Degree | Type | Year | Semester |
---|---|---|---|
2500239 Art History | FB | 1 | 1 |
There are no prerequisites beyond the usual third-grade degree.
The subject is intended as an introduction, with the aim of familiarizing the student with the vocabulary and the fundamental concepts of Theory and thought in art. During the course, the main issues or problems in the environment of the artistic event that artists, theorists, philosophers or art critics have considered will be analyzed.
The general objective of the subject is that the student knows the intersection between art and thought and, specifically, the ability of art to be an ideal place for it, as well as the transitivity between theory and practice of art.
The subject is configured in a strong correlation with artistic practice.
The specific objectives of the subject are:
The contents of the subject focus on a threefold sense: recognizing art as construction; understand their relationship with thought and history as a story.
Art and thought:
Creativity vs. art: Joseph Beuys as a case study
The formation of the art institution and the institutional theory: Larry Shinner
The uniqueness of the work of art from the study of Walter Benjamin and the aura, La Giocconda as a phenomenon, and Duchamp vs. Warhol
Art as a category:
Art is a historical construction: the change of s. XVII to XIX as preparation for modernity
The author's invention based on structuralist theories
The relationship between Enlightenment and the crisis of modernity: and the relationship between the artist and the intellectual and the bourgeois state from a Marxist perspective.
What does the artist's commitment mean ?: the Paris Commune and Courbet as a case study
The story:
History as a story and the "trades" of art (critic, curator, museums) as story builders.
Alfred Barr and the MOMA of New York as a case study.
The relationship between art and context
Practice: build an own story
Autonomous activities are basically formed by reading and working on the evaluable texts.
The directed activities consist of master classes with a high incentive to participation, as well as visits to museums and art centers recommended at the beginning of the course and in the attempt that the discursive practice accompanies an artistic praxis according to the procedures of applied aesthetics.
The supervised activities are formed by the contributions to the seminars, the contributions to the written tests, as well as the public presentation of the projects of the students
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Theoretical classes | 40 | 1.6 | 7, 4, 1, 5, 2, 3, 6, 8, 9, 10, 12, 11, 13, 14, 16, 15 |
Visits to museums and artistic centers | 17 | 0.68 | 7, 4, 1, 5, 2, 3, 6, 8, 9, 10, 12, 11, 13, 14, 16, 15 |
Type: Supervised | |||
Oral and written works | 30 | 1.2 | 7, 4, 1, 5, 2, 3, 6, 8, 9, 10, 12, 11, 13, 14, 16, 15 |
Participation in classes | 29.5 | 1.18 | 7, 4, 1, 5, 2, 3, 6, 8, 9, 10, 12, 11, 13, 14, 16, 15 |
Type: Autonomous | |||
Complementary reading | 30 | 1.2 | 7, 4, 1, 5, 2, 3, 6, 8, 9, 10, 12, 11, 13, 14, 16, 15 |
The evaluation is based in the contribution of the student in the dynamics of discussion of the subject and his contributions. It also proposes two evaluable exercises: the public presentation of a research paper; and a final written test.
The student's grade will be "not evaluable" when it has not been submitted to the totality of the tests either on the day indicated on the calendar or on the day of the re-evaluation. Even so, in order to have a re-evaluation option, he must have submitted a minimum of one of the two mandatory jobs and in no case must the grade be less than 3.5
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Exam / Final work of the given subject | 40 | 3.5 | 0.14 | 7, 4, 1, 5, 2, 3, 6, 8, 9, 10, 12, 11, 13, 14, 15 |
Involvement in directed discussions in the field of the contents of the subject | 20 | 0 | 0 | 7, 4, 1, 5, 2, 3, 6, 9, 10, 12, 11, 13, 14, 16, 15 |
Public presentation of a research paper | 40 | 0 | 0 | 7, 4, 1, 5, 2, 3, 6, 9, 10, 12, 11, 13, 14, 16, 15 |
BENJAMIN, W, La obra de arte en la época de su reproductibilidad técnica, Mexico DF, Ítaca, 2003
BENJAMIN, W, El autor como productor, Mexico DF, Ítaca, 2004
BOURRIAUD, N., Estética relacional. Buenos Aires, Adriana Hidalgo, 2007
BURGER, P., Teoría de la vanguardia, Buenos Aires, Editorial Las cuarenta, 2010
CABANNE, P., Conversaciones con Marcel Duchamp, Madrid, Editorial This side up, 2013
DANTO, A., Las transfiguraciones del lugar común. Barcelona, Paidós, 2002
DUCHAMP, M., El proceso creativo, https://revistas.unc.edu.ar/index.php/NOMBRES/article/view/2101
FOUCAULT, M., "¿Qué es un autor?". Barcelona, Paidós, 1969
GONZÁLEZ PANIZO, J., Hacia el arte post-contemporáneo o la enésima muerte del arte: sobre Armen Avanessian, Blogearte http://blogeartemadrid.blogspot.com.es/2017/07/hacia-el-arte-post-contemporaneo-o-la.html?m=0
GROYS, B., La topología del arte contemporáneo, [esferapublica] http://esferapublica.org/nfblog/la-topologia-del-arte-contemporaneo/
GUASCH, A.M., El papel de las instituciones artísticas en la actualidad, https://ifc.dpz.es/recursos/publicaciones/29/23/08guasch.pdf
HOFMANNSTHAL, H.V., Una carta de Lord Philipp Chandos a Sir Francis Bacon, https://www.raco.cat/index.php/Marges/article/viewFile/105489/165499
RAMIREZ, J.A.. Ecosistema y explosión de las artes, Barcelona, Anagrama, 1994.
RANCIÈRE, J. El espectador emancipado. Castellón, Ellago ediciones, 2010.
SHINER, L., La invención del arte, Barcelona, Paidós Estética 36, 2004.