DOCSLIB.ORG

History of Art & Fine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
History of Art & Fine SCHOOL OF HISTORY OF ART www.eca.ed.ac.uk Undergraduate degree programme information HISTORY OF ART & FINE ART | Architecture & Landscape Architecture | School of Art | School of Design | SCHOOL OF History of Art | Reid School of Music | CORONAVIRUS UPDATE: CONTENTS WELCOME TO THE SCHOOL APRIL 2020 OF HISTORY OF ART Welcome to the School of History of Art 3 History of Art explains why the world looks the way it We intend to begin the 2020-21 does. Choose to study with us and you’ll join a lively Our degree programmes 4 academic year as usual in September. community ready to explore works of art across an This brochure reflects these Why choose Edinburgh? 5 exceptional range of historical periods and contexts. intentions. Introduction to your degree 6 You’ll learn how to interpret images and objects of We will let you know of any almost every conceivable kind; how to analyse and changes, and confirm start dates in Detailed degree content interpret works of art, how to write vividly and our pre-arrival communications. critically about them, and how to carry out large- History of Art MA (Hons) 8 scale independent research. Fine Art MA (Hons) 12 You’ll benefit from behind-the-scenes access to Example year by year degree content 14 Edinburgh’s renowned art galleries and museums, and will have the opportunity to take up work Teaching 18 experience in one of the city’s collections before following in the footsteps of graduates at work in Facilities 20 leading cultural organisations around the world. Careers 22 If you select Fine Art, you’ll combine the study Alumni profile 24 of History of Art with Art Practice. Our highly regarded Fine Art degree programme is unique History of Art & Fine Art reading lists 26 in terms of its five-year duration and the equal weighting given to both aspects of the programme. Frequently asked questions 28 As a Fine Art student you’ll work in purpose- built studios, across the full range of art practice disciplines before going on to develop your ideas with a team of staff from the School of Art and History of Art. HEATher pulliam HEAD OF HISTORY OF ART, EDINBURGH COLLEGE OF ART 2 3 OUR DEGREE WHY CHOOSE HISTORY OF ART PROGRAMMES & FINE ART AT THE UNIVERSITY OF EDINBURGH? Single honours 5-year undergraduate Joint honours 4-year undergraduate degree programme degree programmes You will work alongside leading The University’s own Talbot Rice academics, many of whom are Gallery exhibits work by leading MA (Hons) Fine Art W150 MA (Hons) French 1 involved in curating or displaying 4 contemporary artists alongside & History of Art RV13 their work at major international art important historical collections. MA (Hons) German Single honours 4-year undergraduate exhibitions. & History of Art RV23 Edinburgh’s remarkable museums, degree programme MA (Hons) History of Art Our range of teaching specialisms its Unesco-listed architecture, and & Architectural History V360 is one of the broadest in the UK and 5 its vibrant contemporary art scene MA (Hons) History of Art V350 2 MA (Hons) History of Art covers everything from Celtic and makes it a great place to study & Chinese Studies TV13 early Islamic art, to contemporary art History of Art. and the current global art market. We Studying a joint degree programme from MA (Hons) History of Art also have specialisms in medieval At ECA, history of art works History of Art & English Literature VQ33 and Renaissance, early modern, and alongside academics and researchers MA (Hons) History both 19th and 20th century art. We 6 who are actively involved in all A joint degree programme is a great way & History of Art VV13 also teach about Chinese, Japanese areas of studio practice – making art, to study two subjects at the same time, MA (Hons) History of Art and Indian art, and have broad and design of all kinds, and constructing and can offer many benefits: & History of Music VW33 up-to-date coverage of contemporary buildings. art theories and politics. _ A joint degree qualification shows MA (Hons) History of Art employers that you can work across & Scottish Literature VQ35 In Year 3, you will have the a range of disciplines. MA (Hons) Italian opportunity to apply for work & History of Art RV33 3 experience in one of the city’s _ You study two subjects and can choose MA (Hons) Russian Studies collections, and gain behind- courses from across both areas. & History of Art RV73 the-scenes access to Edinburgh’s MA (Hons) Spanish renowned art galleries and & History of Art RV43 museums. You will also have the opportunity to study abroad. Watch our video on joint degree programmes at: I WAS DRAWN TO EDINBURGH BECAUSE OF THE CITY’S STATUS