The study of tools and technical processes in art is undergoing a paradigmatic shift, with technical art history and media studies offering new perspectives. As attention shifts to the visibility of the use of artistic materials, techniques, and processes in art history, new questions arise about the complex relationships between knowledge and practical application that underlie artworks. Key working techniques such as measurement, transfer, shaping, and surface treatment have shaped not only the theory and practice of art, but also the self-image and training of artists. Notably, the intersection of sculpture and photography within the broader framework of reproduction techniques opens up new ways for art historical and photographic research.
Less attention has been paid to the sites of the recording and reproduction processes, which are characterized as specific and changeable production spaces, often functioning as laboratories with an experimental character. From a theoretical perspective of artistic practice in the studio, the following questions arise regarding the sites of reproduction: How and where is it made? How do equipment, furnishing, and spatial architecture affect the design and conception of 2D and 3D objects? And how do these dynamics in turn affect academic methods and discourses?
Based on these considerations, the study day will explore the
interrelations between sculpture, photography, and technology, focusing
on the connection between knowledge and practice. We will examine both
the physical and virtual spaces in which reproduction occurs, ranging
from studios and workshops to galleries and museums. The emphasis will
be on the sites of action, as the studio, photo lab, or workshop – while
generally adhering to industry standards – also reflects individual,
tailored solutions. The physical engagement with tools, processes, or
systems resulting from the application of scientific knowledge and
technical skills has generally offered new possibilities for artistic
creation and expression. At the same time, mechanization, machine
invention, and digitalization in sculpture and photography raise
critical questions about automation and authenticity or even authorship
(including plagiarism), as well as the role of the artist in an
increasingly technological environment. The chronological focus will be
on the modern period, particularly since industrialization, when the
relationship between art, technology and science was renegotiated within
a new field of forces in which aspects of economic and media-immanent
competition are central.
In cooperation between the Institute of
Art History at LMU and the ZI, we aim at bringing together researchers
and experts in the field to explore the significance of equipment,
furnishing, and spatial architectures—both historically and in relation
to current developments in the post-digital age. By moving beyond common
discourses of tacit knowledge, we will focus on the practice and theory
of objects and tools.
Supported by LMUexcellent as part of the Excellence Strategy of the Federal and State Governments by the Federal Ministry of Education and Research (BMBF) and the Free State of Bavaria.
ORGANIZED by Buket Altinoba (Institute for Art History, LMU), Franziska Lampe and Christine Tauber (both ZI)
CONTACT // buket.altinoba@kunstgeschichte.uni-muenchen.de, f.lampe@zikg.eu, c.tauber@zikg.eu // LMU München, Institut für Kunstgeschichte, Zentnerstraße 31, 80798 München // Zentralinstitut für Kunstgeschichte, Katharina-von-Bora-Straße 10, 80333 München
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