THEROBERT GORDON

UNIVERSITYABERDEEN

Gray’s School of Art

Stage 2 and 3: 2007-2008Contextual and Critical Studies – Mini-Programme 2

Turning to Beauty

Tutor: Lesley Scottemail: l.scott@rgu.ac.uk (tel: 263692)

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TURNING TO BEAUTY

“Beauty varies infinitely. We desire, and our beauties are as plural and unpredictable as we are”C Sartwell. 2004. p.24

Beauty is a familiar word but what exactly is it? What is actually happening when you describe something as ‘beautiful’? Does it involve a feeling or the response to a particular idea, or is there a universal pleasure evoked by specific types of form? This programme encourages you to examine the elusive nature of ‘beauty’ and to make your own decision as to what it is and where it lies.

Beauty is first introduced through opposing terms. There is beauty in both perfection and imperfection and these oppositions highlight the difficulty faced by the founders of aesthetics who wished to theorise & encapsulate beauty. The second lecture considers beauty as taboo. A sense prevails that beauty may not be wholly good while in contemporary art it is viewed with suspicion. Many are not sure why. Concluding questions focus on a revived interest in beauty and examine the nature of new concerns. Updated oppositions include those involving pleasure and pain and the threshold between the beautiful and the ugly. A final reflection on the possibilities for a new aesthetics closes what is only an introduction. Ultimately, however, through a wide ranging programme, you will gain an increased understanding of the fugitive concept of beauty.1. INTRODUCTION AND TIMETABLE

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Mini-Programme 1Andrea PeachLecture Monday 1.00 SB42

Mini-Programme 2Lesley ScottLecture Monday 1.00 SB42

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This programme comprises one of two mini-programmes running in Semester One 2007/08. Each programme runs across 3 weeks, and includes a lecture on Mondays at 1.00 pm, SB42 Scott Sutherland School, followed by seminars for Stage 2 on Tuesdays in SA46 Scott Sutherland and seminars for Stage 3 on Thursdays in in SA46 Scott Sutherland. Seminar and workshop groups and times will be posted on the CCS notice board (by the art school shop). Students must come to the seminars prepared to participate. Assessment will be based on evident commitment, participation, and written coursework (critical notebook and essay).

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2. OVERALL OBJECTIVES OF THE CONTEXTUAL AND CRITICAL STUDIES MINI-PROGRAMMES

The Contextual and Critical Studies mini-programmes aim to encourage discussion of contemporary practice and theory, with a view to situating that discussion in a wider cultural and historical framework, enabling you to make links with your studio practice. At the end of this series of mini-programmes you will be expected to:

Demonstrate an increased understanding of both historical and contemporary context for art and design theory and practice.

Demonstrate, by way of a critical notebook and essay, the ability to analyse and criticise art and design practice in relation to the Programme context.

Demonstrate an ability to undertake research relevant to the critical aims of the programme, using both paper based and electronic sources.

Build confidence in discussing and sustaining a critical argument that is clear and consistent. Begin to develop self- directed areas of research in Contextual and Critical studies relating to your own studio

practice and emerging critical interests.

3. COURSEWORK

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Commitment and participation in the programmeThere are three lectures and three seminars for each mini-programme. The seminars will follow the theme of the lectures and address a particular issue each week. Students are expected to contribute to the seminars as part of their assessment. For this reason, it is essential that students attend all lectures and seminars for their elected mini-programme. If for any reason, you are unable to attend, please email the mini-programme tutor (l.scott@rgu.ac.uk) or leave a message with the CCS office (263692). Details of seminar tasks will be found in the weekly schedule that follows. Your seminar groups will be posted on the CCS Noticeboard (next to the photocopier in Gray’s, before you pass the shop).

There are two components to the assessment: a Critical Notebook and an Essay. Assessment criteria can be found at: www.studioit.org.uk (under Contextual and Critical Studies).

