한국미술사] 한국미술사, ‘비틀어보기’와 ‘다양성의 모색’ : 한국미술사연구(2015~2016)의 회고와 전망

Click to increase image sizeClick to decrease image size Notes1. The Febuary 2011 annual meeting of the College Art Association (CAA) in New York had an entire session organized by Patricia Mainardi dedicated to “The Crisis in Art History.” The papers were later published in a special issue of Visual Resources (27, no. 4, 2011). Yet the present crisis in the discipline can be considered just the latest of many that it has faced at least since the 1970s, when a whole new range of theoretical references, such as postcolonial theories, psychoanalysis, gender studies, and semiotics, pressured art historians to reflect about their specific approaches to art. Hans Belting's Das Ende der Kunstgeschichte? came out in 1983, centering its fire on the power structures of the field in Germany, and in 1982 the Art Journal also produced an issue on “The Crisis in the Discipline,” edited by Henri Zerner, with articles by such leading art historians as Rosalind Krauss, David Summers, and Donald Preziosi, among others. At that time, the main topic of discussion was the incorporation of new objects of study in the art historical field, such as advertisement, photography, and other aspects of visual culture, bringing art history closer to so-called visual studies. Concerns about developing a global art history, something that still resonates today, appeared at the turn of the century with important publications such as Hans Belting's Bild-Anthropologie (2001) and David Summers's Real Spaces (2003). Both books demonstrate a special interest in anthropology, which persists today with the incorporation of anthropological theories such as those of Alfred Gell and Bruno Latour, for example, into the field. Belting, Das Ende der Kunstgeschichte? (Munich: Deutscher Kunstverlag, 1983), trans. as The End of the History of Art? (Chicago: University of Chicago Press, 1987); Zerner, ed., “The Crisis in the Discipline,” special issue, Art Journal 42, no. 4 (Winter 1982); Belting, Bild-Anthropologie (Munich: W. Fink, 2001); and Summers, Real Spaces: World Art History and the Rise of Western Modernism (London: Phaidon Press, 2003).2. This was the 33rd Congress of the Comité International d’Histoire de l’Art, Germanische Nationalmuseum Nuremberg, July 15–20, 2012. Its theme, “The Challenge of the Object,” appears somewhat conservative when considered from the perspective of contemporary art. Since at least the 1960s Conceptual art has done away with the idea of a necessary connection between art and the material world, which had important political consequences as well.3. The same logic that we see here organizes much of the “globalized” art world. In a review of the exhibition Africa Remix: L’art contemporain d’un continent, presented at the Centre Georges Pompidou, Paris, in 2005, Roberto Conduru notes that African artists still need to pass through the established institutions of art in the United States or in Europe to enter the circuits of the international market and art world. “With one sole exception—Wim Botha … all of the remaining 87 artists already represented their country and/or the Continent in the Biennials that proliferate throughout the world, and also presented their work in prestigious institutions within the system of international art.” Conduru, “O mundo é uma tribo,” Concinnitas (UERJ, Rio de Janeiro), no. 8 (July 2005): 198–202.4. Although this in fact is a very significant way to approach Brazilian visual culture, it should not be exclusive. Important work has been done in the last few years on the process of the transfer and circulation of material culture within the Portuguese Empire and in Brazil. See Jens M. Baumgarten, “Transformation asiatischer Artefakte in brasilianischen Kontexten,” in Topologien des Reisens, ed. Alexandra Karentzos, Alma-Elisa Kittner, and Julia Reuter (Trier: Universität Trier, 2009), vol. 1, 178–94.5. A good example can be found in Rodrigo Naves's interpretation of Jean-Baptiste Debret's Brazilian period: “Definitely, the existence of slavery hindered once and for all any effort to transplant the classical form as truth into Brazil.” Naves, A forma difícil: Ensaios sobre arte brasileira (São Paulo: Ática,1996), 71.6. Moema is the tragic character of Frei Santa Rita Durão's epic poem Caramuru. She was the sister of Caramuru's wife, Paraguaçu, and drowned while swimming after the ship that carried Caramuru back to Europe.7. Regarding the position that Baroque occupies in Brazilian art history, it is interesting that in the first Pan-American Congress of Architects, organized in Uruguay in 1920, Alexandre de Albuquerque proposed the Baroque manner of Minas Gerais as the source for a Brazilian national style, since, according to him, Brazil did not possess a strong indigenous culture, as did other countries in South America.8. Sergio Miceli, Nacional estrangeiro (São Paulo: Companhia das Letras, 2003).9. The study of art history is relatively recent in Brazil, and by examining other contributions to the history of culture in the country, one can find elements that could help to impel art history in new directions. The writer Mario de Andrade, one of the main protagonists of Brazilian modernism, for instance, developed a genuine interest in African and Native culture and in 1936 wrote a project for the creation of an Institute for National Patrimony in which he included material and immaterial culture of the different populations in Brazil. In the same period, the sociologist Gilberto Freyre, who had studied with