European Art History: and Berlin Course Handbook European Art History: London and Berlin

“Thank you so much to the course tutors. I valued their passion and dedication to sharing their knowledge. I will never forget the experience and anticipate reflecting on it for a very long time” Lalese - European Art History European Art History: London and Berlin

Teaching Institution: Chelsea College of Arts Duration of Course: 3 Weeks Contact Hours: Week 1: 20, Week 2 (Berlin): 30, Week 3: 20

Credits: 3

Course Outline Outcomes Through lectures, visits and seminar discussion groups, On completing the course you should be able to: this course offers you the opportunity to engage with the • Demonstrate a broad acquaintance with European Art art, history, environment and culture of London and Berlin History through an intensive three week programme. • Understand the significance of key examples and ideas From the historic collections in the , to the within European Art History modern and contemporary displays to be found in the cavernous Modern, London’s collections of art and • Carry out basic research and apply ideas from it to new design offer an unmatchable resource for the course. examples Your learning will be enhanced by a four day trip to • Engage in and contribute to seminar discussions Berlin, accompanied by the course tutor, who will guide debates you through the art and culture of one of Europe’s most • Make a brief presentation to your peers dynamic cities. This visit brings a further perspective to your Study Abroad experience and will give you greater • Write reflectively on your experience and practice insight into the development of European society, through art and design. Learning and Teaching Methods Flights, accommodation and entrance fees in Berlin are • Lectures included in the course fees. • Seminars Aims • Contextual visits and discussions This course will provide you with: • Private study and research • A conducive learning environment with a variety of • Reflective writing assignment learning situations and content • Practical project • Acquaintance with a representative range of ideas • Student presentation and examples from European Art History • A variety of study methods ranging from group Assessment lectures and visits to a solo project. • Short piece of reflective writing • A practice‐based project to brief • Brief presentation of research and practice to peer group European Art History: London and Berlin

Projects Week three - London • 3 PHOTOGRAPHS ‐ Research and explore the modes of • Visit to "Masculinites" exhibition at photographic practice introduced during the Photography • Visit to lecture and seminar. Choose one these modes to experiment with and produce 3 photos that are related to it. Make a • Visit to "Gauguin and the Impressionists" at Royal short presentation on what you researched around the Academy of Arts mode and how you choose to explore it in your own images. • Presentations, discussion and feedback on student • 3 SPACES - Choose 3 venues visited during the course, and projects reflect in a short piece of reflective writing on the spatial experience they offer. Use the set text and its descriptions of spaces as your starting point. Schedule* *Please note the details and order of the visits are subject to change Week one - London “Amazing trip, it

• Course introduction and project briefs opened my mind and • Visit to and Tate Modern gave me a new way to • Visit to Photographers’ Gallery • Visit to Estorick Collection understand history and • Visit to the National Gallery appreciate art.

Week two - Berlin Rui - European Art • Hamburger Bahnhof Museum History • Caspar David Friedrich room at Alte Nationalgalerie • Neue Wache • Käthe Kollwitz Museum • Bundestag Dome visit • New Jewish Museum • Contemporary art galleries *Course fees include round trip flights from London to Berlin, shared accommodation and all entrance fees • Free time to explore Berlin in Berlin.

Course Code of Conduct

Attendance and Punctuality: Attendance is mandatory and any unjustified absence from class will affect the final grade for the course. Students are expected to arrive on time to the classroom and to the off-site meeting points. Mobile phones and other devices in the classroom: Use of mobile phones will not be tolerated during class, please use the classroom breaks to text/telephone/email. Laptop computers and tablets can be used solely to take notes. Recording: No recording is allowed in the course. Students are expected to take notes during the seminars and group discussions. European Art History: London and Berlin

Bibliography

Barthes, Roland, Camera Lucida: Reflections on Photography, New York: Hill and Wang, 1981

Berger, John, Ways of Seeing 1972), BBC television series Tutors (available online on several video streaming platforms)

Dr Rosa Nogués Rosa Nogués is an Associate Butler, Judith, ‘Bodies that Matter’, in Bodies That Matter: Lecturer in Art Theory at the Chelsea College of Arts, On the Discursive Limits of ‘Sex’, London: Routledge, 1993 London. She obtained her PhD in 2013 at the Centre for Research in Modern European Clark, T.J., Farewell to an Idea. Episodes from a History of Philosophy (Kingston University). She has lectured Modernism, New Haven and London: Yale University Press, at Central Saint Martins (London), Middlesex 1999. University (London) and the Universität für angewandte Kunst (Vienna). Her writing has been De Certeau, Michel, ‘Spatial Stories’, The Practice of published in n-paradoxa, Revista Mundo Crítico and Everyday Life, Berkeley and Los Angeles: University of the Moving Image Research and Art Journal, California Press, 1984 including book chapters in Soundings: Documentary Film and the Listening Experience Eisenman, Stephen, ed., Nineteenth Century Art: A Critical (Huddersfield University Press), Média Theorie (Les History, London: Thames and Hudson, 2007 presses du réel), and Transgressive Bodies: Disrupting the Canon of Corporeal Norms Foster, Hal, ‘What’s Neo about the Neo-Avant-Garde?’, (forthcoming in IB Tauris). Currently she is October, vol 70 (Autumn 1994), pp. 5-32 researching the work of the American film and video artist Shirley Clarke, focussing on Clarke’s Hall, Stuart, ‘Who Needs Identity?’, in Hall, S. and Du Gay, pioneering role in experimental filmmaking, radical Paul documentary, and video art in relationship to her (eds.), Questions of Cultural Identity, London: Sage critical interpretation of the modernist principles of Publications, 1996 the New American Cinema, and within the context of the emergence of the Women’s Art Movement in Harrison, Charles and Paul Wood, eds., Art in Theory the US. 1900-2000. A Century of Changing Ideas, Oxford: Irene Montero is a PhD candidate at University Blackwell, 2003 College London’s History of Art department with a thesis on contemporary art exhibitions and the 9/11 Krauss, Rosalind, Bois, Yves-Alain, Buchloh, Benjamin B., wars. She holds an MA in History of Contemporary and Foster, Hal, Art Since 1900: Modernism, Art (Manchester University) and an MFA Antimodernism, Postmodernism, London: Thames and (Universidade de Vigo). She currently teaches the Hudson, 2016 (third edition) Modern Art History and Contemporary Art History short courses at Central Saint Martins. She Kwon, Miwon, ‘One Place after Another: Notes on Site previously worked in contemporary art publishing, Specificity’, October, vol 80 (Spring 1997), pp. 85-110 in journals such as Third Text and Brumaria. Lodder, Christina, ‘Soviet Constructivism’, in Edwards, Steve, and

Wood, Paul (eds.), Art of the Avant-Gardes, New Haven: Yale University Press, 2004

MacGregor, Neil, ‘Snow White vs Napoleon’, in Germany, Memories of a Nation, London: Allen Lane, 2014

Nochlin, Linda, 'Why Have There Been No Great Women Artists', in Reilly, M. (ed.), Women Artists: The Linda Nochlin Reader, London: Thames and Hudson, 2015

Sontag, Susan, ‘In Plato’s Cave’, On Photography, London: Penguin, 2002

Whitford, Frank, Bauhaus, London: Thames and Hudson, 1984