STAGES 2 & 3 – CRITICAL NOTEBOOKYou are required to keep a Critical Notebook evidencing ongoing personal reflection and academic research inspired by the mini-programme theme. The Notebook should contain your responses and thoughts in relation to lecture and seminar themes, as well as any additional research and development undertaken in relation to these. Do not use the notebook simply as a ‘scrapbook’ for filing lecture notes, photocopies of readings etc! Where possible, try to make connections between the mini-programme theme and your own studio activity and interests.

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Your Critical Notebook should be a hard-backed notebook, no larger than A3, and can comprise personal writing, drawings, photographs, sketches and any other materials relevant to the content of the mini-programme.

Stages 2 & 3 - ESSAYFor your essay respond to one of the three questions below. Whichever question you select, in your response include detailed analyses of at least two works of art or design which embody your thinking and ensure that you make reference to ideas/theories from key writers and texts which support and help to explain your ideas. (Consult the Course Bibliography and Lectures for recommended writers and text. Finally, integrate reflection on your own practice where possible.

Choose one question 1. What is contemporary beauty? Discuss.

2. Choose one of the oppositions in the programme; a. perfection and imperfection OR b. pleasure and pain OR c. the beautiful and the ugly.

How can the oppositions you have selected (differences, similarities, ambiguities) be explored through art or design? Discuss.

Essay length and format:Stage 2: 1500-2000 words

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Stage 3: 2500-3000 words

Your final essay must be fully word-processed, include Footnotes for all quotations (always expected) and a comprehensive Bibliography. You must reference all sources used in your text, using the Vancouver referencing system (see section 4: ‘Referencing Sources’ for details).

STAGE 2 & 3 COURSEWORK SUBMISSION DATE: The submission date for Stages 2 & 3 (critical notebook and essay) is: Friday 21 December 2007.

4. REFERENCING SOURCES

RGU has two systems for referencing sources: Harvard (also known as Author/Date) and Vancouver (also known as ‘endnotes’ or ‘footnotes’). For your essay, we recommend that you use Vancouver. You will find information on Vancouver in handouts available from the CCS website, at www.studioit.org.uk See Contextual and Critical Studies / Support Files 2007/8 / General CCS Documents:

Vancouver Referencing System – Sheet of examples Guide to Academic Referencing

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Please note: if you do not reference quotations and sources properly, you risk committing plagiarism - a serious academic offence with corresponding penalties!

The study skills sessions offered below will help you with referencing and writing.

5. STUDY SKILLS: STAGE TWO / STAGE THREE

This semester we will be offering taught sessions on plagiarism, referencing and writing skills. We strongly recommend that you take advantage of this opportunity. The sessions will be held on the following dates:Plagiarism Monday 22 October / 12-1pm225 (School of Management)

Referencing Sources Monday 29 October / 12-1pm225 (School of Management)

Writing Skills Monday 5 November / 12-1 / 225 (School of Management)Monday 12 November / 12-1 / 225 (School of Management)

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Monday 19 November / 12-1 / 225 (School of Management)

In addition to these Study Skills sessions, there will also be sessions on how to use Refworks software. This software will facilitate the creation of bibliographies and will help you to organise your research material.

Refworks SeminarsWednesday 31 October / 12-1pm / 205 (School of Management)Wednesday 7 th November / 12.30-1.30 / 204 (School of Management)

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6. ADVANCED RESEARCH SKILLS: STAGE THREE ONLY

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This semester we will also be offering training for Stage Three students in advanced research skills. These sessions will familiarise students with academic databases on art and design, and advanced research techniques (searching for journals online etc). Three sessions will be held on the following dates: Mini-programme 1: Thursday 11 October - 9.15 / 10.45 / 12.00Mini-programme 2: Thursday 15 November - 9.15 / 10.45 / 12.00 See below for details of groups, times and rooms.