Franz Boas, wrote his classic book Casa-grande e senzala, in which he examines the diversity of contributions to Brazilian culture. In the 1940s and 1950s, Lina Bo Bardi organized exhibitions in Bahia and at the São Paulo Art Museum (MASP) based on her research on popular art in Brazil. See, among others, Antonio Gilberto Nogueira, Por um inventário dos sentidos: Mário de Andrade e a concepçã de patrimônio e inventário (São Paulo: Hucitec/Fapesp., 2005); Marina Grinover and Silvana Rubino, eds., Lina por escrito: Textos escolhidos de Lina Bo Bardi (São Paulo: Cosac e Naify, 2009); and Gilberto Freyre, Casa-grande e senzala (São Paulo: Global, 2003).10. “From this we conclude that … art, in its simple forms, is not necessarily expressive of purposive action, but rather based upon our reactions to forms that develop through mastery of technique.” Franz Boas, Primitive Art (New York: Dover, 1955), 62. I also think that Boas's question about what could be considered an aesthetic object in these cultures is a very important one because it definitely secures these objects as of interest for the field of art history, at the same time that it forces us to listen to the point of view of their creators.11. On Assuriní visual culture, see Regina Polo Müller, Os Assuriní do Xingu: História e arte (Campinas: Unicamp, 1993). When dealing with contemporary indigenous culture we must also acknowledge the impact of the market on how aesthetic value is assigned. This, of course, implies recognizing that indigenous culture is in fact alive and interacting with other sectors of society today, resisting the tendency of both anthropologists and art historians to imagine these cultures as if “frozen in the past.”12. Tapirage is the name given to a technique used by some indigenous groups to alter the feather colors of live birds. See Amy Buono, “Crafts of Color: Tupi Tapirage in Early Colonial Brazil,” in The Materiality of Color: The Production, Circulation, and Application of Dyes and Pigments 1400–1800, ed. Andrea Feeser, Maureen Daly Goggin, and Beth Fowkes (Aldershot, U.K.: Ashgate Press, 2012), 8–40.13. Amy Buono, “Indigeneity as Corporeality: The ‘Tupinambization’ of the Early Modern Atlantic,” in Art and Its Histories in Brazil, by Claudia Mattos and Roberto Conduru, Issues and Debates (Los Angeles: Getty Research Institute, forthcoming).14. On this issue, see Joanne Rappaport and Tom Cummins, Beyond the Lettered City: Indigenous Literacies in the Americas (Durham, N.C.: Duke University Press, 2012), 1–26.15. As I have argued above, there cannot be one unitary Brazilian art; given the constant dynamic exchange between local and transferred material and immaterial culture, we must substitute this concept for a more dynamic view of the arts in Brazil.16. Terreiro is the name for buildings and spaces that contain Afro-Brazilian religious activities. Quilombos are historic settlements of fugitive and freed slaves that were created in remote places within the interior of Brazil.17. We must learn to see the circulation of people, ideas, and objects between different localities in Africa and Brazil as a two-way process. As Roberto Conduru notes, although slavery implied the forced migration of a much larger population from Africa to the Americas, there was also some significant immigration in the other direction. This is well documented, for example, in the development of agudá architecture in the region of the Gulf of Guinea (Togo, Benin, and Nigeria). Conduru, “Sobrevivência e invenção—conexões artísticas entre Brasil e África,” in Mattos and Conduru, Art and Its Histories in Brazil.18. The direct relation between art and art history has been pointed out numerous times. Wolfgang Kemp (“Benjamin and Aby Warburg,” Kritische Berichte, no. 3 [1975]: 5–6) has argued that Dadaist collage played an important role in the development of Aby Warburg's Mnemosyne Atlas, for instance. See Kurt W. Forster, “Die Hamburg-Amerika-Linie, oder: Warburgs Kunstwissenschaft zwischen den Kontinenten,” in Aby Warburg: Akten des internationalen Symposions, Hamburg, ed. Horst Bredekamp, Michael Diers, and Charlotte Schoell-Glass (Weinheim: Wiley-VCH Verlag), 11–37. Performance art has helped us understand the theatricality of Baroque art, and it also can be very productive in interpreting much of what we call Native art, for instance.19. Thierry Dufrêne, “Pour en finir avec le corset de la chronologie: Vers une histoire de l’art élargie qui rapproche les temps et les oeuvres,” in Théâtre du Monde, exh. cat. (Paris: FAGE, 2013), 30–37. The exhibition at La Maison Rouge, which showed the collection of eccentric Tasmanian collector David Walsh, was curated by Jean-Hubert Martin, who also used Surrealist-inspired anachronistic models to display the objects.20. Belting, Bild-Anthropologie; and Summers, Real Spaces. For a critique of David Summers's book in relation to the question of a new world art history, see James Elkins, “On David Summers's Real Spaces,” in Is Art History Global? (New York: Routledge, 2007), 41–72.Additional informationNotes on contributorsClaudia MattosClaudia Mattos, professor of art history at the University of Campinas, earned a PhD from the Freie Universität, Berlin, in 1996. She publishes on nineteenth- and twentieth-century art and is preparing one book on art and ecology in Brazil and editing another on Brazilian art history for Getty Publications [Instituto de Artes, Departamento de Artes Plásticas, Rua Elis Regina 50, Cidade Universitária Zeferino Vaz, 13083-854, Campinas, SP, Brazil, cvmattos@iar.unicamp.br].

