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  • Art History for Artists (Berlin, 8-9 Jul 2016) - ArtHist: Netzwerk für Kunstgeschichte im H-Net / Archiv
    the shaping of the discipline well before the establishment of autonomous university chairs a development largely overlooked in the history of art history but also in the history of art education The historical study of art questioned academic normativity and multiplied the aesthetic models available for artists Reacting against the growing commodification of art many artists claimed a new role as creators for art history and for the museum as an alternative to the market At the same time the influx of empirical knowledge on past art was often seen as a burden for artistic creativity The overall reflective turn upon art and its past tainted by the Hegelian announcement of the end of art influenced the work of artists in multifarious ways that remain to be explored Three main axes of inquiry will be privileged 1 Scholarly courses in art education institutional frameworks Based on concrete cases papers may address the training in art history archaeology art theory and aesthetics offered in institutions of art education and consider the artistic political or economic considerations linked to its introduction to the curriculum Topics of interest may include teaching approaches and goals the media and technologies of illustration prints casts museum collections photography or the profile of professors What was the impact of a systematised art historical and theoretical knowledge on academic doctrines practical training and the overall objectives of art education How did the particular institutional framework of art education and exposure to the problems of artistic practice affect the scholarly discourses produced in this context Did teaching artists architects or craftsmen generate different objects of study focuses methods and ultimately a different kind of scholarship to that produced at universities or in museums 2 The art historian and the present Based on case studies papers may explore the changing attitudes of art historians archaeologists and art theorists towards their engagement in contemporary artistic production From the 1870s onwards primarily in Germany such an engagement was downplayed in the name of objective and unbiased scholarship detached from practical considerations alongside the growing academic recognition of art history and other art related disciplines and their presence in the university Nonetheless the complex entanglement of scholarly discourse and contemporary art never really abated even well after this date A main focus of the conference is also on the extent to which contemporary artistic experimentations provided art scholars with new perspectives for evaluating past artistic achievements or for studying aesthetic experience Papers exploring cases of fertile interactions or conflicts between artists and art scholars are particularly welcome 3 The artist as producer of art discourse This section seeks to explore the reactions of artists to the emergence of a community of professional specialists claiming control over art discourse and the formation of parallel or counter discourses by art practitioners In focus here are the reformulations of art historical canons by artists in their works writings or teachings as well as their contributions to art theory aesthetics and criticism Especially welcome are papers that

    Original URL path: http://arthist.org/archive/12096 (2016-02-12)
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  • Antonio Palomino y las fronteras del Barroco (Madrid, 24-25 Feb 2016) - ArtHist: Netzwerk für Kunstgeschichte im H-Net / Archiv
    Falomir Faus Director Adjunto de Investigación y Conservación Museo Nacional del Prado 10 00 h Javier Portús Pérez Museo Nacional del Prado Viajes redes y experiencias de Palomino 10 45 h Sara Fuentes Lázaro Universidad a Distancia de Madrid Geometría arquitectura y perspectiva en Palomino 11 30 12 00 h Descanso 12 00 h Ángel Aterido Universidad Complutense de Madrid Más destino que elección Antonio Palomino pintor 12 45 h Juan Bordes Real Academia de Bellas Artes de San Fernando Dibujo de anatomía y proporción en Palomino 13 30 h Turno de preguntas 15 30 h Antonio Sánchez Jiménez Université de Neuchâtel Tradición retórica en las vidas de Antonio Palomino esquemas biográficos y extravagancia del artista en El Parnaso español pintoresco laureado 1724 16 15 h José Riello Universidad Autónoma de Madrid El método histórico de Palomino de los tratados de arte a la invención 17 00 h Juan Luis González García Universidad Autónoma de Madrid Argumentación teológica y valor de las sagradas imágenes en la teoría pictórica de Palomino 17 45 h Turno de preguntas Jueves 25 de febrero de 2016 10 00 h Pascal Griener Université de Neuchâtel La vida de las Vidas dentro y fuera de España

