge, MA and London: The MIT Press, 2004.

Weil, Stephen E., Making Museums Matter. Washington, D.C.: Smithsonian Institution Press c2002

Weschler, Lawrence. Hockney, David. True to life: twenty-five years of conversations with David Hockney. Getty Foundation. Berkeley: University of California Press, 2008.

Winterson, Jeannette. Art objects : essays on ecstasy and effrontery. New York: Alfred A. Knopf: Distributed by Random House, 1996.

Leave a comment