School of Arts

8 - History and Theory of Arts and Media I

This course is part of the programme:
Bachelor's programme in Digital Arts and Practices

Objectives and competences

  • Studying the key characteristics of fine arts, visual and digital arts from their historical origins until today. Studying the periods of the history of art, different directions, movements, spiritual-historical development and art-historical development;
  • ability to recognise works of art and connect them in relation to the timeline and concepts;
  • encouraging students to reflect on connections among different forms of art through a historical perspective;
  • studying the specific styles and periods of the history of fine arts (the 20 century and the first decade of the 21 century) with reference to the theoretical questions which the rhe works of art, the world of art or a wider cultural context have posed within a particular period;
  • ability to discern characteristics of the key historical works of art, and knowledge of technological development; application, by means of an analytical process, of theoretical knowledge to one’s own work.
  • studying the key theories and interpretations of contemporary arts since the historical Avantgarde period until the modern times, and ability to use the knowledge in a written assignment;
  • understanding these theories and interpretations, and ability to apply them when evaluating a particular work, opus, or time period.

Within the module, the students will be able to obtain the following general competences:

  • analytic and synthetic skills;
  • ability to apply the obtained knowledge in practice;
  • development of critical and self-critical evaluations;
  • ability to use critical arguments to present and defend one’s own viewpoints, and consider the viewpoints of one’s colleagues;
  • mastering research methodologies, procedures and processes;
  • autonomy in one’s own professional work.

Prerequisites

General education and secondary school knowledge in the field of history of fine arts, philosophy, literature, and music.

Content (Syllabus outline)

History and theory of art and media module consists of three types of contents:

a) historical contents encompass a wider field of art and are based on comparisons and parallels among different types of art and artistic directions; these contents include Comparative history of art amd History of art in the 20 century;

b) historical-critical contents in the fields of film, animation, photography and new media are carried out as theoretical lectures, supported by an analysis of historically significant works of a particular period;

c) critical-theoretical contents rely on a critical theory of contemporary arts and media, which, via the theory of art and works’ analysis, involves students into a critical dialogue and encourages them to critically reflect on their own work.

Historical contents include a chronological overview of the development of the history of art from its beginnings (paleolithic period) to the present days (contemporary art); seeking of analogies, connections among different forms of art and periods within them.

Content units in year one:

  • Comparative history of art
  • Critical theory of art and media I
  • Historical-critical contents in film studies, animation, photography and new media I

Comparative history of art since the paleolithic times until the beginning of the 20 century: establishing parallels and connections among different forms of art and periods within them, in particular comparisons between the development of fine arts on one hand, and literature and music, on the other hand. Through the historical approach, the students become acquianted with the “intermedia” understanding of art and an integral view of the history of man’s creativity.

The critical theory of contemporary arts and media (CTCAM) unites a presentation of the key theories and interpretations of contemporary art, that is, of the art in the second half of the 20 century and the first decade of the 21 century. This teaching unit aims to critically present the key issues related to contemporary art, from Greenberg’s critical theories of late modernism to the so called institutional theory.

At the same time, it is concerned with a historical view of the issues such as stylistic analyses, iconology, structuralism and semiotics, and sociological history of art. It also touches upon the questions of form and conceptual art, art as philosophy, ending of art and postmodern approaches (neo-marxisim, deconstruction, feminisim) and the institutional theory of art. A special section of lectures will be dedicated to local theories and interpretations of art.

We are concerned with a chronological overview of the origins and development of particular theories in the 20 century and early 21 century as well as with a critical evaluation of the beginnings, development and existence of certain approaches towards art within a specific historical moment. In year one, the subject provides a chronologicla overview and presentation of the key theroies and interpretations of art from the end of World War II until the end of the 1980s in Europe and the United States.

Historical-critical contents: history of a particular field of art and media; history of technological development within a particular field and of historically significant works of art. The important part of the contents is dedicated to analyses of works of art, comparisons with contemporary works, and development of critical thinking related to a respective field.

