Course Summary
This course explores contemporary art and its evolution from the 1950s to the present day. Students will examine the key figures and movements that have shaped the art world over the past several decades.Key Learning Points
- Learn about the most influential artists and movements in contemporary art
- Understand the social and cultural context of contemporary art
- Analyze and interpret contemporary art through critical thinking and observation
Job Positions & Salaries of people who have taken this course might have
- Art critic
- USA: $55,000
- India: ₹4,00,000
- Spain: €30,000
- Museum curator
- USA: $50,000
- India: ₹3,50,000
- Spain: €28,000
- Art teacher
- USA: $45,000
- India: ₹3,00,000
- Spain: €25,000
Related Topics for further study
Learning Outcomes
- Develop a deeper understanding of contemporary art and its evolution
- Analyze and interpret contemporary art through critical thinking and observation
- Apply knowledge of contemporary art to real-world contexts
Prerequisites or good to have knowledge before taking this course
- Basic knowledge of art history
- Interest in contemporary art and its evolution
Course Difficulty Level
IntermediateCourse Format
- Online
- Self-paced
Similar Courses
- Modern Art and Ideas
- Art of the 20th Century
Related Education Paths
Notable People in This Field
- Art Critic
- Contemporary Artist
Related Books
Description
What is contemporary art? In this course, you’ll consider this question through more than 70 works of art made between 1980 and the present, with a focus on art from the past decade. You’ll hear directly from artists, architects, and designers from around the globe about their creative processes, materials, and inspiration.
Outline
- Introduction to What Is Contemporary Art?
- What Is Contemporary Art?
- Welcome to the course!
- Course instructors respond: what is contemporary art?
- Suggestions for making the most of the course
- We want to hear from you
- Recordings of live virtual sessions (optional)
- Resources: MoMA podcasts, art vocabulary, Magazine, and YouTube channel
- Media from Television to the Internet
- In the studio with Arthur Jafa | "The place where images overlap is you"
- Beatriz González on her street posters in Bogotá, 1983
- Alfredo Jaar on Lament of the Images, 2002
- Dayanita Singh on Museum of Chance, 2013
- Susan Kare on designing the first Mac icons, 1980s
- Introduction to this week
- Arthur Jafa, APEX, 2013
- Three approaches to appropriation
- How do artists and architects share and circulate images?
- Two interventions in television and architecture
- How are images used to watch and classify us?
- Surveilling, seeing, scanning
- What do video games and computers have to do with art and design?
- JODI on turning desktop order inside out
- Serious games and artificial intelligence
- Optional Readings & Resources
- Territories & Transit
- In the studio with Rael San Fratello | Transforming the wall
- Bouchra Khalili on The Mapping Journey Project, 2008–11
- Mateo López on Travel without Movement, 2008–10
- Shellyne Rodriguez on Martin Wong, Stanton near Forsyth Street, 1983
- IRWIN on NSK Garda, 2002
- Amanda Williams on Color(ed) Theory Suite, 2014–16
- Introduction to this week
- Rael San Fratello, Teeter-Totter Wall, 2014
- Crossing borders
- Claiming space
- Changing states
- Sky Hopinka on Jáaji Approx., 2015
- Portfolio: Teresa Margolles, Pista de baile (Dance Floor), 2016
- Optional Readings & Resources
- Mid-course survey
- Materials & Making
- At the Museum with Sheila Hicks | Form, Texture, Color
- Liz Deschenes on Tilt/Swing (360º field of vision, version 1), 2009
- Sheela Gowda on Of All People, 2011
- 3-D printed architecture with Rael San Fratello
- Lady Pink on Trust visions that don't feature buckets of blood, 1983–84
- Glenn Ligon on White #19, 1994
- Amy Sillman on making and unmaking painting
- Introduction to this week
- Sheila Hicks, Pillar of Inquiry/Supple Column, 2013–14
- Film, vinyl, and ultrasonic gel
- How is contemporary art made?
- Building, painting, printing
- Luther Price, Sorry, 2005–12
- Labor and work in contemporary art
- Revital Cohen & Tuur Van Balen on 75 Watt, 2013
- Anne Teresa De Keersmaeker, Work/Travail/Arbeid, 2017
- Optional Readings & Resources
- Agency
- In New York City with Pope.L | Direct action
- Two artists consider Catherine Opie, Dyke, 1993
- Tania Bruguera on Untitled (Havana, 2000), 2000
- Luis Camnitzer on Memorial, 2009
- Nick Cave on Soundsuit, 2011
- Lorraine O'Grady on Mlle Bourgeoise Noire, 1980–83/2009
- Xiao Lu on Dialogue, 1989
- Ralph Borland, Suited for Subversion (Prototype), 2002
- Introduction to this week
- William Pope.L's New York crawls
- Yara Said on the Refugee Flag, 2016
- Firelei Báez on For Améthyste and Athénaïre (Exiled Muses Beyond Jean Luc Nancy’s Canon), Anacaonas, 2018
- Who speaks?
- Lawrence Abu Hamdan, Conflicted Phonemes, 2012
- Patrick Staff on Weed Killer, 2017
- Taking action
- Defining and blurring identities through performance
- Optional Readings & Resources
- Power
- Instructor Christian Rattemeyer on Mark Lombardi's diagrams of power
- Deana Lawson on Nation, 2017
- Wolfgang Tillmans on Sendeschluss / End of Broadcast I, 2014
- Curator Paola Antonelli on Massoud Hassani's on Mine Kafon wind-powered deminer, 2011
- Rania Ghosn on After Oil, 2016
- Introduction to the final week
- What do war and peace have to do with chandeliers and portraits?
- How do artists critique power?
- Two responses to abuse of power
- Power: sources and resources
- Outer space to inner earth
- Optional Readings & Resources
- End-of-course survey
- Final course reflection
Summary of User Reviews
This course on contemporary art has received positive reviews from users. Many users have found the course to be engaging and informative. The course covers a wide range of contemporary art topics and is taught by knowledgeable instructors.Key Aspect Users Liked About This Course
Many users found the course to be engaging and informative.Pros from User Reviews
- Covers a wide range of contemporary art topics
- Taught by knowledgeable instructors
- Engaging and informative
- Easy to follow course structure
- Provides helpful resources and materials
Cons from User Reviews
- Some users found the course to be too basic
- Limited interaction with instructors and other students
- Some users experienced technical difficulties with the platform
- Not enough opportunities for hands-on learning
- Lack of diversity in perspectives presented
Sophie Cavoulacos
4.7 Raiting
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