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Art Theory

Code: 100538
Credits: 6
2026/2027
Degree programme Type Course
Art History FB 1

Contact lecturer

Name :
Nuria Llorens Moreno
Email :
nuria.llorens@uab.cat

Group languages

You can consult this information at the end of the document.

Prerequisites

There are no prerequisites. However, English proficiency is welcomed

Objectives

This course introduces the fundamental vocabulary and concepts of art theory and its evolution until the present day. To this end, It will introduce the fundamental Art concepts and Theories and their evolution and transformations in front of the current art event.
The main objective is to teach the students the definition of art as a complex event and its evolution conjointly with its contemporary socio-technical and socio-political context.

Specific objectives:

  •     Elaboration of a vocabulary and arguments to allow the student to analyse artistic productions
  •     Introduce the evolution of aesthetic categories
  •     Knowing the leading authors of art theory and their works
  •     Knowing the main current theoretical frameworks and their sources
  •     Understanding the art systems and their historical evolution
  •     Learning how to apply theoretical concepts to the analysis of artworks
  •     Apply critical and methodological instruments for the analysis and storytelling of art productions

Learning outcomes

  1. Analysing ideas about an artistic phenomenon in a given cultural context.
  2. Analysing the creators of an artistic phenomenon in a specific cultural context.
  3. Analysing the recipients of an artistic phenomenon in a specific cultural context.
  4. Working in teams, respecting the other's points of view and designing collaboration strategies.
  5. Interpreting and communicating the contents of a text about theory of art and cinema.
  6. Critically analysing basic concepts of artistic and cinematographic theory and its evolution through history.
  7. Interpreting the fundamental concepts of Theory of Art with a critical eye.
  8. Analysing classical and current debates of the History of Art.
  9. Summarising acquired knowledge about the origin and transformations experienced by the general Theory of Art and the various fields of study of the discipline.
  10. Recognising the methodological, iconographic and Art Theory-related knowledge in order to read an artistic imagery.
  11. Using the knowledge of general Art Theory in the criticism of the artistic imagery.
  12. Analysing ideas about an artistic phenomenon, and its creators and recipients in a given cultural context.
  13. Differentiating artistic theories about an artistic phenomenon, its creators and recipients in a given cultural context.
  14. Applying the knowledge about aesthetic ideas and Art Theory to the analysis of the artistic imagery.
  15. Demonstrating the knowledge of scientific methodology, sources and Art Theory in the reading, criticism and formal, iconographic and symbolic interpretation of any artistic or cinematographic imagery.

Contents

Sylabus (Temporary)

The course content is structured around three main objectives:

  • Understanding art as a historical construction.
  • Examining the relationship between art, thought, and its own historical present.
  • Recognizing the constitutive elements of artistic production.

In this sense, in addition to reviewing the major contemporary theories of art, the course is conceived as a workshop in art theory—a space for discussion aimed at understanding the complexity of artistic production from a situated perspective. Artistic production will be examined in relation to its contemporary context, taking into account issues of gender, politics, ideology, and globalization.

The course seeks to explore questions such as the relationship between art and creativity, the formation of the art institution and its various actors, the analysis of the artwork, and the political role of the artist.

Accordingly, the course will address a range of topics through case studies, while also using specific case studies as starting points for developing theoretical approaches to art.

Course Topics

  1. The notion of art and creativity: Joseph Beuys, relational art, and related approaches.
  2. The notion of art and creativity: Joseph Beuys, relational art, and related approaches. (Note: this appears to duplicate Topic 1 in the original syllabus.)
  3. The formation of the art institution and its actors: from the Salon to the white cube and interdisciplinarity.
  4. The invention of the artist: What is an author? What is an artist?
  5. Changes in the artwork and the system of artistic production: from photography to installation, including the ready-made.
  6. Modernity and postmodernity: from the Enlightenment to globalization.
  7. The relationship between art and concepts, or art and thought: conceptual art as the epitome of this relationship.
  8. The boundaries of art: performance, activism, happenings, theatricality, hybridity, and related practices.
  9. Commitment, ideology, and art: from the Paris Commune to countercultural movements.
  10. Art and gender: revisiting the history of art as a heteropatriarchal framework.



