Art Criticism
Code: 100558Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Art History | OB | 3 |
Contact lecturer
- Name :
- David Gutierrez Torres
- Email :
- david.gutierrez.torres@uab.cat
Teaching staff (external to UAB)
- Per determinar
Group languages
You can consult this information at the end of the document.
Prerequisites
There are no prerequisites beyond the usual third-grade degree.
Objectives
The aim of the subject is to develope the knowledge, analysis and use of conceptual and methodological tools that allow the student to produce critical content in different areas of art.
The subject is structured in three aspects:
- From a diachronic point of view, there will be a tour of the main lines that have shaped the critical practice since the Second World War
- From a synchronic point of view, it will reflect on the current role of art criticism, rather, on the roles of criticism, basically in its extension towards curating as a configurator of content in art
- And, in a practical sense, the practice of art criticism will be worked on, both from writing and from curating and debate as a basic critical tool.
The subject is configured in strong correlation with the artistic practice and with the artistic manifestations in course. It will encourage critical analysis of the current status of art and the ability to make proposals. In this sense, the subject proposes a work seminar in which to articulate theory and practice.
- Know the main lines of art criticism
- Become familiar with tools of analysis and opinion
- Work on writing and critical argumentation skills
- Learn to develop projects in the diferents issues of the critic
- Develop concepts related to curating as an extension of art criticism
- Apply the ability to relate concepts and works and diverse cultural productionsto each other.
- Become aware of the relationship between current and critical activity
Learning outcomes
- Applying the iconographic knowledge to the reading of artistic imagery.
- Analysing ideas about an artistic phenomenon in a given cultural context.
- Analysing the creators of an artistic phenomenon in a specific cultural context.
- Analysing the recipients of an artistic phenomenon in a specific cultural context.
- Critically analysing basic concepts of artistic and cinematographic theory and its evolution through history.
- Interpreting the fundamental concepts of Theory of Art with a critical eye.
- Analysing classical and current debates of the History of Art.
- Summarising acquired knowledge about the origin and transformations experienced by the general Theory of Art and the various fields of study of the discipline.
- Using the knowledge of general Art Theory in the criticism of the artistic imagery.
- Analysing ideas about an artistic phenomenon, and its creators and recipients in a given cultural context.
- Differentiating artistic theories about an artistic phenomenon, its creators and recipients in a given cultural context.
- Applying the knowledge about aesthetic ideas and Art Theory to the analysis of the artistic imagery.
- 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.
- Engaging in debates about historical facts respecting the other participants' opinions.
- Propose new methods or well-founded alternative solutions.
- Analyse the sex- or gender-based inequalities and the gender biases present in one's own area of knowledge.
Contents
Introduction to art criticism from the configuration of the art system: art and city; Baudelaire; Walter Benjamin
The American critical tradition from Clement Greenberg; the criticism to formalism; the question of gender and queer theory, from Guerrilla Girls, Douglas Crimp, activism against AIDS and gender studies.
Criticism as a critical state: the questioning of its effectiveness; the possible meteorological inespecifity; the disappearance of critical space.
Map of criticism in Span: the effervescence of the art system from 90's and the appearance of critics, magazines, art centers, curators...
Tasks of criticism: curating as an extension of art criticism.
Criticism of art as a rapporteur: the consideration of criticism as a literary form of non-fiction; the definition of an author who speaks for others; the criticism of imagination and originality
Subjectivity vs. trans subject: the trans space of criticism and curating and the configuration of a contemporary subject.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Critical reading | 20 | 0.8 | 1 |
| Public presentation of a critical reading project about artistic practices | 20 | 0.8 | 1 |
| Critical reading and writing | 20 | 0.8 | 1 |
| Master classes (history of criticism, space of criticism, the story-teller and the Trans subject) | 25 | 1 | 1 |
| Seminar: the state of criticism; the description and the critical attitude based on the observation. | 25 | 1 | 1 |
| Exhibitions visiting | 15 | 0.6 | 1 |
| Master classes (curating introduction) | 25 | 1 |
Autonomous activities are basically formed by reading and working on the evaluable texts as well as visits to exhibitions.
The directed activities consist of master classes with a high incentive to participation from the visits to recommended museums and artistic centers in the attempt that the discursive practice accompanies a critical praxis and analysis.