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MINI PROG 1Advanced Research SkillsThursday 11 Oct

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MINI PROG 2 Advanced Research Skills Thursday 15 Nov

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7. EXTENSION REQUESTS

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Extensions will only be granted in exceptional circumstances, which include serious problems or events which genuinely affect your ability to complete coursework on time. Such circumstances might include: serious physical or mental illness (must have doctor's certificate), serious illness or death of an immediate family member or close friend.  'Exceptional circumstances' do not include colds, headaches, hangovers, poor time management, problems caused by English not being your first language, and circumstances within your control (such as: absence due to holidays, weddings, jobs etc). To request an extension, please complete a Coursework Extension Request Form (available from the School Office). This form must be submitted before the coursework submission date, and include written documentation (medical certificates etc.) where relevant. Claims are reviewed by your CCS tutor and treated as confidential.

Coursework handed in after the hand-in date, which is not supported by a fully approved Coursework Extension Request Form will be recorded as a non-submission. There will be no exceptions.

8. MITIGATING CIRCUMSTANCES

If you feel that you have genuine and legitimate circumstances that may affect your performance on this mini-programme, and therefore your coursework, you should fill out a Mitigating Circumstances form. Mitigating circumstances are exceptional, serious and acute problems or events which have genuinely affected your performance in your assessments or your ability to complete coursework (these do not include ongoing issues – such as dyslexia etc.). Mitigating Circumstances forms are treated confidentially and are considered at the end of

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year Examination Board when making final decisions about your mark. To make a claim for mitigating circumstances you must complete a Mitigating Circumstances Request Form (available from the School Office). This form must be submitted no later than the coursework submission date. See the form for further details.

Monday 5 November1.00 SB42

Scott Sutherland School

LECTURE 1: What is Beauty ?

Key Issues and Questions What is Beauty? Does it arise from the senses and emotion? Does it arise from form and appearance? What is the role of the intellect and knowledge?

Key References John Armstrong Emmanuel Kant Plato Christopher Sartwell

Key Reading Armstrong, J. The Secret Power of Beauty. London: Penguin Books Ltd.: 2005. Chapter 6. The Eye of the Beholder.

Suggested Reading Crawford, D.W. Kant. In: Gaut, B and McIvor Lopes, D, editors. The Routledge Companion to Aesthetics.London: Routledge; 2004. p. 51-63

Goldman, A. The Aesthetic. In: Ibid. p.181-92 Donoghue D. Speaking of Beauty.New Haven and London: Yale University Press;

2003.

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Eco, U. On Beauty: A History of a Western Idea. London: Secker and Warburg;2004 Elam, K. Geometry of Design. New York: Princeton Architectural Press; 2001 Prettejohn E. Beauty and Art. Oxford: Oxford University Press; 2005 (Chap.1) Sartwell, C. Six Names of Beauty. London: Routledge; 2004. Either Chapter 4. To

Kalon or Chapter 5. Wabi-Sabi. http://etext.lib.virginia.edu/cgi-local/DHI/dhi.cgi?id=dv1-28 http://www.iep.utm.edu/k/kantaest.htm

http://eserver.org/philosophy/kant/critique-of-judgment.txt(For outline of contents see Bibliography)

Seminar Assignment Where do you personally find beauty? Come prepared to discuss what you think beauty is and bring any related image or object.

Monday 12 November

1.00 SB42Scott Sutherland

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LECTURE 2: Consuming Beauty ; ideologies of art and society Key Issues and Questions Why did the 20th century avant-garde reject beauty? What are the contemporary arguments against beauty? What are the contemporary arguments for a return to beauty

Key References (See Danto and Demetrion for relevant artists and works) Pierre Bourdieu Arthur C Danto Dave Hickey

Key Readings Hickey, D. Enter the Dragon: On the Vernacular of Beauty. In: Beckley B. editor. Uncontrollable Beauty: Toward a New Aesthetics, New York, Allworth Press; 1998. pp 15-24

Danto, A.C. Beauty and Morality. In: Ibid. pp 25-37

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Suggested Reading Bourdieu, P. The Modes of Appropriation of the Work of Art. In: Distinction. A Social

Critique of the Judgement of Taste.London: Routledge and Kegan Paul Ltd; 1986. p.267-283