Learning activities and methodology

Title Hours ECTS Learning outcomes
Visiting museums and exhibitions 5 0.2 2, 3, 8, 12, 14
Complementary reading 30 1.2 1, 2, 3, 6, 7, 9, 12, 13, 15
Research work (Project based learning) 25 1 4, 6, 7, 9, 10, 11, 12, 13, 14, 15
Tutorship 5 0.2 4, 6, 7, 8, 10, 13, 14, 15
Theoretical classes 40 1.6 1, 2, 3, 5, 6, 7, 8, 10, 11, 12, 13, 14
study ad preparing materials before the class session 30 1.2 1, 2, 3, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15
text coment 15 0.6 1, 5, 6, 7, 8, 10, 12, 13

This subject combines theoretical and practice-based sessions.

  • After the lectures will follow participative workshops, in which the students will apply the concepts and methods learned to analyse artworks and texts.
  • This course also applies project-based learning through the realisation of a research project working in groups; this work will be realised through various sessions, including tutorships.
  • Finally, students must also realise a written assignment, consisting of text and artwork analysis.
  • The course also encourages the active participation of the students in the city's cultural life, recommending the visits to selected museums and exhibitions.
Annotation: within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.

Assessment

Continuous assessment activities

Title Weight Hours ECTS Learning outcomes
individual assessment 40 0 0 1, 5, 6, 7, 9, 10, 11, 12, 13, 15
Research project 40 0 0 1, 2, 3, 4, 6, 7, 8, 11, 12, 13, 14
Involvement in the practice-based sessions 20 0 0 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14

The assessment procedure will consider the correct assimilation, interpretation and communication of the fundamental concepts introduced during the course. Also, their correct application to the analysis of artworks and the acquired knowledge of the main authors and texts of art theory. To this end, students must go through three assessment activities.

  • Participation in the classroom activities. This activity will be evaluated throughout the course, the satisfactory progress counting the 20% of the final record.
  • Group work in a research project according to the project-based learning methodology. (40 %)
  • Final written assessment (40%)

SINGLE ASSESSMENT

Students who opt for a single assessment must complete three assessments:

  • Research project (40%): the student must present a proposal based on the contents of the course and realise it following the instructions of the teacher
  • Written exam (40%)
  • Critical review of one of the mandatory lectures (20%)

Structure and detailed instructions for each assessment will be indicated at the beginning of the course in the virtual campus. Also, the date of accomplishment

Note: the details of the assessment system will be specified at the beginning of the course.

REVIEW AND RECOVERY

On carrying out each evaluation activity, lecturers will inform students (on Moodle) of the procedures to be followed for reviewing all grades awarded, and the date on which such a review will take place.

To participate in recovery, students must have previously been evaluated in a set of activities whose weight equals a minimum of 2/3 of the total grade.

Students will obtain a Not assessed/Not submitted course grade unless they have submitted more than 30% of the assessment items.

In the case of Single Assessment, recovery is only permitted to students who have accomplished all the activities.

Except for Participatory activities carried on in the classroom, all other activities are recoverable through a finalexam (written exam) and by the realisation of an equivalent research work (research project)

USE OF AI

The use of AI technologies is only permitted in supportive tasks, such as translations, presentation design and the search of complementary sources of information. The student must identify which parts of their work he/she has generated with AI and add a critical reflection about the influence of this Technology on the attained results. The lack of transparency in the use of IA will be considered a lack of scholarly honesty and will be sanctioned.

*In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.