AS A www.edin.ac/joint-degrees CULTURAL HUB. WITH THE FRINGE FESTIVAL AND MANY FILMS AND PIECES OF ART AND LITERATURE COMING OUT OF THE CITY, IT SEEMED LIKE A PLACE THAT WOULD FOSTER ACADEMIC CREATIVITY. THIS PAIRED WITH THE ACADEMIC REPUTATION OF THE UNIVERSITY AND THE FRIENDLINESS AND PASSION OF THE STAFF, CONVINCED ME TO MAKE EDINBURGH MY FIRST CHOICE. Tabby Carless-Frost, MA (HONS) HISTORY OF ART STUDENT 4 5 INTRODUCTION TO YOUR DEGREE Award/s Reading lists Everything you need to know about electives MA (Hons) Your reading list will be available in For most of our degrees, because of the four- During Welcome Week, the Academic Fair September. year degree structure, electives allow for a is a chance to see all the courses on offer Location breadth of study both within ECA and across and discuss them in more depth, but we Studying abroad the College of Arts, Humanities and Social do encourage you to explore elective ideas The University’s Central Area Sciences. before joining us in September. Towards the Edinburgh College of Art (ECA) We offer undergraduate students the end of your first week, your Personal Tutor opportunity to undertake a wide range Your choice of electives may be based on will help to check available places and enrol Awarding body of international experiences. Living and enhancing or complementing your degree, you onto your chosen electives. studying abroad can broaden your or you may choose something totally The University of Edinburgh horizons, enhance your academic unrelated, based purely on interest. perspective and help you make the most Duration of your time as an undergraduate student. All modern languages joint honours students 4 years for History of Art spend a year abroad learning their chosen 5 years for Fine Art language, but even those not studying ECA Hunter Building. a language have a range of Go Abroad Photo: Federica Mentasti. Academic year options open to them: Comprises two semesters: www.ed.ac.uk/global/go-abroad September to December January to May Timetables Usually available after your consultation with your Personal Tutor and elective selection, in the first week of Semester 1. Scheduled teaching can take place on any day of the week, but Wednesday afternoons are usually reserved for sport and cultural activity. 6 7 HISTORY OF ART MA (HONS) DETAILED DEGREE CONTENT This degree programme is for you Year 1 Year 3 Year 4 if you are interested in art and visual culture and the histories and ideas that You will study History of Art 1, covering a You will start to specialise and can either You will select courses that build on your they embody. You do not need to have diverse range of art and visual cultures, from focus solely on history of art or choose one subject choices in third year. Again, you studied Art History before, but you the seventh to seventeenth century. The or two courses from other academic areas. can choose solely history of art courses or will be curious to learn about new course examines works produced in Europe, If you are studying history of art with additionally choose one or two courses from ideas, places and times that will the Middle East, India and Japan. another subject as part of a joint programme other academic areas. You will also write challenge the way you see the world. you will take specialist courses from that a dissertation (8 – 10,000 words). If you study history of art with another subject. Our intention is to produce graduates subject as part of a joint programme, you will More information who have an informed and nuanced study compulsory courses from that subject All students will complete either a placement understanding of artistic practice and visual and may be able to choose one elective from within a gallery or cultural institution or You can find more detailed information and material culture at different historical another subject area. a major independent project that focuses on all our History of Art degrees on the periods, who also possess an extensive and on skills relevant to careers in history of art. online Degree Finder, including detailed well-based knowledge and understanding Year 2 Study abroad is possible in your third year. information on programme structure and of art history and its methods of study. entry requirements: You will study History of Art 2, which www.eca.ed.ac.uk/history-of-art-ma begins with the art of the eighteenth-century History of Art lecture. www.ed.ac.uk/ug/37 Enlightenment in Europe and continues until Photo: Ben Shmulevtich. the contemporary art market in China. As in first year, you will be able to choose two electives from related fields such as architectural history and classical art or, alternatively, from unrelated subjects available across the University.
