DOCSLIB.ORG

From Symbol to Allegory: Aby Warburg's Theory of Art Author(S): Matthew Rampley Reviewed Work(S): Source: the Art Bulletin, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
From Symbol to Allegory: Aby Warburg's Theory of Art Author(S): Matthew Rampley Reviewed Work(S): Source: the Art Bulletin, Vol From Symbol to Allegory: Aby Warburg's Theory of Art Author(s): Matthew Rampley Reviewed work(s): Source: The Art Bulletin, Vol. 79, No. 1 (Mar., 1997), pp. 41-55 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3046229 . Accessed: 14/05/2012 07:54 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin. http://www.jstor.org From Symbol to Allegory: Aby Warburg's Theory of Art MatthewRampley Recent years have seen a remarkable reawakening of critical Kunstindustrie, the latter having already been translated once interest among Anglophone art historians in the German (though poorly) little more than ten years ago.6 roots of their discipline. In particular, Michael Podro's book Within this context one person remains notable by his The Critical Historians of Art has seemingly acted as a catalyst absence. I am referring to Aby Warburg, and it is all the more for renewed attention to a subject that has more usually been curious that he should have suffered relative neglect, given restricted in its appeal, for obvious reasons, to German the continued existence of the institute bearing his name. It is scholars.' However, while Podro's book deals with a broad important not to read such an observation as recommending tradition extending from Kant to Panofsky, discussing the that we merely resurrect his writings, as if the investigation more famous figures in German art history as well as lesser- into the origins of art history were merely an archaeological known writers such as Adolf G611er, Anton Springer, or exercise. Indeed, if the return to the origins of art history has Gottfried Semper, the main beneficiaries of this new critical any meaning, it can only be because the thought of the interest have tended to be Erwin Panofsky and Alois Riegl. discipline's German and Austrian "grandfathers" is still felt to The reasons for the interest in Panofsky are fairly clear; be of relevance today.7 Rather, I draw attention to the neglect having immigrated to the United States during the 1930s, of Warburg precisely because it is through an engagement Panofsky was already prominent in the field of Anglo- with his thought, more than with that of Panofsky or Riegl, American scholarship through books such as Studies in Iconol- that the continued importance of the philosophical concerns ogy or Early Netherlandish Painting.2 Hence, the "return" to of the art history of the beginning of this century becomes Panofsky consisted largely of an extension of interest in his most evident. And yet, if the example of Warburg can serve work to encompass those writings produced before Panofsky's above all as the locus of a meaningful dialogue with art departure from Germany.3 Riegl, on the other hand, has history's past, it is also the case that he has frequently been benefited from the recognition of surface similarities between seen as an antecedent, his work treated as a prelude rather his structural analysis of the grammar of form and the current than as meriting substantial attention in its own right. "linguistic turn" in the social sciences. It is this topicality of Consequently, since Sir Ernst Gombrich's worthy study of Riegl, perhaps, that motivates Margaret Iversen's study of 1970,8 very little has been written in English on Warburg,9 an Riegl.4 In addition, at the time of writing, not only has Riegl's omission that stands in contrast with the situation in Ger- Stilfragen been translated,5 but also translations are currently many.10 under way of Das Holldndische Gruppenportrdtand Spdtromische In this paper, therefore, I intend to indicate some of the Unless otherwise indicated, all translations are mine. Margaret Iversen, "Aby Warburg and the New Art History," in Aby Warburg: 1. Michael Podro, The CritzcalHistorians ofArt, New Haven, 1982. Akten des InternatzonalenSymposions Hamburg 