Art History As Modernism (Denver, 3-6 Oct 13)

Total Page：16

File Type：pdf, Size：1020Kb

Art History as Modernism (Denver, 3-6 Oct 13) GSA Conference 2013, Denver, CO Deadline: Feb 11, 2013 Kathleen Chapman Art History as Modernism: Intersections between Modern Art and Theory in Fin-de-Siècle Germany and Austria GSA Conference 2013, Denver, CO Denver, 3-6 Oct 13 Deadline: February 11th 2013 While the work of late nineteenth- and early twentieth-century German and Austrian art historians helped to set the course of the development of art history as a discipline, the impact of this body of thought did not remain confined within its disciplinary boundaries. It extended beyond the scholarly realm to reach artists, critics, and the reading public at large. Indeed, this work was shaped by contemporaneous developments in art, experimental psychology, and other fields. This session is concerned with the circulation of art historical theories and the role that the intersections between art history, art theory, and art-making played in the development and reception of modernism in late nineteenth- and early twentieth-century German-speaking contexts. We welcome papers that explore the many ways in which several key art historical problems—for example, conceptions of ornament, abstraction, the psychology of styles, artistic volition (Kunstwollen), psychological aesthetics, and the interface between fine and applied arts—shaped both art historical scholarship and modernist art practices from Jugendstil through International Constructivism. In what ways, for example, did art historical understandings of ornament shape the development of modernist art in Germany? How did the various forms of modernism inflect art historical theories of the fine and decorative arts? How does psychological aesthetics, as formulated by, for example, Robert Vischer or Theodor Lipps, shape the intersections between art historical theories and modernist practice? What effects might a specific modernist artist’s embrace of a particular art historian’s work—for example, Franz Marc’s adoption of Wilhelm Worringer’s concept of abstraction—have had on that artist’s creative output and on art historical theory? How did Alois Riegl’s theory of Kunstwollen shape public understandings of style and culture? And in what ways do questions of German and/or Austrian nationality and nationalism inflect these discussions? While we invite proposals for papers that provide empirical evidence of the importance of a particular art historical concept for an artist’s creative process and vice versa, we are primarily interest- ed in examinations of the discursive and material links between art historical theory and artistic practice. Please send a 250-word abstract and brief c.v. by February 11 to both: 1/2 ArtHist.net Priyanka Basu Visiting Assistant Professor, Art Department, St. Norbert College [email protected] Kathleen Chapman Assistant Professor, Department of Art History, Virginia Commonwealth University [email protected] Reference: CFP: Art History as Modernism (Denver, 3-6 Oct 13). In: ArtHist.net, Feb 6, 2013 (accessed Sep 24, 2021), <https://arthist.net/archive/4666>. 2/2.

Copy Link

Recommended publications

Empathy, Mirror Neurons and SYNC
Mind Soc (2016) 15:1–25 DOI 10.1007/s11299-014-0160-x Empathy, mirror neurons and SYNC Ryszard Praszkier Received: 5 March 2014 / Accepted: 25 November 2014 / Published online: 14 December 2014 Ó The Author(s) 2014. This article is published with open access at Springerlink.com Abstract This article explains how people synchronize their thoughts through empathetic relationships and points out the elementary neuronal mechanisms orchestrating this process. The many dimensions of empathy are discussed, as is the manner by which empathy affects health and disorders. A case study of teaching children empathy, with positive results, is presented. Mirror neurons, the recently discovered mechanism underlying empathy, are characterized, followed by a theory of brain-to-brain coupling. This neuro-tuning, seen as a kind of synchronization (SYNC) between brains and between individuals, takes various forms, including frequency aspects of language use and the understanding that develops regardless of the difference in spoken tongues. Going beyond individual- to-individual empathy and SYNC, the article explores the phenomenon of syn- chronization in groups and points out how synchronization increases group cooperation and performance. Keywords Empathy Á Mirror neurons Á Synchronization Á Social SYNC Á Embodied simulation Á Neuro-synchronization 1 Introduction We sometimes feel as if we just resonate with something or someone, and this feeling seems far beyond mere intellectual cognition. It happens in various situations, for example while watching a movie or connecting with people or groups. What is the mechanism of this ‘‘resonance’’? Let’s take the example of watching and feeling a ﬁlm, as movies can affect us deeply, far more than we might realize at the time.
