Archives

L’histoire de l’art et méthodologies 1

Horaire :
Jeudi, 9h30 – 12h30

Lieu :
UQÀM, R- 4215

Professeur :
Dr. Louis Martin

Description : séminaire en français

Dans le parcours de tout.e doctorant.e, le séminaire sur les théories et méthodes de l’histoire de l’art demeure le lieu privilégié pour réfléchir sur l’état de la discipline, son histoire, ses objets de recherche,  ses modes d’expression orale et écrite, sa structure institutionnelle ainsi que son rapport à la connaissance et à la société.

Pourquoi écrire? Sur quoi écrire? Comment écrire? Pour qui écrire? Comment inscrire son travail dans l’actualité de la recherche et contribuer au développement du champ? Autant de questions incontournables et inextricables qui hantent toute personne qui entreprend une recherche doctorale en histoire, théorie et critique de l’art, autant de questions qui instaurent un rapport dialectique entre le contexte métathéorique de la discipline et la spécificité des études de cas.

Pour le volet théorique, l’approche proposée préconise une co-construction du savoir fondée sur les intérêts de recherche de chacun, chacune plutôt qu’un panorama encyclopédique, un état des lieux ou  l’approfondissement d’une tendance particulière. Ainsi, chaque participant.e contribuera à parachever le  programme de lecture en partageant des textes orientant sa recherche et en proposant des titres qu’il elle souhaite découvrir et discuter.

Le séminaire sera l’occasion d’inviter des professeur.es du programme de doctorat conjoint à partager leur expertise sur les orientations théoriques abordées dans le séminaire.

Préparatoires à la réalisation de l’atelier de recherche doctoral, les exposés des participant.es viseront à formuler et étayer leurs hypothèses de recherche et à s’initier aux théories peut-être moins familières qui passionnent leurs collègues.

Bibliographie

BAXANDALL, Michael. Patterns of Intention, New Haven, Yale Universit Press, 1985.

CHEETHAM, Mark, Michael Ann HOLLY et Keith MOXEY, The Subjects of Art History: Historical Objects in Contemporary Perspectives, Cambridge et New York, Cambridge University Press, 1998.

DE CERTEAU, Michel. L’écriture de l’histoire, Paris, Gallimard, 2007 [1975].

DIDI-HUBERMAN, Georges, Devant l’image. Question posée aux fins d’une histoire  de l’art, Paris, Minuit, 1990.

GADAMER, Hans-Georg, Vérité et méthode. Les grandes lignes d’une herméneutique philosophique, trad. fr. E. Sacre., Paris, Seuil, 1976.

Hartog, François. Régimes d’historicité, Présentisme et expériences du temps, Paris, Éditions du Seuil, coll  La librairie du XXIe siècle, 2003.

JAUSS, Hans Robert, Pour une esthétique de la réception, trad. fr. C. Maillard, Paris, Gallimard, 1978.

LAMOUREUX, Johanne, Profession historienne de l’art, Montréal, Presses de l’Université de Montréal, 2007.

LATOUR, Bruno, Petites leçons de sociologie des sciences, Paris, La Découverte, 2006.

MARIN, Louis, Détruire la peinture, Paris, Galilée, 1977.

MARION, Jean-Luc, La croisée du visible, Paris, La Différence, 1991.

MICHAUD, Éric, Histoire de l’art. Une discipline à ses frontières, Paris, Hazan, 2005.

PODRO, Michael, The Critical Historians of Art, New Haven, Yale University Press, 1982.

POINSOT, Jean-Marc, Quand l’oeuvre a lieu. L’art exposé et ses récits autorisés, 2e éd., Dijon, Presses du Réel, 2008.

POMIAN Krystof. Sur l’histoire, Paris, Gallimard, coll. Folio histoire, 1999.

PREZIOSI, Donald, Rethinking Art History. Meditations on a Coy Science, Ne Haven et Londres, Yale University Press, 1989.

PREZIOSI, Donald, ed. The Art of Art History : A Critical Anthology, Oxford et New York, Oxford University Press, 2009.

ZERNER, Henri, Écrire l’histoire de l’art : figures d’une discipline, trad. fr. J. Bouniort, Paris, Gallimard, 1997.

Questions thématiques

Horaire :
lundi, 9h-12h

Lieu :
UdeM, C-2117

Professeure :
Dr. Kristine Tanton

Description : bilingue

This seminar will explore the social, material, conceptual, and ritual processes related to constructions of sacred space over a broad temporal range (from the Middle Ages to present day). From medieval cathedrals and pilgrimage sites such as Jerusalem and Mecca to sacred landscape to exhibition spaces and the phenomenology of the sacred within the context of performance art. We will address the work of theorists such as Emile Durkheim, Henri Lefebvre, Michel de Certeau, Michel Foucault, J.Z. Smith, and Christopher Tilley. Some questions to explore: What are the dynamics among ritual, ritual objects, and sacred spaces? How do we reconcile prescriptive textual evidence with actual ritual performance? How can we locate the divine in the material world? What are the distinctions made between space and place and the relationship between sacred space as a physical thing or site and an area encompassing collective worship?

The seminar will be organized around six focal points:

• Concepts and Theories
• Nature
• Commemoration and Memorial Culture
• Monumentality and the Arts
• Contested Ground
• Fluid Types of Ritual Space

Colleagues from the program will be invited to share their work with the seminar. 

Students are encouraged to develop individual projects based on specific case studies. The seminar is bilingual. The participants may express themselves freely in English or French for all presentations, class discussion, written work, and correspondence.

Bibliographie

AUGÉ, Marc (1992). Non-lieux : introduction à une anthropologie de la supermodernité, Paris : Seuil

BRANHAM, Joan R. (1994/1995). “Sacrality and Aura in the Museum: Mute Objects and Articulate Space,” The Journal of the Walters Art Gallery, Vol. 52/5, pp. 33-47.

BRIE Steve, Jenny Daggers, and David Torevell (2009). Sacred Spaced : Interdisciplinary Perspectives within Contemporary Contexts, Newcastle : Cambridge Scholars Publishing.

BUGGEIN, Gretchen T. (2012). “Museum space and the experience of the sacred,” The Journal of Objects, Art and Belief 8, pp. 30-50.