    Original URL path: http://arthist.org/archive/12097 (2016-02-12)
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  • Relics @ the Lab (Brussels, 27-28 Oct 16) - ArtHist: Netzwerk für Kunstgeschichte im H-Net / Archiv
    relics give us about the people buried in the shrines Who were these people What do we know about the way they lived When did they live What about diseases and other disabilities What information can be retrieved from the objects kept with the relics and made of textile wood stone or metal What was their purpose Are they contemporaneous to the relic or are they older or younger additions Why would they have been added How should we preserve them Scientists of many different disciplines are involved in the study of relics and kindred artefacts but till now there was no real forum for these people to exchange ideas and discuss methods Therefore the Royal Institute for Cultural Heritage KIK IRPA Brussels is organizing a two day workshop on the scientific study of relics During this meeting we want to give analytical scientists textile specialists conservators anthropologists historical researchers people involved in 3D reconstruction as well as radiocarbon dating specialists a forum to exchange ideas about relics We fully realize that since no such meeting has ever taken place the organisation of this symposium is a leap in the dark We are however convinced of its necessity and cordially invite you to join us at the KIK IRPA on 27 28 October 2016 The registration fee is 75 This includes two lunches coffee tea and refreshments during the breaks and a book with the summaries of all the oral presentations and posters Proposals for oral and poster presentations will be accepted until 15 June 2016 The program sessions will be chosen based on the submitted summaries A book with all summaries will be given to the participants which will contain the contributions lectures posters The conference will be held in English each lecture will be a maximum of 20

    Original URL path: http://arthist.org/archive/12099 (2016-02-12)
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  • Leiter/in des Studiensaals, Munich - ArtHist: Netzwerk für Kunstgeschichte im H-Net / Archiv
    Studiensaal sich interessierte Besucher und Besucherinnen druckgraphische Blätter und Künstlerzeichnungen der eigenen Auswahl vorlegen lassen können Dem Leiter des Studiensaals obliegen deshalb nicht nur die Verwaltung und Pflege der Sammlungsbestände sowie begleitende Aufgaben zu wechselnden Projekten sondern er ist gleichzeitig Führungskraft und Ansprechpartner für Besucher Wir suchen deshalb eine Persönlichkeit die sich durch einen sicheren Umgang mit den gängigen EDV Programmen und Datenbanken und die Fähigkeit zum sorgfältigen und strukturierten Arbeiten auszeichnet Von Vorteil wäre eine dem Aufgabengebiet entsprechende Berufsausbildung als Archivar oder Bibliothekar mit einer kunsthistorischen Vorbildung wobei Erfahrungen im Museumsbereich vorausgesetzt werden müssen Ebenfalls werden gute englische Sprachkenntnisse gerne auch weitere Fremdsprachenkenntnisse vorausgesetzt Überdurchschnittliches Engagement Verantwortungsbewusstsein und Kommunikationsfähigkeit setzen wir als selbstverständlich voraus Die zu besetzende Position ist mit der Entgeltgruppe 9 TV L bewertet und zunächst bis 31 08 2017 befristet Bei Bewährung besteht die Aussicht auf eine unbefristete Vollzeitbeschäftigung Bei im Wesentlichen gleicher Eignung werden Schwerbehinderte im Sinne des SGB IX bevorzugt eingestellt Die Bewerbung von Frauen wird begrüßt Aussagekräftige Bewerbungen mit den üblichen Unterlagen werden bis spätestens 19 02 2016 an die Direktion der Staatlichen Graphischen Sammlung Katharina von Bora Str 10 80333 München erbeten Bewerbungsunterlagen können grundsätzlich nur zurückgesandt werden wenn Ihnen ein ausreichend

