080064 SE Provenance Research (2023S)
Continuous assessment of course work
Labels
zusammen mit Christian Huemer, Ph.D. (Österreichische Galerie Belvedere)
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
- Registration is open from We 15.02.2023 10:00 to We 22.02.2023 10:00
- Deregistration possible until Tu 07.03.2023 10:00
Details
Language: German
Lecturers
Classes (iCal) - next class is marked with N
- Friday 03.03. 12:30 - 18:30 Seminarraum 3 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-25
- Wednesday 26.04. 09:00 - 15:00 Seminarraum 3 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-25
- Wednesday 17.05. 09:00 - 15:00 Seminarraum 3 d. Inst. f. Kunstgeschichte UniCampus Hof 9 3F-EG-25
Information
Aims, contents and method of the course
Objects have a history. They were made, sold, transformed, and exhibited. They were stolen, broken, repaired, restituted. Sometimes multiple times during their lifetime. Provenance research retraces these stories. It involves the study of different sources, from sale catalogs to photograph, museum record to personal archives, and sometime also the object itself. Thus, provenance is a form of history. Furthermore, provenance research also has a history. It is closely connected to the more classical history of collection and has taken during the last year a new political dimension on the light of NS and colonial-looted art. In this seminar, we will introduce the students to some history, theory and methods of provenance research. We will present them with museums in Vienna that are at the forefront of provenance research, in particular the Belvedere Museum, the Volkskunde Museum and the Weltmuseum The idea is to familiarize the participants with one of the most dynamic field of art history and history today, with also a dynamic job activity. Finally, we will also consider provenance research critically, and address questions related to the forced circulation of art and material culture, fraud, and the question of restitution.
Assessment and permitted materials
Each student is expected to
- submit a written essay (approximately 12 to 15 pages, double-spaced) by the end of the semester (equivalent to 50% of the final grade), or a creative essay (see below).
- gives a presentation of approx. 10 minutes (corresponds to 25% of the final grade)
- reads the given literature and actively participates in the discussion (corresponds to 25% of the final grade)
- submit a written essay (approximately 12 to 15 pages, double-spaced) by the end of the semester (equivalent to 50% of the final grade), or a creative essay (see below).
- gives a presentation of approx. 10 minutes (corresponds to 25% of the final grade)
- reads the given literature and actively participates in the discussion (corresponds to 25% of the final grade)
Minimum requirements and assessment criteria
Option 1 is a 12 – 15-page research paper (double-spaced) that incorporates
both primary and secondary sources into an original argument related to course themes but
reflective of you own academic / creative interests. Using outside research and ideas from
the class, investigate your research question(s) by developing a change over time narrative,
using comparative case studies or working with broader theoretical concepts to tell us
something new and historically significant. You must use at least 10 sources, at least 3 of
which must be primary. Please submit a full bibliography with your paper and underline or
highlight your thesis statement in the introduction to your paper.Option 2 is a “creative” project that encompasses the same amount of research as the
“traditional” paper, but presents those findings in new, public-facing ways. Like the
research paper, you will rely on at least 10 sources, at least 3 of which must be primary,
and you must form an original argument. Your argument, though, can be presented
visually, three-dimensionally, orally, virtually—the sky is the limit. Remember, per our
discussions this semester, that objects of any kind hold a host of social, political, and
cultural contexts within and around them. With this in mind, how might you create your
own argument beyond academic writing? Projects can take the form of (for
example) podcasts, exhibition proposals, maps, and so on.
both primary and secondary sources into an original argument related to course themes but
reflective of you own academic / creative interests. Using outside research and ideas from
the class, investigate your research question(s) by developing a change over time narrative,
using comparative case studies or working with broader theoretical concepts to tell us
something new and historically significant. You must use at least 10 sources, at least 3 of
which must be primary. Please submit a full bibliography with your paper and underline or
highlight your thesis statement in the introduction to your paper.Option 2 is a “creative” project that encompasses the same amount of research as the
“traditional” paper, but presents those findings in new, public-facing ways. Like the
research paper, you will rely on at least 10 sources, at least 3 of which must be primary,
and you must form an original argument. Your argument, though, can be presented
visually, three-dimensionally, orally, virtually—the sky is the limit. Remember, per our
discussions this semester, that objects of any kind hold a host of social, political, and
cultural contexts within and around them. With this in mind, how might you create your
own argument beyond academic writing? Projects can take the form of (for
example) podcasts, exhibition proposals, maps, and so on.
Examination topics
- historical knowledge
- critical knowledge
- practical perspective
- creativity
- critical knowledge
- practical perspective
- creativity
Reading list
Bodenstein, Felicity, Damiana Otoiu, and Eva-Maria Troelenberg (ed.), Contested Holdings. Museum Collections in Political, Epistemic, and Artistic Processes of Return, New York and London, Berhgan Book, 2022.Gail Feigenbaum, Inge Jackson Reist (eds.), Provenance. An Alternate History of Art, Los Angeles, Getty Publications, 2012.Fleckner, Uwe, and Thomas W. Gaehtgens and Christian Huemer (eds.) Markt und Macht. Der Kunsthandel im ‘Dritten Reich’, Berlin, De Gruyter, 2017.Förster, Larissa and al. Introduction to the conference anthology. Provenienzforschung zu ethnografischen Sammlungen der Kolonialzeit. Positionen in der aktuellen Debatte [English title: Provenance research on ethnographic collections from the colonial era]. Electronic publication from the conference of the same title held at the Museum Fünf Kontinente, Munich, 7–8 April, 2017. https://www.materialculture.nl/sites/default/files/2018-09/A%20conference%20on%20postcolonial%20provenance%20research.pdfGàldy, Andrea, Ronit Sorek, Netta Assaf, Gal Ventura, Collecting and Provenance. Cambridge Scholars Publishing, 2021.Milosch, Jane, and Nick Pearce (ed.), Collecting and Provenance. A Multidisciplinary Approach, Rowman and Littlefield, 2022.Oswald, Margareta. Working Through Colonial Collections: An Ethnography of the Ethnological Museum in Berlin. Leuven : University Press, 2022. https://library.oapen.org/viewer/web/viewer.html?file=/bitstream/handle/20.500.12657/58949/9789461664242.pdf?sequence=12&isAllowed=y. In particular: “Researching provenance: The politics of writing history” (chap.6).Savoy, Bénédicte, and Felwinn Sarr, Restituer le patrimoine africain. Vers une nouvelle éthique relationnelle. Rapport remis au Président de la République Emmanuel Macron le 23 novembre 2018. https://www.vie-publique.fr/sites/default/files/rapport/pdf/194000291.pdfTompkins, Arthur. Provenance Research Today Principles, Practice, Problems. Lund
Humphries, 2020.Von Zinnenburg Carroll, Khadija, The Contested Crown. Repatriation Politics between Europe and Mexico, Chicago, University of Chicago Press, 2021.Zuschlag, Christoph, Einführung in die Provenienzforschung: Wie die Herkunft der Kultur entschlüsselt wird, München, C. H. Beck 2022.
Association in the course directory
Last modified: Su 05.03.2023 08:48