Art Science Seminar

Code:

SCA411

Acronym:

SCA

Keywords
Classification	Keyword
OFICIAL	Art Sciences

Instance: 2011/2012 - 2S

Active?	Yes
Web Page:	http://moodle.up.pt/course/view.php?id=3681
Responsible unit:	Ciências da Arte e do Design
Course/CS Responsible:	Fine Arts

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
AP	99	Official Study Plan 2011	4	-	6	51	162

Teaching language

Portuguese

Objectives

The aim of this course is to enable students to approach some theoretical perspectives, methodologies, concepts and problems of the study area of the Sciences of Art, more directly related to cultural studies, and art history in particular, whose thoughts tainted and necessarily still influence contemporary artistic practice and culture.

The study will be done based on the presentation and discussion of themes and selected materials, which include essays, literary or theoretical texts, music, film, video, photo or other as may be pertinent. Classes may also include visits to galleries, workshops, exhibitions and museums.

The selection of the topics that the students will deal with ultimately depends on the teacher, but will take into account suggestions from students about the issues that most motivate them, according to their needs, gaps, challenges and research interests, within their own learning and artistic practice.

It is intended that students become familiar with research, study and preparation of written and oral presentations, and that they master knowledge of theoretical nature and develop capacity for deep reflection and for autonomy in research. The overlap of themes and experiences will build a network on which to establish a broad dialogue, the discussion of ideas and the sharing of knowledge that characterize the regime of this seminar. According to the characteristics of a seminar, the students are supposed to "build" the classes under the guidance and supervision of the teacher, all being asked to contribute and present the results of their research and reflection, through rotative periodic presentations, duly scheduled.

Program

The program is structured around some thematic proposals, which may be adapted to the needs and interests of students, through a diagnosis to be made early in the semester, after meeting all participants. It is therefore a not rigid, under construction program.

1. Baroque and neo-baroque. Critical discussion around the concept of "Neo-Baroque age”, based on various contemporary works of art and cultural events.
2. The gaze and the Other. From colonial subject to post-colonialism. Art, miscegenation, globalisation.
3. Lesson of Darkness: Blood and beauty, the aesthetics of horrible.
4. The aesthetics of difference: sex and sexuality, representations of gender, feminism, queer theory and art history.
5. Mass culture: the revolt of art against art history.
6. Art history as fiction: the narrative of art in the new museum.
7. The museum as theme park: entertainment politics, culture, leisure and mise-en-scène techniques of exhibition.
8. The contemporary artist as a permanent recycler. The reappropriation of the history of art by contemporary artists: nostalgic rituals of revisiting or resistance and questioning?
9. The Internet and the establishment of an "articulated chaos" and of "multiple simultaneous temporalities": cultural nomadism and denial of hierarchies in art.
10. The renewed interest in the concept of masterpiece in contemporary aesthetic thought: the return to a certain normativity.