[Show full text]
Final Report Provenance Research
Provenance Research on the Baumgart-Möller Donation Final Report Project management Dr. Thorsten Sadowsky, Director Annick Haldemann, Registrar [email protected] Project handling and report Julia Sophie Syperreck MA, Research Assistant [email protected] 31 August 2018 Kirchner Museum Davos Provenance Research on the Baumgart-Möller Donation 2 Contents 3 I. Work report 4 a. The situation and state of research at the beginning of the project 5 b. Work performed by the project staff and project schedule 6 c. Methodical approach and manner of publication of the findings 7 d. Object statistics 9 e. List of the historical agents (individuals and institutions) relevant to the project 10 f. Documentation of the findings for third parties 11 II. Summary 12 a. Evaluation of the findings 12 b. Unresolved issues and need for further research 13 III. Appendix: List of works Kirchner Museum Davos I. Work report Provenance Research on the Baumgart-Möller Donation 4 a. The situation and state of research at the beginning of the project At the beginning of the project an assessment was made which groups of works within the collection are more likely to be linked to the “liquidation” of private and public collections during the Nazi dictatorship in Germany in the years from 1933 to 1945. It was found that there is only very patchy provenance information for the forty-two artworks donated in 2000 to the Kirchner Museum Davos by “Rosemarie and Konrad Baumgart-Möller in memory of Ferdinand Möller, Berlin.” Since “Möller” is one of the red-flag names in provenance research, the investigation of this part of the collection was given priority.
[Show full text]
Franz Marc Animals Fine Art Pages
Playing Weasels Painted by: Franz Marc When: 1909 Style: Expressionism Interesting Fact: Franz Marc was a German painter and printmaker that lived from 1880 to 1916. He studied in Munich and in France. Franz Marc Fine Art Pages by EnrichmentStudies.com Siberian Sheepdogs Painted by: Franz Marc When: 1910 Materials and Technique: oil on canvas Style: Post-Impressionism Interesting Fact: While serving in the German military in World War I, Marc painted tarp covers in various artistic styles, ranging “from Manet to Kandinsky” in hopes of hiding artillery. Franz Marc Fine Art Pages by EnrichmentStudies.com Blue Horse I Painted by: Franz Marc When: 1911 Materials and Technique: oil on canvas Style: Expressionism Franz Marc Fine Art Pages by EnrichmentStudies.com Deer in the Snow Painted by: Franz Marc When: 1911 Materials and Technique: oil on canvas Style: Expressionism Franz Marc Fine Art Pages by EnrichmentStudies.com Donkey Frieze Painted by: Franz Marc When: 1911 Materials and Technique: oil on canvas Style: Expressionism Interesting Fact: Most of Marc’s work portrays animals in a very stark way, using bold colors. His style caught the attention of the art world. Franz Marc Fine Art Pages by EnrichmentStudies.com Monkey Frieze Painted by: Franz Marc When: 1911 Materials and Technique: oil on canvas Interesting Fact: A “frieze” is a wide horizontal painting or other decoration, often displayed on a wall near the ceiling. Franz Marc Fine Art Pages by EnrichmentStudies.com Resting Cows Painted by: Franz Marc When: 1911 Materials and Technique: oil on canvas Style: Expressionism Franz Marc Fine Art Pages by EnrichmentStudies.com The Yellow Cow Painted by: Franz Marc When: 1911 Materials and Technique: oil on canvas Style: Expressionism Interesting Fact: The style of Expressionism was a modern form of art that began in the early 1900s.
[Show full text]
101 Empathy and Dyspathy with Androids: Philosophical
Konturen II (2009) 101 Empathy and Dyspathy with Androids: Philosophical, Fictional and (Neuro-)Psychological Perspectives Catrin Misselhorn University of Tübingen The fact that we develop feelings towards androids, i.e., objects with a humanlike appearance, has fascinated people since ancient times. However, as a short survey of the topic in history, science fiction literature and film shows, our emotional reactions towards them are ambivalent. On the one hand, we can develop feelings of empathy almost as we do with real human beings; on the other hand, we feel repulsion or dyspathy when those creatures show a very high degree of human likeness. Recently, Japanese roboticist Masahiro Mori coined the term “uncanny valley” to refer to this effect. The aim of this essay is, first, to give an explanation as to why we feel empathy towards androids although we know that they do not have feelings themselves. This presupposes a perception-based concept of empathy which is going to be developed on the basis of some of Theodor Lipps’ ideas. The second question to be answered is why empathy with androids turns into dyspathy when they become very humanlike. As I will argue, this is due to a particular kind of interference between perception and the imagination when confronted with very humanlike objects. This makes androids quite special objects right at the divide between humans and non-humans. They are non-human, but we feel ill at ease when treating them as mere objects. 1. Emotional responses towards androids The human capacity to feel emotions towards inanimate objects that are humanlike – emotions which we normally only feel towards real humans—has fascinated people since ancient times.
[Show full text]
Revonnah Hannover Die Avantgarde Des 20
STADER KUNST-BUCH-KABINETT revonnah hannover Die Avantgarde des 20. Jahrhunderts in Hannover 1 STADER KUNST-BUCH-KABINETT Katalog 3 Herbst 2018 Stader Kunst-Buch-Kabinett Antiquariat Michael Schleicher Schützenstrasse 12 21682 Hansestadt STADE Tel +49 (0) 4141 777 257 Email [email protected] Abbildungen Umschlag: Katalog-Nummern 67 und 68; Katalog-Nummer 32. Preise in EURO (€) Please do not hesitate to contact me: english descriptions available upon request. 2 STADER KUNST-BUCH-KABINETT 1 Kestner Gesellschaft e. V. Küppers, P. E. (Vorwort). I. Sonderausstellung Max Liebermann Gemälde Handzeichnungen. 1. Oktober - 5. November [1916]. Hannover, Königstr. 8. Hannover, Druck von Edler & Krische, 1916, ca. 19,8 x 14,5 cm, (16) Seiten, 4 schwarz-weiss Abbildungen, Original-Klammerheftung. Umschlag etwas fleckig, Rückendeckel mit handschriftlichen Zahlenreihen, sonst ein gutes Exemplar. 280,-- Kestnerchronik 1, 29. - Schmied 1 (Abbildung des Umschlages Seite 238). - Literatur: Die Zwanziger Jahre in Hannover, Kunstverein, 1962. - Schmied, Wieland, Wegbereiter zur modernen Kunst, 50 Jahre Kestner Gesellschaft, 1966. - Kestnerchronik, Kestnergesellschaft, Buch 1, 2006. - REVONNAH, Kunst der Avantgarde in Hannover 1912-1933, Sprengel Museum, 2017. 2 Kestner Gesellschaft e. V. Küppers, P. E. (Text). III. Sonderausstellung Willy Jaeckel Gemälde u. Graphik. 17. Dezember 1916 - 17. Januar 1917. Hannover, Königstrasse 8. Zeitgleich mit Walter Alfred Rosam und Ludwig Vierthaler (Verzeichnis auf lose einliegendem Doppelblatt). Verkäufliche Arbeiten mit den gedruckten Preisangaben. Hannover, Druck von Edler & Krische, 1917, ca. 19,7 x 14,4 cm, (16) Seiten, (4) Seiten Einlagefaltblatt als Ergänzung zum Katalog, 4 schwarz-weiss Abbildungen, Original- Klammerheftung (Klammern oxidiert). Im oberen Bereich alter Feuchtigkeitsschaden; die Seiten sind nicht verklebt.