1990, ed. H. Bredekamp, M. Diers, 2. Erwin Panofsky, Studies in Iconology: Humanistzc Themes in the Art of the C. Schoell-Glass, Weinheim, 1991, 281-87; Peter Burke, "Aby Warburg as Renaissance, New York, 1939; Early Netherlandzsh Paintzng, Cambridge, Mass., Historical Anthropologist," Akten, 39-44. Michael Ann Holly has recently 1953. mounted a robust defense of Warburg against the charge by A. L. Rees and F. 3. This is certainly the case with Michael Ann Holly's study, as is confirmed Borzello, in their introduction to The New Art Hzstory,London, 1986, 2-10, that by the recent translation of Panofsky's pioneering paper on perspective. See German art history was hostile to theory. Holly, "Unwriting Iconology," in Holly, Panofsky and the Foundatzons of Art Hzstory, Ithaca, N.Y., 1984, and Iconographyat the Crossroads,ed. Brendan Cassidy, Princeton, N.J., 1993, 17-25. Panofsky, Perspectiveas SymbolicForm, trans. C. Wood, New York, 1991. 10. Most significant in this context is the forthcoming German publication 4. Margaret Iversen, Alois Rzegl: Art Hzstory and Theory, Cambridge, Mass., of Warburg's entire works, including the picture atlas "Mnemosyne" and 1993. Warburg's numerous notes and fragments: Aby Warburg, GesammelteSchrften, 5. Alois Riegl, Problemsof Style, trans. E. Kain, Princeton, N.J., 1992. ed. N. Mann et al., Berlin, 1996-. The following represent some of the more 6. Alois Riegl, Late Roman Art Industry, trans. R. Wlnkes, Rome, 1985. notable recent publications in German on Warburg: Dieter Wuttke, Aby Excerpts from the forthcoming publication by Zone Books of Benjamin Warburgs Methode als Anregung und Aufgabe, Gbttingen, 1979; Werner Hof- Binstock's translation of Das Holldndzsche Gruppenportrtithave recently ap- mann, Georg Syamken, and Martin Warnke, eds., Die Menschenrechtedes Auges: peared in OctobergLXXIV, 1995, 3-35. UberAby Warburg,Frankfurt am Main, 1980; Martin Jesinghausen-Lauster, Die 7. Both Michael Podro and Heinrich Dilly have asked just this question, Suche nach der SymbolischenForm: Der Kreis um dze kulturwzssenschaftlicheBzbliothek namely, why should we be concerned with the history of art history? See Dilly, Warburg, Baden-Baden, 1985; Yoshihiko Maikuma, Der Begnff der Kultur bei "Geschichte der Kunstgeschichte-Wozu?" Ars Hunganca, xvIII, 1990, 7-14; Warburg, Nzetzscheund Burckhardt, K6nigstein, 1985; Roland Kany, Mnemosyne Michael Podro, "Art History and the Concept of Art," in Kategonen und als Programm:Geschichte, Erinnerung und dzeAndacht zm Werkvon Usener;Warburg Methoden der deutschen Kunstgeschichte 1900-1930, ed. Lorenz Dittmann, Stutt- und Benjamzn, Tilbingen, 1987; Dorothee Bauerle, Gespenstergeschichtenfuir gart, 1985, 209-17. Ganz Erwachsene:Ezn Kommentarzu Aby WarburgsBilderatlas Mnemosyne,Mlinster, 8. Ernst Gombrich, Aby Warburg:An Intellectual Biography,2d ed., 1986. 1988; Roland Kany, Die relzgionsgeschichtlicheForschung an derKulturwissenschaftlz- 9. Exceptions would be Kurt Forster, "Aby Warburg's History of Art: chen Bzbliothek Warburg, Bamberg, 1989; Martin Warnke, "Warburg," in Collective Memory and the Social Mediation of Images," Daedalus, cv, 1976, Altmeister moderner Kunstgeschichte, ed. Heinrich Dilly, Berlin, 1990, 117-30; 169-76; Silvia Feretti, Casszrer,Panofsky and Warburg. Symbol, Art and Hzstory, Michael Diers, "Von der Ideologie- zur Ikonologiekritik: Die Warburg- trans. R. Pierce, New Haven, 1989; Carlo Ginzburg, "From Aby Warburg to Renaissancen," in FrankfurterSchule und Kunstgeschichte,ed. Andreas Berndt et E. H. Gombrich: A Problem of Method," in Myths, Emblems, Clues, trans. John al., Berlin, 1992; Salvatore Settis, "Kunstgeschichte als vergleichende Kultur- and Ann Tedeschi, London, 1990, 17-59; Margaret Iversen, "Retrieving wissenschaft: Aby Warburg, die Pueblolndianer und das Nachleben der Warburg's Tradition," Art Hzstory, xvi, no. 4, 1993, 541-53; and the contribu- Antike," in KzinstlenscherAustausch/Artzstzc Exchange Akten des xxvIwInternatio- tions of Iversen and Peter Burke to the Warburg Conference of 1990. See nalen Kongressesftir Kunstgeschichte, Berlin, 15-20Julz 1992, ed. T. Gaehtgens, 42 ART BULLETIN