Mandatory literature

Barrocos y neobarrocos – El infierno de lo bello (cat. da expos.), Fundación Salamanca Ciudad de la Cultura, 2007
Brazil Body and Soul (cat. da expos.), The Solomon R. Guggenheim Foundation, 2001
Belting Hans; Art history after modernism. ISBN: 0-226-04185-9 28.47
Blanc Guilherme 340; We are ready for our [close-up]. ISBN: 978-989-96833-0-3
BLOOM, Lisa; With other eyes - Looking at Race and Gender in Visual Culture, University of Minnesota Press, 1999
Calabrese Omar; A Idade Neobarroca
Calloway Stephen; Baroque Baroque. ISBN: 0-7148-2985-4
Camille Michael; Image on the edge. ISBN: 0-948462-28-0
Chadwick Whitney; Women, art, and society. ISBN: 0-500-20241-9
CORBIN, Alain ; Historia del cuerpo, vol. II, De la Revolución Francesa a la Gran Guerra, Taurus, 2005
COURTINE, Jean-Jacques; Historia del cuerpo, vol. III, El siglo XX, Editorial Taurus, 2006
D’ALLEVA, Anne; Methods and Theories of Art History, Lawrence King, 2005
DEPARDON, Raymond e VIRILIO, Paul; Native Land – Stop Eject (cat. da expos.), Fondation Cartier pour l’Art Contemporain, 2008
Foster Hal; Art since 1900. ISBN: 0-500-23818-9 69.76
Freeland Cynthia; Pero esto es arte?. ISBN: 84-376-2046-5
GECZY, Adam; Art: Histories, Theories and Exceptions, Berg Publishers, 2008
GOULÃO, Maria José; “Alive and kicking”, in We are ready for our [close-up] (cat. da expos.), Heart of Glass - Associação Cultural, 2010
Groebner Valentin; Defaced. ISBN: 1-890951-37-4
Grõssinger Christa; Picturing women in late medieval and renaissance art. ISBN: 0-7190-4110-4
GRUZINSKY, Serge; La pensée métisse, Fayard, 1999
HARRIS, Jonathan; Art History: The Key Concepts, Routledge, 2006
HARRIS, Jonathan; The New Art History. A Critical Introduction, Routledge, 2001
HOLLY, Michael Ann e MOXEY, Keith (ed. de); Art History, Aesthetics, Visual Studies, Sterling and Francine Clark Art Institute, 2002
Iconoclash. Beyond the Image Wars in Science, Religion, and Art (cat. da expos.), ZKM e Massachusetts Institute of Technology, 2002
JARQUE, Fietta e ZABALBEASCOA, Anatxu; “Templos del arte y el ocio”, El País - Babelia, 21.07.09, pp. 4-7
KODA, Harold; Extreme Beauty – The Body Transformed, Yale University Press, 2004
KROMM, Jane, BAKEWELL, Susan Benforado (ed.de); A History of Visual Culture: Western Civilization From The 18th To The 21st Century, Berg, 2010
LE GOFF, Jacques e TRUONG, Nicholas; Uma história do corpo na Idade Média, Teorema, 2005
Lucie-Smith Edward; L. érotisme dans l.art occidental
MAIO, Luís; “O triunfo da morte”, Público – Ípsilon, 16.04.10, pp. 36-38
MIGLIETTI, Francesca Alfano; Extreme Bodies: The Use and Abuse of the Body in Art, Skira, 2003
Mirzoeff Nicholas 340; The visual culture reader. ISBN: 0-415-14133-8
MUÑOZ MOLINA, Antonio; “Escenas de museo”, El País- Babelia, 11.10.08, p. 9.
Nead Lynda; The female nude. ISBN: 0-415-02678-4
PHILLIPS, Ruth B.; Unpacking Culture – Art and Commodity in Colonial and Postcolonial Worlds, University of California Press, 1999
POOKE, Grant e NEWALL, Diana; Art History - The Basics, Routledge, 2008
Preziosi Donald 340; The art of art history. ISBN: 0-19-284242-0
RATO, Vanessa; “Os anos da sincronia absoluta”, Público – Ípsilon, 8.01.10, pp. 16-19.
Schumm Petra 340; Barrocos y modernos
SPECTOR, Nancy; Matthew Barney: The Cremaster Cycle (cat. da expos.), The Solomon R. Guggenheim Foundation, 2002
TINAGLI, Paola; Women in Italian Renaissance Art: Gender, Representation, Identity, Manchester University Press, 1997
The Sacred Made Real: Spanish Painting and Sculpture, 1600-1700 (cat. da expos.), The National Gallery, 2009
Tucherman Ieda; Breve história do corpo e de seus monstros. ISBN: 972-699-577-9
Ultra Baroque – Aspects of Post-Latin American Art (cat. da expos.), La Jolla Museum of Contemporary Art, 2000
VIGARELLO, Georges; Historia del cuerpo, vol. I, Del Renacimiento al Siglo de las Luces, Editorial Taurus, 2005

Teaching methods and learning activities

The unit operates under a regime of theoretical-practical lessons, lasting four hours, including:
1. Introductory presentations by the teacher.
2. Presentations of illustrations of the themes and of the main theoretical texts (student’s work).
3. Discussions based on the information presented and on the literature of the discipline.
The theoretical and practical classes are composed of one part of presentation of the themes, complemented by the participation of students. In classes that include the discussion of the required texts, there is always a brief summary of the texts by the teacher, followed by the presentation of the same by the students and by a collective discussion. The main objective is to develop in the students the capacity for independent and reflective interpretation of the texts from different writers, contextualizing them according to their research interests.

keywords

Humanities > History > Art History
Humanities > Arts > Visual arts

Evaluation Type

Distributed evaluation without final exam

Eligibility for exams

Attendance to classes is mandatory; there will be an attendance record.

Calculation formula of final grade

The final assessment is the result of a mandatory sum of three components:
1. Making a presentation in class of a theoretical text contained in the obligatory bibliography of the discipline, on one of the topics discussed. The aim is a commented reading of the arguments put by the author or authors.
2. Making a presentation in class on one of the themes addressed in the course.
3. Conducting a final work that must constitute itself as a short essay (maximum of 5 pages) on a topic of choice, appropriate to the objectives of the seminar, which is basically a theoretical reflexion contextualizing the student's personal artistic practice.
Note: There will be no intermediate grades, only a final one.

Examinations or Special Assignments

Not applicable

Special assessment (TE, DA, ...)

Students with special status may not attend classes but will have to undergo the same type of evaluation of the remaining students, namely:
The final assessment is the result of a mandatory sum of three components:
1. Making a presentation in class of a theoretical text contained in the obligatory bibliography of the discipline, on one of the topics discussed. The aim is a commented reading of the arguments put by the author or authors.
2. Making a presentation in class on one of the themes addressed in the course.
3. Conducting a final work that must constitute itself as a short essay (maximum of 5 pages) on a topic of choice, appropriate to the objectives of the seminar, which is basically a theoretical reflexion contextualizing the student's personal artistic practice.
Note: There will be no intermediate grades, only a final one.

Classification improvement

Not applicable

Observations

Attention to students: Mondays and Tuesdays from 9 a.m. to 10 a.m., by previous appointment, given the high number of students.