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
This course introduces students to the historical developments and key figures in the visual arts of modernism - from around 1880 to 1940 - focusing on issues such as their relationship to technology and new media (photography, cinema), political and social context, urban and natural environments, and psychic life. These artistic experiences not only helped to transform the nature of aesthetic experience, opening up new forms of sensibility, but also radically redefined the understanding of individual and collective reality.
The analysis of the different trends and poetics will also provide the basic methodology for the study of the media and languages that characterise art between the mid-nineteenth and early twentieth centuries, providing the critical tools essential for reading different types of works.
Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108 (PDF)
Georg Simmel, La metropoli e la vita dello spirito, Armando 2011 (PDF)
XIX century (1880-1900): Federica Rovati, L'arte dell'Ottocento, Einaudi 2017
XX century (1900-1940): Federica Rovati, L’arte del primo Novecento, Einaudi 2015.
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (PDF): 1900-1940
Programme
MODERNISM AND MODERNISMS, 1880-1940This course introduces students to the historical developments and key figures in the visual arts of modernism - from around 1880 to 1940 - focusing on issues such as their relationship to technology and new media (photography, cinema), political and social context, urban and natural environments, and psychic life. These artistic experiences not only helped to transform the nature of aesthetic experience, opening up new forms of sensibility, but also radically redefined the understanding of individual and collective reality.
The analysis of the different trends and poetics will also provide the basic methodology for the study of the media and languages that characterise art between the mid-nineteenth and early twentieth centuries, providing the critical tools essential for reading different types of works.
Core Documentation
Stephen Kern, Il tempo e lo spazio, Il Mulino 2007: capitoli 4: Il futuro; 5: La velocità; 6: La natura dello spazio, pp. 117-226 (PDF)Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108 (PDF)
Georg Simmel, La metropoli e la vita dello spirito, Armando 2011 (PDF)
XIX century (1880-1900): Federica Rovati, L'arte dell'Ottocento, Einaudi 2017
XX century (1900-1940): Federica Rovati, L’arte del primo Novecento, Einaudi 2015.
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (PDF): 1900-1940
Reference Bibliography
Stephen Kern, Il tempo e lo spazio, Il Mulino 2007: capitoli 4: Il futuro; 5: La velocità; 6: La natura dello spazio, pp. 117-226 (PDF) Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108 (PDF) Georg Simmel, La metropoli e la vita dello spirito, Armando 2011 (PDF) XIX century (1880-1900): Federica Rovati, L'arte dell'Ottocento, Einaudi 2017 XX century (1900-1940): Federica Rovati, L’arte del primo Novecento, Einaudi 2015. Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (PDF): 1900-1940Attendance
Students are free to choose to attendType of evaluation
The exam is written and takes place in the classroom. Its purpose is to evaluate the students' ability to present and analyze the themes, poetics, movements, and artists discussed in the lectures and referenced in the bibliography. Moreover, the exam aims to confirm their ability to read and interpret works of art, using appropriate critical terminology and relating them to their historical context. teacher profile teaching materials
Although women artists have made a fundamental contribution to these practices, the historical exhibitions that have dedicated in-depth analysis to these aspects of research have almost ignored their contribution. This has led to the marginalization of figures who have only in recent years been recovered by studies through monographic studies or collective exhibitions such as "Ambienti 1956-2010. Environments by Women Artists" (ongoing at the Maxxi Museum, Rome, from 10 April to 20 October 2024). Starting from these considerations, we will focus on theoretical and methodological perspectives that substantiate current historical-artistic research in questioning the dominant patriarchal canon and will propose a reflection on the rewriting of the history of the international environment.
From the relationship between art and the environment, the course will also focus on the exhibition as an installation and immersive space and on the forms of the contemporary art museum, in the dynamics of spectatorship and multimedia and multisensory dimension.