MARCH 1997 VOLUME LXXIX NUMBER 1 philosophical, psychological, and art historiographical con- cesses through visual images ... as embodied in the conven- cerns of Warburg's work that suggest why it should remain an tions and beliefs or assumptions of a society."'2 Similarly, object of more than mere historical interest. Central to my Colin Eisler has argued that Warburg's "institute was devoted argument is the contention that in many respects the charac- to the unravelling of the recherche, to the demystification of ter of Warburg's interest in the "Nachleben der Antike" has such varied monuments of visual authority as Botticelli's been misrecognized. In particular, I intend to demonstrate allegories or American Indian sand paintings, all to be seen that Warburg's researches, symbolized perhaps in his dictum through texts and understood by cultural context," while "Der liebe Gott steckt im Detail" (God is in the detail)," have more recently, according to Jack Spector, "Warburg's method often been interpreted,
Load more

Recommended publications
  • Michael Diers Von Dem, Was Der Fall (Der Denkmäler) Ist
    Michael Diers Von dem, was der Fall (der Denkmäler) ist Mit Denkmälern hat es eine eigentümliche, widerspruchsvolle Bewandtnis: Aufge­ stellt, um betrachtet zu werden, geht man im allgemeinen achtlos an ihnen vorüber, ein Phänomen, das den Schriftsteller Robert Musil im Jahr 1927 zu einer Satire ange­ regt hat, die sich unter anderem zu der These versteht: »Es gibt nichts auf der Welt, was so unsichtbar wäre wie Denkmäler.« Durch irgendetwas, heißt es erläuternd, sind sie »gegen Aufmerksamkeit imprägniert [...]. Es geht vielen Menschen selbst mit überlebensgroßen Standbildern so. Man muß ihnen täglich ausweichen oder kann ih­ ren Sockel als Schutzinsel benutzen, man bedient sich ihrer als Kompaß oder Di­ stanzmesser, wenn man ihrem wohlbekannten Platz zustrebt, man empfindet sie gleich einem Baum als Teil der Straßenkulisse und« ­ hier folgt die aufstörende, im Konjunktiv formulierte Ausnahme von der Regel ­ und »würde augenblicklich ver­ wirrt stehenbleiben, wenn sie eines Morgens fehlen sollten.«1 Seit rund zwei Jahren gibt es, was Denkmäler betrifft, einen solchen Zustand der Ausnahme, der, so ist abzusehen, auch noch eine Weile andauern wird. Bedingt durch die politischen Umwälzungen in Deutschland, in Mittel­ und Osteuropa sind Denkmäler ­ eine bestimmte Spezies jedenfalls ­ wieder raer/rwürdig geworden. Sie erregen Aufsehen, sind umstritten und ihre Geschichte wird auf den Titelseiten der Tagespresse in Bild und Text ausführlich verhandelt. Von ihrem aufsehenerregen­ den Ende wird berichtet, §o vom Verschwinden der Lenin­, Hoxha­ und Dserschins­ ki­Kolossalstatuen in Riga, Vilnius, Berlin, Tirana oder Moskau. Kaum zuvor war man in aller Welt über diesen Denkmälerbestand so gut informiert wie in dem Au­ genblick, da er zur Disposition steht, zu stehen droht oder vor kurzem noch stand.
    [Show full text]
  • Art History As Bildwissenschaft Author(S): Horst Bredekamp Source: Critical Inquiry, Vol
    A Neglected Tradition? Art History as Bildwissenschaft Author(s): Horst Bredekamp Source: Critical Inquiry, Vol. 29, No. 3 (Spring 2003), pp. 418-428 Published by: University of Chicago Press Stable URL: http://www.jstor.org/stable/10.1086/376303 Accessed: 22-02-2016 15:46 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org This content downloaded from 91.228.45.168 on Mon, 22 Feb 2016 15:46:03 UTC All use subject to JSTOR Terms and Conditions A Neglected Tradition? Art History as Bildwissenschaft Horst Bredekamp 1. The Image and the Arts: An Artificial Split Because the meaning of the German word Bild includes image, picture, figure, and illustration, the term Bildwissenschaft has no equivalence in the English language. It seems as if this linguistic difference is deepening an ongoing distinction between English- and German-speaking art history. In Austria and Germany the principal elements of the discipline were created around 1900 and continued to be developed until 1933. After 1970 a major revival of art history as Bildwissenschaft took place in German art history.
