Contemporary Art and Visual Culture

Code:

MHAPCV011

Acronym:

ACVC

Keywords
Classification	Keyword
OFICIAL	Art History

Instance: 2024/2025 - 2S

Active?	Yes
Responsible unit:	Department of Heritage Studies
Course/CS Responsible:	History of Art, Heritage and Visual Culture

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
MHAPCV	19	MHAPCV - Study Plan	1	-	6	41	162

Teaching language

Portuguese
Obs.: Português - Suitable for English-speakers students

Objectives

 

-To know the ideas and the most relevant discussions within the artistic practices in the XX and XXI centuries;

-To understand the changes to the concept of artist and work of art in the diversity of economic and artistic contexts;

-To identify trends, authors and works, national and international, in relation to its theoretical foundations, and understand their importance in context.

-To understand proposals of transgression in the traditional specific fields of art and their contribution to the public’s engagement/inclusion and for the origin of new practices;

-To understand how the development of audio-visual technologies has enabled the expansion of media, supports and resources, both theoretical and practical, in the artistic and cultural universes.

Learning outcomes and competences

 

-To develop theoretical and conceptual tools for the analysis of contemporary artistic practices from  general issues whose approach allows transverse and comparative treatments (chronologically speaking) of ideas and information on production;

- To get skills to critically think about the circuits of ideas and their transformations between theory and artistic production;

- To get skills to analyze the connections between political ideas and public art, between aesthetic and political revolutions and the proposals / transgression practices of traditional specific fields of art;

- To understand the reformulations of objectives and creative processes (from the collapses of representation to the reinterpretation and digital appropriation and Engaging Art) and the fundamental problems relatated to issues such as the reception, the "death of art", the participation / inclusion of public and the origin of new practices.

Working method

Presencial

Program

1. Time, representation and sign;

2.Dematerialization and new media;

3.The Communicative Body: obvious body/strategic body;

4.Ideas, Political Practices and Artistic Spaces;

5.Engaging Art, inclusion and intervention;

6. Original, Appropriation, Simulation and Simulacra;

7.Functions, dysfunction and polysemies of the artistic fact;

8. Visual cultures and transgression practices;

9. Museums and Art spaces.

Mandatory literature

Amelia Jones; A^companion to contemporary art since 1945. ISBN: 978-1+4051-3542-9
FRANCISNA, Francis (ed); Modern Art and Culture, New York: Routledge,, 2009. ISBN: ,978-0-415-23152-7
Mário Caeiro; Arte na cidade. ISBN: 978-989-644-282-8
HEATHFIELD, Adrian. (ed.) ; Live: Art and Performance, Tate., 2015. ISBN: 978-1854375018
SMITH, T.; ENWEZOR, O.; CONDEE, N. (ed.); Antinomies of Art and Culture, Durham/London: Duke University Press, 2008. ISBN: 978-0-8223-4203-8
HICKS, Alistair; The Global Art Compass: New Directions in 21st Century Art, Thames & Hudson, 2014. ISBN: 978-0-500-23919-3
FRIELING, Rudolf [et al]; The Art of Participation; 1950 to Now, SFMoMA/ Thames & Hudson, 2008. ISBN: 978-0-500-23858-5
KOCUR, Zoya; LEUNG, Simon (ed.); Theory in Contemporary Art since 1985, Blackwell Publishing, 2006. ISBN: 978-0-631-22867-7
NELSON, R. S.; SHIFF, R. (ed.); Critical Terms for Art History, Chicago: The University of Chicago Press , 2003. ISBN: 978-0226571683
Peter Osborne; Conceptual art. ISBN: 978-0-7148-6112-8
SHANKEN, E. A. (ed.) ; Art and Electronic Media, Phaidon Press, 2014. ISBN: 978-07148 4782 5
STILES, K.; SELZ, P. (ed.); Theories and documents of Contemporary Art, California: University of California Press., 2012. ISBN: ISBN: 978-0520257184
HEIN, Hilde S. ; The Museum in Transition: a Philosophical Perspective., Washington: Smithsonian Books, 2000
Martine Joly; A^imagem e os signos. ISBN: 972-44-1246-6
O’DOHERTY, Brian ; Inside the White Cube. The Ideology of the Gallery Space., Los Angeles: University of California Press, 1999
SEROTA, Nicholas ; Experience or Interpretation. The Dilemma of Museums of Modern Art., London: Thames & Hudson, 2000
CARRIER, David ; Museum Skepticism: A History of the Display of Art in Public Galleries., Durham and London: The Duke University Press, 2006

Complementary Bibliography

ALMEIDA, Bernardo Pinto de; Arte Portuguesa no século XX. Uma História crítica, Matosinhos: Coral Books, 2016. ISBN: 978-989.8851-08-6
ROSENDO, Catarina; Escritos de Artistas em Portugal. História de um esquecimento, Lisboa: Edições Documenta., 2016. ISBN: 978-989-8834-41-6
CASTRO, Laura; Exposições de Arte Contemporânea na Paisagem: antecedentes, práticas actuais e problemáticas, Porto: Fundação Eng. António de Almeida, , 2012. ISBN: 978-972-8386-93-1

Comments from the literature

Specific bibliography will be indicate in class when needed.

Teaching methods and learning activities

The syllabus assumes a susceptible theoretical and practical approach to promote debate in the classroom, resorting to analysis from various sources. The direct contact with the artwork and the art space will be prioritized.

Fieldwork extends methodologies and facilitates the application of research techniques. Invitations to recognized experts in the field of study (who develop studies within this thematic) will be extended so they can share research experiences in the classroom context or in their workplace - "Cycle of open classes. Contemporary Artistic Pratices: Different Perspectives from Different Origins".  

The exposure of programmatic contents in class is supported by the presentation of audiovisual material, the analysis of primary and secondary sources and the presentation of case studies in the classroom context (WT) and in field work (TC) - approaches that aim to consolidate the acquired knowledge and promote critical exercise. OT sessions are for the monitoring of practical work and the deepening of program contents.

keywords

Humanities
Humanities > History
Humanities > History > Art History

Evaluation Type

Distributed evaluation without final exam

Assessment Components

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

Amount of time allocated to each course unit

Designation	Time (hours)
Estudo autónomo	60,00
Frequência das aulas	41,00
Trabalho de investigação	61,00
Total:	162,00

Eligibility for exams

Calculation formula of final grade

Individual work  (100%)

Examinations or Special Assignments

A written research work on a subject (chosen in combination with the teacher) inserted within the objectives of the UC (not to exceed 15 A4 pages).

Criteria for consideration/evaluation - written submission:

- Creativity (choice of subject, justification of the relevance of the approach, ways of articulating acquired knowledge);

- Rigor and accuracy in the application of the specific norms of an academic work in the formal and methodological scope;

- Ability to relate the subject under study with the objectives of the UC and its transversality in the course.

Internship work/project

Not apliable.

Special assessment (TE, DA, ...)

According to the Assessment Regulations in force.

Classification improvement

Not apliable.

Observations

Lowest grade needed to pass: 10 out of 20.

Under the MHAPCV, is encouraged students to submit papers to scientific journals with referees, as well as the participation and organization of scientific meetings. If articles resulting from the research carried out in the context of this UC, which are subject to monitoring by the teacher (s), are submitted, students must inform the submission of the article to their teachers. In addition, we ask you to indicate (in a footnote and / or during the communication) that the study was carried out in the context of this UC, within the scope of the Master in Art History, Heritage and Visual Culture of the Faculty of Arts and Humanities of University of Porto and in the present academic year.