Konsthistorisk tidskrift/Journal of Art History最新文献_第8页

Fountains of Beauty (Duchamp’s Other Lesson) 美丽的喷泉(杜尚的另一课)

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2020-04-02 DOI: 10.1080/00233609.2020.1770329

R. Rothman

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Within Aesthetic Distance: Artistic Critique from Activism to Eco-realism 美学距离之内:从行动主义到生态现实主义的艺术批判

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2020-04-02 DOI: 10.1080/00233609.2020.1775695

Maryse Ouellet

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Andrea Fraser and the Psychoanalytic Character of Critique: From Normotic Performance to a Space of Play 安德里亚·弗雷泽与批判的精神分析特征:从规范表演到游戏空间

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2020-04-02 DOI: 10.1080/00233609.2020.1779807

R. Sykes

{"title":"Andrea Fraser and the Psychoanalytic Character of Critique: From Normotic Performance to a Space of Play","authors":"R. Sykes","doi":"10.1080/00233609.2020.1779807","DOIUrl":"https://doi.org/10.1080/00233609.2020.1779807","url":null,"abstract":"This article will examine how the practice of critique is made vivid in the early performances of Andrea Fraser, the artist associated most conspicuously with Institutional Critique (IC), an umbrella term for a variety of critical artistic practices that developed out of the conceptual art movement of the 1960s. It traces the convoluted position of critique in contemporary art history, as distinct from literary studies, before discussing how academic art criticism privileges psychoanalytic models that articulate strong forms of negative critique at the expense of more affectively attuned and relational readings. Anderson’s (Bleak Liberalism, Chicago and London, 2016) discussion of the relationship between psychology and ideological analysis in literary criticism, in particular her elucidation of the characterological nature of the terms that recur in academic discourse, is used to introduce the ideas of British object relations into the sphere of contemporary art criticism: D. W. Winnicott’s theory of creative play is used to make a ‘playful’ interpretation of Fraser’s performance as the putative docent Jane Castleton in work like Museum Highlights: A Gallery Tour (1989). In comparison to critical accounts of this early work that stress the postmodernist ‘character’ of Jane as the ventriloquist of various ideological texts, this article explicitly acknowledges Fraser’s presence as a charismatic performer in order to discuss how Jane’s ‘normotic personality’, typified by ‘the numbing and eventual erasure of subjectivity’ (Bollas, The Shadow of the Object: Psychoanalysis of the Unthought Known, London, 1987), is an evocative enactment of the existential dimensions of critique.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130850438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Cover – title page 封面-扉页

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2020-04-02 DOI: 10.1080/00233609.2020.1792168

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Postcritical or Acritical? Twelve Steps for Art History Writing in the Anthropocene 后批判还是批判?人类世艺术史写作的十二个步骤

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2020-04-02 DOI: 10.1080/00233609.2019.1704863

Dan Karlholm

{"title":"Postcritical or Acritical? Twelve Steps for Art History Writing in the Anthropocene","authors":"Dan Karlholm","doi":"10.1080/00233609.2019.1704863","DOIUrl":"https://doi.org/10.1080/00233609.2019.1704863","url":null,"abstract":"Looking at both critique and postcritique in relation to art history, in general, and art historiography, in particular, this article suggests that art history’s critical heritage runs longer and deeper than a “hermeneutics of suspicion” signals, and that this state of affairs is therefore a deeper and wider problem than how to overcome and replace critique. The latter term, for art history, is of a piece with the modernity/modernism/avant-gardism of this discipline, which – despite declarations to the contrary – is not over, and which therefore makes today’s critical (in the sense of dangerous and urgent) situation of imminent climate disaster even harder to come to terms with. What our discipline is arguably in need of in the epoch of the Anthropocene – save for contributing to saving the world – is a new way of composing histories of art. In search of such a more unbiassed model I will discuss temporal conceptions, including the Anthropocene itself as well as François Hartog’s ideas on “presentism”, and draw on Piotr Piotrowski’s attempt to construct a spatially extended “horizontal art history”, as opposed to the hierarchical West-centered one, in order, finally, to propose the outlines of an alternative, inspired by Bruno Latour – a twelve-step sketch that is horizontal in a more neutral and material sense, and which responds to the keywords anachronic, amodern and acritical.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123778108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Refugees of War: Federico Barocci’s Aeneas Fleeing Troy, Classical Antecedents to Contemporary Issues 战争的难民:费德里科·巴罗奇的埃涅阿斯逃离特洛伊，当代问题的经典前因后果

