Circulaire 17

Dear Friends and Colleagues,

Happy New Year! We hope that you had a fantastic break!

For those who missed the emails we sent in December regarding the Herbert Mayer Collection at Colgate University, we are re-sending the list of artworks. As mentioned earlier, Amanda Douberley is currently assessing the scholarly potential of the collection, which has been underutilized in the past. She would love to be in touch with scholars working on or interested in any of the artists that are featured in the collection.

The Mayer collection is one of the few holdings in the United States that focuses so heavily on postwar European art (many Italians, Belgians, French, Greeks, etc.). It could be a wonderful resource for us and we can active play a role in its future. You can email Amanda at adouberley@colgate.edu

In the coming weeks we will send you an email regarding the CAA conference in New York. We would like to organize a meeting there to discuss and plan future panels now that we are officially affiliated!

If you plan on being in New York, please let us know your availability so that we can schedule a time that works for most of us.

Below you will find our usual listings.

Sincerely,

Catherine Dossin & Victoria H.F. Scott


CALL FOR PAPERS 

Geist and the Machine: A Graduate Student Conference on German Cinema and Film Theory

University of Pennsylvania

March 15, 2013

Deadline: Jan 15, 2013

The German term Geist bears no simple translation into English. From spirit to mind to ghost to intellect, it exists both as a singular philosophical concept and an elusive shapeshifter. In The Spirit of Film, Béla Balázs writes that “the camera can photograph the unconscious,” citing cinema’s ability to use technology in order to reveal immaterial thoughts and desires, while placing it in a penetrating relationship to the idealist and invisible nature of Geist.

Throughout film’s relatively short history, discussion and theorizing of the impact of the intrusive nature of the medium on individuals and society at large has remained ever-presently suspect. Yet writers such as Walter Benjamin offer an alternative approach to this seemingly symptomatic problem by proposing that the film actor is not exploited by technology, but rather “preserve[s] one’s humanity in the face of the apparatus,” and furthermore, offers the spectator a chance to regain one’s own humanity by proxy. This conference seeks to animate the debate surrounding film’s value for society by exploring the relationship between technology and imagination as illuminated by cinema.

While the focus of the conference is on German cinema and film theory, we encourage submissions from other disciplines, not limited to: art history, cinema studies, media studies, philosophy, history, communications, sociology, comparative literature, and theology. We welcome topics on the translation of German film theory and its influence, non-German films and theoretical writing inspired by the German film canon and its deviations, and methodologies that question cinema as an institution and its relationship to marginalized spectators. We also welcome submissions from practicing film-makers, animators, and video artists whose work is influenced by the German philosophical tradition of Geist and the technological experimentation of German directors.

Please send your 250-300 word abstracts in both the body of the e-mail and as an attachment to Jehnna Lewis and Roksana Filipowska at jehnna@gmail.com by midnight on January 15, 2013. Submissions should include the paper title, author’s name, affiliation, and e-mail address. Those whose submissions are accepted will be notified within the week.

 
 

« But is it art ? » 

New York, New York University

 8-9 mars 2013

Date limite: 15 janvier 2013

Le département de littérature française de New York University  a l’honneur d’annoncer son colloque annuel organisé par les doctorants : « But is it art ? » (Mais est-ce de l’art ?). Nous recherchons des interventions qui s’intéressent aux pratiques, institutions, et définitions de l’art dans le contexte du monde français et francophone. Nous nous intéressons particulièrement à l’établissement et aux glissements des frontières entre le domaine de l’art et celui de tout ce qui en est séparé, et nous accepterons avec plaisir des propositions traitant d’oeuvres ou de concepts issus de toutes périodes et de tous les arts et médias.

Quelques questions auxquelles nous nous intéressons dans le cadre de ce colloque :

Comment les artistes insèrent-ils leurs oeuvres dans un paysage artistique qui leur préexiste ? Est-il absolument nécessaire pour un écrivain de se situer dans le cadre d’une conception particulière de l’art ? Pourquoi certaines oeuvres sont-elles rangées sous l’étiquette d’« art », tandis que d’autres ne le sont pas, et quelles sont les conséquences qui découlent de ce clivage ? Une oeuvre peut-elle jamais exister dans un domaine autonome et séparé d’autres domaines du savoir, voire du réel ? Comment des phénomènes non artistiques peuvent-ils être interprétés selon une grille d’analyse artistique, et vice versa ? Comment l’institutionnalisation de l’art détermine-t-elle notre expérience des oeuvres ? Comment les définitions de l’art ont-elles évolué au fil du temps ?

