Archiv der Kategorie: Ankündigungen

Program: The Art Market in Italy Around 1900: Actors, Archives, Photographs

Study days

14.–15.11.2017, Florence/Bologna

The program is out now! Download the PDF here: Program (PDF)

Organized by the Photothek of the Kunsthistorisches Institut in Florenz – Max-Planck-Institut and the Fondazione Federico Zeri in Bologna together with Prof. Giovanna Capitelli (Università della Calabria)

In the last few years international research on the art market has gained in intensity, inspiring a host interdisciplinary studies and conferences while successfully defining a new field of academic research and teaching. Through a range of gatherings and publications, the dynamics of the antiques market have been explored at the intersections of art history, economics, and sociology, among other disciplines. At the center of the most recent studies are the networks of relations between antiquarians, collectors, and other persons connected to the selling of art works. Within these networks, photographers have been identified as key actors in the evolution of the art trade from the second half of the 19th century. The art market shapes and informs the art historical canon, and as indispensable agents of the art market’s exchanges, photographs are now also recognized as essential to the formation of the canon. At the same time, the „material turn“ in the humanities has refocused attention upon both the itineraries of the art objects and the functions and circulation of individual photographs. Over the course of two study days, we will enter into this rich discussion by concentrating upon two of its aspects in particular: the relations between photographic and antiquarian practices, on which the first day at the Photothek of the Kunsthistorisches Institut in Florenz will focus, and the world of art trade in Savoia Rome, which will be addressed on the second day at the Fondazione Federico Zeri in Bologna. The attention of both institutions to these topics derives not only from a scientific interest but also from the material reality of their extensive photographic and archival Holdings.

Photographic and Antiquarian Practices

November 14th 2017, Photothek of the Kunsthistorisches Institut in Florenz, Florence
Organized by Julia Bärnighausen and Costanza Caraffa

Website of the Kunsthistorisches Institut in Florenz – Max-Planck-Institut

Mercanti, collezionisti e conoscitori nella Roma sabauda (1870-1915)

November 15th 2017, Fondazione Federico Zeri, Bologna
Organized by Andrea Bacchi and Giovanna Capitelli

Website of the Fondazione Federico Zeri, Biologna

Publikation: Eine Fotografie. Über die transdisziplinären Methoden der Bildforschung

 Soeben erschienen mit einem Beitrag des Projektes Foto-Objekte

Irene Ziehe,  Ulrich Hägele (Hrsg.)

EINE FOTOGRAFIE. ÜBER DIE TRANSDISZIPLINÄREN METHODEN DER BILDFORSCHUNG

2017,  Visuelle Kultur. Studien und Materialien,  Band 12,  372  Seiten,  broschiert,  mit zahlreichen, teils farbigen Abbildungen,  38,00 €,  ISBN 978-3-8309-3664-0

Mit Beiträgen von
Thomas Abel,  Julia Bärnighausen,  Karin Bürkert,  Angelika Friederici,  Johannes Großewinkelmann,  Norbert Haase,  Christiane Hoth,  Andrea Hurton,  Stefanie Klamm,  Olli Kleemola,  Franziska Kunze,  Agnes Matthias,  Elmar Mauch,  Silke Müller,  Ingo Niebel,  Martin Radermacher,  Stephan Sagurna,  Daniel Samanns,  Franka Schneider,  Karl-Robert Schütze,  Andreas Seim,  Thomas Tunsch,  Michalis Valaouris,  Hannes Wietschel,  Petra Wodtke

Jeder kennt das Gefühl: Man entdeckt auf einem Flohmarkt ein altes Fotoalbum mit zauberhaften Fotografien, aber ohne irgendwelche schriftlichen Hinweise auf die abgebildeten Personen, Gegenstände oder Situationen. Forschungspraktisch gesehen, so die unter Historikern nach wie vor verbreitete Meinung, seien die Bilder damit wertlos: Kein Kontext – folglich auch keine nach wissenschaftlichen Kriterien verwertbare Quelle. Doch stimmt das wirklich? Gibt es nicht doch Möglichkeiten, mit Fotografien zu arbeiten, etwas aus ihnen herauszulesen, obgleich eigentlich keinerlei Informationen zur Bildquelle erkennbar sind?

Die Kommission Fotografie der Deutschen Gesellschaft für Volkskunde widmete sich mit ihrem Kooperationspartner, den Staatlichen Museen zu Berlin, in der 8. Tagung unter dem Thema „Eine Fotografie. Über die transdisziplinären Möglichkeiten der Bildforschung“ dem Blick und der Analyse einzelner Fotografien. Dem Ziel, Licht in das Dunkel jener Bilder zu bringen, über die außer der visuellen Information keine weiteren Daten und Fakten überliefert sind, konnte mit den Beiträgen ein Stück näher gekommen werden.

Eine Fotografie.pdf

Quelle: Waxmann-Verlag

The Art Market in Italy Around 1900. Actors, Archives, Photographs

Study Days on November 14th-15th 2017

Organized by the Photothek of the Kunsthistorisches Institut in Florenz – Max-Planck-Institut and the Fondazione Federico Zeri in Bologna together with Prof. Giovanna Capitelli (Università della Calabria)

In the last few years international research on the art market has gained in intensity, inspiring a host interdisciplinary studies and conferences while successfully defining a new field of academic research and teaching. Through a range of gatherings and publications, the dynamics of the antiques market have been explored at the intersections of art history, economics, and sociology, among other disciplines. At the center of the most recent studies are the networks of relations between antiquarians, collectors, and other persons connected to the selling of art works. Within these networks, photographers have been identified as key actors in the evolution of the art trade from the second half of the 19th century. The art market shapes and informs the art historical canon, and as indispensable agents of the art market’s exchanges, photographs are now also recognized as essential to the formation of the canon. At the same time, the „material turn“ in the humanities has refocused attention upon both the itineraries of the art objects and the functions and circulation of individual photographs. Over the course of two study days, we will enter into this rich discussion by concentrating upon two of its aspects in particular: the relations between photographic and antiquarian practices, on which the first day at the Photothek of the Kunsthistorisches Institut in Florenz will focus, and the world of art trade in Savoia Rome, which will be addressed on the second day at the Fondazione Federico Zeri in Bologna. The attention of both institutions to these topics derives not only from a scientific interest but also from the material reality of their extensive photographic and archival Holdings.

Photographic and Antiquarian Practices

November 14th 2017, Photothek of the Kunsthistorisches Institut in Florenz, Florence
Organized by Julia Bärnighausen and Costanza Caraffa

http://www.khi.fi.it

The Art Market in Savoia Rome (1870-1915). Antiquars and sellings

November 15th 2017, Fondazione Federico Zeri, Bologna
Organized by Andrea Bacchi and Giovanna Capitelli

http://www.fondazionezeri.unibo.it/it

Fotogeschichte: Archäologie und Fotografie

Soeben erschienen: Das neueste Heft der Zeitschrift FOTOGESCHICHTE mit Beiträgen von Stefanie Klamm, Petra Wodtke und Almut Goldhahn.

Heft 144 | Jg. 37 | Sommer 2017

Babett Forster (Hg.)

Belichtete Vergangenheit. Fotografie und Archäologie

Bereits um die Mitte des 19. Jahrhunderts wurde das noch junge Medium der Fotografie eingesetzt, um Orte, Bauten und Artefakte der Altertümer rasch und präzise aufzuzeichnen. Die Fotografie unterstützte die sich herausbildende universitäre Disziplin und beförderte im Gegenzug weitere spektakuläre Entdeckungen. Nach und nach wurden archäologische Fotografien auch zum populären Medium, um Entdeckungen und Funde der Wissenschaft einem breiten Publikum zugänglich zu machen. Die Autorinnen und Autoren dieses Themenheftes rekonstruieren die lange und wechselvolle Liaison zwischen der Fotografie und der Archäologie bis herauf ins digitale Zeitalter.

Information und Bestellung: http://www.fotogeschichte.info/

BEITRÄGE

Eva Winter, Klas Winter: Mehr als ein Andenken. Das antike Athen in den Fotografien von James Robertson

Almut Goldhahn, Matthias Gründig: Apulia Monumentale. Romualdo Moscioni und die Entdeckung des Südens

Stefanie Klamm: Die Darstellbarkeit des Befundes. Bildmedien auf Ausgrabungen im 19. Jahrhundert

Stefanie Klamm, Petra Wodtke: Vom Versammeln und Archivieren. Konzepte archäologischer Fotosammlungen im Vergleich

Nausikaä El-Mecky, Stefanie Samida: Inexistent, unsichtbar, imaginiert. Digitale Rekonstruktionen als Vermittlungsformate in der Archäologie am Beispiel von Palmyra

Gregor Reimann, Michael Wermke: Archäologie einer Fotografie. Historische und fototheoretische Befunde zu einem Foto aus dem KZ Mauthausen

FORSCHUNG

Anna Rosemann: Zander & Labisch (1895–1939). Auf den Spuren einer bekannten Fotoagentur

Valentin Hemberger: Durch den roten Osten geblättert. Die Darstellung der Sowjetunion in Illustrierten der Weimarer Republik, 1919–1933

Wolfgang Hesse: Der Rote Abreißkalender. Geschichts-Bilder als Wandschmuck

REZENSIONEN

Patrick Rössler: Walter Moser (Hg.): Film-Stills. Fotografien zwischen Werbung, Kunst und Kino. Photographs between Advertising, Art, and Cinema (dt./engl.), Heidelberg, Berlin: Kehrer Verlag, 2016; Roland Fischer-Briand: Farbiges Leuchten. Transparente Filmstandfotos der 1920er und 1930er Jahre, Colorful Lucency. Transparent Stills of the 1920s and 1930s (dt./engl.). Salzburg: Fotohof edition Vol. 237, 2016.

Harald R. Stühlinger: Christian Joschke, Olivier Lugon (Hg.)/Association Transbordeur: Transbordeur, Paris: Éditions Macula, 2017.

BÜCHER, KURZ VORGESTELLT

Ali Behdad: Camera Orientalis. Reflections on Photography of the Middle East, Chicago, London: The University of Chicago Press, 201.

Luke Gartlan: A Career of Japan. Baron Raimund von Stillfried and Early Yokohama Photography, Leiden, Boston: Brill, 2016.

Updated Program: Photo-Objects. On the Materiality of Photographs and Photo-Archives in the Humanities and Sciences

A Conference by the Collaboration Project „Photo-Objects. Photographs as (Research) Objects in Archaeology, Ethnology and Art History“, Florence, February 15th to 17th 2017

Please find the updated program here: Photo-Objects_Program

Collaboration partners: Photothek des Kunsthistorischen Instituts in Florenz – Max-Planck-Institut / Kunstbibliothek, Staatliche Museen zu Berlin – Preußischer Kulturbesitz / Antikensammlung, Staatliche Museen zu Berlin – Preußischer Kulturbesitz / Institut für Europäische Ethnologie, Humboldt-Universität zu Berlin, funded by the Bundesministerium für Bildung und Forschung.

Photographs are not only images, but also historically shaped three-dimensional objects. They hold a physical presence, bear traces of handling and use and circulate in social, political and institutional networks. Beyond their visual content they are now increasingly acknowledged as material „actors“ not only indexically representing the objects they depict but also playing a crucial role in the processes of meaning-making within scientific practices. Thus, photographs lead a double existence as both pictures of objects and material objects in their own right.

Most scientific disciplines rapidly adopted photography as an important research tool to document everything from excavation sites, costumes and artworks in museums to snowflakes under a microscope – through photographs such objects of research, were detached from their original surroundings, put in standardized and transportable formats, newly contextualized and made comparable. Especially the material qualities of photographs have shaped their adoption in the various disciplines by affording certain types of uses. Inscriptions in and the handling of photographs made „photo-objects“ applicable to the sciences and humanities. This way they could be classified, archived and thus satisfy the positivistic demand for „objectivity“. The formation and definition of many academic disciplines is therefore not conceivable without photography. These processes were encouraged by the foundation of specialized photo-archives as interfaces of technology and science. They were and still are laboratories of scientific thought, in which objects of all kinds are part of a dynamic and material system of knowledge, interacting with and reacting to each other – from „photo-objects“ in their various manifestations to storage furniture, card catalogues, inventory books, reference lists, prints and illustrated publications.

Taking photographic materiality as its premise the conference will analyze the epistemological potential of analog and digital photographs and photo archives in the humanities and sciences. Contributions from all disciplines will be discussed from a comparative point of view. The conference also aims to critically examine the conceptualization of photographic materiality and mobility through such terms as „biography“, „itinerary“ and „network“ from a methodological and self-reflexive perspective. Taking the material aspects of photographic practices in the humanities and sciences as a starting point, the papers will deal with the circulation and distribution of photographs, the construction of methods through the handling and use of photographs in the various disciplines, arrangement, classification and working processes in photo-archives, as well as photographs in different institutions (i.e. archives, museums, research institutes and laboratories).

Organization: Costanza Caraffa and Julia Bärnighausen, Photothek des Kunsthistorischen Instituts in Florenz – Max-Planck-Institut

See also: http://www.khi.fi.it/5452599/20170215-photo-objekte

Photo Archives VI: The Place of Photography, April 20-21, 2017

Department of History of Art, University of Oxford | Conference Venue: Christ Church, Oxford

This conference investigates photographs and photographic archives in relation to notions of place. In this context, place is used to explore both the physical location of a photograph or archive, as well as the place of photography as a discursive practice with regard to its value or significance as a method of viewing and conceiving the world. Photographs are mobile objects that can change their location over time, transported to diverse commercial, artistic, social, academic and scientific locations. The photograph’s physical location thus has an impact upon its value, function and significance; these topics are explored at the conference through a range of archives and across disciplines. How might the mobility of photographs open up thinking about archives and, in turn, classificatory structures in disciplines such as Art History, Archaeology and Anthropology, or in the Sciences? The conference also addresses questions of digital space, which renders the image more readily accessible, but complicates issues relating to location. What is the place, or value, of the photographic archive in the digital Age?

The conference features internationally-renowned speakers, with a keynote lecture by Geoffrey Batchen and a final discussion led by Elizabeth Edwards. Site visits to Oxford’s outstanding photographic collections are also planned, including to the Bodleian Library’s Talbot Archive, the Pitt Rivers Museum, the History of Science Museum, the Griffith Institute’s archives of archaeological expeditions, and the History of Art Department’s Visual Resources Centre.

Programme.pdf

To register for the conference, go to: http://www.hoa.ox.ac.uk/events/photo.html or email: mailto:photo.conference@hoa.ox.ac.uk

Keynote Speaker:
Geoffrey Batchen (Victoria University of Wellington)

Final Discussion:
Elizabeth Edwards (De Montfort University)

Speakers:
Estelle Blaschke (University of Lausanne)
Frederick N. Bohrer (Hood College)
Catherine E. Clark (MIT)
Luke Gartlan (University of St Andrews)
Pascal Griener (University of Neuchâtel)
Clare Harris (University of Oxford)
Christopher Morton (University of Oxford)
Chitra Ramalingam (Yale University)
Christina Riggs (University of East Anglia)
Lucie Ryzova (University of Birmingham)
Joan M. Schwartz (Queen’s University, Ontario)
Nina Lager Vestberg (Norwegian University of Science and Technology)
Shireen Walton (University College London)
Kelley Wilder (DeMonfort University)
Shamoon Zamir (New York University Abu Dhabi)

Organization:
The conference is convened by Geraldine Johnson (University of Oxford), Deborah Schultz (Regent’s University London), and Costanza Caraffa (Kunsthistorisches Institut in Florenz—Max-Planck-Institut). It is sponsored by the Kress Foundation, the John Fell Fund and the History Faculty’s Sanderson Fund at the University of Oxford, and Christ Church, Oxford.

This is the sixth in the international Photo Archives conference series dedicated to the interaction between photography, photographic archives and academic disciplines. For more information on the series, see: http://www.khi.fi.it/4831050/photo_archives.

Conference Program: Photo-Objects. On the Materiality of Photographs and Photo-Archives in the Humanities and Sciences

A conference of the collaboration project ‘Photo-Objects. Photographs as (Research) Objects in Archaeology, Ethnology and Art History’, Kunsthistorisches Institut in Florenz, February 15th-17th 2017

Please note that a registration will not be neccessary.

Photo-Objects_Program

 

WEDNESDAY, FEBRUARY 15th 2017

2.00–2.15
WELCOME AND INTRODUCTION
Costanza Caraffa, Kunsthistorisches Institut in Florenz – Max-Planck-Institut

2.15–3.15
KEYNOTE LECTURE
Elizabeth Edwards, Photographic History Research Centre, De Montfort University, Leicester: Thoughts on the ‘Non-Collections’ of the Archival Ecosystem

3.15–3.30
Coffee Break

PANEL I: INTO THE ARCHIVE

3.30–4.15
İdil Çetin, Galatasaray University, Istanbul: Where is the Archive? The Reality of Doing Research on Ataturk Photographs

4.15–5.00
Vered Maimon, Tel Aviv University: Affective Archives: Vernacular Photography and the Life of Images

5.00–5.30
Coffee Break

5.30–6.15
Suryanandini Narain, Jawaharlal Nehru University, New Delhi: In the Family Photographic Archives from India

6.15–7.00
Katharina Sykora, DFG-Graduiertenkolleg ‘Das fotografische Dispositiv‘, Hochschule für Bildende Künste Braunschweig: In the Archive’s Eye. A Triumphant Autopoiesis of Photography

8.00
Dinner for Speakers

THURSDAY, FEBRUARY 16th 2017

PANEL II: GETTING ONE’S HANDS DIRTY

9.30–10.15
Omar Nasim, Universität Regensburg: Handling Photography. The Case of Astronomy

10.15–11.00
Zeynep Çelik, New Jersey Institute of Technology, Rutgers University: Late Ottoman Practices: Modernity, Photography, Medical Research, and Anthropological Documentation

11.00–11.30
Coffee Break

11.30–12.15
Haidy Geismar, University College London, and Pip Laurenson, Tate London / Maastricht University: Finding Photography, Opening up the Photo-Object: A Dialogue between Anthropology and Conservation

12.15–2.00
Lunch Break

2.00–5.30
WORKSHOP ‘PHOTO-OBJECTS‘
Chair: Joan M. Schwartz, Queen’s University, Kingston
With: Julia Bärnighausen, Stefanie Klamm, Franka Schneider and Petra Wodtke, BMBF-Project ‘Photo-Objects‘

5.30–6.00
Coffee Break

6.00–7.00
HANDLING PHOTO-OBJECTS IN THE PHOTOTHEK (for speakers only)
With: Costanza Caraffa, Ute Dercks, Almut Goldhahn and Julia Bärnighausen, Kunsthistorisches Institut in Florenz – Max-Planck-Institut

FRIDAY, FEBRUARY 17th 2017

9.00–10.00
KEYNOTE LECTURE
Lorraine Daston, Max Planck Institute for the History of Science, Berlin: The Accidental Trace and the Science of the Future: Tales from the 19th-Century Archives

PANEL III: SPACES OF HYBRIDIZATION

10.00–10.45
Anaïs Mauuarin, Université Paris 1 Panthéon-Sorbonne, Paris: The Two-Faced Photothèque of the Museum of Man: Between Scientific and Commercial Uses

10.45–11.15
Coffee Break

11.15–12.00
Christopher Pinney, University College London: Digital Cows: Flesh and Code

12.00–12.45
Lena Holbein, DFG-Graduiertenkolleg ‘Das fotografische Dispositiv‘, Hochschule für Bildende Künste Braunschweig: Reflections on the Archive: Reconsidering the ‘Evidence’-Project (1977–2017)

12.45–2.00
Lunch Break

PANEL IV: CANON FORMATION AND TRANSFORMATION

2.00–2.45
Kelley Wilder, Photographic History Research Centre, De Montfort University, Leicester: The Two Cultures of Word and Image. On Materiality and the Photographic Catalogue

2.45–3.30
Maria Männig, Karlsruhe: The Memory of Art History: Analyzing Slide Collections

3.30–4.00
Coffee Break

4.00–4.45
Petra Trnková, Czech Academy of Sciences, Prague: The Unbearable (and Irresistible) Charm of ‚Duplicates‘

4.45–5.30
Christina Riggs, University of East Anglia, Norwich: Photographing Tutankhamun: Photo-Objects and the Archival Afterlives of Colonial Archaeology

5.30–6.00
Coffee Break

6.00–7.00
CLOSING REMARKS & FINAL DISCUSSION
Joan M. Schwartz, Queen’s University, Kingston

END OF CONFERENCE

Photo-Objects. On the Materiality of Photographs and Photo-Archives in the Humanities and Sciences

A conference of the collaboration project „Photo-Objects. Photographs as (Research) Objects in Archaeology, Ethnology and Art History“, Kunsthistorisches Institut in Florenz, February 15th-17th 2017

Photographs are not only images, but also historically shaped three-dimensional objects. They hold a physical presence, bear traces of handling and use and circulate in social, political and institutional networks. Beyond their visual content they are now increasingly acknowledged as material „actors“ not only indexically representing the objects they depict but also playing a crucial role in the processes of meaning-making within scientific practices. Thus, photographs lead a double existence as both pictures of objects and material objects in their own right.

Most scientific disciplines rapidly adopted photography as an important research tool to document everything from excavation sites, costumes and artworks in museums to snowflakes under a microscope – through photographs such objects of research, were detached from their original surroundings, put in standardized and transportable formats, newly contextualized and made comparable. Especially the material qualities of photographs have shaped their adoption in the various disciplines by affording certain types of uses. Inscriptions in and the handling of photographs made „photo-objects“ applicable to the sciences and humanities. This way they could be classified, archived and thus satisfy the positivistic demand for „objectivity“. The formation and definition of many academic disciplines is therefore not conceivable without photography. These processes were encouraged by the foundation of specialized photo-archives as interfaces of technology and science. They were and still are laboratories of scientific thought, in which objects of all kinds are part of a dynamic and material system of knowledge, interacting with and reacting to each other – from „photo-objects“ in their various manifestations to storage furniture, card catalogues, inventory books, reference lists, prints and illustrated publications.

Taking photographic materiality as its premise the conference will analyze the epistemological potential of analog and digital photographs and photo archives in the humanities and sciences. Contributions from all disciplines will be discussed from a comparative point of view. The conference also aims to critically examine the conceptualization of photographic materiality and mobility through such terms as „biography“, „itinerary“ and „network“ from a methodological and self-reflexive perspective. Taking the material aspects of photographic practices in the humanities and sciences as a starting point, the papers will deal with the circulation and distribution of photographs, the construction of methods through the handling and use of photographs in the various disciplines, arrangement, classification and working processes in photo-archives, as well as photographs in different institutions (i.e. archives, museums, research institutes and laboratories).

Keynote-Speakers:

Lorraine Daston, Max-Planck-Institut für Wissenschaftsgeschichte, Berlin
Elizabeth Edwards, De Montfort University, Leicester

Speakers:

Zeynep Çelik (New Jersey Institute of Technology–Rutgers University)
Idil Çetin (Galatasaray University, Istanbul)
Haidy Geismar (University College London) and Pip Laurenson (Tate London / Maastricht University)
Lena Holbein (DFG-Graduiertenkolleg Das fotografische Dispositiv, Hochschule für Bildende Künste Braunschweig)
Vered Maimon (Tel Aviv University Ramat Aviv)
Maria Männig (Karlsruhe)
Anaïs Mauuarin (Université Paris 1 Panthéon-Sorbonne, Paris)
Omar Nasim (Universität Regensburg)
Suryanandini Narain (Jawaharlal Nehru University, New Delhi)
Christopher Pinney (University College London)
Christina Riggs (University of East Anglia, Norwich)
Katharina Sykora (DFG-Graduiertenkolleg Das fotografische Dispositiv, Hochschule für Bildende Künste Braunschweig)
Petra Trnková (Czech Academy of Sciences Husova, Prague)
Kelley Wilder (Photographic History Research Centre, DeMonfort University, Leicester)

Part of the conference will be a workshop on the „Photo-Objects“ Project.

Organization:

Costanza Caraffa und Julia Bärnighausen, Photothek des Kunsthistorischen Instituts in Florenz – Max-Planck-Institut

See also: http://www.khi.fi.it/5452397/20170215-photo-objekte

Call for Papers: Foto-Objekte / Photo-Objects

[For English version please see below.]

Call for Papers: „Foto-Objekte. Zur Materialität von Fotografien und Foto-Archiven in den Wissenschaften“, Symposium am Kunsthistorischen Institut in Florenz – Max-Planck-Institut, 15.-17.02.2017, Deadline 15.07.2016

Ein Symposium des Verbund-Projektes „Foto-Objekte. Fotografien als (Forschungs-) Objekte in Archäologie, Ethnologie und Kunstgeschichte“, Photothek des Kunsthistorischen Instituts in Florenz – Max-Planck-Institut (Photothek) / Sammlung Fotografie der Kunstbibliothek und Antikensammlung, Staatliche Museen zu Berlin – Preußischer Kulturbesitz / Institut für Europäische Ethnologie, Humboldt-Universität zu Berlin, gefördert vom Bundesministerium für Bildung und Forschung, www.fotobjekt.hypotheses.org.

Fotografien sind nicht nur Bilder, sondern auch historisch geformte, dreidimensionale Objekte: Sie besitzen eine physische Präsenz, tragen Spuren von Gebrauch und Nutzung und zirkulieren in sozialen, politischen und institutionellen Netzwerken. Über ihren visuellen Inhalt hinaus werden sie seit einigen Jahren zunehmend als materielle Akteure (an)erkannt, die nicht nur indexikalisch verweisen, sondern als Werkzeuge in (Wissens-)Praktiken auch konstituierend wirken und multiple Bedeutungen eröffnen. Sie sind „Foto-Objekte“ im doppelten Sinne: Abbildungen von Objekten und materielle Objekte zugleich.

Von Anbeginn waren Fotografien wichtige methodische Instrumente in den verschiedensten Wissensgebieten: Ob Ausgrabungsfunde, Menschen in Tracht, Kunst im Museum oder Schneeflocken unter dem Mikroskop – durch die Fotografie wurden solche Forschungsgegenstände aus ihren ursprünglichen Zusammenhängen gelöst, in einheitliche und transportable Formate gebracht, neu kontextualisiert und vergleichbar gemacht. Gerade die materiellen Qualitäten der Fotografien haben deren Einsatz in den Wissenschaften entscheidend geprägt, indem sie bestimmte Gebrauchsweisen nahelegen, einige ermöglichen und andere ausschließen. Eingriffe in und Handlungen mit Fotografien machten und machen aus ihnen für die Wissenschaften verwendbare „Foto-Objekte“. Damit wurden sie archivierbar, klassifizierbar und konnten so den Bedürfnissen einer positivistischen Wissenschaftskultur mit ihrem Anspruch auf „Objektivität“ entgegenkommen. Die Konturierung zahlreicher akademischer Disziplinen ist daher ohne die Fotografie nicht denkbar. Hierzu trug die Bildung spezialisierter Fotoarchive als Schnittstellen von Technologie und Forschung bei. Sie waren und sind Laboratorien wissenschaftlichen Denkens, in denen Objekte aller Art als Teil eines materiellen und dynamischen Wissenssystems miteinander inter- und reagieren – von „Foto-Objekten“ in ihren diversen Manifestationsformen über Aufbewahrungsmöbel bis hin zu Karteikarten, Inventarbüchern, Referenzlisten, Grafiken und illustrierten Publikationen.

Unter der Prämisse fotografischer Materialität untersucht das Symposium das epistemologische Potential von analogen und digitalen Fotografien und Foto-Archiven in den Geistes- und Naturwissenschaften. Beiträge aus allen Disziplinen sind willkommen und sollen im Rahmen der Tagung aus einer komparatistischen Perspektive diskutiert werden. Diese Beiträge können Fallstudien oder auch theoretisch-methodische Untersuchungen umfassen. Besonders erwünscht sind daneben vergleichend angelegte Präsentationen. Im Sinne eines methodologisch-selbstreflexiven Ansatzes soll darüber hinaus auch die Konzeptionalisierung der Materialität und Mobilität von Fotografien durch Begriffe wie „Biografie“, „Itinerar“ oder „Netzwerk“ kritisch in den Blick genommen werden. Neben materialen Aspekten fotografischer Praktiken in den Wissenschaften zählen zu den möglichen Themenbereichen (jedoch nicht ausschließlich):

  • die Zirkulation und Distribution von Fotografien,
  • die Konstruktion Disziplinen-spezifischer Methoden im Umgang mit Fotografien,
  • Ordnungs- und Klassifikationspraktiken sowie Arbeitsprozesse in Foto-Archiven,
  • sowie Fotografien in verschiedenen institutionellen Kontexten (Archive, Museen, Forschungseinrichtungen, Labore).

Keynote-Speakers: Lorraine Daston, Max-Planck-Institut für Wissenschaftsgeschichte, Berlin / Elizabeth Edwards, De Montfort University, Leicester.

Teil des Symposiums ist ein Workshop über das Projekt „Foto-Objekte“.

Bitte senden Sie thematisch einschlägige Abstracts (300 Wörter, deutsch oder englisch, die Vorträge sollen auf Englisch gehalten werden) für einen maximal 25-minütigen Vortrag zusammen mit einem kurzen CV bis zum 15.07.2016 an: julia.baernighausen@khi.fi.it. Die Auswahl der Vorträge wird im September 2016 bekanntgegeben.

Geplant ist eine zeitnahe Publikation der Tagungsergebnisse. Wir bitten daher darum, bei der Vorbereitung der Vorträge diese bereits als Manuskript zu konzipieren.

Reise- sowie Übernachtungskosten werden übernommen.

Konzept: Julia Bärnighausen, Photothek des Kunsthistorischen Instituts in Florenz – Max-Planck-Institut / Costanza Caraffa, Photothek des Kunsthistorischen Instituts in Florenz – Max-Planck-Institut / Stefanie Klamm, Sammlung Fotografie der Kunstbibliothek, Staatliche Museen zu Berlin – Preußischer Kulturbesitz / Franka Schneider, Institut für Europäische Ethnologie, Humboldt-Universität zu Berlin / Petra Wodtke, Antikensammlung, Staatliche Museen zu Berlin – Preußischer Kulturbesitz.

Organisation: Costanza Caraffa und Julia Bärnighausen, Photothek des Kunsthistorischen Instituts in Florenz – Max-Planck-Institut.

Call for Papers: „Photo-Objects. On the Materiality of Photographs and Photo-Archives in the Humanities and Sciences“, Symposium at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut, February 15th-17th 2017, Deadline: July 15th 2016

A conference of the collaboration project „Photo-Objects. Photographs as Research Objects in Archaeology, Ethnology and Art History”, Photothek des Kunsthistorischen Instituts in Florenz – Max-Planck-Institut / Sammlung Fotografie der Kunstbibliothek and Antikensammlung, Staatliche Museen zu Berlin – Preußischer Kulturbesitz / Institut für Europäische Ethnologie, Humboldt-Universität zu Berlin, funded by the Bundesministerium für Bildung und Forschung, www.fotobjekt.hypotheses.org.

Photographs are not only images, but also historically shaped three-dimensional objects. They hold a physical presence, bear traces of handling and use and circulate in social, political and institutional networks. Beyond their visual content they are now increasingly acknowledged as material “actors” not only indexically representing the objects they depict but also playing a crucial role in the processes of meaning-making within scientific practices. Thus, photographs lead a double existence as both pictures of objects and material objects in their own right.

Most scientific disciplines rapidly adopted photography as an important research tool to document everything from excavation sites, costumes and artworks in museums to snowflakes under a microscope – through photographs such objects of research, were detached from their original surroundings, put in standardized and transportable formats, newly contextualized and made comparable. Especially the material qualities of photographs have shaped their adoption in the various disciplines by affording certain types of uses. Inscriptions in and the handling of photographs made “photo-objects” applicable to the sciences and humanities. This way they could be classified, archived and thus satisfy the positivistic demand for “objectivity”. The formation and definition of many academic disciplines is therefore not conceivable without photography. These processes were encouraged by the foundation of specialized photo-archives as interfaces of technology and science. They were and still are laboratories of scientific thought, in which objects of all kinds are part of a dynamic and material system of knowledge, interacting with and reacting to each other – from “photo-objects” in their various manifestations to storage furniture, card catalogues, inventory books, reference lists, prints and illustrated publications.

Taking photographic materiality as its premise the conference will analyze the epistemological potential of analog and digital photographs and photo archives in the humanities and sciences. Contributions from all disciplines are welcome and will be discussed from a comparative point of view. These contributions can include case studies as well as theoretical or methodological reflections. Comparative presentations are especially encouraged. The conference also aims to critically examine the conceptualization of photographic materiality and mobility through such terms as “biography”, “itinerary” and “network” from a methodological and self-reflexive perspective. Apart from the material aspects of photographic practices in the humanities and sciences, topics of interest may include (but are not limited to):

  • the circulation and distribution of photographs,
  • the construction of methods through the handling and use of photographs in the various disciplines,
  • arrangement, classification and working processes in photo-archives,
  • as well as photographs in different institutions (i.e. archives, museums, research institutes and laboratories).

Keynote-Speakers: Lorraine Daston, Max-Planck-Institut für Wissenschaftsgeschichte, Berlin / Elizabeth Edwards, De Montfort University, Leicester.

Part of the conference will be a workshop on the “Photo-Objects” project.

Please send abstracts (300 words, German or English) with a short CV until July 15th 2016 to: julia.baernighausen@khi.fi.it. The presentations will be given in English and should not exceed 25 minutes. The choice of presentations will be announced in September 2016.

As we intend to publish soon after the conference, keep in mind the production of your finished manuscript when preparing your presentation.

Travel and accommodation expenses will be covered.

Concept: Julia Bärnighausen, Photothek des Kunsthistorischen Instituts in Florenz / Costanza Caraffa, Photothek des Kunsthistorischen Instituts in Florenz – Max-Planck-Institut / Stefanie Klamm, Sammlung Fotografie der Kunstbibliothek, Staatliche Museen zu Berlin – Preußischer Kulturbesitz / Franka Schneider, Institut für Europäische Ethnologie, Humboldt-Universität zu Berlin / Petra Wodtke, Antikensammlung, Staatliche Museen zu Berlin – Preußischer Kulturbesitz.

Organization: Costanza Caraffa und Julia Bärnighausen, Photothek des Kunsthistorischen Instituts in Florenz – Max-Planck-Institut.

Photography: Between Anthropology and History

Annual Conference of the Photographic History Research Centre, De Montfort University, Leicester, UK, June 20th-21st 2016.

Keynote Speakers: Professor Steve Edwards (Open University, UK) and Dr Wayne Modest (National Museum for World Cultures, Leiden, The Netherlands)

On the occasion of Professor Elizabeth Edwards’ retirement, the 2016 PHRC Annual International Conference will address themes from her complex and wide ranging scholarship on the cultural work of current and historical social photographic practices. Thus, Photography: Between Anthropology and History aims to showcase scholarship driven by engagements with research methodologies that informed the material and ethnographic turns in the study of photographic history, and opened up a variety of innovative critical spaces for the re/consideration of photography and its history.

Download: Provisional Programme

(Source: https://photographichistory.wordpress.com/annual-conference-2016/, 10.05.2016, 15:56)

New Book „The Death of the Poet“ by Elisabeth Tonnard

This literary artist book by Elisabeth Tonnard excerpts texts from the biographies of nineteen different poets to fabricate one single, time and space crossing, remarkable story.

B&w digital printing, paperback, size 13 x 19 cm, 48 pages.

Edition of 125 copies, not numbered.

See more information on this page.

The book will be launched at Offprint London taking place at Tate Modern from May 20-22. You can find it at the table Tonnard is sharing with  Joachim Schmid.

There is also an installation version of the work: See here how it was shown in Tonnard’s solo show ‘The Library’ at Galerie Block C in Groningen.

The arists Elisabeth Tonnard and Joachim Schmid visited the photo libraray of the KHI in March 2016 and wrote about their experience on our Blog.

34. Deutscher Kunsthistorikertag Call for Papers

Sektion 12 – Vernetzte Fotografie. Aspekte analoger und digitaler Mobilität

Die weltweite Verbreitung der fotografischen Digitaltechnik sowie eine zunehmende mediale Vernetzung haben in den letzten Jahren nicht nur zu exponentiellen Wachstumsraten in der Bildproduktion, sondern auch zu einer gesteigerten Mobilität fotografischer Aufnahmen geführt. Doch auch analogen Fotografien ist aufgrund ihrer massenhaften Produktion und Distribution bereits der Aspekt des Globalen eingeschrieben: Als multiple Originale zirkulieren sie seit dem 19. Jahrhundert in sozialen, künstlerischen und wissenschaftlichen Netzwerken auf der ganzen Welt. Wie Sedimente setzen sich analoge und digitale Bilder gleichermaßen in Archiven, Sammlungen und Museen, in privaten und öffentlichen, realen und digitalen Räumen ab. Ihre jeweils irreduzible Materialität begründet zudem ihre potentielle „agency“, die über die Dimension reiner Sichtbarkeit hinausgeht: Als mobile Objekte, Informationsträger und Machtinstrumente sind sie nicht nur formbar, sondern verfügen vor allem auch über eine formierende Kraft. Stets an lokale Produktions- und Wahrnehmungsbedingungen gebunden, vermitteln Fotografien Wissen und Weltanschauungen zwischen Kontinenten, Kulturen und Institutionen über territoriale Grenzen hinweg und beteiligen sich an Stil- oder Motivtransfers. Ziel der Sektion ist es, das Phänomen der Mobilität analoger und digitaler Fotografien in ästhetischer und wissenschaftlicher Hinsicht näher zu beleuchten: Mit welchen Strategien antworten Kunst und Wissenschaft auf die Effekte einer räumlich-zeitlichen Dynamisierung bzw. Stillstellung fotografischer Bilder? Wie verarbeiten sie das Thema globaler Bildwanderung, wie die medial, gesellschaftlich oder institutionell organisierten Begegnungen zwischen Fotografien aus unterschiedlichen kulturellen Kontexten? Welche (neuen) Konstellationen werden in den künstlerischen und/oder archivarischen Praktiken des Sammelns und Ordnens generiert? Und was sagt dies über die Selbstwahrnehmung der involvierten Disziplinen und Akteure aus? Wie wirkt sich ein beschleunigter Bewegungsradius von Fotografien auf soziale Gebrauchsweisen des Mediums aus? Wie verhalten sich Bildzirkulation und Materialität der Fotografie zueinander? Und schließlich: Welche Schnittmengen, Differenzen und Wechselwirkungen sind dabei zwischen analoger und digitaler Fotografie zu beobachten?

Julia Bärnighausen, Florenz / Marie-Sophie Himmerich, Dresden / Bertram Kaschek, Dresden / Stefanie Klamm, Berlin

Section 12 – Photo-Networks. Aspects of Analogue and Digital Mobility

The worldwide ubiquity of digital photo technology and a growing medial interconnectedness have led not only to an exponential growth of image production but also to an increased mobility of photographic material. Due to their mass production and distribution, analogue photographs were and continue to be objects with a global reach. As multiple originals, they have circulated in social, artistic and scientific networks throughout the world since the nineteenth century. Like sediment, both analogue and digital images settle in archives, collections, museums, as well as in private, public, real and digital spaces. The irreducible materiality of these images is at the basis of their potential agency, which reaches beyond the dimension of pure visibility; as mobile objects, repositories of information, and instruments of power, they are not only malleable but, more than anything, have the ability to shape. Always bound to local conditions of production and perception, photographs transfer knowledge and worldviews between continents, cultures, and institutions, effecting the transmission of styles and motifs across territorial borders. The goal of this section is to take a closer look at the mobility of analogue and digital photographs in relation to aesthetic and scholarly practices. What strategies do art and science use to respond to the effects of photography’s spatial-temporal dynamism, or its immobilization? How do they process the theme of global image migration or the medial, social, and institutionally organized encounters between photographs from various cultural contexts? Which (new) constellations are generated in artistic and/or archival practices of collecting and arranging photographs? And what do these new constellations reveal about the self-perception of the involved disciplines and actors? What are the effects of photography’s accelerated mobility on the social usages of the medium? How do the circulation of images and the materiality of photography relate to each other? And finally, which intersections, differences, and interactions can be observed between analogue and digital photography?

Julia Bärnighausen, Florence / Marie-Sophie Himmerich, Dresden / Bertram Kaschek, Dresden / Stefanie Klamm, Berlin

Kunst lokal – Kunst global / Dresden, Technische Universität, 8.–12.03.2017 / Deadline: 15.05.2016

Weitere Informationen / more information: http://www.kunsthistoriker.org/kunsthistorikertag.html

Reference / Quellennachweis: CFP: 34. Deutscher Kunsthistorikertag (Dresden, 8-12 Mar 17). In: H-ArtHist, Mar 24, 2016. <http://arthist.net/archive/12551>.

 

Collecting, Exhibiting and Preserving in Museums of Applied Arts in the Nineteenth Century

Conference at the University of Bern, April 7th and 8th 2016

Collecting Exhibiting Preserving 2In recent times research concerning the history of collections and collecting strategies of nineteenth-century institutions has enjoyed widespread popularity. The Colloquium „Collecting, Exhibiting and Preserving in Museums of Applied Arts in the Nineteenth Century“ will place emphasis on a type of institution that has so far been largely neglected, the museums of applied arts. The papers presented will underline the innovative character of this museum type in the nineteenth century, its influence and interactions as well as its transformation process. Furthermore the conference offers a platform to discuss methodological strategies for the research of museums of applied arts as a collecting institution, not least through transdisciplinary approaches.

Download: Collecting Exhibiting & Preserving Program

University of Bern
Hauptgebäude
Hochschulstrasse 4
Room 501
CH–3012 Bern

(Source: CONF: Collecting, Exhibiting and Preserving (Bern, 7-8 Apr 16). In: H-ArtHist, Feb 6, 2016. <http://arthist.net/archive/12165>.)

Akram Zaatari: Working with photography, photographs and photo archives from an artist’s perspective

Lecture and Screening „Refusing Pilot“ at the Kunsthistorisches Institut in Florenz, February 15th 2016, 6 pm

Akram ZataariAkram Zaatari (born Lebanon, 1966) is an image-maker, curator, writer and archivist who lives and works in Beirut. He is widely known for his expansive practice in photography and filmmaking which reflects on the collecting, archiving and dissemination of such images and the performative role they play in the formation of individual and communal identities and histories. This sensibility was formed in the course of living through fifteen years of war in Lebanon, watching it unfold and recording it as a teenager. He has spent much of the last decade excavating the archive of Studio Sheherazade, established in 1953 by Hashem al-Madani in Saida, South Lebanon, Zaatari’s city of origin. His practice is rooted in collecting and recontextualizing a wide range of personal documents in order to create video and photo narratives. Especially from this point of view his work is of greatest interest with regard to the changing function of the Photothek from a mere collection of photographs to a laboratory for the humanities, concerned with photographs as social, material objects within the ecosystem of the Archive.

February 15th 2016, 6 pm
Kunsthistorisches Institut in Florenz Max-Planck-Institut
Palazzo Grifoni Budini Gattai
Via dei Servi 51
50122 Florence, Italy

(Source: http://www.khi.fi.it/5366502/20160215_Zaatari)