Load more

Recommended publications
  • Art History As a Global Discipline James Elkins
    [is essay originally appeared in Is Art History Global? (New York: Routledge, 2006). It was posted in this form on www.jameselkins.com; see that website for the context, more recent texts on this subject, and contact information.] Art History as a Global Discipline James Elkins What is the shape, or what are the shapes, of art history across the world? Is it becoming global — that is, does it have a recogniz- able form wherever it is practiced? Can the methods, concepts, and purposes of Western art history be suitable for art outside of Europe and North America? And if not, are there alternatives that are compatible with existing modes of art history? The book you are about to read takes off from problems like these. Since the Art Seminar roundtable in spring 2005, world art history and the globalization of the discipline have attracted increasing interest. Several books are in press at the same time as this one. A volume called World Art Studies, edited by Wilfried van Damme and Kitty Zijlmans (who also contributes an Assessment to this book) is forthcoming, and, in the odd logic of publishing, it contains a brief essay of mine, in which I contemplate the results of this project. At the moment, in autumn 2006, the subject is still entrancingly disorganized. It is not quite a field of study, even given the inception of programs in Leiden and East Anglia that aim to teach “world art studies.” A sign of the relative novelty of 3 RT7851x_C001.indd 3 10/2/06 11:22:05 AM 4 Is Art History Global? the subject is the fact that despite extensive efforts, we could not find anyone who would contribute the kind of synoptic, historical Introduction that other volumes in this series have — one that would survey the history of art history’s awareness of its geographic spread.
    [Show full text]
  • Russian Avant-Garde, 1904-1946 Books and Periodicals
    Russian Avant-garde, 1904-1946 Books and Periodicals Most comprehensive collection of Russian Literary Avant-garde All groups and schools of the Russian Literary Avant-garde Fascinating books written by famous Russian authors Illustrations by famous Russian artists (Malevich, Goncharova, Lisitskii) Extremely rare, handwritten (rukopisnye) books Low print runs, published in the Russian provinces and abroad Title list available at: www.idc.nl/avantgarde National Library of Russia, St. Petersburg Editor: A. Krusanov Russian Avant-garde, 1904-1946 This collection represents works of all Russian literary avant-garde schools. It comprises almost 800 books, periodicals and almanacs most of them published between 1910-1940, and thus offers an exceptionally varied and well-balanced overview of one of the most versatile movements in Russian literature. The books in this collection can be regarded as objects of art, illustrated by famous artists such as Malevich, Goncharova and Lisitskii. This collection will appeal to literary historians and Slavists, as well as to book and art historians. Gold mine Khlebnikov, Igor Severianin, Sergei Esenin, Anatolii Mariengof, Ilia Current market value of Russian The Russian literary avant-garde was Avant-garde books both a cradle for many new literary styles Selvinskii, Vladimir Shershenevich, David and Nikolai Burliuk, Alexei Most books in this collection cost and the birthplace of a new physical thousands Dollars per book at the appearance for printed materials. The Kruchenykh, and Vasilii Kamenskii. However,
    [Show full text]
  • Fine Art Papers Guide
    FINE ART PAPERS GUIDE 100 Series • 200 Series • Vision • 300 Series • 400 Series • 500 Series make something real For over 125 years Strathmore® has been providing artists with the finest papers on which to create their artwork. Our papers are manufactured to exacting specifications for every level of expertise. 100 100 Series | Youth SERIES Ignite a lifelong love of art. Designed for ages 5 and up, the paper types YOUTH and features have been selected to enhance the creative process. Choice of paper is one of the most important 200 Series | Good decisions an artist makes 200SERIES Value without compromise. Good quality paper at a great price that’s economical enough for daily use. The broad range of papers is a great in determining the GOOD starting point for the beginning and developing artist. outcome of their work. Color, absorbency, texture, weight, and ® Vision | Good STRATHMORE size are some of the more important Let the world see your vision. An affordable line of pads featuring extra variables that contribute to different high sheet counts and durable construction. Tear away fly sheets reveal a artistic effects. Whether your choice of vision heavyweight, customizable, blank cover made from high quality, steel blue medium is watercolor, charcoal, pastel, GOOD mixed media paper. Charcoal Paper in our 300, 400 and 500 Series is pencil, or pen and ink, you can be confident that manufactured with a traditional laid finish making we have a paper that will enhance your artistic them the ideal foundation for this medium. The efforts. Our papers are manufactured to exacting laid texture provides a great toothy surface for specifications for every level of expertise.
