Global History of Art
Objectives
Students are invited to question the western/Eurocentric canon that has structured Art History’s disciplinary field both by being confronted with other artistic traditions and by analyzing the pertinent historiographic and theoretical texts as well as the most recent debates. It will be made clear the “west” as well as its attending historiographic canon are political categories that inform the perception of the art objects and of the agents implicated in their production, circulation and appropriation, as well as the attending discourses. Case studies will be selected that allow for the practical application of the readings and in-class debates.
General characterization
Code
01106903
Credits
6.0
Responsible teacher
Alexandra Curvelo da Silva Campos
Hours
Weekly - 4
Total - 168
Teaching language
Portuguese
Prerequisites
N/A
Bibliography
Elkins, J, Z. Valiavicharska e A. Kim (eds.) (2010). Art and Globalization-Pennsylvania State University Press.
Elkins, J. (2007). Is art history global? NY: Routledge
Jameson, F. e M. Miyoshi, eds. (1998). The Cultures of Globalization. Durham e Londres: Duke University Press.
Joyeux-Prunel, B. (2019). Art history and the global: deconstructing the latest canonical narrative. Cambridge University Press
Preziosi, D. (ed.) (2009). The Art of Art History: A Critical Anthology, Oxford: Oxford University Press.
Said, E. (1978). Orientalism. Pantheon Books.
Vlachou, F. (2016). “Why Spatial? Time and the Periphery.” Visual Resources 32, no. 1–2: 1–16.
Teaching method
Classes are organized around the discussion of selected texts as well as, in the case of public debates, pieces collected in the various media (including social media). Students will critically present the proposed texts and will participate in the selection and discussion of the media pieces. The discussion of images will be present across the program, with a heightened presence in the second part of the program.
Evaluation method
Continuous assessment - In-class participation(30%), Research paper(35%), Written exam(35%)
Subject matter
This course is organized in two large blocks. The first one is devoted to the analysis and discussion of the recent theoretical and historiographic production that has questioned the Western/Eurocentric canon; discussions will also involve polemics taking place in the public sphere (e.g. the questioning of public monuments celebrating problematic figures or episodes, or the decolonization of the museum and academic curricula). The second block is dedicated to case studies of non-canonical artistic experiences (for instance, Asian or African) that allow for the confrontation of the theoretical discussions with specific, concrete cases; case studies will be selected by the docent(s) in charge of the course each year.