The Helen Foresman Spencer Museum of Art is the art museum of the University of Kansas. Its mission is to educate and enrich the lives of the students at the University of Kansas and the broadest audience possible through the collection, study, and presentation of works of art (Spencer Museumof Art, n.d. a). Because the Museum serves as a resource for the teaching and study of art history, fine arts, and the humanities, its collection is comprehensive in nature and comprises more than 22,000 works of art. It spans the history of European, NorthAmerican, and East Asian art. Areas of strength include medieval art; European and American paintings, sculpture, and prints; photography; Japanese Edoperiod painting and prints; and 20th-century Chinese painting. Seven galleries display selections from the permanent collection, and four additional galleries feature temporary or traveling exhibitions (Spencer Museum of Art, n.d. b).

Tartu Ülikooli kunstiajalooõpetuse moderniseerimisest ja kollektsioonide rollist kunstiajaloo professori valimistel aastatel 1919–1921

Notes on Contributors

How students are taught to think about what is considered "art" and who are "artists" contributes to their sense of self within the world. It can confine them to accept a system that devalues and excludes or it can inspire them to explore the political dimensions of art, to recognize social contradictions, and to contribute to cultural dialogue. The purpose of this study is to provide content for an art curriculum that develops the intellectual capabilities and broadens the critical consciousness of students. The study of aesthetics, art history, and art criticism offer possibilities for understanding the multiple social, historical, and cultural meanings of art. This dissertation adopts feminist approaches to the study of art as a means of exploring how the social reality of racial designation influences African American artistic production and meaning. Consideration is given to the cultural values that have influenced the meaning of African American art, a regional history of African American cultural production in New Orleans, Louisiana, and the experiences and artistic production of several regional African American artists. Throughout history, African American aesthetic values have been inseparable from ideological struggles for assimilation and self-determination. In 19th-century New Orleans, the work of slave and free Black artisans and free artists of color met the needs of a society that had developed a distinct Creole identity. Racial barriers limited the artistic productivity of all African Americans including the fine artists who were considered a third racial caste, had white patrons, and sometimes were trained in Paris. Following Reconstruction, legal restrictions and racial violence severely limited artistic opportunities for African Americans in New Orleans. Contemporary artists still face barriers as race relations change in the city. Interviews with five Black artists revealed the importance they attribute to transmitting African American cultural values to young people and the function of art as a means of responding to the social stereotypes that devalue African American people and culture. Conclusions of this study indicate that issues of racial identity and African American cultural values should be included in the art curriculum.