    Original URL path: http://arthist.org/archive/12104 (2016-02-12)
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  • bfo-Journal - 2016 issue - ArtHist: Netzwerk für Kunstgeschichte im H-Net / Archiv
    the everyday an adherence in thought and language to the social origins and personalities of the characters a more or less direct criticism of current society and morals Bruno Reichlin 2001 80 The subtle shift between these definitions indicates how during the twentieth century Realism took a stronger political colouring becoming the vehicle for varied even conflicting ideologies A question that has preoccupied many but still remains unanswered is the degree to which Realism as an artistic category is applicable to architecture For Aldo Rossi it is idiotic to make an architectural category of Realism If one does then it will have the same fate as rationalism as symmetry and so many other things that are only useful insofar as they express ideas Aldo Rossi 1976 25 26 Realism applies to architecture inasmuch as architecture is representational by definition it pertains to representational arts literature painting film whereas architecture is ultimately anchored in reality Rossi s observation alerts us to a paradox inherent to Realism in its attempt to conceptualise reality it becomes excessively intellectualized focused on itself and all the more isolated from it As K Michael Hays noted Realism is subject to two contradictory claims one aesthetic and one epistemological the former setting the work apart in a realm of heightened aesthetic intensity the latter connecting it to a particular historical and cultural situation and deriving its value from its response to this context K Michael Hays 1968 254 Alan Colquhoun placed Realism at the charged boundary between architecture as self referential system with its own traditions and value systems and as a social product shaped by wider social and economic circumstances Realism could only be understood in architecture as a dialectical process in which aesthetic norms are modified by external forces to achieve a partial synthesis Alan

    Original URL path: http://arthist.org/archive/12098 (2016-02-12)
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  • Unknown Recipient (Porto, 19 Feb 16) - ArtHist: Netzwerk für Kunstgeschichte im H-Net / Archiv
    Porto Project CORRESPONDENCES II Exhibition February 6 21 Casa das Artes Porto Portugal Amarante Abramovici Covadonga Barreiro João Vasco Paiva Sérgio Leitão Tânia Dinis UNKNOWN RECIPIENT With this designation we will seek to focus the debate around the various mystifications of the Other be it political sexual clinical cultural or ethnic and whose celebration we witness since the last decades of the previous century As mythical place of otherness this UNKNOWN RECIPIENT often seems as a theoretical construction of the artist historian philosopher or critic crossing through their own agendas representations and énnoncés In exhibitions and biennials meetings studies and funded academic debates the Other claiming more and more the space of the emerging market there seems to have found its place recoding meanings and inscribing them in new identities Memory and the writing of History will confer body to temporality From criticism to a tagged art designated among many examples as Brazilian Asian African Post colonial art to social construction of memory of oppression or to identity issues and spatial games in two African capitals we will furthermore seek to question to what extent Art makes life more interesting than art as Tristan Tzara used to say Just like

    Original URL path: http://arthist.org/archive/12102 (2016-02-12)
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  • Giuliano da Sangallo 1516-2016 (Florence, 17-18 Nov 16) - ArtHist: Netzwerk für Kunstgeschichte im H-Net / Archiv
    these codexes relate to the graphic practices of other artists who studied architecture antiquity and technology in the same period such as Francesco di Giorgio or Leonardo da Vinci Furthermore Giuliano da Sangallo s interactions with and responses to his contemporaries from Giuliano da Maiano Baccio Pontelli and Cronaca to Bramante and the young Michelangelo are still to be explored The overlaps and continuities within his large family of sculptors and architects starting with his brother Antonio the Elder and ending with his son Francesco in Florence and his nephew Antonio the Younger in Rome also invite further research In particular the techniques morphologies and evolution of the fortifications that have been attributed to Giuliano and Antonio the Elder offer a wealth of possibilities for further study Their catalogue of military architecture is as broad as it is unexplored and spans a time frame of almost half a century Moreover the drawing practices of the workshop strongly attest to the artists interweaving of figurative imagery and architectural inventions The variety of genres explored by this polymorphic workshop has not yet been investigated from a broad perspective one that considers sculpture alongside painting and decorative arts alongside large scale architecture The study day organized by Sabine Frommel Dario Donetti and Alessandro Nova to be held 17 18 November 2016 at the Kunsthistorisches Institut in Florenz Max Planck Institut aims to attract innovative contributions on Giuliano da Sangallo and or Tuscan and Roman architecture between the fifteenth and sixteenth centuries in relation with the output of his family The material must be unpublished and the paper should not exceed 20 minutes Please submit a short abstract 300 words maximum by 31 March 2016 to the following e mail addresses sabine frommel at ephe sorbonne fr dirnova at khi fi it dario donetti at khi fi it Giuliano da Sangallo 1516 2016 Studientag 17 18 November 2016 in Zusammenarbeit des Kunsthistorischen Instituts in Florenz Max Planck Institut und der École Pratique des Hautes Études Sorbonne in Paris Der fünfhundertjährige Todestag von Giuliano da Sangallo lädt zu einer Bilanz ein Diese betrifft zunächst die lückenhafte historiographische Überlieferung eines Künstlers dem eine entscheidende und nicht leicht zu definierende Rolle auf der Bühne der Architekturgeschichte der Italienischen Renaissance zukommt auf der er dennoch bis heute eine Randfigur bleibt Dies hängt nicht zuletzt damit zusammen dass er zwischen zwei Epochen und Stilen schwankte dem Florentiner Quattrocento und der römischen Hochrenaissance Hinzu tritt dass sein Werkkatalog noch zu ergänzen und zu vereinheitlichen bleibt Erst jüngst wurde sein architektonisches Schaffen zum Gegenstand einer Monographie Sabine Frommel 2014 die auffordert sich in die weniger gut erforschten Aspekte seines Schaffens zu vertiefen Seine Ausbildung als legnaiolo ist für die architektonische Kultur von Florenz kennzeichnend und ermöglicht ein vertieftes Verständnis der konzeptuellen Methoden bei denen dem Modell eine wesentliche Rolle zukommt Das Korpus seiner Architekturzeichnungen mit ihren technischen Eigenheiten bietet eine nicht umfassend erforschte Alternative zu den gängigen Vorstellungen von der Entwicklung der graphischen Darstellungsmethoden der Renaissance Die Typologie die Funktion und