[Show full text]
Vernon Lee's Psychological Aesthetics Carolyn Burdett Revi
‘The subjective inside us can turn into the objective outside’: Vernon Lee’s Psychological Aesthetics Carolyn Burdett Reviewing Vernon Lee’s Beauty and Ugliness, which appeared in 1912, the New York Times concluded that it ‘is simply a “terrible” book: Long, involved sentences, long scientific terms, queerly inverted thoughts, French words and Latin and German, all hammer at one’s cerebral properties with unquenchable vehemence’. The review, entitled ‘What is Beauty?’, quotes for illustration of its assessment a paragraph, taken ‘almost at random from the middle of the work’.1 It makes the point well enough: its technical, reference-laden sentences are bafflingly opaque to a reader unfamiliar with the largely German-authored debate about aesthetics with which Lee is engaging. Wittingly or not, however, the New York Times’s disgruntled reviewer has selected a key passage. It takes us to the heart of the debate about psychology and about aesthetics, and about the relationship between the two, which was taking place at the end of the nineteenth century. At its simplest, Lee’s objectionable paragraph concerns the question of whether aesthetic responsiveness is primarily bodily or mental, and what it means to try to make a distinction between the two. By the time she compiled Beauty and Ugliness, a collection which included work dating back to the 1890s, Lee was making use of a newly translated word, ‘empathy’. For Lee, empathy was the mechanism which explained aesthetic experience and thus a good deal about emotion as such. She saw it as
[Show full text]
The Blue Rider
THE BLUE RIDER 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 1 222.04.132.04.13 111:091:09 2 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 2 222.04.132.04.13 111:091:09 HELMUT FRIEDEL ANNEGRET HOBERG THE BLUE RIDER IN THE LENBACHHAUS, MUNICH PRESTEL Munich London New York 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 3 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 4 222.04.132.04.13 111:091:09 CONTENTS Preface 7 Helmut Friedel 10 How the Blue Rider Came to the Lenbachhaus Annegret Hoberg 21 The Blue Rider – History and Ideas Plates 75 with commentaries by Annegret Hoberg WASSILY KANDINSKY (1–39) 76 FRANZ MARC (40 – 58) 156 GABRIELE MÜNTER (59–74) 196 AUGUST MACKE (75 – 88) 230 ROBERT DELAUNAY (89 – 90) 260 HEINRICH CAMPENDONK (91–92) 266 ALEXEI JAWLENSKY (93 –106) 272 MARIANNE VON WEREFKIN (107–109) 302 ALBERT BLOCH (110) 310 VLADIMIR BURLIUK (111) 314 ADRIAAN KORTEWEG (112 –113) 318 ALFRED KUBIN (114 –118) 324 PAUL KLEE (119 –132) 336 Bibliography 368 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 5 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 6 222.04.132.04.13 111:091:09 PREFACE 7 The Blue Rider (Der Blaue Reiter), the artists’ group formed by such important fi gures as Wassily Kandinsky, Franz Marc, Gabriele Münter, August Macke, Alexei Jawlensky, and Paul Klee, had a momentous and far-reaching impact on the art of the twentieth century not only in the art city Munich, but internationally as well. Their very particular kind of intensely colorful, expressive paint- ing, using a dense formal idiom that was moving toward abstraction, was based on a unique spiritual approach that opened up completely new possibilities for expression, ranging in style from a height- ened realism to abstraction.
