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
The course analyzes the historical developments and the key personalities of the visual arts from the historical avant-gardes to the 1960s, focusing on themes such as the relationship with technology and new media (photography, cinema, television), with the unconscious and the body, the dialectic between visible and invisible, the relationship with natural and urban spaces, etc. The analysis of these themes will also provide the basic methodology for the study of the history of the different languages that characterize twentieth-century art, providing the critical tools necessary for the reading of different types of works of art.
• Alessandro Del Puppo, L’arte contemporanea. Il secondo Novecento, Einaudi 2013
Other essays will be indicated during the classes.
Mutuazione: 20702970 STORIA DELL'ARTE CONTEMPORANEA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 A - L CHIODI STEFANO
Programme
THE GAZE OF MODERNITYThe course analyzes the historical developments and the key personalities of the visual arts from the historical avant-gardes to the 1960s, focusing on themes such as the relationship with technology and new media (photography, cinema, television), with the unconscious and the body, the dialectic between visible and invisible, the relationship with natural and urban spaces, etc. The analysis of these themes will also provide the basic methodology for the study of the history of the different languages that characterize twentieth-century art, providing the critical tools necessary for the reading of different types of works of art.
Core Documentation
• Federica Rovati, L’arte del primo Novecento, Einaudi 2015• Alessandro Del Puppo, L’arte contemporanea. Il secondo Novecento, Einaudi 2013
Other essays will be indicated during the classes.
Type of delivery of the course
In-person classes are broadcast and recorded on Teams and are available via a link on my personal Uniroma3 page: https://www.uniroma3.it/en/persone/cFpYMElOZE1jSTNiTjFtQ1p0NlhaSTJqSkFpU2VJMEc0cFpHamZ1LzFoRT0=/Attendance
Attendance at in-person, online, or recorded classes is an integral part of the exam.Type of evaluation
The course does not differentiate between attending and non-attending students. All students are required to attend the classes, live or recorded. - To pass the exam writing a paper is required (see below). - An assessment test will be conducted at the end of the 40 hours module . A written exam takes place in the classroom during each session (or online if needed). It aims to verify the student’s ability to analyze themes, poetics, movements, artists examined in the course and treated in the bibliography and to attest his/her ability to read and interpret works of art, using appropriate critical terminology and relating the works to their historical context. teacher profile teaching materials
The course analyzes poetics and crucial junctions of the visual arts in the modern era – from Impressionism to the historical avant-gardes, until the 1960s – focusing on themes like the act of seeing, the device of the gaze, the dialectic between the visible and the invisible. The analysis also provides the necessary methodological approach to the study of the history of the various languages of contemporary art, furnishing indispensable tools for the interpretation of different types of artworks.
1) F. Rovati, L’arte del primo Novecento, Einaudi, Torino 2015
2) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
3) In-depth readings:
• J. Crary, Le tecniche dell’osservatore, Einaudi 2013, IV capitolo, pp. 102-140 / - J. Crary, Techniques of the Observer. On Vision and Modernity in the Nineteenth, The MIT Press, Massachusetts 1990, IV, pp. 97-137 [PDF fornito dalla docente]
• V.I. Stoichita, Dello sguardo ostacolato. Per una storia dell’Impressionismo, in “Annali della Fondazione Europea del Disegno”, Il Melangolo, Genova 2009, pp. 65-87 [PDF fornito dalla docente]
• V.I. Stoichita, La pittura impressionista vista da e con Schapiro: Caillebotte e l’intreccio visivo, in Meyer Schapiro e i metodi della storia dell’arte, a cura di L. Bortolotti, C. Cieri Via, M.G. Di Monte, M. Di Monte, Mimesis Edizioni, Milano – Udine 2010, pp. 105-113 [PDF fornito dalla docente]
4) Online gathering of images projected during lectures (available at the end of the course).
Mutuazione: 20702970 STORIA DELL'ARTE CONTEMPORANEA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 M - Z CONTE LARA
Programme
Poetics and politics of the gazeThe course analyzes poetics and crucial junctions of the visual arts in the modern era – from Impressionism to the historical avant-gardes, until the 1960s – focusing on themes like the act of seeing, the device of the gaze, the dialectic between the visible and the invisible. The analysis also provides the necessary methodological approach to the study of the history of the various languages of contemporary art, furnishing indispensable tools for the interpretation of different types of artworks.