Danto A. C. The Abuse of Beauty. La Salle (Il.): Open Court Publishing Company; 2003. (Most of this text is relevant but see p. 17-30 and p. 46-60, in particular)

Newman, B. The Sublime is Now. In: Harrison, C and Wood, P, editors. Art in Theory. 1900-1990. Oxford: Blackwell Publishers; 1992. p.572-574

Tzara, T. Dada Manifesto 1918. In: Ibid. p.248-53 Foster, H. Postmodernism: A Preface. In: Foster, H. editor. The Anti-Aesthetic. Essays

on Postmodern Culture. New York: The New Press; 1998. p.ix-xvi Demetrion J.T. Regarding Beauty: A View of the Late Twentieth Century. Washington,

U.S.A. Ostfildern: Hatje Cantz; 2000. p 7-37

Seminar Assignment Rimbaud wrote ‘One evening, I sat Beauty on my knees; and found her bitter….’ Do you find Beauty ‘bitter’? What is its place in art or design? Does it have a place and what is its value? Come prepared to debate the place of Beauty and bring any imagery, text or object to support your personal views.

Monday 13 November 1.00 SB42

Scott Sutherland School

Lecture 3: Reviving Beauty; the limits and the liminalKey Issues and Questions Reviving beauty; new explorations and new aesthetics Old oppositions; the beautiful and the ugly New limits; the beautiful and the sublimeKey Practitioners and Works: See Exhibition Catalogues and ReadingsKey References Theodore Adorno Edmund Burke Umberto Eco

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Emmanuele Kant Jean Francois Lyotard

Key Readings

Suggested Reading The Ugly The Sublime

Eco, U. editor. On Ugliness. London: Harvill Secker; 2007. pp. 421-38 Thompson, J. The Sublime Moment: The Rise of the ‘Critical Watchman’. In: Kool-

Want, C. and Thompson, J. Sublime: The Darkness and the Light, Works from the Arts Council Collection. London: Hayward Gallery Publishing; 1999. pp21-28

Adorno, T.W. On the Categories of the Ugly, Beautiful and Technique. In: Adorno, T. Aesthetic Theory

Danto, A. Beauty and Politics. In: Danto A. C. The Abuse of Beauty. La Salle (Il.): Open Court Publishing Company; 2003. p.81-102

Eco, U. On Ugliness. London: Harvill Secker; 2007. Newly published. Entire text is a guide to potential writers and sources

Jackson L. Beauty and the Beast. Craft. 2004; 191; 32-39. Eco, U. The Sublime. In: Eco, U. Eco U. On Beauty: A History of a Western Idea.

London: Secker and Warburg; 2004. pp. 275-94 Kool-Want, C. and Thompson, J. Sublime: The Darkness and the Light, Works from the

Arts Council Collection. Jun 29 1999 – July 23 2000; Hayward Gallery; 1999. Shaw, P. The Sublime. London: Routledge; 2006 (Particularly Chapters 5 & 6) http://www.bu.edu/wcp/MainCont.htm A. David. ‘Lyotard on the Kantian Sublime’ http://plato.stanford.edu/entries/kant-aesthetics/ Locate ‘The Sublime’ http://www.english.upenn.edu/~mgamer/Etexts/burkesublime.html Extracts. Burke.

A Philosophical Inquiry into the Origin of our Ideas of the Sublime and the Beautiful.Seminar Assignment You are to curate an exhibition with the title, ‘Contemporary Beauty: new

explorations in Art and Design’. What would you include in the exhibition? Bring ideas and exhibits on a poster or other.

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7. BIBLIOGRAPHY AND ADDITIONAL SOURCES

Most of the following texts are on Academic Reserve in the Georgina Scott Sutherland Library. Core texts are good general introductions and are recommended for purchase. Donoghue, Pacteau and Sartwell and are evocative texts on the subject of Beauty, and would be nice to have

ELECTRONIC BOOKS: Note that a small number of texts can now be accessed online via the Library catalogue. See ‘Electronic Book’ below. Only one student can read these at a time. Please tell your tutor if this is a problem as wider access can be arranged.

