The course provides the critical methodologies and basic historical skills essential to the study of the artistic languages of modernity. The class and lectures selected for the exam program will retrace the main events of contemporary visual arts, in order to propose a methodology for the analysis of poetics, movements and different languages characterising contemporary art, and so to provide the necessary tools for reading and interpret the different types of contemporary works of art.
Curriculum
Canali
teacher profile teaching materials
For an overall view of art between the 19th and 20th centuries, with a vast array of images, it is very useful to consult the following books:
Mary Acton, Guardare l'arte contemporanea, Einaudi 2008
Hal Foster et al., Art since 1900, Phaidon, second edition 2013, years 1965-1975.
All the images presented during the course, as well as the videos, can be found online through a simple search on Google Images or YouTube or on specialized sites such as ubu.com.
Mutuazione: 20702970 STORIA DELL'ARTE CONTEMPORANEA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 A - L CHIODI STEFANO
Programme
The course traces the relationship between the artistic object and the environment in the second half of the twentieth century. Starting with the questioning of the frame in painting and the pedestal in sculpture, the course will explore the transition from the object to the environment and installation, and it will finally analyse the expansion of the artistic intervention from institutional spaces to nature and public space - from land art to different practices of social participation.Core Documentation
Francesco Poli (ed.), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003 (the essays: F. Poli, Ricerche minimaliste e analitiche, pp. 70-95; F. Poli, Arte e ambiente, pp. 96-121; Maddalena Disch, Process art e arte povera, pp. 121-149).For an overall view of art between the 19th and 20th centuries, with a vast array of images, it is very useful to consult the following books:
Mary Acton, Guardare l'arte contemporanea, Einaudi 2008
Hal Foster et al., Art since 1900, Phaidon, second edition 2013, years 1965-1975.
All the images presented during the course, as well as the videos, can be found online through a simple search on Google Images or YouTube or on specialized sites such as ubu.com.
Type of delivery of the course
Lecture-style classes conducted through screened presentations of works and documents and multimedia tools.Attendance
Attendance is not compulsoryType of evaluation
The exam consists of a written test carried out in the classroom during each exam session. The exam aims to verify the ability to present and analyse topics, poetics, movements, artists dealt with during the lessons and assessed in the bibliography, as well as to attest the ability to read and interpret the works of art, using adequate critical terminology and putting the artworks in relation to their historical context. teacher profile teaching materials
Starting from the questioning of the frame in painting and of the pedestal in sculpture, it will deepen the transition from the object to the environment, with the consequent affirmation of an experiential dimension of space, to get to analyzing the outflow of the artistic intervention from the designated spaces of art in nature and in public space - from Land Art to the various practices of social participation.
In their different nature, the interventions presented during the lectures will allow to highlight the issues connected to the temporalization and the process of practices finding in photography and video documentation the only possibility to leave testimony of their impermanent and de-commodified character.
2) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
3) F. Poli. F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016, pp. 11-101
4) Selection of sources and texts available during the course (a copy will be available at copisteria CLP, via Giulio Rocco, 9)
5) Selezione delle immagini proiettate a lezione e a corredo dei testi in programma (disponibile sul sito della docente a fine del corso).
Filmography and videography:
Land Art, 1969
Fernsehgalerie Berlin Gerry Schum
Christo, Wrapped Coast, 1969
Michael Blackwood Productions
Robert Smithson, Spiral Jetty, 1970
Production with Robert Fiore, Nancy Holt e Barbara Jarvis
Troublemakers. The Story of Land Art, 2015
Directed by James Crump
Production: Summitridge Pictures in association with RSJC LLC (con interviews and materials by Vito Acconci, Carl Andre, Germano Celant, Paula Cooper, Walter De Maria, Virginia Dwan, Gianfranco Gorgoni, Michael Heizer, Nancy Holt, Dennis Oppenheim, Charles Ross, Pamela Sharp, Willoghby Sharp, Robert Smithson, Harald Szeemann, Lawrence Wiener).
Mutuazione: 20702970 STORIA DELL'ARTE CONTEMPORANEA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 M - Z CONTE LARA
Programme
The course intends to retrace the relationships between the artistic object and the environment, from the historical avant-gardes to the Seventies of the XX century.Starting from the questioning of the frame in painting and of the pedestal in sculpture, it will deepen the transition from the object to the environment, with the consequent affirmation of an experiential dimension of space, to get to analyzing the outflow of the artistic intervention from the designated spaces of art in nature and in public space - from Land Art to the various practices of social participation.
In their different nature, the interventions presented during the lectures will allow to highlight the issues connected to the temporalization and the process of practices finding in photography and video documentation the only possibility to leave testimony of their impermanent and de-commodified character.