    [Show full text]
  • Dino Rosin Fine Art Sculptor in Glass;
    Dino Rosin Fine Art Sculptor in Glass; By Debbie Tarsitano This past January I was privileged to teach encased flamework design at the Corning Museum School’s Studio. Before traveling to Corning I looked through the course catalogue to see who else was teaching during the week I would be there. There was the name, “Dino Rosin,” and his class “solid sculpture.” As I looked at the small photo of his work in the Corning catalogue, I thought to myself, “I wished I could take his class.” That lone picture in the Corning catalogue told me that here was an artist who understood the true meaning of sculpture. Dino Rosin was born in Venice, Italy on May 30, 1948 and his family moved to the island of Murano while he was still a baby. At age 12 Dino left school to work as an apprentice at the prestigious Barovier and Toso glassworks. In 1963 at age 15, Dino joined his older brothers Loredano and Mirco in their own glass studio “Artvet.” Two years later Loredano and Dino joined Egidio Costantini of Fucina Degli Angeli; while working at this renowned studio, Dino and Loredano collaborated with Picasso and other well-known artists of the time. In 1975, Loredano Rosin opened his own studio and Dino, then aged 27, joined his brother’s new venture, supporting him whole-heartedly. Dino progressed and matured as an artist as he worked alongside his brother Loredano to keep the studio strong. Dino perfected his skills in every area of the studio from mixing batch, the raw materials of glass making, to creating new designs.
    [Show full text]
  • Best Management Practices for Fine Art Painting Studios
    NARRAGANSETT BAY COMMISSION Environmental, Health & Safety MANAGEMENT BEST PRACTICES for FINE ART PAINTING STUDIOS The purpose of this brochure is to guide you in protecting your health and preserving the environment as you work with various supplies and materials in your studio. It is also intended to help you save money and to comply with existing environmental regulations. Following these guidelines will keep you and your environment safe. Sources of health & safety information on the Internet for artists Disposal of household hazardous waste in RI: www.rirrc.org/site/ecodepot/eco_depot_broc.pdf A searchable health & safety database by medium: www.ci.tuc- son.az.us/arthazards/home.html List of references and more: www.library.unisa.edu.au/internet/pathfind/arthazards.htm Comprehensive list of articles covering many mediums: www.croetweb.com/outreach/croetweb/ links.cfm?topicID=2 List of books, periodicals and organizations: http://wally.rit.edu/pubs/guides/healthhaz.html Comprehensive list of articles: www.library.wwu.edu/ref/subjguides/art/arthazards.html Article entitled Art Painting and Drawing www.uic.edu/sph/glakes/harts/HARTS_library/paintdrw.txt Very comprehensive list of resources for many media: www.trueart.info/hazards.htm Safety Primer with references: www.ianr.unl.edu/pubs/consumered/nf126.htm Safety Primers: www.artspaceseattle.org/solutions/safety.html www.uwlax.edu/ehs/arthaz.html www.gamblincolors.com/safety.html Paint MSDSs available under Health & Safety section: www.winsornewton.com/index2.php Studio Ventilation:
    [Show full text]
  • Printmaking Through the Ages Utah Museum of Fine Arts • Lesson Plans for Educators • March 7, 2012
    Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Table of Contents Page Contents 2 Image List 3 Printmaking as Art 6 Glossary of Printing Terms 7 A Brief History of Printmaking Written by Jennifer Jensen 10 Self Portrait in a Velvet Cap , Rembrandt Written by Hailey Leek 11 Lesson Plan for Self Portrait in a Velvet Cap Written by Virginia Catherall 14 Kintai Bridge, Province of Suwo, Hokusai Written by Jennifer Jensen 16 Lesson Plan for Kintai Bridge, Province of Suwo Written by Jennifer Jensen 20 Lambing , Leighton Written by Kathryn Dennett 21 Lesson Plan for Lambing Written by Kathryn Dennett 32 Madame Louison, Rouault Written by Tiya Karaus 35 Lesson Plan for Madame Louison Written by Tiya Karaus 41 Prodigal Son , Benton Written by Joanna Walden 42 Lesson Plan for Prodigal Son Written by Joanna Walden 47 Flotsam, Gottlieb Written by Joanna Walden 48 Lesson Plan for Flotsam Written by Joanna Walden 55 Fourth of July Still Life, Flack Written by Susan Price 57 Lesson Plan for Fourth of July Still Life Written by Susan Price 59 Reverberations, Katz Written by Jennie LaFortune 60 Lesson Plan for Reverberations Written by Jennie LaFortune Evening for Educators is funded in part by the StateWide Art Partnership and the Professional Outreach Programs in the Schools (POPS) through the Utah State Office of Education 1 Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Image List 1. Rembrandt Harmensz van Rijn (1606-1669), Dutch Self Portrait in a Velvet Cap with Plume , 1638 Etching Gift of Merrilee and Howard Douglas Clark 1996.47.1 2.