While on campus you can access the book simply and directly via the Catalogue. Externally, you may need your normal login/password or should follow inbuilt instructions. See website for how to access e-books: http://www.rgu.ac.uk/library/howto/page.cfm?pge=42599

Core TextsAdorno T. Aesthetic Theory. London: Athlone Press; 1997. On Academic Reserve.Armstrong J. The Secret Power of Beauty. London: Penquin; 2005. On Academic ReserveDanto A. C. The Abuse of Beauty. La Salle (Il.): Open Court Publishing Company; 2003. On Academic Reserve. (Fine Art ‘specific’)Eco U. On Beauty: A History of a Western Idea. London: Secker and Warburg; 2004. On Academic Reserve. (Good general text)Gaut B Lopes D.M, editors. The Routledge Companion to Aesthetics. London: Routledge; 2005. On Academic Reserve. (Excellent general introduction to Aesthetics)Prettejohn E. Beauty and Art. Oxford: Oxford University Press; 2005. On Academic Reserve. *Electronic Book.Sartwell C. Six Names of Beauty. London: Routledge; 2004. On Academic Reserve. (Applicable to all) *Electronic Book.

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Books referenced during ProgrammeBourdieu P. Distinction. A Social Critique of the Judgement of Taste.London: Routledge and Kegan Paul Ltd. 1986. On Academic Reserve.Beckley, B. Uncontrollable Beauty: Toward a New Aesthetics. New York: Allworth Press; 1998. On Academic Reserve.De Bolla P. Art Matters. Cambridge (Mass.): Harvard University Press; 2001. On Academic Reserve. Donoghue D. Speaking of Beauty.New Haven and London: Yale University Press; 2003. On Academic Reserve.Eco, U. On Ugliness. London: Harvill Secker; 2007. Just published. Ordered / arrival uncertain. Elam, K. Geometry of Design. New York: Princeton Architectural Press; 2001Freeland C. But is it art? Oxford: Oxford University Press; 2001. On Academic Reserve.Foster, H. The Anti-Aesthetic. Essays on Postmodern Culture. New York: Bay Press. 1983. On Academic Reserve. On Academic Reserve.Harrison C, Wood P. editors. Art in Theory. 1900-1990. An Anthology of Changing Ideas. Oxford: Blackwell Publishers; 1992. On Academic ReserveJuniper A. Wabi Sabi: the Japanese Art of Impermanence. North Clarendon: Tuttle Publishing; 2003. Not in Library. On order. Available for viewing at first seminarKirwan J. Beauty. Manchester: Manchester University Press; 1999. On Academic Reserve.Koren L. Wabi-Sabi: for Artists, Designers, Poets and Philosophers. Berkeley: Stone Bridge Press; 2004. Not in Library. On order. Available for viewing at first seminar.Meredith J.C. Immanuel Kant. The Critique of Judgement. Translated with Analytical Indexes by James Creed Meredith Oxford: Clarendon Press; 1952. (The Critique of Judgement is available on the web – see below)Pacteau F. The Symptom of Beauty (Essays in Art and Culture). London: Reaktion Books Ltd; 1994. On Academic Reserve.Shaw, P. The Sublime. London: Routledge; 2006. Ordered / arrival uncertain.

Exhibition Catalogues Demetrion J.T. Regarding Beauty: A View of the Late Twentieth Century. Catalogue of an exhibition at the Hirshhorn Museum; Oct 7 1999 –Jan 17 2000; Washington, U.S.A. Ostfildern: Hatje Cantz; 2000. On Academic Reserve.

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Kool-Want, C. and Thompson, J. Sublime: The Darkness and the Light, Works from the Arts Council Collection. Catalogue of an Exhibition toured by National Touring Exhibitions from the Hayward Gallery for the Arts Council of England; Jun 29 1999 – July 23 2000; London: Hayward Gallery Publishing; 1999. On Academic Reserve.

Rosenthal, N. Apocalypse: Beauty and Horror in Contemporary Art. Catalogue of an exhibition at the Royal Academy of Arts; Sep 23-Dec 15 2000; London, U.K. Royal Academy of Arts; 2000. On Academic Reserve.