    Original URL path: http://arthist.org/archive/12095 (2016-02-12)
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  • Museumsdirektion, Ulmer Museum - ArtHist: Netzwerk für Kunstgeschichte im H-Net / Archiv
    Strategische und konzeptionelle Ausrichtung des Hauses unter Berücksichtigung des kulturellen Gesamtkonzeptes der Stadt Ulm Planung des Ausstellungsprogramms in Zusammenarbeit mit den Kurator innen Kuratorische Verantwortung für den Schwerpunkt Bildende Kunst der Moderne Personalplanung Budgetplanung und steuerung Konzeptionelle und organisatorische Abstimmung mit der Kunsthalle Weishaupt Mitarbeit in Fachgremien und Kommissionen Aufbau von Zusammenarbeit mit lokalen nationalen und internationalen Netzwerken Ihr Profil Sie sollen Leidenschaft für die Entwicklung eines Museumskomplexes im Zentrum der Stadt und für eine inspirierende Kunstvermittlung in all ihren Facetten mitbringen Erwünscht sind Museums und Ausstellungserfahrung in verantwortungsvoller Position sowie Kompetenzen in den Bereichen Marketing Drittmittelakquise und Personalführung Hohe Relevanz hat das wirtschaftliche Denken und Handeln das auch die Fähigkeit umfasst den vorhandenen Mitarbeiterstab ziel und teamorientiert zu führen Folgende Kompetenzen sind uns im Einzelnen wichtig Abgeschlossenes einschlägiges Studium Promotion erwünscht Strategisches Denken und Umsetzungsfähigkeit Führungskompetenz aufgrund mehrjähriger Berufserfahrung einschließlich entsprechender Budget und Personalverantwortung Wirtschaftlicher Sachverstand und Kostenbewusstsein Sehr gute Team und Kommunikationsfähigkeit Hohes persönliches Engagement und Belastbarkeit Die Position bietet Ihnen eine interessante vielseitige Tätigkeit in einem qualitätsvollen und facettenreichen kulturellen Umfeld mit umfangreichen Gestaltungsmöglichkeiten Schwerbehinderte Menschen und Gleichgestellte werden bei gleicher Eignung bevorzugt eingestellt Die Stadt Ulm fördert aktiv die Gleichstellung von Frauen und Männern Sie unterstützt

    Original URL path: http://arthist.org/archive/12026 (2016-02-12)
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