Les interventions peuvent être faites soit en anglais, soit en français, et doivent être comprises entre 8 et 10 pages. Les participants auront l’option de faire un discours dans un format traditionnel ou de discuter de leurs idées avec d’autres dans un format plus proche de celui d’un séminaire.Veuillez envoyer vos propositions à butisitartconference@gmail.com avant le 15 janvier 2013. Les propositions ne doivent pas dépasser 250 mots, et mentionner le nom, l’école et l’adresse e-mail du candidat, ainsi que la préférence de format.

 
 

Netzwerke der Westkunst 1945-1964

Technische Universität Dresden

28.02. – 01.03.2013

Deadline: Jan 20, 2013

Workshop im Rahmen des DFG Projektes: „Soziale Geburt der ‚Westkunst’. Netzwerke bildender Kunst in Westdeutschland 1945-1964“ Prof. Dr. Karl-Siegbert Rehberg, Institut für Soziologie der Philosophischen Fakultät der Technischen Universität Dresden

Die Entwicklung der bildenden Kunst in Westdeutschland stand nach dem Zweiten Weltkrieg durch die veränderten politischen Rahmenbedingungen unter neuen Vorzeichen. In der Kunstwelt trafen Brüche mit der Vergangenheit auf Wiederanknüpfungsversuche an Vorkriegstraditionen.

Künstlerische Praxis, institutionelle Umfelder und Vermittlungsformen wurden teils neu definiert und formten sich in vielfältigen, sich öffnenden Beziehungskonstellationen, die in der Öffentlichkeit schließlich das Bild einer eigenständigen „Westkunst“ entstehen ließen.

Im Kunstbetrieb entwickelte sich ein starker Focus auf abstrakte Gegenwartstendenzen, welche in der Gegensatzspannung gegenüber dem Osten zunehmend politisch instrumentalisiert wurden. Die von den Zeitgenossen verschieden gedeutete und bis heute unterschiedlich bewertete Phase soll durch Analysen der zugrunde liegenden sozialen Beziehungsgeflechte mit ihren dynamischen und strukturbildenden Prozessen der Vernetzung in der damaligen Kunstwelt und Gesellschaft empirisch aufgeschlossen werden.

Zu fragen wird sein, welche sozialen Kräfte die den Zeitgenossen oft unwahrscheinlich erschienene Entwicklung beeinflusst haben. Auf welche Weise förderten oder hinderten die Rahmenbedingungen das Entstehen dieser Kunstwelt? Durch wen und wie wurden Traditionen wiederbelebt und welche Beziehungen brachten neue Anfänge hervor oder unterstützten diese?

Aus dem DFG-Projekt werden dazu Rekonstruktionen von Beziehungsnetzwerken vorgestellt, die im Kontext weiterer Analysen und empirischer Forschungen diskutiert werden sollen. Wir laden zu einem Workshop ein, um uns über Beziehungen zwischen Akteuren, Institutionen und Vermittlungsformen von Kunst, die Teil der oben genannten Entwicklung waren, auszutauschen.

Auch Beiträge aus anderen Disziplinen sind ausdrücklich erwünscht.

Abstracts für höchstens dreißigminütige Vorträge sind bis zum 20.01.2012 an unten stehende Adressen zu senden.

Weitere  Auskünfte erteilen:

Dr. Gerhard Panzer:     gerhard.panzer@tu-dresden.de

Franziska Völz:            franziska.voelz@tu-dresden.de

 
 

 (Re)Viewing Expanded Cinema : Art, Film, and Video
Symposium international / International symposium

