basic knowledge and understanding of the history of contemporary art in its chronological development (19th-20th century); ability to read works of art; ability to communicate the acquired notions orally
Canali
teacher profile teaching materials
The course introduces to the historical developments and to the key personalities of modernist art - from the modernist avant-gardes to the 1960s -, focusing on themes such as the relationship with technology and new media (photography, cinema, television), with the political and social landscape, the natural and urban spaces, etc. The analysis of these topics will also provide the basic methodology for the study of the different media 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 books and essays will be listed here during the semester.
Mutuazione: 20702970 STORIA DELL'ARTE CONTEMPORANEA in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 A - L CHIODI STEFANO
Programme
A PLURALISTIC MODERNITYThe course introduces to the historical developments and to the key personalities of modernist art - from the modernist avant-gardes to the 1960s -, focusing on themes such as the relationship with technology and new media (photography, cinema, television), with the political and social landscape, the natural and urban spaces, etc. The analysis of these topics will also provide the basic methodology for the study of the different media 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 books and essays will be listed here during the semester.
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. - The exam consists of a written test. - A written assessment test will be conducted at the end of the 40 hours module . A written test takes place in the classroom during each exam day (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 aims to retrace the relationships between the artistic object and the historical environment from the avant-garde to the contemporary, in a methodological comparison between history, art theory and visual studies. Starting from the questioning of the frame in painting and the pedestal in sculpture, we will deepen the passage from the object to the environment, the escape of the artistic intervention from the spaces in charge of art from nature and into the public space - from Land Art to different practices of social participation - up to the analysis of installations and immersive environments that produce engaging and interactive physical experiences thanks to the use of new technologies.
We will focus on genealogies and theoretical questions useful to frame:
- problems related to the dematerialization of the work in time and site specific installations;
- the exhibition as an immersive device with the treatment of crucial historical moments such as the surrealist exhibitions or the exhibitions Lo Spazio dell’Immagine (Foligno, Palazzo Trinci, 1967) and Ambiente Arte. From Futurism to Body Art, curated by Germano Celant (Venice Biennale 1976);
- the dimension of spectatoriality in the transition from contemplative fruition to multisensory participation and interaction.
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) Handout of critical texts will be made available at the end of the course.
4) Online gathering of images projected during lectures (available at the end of the course for attending and not attending).
Non attending will integrate with:
5) F. Rovati, L’arte del primo Novecento, Einaudi, Torino 2015.
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 aims to retrace the relationships between the artistic object and the historical environment from the avant-garde to the contemporary, in a methodological comparison between history, art theory and visual studies. Starting from the questioning of the frame in painting and the pedestal in sculpture, we will deepen the passage from the object to the environment, the escape of the artistic intervention from the spaces in charge of art from nature and into the public space - from Land Art to different practices of social participation - up to the analysis of installations and immersive environments that produce engaging and interactive physical experiences thanks to the use of new technologies.
We will focus on genealogies and theoretical questions useful to frame:
- problems related to the dematerialization of the work in time and site specific installations;
- the exhibition as an immersive device with the treatment of crucial historical moments such as the surrealist exhibitions or the exhibitions Lo Spazio dell’Immagine (Foligno, Palazzo Trinci, 1967) and Ambiente Arte. From Futurism to Body Art, curated by Germano Celant (Venice Biennale 1976);
- the dimension of spectatoriality in the transition from contemplative fruition to multisensory participation and interaction.
Core Documentation
1) D. Riout, L’arte del ventesimo secolo. Protagonisti, temi, correnti, Einaudi, Torino 20022) F. Poli, F. Bernardelli, Mettere in scena l’arte contemporanea. Dallo spazio dell’opera allo spazio intorno all’opera, Johan & Levi, Milano 2016
3) Handout of critical texts will be made available at the end of the course.
4) Online gathering of images projected during lectures (available at the end of the course for attending and not attending).
Non attending will integrate with:
5) F. Rovati, L’arte del primo Novecento, Einaudi, Torino 2015.
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 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. Open questions will be proposed, as well as the recognition and analysis of some 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 the professor's website.