Degree | Type | Year | Semester |
---|---|---|---|
2500239 Art History | OB | 3 | 2 |
There are no prerequisites beyond the usual third-grade degree.
The aim of the subject is to develope the knowledge, analysis and use of conceptual and methodological tools that allow the student to produce critical content in different areas of art.
The subject is structured in three aspects:
The subject is configured in strong correlation with the artistic practice and with the artistic manifestations in course. It will encourage critical analysis of the current status of art and the ability to make proposals. In this sense, the subject proposes a work seminar in which to articulate theory and practice.
Introduction to art criticism from the configuration of the art system: art and city; Baudelaire; Walter Benjamin
The American critical tradition from Clement Greenberg; the criticism to formalism; the question of gender and queer theory, from Guerrilla Girls, Douglas Crimp, activism against AIDS and gender studies.
Criticism as a critical state: the questioning of its effectiveness; the possible meteorological inespecifity; the disappearance of critical space.
Tasks of criticism: curating as an extension of art criticism.
Criticism of art as a rapporteur: the consideration of criticism as a literary form of non-fiction; the definition of an author who speaks for others; the criticism of imagination and originality
Subjectivity vs. trans subject: the trans space of criticism and curating and the configuration of a contemporary subject.
Autonomous activities are basically formed by reading and working on the evaluable texts as well as visits to exhibitions.
The directed activities consist of master classes with a high incentive to participation from the visits to recommended museums and artistic centers in the attempt that the discursive practice accompanies a critical praxis and analysis.
The supervised activities are formed by the contributions to the seminars, the contributions in the written tests and the public presentation of the projects of the students
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Master classes (curating introduction) | 25 | 1 | |
Master classes (history of criticism, space of criticism, the story-teller and the Trans subject) | 25 | 1 | 6 |
Type: Supervised | |||
Critical reading | 20 | 0.8 | 6 |
Public presentation of a critical reading project about artistic practices | 20 | 0.8 | 6 |
Seminar: the state of criticism; the description and the critical attitude based on the observation. | 25 | 1 | 6 |
Type: Autonomous | |||
Critical reading and writing | 20 | 0.8 | 6 |
Exhibitions visiting | 15 | 0.6 | 6 |
The evaluation takes into account the contribution of the student in the dynamics of discussion of the subject and its contributions. It also proposes several exercises in continuous evaluation that lead to the preparation of an art critic writing.
The student's grade will be "not evaluable" when he has not been submitted to all the tests either on the indicated calendar day or on the day of the reevaluation. Even so, to be eligible for reevaluation, you must have submitted a minimum of one of the two required papers and the final essay. In no case must the grade be less than 3.5
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Paper on analysis and positioning | 20 | 0 | 0 | 8, 2, 6, 7, 9, 12, 14, 15, 13, 11, 17 |
Paper on observation, recognition and description | 20 | 0 | 0 | 5, 6, 10, 14, 11 |
Participation in the elaboration criticism map | 20 | 0 | 0 | 4, 1, 5, 2, 3, 7, 15, 13, 16, 18, 17 |
Writing of a critical essay on a current artistic manifestation | 40 | 0 | 0 | 8, 4, 1, 5, 2, 3, 7, 10, 12, 15, 13, 11, 16, 17 |
BALZER, David, Curationism. How Curating Took Over the Art World and Everything Else, Toronto, Coach House Books, 2014
BASSAS, Xavier, Genealogías curatoriales, Casimiro Libros, 2016
BENJAMIN, Walter, El autor como productor, Madrid, Taurus 1975
BOURDIEU, Pierre. Las reglas del arte. Génesis y estructura del campo literario, Barcelona, Anagrama, 2002
BOURRIAUD, Nicolas. Post producción. Buenos Aires: Adriana Hidalgo, 2004
CRIMP, D. Posiciones críticas. Akal: Madrid, 2005.
DANTO, A. Después del fin del arte. El arte contemporáneo y el linde de la historia. Paidós: Barcelona, 1999
DE DUVE, T. Clement Greenberg entre líneas. Acto ediciones, 2005.
FERNÁNDEZ PORTA, Eloy. Homo Sampler. Tiempo y consumo en la Era Afterpop, Barcelona, Anagrama, 2008
FRIED, M. Arte y objetualidad. La balsa de la medusa: Madrid, 2004.
GLICENSTEIN, Jérôme, L'invention du curateur, Paris, Presses universitaires de France, 2015
GREENBERG, C. La pintura moderna y otros ensayos. Siruela: Madrid, 2006
GOLDSMITH, Kenneth. Escritura no-creativa: gestionando el lenguaje en la era digital, La caja negra, 2015
GUASCH, Anna. El arte del siglo XX en sus exposiciones: 1945‐1995, Barcelona, Ediciones del Serbal, 1997
GUASCH, A.Mª. La crítica dialogada. Cendeac: Murcia, 2006
MANEN, Martí, Salir de la exposición (si es que alguna vez habíamos entrado), Bilbao, Consonni, 2012 ULRICH
MILLET, C. Le critique d'art s'expose. Editions Jacqueline Chambon: París, 1993
NICKAS, Robert. Live Free or Die, París, Les presses du réel, 2000
OBRIST, Hans. Breve historia del comisariado, Exit, 2010.