Books by Christopher S Wood
Forgery Replica Fiction: Temporalities of German Renaissance Art, 2008
A History of Art History, 2019
MacKeen and Michelle Komie, as well as to the designer, Julie Fry. This book has been composed in... more MacKeen and Michelle Komie, as well as to the designer, Julie Fry. This book has been composed in Albertina.
Anachronic Renaissance, 2010
Christopher S. Wood, Albrecht Altdorfer and the Origins of Landscape, 1993
The Vienna School Reader: Politics and Art Historical Method in the 1930s,, 2000
Erwin Panofsky, Perspective as Symbolic Form, transl. Christopher S, Wood, 1991
Papers by Christopher S Wood
Latin American and Latinx Visual Culture, 2020
Res: Anthropology and Aesthetics 73/74, 2020
Res: Anthropology and Aesthetics 73/74, 2020
Formbildung und Formbegriff: Das Formdenken der Moderne, ed. Markus Klammer, Malika Maskarinec, Ralph Ubl, and Rahel Villinger , 2019
»… beyond the ideal and as it were by way of the ideal […] primal conditions of knowing […] the c... more »… beyond the ideal and as it were by way of the ideal […] primal conditions of knowing […] the continuous movements of desire toward ideality, in ideality, and around ideality.« Ebd. 133 »… inherent representationality (its order and history as what I have called psychic seeingas or imagoing) requires that even if its surface (or form) imagines a reparation, its depth (or image) continues to imagine destruction and loss.« Ebd., S. 284.
Historia del arte y estética, Nudos y tramas, XXXIX Coloquio Internacional de Historia del Arte, UNAMm MexicoUNAM, 2019
Hecho en México / Made in Mexico Cuidado de la edición: Karla Richterich, iie-unam Tipografía y f... more Hecho en México / Made in Mexico Cuidado de la edición: Karla Richterich, iie-unam Tipografía y formación: Rocío Moreno Rodríguez Esta obra está licenciada por el Instituto de Investigaciones Estéticas de la unam. Usted es libre de utilizarla con fines académicos, no lucrativos, ni comerciales. Al hacer uso de este material, usted se compromete en todo momento a respetar los derechos del autor y citar de manera correcta dando los créditos respectivos. Lo invitamos a leer el texto íntegro de la licencia en http://www.ebooks.esteticas.unam.mx/derechos_autor [155] the Crime of Passion Christopher s. Wood Yale University andrea mantegna, the court painter to the marquis ludovico gonzaga in mantua, had an unpleasant dispute with a printmaker, simone di ardizzone, in 1475. mantegna accused simone of making engraved copies of his work and thus of stealing his ideas for profit. at this point in history there was no legal protection of artistic ideas, no copyright. mantegna activated his own cruder justice. the ultrarefined poet of the brush and student of archeology hired a gang of thugs, ten men according to simone's complaint, to assault his competitor in the street. When the intimidation failed, mantegna persuaded "certain knaves" to accuse simone, before the magistrates, of sodomy. sodomy was a capital offense, but inconsistently prosecuted. simone di ardizzone did not burn. he only had to leave town, with a safe conduct supplied by mantegna's own patron ludovico. 1 in filing an accusation of sodomy mantegna was supposedly speaking on behalf of an outraged society. the victim of the crime was society itself, offended by the affront against nature. the cry of accusation amplified the community's outrage. an accusation gathers talk, rumor, and hearsay into a cry of indignation and carries it over the threshold of publication, makes it public. the outcry condenses a diffuseness of loose talk, gossip and rumor. the voiced complaint, the clamor or alarm, is already contained in the word crime. in many dictionaries "crime," latin crimen, is still tied to cerno, cernere, to sift or to distinguish: the criminal is the one who is singled out. Crimen would then be cognate with discriminate. But already max müller, the nineteenth-century philologist of myth, doubted this etymology. the better account, he thought, derives the word from an indo-european root that predates the split between the romance and the germanic languages, such that the latin crimen is cognate with old icelandic hrina, to scream,
Jenseits des Disegno: Die Entstehung selbständiger Zeichnungen in Deutschland und Italien im 15. und 16. Jahrhundert, ed. Daniela Bohde and Alessandro Nova, with Anna Christina Schütz , 2018
Ittai Weinryb, ed., Agents of Faith: Votive Objects in Time and Place, exhibition catalogue, Bard Graduate Center, 2018
So many offerings made to the pagan and Christian shrines were homely and unsightly. Devotees of ... more So many offerings made to the pagan and Christian shrines were homely and unsightly. Devotees of the sanctuary at Delos gave arrows and ox-goads, anvils and spindles, rouge pots, worthless clay bowls, and a ship's rudder. 1 At the church of Mariahilf in Vienna in the eighteenth century, pilgrims presented needles, bullets, jammed weapons, fish bones, pipes, and three worms in a flask: bric-à-brac attesting to obscure crises and maladies. A man who had lost his appetite brought a spoon. 2 What kinds of gifts were these? Did they beautify the shrines? Did they honor the deities? Some offerings had real value: money, birds, animals, food, libations, lumps of wax, sacks of grain or flax, furs. The pilgrimage itself was already an expenditure of time and energy, a self-dedication. But then upon arrival many votaries offered up prosthetic limbs, crutches, and broken chains and fetters; knives, carts, belts, and anchors; replicas in wood, wax, or metal of extremities and internal organs as well as nude figurines fashioned of wax; models of buildings and ships; wax donkeys, horses, cows, pigs, fish, birds (in hopes of recovering a falcon), and a wax simulacrum of a punishment wheel; shrouds, human hair, kidney stones, diseased bones, a tapeworm, and other insalubrious rubbish. 3 Such dedications did not ornament three
Res: Anthropology and Aesthetics , 2017
Oxford Philosophical Concepts: Self-Knowledge, ed. Ursula Renz, Oxford University Press, 2017
Journal of Art Historiography , 2017
models for study of 'non-Western' art have been those developed within the study of Western art. ... more models for study of 'non-Western' art have been those developed within the study of Western art. Strzygowski's model, pioneering as it was, is not a usable model. And this means that, as far as globalism is concerned, we are still largely trapped within the old terms, that is, metropolitan versus provincial, civilization versus barbarian. Perhaps we can escape these imperially-flavoured binarisms by finding new paths that lead to 'art', whether conceived philosophically or anthropologically. 'Globalism' as it is understood by the contemporary art market and hyperexhibition schedule is probably not that path, but rather, after all, an imposition of a historically recent, Western idea of art, just as many people fear.
