Die „Vergleichskonjunktur“ in Zeiten der Pandemie ist unlängst durch Johannes Grave in den Blick genommen worden. Als eine der Besonderheiten des Diskurses beschreibt Grave die nur vermeintlich bestehende Widersprüchlichkeit der beständig erfolgenden Betonung einer Unvergleichbarkeit der Situation bei einer gleichzeitig exponentiell anwachsenden Zahl der tatsächlich angestellten Vergleiche. In dieser Dynamik findet sich, so Grave, die Unausgewogenheit zwischen „Informationsflut und Wissensmangel“ symptomatisch ausgedrückt. Von einer solchen ebenso zutreffenden wie allgemeinen Feststellung ausgehend können aus der Vielzahl der Vergleiche einzelne herausgegriffen werden. Auf ihre jeweilige Signifikanz hin betrachtet geben sie Tendenzen zu erkennen, die nicht unbedenklich sind. Ein Vergleich ist hier von besonderer Tragweite, und zwar der Vergleich der gegenwärtigen Krise mit dem Krieg.
To read an individual’s inner character from their outward appearance is to indulge a deep-seated temptation that has perennially plagued the history of art. Often manifesting itself in drawings of typical expressions or personalities—to say nothing of its troubled connections to theories of race—the very act of visualizing an inner mind by way of outer forms quite easily gives way to another prevalent practice: caricature, the intentional distortion of a given person’s distinctive features for expressive effect.
Burton Nitta will share their artworks that aim to prompt debate, create alternative possibilities and inspire action. They will use their projects to explore how we can shift perceptions of ourselves. They ask us to consider drastic transformations to imagine responses to the largest challenges we face, such as climate change.
Here is why I am addressing Chapter Six of Rosalind Krauss’ The Optical Unconscious, in which she considers the mid-career paintings made by the artist Cy Twombly: I am writing about Rosalind Krauss on Cy Twombly’s ‘chalkboard’ paintings as way of thinking about mark and repetition, eventually as applied to my new theoretical work on the English baroque. I am writing about Krauss on Twombly because I am trying to think about the boundaries between art criticism, personal emotion, and art history in new and productive ways, both for myself and for my work for the project. Finally, I am writing about Krauss on Twombly because I both disagree with her, and owe her the foundation on which I myself am able to mount a critique.
Is it likely that contemporary Indian graphic novelists draw inspiration from medieval Indian artists who composed illustrated manuscripts? There is negligible research on the transference of Indo-Persian artistic practices in the works of modern and contemporary artists in India. One of the causes maybe the disadvantage concerning scholars familiar with Urdu and Persian languages, limiting access to the literary and art historical discourse in circulation, during the early twentieth century. Scholars researching modernism in the art of Muslim South Asia, however, have attempted to address the issue; but more studies are awaited.
On October 10, 2019, the exhibition Inspired by the East opened at the British Museum, which, according to its title, seeks to demonstrate how the ‘Islamic world’ influenced Western art. Besides a large number of paintings from the late 19th century, a few historical maps as well as objects of arts and craft are shown. The title, however, misleads the visitor: It is not an exhibition dedicated to the influence of the East on the West, but rather a show of orientalist art that presents an imaginary Orient from the perspective of the colonial West.
Perhaps the true appeal of what was once called “primitive art” lay not in its exoticism but in its apparent lack of historicity. For many European artists, as Meyer Schapiro perceived in 1937, the art of indigenous peoples had accrued “the special prestige of the timeless and instinctive, on the level of spontaneous animal activity, self-contained, unreflective, private, without dates and signatures, without origins or consequences except in the emotions.” The singular modernity of the avant-garde depended, in other words, on the correspondingly derelict nonmodernity of the primitive.