Intended learning outcomes

  • Knowledge of the developmental logic of fine arts and ability to connect other forms of art (music, literature, film, photography, etc) into a wholesome picture of art as developed through history;
  • understanding the processes of dynamics inherent in art development and of intercultural connections existing among the different types of art;
  • knowledge of the developmental logic of interpretations and the theory of contemporary arts;
  • ability to discern specific possibilities and aspects of interpretation and thinking about contemporary art, and ability to apply knowledge to a particular piece of art, opus or time period;
  • understanding the origins, development and rule of particular theories;
  • ability to interpret, reflect, evaluate, compare and synthesise fine arts, literary, music, photographic, audio-visual, performative works, particular pieces of art, opuses or time periods within the history of fine arts, visual and digital arts; also, ability to find parallels with other forms of arts.

Readings

Adorno, Theodor W.: Umetnost, družba, etika. V: Misel o moderni umetnosti, Janez Vrečko (ur.).

Altshuler, Bruce: The Avant-Garde in Exhibition, New Art in the 20th Century. New York: Harry N. Abrams, Inc, 1994.

Ambrož, Darinka in ostali: Branja 3, 4. Ljubljana: DZS, 2002, 2003.

Anderson, Benedict: Zamišljene skupnosti, SH Zavod za založniško dejavnost, Ljubljana 1998.

Bahtin, Mihail: Teorija Romana. Ljubljana: CZ 1982.

Barker, Emma: Contemporary Cultures of Display, New Haven & London: Yale University Press 1999.

Barthes, Roland: »Retorika slike«: V: Plastički znak: Zbornik tekstova iz teorije vizualnih umjetnosti, ur. Nenad Miščević, Milan Zinaić, Rijeka: Izdavački centar 1981.

Bazin, Andre: »The Onthology of the Photographic Image«, Classsic Essays in Photography, Alan Trachtenberg (ur.), Leete\'s Island Books, New Haven 1980, 237–244.

Belting, Hans: Das Ende der Kunstgeschichte?, Deutscher Kunstverlag, München 1983, (prevedel Christopher S. Wood, The End of the History of Art, The University of Chicago Press, Chicago and London 1987).

Benjamin, Walter: Umetnina v času, ko jo je mogoče tehnično reproducirati, Izbrani spisi, SH Zavod za založniško dejavnost, Ljubljana 1996.

Berger, John: Ways of Seeing, based on the BBC television series, BBC and Penguin Books, London 1972.

Biemel, Walter: Filozofijske analize moderne umjetnosti. Zagreb: Centar društvenih djelatnosti 1980, Biblioteka Pitanja 10.

Bolter, Jay David in Grusin, Richard: Remediation: Understanding New Media, The MIT press, London 2001.

Bordwell, David in Thompson Kristin: Film History: An Introduction, McGraw-Hill, 2002.

Brejc, Tomaž: Iz modernizma v postmodernizem I, II. Piran: Obalne galerije, 2000.

Brejc, Tomaž: Temni modernizem. Ljubljana: Cankarjeva založba, 1991.

Brejc, Tomaž: Umetnostna zgodovina ob koncu modernizma, Slovenska umetnostna zgodovina, Tradicija, problemi, perspektive, ur. Barbara Murovec, Založba ZRC, Ljubljana 2004, 107-114.

Bürger, Peter: The Decline of Modernism, Polity Press, Cambridge 1992. (prevedel Nicholas Walker).

Burgin, Victor: The End of Art Theory: Criticism and Postmodernity, (Communications & Culture), Brill Academic Publishers, Boston 1986.

Cook, David A, A History of Narrative Film, W. W. Norton & Company, 1996.

Danto, Arthur C., The End of Art, The Death of Art, ur. Berel Lang, Haven Publications, New York 1984.

Danto, Arthur C., The philosophical disenfranchisement of art, Columbia University Press, New York 1986.

Dickie, George, Kaj je umetnost, Institucionalna analiza, ANLIZA, časopis za kritično misel, 3–4/IV, Društvo za analitično filozofijo in filozofijo znanosti, Ljubljana 2001, (prevedel Božidar Kante), str. 27 – 41.

Doty, Robert: Photo Secession, Photography as a Fine Art, New York, 1960.

