Kunst der Moderne: Globale Perspektiven (Zyklus III)

Eva Kernbauer
Art Sciences and Art Education, Art History
2021W, Vorlesungen (VO), 2.0 ECTS, 2.0 semester hours, course number S03874

Description

This course offers an introduction to the emergence of European Modern Art (1800-1950) in the global context.  We will look at the formation of Europe and European Art as cultural entities framed and shaped by political and economic struggle, emerging nationalism, colonialism and global expansion.

In distinct chapters, we will examine the transformation of art in the course of Modernism: exhibitions and art journals proliferate as new art publics emerge; visuality is being transformed by the experience of modern urban space; non-Western art is appropriated in Orientalism and Primitivism; new media such as photography and film are being introduced; collaborative, performative and spatial art practices emerge. We will specifically look at feminist art histories, at intermedial approaches, at interconnections of art and design including the notion of the "Gesamtkunstwerk", and the modernist concept of art as an experiment for social change.

Framed by the histories, theories, and discourses of modernism and modernity, this lecture examines the main practices, concepts, themes and debates that structure their study. While it is organized as an introductory survey and broadly follows Western periodizations of modern artistic practices of the 19th and early 20th centuries, it also challenges concepts such as "European art", as well as stylistic classifications and the primacy of specific artistic genres and media. Using case studies, we will examine artistic practices in relation to their historical, socio-political, and institutional contexts and analyze the relation between social and aesthetic forms.

 

Recommended Literature (mostly on OwnCloud or in the Library Handapparat)

in English: Pelican History of Art (Bd. 8, 11 und 16: Fritz Novotny: Painting and Sculpture in Europe 1780-1880; George Hamilton: Painting and Sculpture in Europe 1880-1940; Henry Russell Hitchcock: Architecture: Nineteenth and Twentieth Centuries)

Monika Wagner (Hg.), Moderne Kunst. Das Funkkolleg zum Verständnis der Gegenwartskunst, Hamburg 1991, darin bes. dies., „Das Problem der Moderne“, S. 15-29 und Kathrin Hoffmann-Curtius, „Die Kampagne ‚Entartete Kunst’. Die Nationalsozialisten und die moderne Kunst“, S. 467-490.

Oskar Bätschmann, Ausstellungskünstler. Kult und Karriere im modernen Kunstsystem, Köln 1997.

Gregor Wedekind (Hg.), Kat. Géricault: Bilder auf Leben und Tod, Kat. Frankfurt und Gent, München 2013.

Albert Alhadeff, Théodore Géricault, Painting Black Bodies, Confrontations and Contradictions, London 2020.

Darcy Grimaldo Grigsby, Colossal. Engineering the Suez Canal, Statue of Liberty, Eiffel Tower and Panama Canal, New York 2012.

Darcy Grimaldo Grigsby, Extremities. Painting Empire in Post-Revolutionary France, London 2002.

Thomas Crow, Restoration: The fall of Napoleon in the course of European art, 1812–1820, Princeton/Oxford: Princeton University Press, 2018.

Bénédicte Savoy, Kunstraub. Napoleons Konfiszierungen in Deutschland und die europäischen Folgen, Köln 2010.

Viktoria Schmidt-Linsenhoff, Ästhetik der Differenz. Postkoloniale Perspektiven vom 16. bis 21. Jahrhundert, Marburg 2010.

Silke Förschler, Bilder des Harem. Medienwandel und kultureller Austausch, Berlin 2010.

Zeynep Çelik, Europe knows nothing about the Orient : a critical discourse from the east 1872-1932, Istanbul: Koc University Press, 2021.

Jürgen Osterhammel, Die Verwandlung der Welt. Eine Geschichte des 19. Jahrhunderts, München 2009.

Maraike Bückling (Hg.), Schönheit und Revolution: Klassizismus 1770-1820, Kat. Städel-Museum, Liebieghaus Skulpturensammlung, Frankfurt, 2013.

Klaus Herding, „Realismus“, in: Werner Busch (Hg.), Funkkolleg Kunst. Eine Geschichte der Kunst im Wandel ihrer Funktionen, München 1987.

Christian Kravagna, Transmoderne. Eine Kunstgeschichte des Kontakts, Berlin 2017.

T. J. Clark, Farewell to an Idea. Episodes from the History of Modernism, New Haven 1999.

Robert L. Herbert, Impressionism. Art, Leisure and Parisian Society, New Haven/London 1988.

Beaumont Newhall, Geschichte der Fotografie, München 1989.

Michel Frizot (Hg.): Neue Geschichte der Fotografie. Köln 2001.

Herbert Molderings, Die Moderne der Fotografie, Hamburg 2008.

Bernd Stiegler, Randgänge der Fotografie, München 2012.

Gottfried Fliedl, Kunst und Lehre am Beginn der Moderne. Die Wiener Kunstgewerbeschule 1867-1918, Salzburg 1986.

Walter Benjamin, Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit (= Werke und Nachlaß. Kritische Gesamtausgabe, Bd. 16), Frankfurt/Main 2013.

Hal Foster, Rosalind Krauss, Yve-Alain-Bois, Art since 1900: Modernism, Antimodernism, Postmodernism, London 2011.

Rosalind E. Krauss, The Originality of the Avant-Garde and Other Modernist Myths, Amsterdam 1997.

Anna Dezeuze und Julia Kelley (Hg.), Found Sculpture and Photography from Surrealism to Contemporary Art, Farnham 2013.

