Art History

CARLA SUBRIZI

The main objective of the course is to deepen the knowledge of some aspects of art from the 19th C. to the present, with advanced historical-critical tools.

As regards specific objectives, students are expected to learn or assimilate:
a) ability to orient oneself in critical literature and in direct knowledge of the phenomena addressed;
b) ability to analyze the topics addressed, also in view of the production of personal documents;
c) acquisition of autonomous judgment and selection of sources and resources on course topics.

Both during lectures and during visits to museums, exhibitions, ateliers, workshops, the active involvement of students will be solicited, in order to offer a updated knowledge of the major production and research centers related to the topics of the course.
The themes and topics of the course, such as the competencies and abilities to learn, are part of the core curriculum of the Study Programme in Art History.

Gain in-depth knowledge of contemporary art history as it relates to the topics covered in the course. Develop the ability to conduct critical and historical-critical analyses of works and issues related to the course topics.

Knowledge of the history of contemporary art from the 19th to the 21st century

The course focuses on the period spanning from the immediate post-World War II years to the first decades of the 21st century. How have women artists approached the landscape? How does feminism contribute to the rewriting of art history, offering a fresh perspective on both history and works already considered part of the canon? How have themes related to ecology, the environment, and the relationship between art, agriculture, and the landscape (gardens, forests, land) become central to contemporary discourse? What are the differences between a painted landscape and a landscape—as has been the case in recent decades—in which one engages through actions involving territorial, political, and economic issues, and above all, actions that require the active participation of the public, no longer viewed as a passive entity but as an active component that inhabits and lives in a specific place?
Starting from these questions, the course analyzes works and contexts, including those outside Europe. Seminars and events will be organized with the participation of the course students.

Lectures with student participation. Guided tours of exhibitions and seminar activities as part of exhibition projects

required

Oral examination

Based on the books you’ve studied, what are the connections between art history, feminism, and ecology?
Why are feminism and ecology linked or closely connected?
Would you like to tell me about a chapter from the book *Art History and Feminism* that you’ve studied?
Based on this chapter, how do you contextualize the figure of … within the topics covered?
Could you tell me about the artists who, in the 1970s, made the relationship between art and agriculture a field of research?
What has changed with regard to the younger generations of artists who address the same topics?