CAUQELIN Anne (2001). Le site et le paysage, Paris : Presses universitaires de France, 2001.

CLARK, Robert (2016). Travel Writing from Black Australia : utopia, melancholia, and aboriginality, New York : Routledge.

COHEN, Meredith, Fanny Madeline, and Dominique Iogna-Prat (2014). “Introduction” dans Space in the Medieval West : places, territories and imagined geographies, pp. 1-17, London ; New York, NY : Routledge.

COLEMAN, Simon (1995). Pilgrimage past and present: sacred travel and sacred space in the world religions, London : British Museum Press.

de CERTEAU, Michel (1984). “A Walk in the City,” The Practices of Everyday Life, pp. 91-110, Berkeley: University of California Press, 1984.

DUNCAN, Carole (1994). Civilising rituals: inside public art museums, London; New York: Routledge.

ELIADE, Mircea (1987). “Sacred Space and Making the World Sacred,” The Sacred and the Profane: The Nature of Religion, trans. Willard R. Trask, pp. 20-65, San Diego: Harcourt Brace Jovanovich, 1987.

KIECKHEFER, Richard (2004). Theology in Stone: Church Architecture from Byzantium to Berkeley, New York; Oxford: Oxford University Press, 2004.

LEFEBVRE, Henri (1991). The Production of Space, trans. Donald Nicholson-Smith, Maldon, MA; Oxford: Blackwell, 1991 [orign. Fr. 1974], chapters 1-2. [Français : La production de l’espace, Anthropos, 2000.]

MARKUS, R.A. (1994) “How on Earth Could Places Become Holy? Origins of the Christian Idea of Holy Places,” Journal of Christian Studies 2:3, pp. 257–271.

MCALISTER, Elizabeth (2005). “Globalization and the Religious Production of Space,” Journal for the Scientific Study of Religion, Vol. 44, No.3 (September), pp. 249-255.

NELSON, Robert S.(2006). “Where God Walked and Monks Pray,” in Holy Image, Hallowed Ground: Icons from Sinai, eds. Robert S. Nelson and Kirsten M. Collins, pp. 1-33, Los Angeles, J. Paul Getty, 2006.

RAPPAPORT, Roy A. (1999) Ritual and Religion in the Making of Humanity, Cambridge: Cambridge University Press, 1999, Chapter 9-10, “The Idea of Sacred,” and “Sanctification”.

RIBOUILLAULT, Denis and Michel Weemans (2011). Le paysage sacré: le paysage comme exégèse dans l’Europe de la première modernité = Sacred Landscape: landscape as exegesis in early modern Europe, Florence: Olschki.

SCHRAMM, Katharina (2011). “Introduction: Landscapes of Violence: Memory and Sacred Space,” History and Memory, Vol. 23, No. 1 (Spring/Summer), pp. 5-22.

SMITH, J.Z. (1987). To Take Place: Toward Theory in Ritual, Chicago: University of Chicago Press.

TILLEY, Christopher (1994). “Space, Place, Landscape and Perception: Phenomenological Perspectives,” in A Phenomenology of Landscape: Places, Paths and Monuments, pp. 7-34, Oxford; Providence: Berg.

TUAN, Yi-Fu (1977). Space and Place: The Perspective of Experience, Minneapolis and London: University of Minnesota Press.

TURNER, Harold (2011). From Temple to Meeting House: The Phenomenology and Theology of Places of Worship, Berlin; Boston: De Gruyter Mouton.

WHARTON, Annabel Jane (2006). “Spectacularized Jerusalem: imperialism, globalization, and the Holy Land as theme park,” in Selling Jerusalem: relics, replicas, theme parks, pp. 189-232, Chicago: University of Chicago Press.

Thematic Questions / Critical Examination of Artistic Context

Horaire :
mardi, 14h-17h

Lieu : online

Professeure :
Dr. Cynthia Hammond

Description : séminaire en anglais

In her 2005 book, For Space, Doreen Massey writes, “The imagination of space as a surface on which we are placed, the turning of space into time, the sharp separation of local place from the space out there; these are all ways of taming the challenge that the inherent spatiality of the world presents. Most often, they are unthought” (7).

This doctoral seminar aims to place space at the centre of our engagement as art and architectural historians. Space has been an important if overlooked aspect of of art and architectural history, which tends to focus on the art object and the discourses it produces over questions of context, mobility, and interaction. But if space has tended to be overlooked, then the idea that space is passive, inert, waiting for the seminal touch of the artist (or art historian)  to “activate” it has been rather overcooked. The work of contemporary artists such as Janet Cardiff, Francis Alÿs, and Thomas Hirschorn (among many others) call upon the discipline of art history to consider space more deeply, but so too do works of art and architecture from older art historical periods and less Western frameworks. Spatial theory is a body of thought that can be said to have originated in post-Situationist sociology, where the effort was to arrive at an analytical framework for how space produces a given society and how the members of that society themselves produce and reproduce space. A key legacy of that effort was the concept of “spatial practices”. But spatial theory has since been increasingly embraced, criticized, reinvigorated in disciplines such as geography, tourism studies, oral history, memory studies, as well as in feminist and postcolonial work. Here, an interesting shift has taken place. Increasingly there is an emphasis on spatial stories, the lived and embodied accounts of space and place that locate the focus of the research within situated experiences (Haraway, Massey 2005, Hanson and Pratt). There has been, in other words, an un-unthinking of space, and it is this wor that our seminar will attend to, from the perspective of art and architectural history.

The seminar will bring together a selection of texts that have contributed to the recen discourse about space, spatial practices, and spatial stories, while also introducing some older readings. For genealogical purposes we will critically examine key works by the (white, male, and European or Euro-descended) “fathers” of spatial theory: Henri Lefebvre, Michel de Certeau, David Harvey and Edward Soja. We will also explore feminist and postcolonial responses to such theorists (Massey, Deustche, Hanson and Pratt, Rendell 2006, Hunt and Stevenson, Nejad), and then turn our attention to how this thematic field has been taken up in art and architectural history specifically. We will encounter the “spatial turn” in museum work, curatorial studies, and public history (Hourston Hanks, Kappler, Lam-Knott), as well as instances of spatial practice and spatial stories taking centre stage in art and architectural history (Arnold and Derevenski, Batista, Stock, Roberts, Purdum, Dodd). We will also consider the role of spatialized storytelling in adjacent domains, such as new media projects, “deep mapping”, and heritage work (High, Bodenhamer and Corrigan, Caquard, Piatti, and Cartwright, Lois and Cairo, Roberts 2018). In these areas, we will consider a crucial question for historians of all kinds: how can spatial stories and practices be made to matter when the individual or group to whom the stories belong are no longer living? What rights do art historians have to such stories? And how can one use primary sources other than the individual’s recounting, to bring  those stories to light in other ways (Upton, Rendell 2002)?

