1,851 research outputs found
Entrevista com Hubert Damisch
No full textRevista do IHA, N.3 (2007), pp. 7-18ENTREVISTA com Hubert Damisch conduzida por Joana Cunha Leal
Hubert Damisch e Stephen Bann: Uma Conversa.
No full textResumo A entrevista a seguir, concedida a um grupo de teóricos e críticos, entre eles, Stephen Bann, historiador da arte e um dos editores da Oxford Art Journal, apareceu, originalmente, em número especial dessa publicação [vol. 28, n. 2, 2005, p. 157-181], tendo resultado de seminário dedicado à obra de Damisch, promovido pela revista, em parceria com a Tate Britain, em outubro de 2003. Além de Stephen Bann, entrevistaram Hubert Damisch Margaret Iversen, John Goodman, Stephen Melville e Yve-Alain Bois
Hubert Damisch e Stephen Bann: uma conversa
No full textDiscípulo de Merleau-Ponty e Pierre Francastel, Hubert Damisch (1928) marca presença decisiva na renovação epistemológica da disciplina história da arte, franqueando-a às contribuições da psicanálise, da filosofia, da antropologia e da semiótica, e conferindo a ela inédita envergadura teórica, para muito além das demarcações tradicionais de competência que a separam da teoria da arte. Tendo sido músico de jazz na juventude e se dedicado inicialmente ao cinema antes de se voltar às artes visuais, manteve sempre uma perspectiva teórica forte da história da arte, visando um campo diversificado de interesses - a pintura, a estética, a arquitetura, a literatura, a fotografia, o cinema. Autor de livros fundamentais como Théorie du nuage: pour une histoire de la peinture (Paris: Seuil, 1972), L’Origine de la perspective (Paris: Flammarion, 1987), Le Jugement de Pâris: iconologie analytique, (Paris: Flammarion, 1992), Un Souvenir d’enfance par Piero della Francesca (Paris: Seuil, 1997) e La Dénivelée: à l’épreuve de la photographie (Paris: Seuil, 2001), Damish produziu reflexão crucial sobre a lógica da imagem, nos oferecendo uma prática nada convencional da história da arte, marcada pelo livre trânsito metodológico entre a arte do passado e a do presente. Foi professor na École Normale Supérieure e depois na École des Hautes Études en Sciences Sociales. A entrevista a seguir, concedida a um grupo de teóricos e críticos, entre eles, Stephen Bann, historiador da arte e um dos editores da Oxford Art Journal, apareceu, originalmente, em número especial dessa publicação [vol. 28, n. 2, 2005, p. 157-181], tendo resultado de seminário dedicado à obra de Damisch, promovido pela revista, em parceria com a Tate Britain, em outubro de 2003. Além de Stephen Bann, entrevistaram Hubert Damisch Margaret Iversen, John Goodman, Stephen Melville e Yve-Alain Bois.Having studied with Merleau-Ponty and Pierre Francastel, Hubert Damisch (1928) raises as a key figure in the epistemological renewing of the disciplinary field of art history, having opened it up for the contributions of psychoanalysis, philosophy, anthropology and semiotics, while assigning to it a unique theoretical scope – far beyond the traditional jurisdictions that have set apart art history from the concerns of the theory of art. A jazz musician in his youthful, and attracted firstly by film before being driven towards visual arts, Damisch have always claimed a theoretical density for the field of art history, where he would work from a multifarous horizon of interests – painting, architecture, literature, photography, ethnology. He has produced a crucial reflexion on the logics of image, being author of referential studies on the subject, such as Théorie du nuage: pour une histoire de la peinture (Paris: Seuil, 1972), L’Origine de la perspective (Paris: Flammarion, 1987), Le Jugement de Pâris: iconologie analytique, (Paris: Flammarion, 1992), Un Souvenir d’enfance par Piero della Francesca (Paris: Seuil, 1997) and La Dénivelée: à l’épreuve de la photographie (Paris: Seuil, 2001). His oeuvre shows a singular and unconventional way of dealing with art history, marked by his methodological freedom to move with boldness between the art of the present and the past. Damisch has teached at École Normale Supérieure and afterwards at École des Hautes Études en Sciences Sociales. This interview, given to a group of art historians, theoreticians and art critics, and conducted mostly by the art historian Stephen Bann, editor of Oxford Art Journal, originally appeared in a special issue of this publication [vol. 28, n. 2, 2005, p. 157-181], as a result of a conference dedicated do Hubert Damisch’s work. The conference was promoted by the journal in partnership with Tate Britain, in October 2003. Besides Stephan Bann, the discussions also involved the participation, as interviewers, of Margaret Iversen, John Goodman, Stephen Melville and Yve-Alain Bois
Hors cadre : entretien avec Hubert Damisch
No full text– Il n’y a plus de vérité du tout, puisque vous arrangez les faits comme il vous plaît.– J’arrange les faits de façon à les rendre plus conformes à la vérité que dans la réalité […]André Gide Alors que se multiplient les théories des images et que l’idée d’une « pensée des images » s’est progressivement imposée, il nous a semblé important de rencontrer Hubert Damisch. On sait le rôle critique décisif qui a été le sien dans la redéfinition épistémologique dont l’histoire de l’art a fait l’obje..
