What Is Socially Engaged Art History?

2021 ◽  
pp. 17-32
Author(s):  
Cindy Persinger
Keyword(s):  
Art History ◽  
Socially Engaged Art

Student Docent Projects as Socially Engaged Art History

2021 ◽  
pp. 259-265
Author(s):  
Rebecka A. Black ◽  
Carissa DiCindio
Keyword(s):  
Art History ◽  
Socially Engaged Art

Decorating Up a Few Acres of the Rocky Mountains

2021 ◽  
pp. 225-236
Author(s):  
Rebecka A. Black ◽  
Heather Pressman
Keyword(s):  
Art History ◽  
Historical Research ◽  
Art And Design ◽  
Practical Applications ◽  
Socially Engaged Art ◽  
House Museum ◽  
Historic House ◽  
Art History Survey ◽  
History Survey ◽  
Survey Courses

In this chapter, the authors explore the development of a partnership between undergraduate art history students at an art and design college and educators at a historic house museum in Denver, CO. From this partnership, the museum team created authentic opportunities for student voice in three different art history survey courses. In these classes, students engaged in practical applications of art historical research and created original objects of art, while the college provided resources and audience to support museum programming and development. Here, the authors discuss how these projects developed into a lasting and mutually beneficial partnership for continued socially engaged art history and design opportunities for students.

HAIR CLUB: A Case Study for Socially Engaged Art History

2021 ◽  
pp. 225-233
Author(s):  
Suzanne Gold ◽  
Kelly Lloyd ◽  
Michal Lynn Shumate
Keyword(s):  
Art History ◽  
Socially Engaged Art

Art History as Genetic Epistemology

1985 ◽  
Vol 30 (12) ◽  
pp. 962-964
Author(s):  
Pavel Machotka
Keyword(s):  
Art History ◽  
Genetic Epistemology

Earmarks of art history: Cerumen and medieval art

2000 ◽  
Vol 21 (1) ◽  
pp. 5-8 ◽  
Author(s):  
N PETRAKIS
Keyword(s):  
Art History ◽  
Medieval Art

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

2018 ◽  
Vol 12 (1) ◽  
pp. 29-44
Author(s):  
Srajana Kaikini
Keyword(s):  
Art History ◽  
Visual Art ◽  
Normative Theory ◽  
Close Reading ◽  
Literary Interpretation ◽  
Sanskrit Poetics ◽  
Comparative Framework ◽  
Time Image

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

Un/Becoming Claude Cahun: Zigzagging in a Pack

2018 ◽  
Author(s):  
renée c. hoogland
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Gender Politics ◽  
High Modernism ◽  
Claude Cahun

Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.

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