„Ubuntu“ als Möglichkeitsraum politischen Handelns für das Zukünftige? Über Felwine Sarrs „Afrotopia“
Ein kompromissloses Manifest ist Felwine Sarr mit dem Buch „Afrotopia“ gelungen, das 2016 erschien und seit diesem Jahr in deutscher und demnächst in englischer Übersetzung vorliegt. Fragt man sich, welche Leserschaft der Autor anspricht und vermutet aufgrund des vom Titel alludierten Themenhorizonts es adressiere allein diejenigen, die sich mit den Zukünften Afrikas befassen wollen, sei man zwar nicht enttäuscht, aber doch aufgefordert einige längere Blicke hinein zu werfen.
Aby Warburg: “Italienische Kunst und internationale Astrologie im Palazzo Schifanoia in Ferrara” (1912/1922)
The different modes that are brought together in this image may be summarized as “movement” and “stillness”, “tamed” and “untamed”, a central dialectic in the handling of falcons. On the one side, a hunting party is depicted with hooded and hence calm falcons, on the other a restless rider on horseback (note his garments, fluttering in motion), whose falcon almost flies away from his fist and is about to launch itself at the beholders of the artwork. Falcon and image are transformed here into a mirror of princes by shaping the courtiers’ actions and habitus.
Colloquium: “Ruins in the archive: constructing visual histories in photography and broadcast media”
THURSDAY 14 NOVEMBER 10.00–18.00
This one-day colloquium will engage with visual archives in response to either loss or potential loss due to the destruction of war. The colloquium proceeds in terms of four thematics: Entering the Archive, Interpreting the Archive, Narrating the Archive and Playing the Archive. Discussing historical examples of visual archives compiled in times of crisis allows for approaching also the question of archives of current conflicts and adequate responses by academic communities.
Dr Nana Oforiatta Ayim
(Founder, ANO Ghana)
Wednesday, 20 November 2019, 5:30 pm
London WC1H 0AB
Admission free; please register for this event through the Events section of the School of Advanced Study (SAS).
“Dear Saxl”, Kenneth Clark writes on the 27 of July 1943 to the director of the Warburg Institute, “I have given away the original sets of photographs of the bronze effigies in Westminster Abbey”....
What set in motion the translocation of the Palace Museum collection before, during, and after WWII? Part of a nationwide debate, an essay by Lu Xun on the eve of the collection’s departure raises larger political questions.
It is surprisingly easy, cliché though it sounds, to get lost in Hampstead Heath, that large, hilly, and famously wild park in north London. And if you get just lost enough at just the right spot, you might not only forget where you are but also when you are. That is what Edward Cecil Guinness, 1st Earl of Iveagh, seems to have wanted when he left Kenwood, a large estate at the northern edge of the Heath, including a neoclassical mansion filled with a careful selection of 63 master paintings, to the nation upon his death in 1927. The Iveagh Bequest mandates that the collection be “preserved as a fine example of the artistic home of a gentleman of the eighteenth century” and so it has.
Designing the iconic London churches of the late 17th to early 18th century was a collaborative endeavor. As much as one might attribute broad conceptual sweeps to figures like Wren and Hawksmoor, like today’s phenomenon of the ‘Starchitect’, they had many designers working under them, producing some of what might be the most iconic aspects of the structures today. In its catalogue of the churchyard and miscellaneous Wren Office Drawings of the building, the archive at St. Paul’s attributes the plan for the building’s black and white paving to William Dickinson. Dickinson was one of many draughtsmen who worked under Wren, including Hawksmoor, but also others who rarely get the notice of history beyond a footnote in a Pevsner Guide or a stray short article.
In a lecture delivered at the Vienna Academy of Sciences in 1930, the classical archaeologist Emanuel Löwy (1857–1938) sought to excavate the “origins of art” in Greece. His earlier writings had traced the linear and isolated appearance of ancient figural representations to underlying “memory-pictures” that had been reproduced uncritically, before a new “physiological” sense of observation launched the birth of classical art. Similar to children’s drawings, as Löwy argued, at this stage man created images that were suggested by reality but essentially conjured from within the mind. His Vienna lecture probed these very same stylistic features, but on different premises. In this paper it is not the mechanics of the mind, but its irrational anxieties that mobilize objects against evil spirits and thus ultimately propel artistic change.