Core Documentation
1) Arte moderna. Dal Postimpressionismo all’Informale, Electa, Milano 2007 (for the texts: C. Zambianchi, Le ricerche postimpressioniste, pp. 10-29; M. Lorandi, Simbolismo, pp. 30-53; F. Poli, Informale ed espressionismo astratto, pp. 262-283)[testo fuori commercio; PDF download area, professor's website]2) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
3) F. Poli. F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016, pp. 11-101
4) Selection of sources and texts available during the course (a copy will be available at copisteria CLP, via Giulio Rocco, 9)
5) Selezione delle immagini proiettate a lezione e a corredo dei testi in programma (disponibile sul sito della docente a fine del corso).
Filmography and videography:
Land Art, 1969
Fernsehgalerie Berlin Gerry Schum
Christo, Wrapped Coast, 1969
Michael Blackwood Productions
Robert Smithson, Spiral Jetty, 1970
Production with Robert Fiore, Nancy Holt e Barbara Jarvis
Troublemakers. The Story of Land Art, 2015
Directed by James Crump
Production: Summitridge Pictures in association with RSJC LLC (con interviews and materials by Vito Acconci, Carl Andre, Germano Celant, Paula Cooper, Walter De Maria, Virginia Dwan, Gianfranco Gorgoni, Michael Heizer, Nancy Holt, Dennis Oppenheim, Charles Ross, Pamela Sharp, Willoghby Sharp, Robert Smithson, Harald Szeemann, Lawrence Wiener).
Type of delivery of the course
The course is organized in lectures conducted through screened presentations of works and documents and multimedia tools. Some topics are studied in depth through the reading, commenting and analysis of critical and programmatic texts, and with the active involvement of students in the discussion. In addition, a visit is foreseen to an exhibition or a museum collection in relation to the issues addressed in the course.Attendance
Students are strongly encouraged to attend classes.Type of evaluation
The examination is a two-hour written assignment. The examination aims to verify the ability to present and analyse poetics, movements and artists covered by the course and treated in the texts in the programme. Two open questions will be proposed, as well as the recognition and the analysis of three works reproduced in the texts and treated in class, in order to attest the ability to read and analyse the different types of contemporary works of art, using an adequate, critical terminology, and relating the work to the historical-artistic context. With regard to the works dealt with in class, a selection (which will be used for the examination) will be made available to all students at the end of the course on the professor's website.Canali
teacher profile teaching materials
For an overall view of art between the 19th and 20th centuries, with a vast array of images, it is very useful to consult the following books:
Mary Acton, Guardare l'arte contemporanea, Einaudi 2008
Hal Foster et al., Art since 1900, Phaidon, second edition 2013, years 1965-1975.
All the images presented during the course, as well as the videos, can be found online through a simple search on Google Images or YouTube or on specialized sites such as ubu.com.
Programme
The course traces the relationship between the artistic object and the environment in the second half of the twentieth century. Starting with the questioning of the frame in painting and the pedestal in sculpture, the course will explore the transition from the object to the environment and installation, and it will finally analyse the expansion of the artistic intervention from institutional spaces to nature and public space - from land art to different practices of social participation.Core Documentation
Francesco Poli (ed.), Arte contemporanea. Le ricerche internazionali dalla fine degli anni ’50 a oggi, Electa, Milano 2003 (the essays: F. Poli, Ricerche minimaliste e analitiche, pp. 70-95; F. Poli, Arte e ambiente, pp. 96-121; Maddalena Disch, Process art e arte povera, pp. 121-149).For an overall view of art between the 19th and 20th centuries, with a vast array of images, it is very useful to consult the following books:
Mary Acton, Guardare l'arte contemporanea, Einaudi 2008
Hal Foster et al., Art since 1900, Phaidon, second edition 2013, years 1965-1975.
All the images presented during the course, as well as the videos, can be found online through a simple search on Google Images or YouTube or on specialized sites such as ubu.com.
Reference Bibliography
Denis Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002 [p. 251-407] F. Poli. F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016, pp. 11-101 Rosalind Krauss, Doppio negativo: una nuova sintassi per la scultura, in Passaggi, Bruno Mondadori, Milano 1998, pp. 245-288 Filmography: Land Art, 1969 Christo, Wrapped Coast, 1969 Robert Smithson, Spiral Jetty, 1970 Troublemakers. The Story of Land Art, 2015Type of delivery of the course
Lecture-style classes conducted through screened presentations of works and documents and multimedia tools.Attendance
Attendance is not compulsoryType of evaluation
The exam consists of a written test carried out in the classroom during each exam session. The exam aims to verify the ability to present and analyse topics, poetics, movements, artists dealt with during the lessons and assessed in the bibliography, as well as to attest the ability to read and interpret the works of art, using adequate critical terminology and putting the artworks in relation to their historical context. teacher profile teaching materials
Starting from the questioning of the frame in painting and of the pedestal in sculpture, it will deepen the transition from the object to the environment, with the consequent affirmation of an experiential dimension of space, to get to analyzing the outflow of the artistic intervention from the designated spaces of art in nature and in public space - from Land Art to the various practices of social participation.
