Course 2019-2020 a.y.

The course is divided into three sections, each related to specific topics addressed 'amd' corroborated by a series of historical case studies.

1. The first section is devoted to the theme of the artist's atelier, and more precisely to the artwork "in the studio" as a starting point for the production, circulation and reception of the idea.
2. The second section focuses on Schools and Academies as contexts of relatoinships and interdisciplinariety where the condition of learning is affectinc the notion of art itself.  
3. And then the thirds art continues with a selection of singular study cases that testify the transition from school (collective institution) to individual players (artists that run themselved schools as a form of art), with a peculiar concern on artists incorporating pedagogy as a “medium”. This third section is thus finally devoted to an open discussion on institutional systems  and museum studies approacing the historical transformation of an art institution from place for exhibiting towards center for learning. 

• Appreciate and articulate the ability of artworks of any form to interrogate the way we teach and we learn.
• Grasp the potential of artworks to convey the distinction between art, research and entertainment.
• Understand the complex historicity of artwork –  and their changing meanings over time – as well as the role of the artist as active agent of social transformations.

• Approach artifacts beyond their aesthetic appeal, and examine them in relation to their cultural, social and political milieu.
• Formulate critical arguments about the interconnection – and distinction –  between convey art, research and entertainment.
• Problematize the changing forms of arts, its notion and the role of art institution as learning center.

• Face-to-face lectures
• Guest speaker's talks (in class or in distance)
• Company visits
• Individual assignments
• Group assignments

This course  combines traditional frontal teaching (lectures) with seminar-based activities and off-campus visits to relevant collections, art galleries, institutions and /or exhibtions.

• Guest lectureres are invited to join the class presenting their reserach and methods in talks, dialogues or film screenings. 
• The course is thus shaped paying attention to the individual experience, evaluation and re-elaboration of the contents proposed in the classroom.  
• Image - based exercises and presentations ( both individual and in group) are assigned throught the course. Students are expected to participate in class discussions. 

Students are required to take final exam (100% of the grade). The exam is an oral individual exam. Students are asked to present a short paper (max 15 minutes, topic choosen during the course) followed by a discussion and a mix of open-ended and image-based questions. The exam is based on course readings, as well as on seminar materials, on site visits and discussions held in class. The exam aims to assess student’s engagement with the understanding of textual and visual evidence and their ability to interpret such evidence critically, showing and understanding new forms of arts and their effect in the politics of spectatorship as well as in the development of art institutions.   

Students are required to take final exam (100% of the grade). The exam is written, and students are asked to answer a mix of open-ended questions. The exam paper is based on reading list that students receive when they enter the course. The exam aims to assess student’s familiarity with the main issues addressed by the assigned readings; their ability to summarize and critically interpret the narratives and arguments advanced by those readings.

Attending students are required to read a given selection of chapters taken from books and readings which includes:

• C. BISHOP, Artificial Hells. Participatory art and the politics of spectatorships, Verso, London, New York, 2012 (any editions).
• B. O’ DOHERTY, Inside the white cube (any edition).
• READINGS (anthology given in class).

Non attendind students are required to read the following books:

• C. BISHOP, Artificial Hells. Participatory art and the politics of spectatorships, Verso, London, New York, 2012 (any editions).
• F. ALLEN (edited by), Education, MIT press, Whitechapel, Documents of contemporary Arts, 2011.
• B. O’ DOHERTY, Inside the white cube (any edition)

One book from the list:

• J. MILLER, M. KELLY, Educational Complex, Afterall Books, One work, MIT press, 2015.
• D. DEZEUZE, T. HIRSCHHORN, Deleuze Monument, Afterall Books, One work, MIT press, 2014.
• S. THORNE, School: A Recent History of Self-Organized Art Education, SternbergPress, 2017.