Institut national d’histoire de l’art (INHA),

Paris, June 27 – 28, 2013

Deadline: Jan 20, 2013

This symposium focuses on the issues of perception and consciousness within Expanded Cinema. The term “Expanded Cinema” covers a variety of experimental practices in the fields of film, video, and new media that emerged in the United States in the 1960s before spreading to Europe and the rest of the world. Over the past decade, several exhibitions and publications have begun to examine Expanded Cinema from the
perspective of art history in a manner representative of the discipline’s extension to encompass moving images and live performance. These investigations have started to bring to light Expanded Cinema’s
historical contribution to the dismantling of high modernism. In particular, they have shown how Expanded Cinema explored questions relating to site and medium, challenging both the model of the film
theater and that of the “white cube,” as well as the notion of medium-specificity. However, there has been comparatively less attention devoted to the psychic, mental, and perceptual aspects that were a crucial concern of the early practitioners and theoreticians of Expanded Cinema. This symposium intends to examine notions such as the “spiritualization of the image” (Mekas, 1964), “expanded consciousness”
(Youngblood, 1970), and “visionary cinema” (Sitney, 1974) that were attached to Expanded Cinema in the 1960s and ’70s. The aim is to recover the original meaning and specific social and political context
of the aspiration to create “mind-manifesting” art through the use of film, video, and new image processing technologies. This discourse, it is suggested, reflects an important shift away from representation toward a direct engagement with perception and consciousness. In this respect, Expanded Cinema heralds the increasing focus of contemporary artists and art historians on the perceptual and cognitive aspects of
the viewer’s experience.
Papers may address topics that fall within the following categories :Vision and Visionariness; “Art, science, and metaphysics”; Activism, Materialism, Utopia.
This symposium invites cross-disciplinary perspectives on Expanded Cinema. Likewise, we intend the scope to be international.
Special consideration will be given to papers addressing the art historical and cultural contexts in which Expanded Cinema emerged, and the artistic, scientific, literary, and philosophical sources that
inspired the movement’s practitioners. We also seek papers that examine the current relevance of Expanded Cinema and the legacy of the movement’s visionary dimension in contemporary art.
Abstracts (250 words) along with a short bio and list of publications should be submitted by January 20, 2013 to : annie.claustres@inha.fr, larisa.dryansky@paris-sorbonne.fr, and riccardo.venturi@inha.fr

 
 

Meta-Tinguely: Jean Tinguely & transformations in art and culture, 1960-present

Museum Tinguely

Basel, March 20 – 23, 2013

Deadline: Jan 29, 2013

The Museum Tinguely (1), Basel, the Métamatic Research Initiative (2) and the VU University (3), both from Amsterdam, jointly organize a three-day symposium to be held in Basel March 20 to 23, 2013.

The symposium aims to bring together a group of scholars (including the visiting professors), artists and people working in the arts to further explore artistic, cultural and social issues that were at stake in Tinguely’s work and related to practices during the 1960s, as well as the trajectories they have taken into the present. In this symposium, the MRI artists can present the results of their artistic research and academics can present and discuss the progress of their research.

This interdisciplinary symposium aims to explore above-mentioned topics in depth and will also consider and discuss the reception and interpretation of Tinguely’s works in contemporary art.

Apart from panel sessions, the keynote speakers will be Pamela M. Lee (Professor, Stanford University) and artist Thomas Hirschhorn, who will elaborate on his recent commission from the MRI foundation.

Deadline proposals: January 29, 2013.

– Proposals (with a maximum of 2.500 characters) with a short CV and list of publications can be sent to:

  miranda.fuchs@roche.com

– Proposals may be presented in English, French or German

– Selected speakers are invited to present their research in a 20-25 minute talk followed by a discussion

– The edited papers and conference results will be presented in a subsequent publication

– Speakers’ fee and travel expenses are paid

 
 

Media Art Histories 2013: RENEW

The 5th International Conference on the Histories of Media Art, Science and Technology

Riga, October 8 – 11, 2013

Deadline: Jan 25, 2013

The 5th International Conference on the Histories of Media Art, Science and Technology, Renew, will be hosted by RIXC and held in Riga, Latvia, October 8 – 11, 2013, coinciding with the international festival for new media culture Art+Communication. It will host three days of keynotes, panels and poster sessions on the histories of networked digital, electronic and technological media arts.

Besides general topics of the call, the theme of Renew, Media Art History 2013 addresses current tendencies in sustainability quests from various perspectives. As media art is based on increasingly out-dating technology and it is dependent on energy (electricity) the conference will discuss sustainable approaches towards the issues of producing, preserving and representing media  artworks – how to ‘renew’

them through both – tools and histories. By focusing on networked media arts, the Renew conference will cover a broad range of topics to include early communication art (mail, fax, radio, satellite, etc.), net.art and net.radio, open source and network culture, locative media and wireless communities, hybrid networks and electromagnetic art, and last but not least – artistic investigations in sustainability, and future visions of art within the convergence of information and energy technologies.