In their different nature, the interventions presented during the lectures will allow to highlight the issues connected to the temporalization and the process of practices finding in photography and video documentation the only possibility to leave testimony of their impermanent and de-commodified character.
2) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
3) F. Poli. F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016, pp. 11-101
4) Selection of sources and texts available during the course (a copy will be available at copisteria CLP, via Giulio Rocco, 9)
5) Selezione delle immagini proiettate a lezione e a corredo dei testi in programma (disponibile sul sito della docente a fine del corso).
Filmography and videography:
Land Art, 1969
Fernsehgalerie Berlin Gerry Schum
Christo, Wrapped Coast, 1969
Michael Blackwood Productions
Robert Smithson, Spiral Jetty, 1970
Production with Robert Fiore, Nancy Holt e Barbara Jarvis
Troublemakers. The Story of Land Art, 2015
Directed by James Crump
Production: Summitridge Pictures in association with RSJC LLC (con interviews and materials by Vito Acconci, Carl Andre, Germano Celant, Paula Cooper, Walter De Maria, Virginia Dwan, Gianfranco Gorgoni, Michael Heizer, Nancy Holt, Dennis Oppenheim, Charles Ross, Pamela Sharp, Willoghby Sharp, Robert Smithson, Harald Szeemann, Lawrence Wiener).
Programme
The course intends to retrace the relationships between the artistic object and the environment, from the historical avant-gardes to the Seventies of the XX century.Starting from the questioning of the frame in painting and of the pedestal in sculpture, it will deepen the transition from the object to the environment, with the consequent affirmation of an experiential dimension of space, to get to analyzing the outflow of the artistic intervention from the designated spaces of art in nature and in public space - from Land Art to the various practices of social participation.
In their different nature, the interventions presented during the lectures will allow to highlight the issues connected to the temporalization and the process of practices finding in photography and video documentation the only possibility to leave testimony of their impermanent and de-commodified character.
Core Documentation
1) Arte moderna. Dal Postimpressionismo all’Informale, Electa, Milano 2007 (for the texts: C. Zambianchi, Le ricerche postimpressioniste, pp. 10-29; M. Lorandi, Simbolismo, pp. 30-53; F. Poli, Informale ed espressionismo astratto, pp. 262-283)[testo fuori commercio; PDF download area, professor's website]2) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
3) F. Poli. F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016, pp. 11-101
4) Selection of sources and texts available during the course (a copy will be available at copisteria CLP, via Giulio Rocco, 9)
5) Selezione delle immagini proiettate a lezione e a corredo dei testi in programma (disponibile sul sito della docente a fine del corso).
Filmography and videography:
Land Art, 1969
Fernsehgalerie Berlin Gerry Schum
Christo, Wrapped Coast, 1969
Michael Blackwood Productions
Robert Smithson, Spiral Jetty, 1970
Production with Robert Fiore, Nancy Holt e Barbara Jarvis
Troublemakers. The Story of Land Art, 2015
Directed by James Crump
Production: Summitridge Pictures in association with RSJC LLC (con interviews and materials by Vito Acconci, Carl Andre, Germano Celant, Paula Cooper, Walter De Maria, Virginia Dwan, Gianfranco Gorgoni, Michael Heizer, Nancy Holt, Dennis Oppenheim, Charles Ross, Pamela Sharp, Willoghby Sharp, Robert Smithson, Harald Szeemann, Lawrence Wiener).
Reference Bibliography
For a manual contextualisation of the history of contemporary art from Postimpressionism to the contemporary students could consult F. Belloni, Dal Postimpressionismo al contemporaneo, vol. 5, in S. Settis, T. Montanari, Arte. Una storia naturale e civile, Mondadori, Milano 2019.Type of delivery of the course
The course is organized in lectures conducted through screened presentations of works and documents and multimedia tools. Some topics are studied in depth through the reading, commenting and analysis of critical and programmatic texts, and with the active involvement of students in the discussion. In addition, a visit is foreseen to an exhibition or a museum collection in relation to the issues addressed in the course.Attendance
Students are strongly encouraged to attend classes.Type of evaluation
The examination is a two-hour written assignment. The examination aims to verify the ability to present and analyse poetics, movements and artists covered by the course and treated in the texts in the programme. Two open questions will be proposed, as well as the recognition and the analysis of three works reproduced in the texts and treated in class, in order to attest the ability to read and analyse the different types of contemporary works of art, using an adequate, critical terminology, and relating the work to the historical-artistic context. With regard to the works dealt with in class, a selection (which will be used for the examination) will be made available to all students at the end of the course on the professor's website.