The following topics will be analysed:
- Beyond painting and sculpture. The relationship between art and space in Futurism, Constructivism and Dada;
- Marcel Duchamp's exhibitions and curatorial practice;
- Environment and Happening;
- From Arte Povera to Land Art;
- A new ideology of the exhibition space: exhibitions and galleries between the Sixties and Seventies;
- Site specific and time specific: environmental installations as immersive spaces;
Three exhibitions compared: Lo spazio dell'immagine / The space of the image (1967), Arte/Ambiente / Environment / Art (1976), Environments 1956-2010. Environments by Women Artists (2024).
1) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
2) F. Poli. F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016
3). Texts and images projected during lectures (available at the end of the course in teams).
Programme
The course analyzes the relationship between art and the environment, starting from the avant-gardes to the second half of the twentieth century in which artistic intervention explodes in installations, often realized in situ or site-specific, in the exhibition space, in nature or in public space.Although women artists have made a fundamental contribution to these practices, the historical exhibitions that have dedicated in-depth analysis to these aspects of research have almost ignored their contribution. This has led to the marginalization of figures who have only in recent years been recovered by studies through monographic studies or collective exhibitions such as "Ambienti 1956-2010. Environments by Women Artists" (ongoing at the Maxxi Museum, Rome, from 10 April to 20 October 2024). Starting from these considerations, we will focus on theoretical and methodological perspectives that substantiate current historical-artistic research in questioning the dominant patriarchal canon and will propose a reflection on the rewriting of the history of the international environment.
From the relationship between art and the environment, the course will also focus on the exhibition as an installation and immersive space and on the forms of the contemporary art museum, in the dynamics of spectatorship and multimedia and multisensory dimension.
The following topics will be analysed:
- Beyond painting and sculpture. The relationship between art and space in Futurism, Constructivism and Dada;
- Marcel Duchamp's exhibitions and curatorial practice;
- Environment and Happening;
- From Arte Povera to Land Art;
- A new ideology of the exhibition space: exhibitions and galleries between the Sixties and Seventies;
- Site specific and time specific: environmental installations as immersive spaces;
Three exhibitions compared: Lo spazio dell'immagine / The space of the image (1967), Arte/Ambiente / Environment / Art (1976), Environments 1956-2010. Environments by Women Artists (2024).
Core Documentation
1) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
2) F. Poli. F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016
3). Texts and images projected during lectures (available at the end of the course in teams).
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. Some visits to exhibitions or museum collections will be organized.Attendance
Students are strongly encouraged to attend classes.Type of evaluation
The examination is a written assignment. The examination aims to verify the ability to present and analyze poetics, movements and artists covered by the course and treated in the texts in program, from Impressionism to the artistic practices of the Seventies. Three open questions will be proposed, as well as the recognition and analysis of two works reproduced in the texts and treated in class, in order to attest the ability to read and analyze 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 teams.Canali
teacher profile teaching materials
This course introduces students to the historical developments and key figures in the visual arts of modernism - from around 1880 to 1940 - focusing on issues such as their relationship to technology and new media (photography, cinema), political and social context, urban and natural environments, and psychic life. These artistic experiences not only helped to transform the nature of aesthetic experience, opening up new forms of sensibility, but also radically redefined the understanding of individual and collective reality.
The analysis of the different trends and poetics will also provide the basic methodology for the study of the media and languages that characterise art between the mid-nineteenth and early twentieth centuries, providing the critical tools essential for reading different types of works.
Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108 (PDF)
Georg Simmel, La metropoli e la vita dello spirito, Armando 2011 (PDF)
XIX century (1880-1900): Federica Rovati, L'arte dell'Ottocento, Einaudi 2017
XX century (1900-1940): Federica Rovati, L’arte del primo Novecento, Einaudi 2015.
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (PDF): 1900-1940
Programme
MODERNISM AND MODERNISMS, 1880-1940This course introduces students to the historical developments and key figures in the visual arts of modernism - from around 1880 to 1940 - focusing on issues such as their relationship to technology and new media (photography, cinema), political and social context, urban and natural environments, and psychic life. These artistic experiences not only helped to transform the nature of aesthetic experience, opening up new forms of sensibility, but also radically redefined the understanding of individual and collective reality.
