The teaching is organized as follows:
Sem. IA (31.10.16 sosp.lezioni)
The teaching of contemporary art history examines the historical-artistic path from the end of ' 700 - when the space revolution takes place moving by Turner as part of romanticism, which gives life to the contemporary space - until the end of the ' 900, which states the poetics of Postmodernism. Covers two centuries of research and artistic issues that are examined through a careful reading of the works together with a wide survey on cultural contexts, aware that the art history is composed of two inseparable elements and also important, the art and the history: special paths must always be placed in the context where you embody for finding the right combination of individual contributions and general panorama.
The study of contemporary art history is performed on two tracks, autonomous but linked: on the one hand, the analysis of artists, movements and situations on the specific poetic style, and continued interweaving between the individual and the context size; on the other hand, the investigation of the relationships that bind the historic path to the various fields of culture such as literature, philosophy, science, cinema, media, according to the principle of communicating vessels at the cultural level. In this way we achieve the tools to understand the connection between artistic research and the time in which it exerts, overview of the moment, of the period, and developing a synoptic knowledge that allows you to understand more thoroughly the reasons of cultural and artistic metabolism.
The second part of the course deepens in a monograph, but still opening to artistic context and sociocultural, the protagonists of contemporary art, major movements and the most significant issues, an overview of successful convergence between art and culture.
Part 1: Basic (i)
Parses the entire path of contemporary art, with particular attention to the protagonists and the movements that have characterized. These major topics:
- What is art?
- Method and general concepts of interpretation
- Modern space and contemporary space
- Turner and enlarged contemporaneity
- Impressionism and beyond: Monet and the cycle of Water lilies, Degas and the cycle of Nudes
- Cézanne and narrow contemporaneity
- The Symbolism: Seurat and Pointillism, Gauguin and Synthetism
- Matisse and Fauvism. Kirchner and Expressionism
- Picasso and Cubism. Boccioni and Futurism
- Kandinsky and the Biomorfismo. Mondrian and Abstraction
- De Chirico and Metaphysics. The poetics of call to order
- Duchamp and Dadaism. Figurative Surrealism (Magritte, Dali) and non-figurative Surrealism (Mirò, Masson)
- The Informal in the United States, in Europe and in Italy
- The poetics of object, from Minimalism to Pop Art
- The non-artistic research: Body Art, Conceptualism, Arte Povera
- Postmodernism and recent researches
R. Barilli, L'arte contemporanea (1984), Feltrinelli, Milano, 2005 (chaps. 1-14)
R. Pasini, Che cos'è l'arte? (2007), QuiEdit, Verona, 2012
(for quick availability you can join the library QuiEdit, Verona)
R. Pasini, L'informe nell'arte contemporanea (1989), Mursia, Milano, 2012
R. Pasini, La dispensa di Suzanne. Miti, errori e false credenze nell'arte contemporanea, Mursia, Milano, 2013
Part 2: Advanced (p)
Sergio Romiti, 50 years since the great anthologic exposition in Bologna
The work of Sergio Romiti (Bologna, 1928-2000) will be analyzed. He is one of the most interesting artists of the italian and international scene in the second half of the '900. 2016 is the fiftieth anniversary of the great anthologic exposition with which, in fact, the Gallery of modern art of Bologna was inaugurated in 1976 (Today named MAMBO).
M.Calvesi, Diario di una scrittura su Romiti, catalogo Galleria d’arte moderna, Bologna, 1976 (Grafis, Bologna) (The catalogo is out of stock, copies will be available)
R.Pasini, Warhol e Romiti. Un confronto assurdo, Pendragon, Bologna, 2007 (the Sergio Romiti section)
Thumbs up, thumbs down
Art in Verona during the first half of the '900: Birolli and Flangini
Two artists born and operating in Verona during the first half of the '900 will be analyzed, Renato Birolli (Verona, 1905-Milano, 1959) and Giuseppe Flangini (Verona, 1898-1961).
Sepcifications of both the artists will be highlighted, emphasizing that the first deserves a careful redefinition and a solid revaluation, while the second, despite being an moderately interesting artist, will be strongly debunked compared with the embarassing promotion he has enjoyed.
A text will be available in good time for the final test.
Assessment methods and criteria
The examination test focuses on artists and their works and views present in texts, which the student must know. The exam consists of a written test. The main valuation parameters are: 1) actual interest and level of preparation; 2) mastery of the field of study; 3) argumentative capacity; 4) expressive quality. Please note that texts with copyright cannot be reproduced by any means, including the photocopy, which has not been authorized, and in any case not exceeding 15%. Please note that the purchase of texts is free and can be replaced by loan librarian.
There are two types offered: front reception and telematics. The use of e-mail has become in recent years a very beloved by students, especially those who have difficulties to go to the front, those who do not attend classes, those who are in Erasmus etc., and then becomes necessary a useful formalization. Therefore, in addition to the front reception, for which it is advisable to book via email, the electronic receipt shall be established, usually on Wednesday, for mail that is believed to have caused a response (if the e-mail address is accepted and the student has sent the mail to the right address: please then take note: email@example.com).
Students who wish to graduate, for both the bachelor's and master's degree, must according to common sense have in contemporary art history exams an average justifying a thesis in this matter. To carry out the thesis, is an iteration support practice, for both the bachelor and master degree (for students who have graduated with a bachelor's degree in another field). The student is invited to submit to the Professor three arguments, and then the one in which thesis will be carried out will be choiced. Regardless of the field in which you are graduating, students are required to submit a thesis in Secretariat only after having supported all exams. One cannot take account of any requests made by students who have not respected this rule elementary fairness.