DEADLINE for abstract proposals: January 25, 2013. Notification of acceptance will be announced in March 25, 2013.

Individual proposals should consist of a 250-word abstract with title.

Proposals and inquiries regarding submissions should be made on www.mediaarthistory.org web-site.

Selected papers from the conference will be published in Acoustic Space and other venues. Founded in 1998 by E-Lab as artistic journal for sound art, networked audio experiments and new media culture, since 2007 Acoustic Space comes out as peer-reviewed journal for transdisciplinary research on art, science, technology and society, published by RIXC & Art Research Lab of Liepaja University.

The conference will be complemented by a variety of affiliated events, including the Art+Communication festival, with a thematically related media art exhibition, experimental film and video screening programme, live performances, concerts and workshops.

More info: http://www.mediaarthistory.org/renew & http://rixc.lv/13

 
 

Negotiating Boundaries – The Plural Fields of Art History

University of Birmingham, Barber Institute of Fine Art

Monday 1st – Tuesday 2nd July 2013

Deadline: Feb 22, 2013

The formation of art history as a discipline was underpinned by the claim to a special area of expertise which, in the late nineteenth and twentieth centuries, was accompanied by the development of particular concepts and methods, from the formal and spatial analysis of Wölfflin, Riegl or Schmarsow to the iconology of Panofsky. Linked to the emergence of the concept of autonomous art, the establishment of the discipline was achieved by means of certain exclusions; a rigid line of demarcation was drawn between art history and archaeology, aesthetic judgments were deemed irrelevant and, in a mirroring of Kantian thought, the decorative and applied arts became the objects of a separate, less prestigious, domain of inquiry.

For all the recent talk of interdisciplinarity, these exclusions still shape the terrain of scholarship, producing numerous incongruities. Art historians still seldom discuss the applied arts, while in the Anglophone world architectural history remains a separate subject (with its own professional and discursive institutions). Prehistoric art and the art of the classical worlds are still topics mostly of interest for archaeologists rather than art historians, while the division between fine art and the applied arts has produced a caesura between the ‘traditional’ and the ‘modern’ in the historiography of, for example, the art of the Islamic world or China.

This conference is not concerned with calling for a renewed embrace of interdisciplinary thinking, but rather with considering the implications of the status quo. Why are certain art historical topics still the domain of researchers in other disciplines? What are the consequences? Given the contemporary skepticism towards totalizing forms of thought, should it be even seen as a problem that discourse on art is so plural?

Proposals are invited that address either general theoretical issues or which examine specific case studies that case light on the wider questions of historiography.

Proposals should be submitted to Matthew Rampley, University of Birmingham.

Email: m.j.rampley@bham.ac.uk

 
 

Light Colour Line – Perceiving the Mediterranean: Conflicting Narratives and Ritual Dynamics

5th International Conference of Mediterranean Worlds

Department of the History of Art, TransMediterraneanStudies, University of Bern.

September 9 – 11, 2013

Deadline: Mar 1, 2013

In collaboration with The Mediterranean Seminar, University of California Santa Cruz; Department of History, 29 Mayis University; Eastern Mediterranean University, Famagusta and University of Colorado at Boulder.

The theme of this interdisciplinary conference will focus on three issues:

1. The light, the colour, the horizon line are parameters for the perception of the Mediterranean.

2. Using narrative forms of representation, literary, filmic and photographic media require modes of perceiving the Mediterranean that in comparison with perceived reality reveal – on both sides – fractures and contradictions, conflicting narratives.

3. The title colour line is deliberately ambivalent, touching in equal measure on both the history of perception, epistemology, social anthropology and the political history of the Mediterranean.

Participants are invited to submit 300-word abstracts for 25-minute presentations. Abstracts should include at least three descriptive keywords, the presenter’s name, organization, email and mailing address. The language of the conference will be English. Please send your abstracts to:

agnes.sebestyen@ikg.unibe.ch

FURTHER INFORMATION: www.medworlds5.com

 
 

Art Review Call for Papers

 Art Review is a bilingual academic journal initiated by Sichuan University (China), and co-founded with Ball State University (United States) and Concordia University (Canada). Art Review is interested in English-language submissions pertaining to all areas and stylistic periods of Art, Art History, Visual Studies, Art Criticism, and Art Theory. We are particularly interested in essays that take an interdisciplinary approach or focus upon the international exchange of art and/or the work of Chinese artists overseas.

