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Kunsthistorisches Institut

Dr. Pamela Kort

Gastprofessorin für Moderne und zeitgenössische Kunst

Büro: Rämistrasse 73, RAK-305

Sprechstunde im Semester: dienstags 17:00 – 18:00 Uhr, oder nach Vereinbarung
Tel: +41 (0)44 634 28 32
Fax: +41 (0)44 634 49 14

 

 

Aktuelle Lehrveranstaltungen HS 2012

Vorlesung:

„Yves Klein, Zero, and Fluxus in Germany: 1957-1970"
Zeit: donnerstags, 14:00-15:45 Uhr
Raum:
Lehrveranstaltungsnummer: 4485

 

Seminar:

„Gerhard Richter and Sigmar Polke: 1952-1970"
Zeit: freitags, 16:15-18:00 Uhr
Raum:
Lehrveranstaltungsnummer: 4488

 

Lehrveranstaltungen FS 2012

Vorlesung:

Abstract Painting: Its Practitioners, Advocators and Detractors in Germany and Switzerland (1951-1964)
Zeit: donnerstags, 12:15-14:00 Uhr
Raum: KOL-F-118
Lehrveranstaltungsnummer: 4410
Information zur Vorlesung:
The first exhibition of the newly re-founded Deutsche Künstlerbund, Germany’s most renown artists’ organization, took place in 1951. Shortly thereafter abstract painting increasingly became the dominant aesthetic mode in Germany remaining so until 1964, when Pop-Art began to flood into Europe. This lecture/colloquium will examine not just the differing aesthetic positions of a panoply of German, French, and American abstractionists active in Germany and Switzerland between 1951 and 1964, but the critical debate around abstraction during these years. It will also highlight the role played by such art-historians as Will Grohmann, Werner Haftmann, and John Anthony Thwaites, in this discussion, as well as Arnold Rüdlinger’s pioneering exhibitions of abstract art in the Kunsthalle Bern and Kunsthalle Basel.

Leistungsnachweis:
Der Leistungsnachweis erfolgt durch regelmässige Anwesenheit in der Vorlesung und durch eine Prüfung in der letzten Semesterwoche.

 

Seminar:

Zeit: freitags, 12:15-13:45 Uhr
Raum: KO2-D-54
Lehrveranstaltungsnummer: 4411
Information zum Seminar:
In 1914 the utopian artist, Paul Scheerbart published Glasarchitektur, a compilation of 111 paragraphs in favour of glass as a building material. Scheerbart, who envisioned the world as becoming a single source of light, also didn’t hesitate to argue: “On Venus and Mars they will raise their eyebrows in astonishmet as the surface of the Earth changes beyond recognition.” Three years later the barefoot prophet, Johannes Baader not only campaigned for a seat in the Reichstag, he also founded a “Christus GmbH” with Dadaist Raoul Hausmann. That year too Rudolf Steiner decided to enter politics. All three interacted with one another. Thirty years later, Joseph Beuys would begin to take up Steiner’s books, although he wouldn’t make public the degree to which his work was indebted to his anthroposophical views until the early 1970s. Meanwhile, and no later than 1949, Ernst Wilhelm Nay, had begun to make art deeply informed by the utopian philosophy of the Swiss philosopher Jean Gebser. Later in the 1960s Sigmar Polke would also begin to make art, informed by their notions of utopia. This seminar will reveal the degree to which twentieth century occult doctrines, philosophy, new-age ideas, and scientific discoveries as well as science fiction informed these artists’ differing aesthetics. This context provides the key to understanding the work Thomas Hirschhorn is making today.

Leistungsnachweis:
Der Leistungsnachweis erfolgt durch ein Referat und eine schriftliche Hausarbeit (letzteres nur für Module mit grossem Beitrag). Zudem wird von den KursteilnehmerInnen die regelmässige Anwesenheit in den Seminarstunden sowie die selbständige Vorbereitung der auf dem Seminarprogramm für die einzelnen Stunden angegebenen Lektüretexte erwartet. Die Lektüretexte werden im Handapparat der Bibliothek und auf OLAT zur Verfügung gestellt. Letztmöglicher Abgabetermin für die schriftliche Hausarbeit ist der 25. Juni 2012.

 

Forschungsstipendium

Lehrtätigkeit am Max-Planck-Institut für Wissenschaftsgeschichte, Berlin:
August - September 2011
August - September 2010

 

Akademische Laufbahn

Arnheim Professor
Humboldt Universität, Berlin
(Oktober 2010 - März 2011)

Adjunct Professor
Barnard College, New York City
(September 1999 - Januar 2000)

 

Kuratierte Projekte (Auswahl)

Eugen Schönebeck – 1957 – 1967, Schirn Kunsthalle Frankfurt (February – May 2011)

Clemente – Shipwreck with the Spectator 1974 – 2004, Museo d’Arte Contemporanea Donnaregina, Naples (May – October 2009).

Darwin – Art and the Search for Origins, Schirn Kunsthalle Frankfurt (February – May 2009).

I Like America: Fictions of the Wild West, Schirn Kunsthalle Frankfurt (September 2006 – January 2007).

Rodin Beuys, Schirn Kunsthalle Frankfurt (September - November 2005).

Comic Grotesque: Wit and Mockery in German Art, 1870-1940, Neue Galerie New York, New York City (October 2004 – February 2005).

Grotesk! 130 Jahre Kunst der Frechheit. Schirn Kunsthalle Frankfurt; Haus der Kunst, Munich (June – September 2003).

Paul Klee 1933. Städtische Galerie im Lenbachhaus, Munich; Kunstmuseum Bern, Bern; Schirn Kunsthalle Frankfurt; Hamburger Kunsthalle, Hamburg (February 2003 - January 2004).

Paul Klee – In der Maske der Mythos. Haus der Kunst, Munich; Museum Boijmans Van Beuningen, Rotterdam (October 1999 - May 2000).

Georg Baselitz: Wir besuchen den Rhein. Dresdner Kunstverein, Dresden (April - June 1997).

Immendorff: Respekt I. Dresdner Kunstverein, Dresden (September - October 1996)

 

Veröffentlichungen (Auswahl)

„Ernst Wilhelm Nay: The Unity of Form and Content in Painting and its Adversaries in Germany,” in Ernst Wilhelm Nay (London: Ridinghouse, 2012). Im Erscheinen

„Friedrich Schröder-Sonnenstern: From Barefoot Prophet to Avant-Garde Artist,” in Pamela Kort, Friedrich Schröder-Sonnenstern (Exhibition catalogue, New York, Michael Werner, March – April 2011), n.p.

„Identity and Engagement in the Painting of Eugen Schönebeck,” in Eugen Schönebeck – 1957 -1967, edited by Pamela Kort and Max Hollein (Exhibition catalogue, Frankfurt, Schirn Kunsthalle Frankfurt, February – May 2009), pp. 97-136.

„Arnold Böcklin, Max Ernst, and the Debate around Origins and Survivals in Germany and France,” in Darwin – Art and the Search for Origins, edited by Pamela Kort and Max Hollein (Exhibition catalogue, Frankfurt, Schirn Kunsthalle Frankfurt, February – May 2009), pp. 24-50.

Blumen mit Plastik (1935) and the Genesis of Ernst Ludwig Kirchner’s ‘Late Work’” in Pamela Kort, The Unexpected New: Late Work of Ernst Ludwig Kirchner (Exhibition catalogue, New York, Michael Werner, April – June 2008), n.p.

„Ernst Ludwig Kirchner’s Berlin Street Scene" (New York: Neue Galerie New York, 2007).

„Rodin-Lehmbruck-Beuys,"in Rodin Beuys,  edited by Pamela Kort and Max Hollein (Exhibition catalogue, Frankfurt, Schirn Kunsthalle Frankfurt, September - November 2005), pp. 64-109.

 „The Grotesque: Modernism’s Other,” in Comic Grotesque: Wit and Mockery in German Art, 1870-1940, edited by Pamela Kort (Exhibition catalogue, Neue Galerie New York October 2004 – February 2005), pp. 12-29.

„Paul Klee und die Zeichnungen zur ‘national-sozialistischen Revolution’’’ in Paul Klee 1933 (Exhibition catalogue, Munich, Städtische Galerie im Lenbachhaus; Bern, Kunstmuseum Bern; Frankfurt, Schirn Kunsthalle Frankfurt; Hamburg, Hamburger Kunsthalle, February - December 2003), pp. 183-216.

„The Myths of Expressionism in Twentieth-Century America,” in New Worlds: German and Austrian Art 1890-1933, edited by Renée Price with the assistance of Pamela Kort and Leslie Topp (Cologne, DuMont, 2001), pp. 260-293.

„Paul Klee and Myth: The Insurgent Voice of Art” in Paul Klee – In der Maske des Mythos, edited by Pamela Kort (Exhibition catalogue, Munich,

Haus der Kunst; Rotterdam, Museum Boijmans Van Beuningen, October 1999 - May 2000), pp. 9-38.

„Joseph Beuys' 'Arena': The Way In," in Joseph Beuys 'Arena' -- where would I have got if I had been intelligent! Edited by Lynne Cooke and Karen Kelly (New York, Dia Center for the Arts, 1994), pp. 18-33.

Jörg Immendorff im Gespräch mit Pamela Kort (Köln, Kiepenheuer & Witsch, 1993).

 

Vorträge (Auswahl)

„Identität und Engagement in der Malerei Eugen Schönebecks.” A lecture in Max Liebermann Haus in connection with the Rudolf-Arnheim-Professorship at Humboldt University, Berlin, 16 February 2011.

„Ernst Ludwig Kirchner und das ‘ungewohnte Neue’ (1924-1930).” A lecture at the Museum Ludwig, Cologne, 11 May 2010.

„Constructing Identity in Post-World-War Two German Art.” A lecture at the Saint Louis Museum of Art, 4 September 2008.

„The Unfamiliar New: Reconsidering the Relationship between ‘Expressionist’ and ‘Neo-Expressionist’ Art.” A lecture at the Detroit Institute of the Arts, 12 March 2008.

„Ernst Ludwig Kirchner’s Berlin Street Scene (1913-14).” A lecture at the Neue Galerie New York, 9 October 2007.

„Beuys and Fluxus: Décollaging the Myth.” A lecture at the Busch-Reisinger and Fogg Art Museums, Harvard University, 14 April 2007.

„Rethinking the Comic-Grotesque,” A lecture at SITE Santa Fe’s Fifth International Biennial, 12 August 2004.

„The Grotesque: Modernism’s Other.”  A lecture at the Busch-Reisinger and Fogg Art Museums, Harvard University, 7 February 2002.

 „The Theme of Heimat in George Baselitz’s Work: 1960-1999.” A lecture at the Busch-Reisinger and Fogg Art Museums, Harvard University, 23 October 1999.

„ Inherited Legacies, Bequests Bestowed-Beuys: The Profile of a Successor." A lecture at the Ringling Museum of Art, Sarasota, 5 December 1998.

Citation, Transformation, Innovation: Beuys and Leonardo." A lecture at the Dia Center for the Arts, New York City, 3 December 1998.

Weiterführende Informationen