Hubert Damisch
No full textGrave J. Hubert Damisch. In: Busch K, Därmann I, Eikones NFS Bildkritik, eds. Bildtheorien aus Frankreich. Ein Handbuch. Eikones. München: Fink; 2011: 103-110
Passagens: Hubert Damisch
No full textIntrodução ao conjunto de textos acerca da obra de Hubert Damisch.</jats:p
Tableaux tressés. Hubert Damisch, l’art et la topologie
No full textCe n’est que depuis quelques années que l’histoire de l’art porte un intérêt accru aux questions de topologie et à l’application du savoir topologique dans les œuvres d’art.Dès lors, ont été étudiées les manières dont les relations spatiales se produisent au moyen d’assemblages interrelationnels de continuité et de discontinuité, d’intérieur et d’extérieur, de jonction et de séparation, de pliage et de dépliage, etc. C’est dans ce contexte que le texte « La peinture est un vrai trois », publié par Hubert Damisch en 1983, a été réexaminé et compris comme une contribution radicale et prospective au débat sur une histoire de l’art topologique. S’appuyant sur la juxtaposition de l’espace euclidien et de l’espace topologique, telle que décrite par Merleau-Ponty dans Le visible et l’invisible, suivi de Note de travail, le texte de Damisch non seulement transfère ce débat au domaine de l’art, mais érige l’image tissée en un modèle théorique qui peut être considéré comme une alternative refoulée face au paradigme encore dominant de la perspective.Only in recent years has art history begun to take an increased interest in questions of topology and the way topological knowledge is implemented in works of art.What has since been focused is the ways in which spatial relations are produced by the inter-relational assemblances of continuity and discontinuity, inside and outside, joining and separating, folding in and folding out etc. It is in this context that the text “Painting is truly threefold”, published by Hubert Damisch in 1983, has been re-examined and understood as a radical and prospective contribution to the debate of a topological art history. Building up on the juxtaposition of Euclidian and topological space, as described by Merleau-Ponty in Le visible et l´invisible, suivi de Notes de travail, Damisch’s text not only transfers this debate to the field of art, but establishes the woven image as a theoretical model that can be seen as a repressed alternative to the still leading paradigm of perspective
Hubert Damisch / Jean Dubuffet - Entrée en matière correspondance 1961-1985, textes 1961-2014
No full textFrench artist Jean Dubuffet and French art historian Hubert Damisch shared a long friendship between 1961—the year Damisch published his first essay on Dubuffet—and 1985—when the latter died. "Entrée en matière" gathers together all the texts written by Damisch on Dubuffet as well as a selection of their correspondence: one is able to follow how the thinking on a living artist could be inspired by a close relationship with him, but also by philosophy, human sciences, and other artists' oeuvres; and how in addition this thinking could evolve once the dialogue becomes a tribute monologue after the artist's death. Jean Dubuffet (1901–1985) is one of the main figures of postwar art, famous for his radical experimentation with form and material from the 1940s to the mid-1960s, his landmark bodies of later works such as "L’Hourloupe" (1962–1974) and "Coucou Bazar" (1973), his provocative thinking about high and low culture, and his advocacy for Art Brut artists. A philosopher specialized in aesthetics and art history, Hubert Damisch (b. 1928) is known for his essays on perspective, the theory of painting, and architecture. He edited the complete writings of Jean Dubuffet in four volumes between 1967 and 1985. Illustrated by Dubuffet' artworks and facsimiles of his correspondence, the volume is introduced and edited by art historian and curator Sophie Berrebi, a member of the editorial board of the academic journal "Stedelijk Studies," which publishes widely on contemporary art
Besset (M.), Gustave Eiffel
No full textDamisch Hubert. Besset (M.), Gustave Eiffel. In: Annales. Economies, sociétés, civilisations. 16ᵉ année, N. 6, 1961. pp. 1252-1255
L'œuvre des Churriguerra : la « catégorie » du masque
No full textDamisch Hubert. L'œuvre des Churriguerra : la « catégorie » du masque. In: Annales. Economies, sociétés, civilisations. 15ᵉ année, N. 3, 1960. pp. 466-484
- …
