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Reflections on teaching art history in art schools paper given, 4th January, 1966
Get PDFWith the creation of the Dip. A. D., formal teaching of art history became mandated in the Uk’s art schools. In a talk to university heads of art history, who would be required to train the required art historians, Gombrich addressed the problem of what they should teach. Far from advocating the common university curriculum, he recommended drawing upon local traditions of art and craft practices. While suggesting that students should have a basic awareness of art history’s historical map, if they should become needed to teach the subject, ‘I should try to investigate with them what it was like to be an artist in the past, what tasks he had to perform and in what concrete contexts the works of art took shape which we still admire.
Special issue of Umění: Journal of The Institute of Art History, Czech Academy of Sciences, 69:2, 2021
No full textWhole journal edition contained in JAH 26 to facilitate discussion of Matthew Rampley’s ‘Networks, horizons, centres and hierarchies: on the challenges of writing on modernism in Central Europe’, with contributions by a number of scholars, edited by Steven Mansbach
The place of Modernism in Central European art’. Review of: Discussion about Matthew Rampley, ‘Networks, horizons, centres and hierarchies: on the challenges of writing on modernism in Central Europe’, special issue of Umění: Journal of The Institute of Art History, Czech Academy of Sciences, 69:2, 2021, edited by Steven Mansbach, pp. 142-215, 19 col. plates and 6 b. & w. illus., 99 CZK, ISSN 00495123
Get PDFPiotr Piotrowski’s concept of horizontal art history was first formulated in his article ‘On the spatial turn, or horizontal art history’, published in Umění in 2008. Devised for East Central Europe, it derived its impetus from critical geography, which offered him tools for negotiating both the pitfalls of western art history marginalising the peripheries, as well as the conceptual framework provided by postcolonial theory. The precepts of the horizontal art history, widely discussed and used both within and outside the region, have been recently re-examined by Matthew Rampley who submitted to Umění a provocative article, assessing its aims and impact, as well proposing a new set of insights on methods and practices of studies on modern art of the region. This text is a review of the debate which, stimulated in turn by Rampley’s contribution, was published in the same issue of Umění in 2021. Guest edited by Steven Mansbach, the issue includes texts by Beáta Hock, Marie Rakušanová, Milena Bartlova, Magdalena Radomska, Jeremy Howard, Raino Isto, Claire Farago, Timothy O. Benson and Éva Forgács
Translating Warhol for television: Andy Warhol’s America
Get PDFThis paper discusses the challenges inherent in translating Andy Warhol’s art for television, focusing on the treatment of Pink Race Riot [Red Race Riot] (1963)and The American Indian (Russell Means) (1976 –1977) for the 2022 BBC2 documentary Andy Warhol’s America. The role of the director and producer, the interviewees and archival selection are examined in terms of translation from the scripts and editing to the screen. The medium specificity of television is explored, drawing upon interviews with the programme’s creators. What happens in the compression of historical intricacies, political imperatives and art historical debates for the purpose of translation into moving image sequences? What becomes lost, gained, compromised, distorted, fragmented or transposed in the process
Max Dvořák, Wilhelm von Bode, and the Monuments of German Art
Get PDFThis paper was originally published on the ninetieth anniversary of Max Dvořák’s death, in ARS – Journal of the Institute of Art History of the Slovak Academy of Sciences (2011). It is based primarily on the correspondence between Dvořák and Wilhelm von Bode, the so-called Bismarck of the Berlin museums. In conjunction with various other sources, this correspondence reveals that Dvořák – who is usually hailed as the founding father of Czech art history – was heavily involved with Bode’s Deutscher Verein für Kunstwissenschaft (est. 1908), a very German society of art historians, and that he even drafted the programme of its grand series of art historical publications, Die Denkmäler der Deutschen Kunst (The Monuments of German Art), a monumental undertaking that was projected to stretch to some four hundred volumes
The WTO Dispute Settlement System as a Forum for Climate Litigation?
Get PDFThis article examines whether and to what extent the Dispute Settlement System (DSS) of the World Trade Organization (WTO) could and should serve as a venue for international climate litigation. The article tackles these questions in three parts. First, it maps the nature and features of a trade-related climate litigation. Second, it considers the prospect of such litigation under existing substantive and procedural rules of the WTO. Third, it investigates whether the WTO DSS should serve as a venue for climate litigation. The article finds that while the prospect of pro- climate litigation remains limited, anti- climate litigation is likely to increase, and that the DSS is an appropriate venue for adjudicating such disputes
Lost to Law: Why Women Leave the Legal Profession
Get PDFIn spite of an increasing reliance on women entrants to the legal profession, women remain under-represented in the higher levels of that profession, not least because many women leave legal practice notwithstanding the strenuous route to qualification. This empirical survey gathered qualitative data on the reasons why women chose to abandon their career in law. The factors behind such a significant decision included: personal reasons based on health, stress; dissatisfaction with the work or the workplace; and the pressures of family life and caring obligations. These factors intersect and overlap and are reflective of wider societal and cultural pressures on women. They provide a basis to question whether, as the proportion of qualified women entrants to the profession continues to rise, failure to better accommodate the needs and aspirations of women lawyers might present a systemic threat to the legal profession
Apollo and Daphne and iconographic research: digital methodologies for art history
Get PDFthe project, called “Apollo and Daphne and iconographic research: digital methodologies for art history”, focuses on the digitalisation of relevant works of art and extends their use and reuse on the web, eventually exploring some tools that could improve iconographic research. As a case study, 25 works of art representing the myth of Apollo and Daphne produced from the thirteenth to the eighteenth centuries in all fields of art, such as sculpture, painting and illuminated manuscripts have been chosen. These 25 images belonging from different historical and artistical periods were enough to create an iconographic canon that can been studied using digital tools. The choice of Ovid’s myth was motivated by the deep connection between the text (original and translated) and the huge artistic production on the mythological subject increased by the fifteenth century because of renewed interest in the Latin poem and classical world in general
Introduction to Studies on the Cicognara Library, Part 2 of a series
Get PDFThe following paper by Silvia Massa was first presented at a session sponsored by the Bibliographical Society of America that I chaired on 10 February 2021 at the 109th College Art Association Annual Conference. Entitled ‘The Print in the Codex’, the session considered books transformed through the incorporation of independently printed images. This is the second of two papers from the session to appear in this journal; Sarah Schaefer’s study of the impact of extra-illustration on printing history, ‘Bibles Unbound: The Material Semantics of Nineteenth-Century Scriptural Illustration’, appeared in the June 2022 issue
On the question of a philosophical art history: philosophy, theory and thought
Get PDFDecades since the radicalising impacts of ‘theory’ have been levelled into disciplinary practice, what might be invited by a philosophical art history today? I outline the shape of this problem by retracing the presence of the philosophical in early art history, contextualising the emergence of theory in 20th-century continental philosophy’s self-examination, and surveying the impact and afterlife of the assimilation of French thought, as ‘theory’, into the Anglo-American academy. Faced by an ever-expanding ‘menu of methods’ and interpretive toolkits, the challenge for a philosophical art history today is to interrogate and reverse the conversion of what the French called thought (pensée) into what became theory. By considering the philosophy of thought developed by Gilles Deleuze, and his ideas of ‘superior empiricism’ and ‘constructivism’, I explore one route to such interrogation. I argue that a philosophical art history as a thoughtful art history moves away from preoccupations of methodology to a practice of problematology
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