    [Show full text]
  • Michael Diers: Fotografie Film Video. Beiträge Zu Einer
    Michael Diers: Fotografie Film Video. Beiträge zu einer kritischen Theorie des Bildes (= Fundus; 162), Hamburg: Philo & Philo Fine Arts 2006, 340 S., ISBN 3-86572-532-5, EUR 28,00 Rezensiert von: Carolin Artz Institut für Kunst- und Designwissenschaften, Universität Duisburg-Essen Der Bildbegriff hat Konjunktur und mit ihm die Fragen nach einer Theorie, Wissenschaft oder Kritik des Bildes. Das zeigen, neben etlichen Publikationen zum Thema Bildwissenschaft, unter anderem die Vielzahl von Projekten, die sich auf interdisziplinärer Ebene mit dem (nichtkünstlerischen) Bild auseinander setzen, wie Klaus Sachs-Hombachs "Zentrum für interdisziplinäre Bildforschung", das an der Berlin- Brandenburgischen Akademie der Wissenschaften angesiedelte "Junge Forum für Bildwissenschaft" oder der von Gottfried Boehm initiierte Nationale Forschungsschwerpunkt "Bildkritik" an der Universität Basel. Dass die Methoden und Erkenntnisse der Kunstgeschichte in modifizierter Form geeignet seien auch die wachsende Anzahl nichtkünstlerischer Bilder zu untersuchen, konstatierte vor fünfzehn Jahren W. J. T. Mitchell [1] und bereits Kunsthistoriker wie Erwin Panofsky oder Aby Warburg widmeten sich in ihren Studien nicht nur der Kunst, sondern auch nichtkünstlerischen Objekten und Bildern. So verwundert es nicht, dass Michael Diers, Professor für Kunstgeschichte an der Hochschule für bildende Künste Hamburg und außerplanmäßiger Professor an der Humboldt-Universität zu Berlin, der sich in seiner Promotion mit den Briefen Aby Warburgs beschäftigte, den Versuch unternimmt,
    [Show full text]
  • The Hermeneutics of Body Movement in Aby Warburg
    Interfaces Image Texte Language 40 | 2018 Gestures and Transmission Ur-Words of the Affective Language of Gestures: The Hermeneutics of Body Movement in Aby Warburg Isabella Woldt Electronic version URL: http://journals.openedition.org/interfaces/605 DOI: 10.4000/interfaces.605 ISSN: 2647-6754 Publisher: Université de Bourgogne, Université de Paris, College of the Holy Cross Printed version Date of publication: 21 December 2018 Number of pages: 133-157 ISSN: 1164-6225 Electronic reference Isabella Woldt, “Ur-Words of the Affective Language of Gestures: The Hermeneutics of Body Movement in Aby Warburg”, Interfaces [Online], 40 | 2018, Online since 21 December 2018, connection on 04 January 2021. URL: http://journals.openedition.org/interfaces/605 ; DOI: https://doi.org/ 10.4000/interfaces.605 Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. 133 UR-WORDS OF THE AFFECTIVE LANGUAGE OF GESTURES:THE HERMENEUTICS OF BODY MOVEMENT IN ABY WARBURG Isabella Woldt The Warburg Institute, London Abstract: The article deals with the question of the relationship between visual memory and the literary and aesthetic transfer of high-potential emotional experiences in gestures as an immanent element of cultural creativity. Against that background the article focuses on the work of the German art- and cultural historian Aby Warburg, especially his lecture and picture series entitled “Urworte leidenschaftlicher Gebärdensprache” (Ur-Words of the Affective Language of Gestures), which Warburg presented in January - February 1927 in Hamburg’s Cultural Library (Kulturwissenschftliche Bibliothek). Warburg was mainly interested in the processes by which the antiquity has suirvived in visual elements.
