For a long time, works of art with traditional pictorial motifs were sufficiently comprehensible even without titles. Why, when and under what circumstances were titles nevertheless created? The ...livrets, the exhibition catalogues of the Paris Académie royale de peinture et de sculpture, document the genesis of titles as a gradual transition from descriptions of the works to concise short titles – the emergence of new, previously unknown pictorial motifs, the development of the art market and the beginning of art criticism demanded and favoured short, easy-to-read titles that facilitated the rapid identification of the content of the work as well as the art-theoretical discourse on artist and work.
Lange Zeit waren Kunstwerke mit traditionellen Bildmotiven auch ohne Betitelung hinreichend verständlich. Weshalb, ab wann und unter welchen Begleitumständen entstanden dennoch Titel? Die livrets, die Ausstellungskataloge der Pariser Académie royale de peinture et de sculpture, zeigen die Titel-Genese als schrittweisen Übergang von Beschreibungen der Arbeiten hin zu prägnant gefassten Kurztiteln – das Aufkommen neuer, bis dahin unbekannter Bildmotive, die Entwicklung des Kunstmarkts und die beginnende Kunstkritik verlangten und begünstigten kurze, leicht lesbare Titel, die eine rasche Identifikation des Werkinhalts sowie den kunsttheoretischen Diskurs über Künstler und Werk erleichterten.
This is the first in-depth study of how the architectural profession emerged in early American history. Mary Woods dispels the prevailing notion that the profession developed under the leadership of ...men formally schooled in architecture as an art during the late nineteenth century. Instead, she cites several instances in the early 1800s of craftsmen-builders who shifted their identity to that of professional architects. While struggling to survive as designers and supervisors of construction projects, these men organized professional societies and worked for architectural education, appropriate compensation, and accreditation.
In such leading architectural practitioners as B. Henry Latrobe, Alexander J. Davis, H. H. Richardson, Louis Sullivan, and Stanford White, Woods sees collaborators, partners, merchandisers, educators, and lobbyists rather than inspired creators. She documents their contributions as well as those, far less familiar, of women architects and people of color in the profession's early days.
Woods's extensive research yields a remarkable range of archival materials: correspondence among carpenters; 200-year-old lawsuits; architect-client spats; the organization of craft guilds, apprenticeships, university programs, and correspondence schools; and the structure of architectural practices, labor unions, and the building industry. In presenting a more accurate composite of the architectural profession's history, Woods lays a foundation for reclaiming the profession's past and recasting its future. Her study will appeal not only to architects, but also to historians, sociologists, and readers with an interest in architecture's place in America today.
This book examines contemporary artistic practices since 1990 that engage with, depict, and conceptualize history, arguing that art offers fruitful strategies for creating historical consciousness ...and perspectives for political agency. The analytical instrument of anachrony comes to the fore as an experimental method, as will (para)fiction, counterfactual history, testimonies, ghosts and spectres of the past, utopia, and the “juridification” of history.
Dieses Buch untersucht zeitgenössische künstlerische Praktiken seit 1990, die sich mit Geschichte auseinandersetzen, sie darstellen und konzeptualisieren, und argumentiert, dass Kunst fruchtbare Strategien bietet, um historisches Bewusstsein und Perspektiven für politisches Handeln zu schaffen. Das analytische Instrument der Anachronie tritt als experimentelle Methode ebenso in den Vordergrund wie (Para-)Fiktion, kontrafaktische Geschichte, Zeugenschaft, Gespenster und Gespenster der Vergangenheit, Utopie und die "Verrechtlichung" der Geschichte.
There is a category of choreographic practice with a lineage stretching back to mid-20th century North America that has re-emerged since the early 1990s: dance as a contemporary art medium. Such work ...belongs as much to the gallery as does video art or sculpture and is distinct from both performance art and its history as well as from theater-based dance. The Persistence of Dance: Choreography as Concept and Material in Contemporary Art clarifies the continuities and differences between the second-wave dance avant-garde in the 1950s‒1970s and the third-wave starting in the 1990s. Through close readings of key artists such as Maria Hassabi, Sarah Michelson, Boris Charmatz, Meg Stuart, Philipp Gehmacher, Adam Linder, Agatha Gothe-Snape, Shelley Lasica and Latai Taumoepeau, The Persistence of Dance traces the relationship between the third-wave and gallery-based work. Looking at these artists highlights how the discussions and practices associated with “conceptual dance” resonate with the categories of conceptual and post-conceptual art as well as with the critical work on the function of visual art categories. Brannigan concludes that within the current post-disciplinary context, there is a persistence of dance and that a model of post-dance exists that encompasses dance as a contemporary art medium.
Summary Michael Fried’s 1967 essay “Art and Objecthood” is one of the most well-known and influential pieces of art criticism ever written, and continues to generate novel interpretations. Its ...overtly theological cast, however, has never been the subject of close study. This article focuses on Fried’s decision to use a lengthy quotation from Perry Miller’s biography of the theologian Jonathan Edwards as his epigram, and contends that Fried’s essay is informed in significant ways by Edwards’ notions of history and grace, and characterized by wordings that reveal an active engagement with Miller’s text. Certainly, the contexts in which Edwards and Fried worked were irreducibly different. Nevertheless, an examination of the ways in which Fried drew on Miller’s text and Edwards’ ideas demonstrates that he was productively influenced by both in composing “Art and Objecthood.”
In August 1890, the then very young Maurice Denis published a short essay in the pages of the Parisian magazine «Art et Critique» entitled Définition du Néo-traditionnisme. With this text, the future ...co-founder of the Nabis group laid the ideological foundations for the Symbolist movement ahead of his friend and colleague Gabriel Albert Aurier, the author of what is still considered the “official” manifesto of this movement: Le Symbolisme en peinture: Paul Gauguin (1892). In his text, the Granville-born painter provides his own definition of the famous five points drawn up by Aurier only two years later (ideism, symbolism, synthetism, subjectivism and decorativism), thus demonstrating that he was not only an avant-garde artist but also a keen theoretician attentive to the critical debates of his time.
Fernando Gallego es un pintor tan famoso como poco conocido, documentado entre los siglos XV y XVI en Castilla, y al que se atribuyen muchas obras. Algunas de ellas están tan consagradas en la ...Historia del Arte que lo cuestionable de su autoría no ha impedido situarlo en el canon de la pintura española. ¿Cómo ha llegado a establecerse este canon de cultura nacional? La historiografía de Gallego, que abarca desde el siglo XVIII al XXI, permite observar la construcción retrospectiva de una figura que hoy determina programas educativos y museísticos de las instituciones productoras de memoria histórica e identidad colectiva. La deconstrucción crítica de las biografías del artista enfatiza el peso de las narrativas historiográficas detrás de muchos de estos textos. El análisis de conceptos centrales como estilo y nación revela cómo la idea de un pintor español, que en estos textos solía encarnar tanto su individualidad como su tiempo histórico, fue central para presentar las nociones nacionales acerca lo que España debería ser y establecer así una continuidad de valores.
In this conversation, Mieke Bal retraces the perimeter of her analytically based art practice and her practice-based theoretical work, taking advantage of the operational concept of frame but also of ...the many actions it generates – such as framing, unframing, de-framing, and re-framing. She considers the act of framing, understood as a first gesture of interpretation, much more useful than the noun itself for our understanding of the effects and meanings of art. Framing as an action can also potentially subvert the traditional, linear, and chronological views of time, bringing into question unilateral thinking. From this perspective, re-framing does not mean doing something again but doing something different – that is, something new – while unframing, instead of a refusal of the act of framing, is to put chaos into an artwork.
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