00951 - History of Contemporary Art

Learning outcomes

At the end of the course the student knows the history of painting, sculpture and decorative arts from the age neo-classical to the present day, with particular attention to the relationship between the Italian and the international context.

Course contents

This year's course is divided , unlike in past years, in two modules.

In the first module ( first 30 hours of lectures ) , by another teacher , investigating the historical avant-garde at the beginning of the century and it assess impacts and influences in years closer to us , that is to say from the Sixties to today. For more details , please refer of course to the specific program module .

The lessons for the second module ( the remaining 30 hours) , which I kept, in the fourth period, t will focus on the general problems of method and also will be devoted to the study of decoration and especially the decorative pattern, ie the set of repetitive elements that make it pleasing to the eye surface .

You will see how the problem of decoration is very important in the art as the contemporary age has fully rehabilitated practices decorative for the position of subjection that had for centuries . Today we can say that in fact the decoration, in its broadest sense , has the majority in our figurative landscape .

 

The text is the basis for the preparation :

 

G. L. Tusini, La pelle dell'ornamento. Dinamiche e dialettiche della decorazione tra Otto e Novecento, Bononia University Press, Bologna 2005.

 

Also is very important this book:

 

R. Barilli, L'arte contemporanea, Da Cézanne alle ultime tendenze, Feltrinelli, Milano 2005.

Readings/Bibliography

The basis text of the firs module is

R. Barilli, L'arte contemporanea. da Cézanne alle ultime tendenze, Feltrinelli, Milano 2005.

Is requested another text choised from this list .

 

F. Alinovi, C. Marra, La fotografia. Illusione o rivelazione?, Quinlan, Bologna 2006

AA. VV. (Poli, Corgnati, Bertolino, ecc. ecc.) Contemporanea. Arte dal 1950 ad oggi, Mondadori Arte, Milano 2008

R. Barilli, Prima e dopo il 2000. La ricerca artistica 1970 – 2005, Feltrinelli, Milano 2006

R. Barilli, Informale, oggetto, comportamento, 2 voll., Feltrinelli, Milano 2006.

R. Barthes, La camera chiara. Nota sulla fotografia, Einaudi, Torino 1980 (e succ.)

R. Boatto, Pop Art, Laterza, Roma-Bari 2003

R. Bossaglia, Il Novecento italiano, Charta, Milano 1995

M. Calvesi, Le due avanguardie. Dal Futurismo alla Pop Art, Laterza, Roma-Bari 2001 (1981 e succ.)

O. Chiantore, A. Rava, Conservare l'arte contemporanea, Mondadori - Electa, Milano 2005

G. D'Amato, Storia del design, Bruno Mondadori, Milano, 2005

A. Del Puppo, L'arte contemporanea. Il secondo Novecento, Einaudi, Torino 2013

F. Fabbri, Lo zen e il manga. Arte contemporanea giapponese, Bruno Mondadori, Milano 2009

F. Fabbri, Il buono, il brutto e il passivo. Stili e tecniche dell'arte contemporanea, Bruno Mondadori, Milano 2011

E. Grazioli, Arte e pubblicità, Bruno Mondadori, Milano 2001

E. Janulardo, Kounellis. L'immagine e l'ideologia, GBE, Roma 2015

R. Krauss, Passaggi. Storia della scultura da Rodin alla Land Art, Bruno Mondadori, Milano 1998

T. Macrì, Il corpo postorganico. Sconfinamenti della performance, Costa & Nolan, Milano 1996

C. Marra, Fotografia e pittura nel Novecento (e oltre), Bruno Mondadori, Milano 2012

C. Marra, L'immagine infedele. La falsa rivoluzione della fotografia digitale, Bruno Mondadori, Milano 2006

Claudio Marra, Fotografia e arti visive, Roma, Carocci Editore, 2014

M. McLuhan, Gli strumenti del comunicare, Il Saggiatore, Milano 1993

F. Muzzarelli, Formato tessera. Storia, arte e idee in photomatic, Bruno Mondadori, Milano, 2003

J. Nigro Covre, Arte contemporanea: le avanguardie storiche, Carocci, Roma 2008

L. Nochlin, Il realismo nella pittura europea del XIX secolo, Einaudi, Torino 2003

S. O'Railly, Il corpo nell'arte contemporanea, Einaudi, Torino 2011

P.P. Pancotto, Arte contemporanea: dal minimalismo alle ultime tendenze, Carocci, Roma 2010

J. Rewald, Storia dell'Impressionismo. Rievocazione di un'epoca, Mondadori, Milano 1991

J. Rewald, Dopo l'Impressionismo, Sansoni, Firenze 2005

G. Savoca, Arte estrema. dal teatro di performance degli anni Settanta alla Body Art estrema degli anni Novanta, Castelvecchi, Roma 1999

M. Vitta, ll progetto della bellezza. Il design fra arte e tecnica, 1851-2001, Einaudi, Torino 2001

C. Zambianchi, Arte contemporanea: dall'espressionismo astratto alla pop art, Carocci, Roma 2011

The basis text for my module is:

G. L. Tusini, La pelle dell'ornamento. Dinamiche e dialettiche della decorazione tra Otto e Novecento, Bononia University Press, Bologna 2005.

 

 

 

Teaching methods

The method used involves the active partecipation of the students who are invited to speak during the lessons with observations. All this makes the lessons a chance to exchange views and debate.

Assessment methods

The test will consist of an oral examination in which the candidate will demonstrate that they have assimilated the content of the lesson, both in terms of fundamentals and in terms of references. Will be evaluated, as well as the degree of preparation, properties of language, knowledge of the authors which reference is made, the ability to build a speech critically aware. Training gaps, imprecise language, only rote learning will be evaluated negatively.
The exam is divided in two parts:
first part with professor Janulardo
second part with professor Tusini who will give the final valutation
However, it is the student's right to support the entire exam with prof. Tusini.

1. Those students who show developed analytical skills of selected readings and their correct contextualization within a complete vision of the issues discussed during lectures will be given a mark of excellence. Mastering of field-specific language and good expression during the examination will also be required (A =28-30 con lode).

2. Those students who show mnemonic knowledge of the subject and a superficial analysis of selected readings, as well as a correct but not always appropriate mastering of the field-specific language will be given a satisfactory mark (B = 25-27 and C = 23-24).

3. Those students who will show vague knowledge and superficial understanding of selected readings, limited analytical skills and a not always appropriate expression will be given a ‘pass’ mark roughly (D = 18-22).

4. Those students who show gaps in their knowledge and lack of familiarity with selected readings will not be given a ‘pass’ mark (E).

Teaching tools

The lectures will be supported by modern digital projection of images and the use of multimedia tools.

Excursions and visits to exhibitions will be organized whenever possible.

Office hours

See the website of Gian Luca Tusini

See the website of Ettore Janulardo