Art Review advocates a broad definition of “Art,” with no constraints placed upon genre, subject matter, or time period. We accept essays dealing with the traditional arts, but also those pertaining to film, television, performance, installation, design (advertisements, packaging, corporate images, posters, industrial design, etc.), environmental art, digital multi-media art and fashion. We welcome contributions from all over the world and accept submissions from individuals, artistic organizations, art galleries and exhibition curators both home and abroad. Contributors may submit feature articles, short essays, interviews, or relevant exhibition or book reviews.

 Art Review is a printed journal with full-color illustrations. Contributions do not need to meet a certain word-count or page-length, but should follow the Chicago Manual of Style. Please direct any questions you may have regarding contributions to:

Dr. Natalie E. Phillips, Ph.D.

Department of Art

Ball State University

nephillips@bsu.edu


CONFERENCES 

Questioning Cold War Art (1945-1965)

University of Copenhagen and National Gallery of Denmark, Copenhagen

March 8 – 09, 2013

The international conference Questioning Cold War Art (1945-1965) will be held in Copenhagen the 8th and 9th of March 2013. The aim of the conference is to create an environment for open, penetrating and interdisciplinary discussion of Cold War art in the period 1945-1965.

Keynote speakers: Professor Serge Guilbaut and historian and journalist Frances Stonor Saunders

Introduction: What is Cold War art? Did such a thing exist, and if so, how can it be defined, investigated and discussed? These questions are of key relevance in light of the growing interest in the Cold War within the field of art history. Whilst the political history of the Cold War is well documented, the nexus of art, culture and politics remains relatively under-researched, not least in a Danish context.

Much cultural research has been focused on propaganda, Americanisation and popular culture, while high culture – and in particular the visual arts, which are the central focus of this conference – have received less attention. It is our hope that through this conference we can contribute to a clarification of how the objects of art-historical inquiry can be linked to political history, the history of ideas and cultural research into the first decades of the Cold War.

 
 

Comprendre le XXe siècle des musées

séminaire de recherche d’Agnès Callu

Paris, Institut national d’histoire de l’art

November 13, 2012 – May 28, 2013

Choisir d’installer sur la table universitaire le musée du XXe siècle comme objet historique suppose d’apprécier les enjeux politiques, sociaux, culturels et économiques qu’il suscite, à l’échelle de l’État comme des collectivités territoriales, dans une société ouverte à la novation esthétique et patrimoniale en même temps qu’elle adopte l’acculturation des codes hiérarchiques et les évolutions entrepreneuriales ou technologiques. Outre le commentaire, sur le mode historiographique, de la production scientifique du domaine – plurielle car distribuée, parfois en tensions, autour de deux pôles souvent opposés : l’Histoire culturelle et l’Histoire de l’art – un panorama des matériaux disponibles à la recherche s’avère l’indispensable préalable. Puis, prenant appui sur des fondations méthodologiques dès lors posées, plusieurs thèmes sont abordés, questionnant, en longue durée, le musée et ses représentations, entre élitisme social, promotion de la culture pour tous ou merchandising des biens culturels.

Sont alors ouvertes et/ou creusées – souvent en diachronie à l’aide du témoignage d’anciens acteurs – plusieurs pistes de réflexion amenant à discuter la figure du musée dans les imaginaires collectifs, le capital symbolique d’un geste architectural, le trilogue entre l’œuvre, l’artiste et le conservateur ou bien encore la place des hommes : érudits, bâtisseurs ou décideurs dans la structuration et le fonctionnement de celui qui, entre désir et pédagogie, se définit comme « une institution permanente […] au service de la société et de son développement, ouverte au public, qui acquiert, conserve, étudie, expose et transmet le patrimoine matériel et immatériel de l’humanité et de son environnement à des fins d’études, d’éducation et de délectation […] ».