Allegorie: DFG-Symposion 2014, ed. Ulla Haselstein , 2016
Representations, 2016
It seemed to her that everyone was shouting too loudly and moving too quickly. This sensation was... more It seemed to her that everyone was shouting too loudly and moving too quickly. This sensation was accompanied by nausea, and she had had the impression that something absolutely material, which had been present around her and around everyone and everything forever, but imperceptible, was breaking down the outlines of persons and things and revealing itself.-Elena Ferrante, My Brilliant Friend R OMANCE IS A PLOT DRIVEN by interaction among willful, desiring persons within constraining envelopes of social conventions and natural laws. In romance, both the desire-shaping resistance to will and the acquiescence of the world in human ambitions are concretized in things, naturalia and artifacts alike, endowed with unexpected powers. Characters acquire, exchange, hide, and converse with rings, swords, articles of clothing, trees, birds, and the like. According to Italo Calvino, ''The magic object is an outward and visible sign that reveals the connection between people or between events.'' Such tokens function as protagonists in medieval legends and sagas, chivalric romances, the neochivalric epics of Ariosto or Spenser, and the modern novel. ''Around the object there forms a kind of force field that is in fact the territory of the story itself.'' 1 The thing arrests and then restarts the plot. Interactions with things or animals substitute for interpersonal, psychological relations when the literary means to represent such relations are lacking. The bundle of shifting desires and emotions that is a person can more easily ''settle'' on a jewel or a horse than on another unstable person. In the romance, the thing provides a background against which personhood is profiled. The thing shares some qualities with persons but lacks other crucial attributes such as will, voice, or conscience. The effects of agency granted to things within the fiction intensify awareness of the nonhuman qualities of such things outside the fiction, in reality. The gem or the ribbon comes into focus as a thing, as the reduced double of a person, inside a narrative. The thing is a precipitate of story that arrives to assist the story. a b s t r a c t This paper argues that the ''anthropomorphizing'' discourses that attribute agency to images and things, stressing their efficacy and power, are motivated by a perception of a lack in the artwork, or in art itself. Representations 133. Winter 2016 © The Regents of the University of California.
questionnaire on Matter and Materialisms, October 155 , 2016
Matter is an obstacle, a burden, an alterity that occupies me, the medium of frustration but also... more Matter is an obstacle, a burden, an alterity that occupies me, the medium of frustration but also of pleasure. Matter is both envelope and core, inescapable. I can't understand why matter requires a "materialism" to plead its case. The more fragile hypotheses, in need of advocates, are the subject, the person, consciousness, imagination. Consciousness doesn't ask for anything more than the freedom to choose when to work with matter, and when to work against it. Imagination wants to dominate matter, and without guilt. In fact, it is redundant to speak of imagination or mind "wanting" to dominate matter. As soon as you speak of "mind," you already name a contempt for matter. you are saying: "matter has no claims on me, things have no claims on me, no ethical claims." The questionnaire identifies a double movement of contemporary thought, two directions, one opposed to the other, and yet in league. Some thinkers stress the ways that humans are like things, others stress the ways that things are like humans. The first tendency is guided by the death instincts, the desire to dial down all tensions. The second tendency is anthropomorphizing. The two tendencies work together to deprivilege the subject of consciousness, the alleged source of creativity in thought and in making, a source ungraspable but marked by first person pronouns. Both tendencies deplore the arrogance of the modern mind that believes it can build the reality it needs. Within art criticism or art history, the materialist plea is pedestrian and literal-minded. Materialism makes a virtue of acknowledging the completely obvious: the environmental and somatic limits on thought and imagination. Such literalism punctures pretention, exposes mystification, and denaturalizes conventions. But these are situational uses. Speculative realism, object-oriented ontology, neuroaesthetics, the doctrine of the life or agency of things, are only ways of talking, discourse tactics. They are fictions safely embedded within larger unspeakable confidences in the subject-of-consciousness. Matter and thing are passwords to a realism targeting hidden irrealisms. But matter and thing are themselves not equally real. It is notable that natural scientists recognize matter but not things. The thing is not a natural "unit" of reality. The thing is a device that helps consciousness grasp matter. Matter only comes into focus through things. The thing, because it shares properties of closure with the person, stands out against a ground of non-things, including formless matter. The autonomy of the thing is borrowed from the person. Modern critical thought is shaped as a protest against the scientific picture of the world. Non-scientists cherish the thing precisely because the physical sciences do not recognize it. Materialism and "thing theory" are supposed to restore realism, but because the thing is already an anthropomorphism, and because its discursive function is to resist absorption into the scientific world-picture, it soon takes on unrealistic and unlikely properties. Things are "alive," matter is "vibrant.
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Books by Christopher S Wood
Papers by Christopher S Wood