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Journal articles on the topic 'Kunstakademie'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Hübner, Maria. "Ein Brief von Carl Philipp Emanuel Bach an Adam Friedrich Oeser." Bach-Jahrbuch 93 (March 12, 2018): 243–54. http://dx.doi.org/10.13141/bjb.v20071826.

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Ein kürzlich aufgefundener Brief C. P. E. Bachs an den Direktor der Leipziger Kunstakademie gibt Anlass, dessen Rolle im Umfeld von Bach und Breitkopf zu beleuchten. Dabei wird auch die Rolle von C. P. E. Bachs jüngstem Sohn, Johann Sebastian (1748-1778) thematisiert. Erwähnte Artikel: Maria Hübner: Der Zeichner Johann Sebastian Bach d. J. (1748 bis 1778). Zu seinem 250. Geburtstag. BJ 1998, S. 187-200 Barbara Wiermann: Carl Philipp Emanuel Bach und Adam Friedrich Oeser - Eine Ergänzung. BJ 2008, S. 334-336

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2

Markussen, Åse. "Matisse-elevene inntar kunstakademiet – Professorstriden på Statens kunstakademi i 1925." Kunst og Kultur 86, no. 02 (May 18, 2003): 98–123. http://dx.doi.org/10.18261/issn1504-3029-2003-02-02.

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3

Althans, Birgit. "Lam Gods – Der Genter Altar." Paragrana 28, no. 2 (October 25, 2019): 107–18. http://dx.doi.org/10.1515/para-2019-0028.

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Abstract Der Text enthält die im dritten Method Lab im Januar 2019 an der Kunstakademie Düsseldorf präsentierten Erhebungen zu Milo Raus Inszenierung Lam Gods – the Ghent Altarpiece am NTGent 2018. Zentral ist hier einerseits die in der Inszenierung thematisierte soziomaterielle Zugänglichkeit des ursprünglichen Altarbilds in der Stadt Gent für ihre aktuelle Bürgerschaft und Touristen, andererseits der Affektraum, insbesondere der Affekt der Scham, der im Reenactment der Adam und Eva-Figuren des Altarbilds in der Inszenierung erzeugt wurde. Die dort auf der Bühne vor den Augen des Kinderchors und den Zuschauer*innen vor der Bühne präsentierte ‚Geste der Scham’ provozierte bei der Forschenden eine affektive Reaktion, die den Umgang mit Scham, Fremdscham und unfreiwilliger Zeugenschaft in der Inszenierung hinterfragte.

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4

Schellenberg, Renata. "Berliner Kunstakademie und Weimarer Freye Zeichenschule: Andreas Riems Briefe an Friedrich Justin Bertuch, 1788/89 eds. by Anneliese Klingenberg and Alexander Rosenbaum." Goethe Yearbook 21, no. 1 (2014): 283–85. http://dx.doi.org/10.1353/gyr.2014.0037.

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5

Ustinov, Andrei. "Piotr Potiomkin’s “Green Hat” and Russian Émigré children’s literature." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 180–229. http://dx.doi.org/10.31860/2304-5817-2020-2-18-180-229.

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The essay reconstructs history of the 1924 publication of Piotr Potiomkin’s (1886—1926) poem for children Green Hat in a wider context of the Russian émigré literary culture. A well-known writer before the revolution, the author of two books of poetry Funny Love and Geranium, Potiomkin found himself after emigrating to Chishinau and further to Prague, on the periphery of the Russian Diaspora. In 1922 he slowly started to publish his works in the periodicals of “Russian Berlin.” Sasha Chiornyi, his friend from the era of the Satyricon magazine, included two of Potiomkin’s poems in the Rainbow, the first children’s anthology which Chiornyi edited for the Slovo publishing house. By that time Chiornyi occupied a leading position in the émigré children’s literature. He began to invite Potiomkin’s partici- pation in the publishing enterprises of “Russian Berlin,” and recommended the poet to the Volga publishing house as a potentially valuable author. Potiomkin was one of the creators of the genre of “a poem for children” in pre-revolutionary children’s literature—-in 1912 the magazine Galchionok published his “story in verse” Boba Skvozniakov in the Country. Therefore, Potiomkin offered the Volga to publish another “poem for children” Green Hat. As a book designer he invited Hans Fronius (1903—1988) who at the time was a student at the Kunstakademie in Vienna. Later Fronius became the first illustrator of the literary works of Franz Kafka.

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6

Wieland, Janna R. "Materialität von Text." Paragrana 28, no. 2 (October 25, 2019): 126–34. http://dx.doi.org/10.1515/para-2019-0030.

