The themes, which may vary from year to year, include, for example, intermediality as the fusion of different artistic genre and media, the place of the artist and his work within today's society, questions of spectatorship.
At the end of this learning unit, the student is able to :
The course will deepen the knowledge about the production and the aesthetic concepts in contemporary art.
The contribution of this Teaching Unit to the development and command of the skills and learning outcomes of the programme(s) can be accessed at the end of this sheet, in the section entitled “Programmes/courses offering this Teaching Unit”.
Based on the reading of seminal texts (Jencks, Krauss, Crimp, Owens, Jameson) and a series of case studies, historical and historiographical questions are addressed in order to provide a deep understanding of the relationship between modernism and postmodernism and the place of artistic production and art theory in the second half of the 20th century.
It is expected that the students familiarize themselves with the topics by reading one or more related articles before each session.
A list of articles will be provided at the beginning of the course.
Charles Harrison & Paul Wood (sous la dir. de), Art en Théorie 1900 ' 1990, Paris, Hazan, 1997 : Idées du postmodernisme (Lyotard, Kristeva, Baudrillard, Owens, Hal Foster, Sherrie Levine, Barbara Kruger, Frederic Jameson, Edward Said).
Fredric Jameson, Le postmodernisme ou La logique culturelle du capitalisme tardif ; traduit de l'américain par Florence Nevoltry (Postmodernism or The cultural logic of late capitalism), Paris : Ecole nationale supérieure des beaux-arts, 2007.
Brian Wallis (sous la dir. de), Art after Modernism: Rethinking Representation, New York, New Museum of Contemporary Art, 1984.