Art Science Seminar

Code:

SCA411

Acronym:

SCA

Keywords
Classification	Keyword
OFICIAL	Art Sciences

Instance: 2015/2016 - 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

PROF. MJG:

Approach to some theoretical perspectives, methodologies, concepts and problems of the study area of the cultural studies, and art history in particular, whose thoughts tainted and necessarily still influence contemporary artistic practice and culture.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. Resarch, study and preparation of oral and written presentations. We intend an open dialogue, the discussion of ideas and the exchange of knowledge based on periodical presentations, duly scheduled.

 

 

Prof. Helder Gomes

 Based on the analysis of literary works, will discuss the relationship between reality and fiction: the role of fiction in the construction of human experience? What is the relationship between imagination and the real? Can the art as fiction constitute a real transformation tool or is it just an escape space?

 

Learning outcomes and competences

PROF. MJG: 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. 

Prof. H. G.
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. I

Working method

Presencial

Program

PROF. MJG: The program is structured around some thematic proposals, which may be adapted to the needs and interests of students. It is therefore  not rigid, an "under construction" program. 1. Baroque and neo-baroque.  2. The gaze and the Other. From colonial subject to post-colonialism. Art, miscegenation, globalization. 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.  9. The Internet and the establishment of an "articulated chaos" and of "multiple simultaneous temporalities" 10. The renewed interest in the concept of masterpiece in contemporary aesthetic thought. 11. Cartoons and censorship: the power of images.



Prof. H. G.

The fiction as the actual realization process.

It will be provided to students a list of about twenty literary works (preferably novels, but also short stories and poetry), of which each student will select a book to work.

Starting from the reading and the auxiliary bibliography, is requests to each student to present in class an analysis of the chosen work, according to its dominant issue, which have the following questions attention:

What is the image of the artist?

Which the concept of artistic creation,

Which the concept of power, memory, civilization, etc.

What is the relationship between reality and fiction:

Is it real or imaginary (fiction) the world's image here emerges?

Art is here rather than escape, construction, and manufacturing?

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

Comments from the literature

BIBLIOGRAPHY INDICATED IS FOR PROF. MJG'S CLASS

Teaching methods and learning activities

PROF. MJG: The unit operates under a regime of seminar, lasting three 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.

 Prof. H. G.
The unit operates under a regime of seminar, lasting three 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.

keywords

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

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	50,00
Trabalho escrito	50,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Frequência das aulas	42,00
Trabalho de investigação	15,00
Total:	57,00

Eligibility for exams

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

PROF H. G:Attendance to classes is mandatory; there will be an attendance record.

Calculation formula of final grade

PROF. MJG: The final assessment is the result of a mandatory sum of two components: 1.(Mandatory, 50%): a.Presentation in class of a theoretical text from the bibliography, on one of the topics discussed. The aim is a commented reading of the arguments used by the author(s), OR b.Presentation in class on one of the themes addressed in the course. 2. (Mandatory, 50%): 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 reflection contextualizing the student's personal artistic practice. Note: There will be no intermediate grades, only a final one.

PROF. H. G. :The final assessment is the result of a mandatory sum of two components: 1.(Mandatory, 50%): . Presentation in class of a critical analysis of the chosen literary work. 2. (Mandatory, 50%): A short essay (about 10 pages), containing a critical reflection and based on the work chosen by the student.

 

Examinations or Special Assignments

Not applicable

Special assessment (TE, DA, ...)

PROF. MJG: Students with special status may not attend classes but will have to undergo the same type of evaluation of the remaining students, as stated above. The final assessment is the result of a mandatory sum of the two components already described.These two components will be held and delivered in a single date, subject to the teacher's appointment, during the period for evaluations (until june 17).

PROF. H. G. : IDEM

Classification improvement

PROF. MJG: Improvement of grade, as stated in Articles 10th and 11th of the General Regulations for the Assessment of UP students, is permitted upon assessment in the same conditions of regular students. Thus, students who wish to improve their grades will have to be subject to the same type of evaluation of other students, as described above: the final assessment will be the result of the sum of the two mandatory components described. These two assessments will be held and delivered in one single date, defined by the teacher, during the period reserved for the final evaluations (until June 17).

 Alternatively, improvement of grade can be obtained by fully attending the course, in accordance with Article 11th of the General Regulations for the Assessment of UP students.

H. G. : IDEM

Observations

PROF. MJG: Attention to students: by previous appointment by email, given the high number of students.

PROF. H. G. : IDEM