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2020-01-02 DOI: 10.1080/00233609.2020.1742786

Elizabeth A. Lisot-Nelson

{"title":"Refugees of War: Federico Barocci’s Aeneas Fleeing Troy, Classical Antecedents to Contemporary Issues","authors":"Elizabeth A. Lisot-Nelson","doi":"10.1080/00233609.2020.1742786","DOIUrl":"https://doi.org/10.1080/00233609.2020.1742786","url":null,"abstract":"Aeneas Fleeing Troy, painted by Federico Barocci (1535–1612), depicts a scene from Vergil’s Aeneid (29–15 BCE). This article offers interpretations of text and image highlighting the complexity of the refugee experience and the possibilities for a future society comprised of blended populations. Aeneas negotiated a new world for his progeny while suffering through war, displacement and loss. History suggests that art and literature are compelling translators of our shared human experience, which can encourage the creation of an inclusive civilization and give warnings about potential conflict. The battles and blood-shed, religious and civil wars that transpired while Barocci created his artwork and as it was transferred between owners, such as the Holy Roman Emperor Rudolf II, Queen Christina of Sweden and Louis Philippe II (Philippe Égalité), cousin of the beheaded King Louis XVI, offer insights into alternative paths forward for Europe. History, literature, and art provide – not only instruction from the past – but guidance to negotiate a future in which contributions by the indigenous populations of Europe are honoured and cherished, while the integration of different cultures provides change for a new shared European future.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124553150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Vitalitá nell’arte: An Entry into the Trans-European Birth of the Contemporary Art Exhibition? 生命力<s:1>奈尔艺术:跨欧洲当代艺术展的诞生?

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2020-01-02 DOI: 10.1080/00233609.2020.1758771

Kristian Handberg

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Birgittaskolorna – Modeateljéer och sömnadsskolor mellan tradition och förnyelse

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2020-01-02 DOI: 10.1080/00233609.2020.1767201

P. Rasmussen

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‘ … a Tasteful Decoration of the Crematory, without any Distracting Content and Meaning.’ The Exhibition Klar Form in 1951 and the Dispute on the Potential of Abstract Art 火葬场的高雅装饰，没有任何分散注意力的内容和意义。“1951年的克拉尔形式展览与抽象艺术潜力之争”

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2020-01-02 DOI: 10.1080/00233609.2020.1735510

Mette Højsgaard

{"title":"‘ … a Tasteful Decoration of the Crematory, without any Distracting Content and Meaning.’ The Exhibition Klar Form in 1951 and the Dispute on the Potential of Abstract Art","authors":"Mette Højsgaard","doi":"10.1080/00233609.2020.1735510","DOIUrl":"https://doi.org/10.1080/00233609.2020.1735510","url":null,"abstract":"Summary An abstract follows here, if needed: In December 1951 the exhibition Klar Form opened in Copenhagen. It was the first venue of a Scandinavian tour that included Oslo, Stockholm and Helsinki. It was organized by the prolific Galerie Denise René, Paris in collaboration with the Galerie Børge Birch, Copenhagen and the Danish artists Richard Mortensen and Robert Jacobsen. The exhibition showed a mixture of the pioneers of abstract art such as Le Corbusier and Fernand Léger, and the younger generation including artists such as Victor Vasarely, Jean Dewasne, Robert Jacobsen, Richard Mortensen and Serge Poliakoff. Klar Form could be seen as an art political statement meant to strengthen the impact of geometrical abstract art and has gained a place in Danish art history as a crucial exhibition with great influence on the subsequent development of the abstract art of the 1950s. However, the critique of Klar Form in the Danish press was far from univocally positive. Instead, as the sharply negative voices reveal, the exhibition was the object of fierce debate based on a broader underlying debate on cultural politics in the early years of the Cold War and on art in society. This article focusses on these negative voices in an attempt to reveal new aspects of this debate.","PeriodicalId":164200,"journal":{"name":"Konsthistorisk tidskrift/Journal of Art History","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134449018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Cover - Title Page 封面-扉页

Konsthistorisk tidskrift/Journal of Art History Pub Date : 2020-01-02 DOI: 10.1080/00233609.2020.1775370

Kristian Handberg, Elizabeth A. Lisot-Nelson

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