Core Documentation
Texts of a general character:1) F. Rovati, L’arte del primo Novecento, Einaudi, Torino 2015
2) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
3) In-depth readings:
• J. Crary, Le tecniche dell’osservatore, Einaudi 2013, IV capitolo, pp. 102-140 / - J. Crary, Techniques of the Observer. On Vision and Modernity in the Nineteenth, The MIT Press, Massachusetts 1990, IV, pp. 97-137 [PDF fornito dalla docente]
• V.I. Stoichita, Dello sguardo ostacolato. Per una storia dell’Impressionismo, in “Annali della Fondazione Europea del Disegno”, Il Melangolo, Genova 2009, pp. 65-87 [PDF fornito dalla docente]
• V.I. Stoichita, La pittura impressionista vista da e con Schapiro: Caillebotte e l’intreccio visivo, in Meyer Schapiro e i metodi della storia dell’arte, a cura di L. Bortolotti, C. Cieri Via, M.G. Di Monte, M. Di Monte, Mimesis Edizioni, Milano – Udine 2010, pp. 105-113 [PDF fornito dalla docente]
4) Online gathering of images projected during lectures (available at the end of the course).
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. In the event of an extension of the health emergency from COVID-19, all the provisions that regulate the methods of carrying out the teaching activities and student assessment will be implemented. In particular, the course will be delivered remotely.Attendance
Students are strongly encouraged to attend classes.Type of evaluation
The examination is in written form, conducted in the classroom during the exam session. The exam sets out to evaluate the ability to present and analyze the themes, poetics, movements and artists approached during the lectures and covered in the bibliography, and to assess the students’ capacity to read and interpret works of art, using appropriate critical terminology and discussing the works in relation to their historical context, from Impressionism to the 1960s. Open questions will be proposed for analysis, relying on the recognition of several works projected and discussed during the lectures (available at the end of the course).Canali
teacher profile teaching materials
The course analyzes the historical developments and the key personalities of the visual arts from the historical avant-gardes to the 1960s, focusing on themes such as the relationship with technology and new media (photography, cinema, television), with the unconscious and the body, the dialectic between visible and invisible, the relationship with natural and urban spaces, etc. The analysis of these themes will also provide the basic methodology for the study of the history of the different languages that characterize twentieth-century art, providing the critical tools necessary for the reading of different types of works of art.
• Alessandro Del Puppo, L’arte contemporanea. Il secondo Novecento, Einaudi 2013
Other essays will be indicated during the classes.
Programme
THE GAZE OF MODERNITYThe course analyzes the historical developments and the key personalities of the visual arts from the historical avant-gardes to the 1960s, focusing on themes such as the relationship with technology and new media (photography, cinema, television), with the unconscious and the body, the dialectic between visible and invisible, the relationship with natural and urban spaces, etc. The analysis of these themes will also provide the basic methodology for the study of the history of the different languages that characterize twentieth-century art, providing the critical tools necessary for the reading of different types of works of art.
Core Documentation
• Federica Rovati, L’arte del primo Novecento, Einaudi 2015• Alessandro Del Puppo, L’arte contemporanea. Il secondo Novecento, Einaudi 2013
Other essays will be indicated during the classes.