Periodicals referenced during Programme: Note that all are available electronically via RGU Library website.Danto A. A Future for Aesthetics. Journal of Aesthetics and Art Criticism. 1993; 51; 271-7. Charlesworth JJ. Art and Beauty. Art Monthly. 2004; 279: 7-10. Jackson L. Beauty and the Beast. Craft. 2004; 191; 32-39. Perling Hudson, Suzanne. Beauty and the Status of Contemporary Criticism. October. Spring 2003; 104. Powers Alan. Beauty without the Beast. Craft. 2004; 191; 62-65.

Websites http://eserver.org/philosophy/kant/critique-of-judgment.txt

Full text of the first part of Kant’s Critique of Judgement, including the ‘Analytics’ of Aesthetic Judgement, of the Beautiful and of the Sublime.

http://etext.lib.virginia.edu/cgi-local/DHI/dhi.cgi?id=dv1-28From the Dictionary of the History of Ideas, a broad overview of Theories of Beauty to the Mid-Nineteenth Century.

http://www.iep.utm.edu/k/kantaest.htm A useful overview of Kant’s theory of Aesthetics (Section 3.) from the Internet Encyclopedia of Philosophy

http://www.utm.edu/research/iep/The Internet Encyclopedia of Philosophy. Index to key philosophers.

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http://www.bu.edu/wcp/MainCont.htm A. David. ‘Lyotard on the Kantian Sublime’http://plato.stanford.edu/entries/kant-aesthetics/ Locate ‘The Sublime’ for a summary of Kant’s main ideas http://www.english.upenn.edu/~mgamer/Etexts/burkesublime.html Extracts. Burke. A Philosophical Inquiry into the Origin of our Ideas of the Sublime and the Beautiful.http://jjcharlesworth.com/

See Bibliography. From the current debate on Beauty, JJ Charlesworth’s recent article from Art Monthly: Art and Beauty.

http://www.findarticles.com/p/articles/mi_m0425/is_n1_v56/ai_19827688From Art Journal, 1997, a review of Hickey’s ideas within the context of the wider debate; Learning from aesthetics: old masters and new lessons - Aesthetics and the Body Politic. This article assumes some knowledge of aesthetics. See the website below .

http://digitalarts.ucsd.edu/~gkester/GK_Website/Research/Hickey.htmKester, G. The World He Has Lost: Dave Hickey’s Beauty Treatment. Variant. 2003; 18. Grant Kester’s mostly accessible and biting critique of Hickey’s text.

Additional Texts – For those interested in current ideals of beauty, the body, fashion and feminism:Black, P Gender and the Beauty Industry. Discipline and Power. London: Routledge; 2004. On Acad. ReserveBordo S. Unbearable Weight: feminism, Western Culture and the Body. Berkeley: University of California Press; 2003. On Academic ReserveGimlin, Body Work. Beauty and Self in American Culture. Berkeley: University of California Press; 2002. On Academic Reserve. *Electronic Book.Mulvey, K. Decades of Beauty: the Changing Image of Women. London: Hamlyn Publishing: 1998. On Academic ReserveSchefer D. What is Beauty? New Definitions from the Fashion Vanguard. London: Thames and Hudson Ltd. 1997. On Academic Reserve.

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8. ACADEMIC RESERVE

Core texts will be placed on Academic Reserve in the Library. The Academic Reserve is the desk at the far end of the Issue desk as you enter the Library. Books on Academic Reserve are issued for a 24 hour period. On Friday, books can be taken out after 10.00am and they are not due back until 10am on Monday. Books can be booked in advance, and 2 can be borrowed at a time. Fines for overdue Academic Reserve books are charged at the following rate: £1 per hour for the first hour overdue, 50 pence per hour thereafter, every hour, with a maximum fine of £15 per item.

TUTOR FOR PROGRAMME: Lesley Scott (l.scott@rgu.ac.uk)____________________________________________________________

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