GeoarchaeologyVolume 14, Issue 6 p. 589-591 Book Review A hunter-gatherer landscape: Southwest Germany in the Late Paleolithic and Mesolithic Joel Boaz, Joel Boaz Institute for Archaeology, Art History and Conservation Studies, University of Oslo, Frederiksgt. 30164 Oslo, NorwaySearch for more papers by this author Joel Boaz, Joel Boaz Institute for Archaeology, Art History and Conservation Studies, University of Oslo, Frederiksgt. 30164 Oslo, NorwaySearch for more papers by this author First published: 15 July 1999 https://doi.org/10.1002/(SICI)1520-6548(199908)14:6<589::AID-GEA6>3.0.CO;2-ZAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Volume14, Issue6August 1999Pages 589-591 RelatedInformation

Contributors

Art History and Film Studies in Art Colleges Get access Gerry Coubro Gerry Coubro Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 12, Issue 3, Autumn 1971, Pages 115–118, https://doi.org/10.1093/screen/12.3.115 Published: 01 October 1971

The movement, known as 'Scandinavianism', survived into the twentieth century. Today, however, the label is increasingly and preferably replaced by the neutral alternative the 'Nordic countries', which also includes Finland, with its Finno-Ugric linguistic roots, and Iceland. In English, however, 'Scandinavia' remains the most frequent label. All of the four countries under consideration in this chapter are united by a number of factors when it comes to their history of art history and visual studies. The 'history' within 'art history' seems to attract much less interest than the 'art'. On the one hand, the infrastructure for academic studies of art has expanded and improved immensely in all four Nordic countries covered in the chapter. On the other hand, their interests, although widening in geopolitical and cultural terms, not least due to the added influence of cultural economics stressing the contemporaneity of culture, seem to have narrowed historically. Keywords:art history; Finland; Nordic countries; Scandinavianism

School curricula continue to exclude the art, cultures, histories, and experiences of certain racial and ethnic groups in the United States. Historically, their exclusion has had grave implications for society, creating perceptions of difference between self and other, and between the majority and those who have been relegated to the margins. The nation's story we are taught as children determines who we identify as and who we perceive as different, creating a gap between social reality and how we understand that reality (Pinar & Castenell, 1993), and perpetuating stereotypes that limit the opportunities of those who are considered different. The history of people of color whose visual cultural expression can be seen in much of the American material environment has been so hidden that social stereotypes make their labor and the conditions of their lives almost invisible (Takaki, 1993). Even committed teachers can experience a sense of cultural misunderstanding when working with students from low economic and/or diverse racial and cultural backgrounds (McElroy-Johnson, 1993). Yet, according to interviews with students of color, those teachers who care and hold high expectations for them are the most successful (Nieto, 1996). How then can art teachers better understand their students and their students' families who live in economically and racially marginalized communities? How can teachers provide art instruction that will empower these students to challenge the social stereotypes that can circumscribe their lives and control their minds, so that they will be able to define themselves and their roles in society in positive ways? What classroom practices can help students gain perspectives about art that are often overlooked when art is considered an expression of universal truths? Many art educators have abandoned the modernist belief in the formalist, functionless notions of art as creations of individual great artists living outside social and cultural boundaries. They have instead posed possibilities for curriculum and instruction based on postmodern theories that parallel postmodern developments in art. 1990, Efland discussed abandoning the conception of universal truth in favor of local and personal narratives. Zimmerman (1990) suggested a curriculum approach based on a feminist model that would consist of using regional content and ways of knowing the world and inspiring students to produce socially, historically, and geographically relative art. Milbrandt (1998) described a curriculum designed to involve fifth-grade students in the study of postmodern artists who critique contemporary social and ecological issues. Some art educators have also called for the study of local artists because they represent a unique perspective that is accessible to students. Ulbricht (2000), for example, feels that By talking with self-taught artists, students can learn how art functions for artists and public in the community. For some, art may be a catalyst that promotes positive discussion and helps bind people together (p. 48). Unfortunately, the history of local community race relations is often overlooked in teacher preparation programs where the experiences, contributions, and cultural expressions of people of color are usually not included. The scholarship invested in the study of art and art history from a Western cultural perspective often makes it difficult for teachers to have a background in arts that have roots outside of European traditions. Yet, art exists in local communities that are as diverse as the history of the United States, and art teachers should be aware of its potential for generating student interest in learning about art and how it relates to issues that are relevant to their lives. Proposing that artworks are an expression of local values and beliefs rather than of universal truths, we can recognize that, In the end, each artist is a local artist somewhere, rooted in a community he or she calls home (Ulbricht, 2000, p. …