Reference Bibliography
• H. Foster, R. Krauss, Y.A. Bois, B.H.D. Buchloh, Art Since 1900: Modernism Antimodernism Postmodernism, Thames & Hudson.Type of delivery of the course
In-person classes are broadcast and recorded on Teams and are available via a link on my personal Uniroma3 page: https://www.uniroma3.it/en/persone/cFpYMElOZE1jSTNiTjFtQ1p0NlhaSTJqSkFpU2VJMEc0cFpHamZ1LzFoRT0=/Attendance
Attendance at in-person, online, or recorded classes is an integral part of the exam.Type of evaluation
The course does not differentiate between attending and non-attending students. All students are required to attend the classes, live or recorded. - To pass the exam writing a paper is required (see below). - An assessment test will be conducted at the end of the 40 hours module . A written exam takes place in the classroom during each session (or online if needed). It aims to verify the student’s ability to analyze themes, poetics, movements, artists examined in the course and treated in the bibliography and to attest his/her ability to read and interpret works of art, using appropriate critical terminology and relating the works to their historical context. teacher profile teaching materials
The course analyzes poetics and crucial junctions of the visual arts in the modern era – from Impressionism to the historical avant-gardes, until the 1960s – focusing on themes like the act of seeing, the device of the gaze, the dialectic between the visible and the invisible. The analysis also provides the necessary methodological approach to the study of the history of the various languages of contemporary art, furnishing indispensable tools for the interpretation of different types of artworks.
1) F. Rovati, L’arte del primo Novecento, Einaudi, Torino 2015
2) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
3) In-depth readings:
• J. Crary, Le tecniche dell’osservatore, Einaudi 2013, IV capitolo, pp. 102-140 / - J. Crary, Techniques of the Observer. On Vision and Modernity in the Nineteenth, The MIT Press, Massachusetts 1990, IV, pp. 97-137 [PDF fornito dalla docente]
• V.I. Stoichita, Dello sguardo ostacolato. Per una storia dell’Impressionismo, in “Annali della Fondazione Europea del Disegno”, Il Melangolo, Genova 2009, pp. 65-87 [PDF fornito dalla docente]
• V.I. Stoichita, La pittura impressionista vista da e con Schapiro: Caillebotte e l’intreccio visivo, in Meyer Schapiro e i metodi della storia dell’arte, a cura di L. Bortolotti, C. Cieri Via, M.G. Di Monte, M. Di Monte, Mimesis Edizioni, Milano – Udine 2010, pp. 105-113 [PDF fornito dalla docente]
4) Online gathering of images projected during lectures (available at the end of the course).
Programme
Poetics and politics of the gazeThe course analyzes poetics and crucial junctions of the visual arts in the modern era – from Impressionism to the historical avant-gardes, until the 1960s – focusing on themes like the act of seeing, the device of the gaze, the dialectic between the visible and the invisible. The analysis also provides the necessary methodological approach to the study of the history of the various languages of contemporary art, furnishing indispensable tools for the interpretation of different types of artworks.
Core Documentation
Texts of a general character:1) F. Rovati, L’arte del primo Novecento, Einaudi, Torino 2015
2) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
3) In-depth readings:
• J. Crary, Le tecniche dell’osservatore, Einaudi 2013, IV capitolo, pp. 102-140 / - J. Crary, Techniques of the Observer. On Vision and Modernity in the Nineteenth, The MIT Press, Massachusetts 1990, IV, pp. 97-137 [PDF fornito dalla docente]
• V.I. Stoichita, Dello sguardo ostacolato. Per una storia dell’Impressionismo, in “Annali della Fondazione Europea del Disegno”, Il Melangolo, Genova 2009, pp. 65-87 [PDF fornito dalla docente]
• V.I. Stoichita, La pittura impressionista vista da e con Schapiro: Caillebotte e l’intreccio visivo, in Meyer Schapiro e i metodi della storia dell’arte, a cura di L. Bortolotti, C. Cieri Via, M.G. Di Monte, M. Di Monte, Mimesis Edizioni, Milano – Udine 2010, pp. 105-113 [PDF fornito dalla docente]
4) Online gathering of images projected during lectures (available at the end of the course).
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. In the event of an extension of the health emergency from COVID-19, all the provisions that regulate the methods of carrying out the teaching activities and student assessment will be implemented. In particular, the course will be delivered remotely.Attendance
Students are strongly encouraged to attend classes.Type of evaluation
The examination is in written form, conducted in the classroom during the exam session. The exam sets out to evaluate the ability to present and analyze the themes, poetics, movements and artists approached during the lectures and covered in the bibliography, and to assess the students’ capacity to read and interpret works of art, using appropriate critical terminology and discussing the works in relation to their historical context, from Impressionism to the 1960s. Open questions will be proposed for analysis, relying on the recognition of several works projected and discussed during the lectures (available at the end of the course).