Valutami
Scheda programma d'esame
MODERN AND CONTEMPORARY ART
CATERINA CAPUTO
Anno accademico2022/23
CdSINTERNATIONAL PROGRAMME IN HUMANITIES
CodiceL1478
CFU6
PeriodoSecondo semestre
LinguaItaliano

ModuliSettore/iTipoOreDocente/i
MODERN AND CONTEMPORARY ARTL-ART/03LEZIONI36
CATERINA CAPUTO
Obiettivi di apprendimento
Learning outcomes
Conoscenze

Il corso intende fornire le conoscenze storico-artistiche basilari per la comprensione dell’arte italiana e internazionale dalla fine dell’Ottocento fino alle più recenti ricerche artistiche degli anni Settanta del Novecento. Sarà dato particolare rilievo allo studio delle esperienze delle Avanguardie storiche e delle Neoavanguardie. Il corso esaminerà le opere d'arte, i contesti in cui sono state prodotte e presentate e i diversi modelli teorici attraverso cui sono state interpretate nel corso della storia.
Knowledge

The course aims to provide the basic art-historical knowledge for understanding Italian and international art from the end of 19th century up to the artistic research of the 1970s. Particular emphasis will be placed on the study of the experiences of the historical Avant-gardes and Neo-avant-gardes. The course will examine artworks, the contexts in which they are produced and presented, and the different theoretical models through which they have been interpreted throughout the history.
Modalità di verifica delle conoscenze

La verifica dei progressi nell'apprrendimento avverrà attraveso le discussioni aperte durante le lezioni e nell'esame orale individuale che avrà luogo alla fine del corso.
Assessment criteria of knowledge

The verification of learning progress will take place through open discussions during the lessons and in the final oral examination.
Capacità

Gli studenti devono dimostrare di conoscere gli argomenti svolti a lezioni ed essere in grado di contestualizzare storicamente e criticamente i vari movimenti artistici e i loro principali protagonisti. Inoltre, gli studenti dovranno essere in grado di analizzare le opere d'arte identificandone le caratteristiche formali, stilistiche, tecniche e materiali.
Skills

Students are expected to give proof of knowledge of the topics of the course and to be able to contextualize historically and critically the artistic movements and their main figures. Additionally, students should be able to analyse the works of art identifying their formal, stylistic, technical and material features.
Modalità di verifica delle capacità

La verifica delle capacità progressivamente aquisite avverrà nelle discussioni aperte in classe sotto la guida del docente e stimolate dalle proiezioni delle immagini.

 
Assessment criteria of skills

Verification of the progressively acquired skills of students will take place in open discussions in class under the supervision of the professor, and additionally stimulated by images.
Comportamenti

La partecipazione alle discussioni in classe è altamente desiderata. Gli studenti devono leggere i testi assegnati prima di ciascuna lezione, in modo da essere in grado di partecipare in modo attivo al dialogo con il docente e la classe.
Behaviors

Participation in discussions is highly recommended. Students are expected to read the assigned readings before each lesson, so that they can attend the class with a basic knowledge and be able to actively participate in the lesson.
Modalità di verifica dei comportamenti

L'atteggiamento costruttivo degli studenti apparirà nella loro capacità di intervenire nelle discussioni in classe.
Assessment criteria of behaviors

The constructive attitude of the student will appear in their ability to join class discussions.
Prerequisiti (conoscenze iniziali)

Un’appropriata conoscenza dei concetti chiave di storia dell’arte contemporanea e dei suoi contesti storici sono altamente raccomandati (ma non obbligatori).
Prerequisites

An appropriate knowledge of the key concepts of contemporary art history and its historical contexts is highly recommended.
Indicazioni metodologiche

L'insegnamento prevede lezioni frontali in classe, la proiezione di immagini e video e la lettura di testi critici.
Teaching methods

Teaching includes in-class frontal lectures along with the projection of images and videos, as well as the reading of critical texts.
Programma (contenuti dell'insegnamento)
  1. A brief introduction to painting in the Nineteenth Century

Schapiro, pp. 47-85 (Courbet); Harrison-Wood 1998.

  1. Monet, Renoir, Degas, Seurat, Gauguin 

Harrison-Wood 1998.

  1. Van Gogh, Cézanne, Redon 

Schapiro, pp. 1-46 (Paul Cézanne); Harrison-Wood 1998.

  1. Fauves and Cubists 

Foster et alii; Harrison-Wood 1992.

  1. Cubism and the beginning of Abstraction

Foster et alii; Harrison-Wood 1992.

  1. Italian Futurism

Foster et alii; Harrison-Wood 1992; Riney-Poggi-Wittman, pp. 43-63, and pp. 409-430.

      7. German Expressionism

Foster et alii; Harrison-Wood 1992.

  1. Abstract Art

Foster et alii; Harrison-Wood 1992; Schapiro, pp. 233-261 (Piet Mondrian).

  1. Dada

Foster et alii; Harrison-Wood 1992.

  1. Giorgio de Chirico, Metafisica Art and Novecento Italiano

Foster et alii; Harrison-Wood 1992.

  1. Surrealism(s)

Foster et alii; Harrison-Wood 1992; Breton, pp. 1-48 (Manifesto of Surrealism), pp. 117-194 (Second Manifesto of Surrealism), pp. 279-294 (Prolegomena to a Third Surrealist Manifesto or Not).

  1. Abstract Expressionism and Art Informel

Foster et alii; Harrison-Wood 1992; Schapiro pp. 179-232 (Arshile Gorky; Abstract Art).