Bibliographie

ANTON, James Wyatt. “Moccasin Tracks: Reading the Narrative in Traditional Indigenous Craft Work” (master’s thesis). University of Calgary, 2018.

ABRAMSON, Daniel M.. Obsolescence: An Architectural History. Chicago: University of Chicago Press, 2016.

ARNOLD, Dana and J. S. Derevenski. Biographies & Space: Placing the Subject in Art and Architecture. London and New York: Routledge, 2007.

AWAN, Nishat, T. Schneider and J. Till, eds. Spatial Agency: Other Ways of Doing Architecture. London: Routledge, 2011.

BATISTA, Anamarija and C. Lesky. “Sidewalk stories: Janet Cardiff’s audio-visual excursions,” Word & Image, 31, 4 (2015), 515-523.

BLOKLAND, Talja. “Bricks, Mortar, Memories: Neighbourhood and Networks in Collective Acts of Remembering,” International Journal of Urban and Regional Research 25, 2 (2001), 268-283.

BODENHAMER, David J., J. Corrigan, T. M. Harris. Deep Maps and Spatial Narratives. Indiana University Press, 2015.

BROWN, Lori. Contested Spaces: Abortion Clinics, Women’s Shelters and Hospitals: Politicizin the Female Body. London and New York: Routledge, 2013.

CAQUARD, Sébastien, B. Piatti, W. Cartwright, eds. The Cartographic Journal: Special Issue on Art & Cartography 46, 4 (2009), 289-291.

CHILDS, Mark C. “Storytelling and Urban Design,” Journal of Urbanism, 1, 2 (2008), 173-186.

DARRAH-OKIKE, Jennifer. ‘“‘The decision you make today will affect many generations to come’’: Environmental assessment law and Indigenous resistance to urbanization,” ENE: Nature  and Space 2,4 (2019), 807–830.

DE CERTEAU, Michel. L’invention du quotidien. Vol. 1, Arts de faire, 1980 /The Practice of Everyday Life. Berkeley, CA: University of California Press, 1988.

DEUTSCHE, Rosalyn. Evictions: Art and Spatial Politics. Cambridge, Mass. London, England: MIT Press, 1998.

DESBIENS, Caroline. “Appreciating Difference? A View from Indigenous Rivers,” The Canadian Geographer/Le Géographe Canadien 63, 4 (2019), 540–552.

DODD, Melanie, ed. Spatial Practices: Modes of Action and Engagement with the City. London: Routledge, 2019.

DOVEY, Kim. Framing Places: Mediating Power in Built Form. London: Routledge, 1999.

FLEMING, Martha with L. Lapointe and L. Johnstone. Studiolo: The Collaborative Work Martha Fleming and Lyne Lapointe. Montreal and Winnipeg: Artextes Editions and the Art Gallery of Windsor, 1997.

FOUCAULT, Michel. “Other Spaces: The Principles of Heterotopia,” Lotus International 48, 49 (1986), 9-17.

HANSON, Susan and G. Pratt, Gender, Work, and Space. New York: Routledge, 1995.

HARAWAY, Donna. “Situated Knowledges: The Science Question in Partial Perspective,” Feminist Studies 14, no.3 (Autumn 1988): 575-599

HARVEY, David. Spaces of Hope. Berkeley and Los Angeles: University of California Press, 2000.

HARLE, Matthew. “Fictions from the Underground,” City 19, 4 (2015), 444-462.

HIGH, Steven. “Telling Stories: A Reflection on Oral History and New Media,” Oral History (2010), 101-112.

HOURSTON HANKS, Laura. “Writing Spatial Stories: Textual Narratives in the Museum,” In Museum Making: Narratives, Architectures, Exhibitions. Ed. Suzanne Macleod, L. Hourston

Hanks, J. Hale. London: Routledge, 2012, 21-34.

HUNT, Dallas and S. A. Stevenson. “Decolonizing geographies of power: Indigenous digital counter-mapping practices on turtle Island,” Settler Colonial Studies 7,3 (2017), 372-392.

KAPPLER, Stefanie. “Sarajevo’s Ambivalent Memoryscape: Spatial Stories of Peace and Conflict,” Memory Studies 10, 2 (2017), 130-143.

LAM-KNOTT, Sonia. “Reclaiming urban narratives: spatial politics and storytelling amongst Hong Kong youths,” Space and Polity 24, 1 (2020), 93-110.

LEACH, Neil, ed. The Hieroglyphics of Space: Reading and Experiencing the Modern Metropolis. London and New York: Routledge, 2002.

LEFEBVRE, Henri. (1974) The Production of Space. Oxford, UK ; Cambridge, Mass.: Blackwell, 1991.

LOIS, María and H. Cairo, “Heritage-ized Places and Spatial Stories: B/Ordering Practices at the Spanish-Portuguese Raya/Raia,” Territory, Politics, Governance 3, 3 (2015), 321-343.

LOW, Setha. On the Plaza: The Politics of Public Space and Culture. Dallas, Texas: University of Texas Press, 2000.

MAGEE, Carol. “Spatial Stories: Photographic Practices and Urban Belonging,” Africa Today: Visual Experience in Urban Africa 54, 2 (2007), 109-129.

MASSEY, Doreen. “Space-time and the Politics of Location.” In Architecturally Speaking: Practices of Art, Architecture, and the Everyday. Ed. Alan Read. London and New York: Routledge, 2000. 49–61.

MASSEY, Doreen. For Space. New York: Sage, 2005.