Bibliography

  • Adorno, Theodor W. et al. Teoría estética / Th.W. Adorno ; edición de Rolf Tiedemann con la colaboración de Gretel Adorno, Susan Buck-Morss y Klauss Schultz ; traducción: Jorge Navarro Pérez. Tres Cantos (Madrid): Akal, 2004.
  • Adorno, Theodor W. et al. Dialéctica de la ilustración : fragmentos filosóficos / Max Horkheimer y Theodor W. Adorno ; edición de Rolf Tiedemann ; con la colaboración de Gretel Adorno, Susan Buck-Morss y Klaus Schultz ; traducción de Joaquín Chamorro Mielke. Madrid: Akal, 2007.
  • Benjamin, Andrew E. Walter Benjamin and Art Edited by Andrew Benjamin. Ed. Andrew E. Benjamin. London: Continuum, 2005.
  • Benjamin, Walter, and Jesús Aguirre. Iluminaciones / Walter Benjamin. Madrid: Taurus, 1971.
  • Benjamin, Walter., and Andrés E. Weikert. La obra de arte en la época de su reproductibilidad técnica. Ciudad de México: Editorial ITACA, 2003.
  • Theodor Adorno, Walter Benjamin, Ernst Bloch, Bertolt Brecht, and Georg Lukács, Afterword by Fredric Jameson Aesthetics and Politics, 2007, Verso ISBN-10: 184467570X
  • Bürger, Peter. Teoría de la vanguardia / Peter Bürger; traducción de Jorge García ; prólogo de Helio Piñón. Barcelona: Península, 1987.
  • Burgin, Victor. The End of Art Theory : Criticism and Postmodernity / Victor Burgin. Houndmills [etc: Macmillan, 1986.
  • Foster, Hal. The Anti-Aesthetic : Essays on Postmodern Culture / Ed. by Hal Foster. Washington: Bay Press, 1983.
  • Foster, Hal., and Alfredo Brotons Muñoz. El Retorno de lo real : la vanguardia a finales de siglo / Hal Foster ; traducción Alfredo Brotons Muñoz. Madrid: Akal, 2001.
  • Fried, M. (1998). Art and objecthood : essays and reviews. University of Chicago Press
  • Gaiger, Jason, and Paul Wood. Art of the Twentieth Century : a Reader / Edited by Jason Gaiger and Paul Wood. New Haven, London: Yale University Press, 2003. Print.
  • Greenberg, Clement. Arte y Cultura : ensayos críticos. Barcelona: Gustavo Gili, 1979. Print.
  • Grzinić, Marina, and Sefik Tatlić. Necropolitics, Racialization, and Global Capitalism : Historicization of Biopolitics and Forensics in Politics, Art, and Life / Marina Grzinić and Sefik Tatlić. Lanham, Maryland ;: Lexington Books, 2014.
  • Harman, Graham. Arte y Objetos/ Enclave de Libros Ediciones, 2021. ISBN: 9788412218213
  • Huyssen, Andreas. Modernismo después de la Posmodernidad. Madrid: Gedisa, 2011 ISBN: 849784286384
  • Kant, Immanuel. Critica del juicio. Madrid: Espasa Calpe. 1981
  • Krauss, Rosalind E., and Adolfo. Gómez Cedillo. La Originalidad de la vanguardia y otros mitos modernos / Rosalind E. Krauss ; versión española de Adolfo Gómez Cedillo. Madrid: Alianza, 1996.
  • Krauss, Rosalind E., and Marcel. Broodthaers. A Voyage on the North Sea : Art in the Age of the Post-Medium Condition / Rosalind Krauss. New York: Thames & Hudson, 2000. Print.
  • Leonardo, and Leon Battista Alberti. El Tratado de la pintura / Leonardo de Vinci. i Los Tres libros que sobre el mismo arte escribió León Bautista Alberti. Barcelona: Alta Fulla, 1999. Print.
  • Lippard, Lucy R. Seis años : la desmaterialización del objeto artístico de 1966 a 1972 / Lucy R. Lippard. Madrid: Akal, 2004.
  • Lyotard, Jean François (2004) La Condición Postmoderna: informe sobre el saber, centre de estudis de temes contemporanis: Angles
  • Mignolo, Walter. Historias locales, diseños globales : colonialidad, conocimientos subalternos y pensamiento fronterizo / Walter D. Mignolo. Madrid: Akal, 2003. Print.
  • Owens, Craig, Scott Bryson, and Scott Stewart. Bryson. Beyond Recognition : Representation, Power, and Culture / Craig Owens ; Edited by Scott Bryson ... [et Al.]. Berkeley: University of California Press, 1992. Print.
  • Robinson, Hilary, Maria Elena Buszek, and Dana Arnold. A Companion to Feminist Art. Newark: John Wiley & Sons, Incorporated, 2019.
  • Smith, Paul and WILDE, Carolyn (Eds)(2002) A Companion to Art Theory, Blackwell
  • Wood, Paul., Isabel. Balsinde, and Isabel Balsinde. La Modernidad a debate : el arte a partir de los años cuarenta / Paul Wood ... [et al.] ; traducción: Isabel Balsinde. Madrid: Akal, 1999. La Modernidad a debate : el arte a partir de los años cuarenta / Paul Wood ... [et al.] ; traducción: Isabel Balsinde. Madrid: Akal, 1999.
  • Worringer, W. (1942). La Esencia del estilo gótico. Revista de Occidente Argentina.
  • Worringer, W., & Fons J.V. Foix. (1953). Abstracción y naturaleza. Fondo de Cultura Económica

Software

Not applicable.

Course groups and languages

The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE

Type of teaching Group Language Semester Shift
(TE) Theory 1 Catalan/Spanish first semester morning-mixed
(PAUL) Classroom practices 1 Catalan/Spanish first semester morning-mixed