This research addresses the artistic production of prominent Costa Rican artists of Chinese descent, such as Isidro Con Wong, Otto Apuy Sirias, Edgar León Martínez, Guillermo Porras On, Man Yu, the HAPA Collective (Karen Olsen Yu, Anna Matteucci Wo Ching, and Jennifer Karczynski Tang), and the illustrator Wen Hsu. It posits that there is an intrinsic relationship between society, history, and culture that has influenced the development of these visual creators, yet this relationship has been insufficiently explored in Costa Rican art history and cultural studies, revealing a gap in the bibliography and academic research on the subject. The methodology was based on interviews and a theoretical approach from art history and cultural studies. The analysis organized the artistic work into five phases: (1) Beginnings: Reflections on Identity; (2) Art and Cultural Integration; (3) Multiplicity and Identity: Human Suit; (4) Emerging Voices; and (5) Dream, Imagine, and Create. The significance of this study lies in being one of the first to highlight the contribution of artists of Chinese descent to the construction of Costa Rican identity, in collaboration with the Confucius Institute of the University of Costa Rica.

180 Reviews contradicts the narrative's message. The need to control the desiring (pagan) gaze is an issue in these 12th century images where a juxtaposed image of a man gazing at a nude male sculpture resonates with Christian presentations ofpagan cults as homoerotic. Although she makes reference to homoeroticism in these discussions, there is very little reference to the lesbian gaze, nor to readings that counter the overt masculine viewpoint (such as Patricia Simons' and Erica Rand's essays in Whitney Davis' Gay and Lesbian Studies in Art History (New York, 1994). Caviness does track the changes in the imagery of Lot's wife in the 13th century, which reinforced the danger of such looks by disembodying the wife's image. Throughout the book she reiterates the changing emphases in the iconography and the internal (and external) pressures on the image. While a challenging read, the ideas located in this text are provocative and Caviness's juxtaposition of 20th century art works with medieval ones reinforces and complicates further the points she makes. Her drawing on recent discussions on the 'abject', for example, in her discussion of relics and body parts as a strategy to de-eroticise the female body certainly pushed me to reconsider m y own readings of these works. Judith Collard Art History and Theory University ofOtago De Hamel, Christopher, The Book: a History of the Bible, London, Phaidon, 20 cloth; pp. xi, 352; 237 colour illus.; R R P AUS$69.95; ISBN 0714837741. The Bible is undoubtedly the single most important book produced in Europe and in the countries colonized by Europeans. Countless different versions and innumerable copies of it have been written or printed over the course of the last two millennia. As a result, the study of the history of the Bible is central to any history of manuscripts and printed books. Christopher D e Hamel even goes so far as to suggest that his title could well have been 'The Bible: a History of the Book' - though this seems to ignore the significance of book production outside the European orbit, and especially of the Quran in Islamic countries. In tackling such a vast subject - 'perhaps the biggest subject in the world' (p. vi) - D e Hamel is careful to define and specify his focus. H e is interested exclusively in the Bible as a book, in its changing manifestations as a physical object. H e points to the essentially unchanging nature of the basic Biblical text, Reviews 181 despite its different versions and languages, as a reason for leaving textual issues alone. He emphasizes that he is not interested in theology or in the meaning of the Bible, and he carefully sidesteps the question of divine inspiration. In chronological terms, he concentrates quite heavily on the Bible in the Middle Ages. In fact, his treatment of the medieval Bible occupies almost half of the length of the book, covering along the way such topics as Bible commentaries , picture books and portable Bibles. For the Early M o d e m period, there is an entire chapter on the Gutenberg Bible and a lengthy discussion of the Bibles of the Protestant Reformation. In contrast, the period from the 18th century onwards is covered in only about 50 pages, including a chapter on missionary Bibles. There is very little on the Bible in the 20th century. Although he observes at one point (p. xi) that the story of the Bible 'ends with information technology', there is no treatment of electronic Bibles or of the various manifestations of the Bible on the Web. The final chapter, in fact, is devoted to the 'search for origins' in the form of the Dead Sea Scrolls and early Christian papyri. In keeping with his interest in the Bible as a physical object, the focus throughout is on 'new manifestations of the Bible text' (p. xi).'As a result, it is mainly Protestant Bibles - rather than Catholic Bibles - which feature in the later sections, especially in the period from the 18th century onwards. The geographical and linguistic emphasis is on Western Europe, and particularly on Bibles in Latin or English. Nevertheless, early Hebrew and Greek Bibles form the...