NEJAD, Sarem et al. “This is an Indigenous city; why don’t we see it?’ Indigenous urbanism and spatial production in Winnipeg,” The Canadian Geographer/Le Géographe Canadien 63, 3 (2019), 413-424.

PURDUM, Leanne. Spatial Stories of Migration and Detention: How Does Architecture Shape Punishment? Exhibition catalogue. Mebane Gallery, 5–21 October. 2016. School of Architecture, University of Texas at Austin, 2016.

RENDELL, Jane. Art and Architecture: A Place Between. London: I.B. Tauris, 2006.

RENDELL, Jane. The Pursuit of Pleasure: Gender, Space & Architecture in Regency London. New Brunswick, NJ: Rutgers University Press, 2002.

ROBERTS, Kim. “The Hiroshima Peace Memorial Cenotaph and the Shadow Side of Spatial Research, Fabrications 29, 1 (2019), 86-108.

ROBERTS, Les. Spatial Anthropology: Excursions in Liminal Space. Rowman & Littlefield, 2018.

SILLIMAN, Stephen. “Indigenous Traces in Colonial Spaces: Archaeologies of Ambiguity, Origin, and Practice,” Journal of Social Archaeology 10, 1 (2010), 28-58.

SOJA, Edward. Postmodern Geographies: The Reassertion of Space in Critical Social Theory. Verso, London and New York, 1989.

STOCK, Markus, N. Vöhringer, ed. Spatial Practices: Medieval/Modern. Vandenhoeck & Ruprecht, 2014.

STOLER, Ann Laura. “Imperial Debris: Reflections on Ruins and Ruination,” Cultural Anthropology 23, 2 Imperial Debris (2008), 191-219.

THOMPSON, Victoria E., “Telling ‘Spatial Stories’: Urban Space and Bourgeois Identity in Early Nineteenth-Century Paris,” The Journal of Modern History 75 (2003), 523–556.

TONKISS, Fran, Space, the City and Social Theory. Cambridge, UK: Polity Press, 2005.

UPTON, Dell. “Black and White Landscapes in Eighteenth-Century Virginia.” Places 2, 2 (1985), 59-72.

Art history and its methodologies 2

Horaire :
Mercredi, 10h – 13h

Lieu :
Concordia University, Engineering and Visual Arts building, EV 3.760

¨Professeure :
Dr. Alice Ming Wai Jim

Description : séminaire en anglais

Over the last two decades, the terms “World Art Studies,” “Global Art Histories,” and “Comparative Art Histories” have become the focus of postcolonial scholarship and decolonial practice for a growing number of researchers and art practitioners. In 2004, James Elkins declared the prospect of world art history as “the most pressing issue facing the discipline of art history” and in 2007, the College Art Association recognized world art as a discipline among its membership and therefore as a legitimate area of research and practice. As a concept and approach, world art studies began formally in 1992 when John Onians coined the term as the new name for his art history program at the University of East Anglia.

Generally speaking, the new broad discipline proposes to approach art from a global perspective in a way that transcends chronology and geography and to study it from all relevant disciplinary viewpoints imaginable, ranging from visual culture, cultural studies, and anthropology to neuroscience and philosophy. It explores new ways to not only account for how art and the discourses around it ar increasingly global and interdisciplinary, but also put into contention the traditional Eurocentric focus on Western art‐historical canons formed during colonialism and that are its legacy. In 2006, Hans Belting and Peter Weibel proposed to distinguish global art, as a new phenomenon in the contemporary art scene, from world art, in the sense of world art heritage, while acknowledging how the areas of practice, historicization, and musealization may be linked in several ways.

This seminar seeks to examine the connections between world art studies as the global and multidisciplinary examination of the visual arts, and the global turn in contemporary art and art history.

What are the implications of these connections for emergent “global art histories”? Four areas of investigation are proposed: (1) Rethinking the Canon: world art and world art histories, key concepts and approaches. (2) Compression vs. Expression: critiques and theoretical and methodological problems. (3) Institutional Frameworks: the survey text, course, and exhibition. (4) Global Art Histories (through case studies): complicities as well as potentialities in theory and practice.

Special to winter 2022 seminar :                                        

This will be the third time I have taught this course. In this rendition, the seminar participants will have the option to work with the Montreal Museum of Fine Arts’s curators (Laura Vigo and Iris Amizlev) of the Arts of One World exhibition to devise experimental audio tracks on select works in the exhibition drawing from insights and training from the course (for the seminar, students would be working on Phase I only – research and development, and innovation, designed in partnership with the Museum and my grant project team). Containing over 10,000 archaeological objects and works by artists from many different cultures, the Museum’s encyclopedic collection is one of the oldest and most prestigious in Canada. In November 2019, the collection’s ten galleries constituting the Stephan Crétier and Stéphany Maillery Wing were completely refurbished and unveiled to the public. After a few months, like the rest of the city due to COVID, the museum closed this wing off to the public. It is anticipated to reopen in 2021.

This relatively new permanent survey exhibition is an ideal case study for the course topic and students will be able to continue (after the course, onwards to Phase II, as graduate student researchers) and publish audio tracks as part of museum guides available online in connection with the Beyond the Museum Walls (FQRSC)/Thinking Through the Museum (SSHRC) Team Grants projects for which I am a Co‐Investigator/Collaborator respectively.

For the course, students will have a second option for their final project available to them, which is to use their own dissertation project as a case study on how and what to be mindful of in designing from the onset research projects that are responsive to the systemic issues addressed by the global art histories decolonial framework and the discipline of art history in general.

Bibliographie

Belting, Hans and Buddensieg, Andrea. “From Art World to Art Worlds.” The Global Contemporary and the Rise of New Art Worlds. Ed. Hans Belting, Andera Buddensieg, and Peter Weibel. Karlsruhe, Germany: ZKM; Cambridge, MA: MIT Press, 2013. 28‐31.

Belting, Hans. “The Plurality of Art Worlds and the New Museum.” The Global Contemporary and the Rise of New Art Worlds. Ed. Hans Belting, Andera Buddensieg, and Peter Weibel. Karlsruhe, Germany: ZKM; Cambridge, MA: MIT Press, 2013. 246‐254.

Bourriaud, Nicolas, “Altermodern,” 11‐24; Enwezor, Okwui, “Modernity and Postcolonial Ambivalence,” 25‐41; Demos, T.J., “The Ends of Exile: Towards a Coming Universality?” 73‐89. Altermodern: Tate Triennial 2009. Ed. Nicolas Bourriaud. Exh. cat. London: Tate Britain, 2009.

Gaonkar, Dilip Parameshwar. “On Alternative Modernities.” Alternative Modernities. Ed. Dilip Parameshwar Gaonkar. Durham and London: Duke University Press, 2001. 1‐23.

Gardner, Anthony. “Whither the Postcolonial?” Global Studies: Mapping Contemporary Art and Culture. Ed. Hans Belting, Jacob Birken, Andrea Buddensieg, and Peter Weibel. Ostfildern: Hatje Cantz; Karlsruhe: ZKM 2011. 142‐157

Hou Hanru, “Towards a New Locality: Biennials and ‘Global Art’.” The Manifesta Decade: Debates on Contemporary Art Exhibitions and Biennials in Post‐Wall Europe. Ed. Barbara Vanderlinden and Elena Filipovic. Cambridge, MA: MIT Press, 2005. 57‐62.

JIM, Alice Ming Wai. “Dealing with Chiastic Perspectives: Global Art Histories in Canada.” Negotiations in a Vacant Lot: Studying the Visual in Canada. Ed. Lynda Jessup, Keri Cronin, and Kirsty Robertson. Montreal; Kingston, ON: McGill‐Queen’s University Press, 2014. 66‐90.

JIM, Alice Ming Wai. « Mise en perspective chiasmique des histoires de l’art planétaire au Canada. » Muséologies, 9, 1 (2018), 97‐11.

Joyeux‐Prunel, Béatrice. “Art History and the Global: Deconstructing the Latest Canonical Narrative.” Journal of Global History, 14, 3 (2019), 413–435.

Mosquera, Gerardo. “Beyond Anthropophagy: Art, Internationalization, and Cultural Dynamics.” The

Global Contemporary and the Rise of New Art Worlds. Ed. Hans Belting, Andera Buddensieg, and Peter Weibel. Karlsruhe, Germany: ZKM; Cambridge, MA: MIT Press, 2013. 233‐238.

Taylor, Charles. “Two Theories of Modernity.” Alternative Modernities. Ed. Dilip Parameshwar Gaonkar. Durham; London: Duke University Press, 2001. 172‐196.

Van Damme, Wilfried. “Intercultural Comparison and Art” and “Interculturalization in Art: Conceptualizing Processes and Products.” World Art Studies: Exploring Concepts and Approaches. Ed. Kitty Zijlmans and Wilfried van Damme. Netherlands: Valiz, Amsterdam, 2008. 293‐302 and 375‐384

Wainwright, Leon. “Beyond globalisation in contemporary art history: learning from the transnational Caribbean.” Changing Perspectives: Dealing with Globalisation in the Presentation and Collection of Contemporary Art. Ed. Mariska ter Horst. Amsterdam: The Royal Tropical Institute (KIT), Amsterdam, 2012. 204‐212.

Weisenfeld, Gennifer. “Reinscribing Tradition in a Transnational Art World.” Asian Art History in the Twenty‐First Century. Ed. Vishakha Desai. Williamstown, Mass.: Sterling and Francine Clark Art Institute, 2007. 181‐98.

Westen, Mirjam. “How Many Nations are Inside of You? Cultural Diversity, Global Art and Art Museums.” Changing Perspectives: Dealing with Globalisation in the Presentation and Collection of Contemporar Art. Ed. ter Horst, Mariska. Amsterdam: The Royal Tropical Institute (KIT), Amsterdam, 2012. 76‐85.

Mémoire, héritage et commémoration

Horaire :
jeudi, 9h – 12h

Lieu :
Université de Montréal, 3150 Jean-Brillant, Pavillon Lionel-Groulx

Professeure :
Louise Vigneault

Description : séminaire en français

Ce séminaire propose de réfléchir sur la manière dont les données historiques, les constructions culturelles, les héritages collectifs, les lieux de mémoire et de commémoration se trouvent investis à travers les productions artistiques. La relation que les communautés minoritaires, marginalisées ou racisées entretiennent avec leur mémoire historique et culturelle, et la manière dont les artistes s’appliquent à les transmettre, à les réinterpréter, voire même à les réinventer, offrent un champ de réflexions sur les modes de transferts entre le passé, le présent et l’avenir. À ce titre, comment s’articule la mémoire des lieux, des bagages et des ancrages culturels ? Quelles relations certains créateurs entretiennent-ils avec les mémoires douloureuses, occultées ou imposée ? Comment les constructions mythologiques arrivent-elles à résoudre les tensions sociopolitiques et les contradictions au sein des projets collectifs ?

Comment les artistes y participent-ils ou arrivent-ils à les démanteler ? Comment gèrent-ils les héritages culturels multiples, voire conflictuels ? Comment les différentes dimensions de la mémoire s’articulent-elles et se trouvent concrétisées à travers l’espace, le temps, les langages visuels ou performatifs ? Comment certains artistes réussissent-ils à contourner les monuments et les régimes de visibilité ? Ces réflexions posent également la question de l’oubli, du refoulement, du non-dit, de la manipulation de la mémoire, de l’invention ou de la réinvention de modèles représentationnels à des fins de cohésion sociale et de pérennisation. Le séminaire sera donc l’occasion de soulever ces questions en regard des moyens plastiques et performatifs mis en forme pour repenser ponctuellement ces héritages. Par le biais de textes théoriques et d’études de cas, puisés dans différentes disciplines des sciences humaines et sociales, l’étudiant.e sera invité.e à réfléchir sur ces problématiques, à travers l’exploration de différents langages et stratégies de représentation.

Bibliographie

AUGÉ, Marc. Les formes de l’oubli, Paris, Payot, 1998.

BAUSSANT, Michèle (dir.). Du vrai au juste : la mémoire, l’histoire et l’oubli, Québec, CELAT, PUL, 2006.

BLAIS, Mélissa, Francis DUPUIS-DÉRI, Lyne KURTZMAN et Dominique PAYETTE (dir.), Retour sur un attentat antiféministe, École Polytechnique, 6 décembre 1989, Montréal, Remue-ménage, 2010.

BLÜMLINGER, Christa (et al.). Théâtres de la mémoire : mouvement des images, Paris, Presses Sorbonne Nouvelle, 2013.

BOUCHARD, Gérard, Raison et contradiction. Le mythe au secours de la pensée, Québec, Nota bene/CEFAN, 2003.

COTTRET, Bertrand, Lauric HENNETON. Du bon usage des commémorations : histoire, mémoire et identité XVI – XXIe siècles, Rennes, Presses universitaires de Rennes, 2010.

DAHAN-GAIDA, Laurence (dir.). Dynamiques de la mémoire : arts, savoirs, histoire, Besançon, Presses Universitaire de Franche-Comté, 2010.

DEBARY, Octave, Laurier TURGEON (dir.). Objets & mémoires, Paris, Maison des sciences de l’homme ; Québec, PUL, CELAT, 2007.

DESPOIX, Philippe, Christine BERNIER (dir.). Arts de mémoire : matériaux, médias, mythologies, Montréal, Musée d’art contemporain de Montréal, 2007.

DIDI-HUBERMAN, Georges. Devant le temps. Histoire de l’art et anachronisme des images, Paris, 2000

– Images malgré tout, Paris, Éditions de Minuit, 2003.

– La ressemblance par contact. Archéologie, anachronisme et modernité de l’empreinte Paris, Éditions de Minuit, 2008.

DIMITRIJEVIC, Dejan (dir.). Fabrication des traditions. Invention de modernité, Éditions de la Maison des sciences de l’homme, 2004.

Entrepreneurs du commun, Monuments aux victimes de la liberté, Gatineau, Ottawa, Galerie AXENEO7, et Galerie de l’UQO, 2019.

Espace, « Monuments / Contre-monuments », n° 112, hiver. 2016.

FIRMIN, Eddy, « Corps noir capital discursif. Le Modèle noir, de Denise Murell au Musée d’Orsay », Minorit’Art, n° 3, avril 2019, p. 59-70.

GIRONDE, Michel et Philippe DAROS (dir.). Les mémoires de la violence : littérature, peinture, photographie, cinéma, Paris, L’Harmattan, 2009.

HARTOG, François, Régimes d’historicité : présentisme et expériences du temps, Paris, Seuil, 2003.

HIRSCH, Marianne, Family Frame. Photography Narrative and Postmemory, Cambridge, Harvard University Press, 1997.

HOBSBAWN, Eric, Terrence RANGER. L’invention de la tradition, Paris, Amsterdam. (The Invention of tradition, Cambridge, Cambridge University Press, 2012.

HUGLO, Marie-Pascale, Éric MÉCHOULAN et Walter MOSER. Passions du passé. Recyclages de la mémoire et usages de l’oubli, Paris, L’Harmattan, 2000.

HUYSSEN, Andrea. Twilight Memories, Making Time in a Culture of Amnesia, New York, et Londres, Routledge, 1995.

JEWSIEWICKI, Bogumil, Jocelyn LÉTOURNEAU (dir.). L’histoire en partage : usages et mises en discours du passé, Paris, L’Harmattan, 1996.

LAINEY, Jonathan. « Les colliers de wampum comme support mémoriel : le cas du Two Dog Wampum », dans Alain Beaulieu, Stephan Gervais, Martin Papillon, Les Autochtones et le Québec, Montréal, PUM, 2013, p. 93-112.

LANGFORD, Martha. Scissors, paper, stone: expressions of memory in contemporary photographic art, Montréal, McGill-Queen’s University Press, 2007.

LEVI, Primo. Le Devoir de Mémoire, Paris, Mille et une nuits, 1995.

MÉCHOULAN, Éric. La culture de la mémoire, ou comment se débarrasser du passé ? Montréal, PUM, 2008.

NELSON, Charmaine, Towards an African Canadian Art : Art, Memory, and Resistance, Concord, Captus Press, 2019.

NORA, Pierre. Les lieux de mémoire. Paris : Gallimard, 1984.

Protée, revue internationale de théories et de pratiques sémiotiques, « Mémoire et médiations », 32, 1, printemps 2004.

PINCHBECK, Michael, Staging Loss : Performance as Commemoration, Springer Book, 2018.

RICOEUR, Paul. La mémoire, l’Histoire, l’oubli, Paris, Seuil, 2010.

ROBIN, Régine. Le roman mémoriel : de l’histoire à l’écriture du hors-lieu, Longueuil, Le Préambule, 1989.

– « Transfert de mémoire. Autour du memorial de Berlin, dans Passions du passé. Recyclages de la mémoire et usages de l’oubli, Paris, L’Harmattan, 2000, p. 295-322.

– La mémoire saturée, Paris, Éditions Stock, 2003.

SAMMARCELLI, Françoise (dir.). Image et mémoire : Arts et littérature aux États-Unis (XX-XXIe siècles), Paris, Presses de l’Université Paris-Sorbonne, 2009.

SCHAMA, Simon. Le paysage de la mémoire, Paris, Seuil, 1999.

SEVERI, Carlo. Le principe de la chimère. Une anthropologie de la mémoire, Paris, Aesthetica, 2007.

TRAVERSO, Enzo. Le passé, mode d’emploi : Histoire, mémoire, politique, Paris, Fabrique, 2005.

– L’histoire comme champ de bataille : interpréter les violences du XXe siècle, Paris, Découvertes, 2010.

TRÉPANIÈRE, Diane, Un cri un chant des voix. À la mémoire de la tragédie de Polytechnique, Montréal, Remue-ménage, 2014.

VIGNEAULT, Louise, « Art autochtone : langue, oralité, communication », RACAR, 2016, 41, 1, p. 22-46.

YOUNG, James, The Stages of Memory : reflexions on memorial art, loss, and the spaces between, Amherst, University of Massachusetts Press, 2016.

WIEVIORKA, Annette. L’Ère des témoins, Paris, Plon, 1998.

YOUNG, James, « The Counter-Monument Memory against Itself in Germany », Critical Inquiry, 18, 2, hiver 1992, p. 267-296.

