Simon Fraser University
Engaging the World

Course Outlines

Spring 2018 - CA 367 D100

Seminar in Visual Art II (3)

Class Number: 12864

Delivery Method: In Person

Overview

  • Course Times + Location:

    Jan 3 – Apr 10, 2018: Thu, 2:30–5:20 p.m.
    GOLDCORP

  • Prerequisites:

    CA (or FPA) 366. Corequisite: CA 361.

Description

CALENDAR DESCRIPTION:

A seminar course to be taken by all students in CA 361. It deals with visual arts topics of an historical, critical and theoretical nature that concern practicing artists in the contemporary context. Students will be required to present research papers. Each research subject will be studied in connection with the student's own artistic work. Students with credit for FPA 367 may not take this course for further credit.

COURSE DETAILS:

This course is a co-requisite with CA367. The thematics examined in this course are intended to enhance studio endeavors.  The thematic of Borders is intended as a conceptual starting point to offer the student a wide-open field of exploration of what and where borders are. These can be seen as political, geographical, embodied, intellectual, social, psychical, emotional, linguistic, etc. In an age of walls and migrancies this topic is seen as especially pertinent.

Grading

  • Attendance: 10%
  • Readings questions: 10%
  • Class reading presentations: 15%
  • Presentation on Paper Topic: 15%
  • Annotated bibliography: 15%
  • Final paper: 25%
  • Participation in class: 10%

NOTES:

Attendance: Please be on time. Absences of more than one class require a doctor’s note. Points are taken off for lateness.  

Participation: Having read the relevant material, all students are expected to contribute to and engage fully in class discussions. Phones are not allowed in class unless specifically instructed.    

Reading presentation/facilitation:  Assigned in first class: You will be assigned in pairs to present on an individual reading or parts of readings.  

Readings Questions: For every reading you are to bring in at least two questions, or points for discussion. Make two copies. Hand one in to your instructor at the beginning of class, and keep one for your reference. We will draw randomly from these for the purposes of class discussion.  

Annotated Bibliography: You are required to prepare and submit in writing online an annotated bibliography pertaining to your Final Paper topic. See Guidelines on Canvas.  

Presentation on Paper Topic: You will each give a 20-minute oral presentation to the class on your paper topic. You will submit your reference notes for this presentation along with images online, onto our canvas site. See Guidelines on Canvas.  

Final Paper: This will be a 2,000-word essay on a suggested topic, or a topic of your own interest, agreed to after discussion with the Instructor. See Guidelines on Canvas.

Materials

MATERIALS + SUPPLIES:

Books:

Oana Avasilichioaei, Limbinal (Vancouver: Talonbooks, 2015)  

Luca Cerizza, Aligighiero e Boetti: Mappa. Afterall Books, London, England, 2008.  

Articles, Chapters:

Caroline Bergvall, “Middling English” Meddle English (New York: Nightboat Books & Callicoon, 2011), 5-19.  

Michael Blum, “Borders 101” trans. Oana Avasilichioaei, Espace 111: Migrations_Borders, Fall 2015: 54-60  

T.J. Demos, “The Art of Emily Jacir: Dislocation and Politicization”. From The Migrant Image: The Art and Politics of Documentary during Global Crisis. Duke University Press, USA. Pp. 103-123.  

Franz Kafka, “The Great Wall of China” trans. Ian Johnston, http://www.kafka-online.info/the-great-wall-of-china-page4.html  

Irit Rogoff, “Borders”, from Terra Infirma: Geography’s visual Culture. Routledge, USA. 2000. Pp113-143.  

Adania Shibli, “Dust – Qalandia Checkpoint” trans. Yasmeen Hanoosh, Translated By, eds. Charles Arsène-Henry & Shumon Basar (London: Bedford Press, 2011), 53-60.  

Marcus Verhagen, “ Border Patrol and Category Error”, from Flows and Counterflows: Globalization in Contemporary Art. Sternberg Press. Germany, 2017. Pp. 74-93.  

Marcus Verhagen, “ Translation’s Gradient”, from Flows and Counterflows: Globalization in Contemporary Art. Sternberg Press. Germany, 2017. Pp94-111  

Recommended (On Reserve):  

McKibben, Joan, and Northey Margot. Making Sense: A student’s Guide to Research and Writing, 5th edition. Oxford University Press, 2012

Nelson, Robert S., and Richard Shiff. Critical terms for art history, University of Chicago Press, Chicago, 2003.

Registrar Notes:

SFU’s Academic Integrity web site http://students.sfu.ca/academicintegrity.html is filled with information on what is meant by academic dishonesty, where you can find resources to help with your studies and the consequences of cheating.  Check out the site for more information and videos that help explain the issues in plain English.

Each student is responsible for his or her conduct as it affects the University community.  Academic dishonesty, in whatever form, is ultimately destructive of the values of the University. Furthermore, it is unfair and discouraging to the majority of students who pursue their studies honestly. Scholarly integrity is required of all members of the University. http://www.sfu.ca/policies/gazette/student/s10-01.html

ACADEMIC INTEGRITY: YOUR WORK, YOUR SUCCESS