The analysis of the different trends and poetics will also provide the basic methodology for the study of the media and languages that characterise art between the mid-nineteenth and early twentieth centuries, providing the critical tools essential for reading different types of works.
Core Documentation
Stephen Kern, Il tempo e lo spazio, Il Mulino 2007: capitoli 4: Il futuro; 5: La velocità; 6: La natura dello spazio, pp. 117-226 (PDF)Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108 (PDF)
Georg Simmel, La metropoli e la vita dello spirito, Armando 2011 (PDF)
XIX century (1880-1900): Federica Rovati, L'arte dell'Ottocento, Einaudi 2017
XX century (1900-1940): Federica Rovati, L’arte del primo Novecento, Einaudi 2015.
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (PDF): 1900-1940
Reference Bibliography
Stephen Kern, Il tempo e lo spazio, Il Mulino 2007: capitoli 4: Il futuro; 5: La velocità; 6: La natura dello spazio, pp. 117-226 (PDF) Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108 (PDF) Georg Simmel, La metropoli e la vita dello spirito, Armando 2011 (PDF) XIX century (1880-1900): Federica Rovati, L'arte dell'Ottocento, Einaudi 2017 XX century (1900-1940): Federica Rovati, L’arte del primo Novecento, Einaudi 2015. Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (PDF): 1900-1940Attendance
Students are free to choose to attendType of evaluation
The exam is written and takes place in the classroom. Its purpose is to evaluate the students' ability to present and analyze the themes, poetics, movements, and artists discussed in the lectures and referenced in the bibliography. Moreover, the exam aims to confirm their ability to read and interpret works of art, using appropriate critical terminology and relating them to their historical context. teacher profile teaching materials
Although women artists have made a fundamental contribution to these practices, the historical exhibitions that have dedicated in-depth analysis to these aspects of research have almost ignored their contribution. This has led to the marginalization of figures who have only in recent years been recovered by studies through monographic studies or collective exhibitions such as "Ambienti 1956-2010. Environments by Women Artists" (ongoing at the Maxxi Museum, Rome, from 10 April to 20 October 2024). Starting from these considerations, we will focus on theoretical and methodological perspectives that substantiate current historical-artistic research in questioning the dominant patriarchal canon and will propose a reflection on the rewriting of the history of the international environment.
From the relationship between art and the environment, the course will also focus on the exhibition as an installation and immersive space and on the forms of the contemporary art museum, in the dynamics of spectatorship and multimedia and multisensory dimension.
The following topics will be analysed:
- Beyond painting and sculpture. The relationship between art and space in Futurism, Constructivism and Dada;
- Marcel Duchamp's exhibitions and curatorial practice;
- Environment and Happening;
- From Arte Povera to Land Art;
- A new ideology of the exhibition space: exhibitions and galleries between the Sixties and Seventies;
- Site specific and time specific: environmental installations as immersive spaces;
Three exhibitions compared: Lo spazio dell'immagine / The space of the image (1967), Arte/Ambiente / Environment / Art (1976), Environments 1956-2010. Environments by Women Artists (2024).
1) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
2) F. Poli. F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016
3). Texts and images projected during lectures (available at the end of the course in teams).
Programme
The course analyzes the relationship between art and the environment, starting from the avant-gardes to the second half of the twentieth century in which artistic intervention explodes in installations, often realized in situ or site-specific, in the exhibition space, in nature or in public space.Although women artists have made a fundamental contribution to these practices, the historical exhibitions that have dedicated in-depth analysis to these aspects of research have almost ignored their contribution. This has led to the marginalization of figures who have only in recent years been recovered by studies through monographic studies or collective exhibitions such as "Ambienti 1956-2010. Environments by Women Artists" (ongoing at the Maxxi Museum, Rome, from 10 April to 20 October 2024). Starting from these considerations, we will focus on theoretical and methodological perspectives that substantiate current historical-artistic research in questioning the dominant patriarchal canon and will propose a reflection on the rewriting of the history of the international environment.
From the relationship between art and the environment, the course will also focus on the exhibition as an installation and immersive space and on the forms of the contemporary art museum, in the dynamics of spectatorship and multimedia and multisensory dimension.