    [Show full text]
  • The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba
    2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission.
    [Show full text]
  • Aria Amenities Fine Art Brochure
    YOUR GUIDE TO EXPLORING THE Reproduced by permission of the Henry Moore Foundation The first major permanent collection of art in Las Vegas to be integrated into a public space, the ARIA Fine Art Collection is one of the world’s largest and most ambitious corporate collections. The ARIA Fine Art Collection features work by acclaimed painters, sculptors and installation artists, including Maya Lin, Jenny Holzer, Nancy Rubins, Claes Oldenburg and Coosje van Bruggen, Frank Stella, Henry Moore, James Turrell and Richard Long, among others. The ARIA Fine Art Collection encompasses a multitude of styles and media engaging visitors on a visual and intellectual level. Some were existing pieces, carefully chosen for their artistic value and cultural significance; others are site-specific installations for which the artist commanded their vision over the space. Fully integrated into the architecture and design of the ARIA Campus, guests can interact with important works of art in the living, breathing spaces of ARIA’s public areas, hotels and residential common spaces. From vibrant and ornate to intimate and serene, these works were strategically placed to fascinate and educate guests. For more information about the ARIA Fine Art Collection, please visit Aria.com/fineart. Please do not touch the artwork. 11 6 12 5 4 9 13 ADDITIONAL ATTRACTIONS TO CASINO ND LEVEL 7 10 PROMENADE ARIA Resort & Casino 3 8 A Lumia ARIA Resort & Casino, Main Entrance Twisting ribbons and large arcs of streaming water create bold, captivating “water sparks” at their intersections. Lumia is the first fountain to be lit, so the vibrant colors are visible during daylight.
    [Show full text]
  • Globalization and Contemporary Art
    Harris_cover.indd 43 3/15/2011 8:20:45 PM HHarris_flast.inddarris_flast.indd xxviiiviii 33/17/2011/17/2011 22:53:19:53:19 PPMM Globalization and Contemporary Art HHarris_ffirs.inddarris_ffirs.indd i 33/17/2011/17/2011 22:53:06:53:06 PPMM To Albert and Myra Boime, citizens of Los Angeles and the world HHarris_ffirs.inddarris_ffirs.indd iiii 33/17/2011/17/2011 22:53:06:53:06 PPMM Globalization and Contemporary Art Edited by Jonathan Harris A John Wiley & Sons, Ltd., Publication HHarris_ffirs.inddarris_ffirs.indd iiiiii 33/17/2011/17/2011 22:53:06:53:06 PPMM This edition first published 2011 © 2011 Wiley-Blackwell Wiley-Blackwell is an imprint of John Wiley & Sons, formed by the merger of Wiley’s global Scientific, Technical and Medical business with Blackwell Publishing. Registered Office John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, United Kingdom Editorial Offices 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwell. The right of Jonathan Harris to be identified as the editor of this work been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher.
    [Show full text]
  • Art from Europe and America, 1850-1950
    Art from Europe and America, 1850-1950 Gallery 14 QUESTIONS? Contact us at [email protected] ACKLAND ART MUSEUM The University of North Carolina at Chapel Hill 101 S. Columbia Street Chapel Hill, NC 27514 Phone: 919-966-5736 MUSEUM HOURS Wed - Sat 10 AM - 5 PM Sun 1 PM - 5 PM 2nd Fridays 10 AM – 9 PM Closed Mondays & Tuesdays. Closed July 4th, Thanksgiving, Christmas Eve Christmas Day, & New Year’s Day. 1 Auguste Rodin French, 1840 – 1917 Head of Balzac, 1897 bronze Ackland Fund, 63.27.1 About the Art • Nothing is subtle about this small head of the French author Honoré de Balzac. The profile view shows a protruding brow, nose, and mouth, and the hair falls in heavy masses. • Auguste Rodin made this sculpture as part of a major commission for a monument to Balzac. He began working on the commission in 1891 and spent seven more years on it. Neither the head nor the body of Rodin’s sculpture conformed to critical or public expectations for a commemorative monument, including a realistic portrait likeness. Consequently, another artist ultimately got the commission. About the Artist 1840: Born November 12 in Paris 1854: Began training as an artist 1871-76: Worked in Belgium 1876: Traveled to Italy 1880: Worked for the Sèvres Porcelain Manufactory; received the commission for one of his most famous works, monumental bronze doors called The Gates of Hell 1896: His nude sculpture of the French author Victor Hugo created a scandal 1897: Made the Ackland’s Head of Balzac 1898: Exhibited his monument to Balzac and created another scandal 1917: Died November 17 in Meudon 2 Edgar Degas French, 1834 – 1917 Spanish Dance, c.