Leah Dickerman (Hg.), Kat. Inventing Abstraction 1910-25, Museum of Modern Art, New York, 2012.

Simon Gikandi, Picasso, Africa, and the Schemata of Difference, in: Modernism/modernity, Bd. 10, #3, September 2003, S. 455-480.

Sarah Maupeu, Senghor, Picasso und die afrikanische Kunst, http://www.uni-koeln.de/phil-fak/khi/senghor-projekt/download/Maupeu_Senghor_Picasso_und_die_afrikanische_Kunst.pdf [Zugriff am 02.10.2018].

Victor Margolin, The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy, 1917-1946, Chicago 1997.

Inke Arns, Igor Chubarov, Sylvia Sasse (Hg.), Nikolai Evreinov und andere: „Sturm auf den Winterpalast“, Zürich/Berlin 2017.

Charles Harrison/Paul Wood (Hg.), Kunsttheorie im 20. Jahrhundert. Künstlerschriften, Kunstkritik, Kunstphilosophie, Manifeste, Statements, Interviews. Bd. I: 1895-1941, Ostfildern-Ruit 1998.

Meyer Schapiro, Moderne Kunst, 19. und 20. Jahrhundert, Köln 1982.

Leo Steinberg, Other Criteria. Confrontations With Twentieth-Century Art, London/Oxford/New York 1972.

Sigmund Freud, Abriß der Psychoanalyse, Mit einer Rede von Thomas Mann als Nachwort, Das Unbehagen in der Kultur, Frankfurt am Main, Fischer 1972.

Bénédicte Savoy/Felwine Sarr, The Restitution of African Cultural Heritage. Toward a New Relational Ethics, November 2018, http://restitutionreport2018.com/sarr_savoy_en.pdf.

Ausst. Kat. Dada Afrika. Dialog mit dem Fremden, Museum Rietberg, Berlinische Galerie, Berlin, Zürich 2016.

Ausst. Kat. Surrealismus und primitive Kunst. Eine Wahlverwandtschaft, Fondation Pierre Arnaud, Lens, Ostfildern 2014.

Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness. London 1993.

James Clifford, The Predicament of Culture, London und New Haven 1994.

Rosalind E. Krauss, Die Originalität der Avantgarde und andere Mythen der Moderne, Amsterdam 1997.

 

Examination Modalities

Written exam, to be completed optionally in English and German. Exam dates are offered at the end of January, in March and April 2022. After that, no more exam dates will be offered, as the lecture changes every year.

EXAM Dates will follow here in December 2021. 

 

Comments

This course is taught in German. All Zyklus-lectures are held alternately in German and English, with the English lecture "Global Modern Art / Zyklus III" following in Fall/Winter 2022/23 (see https://www.angewandtekunstgeschichte.net/news/2019/umstellung-der-zyklus-vorlesungen).

Regular attendance is advised. 

The lecture will be accompanied by a tutorial course led by Sarah Maier (sarah-maria.maier@student.uni-ak.ac.at), offering support for any issues or question you might have regarding the lecture or on how to prepare for the exam. Sarah will also organize sessions to discuss specific topics, artworks and/or texts.

All important literature has been made accessible in the library in a special "Handapparat" (reference collection).

The image scripts shown in the lecture will be uploaded weekly in the OwnCloud folder together with useful texts for each chapter. As you register for the lecture in Base Angewandte, access to the OwnCloud folder will be activated automatically.

All images can be viewed with additional information and downloaded on the image database IMAGE (access within Base Angewandte, see tab above).

Key Words

Moderne, Kunst, Realismus, Avantgarde, Surrealismus, Dada, NS-Kunst, Romantik, Klassizismus, Fotografie, Malerei, Skulptur, Installation, Futurismus

Dates

04 October 2021, 13:30–15:00 Auditorium
11 October 2021, 13:30–15:00 Auditorium
18 October 2021, 13:30–15:00 Auditorium
25 October 2021, 13:30–15:00 aufgezeichnet auf Video -> Owncloud
08 November 2021, 13:30–15:00 Auditorium
15 November 2021, 13:30–15:00 Auditorium
22 November 2021, 13:30–15:00 Auditorium
29 November 2021, 13:30–15:00 Auditorium
06 December 2021, 13:30–15:00 Auditorium
06 December 2021, 18:00–19:30 Zoom (guest lecture: Chuong-Dai Vo)
13 December 2021, 13:30–15:00 Auditorium
10 January 2022, 13:30–15:00 Auditorium
17 January 2022, 13:30–15:00 Auditorium
24 January 2022, 13:30–15:00 Auditorium (examination)

Course Enrolment

Via online registration

co-registration: possible

Art Education: subject kkp (Bachelor): Wissenschaftliche Praxis: GO: Kunstgeschichte Zyklus, VO

Art Education: subject kkp (Bachelor): Wissenschaftliche Praxis: FOR: Kunstgeschichte Zyklus, VO

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Art Education: subject tex (Bachelor): Wissenschaftliche Praxis: FOR: Kunstgeschichte Zyklus, VO

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Art Education: subject dae (Bachelor): Wissenschaftliche Praxis: FOR: Kunstgeschichte Zyklus, VO

Art Education: subject dae (additional subject): Wissenschaftliche Praxis: GO: Kunstgeschichte Zyklus, VO

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Art Education: subject dex (Bachelor): Wissenschaftliche Praxis: FOR: Kunstgeschichte Zyklus, VO

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