[Show full text]
News Release
NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215/842-6353 CONTACT: Katie Ziglar Deb Spears (202) 842-6353 ** Press preview: Wednesday, November 15, 1989 EXPRESSIONIST AND OTHER MODERN GERMAN PAINTINGS AT NATIONAL GAT.T.KRY Washington, D.C., September 18, 1989 Thirty-four outstanding German paintings from the Thyssen-Bornemisza Collection begin an American tour at the National Gallery of Art, November 19, 1989 through January 14, 1990. Expressionism and Modern German Painting from the Thyssen- Bornemisza Collection contains important examples by artists whose major paintings are extremely rare in this country. The nineteen artists represented in the show include Ernst Ludwig Kirchner, Wassily Kandinsky, Emil Nolde, Erich Heckel, Otto Dix, Johannes Itten, Franz Marc, and Karl Schmidt-Rottluff. The intense and colorful works in this exhibition are among the modern paintings Baron Hans Heinrich Thyssen-Bornemisza has added, along with old master paintings, to the collection he inherited from his father> Baron Heinrich (1875-1947). Expressionism and Modern German Painting, to be seen at three American museums, is selected from the large collection on view at the Baron's home, Villa Favorita in Lugano, Switzerland, through October 29, 1989. It is the first exhibition devoted entirely to the modern German paintings in the collection. -more- expressionism and modern german painting . page two "Comprehensive groupings of expressionism and modern German paintings are extremely rare in American museums and we are pleased to offer a show of this extraordinary caliber here this fall," said J. Carter Brown, director of the National Gallery. The American show has been selected by Andrew Robison, senior curator at the National Gallery.
[Show full text]
Organic Dreams of Electric Sheep: Image, Empathy and Pulse
Organic dreams of Electric Sheep: Image, Empathy and Pulse (After Philip K Dick) Concept Note Exhibiting the works of Baiju Parthan, Pooja Iranna, Mithu Sen and Gigi Scaria, the exhibit, ‘Organic dreams of electric sheep: Image, Empathy and Pulse: After Philip K Dick’, seeks to weave together an accumulation of questions that are indicated by the transference of images across the forms of photography and video; the implications of such transference on the image or images that make this journey, the subtle and perhaps meta changes that this journey results in for the language of images, as well as the role of the image in language formation and the ethical impulses of images so traveled that distance and reiteration begets the question of our relation to images as ‘electric sheep’, i.e. as fabrications with conditionality. The exhibits asks in effect; if we are implicated in the predominance of the image in our language, and thus also in the consequent separation, fabrication, presentation and animation of images, then what ethical considerations arise when distance mitigates the relations between image as experiential and image as construct and lastly what is the agency of the artistic within the formation of ‘electric sheep’? Empathy and Image The philosophic and aesthetic discussions of empathy dating from the translation of the term “Einfuhlung” from its German to its English, “empathy” by Edward Titchener in 1909, positioned empathy as an ability to feel into things; notably in aesthetics, into inanimate images. A central figure is Theodor Lipps (1851- 1914), who was responsible for placing empathy as the central ability through which we can examine our aesthetic responses.
[Show full text]
Absolute Relativity: Weimar Cinema and the Crisis of Historicism By
Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in Critical Theory in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Anton Kaes, Chair Professor Martin Jay Professor Linda Williams Fall 2015 Absolute Relativity: Weimar Cinema and the Crisis of Historicism © 2015 by Nicholas Walter Baer Abstract Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer Doctor of Philosophy in Film and Media Designated Emphasis in Critical Theory University of California, Berkeley Professor Anton Kaes, Chair This dissertation intervenes in the extensive literature within Cinema and Media Studies on the relationship between film and history. Challenging apparatus theory of the 1970s, which had presumed a basic uniformity and historical continuity in cinematic style and spectatorship, the ‘historical turn’ of recent decades has prompted greater attention to transformations in technology and modes of sensory perception and experience. In my view, while film scholarship has subsequently emphasized the historicity of moving images, from their conditions of production to their contexts of reception, it has all too often left the very concept of history underexamined and insufficiently historicized. In my project, I propose a more reflexive model of historiography—one that acknowledges shifts in conceptions of time and history—as well as an approach to studying film in conjunction with historical-philosophical concerns. My project stages this intervention through a close examination of the ‘crisis of historicism,’ which was widely diagnosed by German-speaking intellectuals in the interwar period.