Eco, Umberto: \“Casablanca: Cult Movies and Intertextual Collage,\” Travels in Hyperreality (New York: Harcourt Brace Jovanovich, 1983

Eagelton, Terry: Capitalism, Modernism and Postmodernism. V: Art in Modern Culture. An Antology of Critical texts (ur.): Francis Franscina and Jonathan Harris, London: Press Limited 1992.

Elsaesser, Thomas, “Leni Riefenstahl: The Body Beautiful, Art Cinema and Fascist Aesthetics,” v: Pam Cook, Pam (ed.) Women and Film: A Sight and Sound Reader; Temple UP, Philadelphia, 1993

Erjavec, Aleš: K podobi, Ljubljana: Zveza kulturnih organizacij Slovenije, Zbirka Umetnost in kultura, št. 120, 1996.

Erjavec, Aleš (ur.), Postmodernism and the Postsocialist Condition, University of California Press, Berkely 2003.

Erjavec, Aleš, Ljubezen na zadnji pogled: Filozofija umetnosti in kulture, ZRC SAZU, Ljubljana 2004.

Ewen, David: Enciklopedija glasbenih umetnin 1, 2. Ljubljana: DZS, 1973.

Fernie, E.: Art History and its Methods, Phaidon Press Ltd., London 1995.

Foster, Hal: The Return of the Real: Art and Theory at the End of the Century, October Books, New York 1996.

Foucault, M.: Power/Knowledge, Brighton, Harvester 1980.

Gaiger, Jason in Wood, Paul (ur.): Art of the Twentieth Century. New Haven, London: Yale University Press, 2003.

Giannetti, Louis: Understanding Movies, 10th Edition, Prentice-Hall. 2004.

Gombrich, Ernst: The Story of Art. London: Phaidon 1995.

Groys, Boris: Teorija sodobne umetnosti, zbirka Koda, ŠOU, Ljubljana 2002 (prevedla Špela Virant).

Gunning, Tom: The Cinema of Attractions: Early Film, its Spectator, and the Avant-Garde. Early Cinema: Space, Frame, Narrative. Ed. Thomas Elsaesser. London: BFI, 1990, 56-62.

Hall, Stewart: »Encoding, decoding«, v: Culture, Media, Language, Unwin Heyman, London 1990 (povzeto po: During, Simon (ur.): The Cultural Studies Reader, Routledge, London 1997, 90-104).

Harris, Jonathan: The New Art History: A Critical Introduction, Routledge, London–New York 2001.

Harrison, Charles (ur.), Wood, Paul J. (ur.), Art in Theory 1900 – 2000: An Anthology of Changing Ideas, Blackwell 2002.

Hatt, Michael in Klonk, Charlotte: Art History. A critical Introduction to its Methods, Manchester University Press, Manchester in New York 2006.

Hauser, Arnold: Sociologija umjetnosti 1, Zagreb: Školska knjiga 1986.

Hauser, Arnold: Umetnost in družba, Ljubljana: DZS 1980.

Honolka, Kurt: Svetovna zgodovina glasbe. Ljubljana: MK 1983.

Ingarden, Roman: Eseji iz estetike, Ljubljana: Slovenska Matica 1980.

Janson, Horst W.: Istorija umetnost. Beograd: Prosveta 1989.

Karney, Robyn: Chronicle of the Cinema, New York 1995

Kleinbauer, E. W.: Modern Perspectives in Western Art History, University of Toronto Press, Toronto-Buffalo-London 1989.

Kolocotroni, Vassiliki. Goldman, Jane in Taxidou, Olga (ur.): Modernism: An Anthology of Sources and Documents. Edinburgh: University Press, 1998.

Kos, Janko: Svetovna književnost 1, 2. Ljubljana: MK 1962–64. Več ponatisov in dopolnjenih izdaj.

Lynton, Norbert: Zgodba moderne umetnosti, Ljubljana: Cankarjeva založba 1994.

Marcuse, Herbert: Estetska dimenzija. Zagreb: Školska knjiga, 1981.

Menaše, Luc: Umetnostna zgodovina – včeraj, danes, jutri. Uvodne teze za razpravo o konceptu umetnostne zgodovine. Ex praeterito praesens prudenter agit ni futurum actionem deturpet, Anthropos, V-VI, 1978 (citirano po: Zapisi 1951–1994, Narodna galerija, Ljubljana 2001, 164–181).

