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Artists’ practice lies at the heart of modern and contemporary art teaching at Christie’s Education. Encounters with living artists provide an awareness of the complexity of practice. Image Courtesy John Slyce A mixture of fact and fiction charactises the work of Charlotte Cullinan and Jeanine Richards. Context is the key which unlocks the everyday experiences that are documented in the three dimensional structures that have often been presented as part of Cullinan + Richards’ work. Image Courtesy John Slyce Cullinan + Richards use a web of installations to create shifting vulnerabilities which celebrate painting. Installation View: Copyright Cullinan + Richards, Girl Rider, Mead Gallery, University of Warwick, 2008 Cullinan + Richards’ March 2008 installation ‘Girl Rider’ is based on the extraordinary stunt of a girl in the act of ‘horse-diving’, an extraordinary spectacle which would horrify a modern viewer. Installation View: Copyright Cullinan + Richards, Girl Rider, Mead Gallery, University of Warwick, 2008
Jorge Pardo, Detail, Untitled , 2007, Installation View from the exhibition 'I Love My Wife', Neugerriemschneider Gallery , Berlin. Beat Raeber, a graduate of the Christie’s Education modern and contemporary master’s programme, now working at Neugerriemschneider Gallery, Berlin, hosting a group of students during their field study in Berlin. Simon Starling, the English conceptual artist, who won the Turner prize for his installation Shedboatshed in 2005 is also known for his sound and light works such as Wilhelm Noack oHG, 2006, an installation that explores the history of this metal working firm from its Bauhaus routes through the war until today. Courtesy Neugerriemschneider Gallery, Berlin. Kathryn del Boccio, a Christie’s Education graduate at The Neue Nationalgalerie, Berlin.
Previews of Sale at Christie’s King Street form an integral part of the courses at Christie’s Education allowing students to see how decisions concerning display often governing the first impression a work of art makes on the viewer. Sessions with Christie’s experts, gallerists and curators, often in front of the works of art themselves allow students to gain a familiarity and knowledge of individual works of art. This work shows Signac’s interest in harmony through colour and music. The rocks and the sails act as symbols of musical notation; each of the five paintings in this series, of which this is one, was given a musical ‘instruction’ – in this case larghetto, as well as a title: Concarneau: Calme du matin, Op.219 (1891). Auguste Macke, a member of Der Blaue Reiter was killed during the first world war at Pertheles-Hurles in the autumn of 1914. Had he lived he would have taken his place beside Nolde, Kirchner, and Pechstein as one of the leaders of expressionism.
Experiencing the Venice Biennale is unlike experiencing any other contemporary art exhibition in the world. Image Courtesy John Slyce. Jorge Pardo, Detail, Untitled , 2007, Installation View from the exhibition 'I Love My Wife', Neugerriemschneider Gallery , Berlin. Olafur Eliasson, installation view Six tons of Vatnajökull ice taken from Jökulsárlón on the south coast of Iceland, cooling aggregate, styrofoam, wood, lacquer dimensions variable. 2006, Installation View from the exhibition, Neugerriemschneider Gallery , Berlin. The Modern and Contemporary Art programme shifts emphasis each year to take in the latest contemporary shows such as the decennial Sculpture Project at Münster. Pawel Althamer, Path (Sciezka), 2007. Courtesy Münster Sculpture Project.

Master’s Degree - Modern and Contemporary Art

Course Content

  • Modernity: capitalism, city, empire in Nineteenth Century French painting; Edouard Manet to Paul Gauguin.
  • Modernisms: ideals of abstraction and expression in painting and sculpture; Paul Cezanne to Mark Rothko, Auguste Rodin to Anthony Caro.
  • Photography: dialogues with Fine Art; Alfred Stieglitz to Nan Goldin.
  • Avant-gardes: subversive strategies and critical debates; Futurism, Dada, Russian Constructivism.
  • Surrealisms: psychoanalysis, sexuality, the body; Salvador Dali, Hans Bellmer, Louise Bourgeois.
  • Beyond painting: performance, actions, objects; Jackson Pollock, Yves Klein, Yoko Ono.
  • Postmodernism: consumerism, simulation, identity; Andy Warhol, Cindy Sherman, Chris Ofili.
  • Contemporary: installation, globalisation, participation; Gabriel Orozco, Sophie Calle, Alfredo Jaar.
  • Artists' Talks: by internationally renowned and emerging artists such as Martin Creed, Carey Young, Jimmie Durham.
  • Curators' Talks: sessions led by innovative independent museum curators such as Emma Dexter, Simon Morrissey, Anthony Kiendl.

Course Components

  • Core lecture series Modern, Anti-Modern, Postmodern: underpins all components of the programme.
  • Study Trips: two international trips a year to major events in Europe or the Americas supplement regular visits to UK sites throughout the year and are included in the basic fee.
  • Object-based study is central to our teaching: the opportunity to study in direct contact with works of art through museum/gallery-based classes, specialist-led handling sessions, studio visits and conservation sessions.
  • Cataloguing to auction house and museum standards: through detailed case studies, assess issues that affect market value. Analyse the different processes of assessment, classification and interpretation used by art institutions.
  • Gallery and Curatorial Studies: engage with current debates about curating and devise fresh approaches to the display of art works. Explore practices in art criticism developing skills to review exhibitions and produce reports.
  • Culture and Ideology Seminars: in-depth analysis of relationships between art practices, cultural contexts and critical debates. Students develop skills to deliver presentations and generate seminar discussion.
  • Methodology Seminars: the analysis of technical, art-historical and interpretative text which provide transferable skills for independent research and individual development.
  • Thesis: your opportunity to create an exhibition on a small group of objects, independently researched and catalogued, where the key academic and professional skills learned on the programme are utilised.

Entry Requirements

A university degree. We welcome students with degrees in a range of arts subjects but who have a working knowledge of modern and contemporary art and some awareness of current cultural debates. Non-English speaking students must have IELTS 8 or equivalent.

 

 

 

 

 

Master's Modern and Contemporary Art

Course Dates

Term 1

Thursday 1st October 2009
– Friday 11th December 2010

Term 2

Monday 11th January 2010
– Friday 9th March 2010

Term 3

Monday 26th April 2010
– Friday 2nd July 2010

Course Fees

£17,000

Course Director

Lizzie Perrotte

University of Glasgow

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