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Abstract Das vorliegende Beispiel aus dem dritten Method Lab zeigt einen Arbeitsstand der ethnographisch forschenden Kulturwissenschaftlerin Janna R. Wieland (in diesem Band: Wieland, S. 34) am Beispiel des Probenprozesses und explizit zur Text- und Skriptproduktion der Inszenierung Lam Gods von Milo Rau am NTGent im Zeitraum 2018-2019. Sie greift auf eigens erhobene ethnographische Forschungsdaten (Feldnotizen, Memos, Zeichnungen, Bild- und Soundaufzeichnugengen etc.), sowie auf InterviewsJebelli, N. (20.12.2018) und Bläske, S. (20.12.2018) im Interview zu Lam Gods am NTGent, geführt von Janna R. Wieland, sowie Forschungsdaten des BMBF-Forschungsprojekt Transkulturelle Praktiken im postmigrantischen Theater und in der Schule – Method Mixing als Transmission, an der Leuphana Universität Lüneburg und an der Kunstakademie Düsseldorf. mit dem Schauspieler Nima Jebelli und dem Dramaturgen Stefan Bläske zurück. Im vorliegenden Beispiel beschreibt sie wie sich der Erstehungsprozess des Stücks Lam Gods in einem finalen Text materialisiert, der wiederum mit ästhetischen und medialen Elementen auf der Bühne inszeniert wird. Welche Rolle und Wirkkraft (agency) hat das im Prozess entwickelte sozio-materielle räumliche Setting mit seiner spezifischen Materialität auf die biographische Textproduktion? Welche Differenzen oder Machtverhältnisse können durch diese Auseinandersetzung und der Form des Arbeitsprozesses sichtbar gemacht werden? Ausgehend davon, dass Räume als relationale performative Gefüge durch prozessuale Dynamiken zwischen Handlungen und Materiellem entstehen, fokussiert sich Wieland in der konkreten Feldforschungssituation besonders auf jene Handlungen, die sich einerseits in den zwischenmenschlichen, wie auch jenen zwischen Menschen, Materialitäten, Klängen und Medien zeigen und die durch das sich zeigen auch bildlich oder materiell erfassbar werden (siehe die Zeichnungen in diesem Beispiel).

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7

Markussen, Åse. "Camorraen på Statens kunstakademi Kunstsyn og undervisning 1925–60." Kunst og Kultur 87, no. 04 (December 18, 2004): 238–63. http://dx.doi.org/10.18261/issn1504-3029-2004-04-02.

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8

Adriansen, Inge. "Krigen 1864 i dansk og tysk billedkunst." Sønderjydske Årbøger 127, no. 1 (January 1, 2015): 26–56. http://dx.doi.org/10.7146/soenderjydskeaarboeger.v127i1.113020.

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Ved de første kunstakademier, der blev oprettet i 1600-tallet, blev historiemaleriet anset for den fornemste genre indenfor malerkunsten. Denne vurdering skyldtes de særlige krav, som en god historiemaler skulle opfylde. Ud fra historiske værker skulle han fortolke en fortidig begivenhed og omforme det til fængende billedsprog. I slutningen af 1700-tallet blev det tilladt også at skildre samtidige historiske begivenheder, og historiemaleriet kom nu i høj grad til at tjene til forherligelse af fyrstehuse og store mænds bedrifter. I slutningen af 1800-tallet svandt interessen for historiemaleriet, der dog nåede en opblomstring både i Danmark på grund af De slesvigske Krige og i Tyskland som følge af kejserrigets grundlæggelse.

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9

Opdahl, Ørnulf. "Artists on Libraries 3:." Art Libraries Journal 11, no. 3 (1986): 13. http://dx.doi.org/10.1017/s0307472200004727.

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Which libraries do you use and how do your use them? Having lived rather isolated I have felt the need to build up my own library. In younger days I used the local public library quite a lot. Their collection of art books was rather meagre, but it was still a strong inspiration. They had got several current art magazines as well, both Norwegian and international. I still use’ public libraries, especially their collection of fiction, poetry, philosophy, etc., which is quite good. They provide the information they have not got themselves through inter-library lending, and the services have been quite satisfactory. Apart from the library of the Statens Kunstakademi (National Academy of Fine Art) I have never used a ‘professional’ art library.

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10

Markussen, Åse. "KONSERVATISMENS HØYBORG? Billedhuggerklassen på Statens Kunstakademi i 70 år Gunnar Utsond, Wilhelm Rasmussen og Per Palle Storm." Kunst og Kultur 90, no. 01 (April 26, 2007): 27–46. http://dx.doi.org/10.18261/issn1504-3029-2007-01-04.

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11

Sailing, Emma. "The ‘Bibliography of the History of Art’ and the Nordic Countries." Art Libraries Journal 16, no. 2 (1991): 14–16. http://dx.doi.org/10.1017/s0307472200007100.

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Building on the precedent established by the Kunstakademiets Bibliotek and RILA, Nordic countries are for a trial period of three years contributing bibliographic records to the BHA, via the latter’s Scandinavian editor in the U.S.A. Several institutions are involved; the selection and preparation of records for the BHA can usually be done in conjunction with work already undertaken by the institutions concerned, in some cases for national bibliographies. Records include abstracts, which should ideally be provided or approved by the authors. Only a selection of material can be cited in the BHA; it is important that its international role should be complemented by national bibliographies. Although Nordic libraries can subscribe to the BHA in its printed form, online access is inhibited by financial considerations; a CD-ROM version would be most welcome. It is hoped that this three year experiment in co-operation will be judged a success, and that funding to enable it to continue will be forthcoming; a crucial test of any form of international co-operation is whether respect for national traditions outweighs any desire for excessive standardisation.

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12

Holubek-Schaum, Stefan. "Alexandra König, Spielfelder des Selbst. Eine Längsschnittstudie zu jungen Erwachsenen in Handwerksbetrieben, Hochschulen und Kunstakademien. Weinheim/Basel: Beltz Juventa 2019, 402 S., br., 34,95 €." Soziologische Revue 43, no. 4 (December 1, 2020): 595–600. http://dx.doi.org/10.1515/srsr-2020-0075.

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13

Lollesgaard, Anja. "Art librarianship in Denmark." Art Libraries Journal 22, no. 2 (1997): 4–9. http://dx.doi.org/10.1017/s030747220001035x.

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Art libraries in Denmark mostly fall into one of two categories: art departments’ in public libraries, and research libraries attached to colleges, universities, and museums. Librarians in research libraries are in many cases scholars in their own right, while library staff at the Kunstakademiets Bibliotek are responsible for the Bibliografi over dansk kunst (sadly not published since 1981) and for Danish contributions to the BHA. The Royal Library and some art libraries hold collections of visual resources and of archival materials; in addition, there is an autonomous national archive of Danish artists, Weilbachs arkiv. An art librarians’ section of Bibliotekarforbundet (the Union of Danish Librarians), Kunstfaggruppen, was initiated by art librarians in public libraries, but is open to other art librarians too; Danish art librarians also work together within ARLIS/Norden. Professional training in Denmark is largely confined to general librarianship; art librarians in public libraries tend to be trained librarians with a personal enthusiasm for art, whereas librarians in research libraries are in some cases graduates but are not necessarily trained librarians. While the public library system took advantage of standardization, automation, and networking, the research libraries could not so readily embrace change, but two recent initiatives are beginning to bring libraries of all kinds together — DanBib, the Danish online union catalogue, formed in 1995 by merging the two separate databases for public and research libraries which both originated in the 1980s, and Kulturnet Danmark, a government-sponsored scheme involving the Internet.

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14

Grønbæk, Niels, and Camilla Hedegaard Møller. "En problematisering af samspillet mellem centrale pædagogiske principper på arkitektuddannelsen." Dansk Universitetspædagogisk Tidsskrift 8, no. 15 (September 1, 2013): 74–84. http://dx.doi.org/10.7146/dut.v8i15.7853.

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Ud fra John Deweys erfaringspædagogik, bygget op om begreberne erfaring, situation og samspil, undersøges aspekter af en strukturel adskillelse af målstyrede og projektbaserede undervisningspraksisser med arkitektuddannelsen på Kunstakademiets Skoler for Arkitektur Design og Konservering som eksempel på en uddannelse baseret på både et videnskabeligt og et kunstnerisk grundlag. Det diskuteres om den også konkret rumlige adskillelse af de to grundlags respektive pædagogiske platforme i henholdsvis kursusundervisning og projektundervisning er tilsigtet og hensigtsmæssig med særligt henblik på at opspore tiltag, der kan styrke uddannelsens forskningsbasering. I et bredere perspektiv plæderer artiklen for etableringen af fagstudiemiljøer til befordring af erfaringsdannelsen i samspilssituationer på tværs af grundlag - i dette tilfælde det kunstneriske og videnskabelige. John Dewey’s pedagogy of experience, inspired by the concepts of experience, situation and interaction forms the frame for contemplating the apparent conflict between curriculum and project based pedagogical methods encompassing both the sciences and the arts. Investigating a particular case, the article considers whether the spatial separation of practiced pedagogical methods relative to the scientific and the artistic, has been intentional and appropriate. The inquiry aims at identifying new ways of strengthening the scientific basis of the education framework under discussion. Considering Dewey’s understanding of a learning context as ‘total social set-up’ the article in a broader perspective, argues in favour of an understanding of ‘learning context’ potentially as ‘context which learns’: Accordingly, given that the total social set-up of learning is considered dynamic rather than static the article suggests to affect such dynamic processes deliberately. In conclusion such deliberations, as motivated by pedagogical intentions of integrating scientific and artistic disciplines in the total social set-up, are considered.

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15

"Weiterführung des Masterstudiengangs »Konservierung Neuer Medien und Digitaler Information« (KNMDI) an der Kunstakademie Stuttgart." Zeitschrift für Bibliothekswesen und Bibliographie 59, no. 6 (December 15, 2012): 326–27. http://dx.doi.org/10.3196/1864295012596100.

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16

Sprovin, Mathilde. "Tegneundervisning og (poly)tekniske idealer." FormAkademisk - forskningstidsskrift for design og designdidaktikk 11, no. 3 (October 8, 2018). http://dx.doi.org/10.7577/formakademisk.2944.

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Tegneskolen i Christiania ble opprettet i 1818. I undervisningen stod tegneopplæring sentralt. Fra oppstarten i 1818 var dette etter modell fra de europeiske kunstakademiene. Dette endret seg mot slutten av 1800-tallet, i takt med den teknologiske utviklingen i Europa som satte nye krav til tegnefaget. Idealene ble hentet fra École Polytechnique i Paris.

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