The following topics will be analysed:
- Beyond painting and sculpture. The relationship between art and space in Futurism, Constructivism and Dada;
- Marcel Duchamp's exhibitions and curatorial practice;
- Environment and Happening;
- From Arte Povera to Land Art;
- A new ideology of the exhibition space: exhibitions and galleries between the Sixties and Seventies;
- Site specific and time specific: environmental installations as immersive spaces;
Three exhibitions compared: Lo spazio dell'immagine / The space of the image (1967), Arte/Ambiente / Environment / Art (1976), Environments 1956-2010. Environments by Women Artists (2024).
Core Documentation
1) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
2) F. Poli. F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016
3). Texts and images projected during lectures (available at the end of the course in teams).
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. Some visits to exhibitions or museum collections will be organized.Attendance
Students are strongly encouraged to attend classes.Type of evaluation
The examination is a written assignment. The examination aims to verify the ability to present and analyze poetics, movements and artists covered by the course and treated in the texts in program, from Impressionism to the artistic practices of the Seventies. Three open questions will be proposed, as well as the recognition and analysis of two works reproduced in the texts and treated in class, in order to attest the ability to read and analyze 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 teams.Canali
teacher profile teaching materials
This course introduces students to the historical developments and key figures in the visual arts of modernism - from around 1880 to 1940 - focusing on issues such as their relationship to technology and new media (photography, cinema), political and social context, urban and natural environments, and psychic life. These artistic experiences not only helped to transform the nature of aesthetic experience, opening up new forms of sensibility, but also radically redefined the understanding of individual and collective reality.
The analysis of the different trends and poetics will also provide the basic methodology for the study of the media and languages that characterise art between the mid-nineteenth and early twentieth centuries, providing the critical tools essential for reading different types of works.
Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108 (PDF)
Georg Simmel, La metropoli e la vita dello spirito, Armando 2011 (PDF)
XIX century (1880-1900): Federica Rovati, L'arte dell'Ottocento, Einaudi 2017
XX century (1900-1940): Federica Rovati, L’arte del primo Novecento, Einaudi 2015.
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (PDF): 1900-1940
Programme
MODERNISM AND MODERNISMS, 1880-1940This course introduces students to the historical developments and key figures in the visual arts of modernism - from around 1880 to 1940 - focusing on issues such as their relationship to technology and new media (photography, cinema), political and social context, urban and natural environments, and psychic life. These artistic experiences not only helped to transform the nature of aesthetic experience, opening up new forms of sensibility, but also radically redefined the understanding of individual and collective reality.
The analysis of the different trends and poetics will also provide the basic methodology for the study of the media and languages that characterise art between the mid-nineteenth and early twentieth centuries, providing the critical tools essential for reading different types of works.
Core Documentation
Stephen Kern, Il tempo e lo spazio, Il Mulino 2007: capitoli 4: Il futuro; 5: La velocità; 6: La natura dello spazio, pp. 117-226 (PDF)Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108 (PDF)
Georg Simmel, La metropoli e la vita dello spirito, Armando 2011 (PDF)
XIX century (1880-1900): Federica Rovati, L'arte dell'Ottocento, Einaudi 2017
XX century (1900-1940): Federica Rovati, L’arte del primo Novecento, Einaudi 2015.
Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (PDF): 1900-1940
Reference Bibliography
Stephen Kern, Il tempo e lo spazio, Il Mulino 2007: capitoli 4: Il futuro; 5: La velocità; 6: La natura dello spazio, pp. 117-226 (PDF) Philippe Dubois, L'atto fotografico, Urbino 2009, pp. 25-108 (PDF) Georg Simmel, La metropoli e la vita dello spirito, Armando 2011 (PDF) XIX century (1880-1900): Federica Rovati, L'arte dell'Ottocento, Einaudi 2017 XX century (1900-1940): Federica Rovati, L’arte del primo Novecento, Einaudi 2015. Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, Art since 1900, Thames & Hudson (PDF): 1900-1940Attendance
Students are free to choose to attendType of evaluation
The exam is written and takes place in the classroom. Its purpose is to evaluate the students' ability to present and analyze the themes, poetics, movements, and artists discussed in the lectures and referenced in the bibliography. Moreover, the exam aims to confirm their ability to read and interpret works of art, using appropriate critical terminology and relating them to their historical context. teacher profile teaching materials
Although women artists have made a fundamental contribution to these practices, the historical exhibitions that have dedicated in-depth analysis to these aspects of research have almost ignored their contribution. This has led to the marginalization of figures who have only in recent years been recovered by studies through monographic studies or collective exhibitions such as "Ambienti 1956-2010. Environments by Women Artists" (ongoing at the Maxxi Museum, Rome, from 10 April to 20 October 2024). Starting from these considerations, we will focus on theoretical and methodological perspectives that substantiate current historical-artistic research in questioning the dominant patriarchal canon and will propose a reflection on the rewriting of the history of the international environment.
From the relationship between art and the environment, the course will also focus on the exhibition as an installation and immersive space and on the forms of the contemporary art museum, in the dynamics of spectatorship and multimedia and multisensory dimension.
The following topics will be analysed:
- Beyond painting and sculpture. The relationship between art and space in Futurism, Constructivism and Dada;
- Marcel Duchamp's exhibitions and curatorial practice;
- Environment and Happening;
- From Arte Povera to Land Art;
- A new ideology of the exhibition space: exhibitions and galleries between the Sixties and Seventies;
- Site specific and time specific: environmental installations as immersive spaces;
Three exhibitions compared: Lo spazio dell'immagine / The space of the image (1967), Arte/Ambiente / Environment / Art (1976), Environments 1956-2010. Environments by Women Artists (2024).
1) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
2) F. Poli. F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016
3). Texts and images projected during lectures (available at the end of the course in teams).
Programme
The course analyzes the relationship between art and the environment, starting from the avant-gardes to the second half of the twentieth century in which artistic intervention explodes in installations, often realized in situ or site-specific, in the exhibition space, in nature or in public space.Although women artists have made a fundamental contribution to these practices, the historical exhibitions that have dedicated in-depth analysis to these aspects of research have almost ignored their contribution. This has led to the marginalization of figures who have only in recent years been recovered by studies through monographic studies or collective exhibitions such as "Ambienti 1956-2010. Environments by Women Artists" (ongoing at the Maxxi Museum, Rome, from 10 April to 20 October 2024). Starting from these considerations, we will focus on theoretical and methodological perspectives that substantiate current historical-artistic research in questioning the dominant patriarchal canon and will propose a reflection on the rewriting of the history of the international environment.
From the relationship between art and the environment, the course will also focus on the exhibition as an installation and immersive space and on the forms of the contemporary art museum, in the dynamics of spectatorship and multimedia and multisensory dimension.
The following topics will be analysed:
- Beyond painting and sculpture. The relationship between art and space in Futurism, Constructivism and Dada;
- Marcel Duchamp's exhibitions and curatorial practice;
- Environment and Happening;
- From Arte Povera to Land Art;
- A new ideology of the exhibition space: exhibitions and galleries between the Sixties and Seventies;
- Site specific and time specific: environmental installations as immersive spaces;
Three exhibitions compared: Lo spazio dell'immagine / The space of the image (1967), Arte/Ambiente / Environment / Art (1976), Environments 1956-2010. Environments by Women Artists (2024).
Core Documentation
1) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 2002
2) F. Poli. F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016
3). Texts and images projected during lectures (available at the end of the course in teams).
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. Some visits to exhibitions or museum collections will be organized.Attendance
Students are strongly encouraged to attend classes.Type of evaluation
The examination is a written assignment. The examination aims to verify the ability to present and analyze poetics, movements and artists covered by the course and treated in the texts in program, from Impressionism to the artistic practices of the Seventies. Three open questions will be proposed, as well as the recognition and analysis of two works reproduced in the texts and treated in class, in order to attest the ability to read and analyze 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 teams.