Mikuž, Jure: Slovensko moderno slikarstvo in zahodna umetnost. Od preloma s socialističnim realizmom do konceptualizma, Moderna galerija, Ljubljana 1995.

Mirzoeff, Nicholas: An Introduction to visual culture, Rutledge, London 1999.

Mitchell, W.J.T.: Picture Theory, The University of Chicago Press, Chicago 1994.

Nowell-Smith, Geoffrey (Ed.): The Oxford History of World Cinema. Oxford: UP, 1996

O\'Doherty, Brian: Inside the White Cube: The Ideology of the Gallery Space, Barkely and Los Angeles: University of California Press 1999.

Read, Herbert: Istorija moderne skulpture. Beograd: Izdavački zavod Jugoslavija. 1980.

Rosenstone, Robert A.: Visions of the Past. The Challenge of Film to Our Idea of History. Cambridge/MA 1995

Rosenstone, Robert A. (Ed.): Revisioning History. Film and the Construction of a New Past. Princeton 1995

Rotar, Braco: Možnosti znanosti o likovni umetnosti na Slovenskem, Naši razgledi, XIX, 9, Ljubljana 1970, 241.

Rotar, Braco: Pomeni prostora: Ideologija v urbanizmu in arhitekturi, Ljubljana: RSS 1981.

Savedoff, Barbara E., Transforming Images, How Photography Complicates the Picture, Cornell University Press, Ithaca in London 2000.

Sitney, Adam: The Avant-Garde Film, “Introduction,” New York: Anthology Film

Archives, 1987

Sklar, Robert: Film – An International History of the Medium, New York 1993

Stanley, Robert Henry, Making Sense of Movies, McGraw Hill.

Sosič, Sarival: Avgust Berthold: Fotograf z začetka stoletja, Ljubljana: Rokus, MGL 1997.

Sosič, Sarival: Vizualni nagovori. Ljubljana: Mestna galerija, 2006.

Steinberg, Leo (1968): Other Criteria, London in New York 1972, 61-98.

Španjol, Igor in Zabel, Igor (ur.), Do roba in naprej: slovenska umetnost 1975–1985, Moderna galerija, Ljubljana 2003, /razst. kat./.

Španjol, Igor in Zabel, Igor (ur.), Razširjeni prostori umetnosti: slovenska umetnost 1985–1995, Moderna galerija, Ljubljana 2004, /razst. kat./.

Španjol, Igor in Zabel, Igor (ur.), Teritoriji, identitete, mreže. Slovenska umetnost 1995–2005, Moderna galerija, Ljubljana 2005, /razst. kat./.

Šuvaković, Miško: Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950. Beograd, Novi Sad: Srpska akademija nauka i umetnosti, 1999.

Taylor, Brandon: The Art of Today. London: Calmann and King Ltd, 1995.

Virk, Tomo, Moderne metode literarne vede in njihove filozofsko teoretske osnove,Metodologija I, Filozofska fakulteta, Oddelek za primerjalno književnost in literarno teorijo, Ljubljana 2003.

Wallerstein, Immanuel, Zaton ameriške moči. *cf., Ljubljana 2004.

Zabel, Igor: »Sodobna umetnost in slovenski prostor«, Skupine, gibanja, težnje v sodobni umetnosti od leta 1945, SH, Ljubljana 2003, 315–325.

Zabel, Igor: Eseji I. Ljubljana: Mateja Kos, Založba / *cf., 2006.

Žerovc, Beti: Rihard Jakopič – umetnik in strateg, (Oranžna zbirka), *cf, Ljubljana 2002.

Izbrana literarna dela (roman, poezija, dramatika) in izbrana glasbena dela. Posamezne monografske publikacije izbranih likovnih umetnikov.

Assessment

Theoretical assignment 50%, Examination 50%

University course code: 1DU008

Year of study: 1

Course principal:

Lecturer:

ECTS: 8

Workload:

  • Lectures: 80 hours

Course type: obligatory support module

Languages: slovene

Learning and teaching methods:
teaching methods:- lectures - presentation of seminar assignments in the group context - examination based on the lectures and study literature student's independent work: - research work for seminar themes - seminar assignment - preparation for the examination