Syllabus of Unit Course BA Course
Arts and Media
934725 . HISTORY OF CONTEMPORARY ART
3rd Year
1st Semester
CNAEF Area Code: 211
ECTS: 6
STUDENT WORKLOAD IN HOURS
Contacto
TOTAL
Theoretical
Lectures
150
Theoretical
–practical
Lectures
Laboratory
classes
Supervised
Field Work
Seminars
Placements
Tutorials
Autonomous
75
75
SUMMARY
Drawing I is a course unit that aims to provide students with conceptual tools and a critical language that enhances the
understanding of history as open knowledge. This course unit also intends to develop the capacity to read the artwork as a
historical, aesthetical and artistic document.
COURSE CONTENTS
1.
The System of Contemporary Art: - production and aesthetical reception.
2.
Marcel Duchamp: - the ontological status of the artwork.
3.
The European Informalism and Abstract Expressionism.
4.
The Post-War: - Neo Dada; Pop Art and Minimal Art.
5.
The contingent object of contemporary art: - Conceptual Art.
6.
Site Specific Art.
7.
Body Art and Performance.
8.
Art and Media: - Video Art and New Media Art.
9.
Bio Art.
10. Hypertext and historical consciousness.
RECOMMENDED OR REQUIRED READING
Required
ARCHER, M. (2002). Art Since 1960. London: Thames & Hudson.
BAUDRILLARD, J. (1991). Simulacros e Simulação. Tradução de Maria João da Costa Pereira. Lisboa: Relógio d’Água.
GODFREY, T. (1998). Conceptual Art. London: Phaidon Press.
GOLDBERG, R. (2007). A Arte da Performance. Do Futurismo ao Presente. Lisboa: Orfeu Negro.
GOMES, H. (2004). Relativismo Axiológico e Arte Contemporânea. De Marcel Duchamp a Arthur C. Danto. Critérios de
recepção crítica das obras de arte. Porto: Edições Afrontamento.
MIGLIETTI, F. A. (2003). Extreme Bodies: The Use and Abuse of the Body in Art. Milan: Skira.
RUSH, M. (2005). New Media in Art. London: Thames & Hudson.
Recommended
AUGÉ, M. (2005), Não-Lugares, Introdução a uma Antropologia da Sobremodernidade. Lisboa: 90 Graus Editora.
BUSKIRK, M. (2005). The Contingent Object of Contemporary Art. The MIT Press.
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DUVE, T. de (1996). Kant after Duchamp. October Books.
FINEBERG, J. (2000). Art since 1940. Strategies of being, London: Laurence King Publishing.
FOSTER, H. (2004). Art since1900: modernism, antimodernism, postmodernism. London:Thames & Hudson.
KASTNER, J. (2005). Land & Environmental Art (Themes & Movements). Phaidon Press.
KWON, M. (2004). One Place after Another: Site-Specific Art and Locational Identity. The MIT Press.
MELO, A. (2002). Globalização cultural. Lisboa: Quimera.
MIRANDA, J. A. B. de (2008). Corpo e imagem. Lisboa: Nova Vega.
PAUL, C. (2008). Digital Art. London: Thames & Hudson.
RANCIÉRE, J. (2010). Estética e Política. A partilha do sensível. Tradução de Vanessa Brito. Porto: Dafne Editora.
ROSENTHAL, M. (2003). Understanding Installation Art: From Duchamp to Holzer. Prestel Publishing.
SARDO, D. (2011). A visão em apneia. Escritos sobre artistas. Lisboa: Babel.
VIOLA, B. (1995). Reasons for Knocking at an Empty House – Writings 1973-1994. London: Thames & Hudson.
WANDS, B. (2006). Art of the Digital Age. London: Thames & Hudson.
WARBURTON, N. (2007). O que é a Arte? Tradução de Célia Teixeira. Lisboa: Bizâncio.
LEARNING OUTCOMES
On successful completion of this course unit the student should be able:
-
To provide students with the knowledge to understand the evolution of the major art forms;
-
To structure cultural mechanisms that allow students to relate and contextualize artistic production and society;
-
To develop the ability to read image in time and in space;
-
To increase the knowledge level of artistic research;
-
To create tools to correctly apply artistic components for future professional experiences.
PLANNED LEARNING ACTIVITIES AND TEACHING METHODS
In this course unit students will proceed with the study of works of art developing and acquiring new readings and scientific rules.
Priority will be given to group crits and to the development of research methodologies.
CONTRIBUTION TO SPECIFIC SKILLS DEVELOPMENT
Fundamental
-
Training on image theory and issues of Visual Culture;
-
Training on Art History - Contemporary Art;
-
Training on aesthetical theoryand on general philosophical understanding of artistic creation;
-
Training on analysis and speculation concerning the mainstreaming of cultural and artistic
events.
Complementary
Partial
-
Training on basic notions of bidimensional forms;
-
Training on the fundamentals and methodologies of artistic projects;
-
Training on new media image.
Not applicable.
ASSESSMENT METHODS AND CRITERIA
The assessment will be done through:
-
Critical book reviews.
-
Written Test.
-
Oral presentations.
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