The teaching is organized as follows:

Learning outcomes

Part 1
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.

Part 2
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.
Those who intend to achieve 3 Cfu will bring to the examination only the section 1. Those who want to achieve 6 Cfu bring them both.

Program

Introductory course

CONTEMPORARY ART, FROM TURNER TO POSTMODERN

Essential bibliography

Methodological part

R.Pasini, What is art? (2007), QuiEdit, Verona 2013

Historical part

R.Barilli, Contemporary Art (1984), Feltrinelli, Milan 2005 (Chapters 1-14)

R. Pasini, L'informe nell'arte contemporanea (1989), Mursia, Milan 2011

Focus

PHOTOGRAPHIC IMAGE, BETWEEN ART AND PHOTOGRAPHY

R. Barthes, La camera chiara (1980), tr. it., Einaudi, Turin 2003

C.Marra, Photography and Visual Arts, Carocci, Rome 2014

International Award UVA, catalog of the Civic Library, Verona 2018


Advanced Course

A. ART AND LITERATURE IN THE '900 (II) Paths, links, intersections

Essential bibliography

Notes of the lessons.

In place of non-attending students, one of the following texts:

R.Barilli, Science of Culture and Phenomenology of Styles (1982), Bononia University Press, Bologna 2007

H. Marcuse, The aesthetic dimension (1977), tr.it., Guerrini e associati, Milan 2005

M. Vitta, Dell'abitare, Einaudi, Turin 2008

B. THE RELATIONSHIP BETWEEN THE PRACTICE OF ART AND THE DIMENSION OF FREEDOM

Essential bibliography

R.Pasini, Art is freedom?
From cave paintings to extra-artistic researches, from Van Gogh's dog to the philosophy of Marcuse, QuiEdit, Verona 2017 (Part One - Art and Art, pp. 9-79)


Magistral Course

A. BIENNALE DI VENEZIA, 1948: FIRST PRIZE FOR PAINTING TO GIORGIO MORANDI

Essential bibliography

F.Arcangeli, Giorgio Morandi (1964), Allemandi, Turin 2007

R. Pasini, Morandi (1989), CLUEB, Bologna 2010

B. THE TIME OF THE FORM: THE ARTISTIC RESEARCH OF ADRIANO PITSCHEN

Essential bibliography

R.Pasini, Adriano Pitschen. Form, proliferation, emptiness, Pendragon, Bologna 2003

A. Pitschen, Nel vivo, catalog of Art Museum, Mendrisio 2010

A. Pitschen, Forme presenti, Villa Pia catalog, Lindenberg Foundation, Lugano 2018

Examination Methods

Teaching and exam methods

Inside the Courses will take place visits to museums and exhibitions - in order to promote direct knowledge of the works -, seminars, book presentations, meetings with the protagonists of contemporary culture: all modes that meet great favor by the students.
From an iconographic point of view, the exam test focuses on the artists and the works seen in class and present in the texts.
Students are advised that the recent history of contemporary art has dealt with issues and problems that are sometimes strong, direct, and scabrous: all this is part of the freedom of expression and the rights of artistic research for which every responsibility is declined.
The exam consists of a written test. The main evaluation parameters are: 1) actual interest and level of preparation; 2) mastery of the subject of study; 3) argumentative capacity; 4) expressive quality.
The correction of the works usually takes about 7 days; if the number of the examinees is very high it can vary.
Students are reminded that, for commercial texts with copyright, reproduction, even partial, by any means, including photocopies, that has not been authorized, is forbidden. It is also noted that the purchase of the texts is free and can be replaced by the library loan.
The regulation provides for the obsolescence of the programs: because of this the student who did not take the exam within the six allowed calls (from January to September) is required to take the program of the last year to the exam, except for students off course and part time.

Reception mode

Two types of reception are offered: frontal and telematic. At front reception it is advisable to book by e-mail, so that the student receives for his convenience an appointment with precise day and time; in addition to this, the electronic reception - which is answered, unless urgent, on Wednesday - is carried out for all the e-mails to which an answer is deemed to be due, if the e-mail address is accepted and the student has sent the mail to the right address: please then take note of it well: pasini.roberto@univr.it
The teacher answers the questions regarding the course (lessons, programs, general and specific topics concerning teaching) that have not already been explained on this page; while for questions concerning the bureaucratic-administrative aspects (registration to exams, credits, and any other technical detail) the student is required to apply directly to the secretarial offices.

Thesis

Can propose a thesis topic, without any constraint, who has previously supported at least one exam that falls within the SSD; however, to avoid overlapping with other proposals, the student is advised to submit to the teacher three topics, among which the one on which the thesis will be held will be agreed. The students are offered the opportunity (not mandatory) to deepen their knowledge in view of the thesis through an Iteration, consisting of the preparation of a second Progressed exam with a different program from the one already supported.