MUSEOLOGY (A)
Academic year and teacher
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- Versione italiana
- Academic year
- 2019/2020
- Teacher
- ADA PATRIZIA FIORILLO
- Credits
- 6
- Curriculum
- Comunicazione della cultura e delle arti
- Didactic period
- Primo Semestre
- SSD
- L-ART/04
Training objectives
- The aim of the course is to give the students critical and methodological instruments of approach to the exhibitions of contemporary art, according to a dual objective:
Knowledge: of the essential features relative to the history of contemporary art criticism, following the developments of research from the second half of the 19th century until 1980s.
Ability: in the acquisition of the language of contemporary art criticism with reference to the theoretical-aesthetic reflections that have characterized European culture. Prerequisites
- Basic knowledge of the major artistical movements of the 20th century
Course programme
- Features of contemporary art criticism
The course examines the main approaches and personalities of the history of contemporary art criticism, with reference to theoretical-aesthetic reflections that, from the half of the 19th century to the 1980s, have marked European culture. It is a line that, starting from pure visibility theories, important to understand the “experiences” of the artistic avant-gardes of the first decades of the 20th century, proceeds in the analysis of sociological reading (in particular Antal, Hauser ) then to reflect on the iconological aspect, marked by the school of Warburg, (it is of particular importance the figure of Erwin Panofsky) and considering the new readings stimulated by Freud’s psychoanalytic interpretations (Ernst Kris’s research) and the symbolic line related to the Jungian school too. Attention will also be paid to the affirmation of Structuralism that, in the middle of the century, refers to the methods of linguistics as an autonomous science, proposed by De Saussurre (the essays, that Cesare Brandi dedicates to architecture, are particularly important), and also to those hypotheses of theoretical-aesthetic reflection (the case of Deleuze), expanding the interests from the painting to the cinema, opening to the “migration” of the genres in the creative experiences of the Seventies and Eighties. These aspects are associated with the hermeneutic-phenomenological approach, represented by the reflections of Merleau-Ponty and of the Postmodern, also related to the exercise of criticism, on which base on the writings of Lyotard and Baudrillard. This study will be accompanied by the reading and analysis of some important texts of contemporary art literature: we will focus on the writings, including of Gauguin, Matisse, Apollinaire, Boccioni, Kandinskij, Malevic, Klee, Breton, Dubuffet, Rothko, Sartre and Warhol. Didactic methods
- The course will base on frontal lessons relative to the themes proposed by the program, as well as exercises dedicated to the analysis of pieces of main essays regarding criticism of contemporary art, and theoretical texts that marked the artistic debate in the first half of the 20th century
Learning assessment procedures
- The final exam, for attending and non-attending students, is oral and will focus on the themes discussed during lessons and meetings. It provides for a good knowledge of the texts indicated in the bibliography and a capacity to critically contextualize the discipline and its related topics. The exam will last about twenty minutes during which the candidate will be asked three or four questions.
Reference texts
- - G. C. ARGAN, Arte e critica d’arte, Saggi Tascabili Laterza, Bari, 1984, (in particolare pp.1-
11 e 129-166)
- G. C. Sciolla, La critica d’arte del Novecento, Utet, Torino 1995 (in particolare pp. 1-35;
50-65; 109-134; 149-165; 231-256; 266-274).
- L. VENTURI, Storia della critica d’arte, Einaudi, Torino 2000 (pp.19-46 e 245- 332).
- Orientamenti della critica d’arte contemporanea. Antologia di testi (dispensa raccolta in copie fotostatiche – nel rispetto di quanto previsto dalla normativa) /notes in photostatic copies - complying with the regulations.
