2. Professors
  3. PASSARO Maria
  4. Teaching

SOURCES AND LANGUAGES OF CONTEMPORARY ART

Maria PASSARO SOURCES AND LANGUAGES OF CONTEMPORARY ART

4322200072
DEPARTMENT OF CULTURAL HERITAGE
EQF7
THEATRE AND MEDIA STUDIES
2017/2018

YEAR OF COURSE 1
YEAR OF DIDACTIC SYSTEM 2016
SECONDO SEMESTRE
CFUHOURSACTIVITY
630LESSONS
MARIA PASSARO T Curriculum
Objectives
Through an analysis of the episodes which have characterized in the contemporary age the unfolding of art in European and non-European countries, the course aims to provide students with the methodological tools necessary to move to an interpretation of the historical-artistic issues; in particular it will deal with the complex of visual languages which has led to a deep and wide discussion around the concept of “art”, its value and its legitimacy. Study will be based on an analysis of works and on the definition of the cultural context of their provenance.
KNOWLEDGE AND UNDERSTANDING
Knowledge of the principle methodologies of historical-artistic analysis and capacity to understand historical-critical interpretations
APPLYING NOWLEDGE AND UNDERSTANDING Ability to convey information and thoughts to an audience including experts using the specific language of the discipline and the capacity to approach independently twentieth-century works of art using the tools and research methodologies acquired in other different cultural areas.
Prerequisites
NONE
Contents
THE COURSE PROPOSES MODELS AND EXPERIENCES OF THE EXILE OF PAINTERS, SCULPTORS AND PHOTOGRAPHERS OF THE TWENTIETH CENTURY. THE WORKS OF ARTISTS EXILED TO THE UNITED STATES WILL BE ANALYZED STARTING IN 1933. THE EXPERIENCE AND DIFFERENCE BETWEEN THE EXILES OF THE PAST AND THOSE OF CONTEMPORARY TIMES IS ENORMOUS AND YET TO BE EXPLORED AS EVIDENCED BY THE RECENT BOOK BY JOSEPH HOROWITZ, "HOW REFUGEES FROM TWENTIETH CENTURY WAR AND REVOLUTION TRANSFORMED THE AMERICAN PERFORMING ARTS ".
RECENT QUESTIONS ABOUT THE RELATIONSHIP BETWEEN THE EXILE ARTIST AND THE NEW CONTEXT IN WHICH THEY WORK ARE IMPORTANT POINTS OF REFERENCE. IN PARTICULAR, THE RECENT ONGOING DEBATE THAT EMPHASIZES HOW EXILE EXPERIENCE HAS INEVITABLY INFLUENCED THE WORK OF ARTISTS, HAS MOTIVATED THEM TO CONFRONT AND OFTEN CLASH BETWEEN DIFFERENT HISTORICAL-CULTURAL TOPICS AND IN MANY RADICALLY OPPOSED SITUATIONS.
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
Oral exam. During the test assessment will be made of the student’s knowledge and degree of understanding of course content, and the ability to apply and illustrate knowledge acquired showing independent judgment and appropriate expression
Texts
REFERENCE TEXT

1)MARIA PASSARO,
ARTISTI IN FUGA DA HITLER. L’ESILIO AMERICANO DELLE AVANGUARDIE EUROPEE, BOLOGNA, IL MULINO 2018

2)THREE OF THE FOLLOWING BOOKS OF YOUR CHOICE

ALBERS, J., [2005], INTERAZIONE DEL COLORE. ESERCIZI PER IMPARARE A VEDERE, MILANO, IL SAGGIATORE

ARGAN, C.G., [2010], WALTER GROPIUS E LA BAUHAUS, TORINO, EINAUDI

ELEVEN EUROPEANS IN AMERICA, IN «THE BULLETTIN OF THE MUSEUM OF MODERN ART», 13, 1946

FRY, V. [2013], CONSEGNA SU RICHIESTA, PALERMO, SELLERIO

HARRIS, M.E. [1987], THE ARTS AT BLACK MOUNTAIN COLLEGE. CAMBRIDGE (MA) – LONDON, MIT PRESS

HOFMANN, H., [1967], SEARCH FOR THE REAL AND OTHER ESSAYS, CAMBRIDGE (MA) – LONDON, THE MIT PRESS

KANDINSKY, W. [2005], LO SPIRITUALE NELL’ARTE, MILANO, EDITRICE SE

MOHOLY-NAGY, L [1987], PITTURA FOTOGRAFIA FILM, TORINO, EINAUDI

MONDRIAN, P. [1937], PLASTIC ART AND PURE PLASTIC ART, AND OTHER ESSAY, 1941-1943, NEW YORK, WITTENBORN & SCHULTZ

SAARINEN, A.B. [1977], I GRANDI COLLEZIONISTI AMERICANI. DAGLI INIZI A PEGGY GUGGENHEIM, TORINO,
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