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.

General characterization





Responsible teacher

Ana Margarida Duarte Brito Alves


Weekly - 4

Total - 168

Teaching language



Available soon


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

Teaching method

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.

Evaluation method

Evaluation Method - student´s participation in the classoroom´s discussions (10%), final written test (50%), laboration and presentatioin of a final reserach work (40%)

Subject matter

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: