CIHA 2016 in Beijing
34th World Congress of Art HistoryAbout History Press Release Sessions Schedule Activities Participants Venue Discussion Registration Closed
Sessions Download PDF
Session 2 The Rank of Art
Session 3 Imagination and Projection
Session 4 Appreciation and Utility
Session 5 Self-Awareness or Self-Affirmation
Session 6 Politics of Identity: Tradition and Origin
Session 7 Translation and Change
Session 8 Art and Taboo
Session 9 Autonomy and Elusion
Session 10 Gendered Practices
Session 11 Landscape and Spectacle
Session 12 Garden and Courtyard
Session 13 Transmission and Adoption
Session 14 The Other and the Foreign: Contact, Curiosity, and Creative Exchange
Session 15 Creative Misunderstanding
Session 16 Commodity and Market
Session 17 Display
Session 18 Media and Visuality
Session 19 History of Beauty vs. History of Art
Session 20 Professional Education and Aesthetic Education
Session 21 Connecting Art Histories and World Art
KAUFMANN, Thomas DaCosta / PILLIOD Elizabeth
Ethical Issues in Practice: Forming a Canon for Global Art History
European Classicism and Chinese Art
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
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
New geo [graphies] Travelers and their images in nineteenth-century Colombia
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
"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
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