Maria PASSARO | HISTORY OF CONTEMPORARY ART
Maria PASSARO HISTORY OF CONTEMPORARY ART
cod. 0322600110
HISTORY OF CONTEMPORARY ART
| 0322600110 | |
| DEPARTMENT OF CULTURAL HERITAGE | |
| PHILOSOPHY | |
| 2014/2015 |
| YEAR OF DIDACTIC SYSTEM 2010 | |
| SECONDO SEMESTRE |
| SSD | CFU | HOURS | ACTIVITY | |
|---|---|---|---|---|
| L-ART/03 | 6 | 30 | LESSONS |
| Objectives | |
|---|---|
| THE STUDENTS WILL ACQUIRE KNOWLEDGE OF THE MAIN CURRENTS OF THOUGHT AND THE MAIN STYLES OF CONTEMPORARY ART IN ITALY AND ABROAD. THEY WILL ACQUIRE SKILLS BASED IN THIS KNOWLEDGE OF CONTEMPORARY ART HISTORY. THEY WILL LEARN TO USE THEIR THEORETICAL AND TECNICAL KNOWLEDGE TO RECOGNIZE WICH ARTISTIC CONTEXT A WORK OF ART BELONGS AND ITS APPROXIMATE DATE AND PLACE OF EXECUTION TO CHRONOLOGICALLY ANG GEOGRAPHICALLY. THEY WILL ALSO BE ACQUAINTED WITH THE BASIC TERMINOLOGY REQUIE TO INTERPRET A WORK OF ART. |
| Prerequisites | |
|---|---|
| NONE |
| Contents | |
|---|---|
| THE COURSE WILL BE ORGANIZED IN SERIES OF SEMINARS LIVING IN-DEPTH THEORETICAL KNOWELEDGE AND DEVELOPING SKILLS REGARDING THE MOST PRESSIN ISSUES. ANALYTICAL TOOLS WILL BE USED TO NAVIGATE THE COMPLEX CULTURAL LANDSCAPE OF CONTEMPORARY ISSUES IN THE INTERPRETATION OF THE WORK OF ART. THE COURSE DEALS WITH SELECTED READINGS OF TEXTS AND ANALYSIS, WITH GROUP COLLABORATION, AND THE NEW DEVICES THAT HAVE BECOME ESSENTIAL CONCEPTS IN THE VAST AND DIVERSE FIELD OF ART OF TWENTIETH CENTURY ART. THE COURSE OFFERS IN PARTICULAR A REFLECTION DEPTH ON THE THEME 'ART AND WAR' THROUGH CRITICAL ANALYSIS OF THE WORKS OF PAINTERS, SCULPTORS, PHOTOGRAPHERS WHO TOLD THE HORRORS OF WAR BY DICEI YEARS OF THE TWENTIETH CENTURY TO THOSE STILL IN PROGRESS IN THE WORLD. |
| Teaching Methods | |
|---|---|
| FACE TO FACE CLASSES WILL ENCURAGE STUDENTS TO TAKE PART IN THE WORK. EACH STUDENT WILL BE EXPECTED TO READ A PAPER ON A SUBJECT OR AN ARTIST, MAKING USE OF A POWER POINT FACILITY. ARTIST’S AND TEACHER’S OF RELATED DISCIPLINES WILL ALSO TAKE APART. VISITS TO EXHIBITION WILL BE MADE. |
| Verification of learning | |
|---|---|
| THE EXAMINATION WILL BE ORAL. BESIDES KNOWLEDGE OF THE SUBJECT DEALT WITH DURING THE COURSE, EXAMINERS WILL TAKE INTO ACCOUNT STUDENT’S CAPACITY FOR INDIPENDENT THINKING, CLEARLY AND SYNTHETICALLY ESPRESSE. THEIR RESULTS WILL BE BASED ON DISCUSSION OF A NUMBER OF WORKS OF ART, WITH REFERENCE TO THE CRITICAL SOURCES STUDIED DURING THE COURSE. |
| Texts | |
|---|---|
| SI CONSIGLIA LA LETTURA DI ALMENO QUATTRO TESTI A SCELTA: JOSEF ALBERS E WASSILY KANDINSKY, LETTERE DALL'ESILIO, 1933-1940. MIMESIS, 2013C CATERINA BON VALSASSINA, GUERNICA DI PICASSO COLLANA PESCI ROSSI, ELECTA, 2007 L’INFORMALE NUOVA ED. DEL NUMERO MONOGRAFICO DEL PERIODICO "IL VERRI" N. 3, 1961. MIMESIS, 2010 FLAVIO FERGONZI, FILOLOGIA DEL '900. MODIGLIANI, SIRONI, MORANDI, MARTINI COLLANA PESCI ROSSI, ELECTA, 2013 MARIA PASSARO, L’ARTE ESPRESSIONISTA, EINAUDI 2009 ALDO CARPI, DIARIO DI GUSEN EINAUDI 2008 SABINE KRIEBEL, REVOLUTIONARY BEAUTY: THE RADICAL PHOTOMONTAGES OF JOHN HEARTFIELD UNIVERSITY OF CALIFORNIA PRESS, 2014 GEORGES DIDI-HUBERMAN, IMMAGINI MALGRADO TUTTO RAFFAELLO CORTINA EDITORE, 2005. SUSAN SONTAG, DAVANTI AL DOLORE DEGLI ALTRI, MILANO 2003 DISPENSA CON ALCUNI TESTI E IMMAGINI DEL CATALOGO DELLA MOSTRA “WAR IS OVER. 1945-2005. LA LIBERTÀ DELL’ARTE”, A CURA DI G. DI PIETRANTONIO E MC. RODESCHINI GALATI, BERGAMO GAMEC: OTTOBRE 2005 – FEBBRAIO 2006, A CUI AGGIUNGERE ANCHE UNA SELEZIONE DI TESTI SU OGNI SINGOLO ARTISTA. |
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