Périodes et territoires

Horaire :
lundi, 9h30 – 12h30

Lieu : UQÀM, R- 4215

Professeure :
Peggy Davis

Description : séminaire bilingue

Ce séminaire porte sur les approches actuelles des arts et de la culture visuelle des XVIIIe et XIXe siècles, lesquelles contribuent au renouvellement des méthodologies traditionnelles de l’histoire de l’art et à la critique du discours canonique de cette discipline. La lecture et l’analyse d’un corpus de textes récents (de la dernière décennie) feront apprécier comment l’histoire de l’art de cette période est aujourd’hui traversée par des questions de genre, de race et d’altérité ainsi que d’engagement politique et social.

Cette période historique étant par ailleurs marquée par la prolifération des images et des nouvelles technologies visuelles, nous nous intéresserons aux questions de média et de matérialité liées à la production artistique, mais aussi aux idéologies et aux conditions sociales et politiques qui rendent possible cette production artistique et sa réception. Le programme de lecture permettra de prendre le pouls de la recherche en histoire de l’art et de saisir les préoccupations actuelles des chercheur.e.s établi.e.s ou en voie d’établissement, mais aussi de stimuler la réflexion sur le livre monographique comme genre, en termes de stratégies d’écriture et d’organisation du propos, et comme support à l’expression d’un projet intellectuel complexe et de grande envergure.

Bibliographie

AMANN, Elizabeth, Dandyism in the Age of Revolution : the art of the cut, Chicago / London, The University of Chicago Press, 2015, 288 p. : ill.

ARASA, Yaelle, Davidiennes: les femmes peintres de l’atelier de Jacques-Louis David (1768-1825), Paris, L’Harmattan, 2019, 210 p.

BALDUCCI, Temma, JENSEN, Heather Belnap (eds), Women, Femininity and Public Space in European Visual Culture, 1789–1914, Ashgate, 2014, 317 p.

BALDUCCI, Temma, JENSEN, Heather Belnap, WARNER, Pamela (eds), Interior portraiture and masculine identity in France : 1789-1914, Farnham, Surrey : Ashgate c2011

BANN, Stephen, Distinguished Images: Prints and the Visual Economy in Nineteenth-Century France. New Haven and London: Yale University Press, 2013, 264 p.

BARRINGER, Tim, « Introduction. John Ruskin: Seer of the Storm-Cloud », Unto This Last: Two Hundred Years of John Ruskin, New Haven, Yale Center for British Art / Yale University Press, 2018, p. 13-29.

BURNS, Emily C., Transnational Frontiers: the American West in France, Norman: University of Oklahoma Press, 2018, 231 p.

CALLEN, Anthea, Looking at Men: Art, Anatomy and the Modern Male Body, New Haven / London, Yale University Press, 2018, 272 p.

CARTER, Karen L., WALLER, Susan, eds, Foreign Artists and Communities in Modern Paris, 1870– 1914. Strangers in Paradise, Farnham, Ashgate, 2015, 278 p.

CHANG, Ting, Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris. Surrey, England: Ashgate Publishing Limited, 2013, 197 p.

CLAYSON, Hollis, Illuminated Paris: Essays on Art and Lighting in the Belle Époque, Chicago: University of Chicago Press, 2019, 248 p.

CONTOGOURIS, Ersy, Emma Hamilton and Late Eighteenth-Century European Art : Agency, Performance, and Representation, New York, Routledge, 2018, 177 p.

CROWLEY, John, E., Imperial Landscapes. Britain’s Global Visual Culture, 1745–1820, 2011, 282 p.

DABAKIS, Melissa, A Sisterhood of Sculptors, American Artists in Nineteenth-Century Rome, University Park, Pennsylvania, The Pennsylvania State University Press, 2014, 286.

DAVIS, Melody, Women’s Views. The Narrative Stereograph in Nineteenth-Century America, 2015.

DELUERMOZ, Quentin, dir. et al, « Le XIXe siècle au prisme des visual studies. Entretien de Quentin Deluermoz et Emmanuel Fureix avec Manuel Charpy, Christian Joschke, Ségolène Le Men, Neil McWilliam, Vanessa Schwartz», Revue d’histoire du XIXe siècle 2/2014 (n° 49), p. 139-175.

DIAS, Rosie, SMITH, Kate, ed., British Women and Cultural Practices of Empire, 1770-1940, New York \ Londres, Bloomsbury Visual Arts, 2019.

EISENMAN, Stephen F., From Corot to Monet: The Ecology of Impressionnism, Skira, 2011, 384 p.

ÉTIENNE, Noémie, La restauration des peintures à Paris (1750-1815). Pratiques et discours sur la matérialité des oeuvres d’art, Rennes, PUR, 2012, 353 p.

FEND, Mechthild, Fleshing Out Surfaces: Skin in French Art and Medicine, 1650-1850,

Manchester University Press, 2017, 314 p.

FEND, Mechthild , HYDE, Melissa, LAFONT, Anne, Plumes et pinceaux : discours de femmes sur l’art en Europe, 1750-1850, Paris, Les Presses du réel, 2012, vol. 1.

FEND, Mechthild, Les limites de la masculinité. L’androgynie dans l’art et la théorie de l’art (1750-1850), Paris, La Découverte, coll. « Textes à l’appui / Genre & sexualité », 2011, 306 p.

FORDHAM, Douglas, Aquatint Worlds: Travel, Print, and Empire, 1770–1820, New Haven & Londres, Paul Mellon Center for British Art, Yale University Press, 2019, 315 p.

FOUCHER, Charlotte, Créatrices en 1900 : femmes artistes en France dans les milieux symbolistes, Paris, Mare & Martin, 2015, 358 p.

FREUND, Amy, Portraiture and Politics in Revolutionary France, University Park, Pennsylvania, The Pennsylvania State University Press, 2014, 294 p.

GRACIANO, Andrew dir. et al, Exhibiting Outside the Academy, Salon and Biennial, 1775–1999: Alternative Venues for Display, Aldershot, Ashgate Publishing, 2015, 308 p.

GUENTNER, Wendelin, ed. et al, Women Art Critics in Nineteenth- Century France. Vanishing Acts. Newark: University of Delaware Press, 2013, 366 p.

GUICHARD, Charlotte, Graffitis : inscrire son nom à Rome : XVIe-XIXe siècle, Paris, Seuil, 2014, 168 p.

GUICHARD, Charlotte, La Griffe du peintre. La valeur de l’art (1730-1820), Seuil, 2018, 368 p.

HELMREICH, Ane, Nature’s Truth : Photography, Painting, and Science in Victorian Britain, University Park, The Pennsylvania State University Press, 2016, 255..

HIBBERD, Sarah, WRIGLEY, Richard, dir. et al, Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions, Ashgate, 2014, 267 p.

HORNSTEIN, Katie, Picturing War in France, 1792–1856, New Haven/ Londres, Yale University Press, 2017, 197 p.

HUNTER, Mary, The Face of Medicine. Visualising Medical Masculinities in Late Nineteenth- Century Paris, Manchester University Press, 2016, 232 p.

ISKIN, Ruth, The Poster: Art, Advertising, Design, and Collecting, 1860s–1900s, Dartmouth College Press, 2014, 408 p.

JOHNSON, Dorothy, David to Delacroix. The Rise of Romantic Mythology, Chapell Hill, The University of North Carolina Press, 2011, 233 p.

KORCHANE, Mehdi, Pierre Guérin (1774-1833), Paris, Mare & Martin, 2018, 400 p..

LAFONT, Anne, L’art et la race – L’Africain (tout) contre l’oeil des Lumières, Paris, Presses du réel, 2019.

LAUGÉE, Thierry, Figures du génie dans l’art français (1802-1855), préface de Barthélémy Jobert, Paris, PUPS, 2016, 445 p.

LÉCOSSE, Cyril, Jean-Baptiste Isabey. Petits portraits et grands desseins, Paris, Comité des Travaux Historiques et Scientifiques/Institut National d’Histoire de l’Art (collection « L’art et l’essai »), 2018, 323 p.

LERNER, Jillian, Graphic culture : Illustration and Artistic Enterprise in Paris, 1830-1848, Montréal : McGill-Queen’s University Press, 2018, 252 p.

MAINARDI, Patricia, Another World. Nineteenth-Century Illustrated Print Culture, New Haven, Londres, Yale University Press, 2017, 296 p.

MANSFIELD, Elizabeth C., The Perfect Foil. François-André Vincent and the Revolution in French Painting, Minneapolis, University of Minnesota Press, 2012, 320 p. (UQAM Arts ND553 V56 M36. 2012)

McQUEEN, Alison, Empress Eugénie and the Arts: Politics and Visual Culture in the Nineteenth Century, Londres, Routledge, 2011, 380 p.

MICHEL, Christian, MAGNUSSON, Carl, dir. et al, Penser l’art dans la seconde moitié du XVIIIe siècle : théorie, critique, philosophie, histoire, Rome, Villa Médicis, 2013, 757 p.

MYRONE, Martin, CONCANNON, Amy, William Blake, 2019, Londres, Tate, 224 p.

NELSON, Charmaine A., Slavery, Geography and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica, New York / Londres, Routledge, 2017, 416 p.

NOCHLIN, Linda, Misère: The Visual Representation of Misery in the 19th Century , Londres, Thames & Hudson, 2018, 176 p.

O’BRIEN, David, Exiled in Modernity : Delacroix, Civilization, and Barbarism, University Park, Pennsylvania State University Press, 2018, 226 p.

PADIYAR, Satish, SHAW, Philip, SIMPSON, Philippa (eds), Visual Culture and the Revolutionary and Napoleonic Wars , Milton Park, Abindgon, Oxon : Routledge, Taylor & Francis Group, 2017.

PARK, Sun Young, Ideals of the Body: Architecture, Urbanism, and Hygiene in Postrevolutionary Paris, University of Pittsburgh Press, 2018, 372 p.)

PICHET, Isabelle, Le tapissier et les dispositifs discursifs au Salon (1750-1789). Expographie, critique et opinion, Paris, Hermann, 2012, 186 p.

POIRIER, Marjolaine, Imaginer Québec au XVIIIe siècle. L’illusion du lieu et les vues d’optique des graveurs allemands, Codicille, 2018, 169 p.

QUILLEY, Geoff, Empire to Nation: Art, History and the Visualization of Maritime Britain, 1768– 1829, New Haven /Londres, Yale University Press, 2011, 294 p.

ROBERTS, Jennifer L., Transporting Visions.The Movement of Images in Early America, University of California Press, 2014, 226 p.

SMENTEK, Kristel, Mariette and the Science of the Connoisseur in Eighteenth-Century Europe, Farnham, Ashgate, 2017, 303 p.

SOFIO, Séverine, Artistes femmes. La parenthèse enchantée XVIIIe-XIXe siècles, Paris, CNRS Éditions, 2016, 380 p.

TAWS, Richard, The Politics of the Provisional. Art and Ephemera in Revolutionary France, Penn State University press, 2013.

TILLIER, Bertrand, L’Artiste dans la cité. 1871-1918, Champ Vallon, 2019, 271 p. (UQAM N72P6T55.2019)

VENTURA, Gal, Maternal Breast-Feeding and Its Substitutes in Nineteenth-Century French Art, Leiden and Boston: Brill, 2018, 469 pp.

WAT, Pierre, Pérégrinations : paysages entre nature et histoire, Vanves, Hazan, 2017, 279 p.

WETTLAUFER, Alexandra K., Portraits of the Artist as a Young Woman: Painting and the Novel in France and Britain, 1800-1860, Colombus, The Ohio Sate University Press, 2011, 338 p.

WOOD, Marcus, Black Milk: Imagining Slavery in the Visual Cultures of Brazil and America, Oxford University Press, 2013, 523 p.

WRIGLEY, Richard , Roman Fever: Influence, Infection, and the Image of Rome 1700-1870, New Haven/London, Yale University Press, 2013, 321 p.

ZMELTY, Nicholas-Henri, Toulouse-Lautrec La stratégie de l’éphémère, Paris, Hazan, 2019, 280 p.

ZMELTY, Nicolas-Henri, L’affiche illustrée au temps de l’affichomanie : 1889-1905, Paris, Mare & Martin, 2014, 279 p.