Séance 5). 5 février 2013. Favoriser les musées

Egohistoire d’une collection privée (Pierre Bergé [sous réserve] et Laurent Le Bon, Centre Pompidou Metz)

Séance 6). 26 février 2013. Musées et lieux de création

Exposer/créer : nouveaux espaces et concepts (Jean-Manuel Gonçalvès, directeur du CentQuatre et Agnès Callu)

Séance 7). 5 mars 2013. L’artiste dans le musée

 « L’entrée » au musée : fonctions et significations (Julian Schwarz [sous réserve], Agnès Callu et Emmanuelle de l’Ecotais, musée d’art moderne de la Ville de Paris)

Séance 8). 19 mars 2013. Scénographier le musée

Créer pour valoriser la création : scénographe de musées (Richard Peduzzi [sous réserve])

Séance 9). 9 avril 2013. Design/musée : consolidation d’un tandem

Acculturation du « beau dans l’utile » (Christine Colin, ministère de la Culture et Claire Leymonerie, CNRS/CERTOP)


OPPORTUNITIES 

Graduate fellowship

Indianapolis, IN

September 03, 2013

Application deadline: Mar 29, 2013

The Indianapolis Museum of Art is pleased to announce a one-year curatorial fellowship. The fellowship supports scholarly research related to the Clowes Collection at the IMA and provides curatorial training in the field of European painting and sculpture. The Clowes Fellow is fully integrated into the curatorial division of the Museum and has duties comparable to those of an assistant curator, ranging from collection research and management to exhibition development and the preparation of interpretive materials and programs.

To be eligible for the fellowship, the applicant must be enrolled in a graduate course of study leading to an advanced degree in the history of art or a related discipline, or be a recent degree recipient (within the last two years). Applicants must demonstrate scholarly excellence and promise, as well as a strong interest in the museum profession. U.S. citizenship is not required.

 The Clowes Fellow will receive a stipend of $25,000 and an educational travel allowance of $2,000. Housing is provided in a scholar’s residence on the grounds of the museum. The one-year fellowship period will begin September 3, 2013. The appointment is renewable.

Applications should include a cover letter explaining your interest in the fellowship, a curriculum vitae, a writing sample, a concise statement describing your area of research and its relationship to the Clowes Collection, and three letters of recommendation (academic and professional). Applications must be received by March 29, 2013.

Please send application materials to:

Ronda Kasl

Senior Curator of Painting and Sculpture before 1800 Indianapolis Museum of Art

4000 Michigan Road

Indianapolis, IN 46208-3326

 
 

Research Grant

Columbia University, NY

 July 1, 2013 – January 1, 2014

Application deadline: Feb 15, 2013

The Columbia University Libraries (CUL) invites applications from scholars and researchers to a new program designed to facilitate access to Columbia’s special and unique collections.  CUL will award ten (10) grants of $2500 each on a competitive basis to researchers who can demonstrate a compelling need to consult CUL holdings for their work.

Participating Columbia libraries and collections include those located on the Morningside Heights campus: the Avery Architectural and Fine Arts Library, The Burke Library at Union Theological Seminary, Butler Library, the Lehman Social Sciences Library, the Rare Book & Manuscript Library, the C. V. Starr East Asian Library, and the Libraries’ Global Studies Collections.

Applications will be accepted until February 15, 2013.  Award notifications will be sent to applicants by April 19, 2013 for research conducted at Columbia during the period July 1, 2013 – June 30, 2014.

Application: http://libawards.cdrs.columbia.edu/index.php/lra/lra13

 
 

Bourses d’étude et de recherche

En France, plusieurs institutions, musées et fondations proposent des bourses d’études ou des bourses doctorales et postdoctorales destinées à aider des étudiants, des doctorants et/ou de jeunes docteurs à mener à bien des projets de recherche originaux et innovants.

http://www.inp.fr/index.php/fr/recherche


EXHIBITIONS 

Antonio Saura: Die Retrospektive

30. November 2012 bis 7. April 2013

Das Museum Wiesbaden zeigt im Herbst 2012 die erste umfassende Retrospektive des Lebenswerkes von Antonio Saura (1930–1998) in Deutschland.

Der im Spanischen Huesca geborene Saura gehört zu den bedeutenden Künstlern des 20. Jahrhunderts und zu den prägendsten Exponenten der spanischen Malerei seiner Epoche.

