Culture and Contemporary Art
1) To extend and consolidate the knowledge on Contemporary Art
2) To cross historical information on Contemporary Art with different theoretical perspectives.
3) To identify some of the main directions and debates that configure contemporary artistic practices.
4) To dominate multidisciplinary instruments adapted to the acknowledgment of contemporary artistic realities.
5) To identify the interactions between Contemporary Art and other cultural domains.
Ana Margarida Duarte Brito Alves
Weekly - 4
Total - 168
BOIS, Yve-Alain; BUCHLOH, Benjamin; FOSTER, Hal; KRAUSS, Rosalind; Art since 1900. Modernism. Antimodernism. Postmodernism. - London: Thames & Hudson, 2004
BATTCOCK, Gregory (editor), Minimal Art. A Critical Anthology. - Berkeley / London: university of California Press, 1995
BURGER, Peter, Teoria da Vanguarda. - Lisboa: Vega, 1993
DUVE, Thierry De, Kant After Duchamp. Cambridge / Massachusetts: MIT Press, 1996
FER, Briony, The Infinite Line. Re-making Art after Modernism. - New haven / London: Yale University Press, 2004
FOSTER, Hal, The Return of the Real. - Cambridge / Massachusetts: MIT Press, 1991
GREENBERG, Art and Culture - Critical Essays. - Boston: Beacon Press, 1989
GROYS, Boris, Art Power. - Cambridge / Massachusetts: MIT Press, 2008
HARRISON, Charles, WOOD, Paul (editors), 1900-2000: Art in Theory - An Anthology of Changing Ideas. - Oxford/ Cambridge: Blackwell Publishers, 2002
This curricular unit is based on sessions that privilege an expositive component conducted by the teacher, that is complemented by debates with the students that analyse and discuss previously selected texts. The aim of this methodology is to deepen and consolidate the acquired knowledge and ensure the students´ critical and active involvement in the discussion of the fundamental issues that structure the programme.
student´s participation in the classoroom´s discussions (10%), final written test (50%), laboration and presentatioin of a final reserach work (40%)
1. Charles Baudelaire and the justification of the Modern. Modern, Modernity and Modernism.
2. First avant-gardes´ transgressions. Futurism, Neo-Plasticism, Abstraction, Suprematism and Constructivism.
3. Art and Politics. The “Return to Order” and Social Realism.
4. Practices and discourses of modernity in the second post-war. Clement Greenberg and the defence of American painting´s “centrality” in the 1940s and 1950s.
5. The unfoldings of the 1960s and 1970s - Hetrodoxies, Minimalism and “post-minimalist” practices. Performative and relational dynamics.
6. The relation between the first and the second avant-gardes. Peter Burger and Hal Foster´s theses.
7. Contemporary Artistic Practices - Extensions and Revisitations.
Programs where the course is taught: