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| Udgave: |
Forår 2013 Hum |
| ECTS points: |
15 ECTS |
| Årsværk: |
15 ECTS |
Semester: |
1 semester |
| Institutter: |
Institut for Kunst- og Kulturvidenskab, afdeling for Kunsthistorie |
| Undervisere: |
Slavko Kacunko |
| Skema- oplysninger: |
 Vis skema for kurset
Samlet oversigt over tid og sted for alle kurser inden for Lektionsplan for Det Humanistiske Fakultet Forår 2013 Hum |
| Første undervisningsgang: |
Uge 6 |
| Undervisnings- form: |
Holdundervisning. Overblik, kursusgang 1-11:
1. Introduction. On Mirror-Image Relationship
2. Mirror in the Painting of the Early Modern Period
(I). (1) Allegory and Genre, (2) Still Life
3. Mirror in the Painting of the Early Modern Period (II). (3) Portrait and Self-portrait (4) Nude paintings
4. From the ‚History Painting‘ to the ‘Everyday Item’. Las Meniñas revisited
5. From the Mirror-Frames to the Mirror-Spaces. Versailles and thereafter
6. ‚Magic Mirrors Shine Again’: A Victorian Approach / Daguerreotype, the ‘Mirror Image’
7. Mirrors of the City in the 19. century: Between Realism and Impressionism
8. Mirrors, Painters and Models in the 20 century / Magic Realism and Surrealistic Mirrors
9. Mirrors, Concept- and Performance Art: On the ‘Dematerialisation of the Art Object’ after 1960
10. Mirrors and the Aspects of the Modern Architecture. Mirroring the Invisible
11. Mirrors in the Movies
12. A reflective Medium: Closed Circuit Video. Performance, Installation, Public Space
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| Indhold: |
The introductory survey course is designed as an insight into the topics of mirror, understood as a medium of art and visual culture.
It assumes no previous experience or training, so the initial emphases are on the use of methods, recommended literature, and training in topological, chronological and causal orientation, independent questioning and discussion as well as other basic procedures.
The course will orient to the wide range of the mirror-usage as a motif and a metaphor in the Western Art of the Early Modern period.
It will discuss the development of academic conventions of representation in the context of the diversification and canonising of genres of painting, with reference to the most prominent examples from the Art History.
Since the nineteenth century, the representation of mirrors in painting has been seen in an altogether new aesthetic and cultural perspective.
In process of ‘mass-mediumisation’ of the medium of photography the mirror played the part of a meta-medium that would prove to be the principle behind the cultural reorientation from three-dimensionally performative media of transmission to the planar, image storage media in many ways.
Individuals now saw themselves and the world almost exclusively in the image, as an image and by means of the image.
Entering by and by into the ambit of optical-catoptrical, mechanical and chemical as well as electronic appliances for the recording, transmission and storage of light and acoustic signals, the analogue medium of the mirror passed through further paradigmatic metamorphoses which visual art and culture, too, obviously have found highly significant.
To trace and reflect these modern and after-modern metamorphoses belongs to the major goals of the course.
1. To provide the methodological skills for recognizing mirrors as a pointer to the laws of the medium in question, precisely by continually transgressing their implicit or explicit limits within the context of the Visual Culture.
2. To give orientation to the wide range of the mirror-usage as a motif and a metaphor in the Western Art of the Early Modern period; to discuss the development of academic conventions of representation in the context of the diversification and canonising of genres of painting, with reference to the most prominent examples from the Art History.
3. To give a brief outline of the history of European (glass-) mirror production and distribution, followed by a discussion of the design and reception of mirror frames, to end with the halls of mirrors and their important consequence for the ‘architecturalisation’ of the mirror and the ‘mirror-glazing’ of architecture.
4. To introduce the understandings of the mirroring world of the Daguerrotype, of photography and telescopy, of ‘mirrors with and without a memory’, followed by a critical discussion of the discourse on the contemporaneous ‘techniques of the viewer’ and the ‘philosophical toys’.
5. To give a brief outline of the history of the role and significance of the mirror in two-dimensional visual art with reference to the practices and theories of painting and object art in the 19. and 20. Century.
6. To provide the methodological skills and contents for recognizing the expansion of the techniques and concepts of artistic and scientific insight into spectrums of both light and mirrors, by introducing of the examples of ‘mirror art’ and ‘mirror architecture’, of cinema and of performance art.
7. To orient to the wide range of the possibilities of specific new media (like video) with their inherent function as electronic Mirror-Systems and with the aspects of their using as an art- as well as an art-historical tools.
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| Litteratur: |
in English:
Jonathan Miller, On Reflection. London 1998 (p. 1-221)
Mark Pendergrast, Mirror/Mirror: A History of the Human Love Affair with Reflection. New York 2003 (p. 1-157)
Richard Gregory. Mirrors in Mind. Oxford: W.H. Freeman, 1997 (p. 1-73)
Sabine Melchior-Bonnet, The Mirror. A History. New York / London 2002 (p. 1-245)
Fiske Kimball, The Creation of the Rococo decorative Style (1943). New York 1980 (225 pgs.)
Hope B. Werness, The Symbolism of Mirrors in Art from Ancient Times to the Present. New York 1999 (p. 1-185)
Nancy Thomson de Grummond (Hrg.), A Guide to Etruscan Mirrors. Tallahassee, FL. 1982.
Christine Lilyquist, Ancient Egyptian Mirrors. Munich 1979.
in German:
Jurgis Baltrušaitis, Der Spiegel. Entdeckungen, Täuschungen, Phantasien. Giesen 1986 (p. 1-361)
G.F. Hartlaub, Zauber des Spiegels. Geschichte und Bedeutung des Spiegels in der Kunst. München 1951 (p. 1-225)
Serge Roche / Germain Courage / Pierre Devinoy, Spiegel. Spiegelgalerien, Spiegelkabinette, Hand- und Wandspiegel. Tübingen 1985 (p. 1-45; 55-67; pictures: tables 1-200)
Slavko Kacunko, Closed Circuit Videoinstallationen. Berlin 2004
Slavko Kacunko, Spiegel. Medium. Kunst. Zur Geschichte des Spiegels im Zeitalter des Bildes. Paderborn 2010 (p. 1-398) German
Herbert Grabes, Speculum, Mirror und Looking-glass. The mutable glass, mirror-imagery in titles and texts of the Middle Ages and English Renaissance. Cambridge 1973 (414 pgs.) English
Definitely a very good introduction for all:
Benjamin Goldberg, The Mirror and Man. Charlottesville, VA. 1985
also in English:
Serge Roche. Mirrors in Famous Galleries and Collections. London 1956
Rabun M. Taylor, The Moral Mirror of Roman Art. Cambridge 2008
William S. Ellis, Glass: From the First Mirror to Fiber Optics, the Story of the Substance that Changed the World. New York 1998.
also in German:
Petra Oberlander, Griechische Handspiegel (Dissertation). Hamburg 1967
Lilian Balensiefen, Die Bedeutung des Spiegelbildes als ikonographisches Motiv in der antiken Kunst. Tubingen 1990
Ulf Jantzen, Bronzewerkstätten in Großgriechenland und Sizilien 13. Jd I Erg. H. (1937)
Heinrich Kreisel, Deutsche Spiegelkabinette, Darmstadt 1953.
Richarda Bohmker, Spiegelräume im Zeitalter Ludwigs XIV (Dissertation). Wien 1946.
also in French:
Serge Roche, Miroirs, Galeries et Cabinets de Glaces, Paris 1956
Serge Roche, Cadres francais et étrangers du xve au xxe siècle. Paris 1931.
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| Kursus hjemmeside: |
 |
| Bemærkninger: |
Slavko Kacunkos e-mail adresse: kacunko@hum.ku.dk |
| Undervisnings- sprog: |
Kun engelsk
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| Sidst redigeret: |
21/11-2012 |