Antonio Saura beginnt seine künstlerische Tätigkeit im Jahre 1947 als Autodidakt unter dem Einfluss von Yves Tanguy und Joan Mirò. Er experimentiert zunächst mit verschiedenen Techniken – vor allem Grattagen und Rayogrammen – und wendet sich um 1950 auf der Suche nach der „wahren Landschaft des Unbewussten“ kurzzeitig dem Surrealismus zu.

Ab 1956 beginnt er mit den thematischen Zyklen der Damen und der Selbstbildnisse ein eigenständiges, expressiv-gestisch strukturiertes Werk zu entwickeln.

Drei Jahre später, ab 1959, widmet er sich dann grossformatigen Zyklen, wie den Kreuzigungen, den Bildnissen, seinen Akt-Landschaften und den Menschenmassen, auf deren Thematik er in seinem späteren Werk immer wieder zurückgreift.

Die Ausstellung präsentiert sämtliche Schaffensphasen Antonio Sauras.

Sie stellt seine grossen Bildserien in Hauptwerken dar, zeigt aber auch Aspekte seines illustrativen und zeichnerischen Oeuvres.

Überdies stellt die in Zusammenarbeit mit dem Kunstmuseum Bern und der Stiftung archives antonio saura, Genf organisierte Ausstellung mit über 200 Werken die bisher umfassendste Retrospektive des Künstlers dar und leuchtet so das Gesamtwerk Antonio Sauras in seiner ganzen Breite und Komplexität aus.


BOOKS, JOURNALS, VIDEOS, WEBSITE, ETC 

Roberto Pinto, Nuove geografie artistiche

Interview published in Argomenti with Roberto Pinto about his new book.

Le mostre al tempo della globalizzazione. Un libro di Roberto Pinto che analizza molte mostre internazionali raccontandole anche come “ciò che è successo e che ho in parte contribuito a fare”. http://www.undo.net/it/argomenti/1354813718

 
 

Trivium

revue franco-allemande de sciences humaines et sociales

Deutsch-französische für Geistes und Sozialwissenschaften

Éditée par les Éditions de la Maison des sciences de l’homme avec le concours de partenaires allemands et français, la revue électronique Trivium publie des traductions d’articles. Elle se conçoit comme un instrument d’échanges, de coopération entre les communautés de recherche francophone et germanophone et de communication en sciences sociales et humaines.

Die mit Unterstützung deutscher und französischer Partner von den Éditions de la Maison des sciences de l’homme herausgegebene Online-Zeitschrift Trivium veröffentlicht Übersetzungen aus Fachzeitschriften. Sie versteht sich als Medium des Austauschs und der Kooperation zwischen deutsch- und französischsprachigen Forschungsgemeinschaften in den Geistes- und Sozialwissenschaften.

 
 

Jonathan Woodham Design Histories University of Brighton

Quite a lovely short film about design histories and archives at Brighton University.

Jonathan Woodham is Professor of the History of Design at the University of Brighton Faculty of Arts and a key figure in the early development of design history as a discipline. His over-riding research interests are national and global design policies and what he terms ‘lost’ or ‘hidden’ histories which have been important in those countries where they have been enacted but have failed to register in the wider studies of the history of design. In this short film Jonathan demonstrates his work in these areas through current exhibitions and collections.

http://www.youtube.com/watch?feature=player_embedded&v=TCrKKJ7LhzA

 
 

Michelangelo Pistoletto – “Il Terzo Paradiso”

A short video about the origins of Pistoletto’s recent project at the Louvre.

http://www.youtube.com/watch?v=AZQaj7r6Px0

“Il Terzo Paradiso” di Michelangelo Pistoletto alla Biennale di Venezia, 2005 “The Third Paradise” by Michelangelo Pistoletto, Venice Biennial 2005

 
 

Visites de grandes expositions

Ces programmes multimédias interactifs proposent la visite en streaming

d’une grande exposition organisée par la Réunion des musées nationaux-Grand Palais.

Ils offrent aux enseignants et aux élèves des outils de découverte d’un artiste ou d’un grand

sujet de l’histoire de l’art, sous la forme d’un film commenté et de contenus intéractifs

(analyses d’oeuvres, jeux, mini-sujets…).

http://www.expositions.education.fr/

 
 

French/German Publications Listings from the Centre Allmand d’histoire de l’art in Paris

 http://ow.ly/gxi1O