CIHA 2016 in Beijing

34th World Congress of Art History

About History Press Release Sessions Schedule Activities Participants Venue Discussion Registration Closed


CAO Yiqiang
Chinese Chair

FAN Baiding
Junior Chair

KAUFMANN, Thomas DaCosta / PILLIOD Elizabeth
Ethical Issues in Practice: Forming a Canon for Global Art History

SMENTEK, Kristel
European Classicism and Chinese Art

WHITE, Michael
De Stijl and the Cultural Canon of the Netherlands: Gerrit Rietveld’s Red-Blue (and White?) Chair

Canonising Modernism During National Socialism and the Cold War

BINSTOCK, Benjiamin & Fukuoka
A Post-Global Vermeer? The Role of Media in Canon Formation and Reformation

ZENG Qunkai
The Parallel geography and the parallel test: The style and experiment of the art history in the art ecology of the Xinjiang province in China

GARAY, Alejandro
New geo [graphies] Travelers and their images in nineteenth-century Colombia

WEIß, Matthias
Gazes that matter:The European Buildings of the Summer Palace in Beijing mirrored in Chinese Engravings and Western Photographs

Casting the Canon: Plaster Casts as Global Dissemination Media during the Long Nineteenth-century

Reference or Representation? The Impact of S.E.A. (Students Exercise Artworks) on Canon Formation in Vietnamese Contemporary Art

CAUSEY, Andrew
"Primitive" Yet "Civilized": Toba Batak Carvings in the Western Canon of Art

Binding the canon: The butterfly-fold binding of Chinese art books in the 17th century

Today Worlds Collide: A Comparative Reflection on Islamic and East Asian Ceramic Art’s Display Philosophy

Schedule of Session 21.pdf

Schedule of Session 21.jpg

Art History, Media and Representation: Towards a Postglobal Canon?

The main issue we seek to address in this session is how the canon in art history was, is and potentially will be represented and consolidated, but also particularly how it can be challenged, changed and transformed through media. The notion of the canon as such has great epistemological value and it always serves as a reference in art history practice, whether it be for formal comparison, dating, iconographic analyses, etc. It is also invested with power as it defines what should be studied and what is or is not worthy of a researcher's or art recipient’s attention.

We will consider records and visual representations of the canon and its contestants from both a historical and a contemporary perspective. Beginning with definitions of the Early Modern era, which can be considered as the birth of the modern ‘age of the image’ and its canonical order, we will move on to media such as survey books, photography, contemporary virtual repositories and even visions for future modes of representation in art history.

Considering particular case studies as well as larger theoretical issues, we seek to investigate the impact of representational media and techniques on perceptions of the canon worldwide, thus outlining an epistemological contribution to the definition and understanding of the Concepts of Art History between the discipline’s tradition and its future beyond the ‘global turn’.

Contributions to the session could address the following or related issues: 

- The function of historical and new representation media in the process of the consolidation or changing of the canon.

- The canon and the tension between statics and dynamics. The canon is a fixed and defined element, but at the same time it is in constant motion. Each new interpretation of an artefact or each new object in a collection has the potential to change it, and even the most valued masterpieces may change their ranking position, or even lose their place in the canon. How does this relate to new participatory modes of communication and representation?

- The role of the diffusion and accessibility of representational techniques such as print, photography, new media etc.

- Representation vs. suppression in the canon

- Representing national, regional and ‘world art’ canons or alternative canons

- The canon and cultural heritage ‘maps’

- Historiographies and agents of canon critique in art history

Developed by Dr Eva-Maria Troelenberg, Research Group Leader, KunsthistorischesInstitutFlorenz– MPI, and Dr Magdalena Wróblewska, Institute of Art History, University of Warsaw