    [Show full text]
  • New Worlds: Frontiers, Inclusion, Utopias
    Table of contensNew Worlds: Frontiers, Inclusion, Utopias New Worlds: Frontiers, Claudia Mattos Avolese Inclusion, Roberto Conduru Utopias — EDITORS 1 Table of contens Introduction The Global Dimension of Claudia Mattos Avolese, Art History (after 1900): Roberto Conduru Conflicts and Demarcations [5] Joseph Imorde Universität Siegen [71] Between Rocks and Hard Places: Indigenous Lands, Settler Art Histories and the Perspectives on ‘Battle for the Woodlands’ Institutional Critique Ruth B. Phillips Lea Lublin and Julio Le Parc Carleton University between South America and [9] Europe Isabel Plante Universidad Nacional Transdisciplinary, de San Martín Transcultural, and [85] Transhistorical Challenges of World Art Historiography Peter Krieger Historiography of Indian Universidad Nacional Art in Brazil and the Autónoma de México Native Voice as Missing [36] Perspective Daniela Kern Universidade Federal do Out of Place: Migration, Rio Grande do Sul Melancholia and Nostalgia [101] in Ousmane Sembène’s Black Girl Steven Nelson The Power of the Local Site: University of California, A Comparative Approach to Los Angeles Colonial Black Christs and [56] Medieval Black Madonnas Raphaèle Preisinger University of Bern [116] New Worlds: Frontiers, Inclusion, Utopias — 2 Table of contens Between Roman Models Historiographies of the and African Realities: Contemporary: Modes of Waterworks and Translating in and from Negotiation of Spaces in Conceptual Art Colonial Rio de Janeiro Michael Asbury Jorun Poettering Chelsea College of Arts, École des Hautes Études University of the Arts en Sciences Sociales London [133] [188] Tropical Opulence: Landscape Painting in the Rio de Janeiro’s Theater Americas: An Inquiry Competition of 1857 Peter John Brownlee Michael Gnehm Terra Foundation for Accademia di architettura, American Art Mendrisio / Swiss — Federal Institute of Valéria Piccoli Technology Zurich Pinacoteca do Estado [146] de São Paulo — Georgiana Uhlyarik New Classicism Art Gallery of Ontario Between New York and [202] Bogotá in the 1960s Ana M.
    [Show full text]
  • The Second Essay
    c . James Elkins 48 the state of art history in ireland, revisited 1. Universities and art colleges could be more strongly connected. As I write, the Crawford College of Art and Design in Cork is preparing to move to a new campus, and the National College of Art and Design, Dublin, is pondering several alternative sites. Both moves are necessitated in part by the condition of their buildings, but both will entail new connections, or disconnections, with nearby universities. Before I say what those may be, let me describe briefly the situation in America. There it is common for universities to have studio art departments. In smaller universities and liberal arts colleges, the studio art departments are amalgamated with the Art History departments: they share physical facilities and sometimes, though not always, they share courses and have common goals. The common case in larger In 2003, when I was hired at the University College universities is that art practice is a separate department 49 Cork, I wrote an essay called The state of Art History from history of art. Either way, the studio art department in Ireland; it is available on the Circa website. Now is more or less a continual supplicant for funds and that I am leaving the position in Cork, I thought it resources. Art historians typically spend their time in would be appropriate to revisit that essay, and write their own department, and have minimal contact with an envoi. The 2003 essay was largely celebratory, the studio art instructors. The alienation takes many because I saw – and I still see – enormous potential forms, but I can sum it up with an anecdote from the in the art-history and art-criticism scene here in University of Chicago.
    [Show full text]