Department of Global and Interdisciplinary Studies

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ART300ZA(芸術学 / Art studies 300)
Art in the Real World

Suzanne Carol MOONEY

Class code etc
Faculty/Graduate school Department of Global and Interdisciplinary Studies
Attached documents
Year 2022
Class code A6310
Previous Class code
Previous Class title
Term 春学期授業/Spring
Day/Period 金1/Fri.1
Class Type
Campus 市ヶ谷 / Ichigaya
Classroom name 各学部・研究科等の時間割等で確認
Grade 3~4
Credit(s) 2
Open Program
Open Program (Notes)
Global Open Program
Interdepartmental class taking system for Academic Achievers
Interdepartmental class taking system for Academic Achievers (Notes) 制度ウェブサイトの3.科目別の注意事項 (1) GIS主催科目の履修上の注意を参照すること。
Class taught by instructors with practical experience
Urban Design CP
Diversity CP
Learning for the Future CP
Carbon Neutral CP
Chiyoda Campus Consortium
Duplicate Subjects Taken Under Previous Class Title
Category (commenced 2024 onwards)
Category (commenced 2020-2023)
Category (commenced 2016-2019)

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Outline and objectives

Despite art being a part of human culture and civilisation for millennia, the art world is often looked upon as something disconnected from everyday life. In this course, we will examine how art and everyday life are intertwined. This will be followed by study on the forms art takes in contemporary society, the value of art, spaces for art, and case studies on how artists live and work in contemporary society.


Through this course, students will gain an understanding of the role of contemporary art in society.
An important aspect of this study is to comprehend the processes of creation and the thinking behind public exhibitions, the multifaceted approaches of artists, and the infrastructure of the world of contemporary art in Japan and abroad, and how the art world is connected to the "real" world.

Which item of the diploma policy will be obtained by taking this class?

Will be able to gain “DP 1”, “DP 2”, “DP 3” and “DP 4”.

Default language used in class

英語 / English

Method(s)(学期の途中で変更になる場合には、別途提示します。 /If the Method(s) is changed, we will announce the details of any changes. )

In addition to lectures on relevant topics, students will take part in practical exercises to gain first-hand knowledge and experience of the processes involved in contemporary art-making. Students are guided through the practical creative processes of making original artworks such as:
• Drawing to communicate
• Collating images to create narrative
• Combining text and images to change meaning
Students will also research an artist working now, in the 21st century, and will make a presentation on the results of this research.
In addition to the above, students must keep track of their weekly learning by collating images and text in a class notebook, 2 pages (minimum) per week that are relevant to the course material.

Submission of assignments and feedback will be via the Learning Management System.
Feedback on presentations will be given in class. Separate feedback will be given via email or the Learning Management System if required.

For this class, preparatory study is 2 hours and review time is 2 hours.

Active learning in class (Group discussion, Debate.etc.)

あり / Yes

Fieldwork in class

あり / Yes


授業形態/methods of teaching:対面/face to face



Introduction to the class outline and explanation of expectations. Workshop and group discussion on what art is and why it is important.

2[対面/face to face]:Art as communication

Sharing experiences through drawing. Practical activity to explore the communicative qualities of images.

3[対面/face to face]:Worthless art(?)

Artists with subversive approaches to value: Marcel Duchamp, Andy Warhol, Jeff Koons, Tracy Emin, etc.

4[対面/face to face]:Art with value

Group and class discussion on artworks with value for the 21st century

5[対面/face to face]:Connecting with the land

Connecting art practices with pre-historic art and ritual. Artists who work directly in the landscape: Robert Smithson, Richard Long, Christo and Jean Claude, Nancy Holt, etc.

6[対面/face to face]:Originality: It’s all been done before

Tracing the thread of an idea in art; redefining originality

7[対面/face to face]:Art as action

Performance art and happenings, activism as art, and the importance of documentation

8[対面/face to face]:A working artist

A visit from (or case study of) an artist, discussing their works and career

9[対面/face to face]:Text and Images: Making meaning

Study of examples from art and online media. Practical exercises in making meaning

10[対面/face to face]:Outside of the gallery system

Artist-led initiatives and unconventional art spaces in Japan and abroad

11[対面/face to face]:Curation as practice

How curation creates meaning.
Planning a fictional exhibition.

12[対面/face to face]:Student Presentations I & discussion

On each student’s artist of choice working in the world today

13[対面/face to face]:Student Presentations II & discussion

On each student’s artist of choice working in the world today

14[対面/face to face]:Final discussion and review

Presentation of notebooks and group discussion on art in the real world

Work to be done outside of class (preparation, etc.)

Students are expected to prepare a notebook and basic writing and drawing materials. Reading and preparation activities will be assigned on a weekly basis.
Students are also expected to visit at least one art exhibition and conduct research in preparation for a presentation (suggestions will be provided).
Students are also expected to use their notebook to keep a record ideas, samples of artworks, and other experiences throughout the semester.
Preparatory study and review time for this class are 2 hours each.


No textbook will be used. Lecture slides/notes/other materials will be provided online.


Berger, John. Ways of Seeing, Penguin Books (1972)
Sontag, Susan. On Photography (1977)
Benjamin, Walter. Art in the Age of Mechanical Reproduction (1935)
Debord, Guy. The Society of the Spectacle (1967)
Krauss, Rosalind. Sculpture in the Expanded Field October, vol. 8, 1979, pp. 31–44.
Shifman, Limor. Memes in Digital Culture, The MIT Press (2013)
Foster, Hal. Art Since 1900: Modernism, Antimodernism, Postmodernism. London: Thames & Hudson (2004)

Grading criteria

This applies to class activities, assigned readings, exhibition visit and regular contribution to the group discussions.
Weekly submitted responses:
This is a requirement to submit weekly assignments. Examples of weekly assignments are: Pages from your workbook; a written response to class contents, evidence of activities completed in class that week.
Presentation: each student must make a short presentation on a working artist within the context of the course.

The final grade is calculated as follows:
Active participation 30%
Weekly submitted responses 40%
Presentation 30%

Changes following student comments

Not applicable.

Equipment student needs to prepare

Students will need a class notebook (e.g. A5-A4 sketchbook/notebook), and general stationary (e.g. pen, pencil, glue, tape, scissors). Access to a computer, as weekly responses and submissions will be digital only.
Details of other items required will be given as required.


You do not need to be "good at art" or have previous practical experience in art to take this class.
What is essential for this class is to be curious and open-minded about what art can be, and to be willing to engage in discussions on topics that are new and, at times, challenging.

Students are expected to be punctual. As many of the topics are open for debate, participation in group and class discussions will be expected of all students.
Weekly responses must be submitted before the next weeks class, through an online system.