    [Show full text]
  • Agency, Affect and Intention in Art History: Some Observations
    Agency, affect and intention in art history: some observations Matthew Rampley Introduction One of the more striking recent developments in art history has been an intensive engagement with the role of agency. According to this, works of art are no longer understood to be merely the passive recipients of the art historian’s gaze, instead, emphasis has been placed on their active role. As Keith Moxey has suggested, the work of art should be treated as ‘an agent in the creation of its own reception.’1 The forms this interest has taken are various. Some more prominent examples include Horst Bredekamp’s theory of image acts, Caroline van Eck’s work on living presence, or Georges Didi-Huberman’s attempts to rethink the meaning of art historical temporality.2 In the anthropology of art, agency was central to Alfred Gell’s attempt to redefine the scope of the field, while there is also a growing interest in the actor-network theory of Bruno Latour.3 Ideas of agency have also been closely intertwined with elaborations on affect. Concern with the latter has been particularly prominent in literary and textual criticism, but it is part of a much larger phenomenon.4 At the moment of writing, the Freie Universität in Berlin, for example, is host to a wide-ranging research project devoted to the study of ‘affective’ cultures.5 Affect theory is a slightly belated arrival in art history, but it has become a growing presence in the guise of what Todd Cronan has, in a slightly different context, termed ‘affective formalism.’6 This is the idea that the aesthetic experience is based on bodily and affective sensations and that works of art thereby exert a hold on the spectator.
    [Show full text]
  • The Application of Art Historical Methodologies to the Study of Paul Cézanne in the 19
    ABSTRACT Title of Document: PAUL CÉZANNE AND THE MAKING OF MODERN ART HISTORY Jorgelina Orfila, Doctor of Philosophy, 2007 Directed By: Professor June E. Hargrove Department of Art History and Archaeology The application of art historical methodologies to the study of Paul Cézanne in the 1930s brought about significant changes in the way the artist’s art and biography were understood. Art history was institutionalized as an international academic discipline under the pressure of the ideological struggle that preceded the Second World War. This process promoted the incorporation of modern art as part of the disciplinary field. The use of categories of analysis developed for the examination of historical manifestations helped to assimilate modern art into a narrative that extolled the continuity of the Western tradition. This dissertation examines the writings and careers of art historians who published books on Cézanne in 1936 in Paris: Lionello Venturi, the first catalogue raisonné of the work of the artist, Cézanne, son art, son oeuvre; René Huyghe, a monograph, Cézanne; and John Rewald, Cézanne et Zola, which became the accepted biography of the artist. In addition, Rewald’s photographs of the sites Cézanne painted were instrumental in introducing space (as perspective) as a category for the analysis of the artist’s landscapes, thus helping to establish its link to the Western tradition. The site photographs epitomize the new approach to documentation and the changes in museography that accompanied the transformation of art history. The arrival of émigré art historians to the United States favored the identification of the hegemonic art historical discourse with an anti-totalitarian ideology.
    [Show full text]
  • Aby Warburg and Weimar Jewish Culture: Navigating Normative Narratives, Counternarratives, and Historical Context
    Emily J. Levine Aby Warburg and Weimar Jewish Culture: Navigating Normative Narratives, Counternarratives, and Historical Context According to Gershom Scholem, Aby Warburg’s Kulturwissenschaftliche Biblio- thek Warburg – both in scholarship and in personnel – kept its distance from Judaism. “For about twenty-five years [Warburg’s library] consisted almost entirely of Jews whose Jewish intensity ranged from moderate sympathies to the zero point and even below. I used to define the three groups around the Warburg library, Max Horkheimer’s Institut für Sozialforschung, and the metaphysical magicians around Oskar Goldberg as the three most remarkable ‘Jewish sects’ that German Jewry produced. Not all of them liked to hear this” (Scholem 1988). To a certain degree, Scholem was correct. Born in Hamburg in 1866, Warburg trained in the field of the “new cultural history” promoted by such figures as Karl Lamprecht and Jacob Burckhardt, an approach that aimed to integrate the Schatten, or dark aspects of the classical heritage, into modernity. By 1912, he innovated the methodological approach he called iconology, which tracked the development of images over time. Drawing on disciplines as diverse as anthropol- ogy, numerology, and the occult, Warburg sought to understand how gestures in images reflected deep societal tensions between primitivism and modernization. His Kulturwissenschaftliche Bibliothek Warburg (literally, the Warburg Library of Cultural Science, hereafter, the Warburg Library), a library with 60,000 volumes at its peak, was devoted to revealing precisely these contradictory impulses that he called the Nachleben der Antike, or the afterlife of antiquity.¹ Although Warburg did not leave a prolific body of published works, his library, rich with symbol- ism, became an inspiration for the fields of memory, film, and visual studies and offered an open book for German Jewish history.