  1. Italian Art in the 1940s and 1950s

 Foster et alii.

  1. British Art After the War

Harrison-Wood 1992; Kalina, pp. 55-88 (Lawrence Alloway).

  1. New-Dada/Nouveau Réalisme and Pop Art

Harrison-Wood 1992; Steinberg, pp. 17-54 (Jasper Johns).

  1. Performance Art

Harrison-Wood 1992; Goldberg, pp. 98-125; Vergine, pp. 7-27.

  1. Italian art to the 1970s

 Foster et alii.

  1. Field trip
Syllabus
  1. A brief introduction to painting in the Nineteenth Century

Schapiro, pp. 47-85 (Courbet); Harrison-Wood 1998.

  1. Monet, Renoir, Degas, Seurat, Gauguin 

Harrison-Wood 1998.

  1. Van Gogh, Cézanne, Redon 

Schapiro, pp. 1-46 (Paul Cézanne); Harrison-Wood 1998.

  1. Fauves and Cubists 

Foster et alii; Harrison-Wood 1992.

  1. Cubism and the beginning of Abstraction

Foster et alii; Harrison-Wood 1992.

  1. Italian Futurism

Foster et alii; Harrison-Wood 1992; Riney-Poggi-Wittman, pp. 43-63, and pp. 409-430.

      7. German Expressionism

Foster et alii; Harrison-Wood 1992.

  1. Abstract Art

Foster et alii; Harrison-Wood 1992; Schapiro, pp. 233-261 (Piet Mondrian).

  1. Dada

Foster et alii; Harrison-Wood 1992.

  1. Giorgio de Chirico, Metafisica Art and Novecento Italiano

Foster et alii; Harrison-Wood 1992.

  1. Surrealism(s)

Foster et alii; Harrison-Wood 1992; Breton, pp. 1-48 (Manifesto of Surrealism), pp. 117-194 (Second Manifesto of Surrealism), pp. 279-294 (Prolegomena to a Third Surrealist Manifesto or Not).

  1. Abstract Expressionism and Art Informel

Foster et alii; Harrison-Wood 1992; Schapiro pp. 179-232 (Arshile Gorky; Abstract Art).

  1. Italian Art in the 1940s and 1950s

 Foster et alii.

  1. British Art After the War

Harrison-Wood 1992; Kalina, pp. 55-88 (Lawrence Alloway).

  1. New-Dada/Nouveau Réalisme and Pop Art

Harrison-Wood 1992; Steinberg, pp. 17-54 (Jasper Johns).

  1. Performance Art

Harrison-Wood 1992; Goldberg, pp. 98-125; Vergine, pp. 7-27.

  1. Italian art to the 1970s

 Foster et alii.

  1. Field trip
Bibliografia e materiale didattico
  • André Breton, Manifestoes of Surrealism, Translated by Richard Seaver and Helen R. Lane, Ann Arbor, University of Michigan Press, 1969;
  • Leo Steinberg, Jasper Johns: The First Seven Years of His Art, in Other Criteria, New York, Oxford University Press, 1972, pp. 17-54;
  • Meyer Schapiro, Modern Art: Nineteenth and Twentieth Centuries, New York, George Brazilles, 1978;
  • Roselee Goldberg, Live art 1909 to Present, New York, Abrams, 1979;
  • Charles Harrison and Paul Wood (eds.), Art in Theory 1900–2000, Oxford, Blackwell, 1992;
  • Charles Harrison, Paul Wood and Jason Gaiger (eds.), Art in Theory 1815-1900. An Anthology of Changing Ideas, Oxford, Blackwell, 1998;
  • Lea Vergine, Body Art and Performance [1974], Milano, Skira, 2000, pp. 7-27;
  • Richard Kalina (ed.), Imagining the Present. Context, Content, and the Role of the Critic. Essays by Lawrence Alloway, London-New York, Routledge, 2006;
  • Lawrence Riney, Christine Poggi, Laura Wittman (eds.), Futurism: An Anthology, New Haven-London, Yale University Press, 2009;
  • Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, David Joselit, Art since 1900. Modernism Antimodernism Postmodernism, New York, Thames and Hudson, 2016.
Bibliography
  • André Breton, Manifestoes of Surrealism, Translated by Richard Seaver and Helen R. Lane, Ann Arbor: University of Michigan Press, 1969;
  • Leo Steinberg, Jasper Johns: The First Seven Years of His Art, in Other Criteria, New York: Oxford University Press, 1972, pp. 17-54;
  • Meyer Schapiro, Modern Art: Nineteenth and Twentieth Centuries, New York: George Brazilles, 1978;
  • Roselee Goldberg, Live art 1909 to Present, New York: Abrams, 1979;
  • Charles Harrison and Paul Wood (eds.), Art in Theory 1900–2000, Oxford: Blackwell, 1992;
  • Charles Harrison, Paul Wood and Jason Gaiger (eds.), Art in Theory 1815-1900. An Anthology of Changing Ideas, Oxford: Blackwell, 1998;
  • Lea Vergine, Body Art and Performance [1974], Milano: Skira, 2000, pp. 7-27;
  • Richard Kalina (ed.), Imagining the Present. Context, Content, and the Role of the Critic. Essays by Lawrence Alloway, London-New York: Routledge, 2006;
  • Lawrence Riney, Christine Poggi, Laura Wittman (eds.), Futurism: An Anthology, New Haven-London: Yale University Press, 2009;
  • Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, David Joselit, Art since 1900. Modernism Antimodernism Postmodernism, New York, Thames and Hudson, 2016.
Ultimo aggiornamento 18/03/2023 09:58