The supervised activities are formed by the contributions to the seminars, the contributions in the written tests and the public presentation of the projects of the students
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Paper on observation, recognition and description | 15 | 0 | 0 | 1, 4, 11 |
| Paper on analysis and positioning | 20 | 0 | 0 | 1, 2, 5, 6, 9, 12, 13, 14, 16 |
| Active participation in critical debates | 10 | 0 | 0 | 2, 3, 4, 5, 6, 10, 14 |
| Writing of a critical essay on a current artistic manifestation | 40 | 0 | 0 | 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 14, 15 |
| Participation in the elaboration criticism map | 15 | 0 | 0 | 2, 3, 4, 6, 7, 8, 9, 10, 12, 14, 16 |
It is essential to attend and collaborate in class dynamics (debates, presentations and possible visits).
The evaluation will take into account the student's contribution to the class discussion dynamics. It will also propose several exercises of continuous evaluation that lead to the elaboration of an art critique essay or the elaboration of an art critique project.
At the time of carrying out each evaluation activity, the teacher will inform the students (Moodle) of the procedure and the date of revision of the qualifications.
single evaluation
Preparation of 3 research papers and a critique:
1. research paper on art criticism 20%
2. Research on Art Criticism medias. 20%
3. historical analysis of art criticism 30%
4. final critique with specific characteristics 30%
Recovery
To participate in the recovery process, you must have obtained a final median grade of 3.5 and you must have been previously evaluated in a set of activities, the weight of which is equivalent to a minimum of 2/3 of the total grade. (CONTINUOUS ASSESSMENT) or free all scheduled tests (SINGLE ASSESSMENT).
The same recovery system will be applied as for the continuous evaluation.
Penalties for irregularities
In the event that the student performs any irregularity that may lead to a significant variation of an evaluation act, this evaluation act will be graded with 0, regardless of the disciplinary process that could be instructed. In the event, that several irregularities occur in the evaluation acts of the same subject, the final grade for this subject will be 0.
Use of AI
Thissubject allows the use of AI technologies technologies is permitted as an additional tool for the development of the assignment, specifically for bibliographic or information searches, text corrections, or translations, provided that the final result reflects the student's personal contribution to the analysis and reflection.
The student must specify the tools used.
Lack of transparency in the use of AI in this assessable activity will be considered academic dishonesty and will result in the assignment being graded with a 0, which cannot be retaken, or in more serious cases, with greater sanctions.
Bibliography
BALZER, David, Curationism. How Curating Took Over the Art World and Everything Else, Toronto, Coach House Books, 2014
BASSAS, Xavier, Genealogías curatoriales, Casimiro Libros, 2016
BENJAMIN, Walter, El autor como productor, Madrid, Taurus 1975
BOURDIEU, Pierre. Las reglas del arte. Génesis y estructura del campo literario, Barcelona, Anagrama, 2002
BOURRIAUD, Nicolas. Post producción. Buenos Aires: Adriana Hidalgo, 2004
CRIMP, D. Posiciones críticas. Akal: Madrid, 2005.
DANTO, A. Después del fin del arte. El arte contemporáneo y el linde de la historia. Paidós: Barcelona, 1999
DE DUVE, T. Clement Greenberg entre líneas. Acto ediciones, 2005.
FERNÁNDEZ PORTA, Eloy. Homo Sampler. Tiempo y consumo en la Era Afterpop, Barcelona, Anagrama, 2008
FRIED, M. Arte y objetualidad. La balsa de la medusa: Madrid, 2004.
GLICENSTEIN, Jérôme, L'invention du curateur, Paris, Presses universitaires de France, 2015
GREENBERG, C. La pintura moderna y otros ensayos. Siruela: Madrid, 2006
GOLDSMITH, Kenneth. Escritura no-creativa: gestionando el lenguaje en la era digital, La caja negra, 2015
GUASCH, Anna. El arte del siglo XX en sus exposiciones: 1945‐1995, Barcelona, Ediciones del Serbal, 1997
GUASCH, A.Mª. La crítica dialogada. Cendeac: Murcia, 2006
MANEN, Martí, Salir de la exposición (si es que alguna vez habíamos entrado), Bilbao, Consonni, 2012 ULRICH
MILLET, C. Le critique d'art s'expose. Editions Jacqueline Chambon: París, 1993
NICKAS, Robert. Live Free or Die, París, Les presses du réel, 2000
OBRIST, Hans. Breve historia del comisariado, Exit, 2010.
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 | second semester | morning-mixed |
| (PAUL) Classroom practices | 1 | Catalan/Spanish | second semester | morning-mixed |