[Show full text]
19Chronology of Works in Aesthetics and Philosophy Of
Chronology of 19 Works in Aesthetics and Philosophy of Art Darren Hudson Hick Notes on Selection This chronology, as with this Companion as a whole, focuses on those works that contribute to the Western tradition of aesthetics, and, beginning in the twentieth century, in the analytic current of thought within that tradition (as opposed to the Continental one). As with the history of Western philosophy in general, the study of philosophical problems in art and beauty dates back to the ancient period, and is infl uenced by the major philosophical and cultural move- ments through the centuries. Much of what survives from the ancient to the post-Hellenistic period does so in fragments or references. In cases where only fragments or references exist, and where dating these is especially problematic, the author or attributed author and (where available) his dates of birth and death are listed. Where works have not survived even as fragments, these are not listed. As well, much of what sur- vives up to the medieval period is diffi cult to date, and is at times of disputable attribution. In these cases, whatever information is available is listed. Aesthetics in the period between the ancients and the medievals tends to be dominated by adherence to Platonic, Aristotelian, and other theories rooted in the ancient period, and as such tends to be generally lacking in substantive the- oretical advancements. And while still heavily infl uenced by ancient thinking, works from the medieval period tend also to be heavily infl uenced by religious thinking, and so many issues pertaining to art and aesthetics are intertwined with issues of religion as “theological aesthetics.” Movements in art theory and aes- thetics in the Renaissance, meanwhile, were largely advanced by working artists, and so tend to be couched in observational or pedagogical approaches, rather than strictly theoretical ones.
[Show full text]
Empathy and Emotions
Empathy and Emotions On the Notion of Empathy as Emotional Sharing Errata p. 17, line 24 Change “he” to “she” p. 50, line 22 Insert “as” between “has” and “a” p. 50, line 25 Insert “as” between “has” and “a” p. 73, line 28 Change “asumptions” to “assumptions” p. 112, line 20 Insert “of” after “kind” p. 136, line 4 Change “(3)” to “(iii)” p. 139, line 33 Change “Davis 1996” to “Davis 1994” p. 140, line 3 Change “Davis 1996” to “Davis 1994” p. 154 Insert reference: Verducci, S. (2000) “A Conceptual History of Empathy and a Question it Raises for Moral Education”. In Educational Theory 50: pp. 63-80. p. 154 Insert reference: Wilson, M. D. (1996) “Spinoza’s Theory of Knowledge”. In The Cambridge Companion to Spinoza (1996). Pp. 89-141. Umeå Studies in Philosophy 7 Empathy and Emotions On the Notion of Empathy as Emotional Sharing Peter Nilsson Umeå 2003 © Peter Nilsson Series editors: Gunnar Andersson, Ingvar Johansson and Sten Lindström Department of Philosophy and Linguistics Umeå University SE-901 87 Umeå ISSN 1650-1748 ISBN 91-7305-428-3 Printed in Sweden by Print & Media, Umeå University, 2003:303057 Distributor: Department of Philosophy and Linguistics, Umeå University, SE-901 87 Umeå, Sweden. ABSTRACT The topic of this study is a notion of empathy that is common in philosophy and in the behavioral sciences. It is here referred to as ‘the notion of empathy as emotional sharing’, and it is characterized in terms of three ideas. If a person, S, has empathy with respect to an emotion of another person, O, then (i) S experiences an emotion that is similar to an emotion that O is currently having, (ii) S’s emotion is caused, in a particular way, by the state of O or by S’s entertaining an idea of the state or situation of O, and (iii) S experiences this emotion in a way that does not entail that S is in the corresponding emotional state.
[Show full text]