    [Show full text]
  • Emerging Bodies
    Gabriele Klein, Sandra Noeth (eds.) Emerging Bodies Critical Dance Studies edited by Gabriele Brandstetter and Gabriele Klein | Volume 21 Gabriele Klein, Sandra Noeth (eds.) Emerging Bodies The Performance of Worldmaking in Dance and Choreography The publication was kindly supported by the Department for Human Move- ment Studies/University of Hamburg An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative ini- tiative designed to make high quality books Open Access for the public good. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 (BY-NC-ND). which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Natio- nalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de All rights reserved. No part of this book may be reprinted or reproduced or uti- lized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any infor- mation storage or retrieval system, without permission in writing from the publisher. © 2011 transcript Verlag, Bielefeld Cover concept: Kordula Röckenhaus, Bielefeld Proofread by Gabriele Klein, Lejla Mehanovic, Sandra
    [Show full text]
  • A for Appenzell to Z for Zurich. Hans Ulrich Obrist Narrates. Michael Diers Listens. Arkansas. New York. Geneva. Cuernavaca
    A for Appenzell to Z for Zurich. Hans Ulrich Obrist narrates. Michael Diers listens. Recording: 12/10/2005 at KW Institute for Contemporary Art, Berlin (In the planned 4 hours Hans Ulrich Obrist only got as far as K=Cologne, so there was another recording of 2.5 hours) Hans Ulrich Obrist, internationally active curator and critic based at the Musée d'Art Moderne de la Ville de Paris, professor at the University of Venice, special correspondent of the magazine "domus" and editor-in-chief of "point d'ironie" published by agnès b. Michael Diers, art historian, professor at the HfBK in Hamburg, and associate professor at the Humboldt University in Berlin. Arkansas. New York. Geneva. Cuernavaca. Brussels. Marseilles. Berlin. Jimmie Durham narrates. Diana McCarty listens. Recording: 12/09/2005 at KW Institute for Contemporary Art, Berlin Jimmie Durham was born as a Cherokee in the USA in 1940. Already known as an artist and author in the 1960s, Durham graduated from the École des Beaux- Arts in Geneva in 1972 and devoted himself exclusively to political work in the American Indian Movement. He was co-founder and chairman of the International Indian Treaty Committee at the United Nations, where his activities led, among other things, to the drafting of the International Declaration of the Rights of Indigenous Peoples. In the 80s Durham again devoted himself increasingly to art and writing. In 1998 Jimmie Durham came to Berlin on a DAAD scholarship, where he still lives today while his work is exhibited internationally. Diana McCarty was born in New Mexico and has been living in Europe for 12 years as a media activist.
