Kunsthistorie/Visuel kultur: Kunst og kulturforskning 1

Delforløb: Æstetisk feltarbejde og antropocæne udtryksformer

v. Michael Kjær

Kursets første del vil blive struktureret omkring et studenterdrevet feltstudie af antropocæne udtryksformer på kanterne af den menneskeligt kulturelle sfære. Som baggrund vil vi læse en række historiske og aktuelle teorier og praksisser for afgivelse af menneskelig agens til nonhumane processer, kræfter og udtryksformer. Blandt disse kan fremhæves fænomenologiske, stoflige, investigative og økofeministiske teorier og praksisser. Kurset vil introducere til feltarbejde som antropologisk og naturvidenskabelig metode og arbejde med at oversætte disse til æstetisk feltarbejde. Vi vil sideløbende som inspiration gennemgå en række nutidige forsknings- og udstillingsprojekter, der omhandler antropocæne problematikker.

På baggrund af dette materiale vil vi foretage et fælles feltstudie af et postindustrielt byskabs aktuelle tilstand. Feltstudiet vil foregå et egnet sted, vi udvælger i fællesskab i kursusdelens første halvdel. Under feltstudiet kan eksempelvis skrives feltnoter, skitseres, fotograferes, optages lyd og indsamles prøver. Feltstudiet danner baggrund for kursets første delopgave.

Delforløb: Reevaluating the canon: Uses and abuses; object, value, canon

v. Kerry Greaves

The concept of canon or canonization suggests a process in which specific aspects of culture are established as crucial or exemplary, and associated with permanence whereby a canonized work’s value is often considered independent of time and place (Langfeld 2018). In art history, despite numerous attempts over the last three decades to reconsider, rethink, eradicate, or renew the canon, its importance for the field remains formidable—an unremitting presence through, with, and against which art historians define their research subjects and approaches. This part of the course explores the purpose, consequences, and possibilities of the canon for art historical research in 2026. A preliminary contention here is that it is not enough to simply globalize, transculturize, deconstruct, or apply “new” methodologies to or in contradiction of canonical works and narratives. We will consider how as art historians we can acknowledge and work with the durability of the canon to generate original and productive art historical research modes. Taking the teacher’s specialization in modern and contemporary Western art history as a point of departure, we will begin by considering the limitations and potentials of important interventions made since the late 1980s, coupled with specific case studies demonstrating different art historical approaches. Students will then work to adapt and apply the insights we have garnered to subjects of their own choice, which can fall outside of the modern and contemporary period.

The final exam consists of two portfolio essays, each written during the two parts of the course and receivde feedback on, to make up the final portfolio exam consisting of 16-20 ns.