Jewish identity in modern art history

1999 ◽  
Vol 37 (02) ◽  
pp. 37-0726-37-0726
2001 ◽  
Vol 52 (1) ◽  
pp. 188-189
Author(s):  
Eva Frojmovic

2021 ◽  
Vol 5 (3) ◽  
Author(s):  
Angel Angelov ◽  

The prevailing part of art historians, critics and theoreticians from the mid-1950s even until today feels related to the means of expression of the modernist art trends from the last decade of 19th c. until the end of 1960-s. Modernism has become a sacred text, whose complexity should be interpreted, but not criticized. Sedlmayr’s conception of art is built on moral, religious, aesthetic and political grounds, which are the very reason for the actuality of his works – both in the specialized sphere of art history and in the wider public debate on values. That is why I will analyse his structural approach mainly in relation to his anti-modern conception of art. This is the task of this study. Sedlmayr’s effort to turn art history into a “strict science” is an independent part of his scientific pursuit; it is in relation, but is not subordinate to his conception of modern art. Those publications of his are discussed but only in the specialized literature on history of the methods in humanities, while his conception against modern art acquires an exceptional popularity. Because of that reason his theoretic contribution to the study of art remains in a penumbra. I argue that Sedlmayr’s conception has the following coinciding points with the official understanding of art in the time of socialism: – A denial to estimate art with aesthetic criteria, which the ideologists of socialist realism define as formalism, and Sedlmayr as aesthetism; – In socialism art should represent a positive ideal; Sedlmayr calls this ideal “human measure”; – Art should habituate to morals; – A conviction that the modern art from the end of 19th c. on is decadent; – A criticism against the “dehumanization” of art.


Author(s):  
John Elderfield

This chapter presents the text of a lecture on the role of visual medium in art-historical study. It addresses the relationship of art history to the existential acts of painting and looking at painting and describes how the so-called story of modern art has been narrated in the history literature. It also considers how modern histories can accommodate the unfamiliar that is normally part of the story.


2013 ◽  
Vol 38 (3) ◽  
pp. 10-17
Author(s):  
David Senior

In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.


Author(s):  
Evgenii Aleksandrovich Popov

This article describes the capabilities of methodology of studying art in the three interrelated scientific fields – sociology, culturology, and art history. Emphasis is placed on determination of the key criteria of comprehensive approach towards the analysis of art: each of the three scientific fields may have its own unique criteria for such analysis, but there also universal criteria that allow most fully assessing the essence and purpose of art, considering the general trends of its development in modern reality. The subject of this research is the methodology of comprehensive analysis of art using the instruments of sociology, culturology, and art history. The main conclusions are as follows: 1) disclosure of the content of the methodology of studying art; 2) determination of various criteria for comprehensive analysis of art within the framework of sociology, culturology, and art history; 3) demonstration of capabilities of using certain criteria in analyzing the essence of art and artworks; 4) focus on the social dimension of art, touching upon the heuristic value of the methods of applied sociological research; 5) characteristics of the capabilities of studying the symbolic nature of art in the context of culturology; 6) assessment of the development trends of the methodology of modern art history.


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