Serdecznie zapraszamy na wykład gościnny prof. Megan Luke "Photoplastik: Episodes in the History of the 3D Replica"

Instytut Historii Sztuki oraz profesor Wojciech Bałus serdecznie zapraszają na wykład gościnny prof. Megan Luke (University of Southern California, Freie Universität Berlin) p.t. Photoplastik: Episodes in the History of the 3D Replica.

Wykład w języku angielskim odbędzie się 10.01.2018 (środa) o godz. 13:30 w sali 8.

Wykład odbywa się w ramach projektu Fundacji na Rzecz Nauki Polskiej MISTRZ: DeMATERIALIZATIONS in Art and Art-Historical Discourse in the 20th Century prof. dra hab. Wojciecha Bałusa



Photoplastik: Episodes in the History of the 3D Replica

In his magnum opus, Der Stil (1860–63), Gottfried Semper described rubber as “the factotum of industry,” a material that “adapts and lends itself to every purpose.” Like plastic in the twentieth century, rubber made possible the willful translation of form into wholly alien media. If the union between form and matter was at risk with the rise of industry and the global reach of empire, so too was any motivated relationship between form and surface, essence and appearance, that had historically grounded aesthetic criteria. Independent from substrate, sculptural surface was freely replicated through various indexical procedures—plaster casting, electrotyping, and photography. No longer contingent upon point of view, siting, or the imperative to express truth to materials, surface became mobile and could be perpetually fixed elsewhere. The paper I would deliver would trace this volatility of surface and link its consequences to current technologies of computer rendering and 3D-printing by focusing on the case study of Max Klinger’s Beethoven monument and its reimagining in the work of the contemporary artist Oliver Laric. 

prof. Megan Luke

Associate Professor in the Department of History of Art and a Faculty Affiliate of the Visual Studies Research Institute at USC. She teaches modern art, architecture, and art writing in the nineteenth and twentieth centuries. Her research focuses on the histories of abstraction, collage, and photography, with particular interests in art reproduction, the history of sculpture, early cinema, exile studies, and theories of the image. She received her B.A. from Yale University and her M.A. and Ph.D. from Harvard University. Prior to joining the faculty at USC in 2011, she was a postdoctoral fellow in the Society of Fellows at the University of Chicago, where she also held the position of Collegiate Assistant Professor in the Art History Department. In 2015 she was a visiting scholar at eikones NFS Bildkritik/Universität Basel.

Her first book, Kurt Schwitters: Space, Image, Exile (University of Chicago Press in 2014), investigates the German artist’s collaborations with peers in The Netherlands and Central Europe; his work in sculpture and the demands it places on perception and reconstruction; and the impact of wartime displacement on his ideas about abstract pictorial composition and on the historiography of the avant-garde more generally. This book received the 2015 Robert Motherwell Book Award, an honorable mention in Art History for the 2015 PROSE Awards, an inaugural Meiss/Mellon Author’s Book Award from the College Art Association, and support from the Henry Moore Foundation.

She is at work on a second book, The Sculptural Surrogate: Reproduction and the Ritual Object, which considers how the widespread proliferation of malleable and synthetic materials and the development of reproductive technologies remade the sculptural object and, in turn, the very methods enlisted to analyze it. Focusing on materials ranging from rubber to plastics and technologies from electrotyping and 3D printing and rendering, this book traces how historians, critics, and artists have understood sculpture to offer powerful resistance to faith in technological “progress” and the total rationalization of human life. For modern theorists of the medium, sculpture became a privileged site for a diagnosis of an atavistic return to magic and myth at the heart of modernity—one that was, nevertheless, increasingly dependent upon technological reproducibility for its visibility.
Data opublikowania: 05.01.2018
Osoba publikująca: Jan Cieślak