Contemporary Artistic Perspectives

Programme

Performing Arts - Actors Training

Level of Qualification|Semesters|ECTS

Bachelor | Semestral | 4

Year | Type of course unit | Language

3 |Mandatory |Português

Total of Working Hours | Duration of Contact (hours)

100 | 45

Code

ULP1977-10131

Recommended complementary curricular units

n/a

Mode of study

Face-to-face

Precedences

Não

Professional Internship

Não

Syllabus

The vanguards - The theory of art and its effects on modernity: the beautiful and the ugly - The artistic vanguards and their theories - Malevich Suprematism and Mondrian Neo-plasticism - The cases of R. Mutt and the influence of Marcel Duchamp - Constantin Brancusi and the Beginning of Modern Sculpture - Abstract Expressionism From Rothko to Clifford Still - The Theory of Modernism by Clement Greenberg After Pop Art - Introduction. Was it in fact that it happened? - The shadows of De Chirico. The cases of De Chirico and Warhol - Depth and surface: Van Gogh and Warhol - The sixties of the 20th century The artistic postmodernity - The problem of the definition of postmodernity - Sculpture and postmodernity. the notion of "Expanded field" - Postmodernity in architecture - From Rauschenberg and Cage to Fluxus Conceptual art and the new languages of art - The linguistic shift - Theories of the end of art - Go back: Hegel as seen by Danto

Objectives

The objectives of this UC are the identification of the various aspects of contemporary art; the thematization and pragmatic problematization of its essential concepts; the identification of genealogical lines in the process of forming contemporary landscape art; the acquisition of critical and analytical skills in the confrontation with contemporary artistic productions; the identification of the core paradigms of the artistic debate of the last century; the recognition of their plural relations.

Teaching methodologies and assessment

Master exhibition; presentation of literary, iconographic or audiovisual content; argumentative debate on problematic incidents or illustrative evidence of the matters under analysis. Assessment: Attendance and participation: 15%. Individual report: 30% + Original essay: 60%

References

AAVV. Art in theory 1900-2000: an anthology of changing ideas. MA: Blackwell Publishing, 2002
CROW, T., The Rise of the Sixties: American and European Art in the Era of Dissent, New York: Harry N. Abrams, Inc., 1996.
DANTO, A. C.. After the end of art: contemporary art and the pale of History. New Jersey | USA: Princeton University, 1997
DUMBADZE, A.. Contemporary art: 1989 to the present. UK: John Willey & Sons, Inc. 2013
FIZ, S. M., Del arte objectual al arte del concepto. Madrid, Akal, 1994
FOSTER, H., The Return of the Real: The Avant-Garde at the End of the Century, 1996.
KRAUSS, R. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge (MA): MIT Press, 1985.
KRAUSS, R. et. al., Art since 1900. London: Thames & Hudson, 2011