Scenography and Art History reimagines scenography as a critical concept for art history, and is the first book to demonstrate the importance and usefulness of this concept for art historians and scholars in related fields. It provides a vital evaluation of the contemporary importance of scenography as a critical tool for art historians and scholars from related branches of study addressing phenomena such as witchy designs, Early Modern festival books, live rock performances, digital fashion photography, and outdoor dance interventions. With its nuanced and detailed case studies, this book is an innovative contribution to ongoing debates within art history and visual studies concerning multisensory events. It extends the existing literature by demonstrating the importance of a reimagined scenography concept for comprehending historical and contemporary art histories and visual cultures more broadly. The book contends that scenography is no longer restricted to the traditional space of the theatre, but has become an important concept for approaching art historical and contemporary objects and events. It explores scenography not solely as a critical approach and theoretical concept, but also as an important practice linked with unrecognized labour and broader political, social and gendered issues in a great variety of contexts, such as festive culture, sacred settings, fashion, film, or performing arts. Designed as a key resource for students, teachers and researchers in art history, visual studies, and related subjects, the book, through its cross-disciplinary frame, does consider, implicitly and explicitly, the roles of both scenography and art in society.

Art history has lost and rediscovered semiotics several times since the 1950s, and at the moment writers employ an eclectic mixture of theories derived mainly from Ferdinand de Saussure and Charles Sanders Peirce. Of the two, Peirce is possibly the more influential model, on account of his tripartite theory of iconic, indexical, and symbolic signs. (The Saussurean model is identified more closely with the poststructuralist moment in art history, beginning in the 1970s.) The question of semiotics is once again topical now that visual culture is consolidating as a discipline, because the new field can choose from a wide range of semiotic practices – or it can choose to bypass semiotics altogether. This essay is a contribution to that current state of affairs. My principal point is that Peirce is much stranger than he is taken to be: he is idiosyncratic and demanding, and at times outlandishly hermetic. For most of what art history and visual studies aim to do, Peirce is simply not necessary; and when he is pertinent, he is so mainly as a model for concertedly logical thinking of a sort that is rare in visual studies or art history.

Artistic schools represent a theoretical paradigm in the discourse of art history and art historical narrative. While discussions on Chinese art genres and artistic schools have been prevalent in classical Chinese art, theoretical introspection regarding their existence has emerged relatively late. In recent years, there has been a growing academic debate in China about the rationality of artistic schools. Of particular interest is the assertion made by some scholars that there is no need to deliberately create artistic schools. As a duality in the realms of art history and art historical studies, does the existence of artistic schools have theoretical and aesthetic justification? What are the boundaries, and where lies their value? This paper, drawing insights from Changbai Mountain painting, combines theoretical discussions from art history to explore the rationality and limitations of the existence of artistic schools, aiming to provide a new perspective for the discourse on Chinese arts artistic schools.