This special issue stages a cross-disciplinary conversation between art history and design as taught at The Open University (OU) where these subjects are situated in the Humanities and in STEM ...(Science, Technology, Engineering and Maths). The issue's overarching concern is to open a discussion on how a pedagogy for the future can be conceived that rises to the challenge of the climate catastrophe and the project of decoloniality. In so doing it poses the related question: how might the OU harness the pioneering spirit of its founding years, just over 50 years ago, and yet again be a trailblazer of radical innovation in higher education in response to the urgencies of our time? To start this conversation the special issue brings together contributions by art historians and designers. It offers discussions that look back to the early days of teaching art history and design at the University when courses such as A305 History of Architecture and Design 1890–1939 and T262 Man-made Futures were broadcast by the BBC, and takes stock of how the separation of art and design, and the hierarchy between intellectual and manual labour on which this divide is historically based, have been conceived in the Global North. The issue also presents reflections on a recent current collaborative design project in the community, and an experiment in method that entails a photographic interpolation between anthropology and urban design, as well as a roundtable discussion between members of the OU's Art History and Design Departments that brings approaches in their fields into proximity in relation to issues of museum classification, community engagement, co-design and design thinking, FabLabs, colonialism, representation and transnational movements of practices and people. The special issue ends with a rallying call for change by Tony Fry.
This study looks at how the early art debates in the Jahresring Annual shaped out. Werner Haftmann was the most prominent figure in the post-war art scene and used various media to spread his ideas. ...In a programmatic contribution he articulated his ideal of artistic freedom, while his contemporaries were still struggling with the challenge of abstraction. A dispute between Hans Sedlmayr and Arnold Gehlen, later published in the Jahresring Annual, symbolizes the most prominent discourse of the whole 1950s, a debate, which altered between the desire for freedom and the wish to find new boundaries for contemporary art.
De quelle la couleur de la mer ? Bleue, c’est une évidence. Pourtant, en Grèce ancienne, la mer est pourpre comme le vin. Dans les manuscrits médiévaux et la peinture européenne au contraire, les ...vagues apparaissent régulièrement en différentes teintes de vert. La coloration de la mer est donc l’expression des représentations d’une société et varie autant que les conceptions qui y sont liées. La documentation textuelle et iconographique de plusieurs communautés du passé montre que la couleur attribuée aux flots intègre en fait tout un ensemble de caractéristiques très variées : luminosité, texture, émotions, dénomination, valeurs et normes sociales. Autant de facettes qui permettent d’interroger en retour le rapport à la mer des Occidentaux : la mer « d’azur » est l’horizon d’attente des touristes et influence notre imaginaire au point de transformer nos espaces littoraux et nos activités qui y sont pratiquées.
Cet article se propose de discuter la thèse, couramment admise depuis les travaux de Siegfried Kracauer en 1947, faisant de M le maudit (Fritz Lang 1931) un film « politique » dans le sens où il ...avertirait de la montée du danger nazi, ou au contraire selon d’autres auteurs soutiendrait les nazis dans l’Allemagne de 1930. A partir d’une étude détaillée du film et des déclarations du réalisateur, je soutiens qu’il faut au contraire tenir M pour un film à vocation documentaire et « prophilactique » concernant les tueurs en série, et particulièrement les pédophiles.
Baroque depictions of violence are often dismissed as ‘over the top’ and ‘excessive’. Their material richness and exciting visual complexity, together with the visceral engagement they demand from ...beholders, are usually explained in literature as reflecting the presumed violence of early modern society. This book explores the intersection between materiality, excess, and violence in seventeenth-century paintings through a close analysis of some of the most iconic works of the period. Baroque paintings expose or reference their materiality by insisting on various physical changes wrought through violence. This study approaches violence as the work of materiality, which has the potential to analogously stage pictorial surfaces as corporeal surfaces, where paint becomes flayed flesh, canvas threads ruptured skin, and red paint spilt blood.
Questo volume pone in dialogo discipline e contesti geografici diversi con lo scopo di confrontare pratiche e teorie della storia della tutela e del restauro tra il XVI e il XIX secolo in una nuova ...prospettiva europea. Gli strumenti messi in campo in età moderna per la salvaguardia del patrimonio sono indagati secondo molteplici punti di vista – storico-artistico, giuridico, museografico, archeologico e sociale – per riflettere su attività e modelli elaborati in Europa nei diversi Stati, tra cui Regno di Napoli, Spagna, Gran Ducato di Toscana, Grecia, Prussia, Stato Pontificio, Portogallo e Paesi Scandinavi. Il progetto di ricerca LawLove e questa pubblicazione hanno ricevuto il supporto della Commissione Europea (Marie Skłodowska-Curie project n. 837857).
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