Examination procedure
Seminar report
Examination procedure notes
none
Prerequisites
The course is primarily addressed to PhD students, but can also be successfully undertaken by undergraduates
Syllabus
Many artists from the late nineteenth century through to the twentieth century (from Claude Monet to the Conceptual artists) have worked creating series of artworks. This course will explain the reasons behind this choice and will discuss the most significant examples, addressing the distinction between series, replicas and variations.
Bibliographical references
For a general introduction to the issue:
S.Settis, Supremely original. Classical art as serial, iterative, portable, in Serial Classic. Multiplying Art in Greece and Rome, a cura di S.Settis e A.Anguissola, Fondazione Prada, Milano 2015
W. Cupperi, Never Identical: Multiples in Pre-Modern Art?, in Multiples in Pre-Modern Art, a cura di W.Cupper, Diaphanes, Zürich 2014
Kunst der Serie. Die Serie in den Künsten, a cura di C. Blätter, Fink, Paderborn 2010
For the issue of seriality in the 20th century:
W. Benjamin, L’opera d’arte nell’epoca della sua riproducibilità tecnica. Arte e società di massa [1935-36], pref. di C. Cases, tr. di E. Filippini, con una nota di P. Pullega, Einaudi, Torino 1966
Serial Imagery, a cura di J. Coplans, The New York Graphic Society, Alhambra 1968
R. Krauss, The Originality of the Avant-Garde: A Postmodernist Repetition, in “October”, vol. 18, 1981, pp. 47-66
S. Brancato, S. Cristante, E. Ilardi (a cura di), Storia e teoria della serialità. Vol. II. Il Novecento: dalle narrazioni di massa alla svolta digitale, Meltemi, Milano 2024
Wiederholungstäter. Die Selbstwiederholung als künstlerische Praxis in der Moderne, a cura di V. Krieger, S. Stang, Böhlau Verlag, Köln 2017