    [Show full text]
  • CURRICULUM VITAE Horst Bredekamp
    CURRICULUM VITAE Horst Bredekamp 1947 Geburt als Sohn des Marineoffiziers Gerhard und seiner Frau Hildegard, geb. Nehring, in Kiel Ausbildung und beruflicher Werdegang 1952 Schulzeit in Kiel mit Abschluss Abitur (1966) 1966 Wehrdienst in der Marine 1967 Studium der Kunstgeschichte, Archäologie, Philosophie und Soziologie in Kiel, München, Berlin und Marburg 1974 Promotion in Kunstgeschichte an der Universität Marburg 1974 Volontariat am Liebieghaus, Frankfurt/M. 1976 Wiss. Assistent am Kunstgeschichtlichen Seminar der Universität Hamburg 1982 Professor für Kunstgeschichte an der Universität Hamburg Seit 1993 Professor für Kunstgeschichte an der Humboldt- Universität zu Berlin 2003-2012 Permanent Fellow des Wissenschaftskollegs zu Berlin Einladungen 1991 Gastwissenschaftler am Institute for Advanced Study, Princeton 1992 Fellow des Wissenschaftskollegs zu Berlin 1995 Gastwissenschaftler am Getty Center for the History of Art and the Humanities, Santa Monica 1998 Gastwissenschaftler am Getty Research Institute for the History of Art and the Humanities, Los Angeles 1999 Gastwissenschaftler am Collegium Budapest, Budapest 2005 Hans-Georg-Gadamer-Professur der Universität Heidelberg 2005 Rudolf-Wittkower-Stipendium der Bibliotheca Hertziana (MPI), Rom 2007 Adorno-Vorlesung, Frankfurt am Main Preise 1974 Dr. Richard-Hamann-Stipendium des Landes Hessen 1980 Aby M. Warburg-Förder-Preis der Stadt Hamburg 2001 Sigmund Freud-Preis der Deutschen Akademie für Sprache und Dichtung, Darmstadt 2005 Aby M. Warburg-Preis der Stadt Hamburg 2006 Max-Planck-Forschungspreis
    [Show full text]
  • Horst Bredekamp Art History and Prehistoric Art: Rethinking Their Relationship in the Light of New Observations
    The Twentieth Horst Gerson Lecture held in memory of Horst Gerson (1907-1978) in the aula of the University of Groningen on the 4th of October 2019 HORST BREDEKAMP Art History and Prehistoric Art: Rethinking their Relationship in the Light of New Observations Translated by Mitch Cohen Groningen The Gerson Lectures Foundation 2019 © 2019 by Horst Bredekamp Translated by Mitch Cohen Graphic design by Tariq Jakobsen Stichting Gerson Lezingen Oude Boteringestraat 34 9712 GK Groningen www.rug.nl/let/gersonlectures www.facebook.com/gersonlectures SAVE THE DATE The board of the Horst Gerson Lectures Foundation, and especially The Horst Gerson Lecture is sponsored by Groninger its president Prof. Dr Henk van Veen, is very pleased to announce that the 18th edition of the Horst Gerson Lecture will be delivered by Dr James Cuno, president and CEO of the J. Paul Getty Trust, his lecture being entitled: Gray Matter: Museums, Research, and the Digital Museum Salon, Stichting K. P. Boon & Stichting Gifted Art Humanities. The Horst Gerson Lecture will take place on 8 October 2015, at 4.00 p.m. in the Aula of the University of Groningen. Introductory lectures will be given by Taco Dibbits, Director of Collections at Rijksmuseum Amsterdam, and Lynn Rother, fellow at Getty Research Institute, Los Angeles. These lectures will start at 1.30 p.m. in the auditorium of the Groninger Museum. The events, including the reception from 5.00-6.30 p.m., are free and open to the public. You will receive a more detailed invitation for this event in the course of summer.
    [Show full text]
  • Iconoclasts and Iconophiles: Horst Bredekamp in Conversation with Christopher Wood Christopher Wood
    rich4/z18-arbu/z18-arbu/z1800412/z182198d12g trumans Sϭ6 8/16/12 17:48 Art: z18-2198 Input-mek INTERVIEW Iconoclasts and Iconophiles: Horst Bredekamp in Conversation with Christopher Wood Christopher Wood Christopher S. Wood: Your dissertation, published in 1975, focused on historical actors—Early Christian and Byzantine theologians, the Hussite rebels of late medieval Bohemia— who mistrusted and even destroyed cult images.1 And yet you began that book with an analysis of a journalistic photograph of a Cambodian soldier in a foxhole, cleaning his weapon, F1 with an image of the Buddha at his side (Fig. 1). The pho- tograph is “fascinated,” in your reading, by an earlier kind of image, a pretechnical image, that had real power—a power that we might be in a position to recover today, perhaps. Your recent book Theorie des Bildakts (Theory of the Picture Act) makes the case that images do not merely reproduce a prior reality but rather actively create our reality.2 The power of images is ours to harness, you argue. Today you seem to have little patience for iconophobes who worry that we might be deceived by pictures. I hope we will be able to discuss these paradoxes. Let me begin by asking you how iconoclasm be- came a topic of art historical research for you and your generation. Horst Bredekamp: The importance of iconoclasm as a his- torical topic became clear to us toward the end of the 1960s when the “young rebels” in art history from the Ulmer Verein and the so-called KSK, the Kunsthistorische Studentenkon- ferenz and others, were attacked as iconoclasts, and worse.
    [Show full text]