Locating the First Sculptural Mark

2020 ◽  
pp. 173-188
Author(s):  
Mary Kelly
Keyword(s):  
New York ◽  
Golden Age ◽  
Primary Sources ◽  
New Work ◽  
Art Making ◽  
Work Of Art ◽  
History Of Art ◽  
History Of ◽  
Islamic Golden Age

Diana Al–Hadid was born in Aleppo, Syria in 1981 and she currently lives and practices her art in Brooklyn, New York. This interview with Al–Hadid is an engagement with just one voice from the Syrian diaspora. The text explores the artist’s methods and strategies in art making for the purpose of recording new primary sources in the History of Art, which can be used to generate different ways of understanding Al–Hadid’s sculptures. The various themes discussed in the interview including: the artist’s engagements with materials and materiality; the formal qualities in her art; historical and art historical influences such as the Islamic Golden Age and Old Master painting; her attention to the original and editions; and the three broad spheres of typologies which are located in her oeuvre. In addition, Al–Hadid reveals her various processes of making which lead to the location of the first artistic mark on a new work of art.

scholarly journals Medijacijska funkcija umjetničke kritike između povijesti i suvremenosti

Ars Adriatica ◽  
2012 ◽  
pp. 269
Author(s):  
Nataša Lah
Keyword(s):  
New York ◽  
Cultural Values ◽  
Cultural Context ◽  
Art Criticism ◽  
Critical Evaluation ◽  
Sudden Expansion ◽  
Work Of Art ◽  
Cultural Paradigm ◽  
History Of Art ◽  
History Of

The importance of questioning the mediatory role of art criticism was established by theory in the 1960s, when it began to erode the boundary between works of art and objects which are not art but which have been institutionalized as legitimate artworks by theoreticians, critics, museums, art galleries and a narrow but well-versed public audience. The postmodern period has further exacerbated this crisis by annulling the meaning and significance of all dominant theoretical tendencies. Such circumstances have shown that art criticism, by losing a firm theoretical and axiological stronghold, has neglected its fundamental function of initiating and articulating, theoretically interpreting and mediating current artistic practices and the contemporary life of the art world. Curatorial practices in these new circumstances have imposed thematic and evaluative orientation points on art criticism while institutional art theories have conversely encouraged the paradigm shift which has caused art criticism to lose its original purpose. Operating mostly in the sphere of the mass media, and in harmony with its function, art criticism has focused on documenting and bringing into the public arena those works which have already been evaluated in advance by conceptual curatorial practice. Given that such projects addressed mostly narrow professional circles and the activities of the relevant institutions, the wider cultural context of following and evaluating current artistic production was lost. Art criticism found itself in an unfavourable position, squeezed between the demands of its mother discipline (history of art) for a normative and established scholarly apparatus, and the counter-demands of the media within which it operates. Therefore, its mediatory role was neutralized.Recent professional activities across the world, including two large international conferences - What is Critique? held in New York in 2010, and the Art and Reality organized at Saint Petersburg in 2011 and focusing on aspects and trends in twentieth-century art criticism point to a re-awakening of interest in the revitalization of the purpose and meaning of art criticism.Our contribution to this subject orientates itself methodologically according to the postulates of the relativistic and moderately-analytical Anglo-Saxon aesthetics of Nelson Goodman, which argue for the influence of culture on reception. By adjusting to the (culturally conditioned) shift away from investigating the purpose, value and significance of a work of art towards the purpose, significance and value of the representation itself, the mediatory function of art criticism includes the reception of the cultural paradigm a work of art is presenting. The demand for a mediatory function for art criticism is also based on the consequences of the turbulent events of nineteenth-century art, when provocation against good taste as such caused a sudden expansion of mutually exclusive theoretical paradigms. In this sense, mediation also implies that art criticism is rooted in the history of the discipline. One of the pre-requisites for the understanding of such a suggestion is found in works such as Lionello Venturi’s History of Art Criticism and Oskar Bätschmann’s Einführung in die kunstgeschichtliche Hermeneutik: Die Auslegung von Bildern (Introduction to Art Historical Hermeneutics). In the case of Venturi we highlight in particular the tendency to link the art historical discipline and art criticism in such a way as to return art criticism to historical problems (understanding of the origin of a work of art), and history of art to forming judgements (the critical evaluation of a work of art). In the case of Bätschmann, we underline his analysis of the iconoclastic relationship of culture towards those types of artistic imagination for which no conditions for understanding are available. Both suggestions demonstrate the significance of art criticism’s mediatory role, on the one hand between history and contemporaneity, and on the other between art and audience.Such a role includes the question of competency in mediation, for which a static reception from the position of only one theoretical paradigm or one system of cultural values is not enough. Competency in mediation, apart from implying insight into the pluralism of social values in all their antinomies, and the pluralism of opinions and beliefs (in which ideologies always have a tendency to mobilize all interpretations directed to them), it also implies a critic’s ability to adjust to different methodologies. This does not support acting without a disciplinary focus but the possibility of adapting to a number of different central points within the discipline which may multiply or expire. In this case, competency in mediation is preceded by the detection of an artistic and cultural paradigm, but also by an authoritative application of theoretical and conceptual strongholds, varying from case to case, always recurring and always authentic.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Abraham Joshua Heschel's Philosophy of Man

1970 ◽  
Vol 6 (1) ◽  
pp. 59-68
Author(s):  
Waldemar Szczerbiński
Keyword(s):  
New York ◽  
The United States ◽  
Martin Buber ◽  
Jewish Studies ◽  
Creative Work ◽  
Theological Seminary ◽  
Philosophy Department ◽  
History Of Art ◽  
History Of ◽  
The Subject

The subject of the following discourse is, as the title itself points out, the anthropology of Heschel. Considering the fact that Heschel is in general unknown in Poland, I shall take the liberty to make known, in short, some pieces of information about him. Heschel was born in Warsaw, Poland on January 11th 1907. After graduating from the Gymnasium in Wilno he started his studies at Friedrich Wilhelm Universität, Berlin. At the Berlin University he studied at the Philosophy Department and, additionally, he took up studies in the sphere of Semitic Philosophy and History of Art. In 1937 Heschel was chosen by Martin Buber as his successor at Mittelstelle für Jüdische Erwachsenen-Bildung in Frankfurt on the Main. In October he was arrested by the Gestapo and deported to Poland together with all the Jews of Polish nationality. After returning to Warsaw he taught philosophy and biblical sciences at the Institute of Jewish Studies. Six weeks before the German aggression against Poland he left for England and then for the United States where he stayed until his death. He was the Professor at the Jewish Theological Seminary in New York. Except for his didactical activity, our philosopher did not neglect creative work. As time went on he was becoming a more and more well-known and appreciated intellectualist and social worker in America. His activity went far beyond the boundaries of the Jewish world.

Epilogue

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Sound Recording ◽  
Work Of Art ◽  
History Of Art ◽  
History Of ◽  
Changing Role

The span of this book is roughly that of directors who had started out in silent pictures reaching the end of their careers, including their transitions to color. The introduction of sound recording and color both transformed filmmaking, not least its cost. Misgivings were voiced early on about the moral effect of the new art, even as censorship was deplored. Mannerism as an art-historical concept was being developed to supplement that of Renaissance naturalism even as filmmakers were trying to reconcile the realism to which photography might seem suited with the artificiality it also enabled. Although studying the history of film inevitably dredges up evidence of racism, sexism, and other prejudices, the history of film, like the history of art, is too complex and has long been too deeply engrained in our cultural lives for historians to choose to be ignorant of once admired works we may now in part or thoroughly deplore, as well as minor yet elucidating works that may likewise be problematic, at least in part. The supposition that respect is the default response to any work of art underestimates the changing role of laughter and other forms of active disregard, particularly during the last century.

Nietzsches Antike

2020 ◽  
Author(s):  
Babette Babich
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Classical Music ◽  
Classical Antiquity ◽  
Ancient Greek ◽  
Literature And Philosophy ◽  
History Of Art ◽  
History Of

In addition to his lectures on Pre-Platonic philosophy, Nietzsche also ‘discovered’ the pronunciation of ancient Greek, as he claimed, out of the ‘spirit of music,’ given his theory of “quantititative rhythm.” This ‘spirit’ is reflected in Nietzsche’s engagement with classical music traditionally understood, particularly Beethoven but also Bizet and Wagner. The contributions to this book are drawn from essays and lectures given over a range of years on Nietzsche’s less well-known reflections on classical antiquity, poised between ascendance and decadence. In addition to Classics, literature, and philosophy, this book foregrounds the history of art, reading ancient Greek polychromy via the Laocoon. Babette Babich writes and teaches philosophy at Fordham University in New York City.

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