art history; global art history; cultural exchange; textiles
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(2016), Materialisations, unpag.-unpag..
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(2015), Clothing the Sacred. An Introduction, 7-11.
Clothing the Sacred: Medieval Textileas as Form, Fabric, and Metaphor, (2015), Clothing the Sacred: Medieval Textileas as Form, Fabric, and Metaphor
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(2015), Notes from the field: materiality, in The Art Bulletin
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(2015), Textile Framings in the Works of Thomas Demand, 383-404.
(2015), Weaving the face of Christ: On the textile origins of the Christian image, 83-110.
(2014), Liturgies of the Void: Seeing Objects as Images, 73-76.
(2014), Textile Medien, 234-238.
(2014), Textile spaces, interior and exterior, 162-165.
(2014), Versäumnisse, in Texte zur Kunst
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(2013), ‘Bad Art for Bad People’ – Anthropologie nach Jake und Dinos Chapman, in Kritische Berichte
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(2013), Pictorial Gravities: Objecthood, Authority and Artistic Invention in Albrecht Dürers Veronicas, 89-110.
(2013), Unfolding Textile Spaces: Antiquity / Modern Period, 88-95.
Textile Terms. A Glossary, , Textile Terms. A Glossary
What is a textile? This collaborative project proposes to explore the history of the textile from the Middle Ages until the present day, both from a European and a global perspective. Textiles are amongst of the oldest and most significant cultural technologies which are highly present in today’s culture, yet they still receive relatively little scholarly attention. The textile is a flexible and mobile hybrid between material, technology, medium and metaphor which crosses historical periods, cultural spaces and types of artifacts. The project aims at reconstructing the historical and multi-faceted aesthetic discourse of the textile from the Middle Ages until today. The disciplinary approach is art historical, because aesthetic textile artifacts and their representations imply a reflection on ‘textility’ itself. By retracing the historical identity of the textile medium from visual works of art and textual sources, the project aims at fostering Textile Studies, opening a more global view onto Art History and bringing together the two cultures of the museum and the university.The collaborative project consists of two teams with complementary subjects: TEXTILE (An Iconology of the Textile in Art and Architecture) is based at the Leading House, the University of Zurich. Directed by Prof. Dr. Tristan Weddigen, the team includes one part-time SNSF Postdoctoral Researcher as a project coordinator and two SNSF Doctoral Researchers, complemented by two Postdoctoral Researchers funded by the ERC until mid-2013. This research group focuses on the European history of the textile in art and architecture and proposes three interconnected subject areas: Textile Mythologies, Textile and Painterly Metaphors, and Textile Spaces and Narratives.NETWORKS (Textile Arts and Textility in a Transcultural Perspective, 4th to 17th centuries) is the DFG joint project based at the Humboldt University of Berlin. Directed by Prof. Dr. Gerhard Wolf, the team is comprised of two DFG Doctoral Researchers who focus on the history of the global migration of textiles and motifs. There are three interconnected subject areas: TheTransfer of Knowledge and Its Making, The Sacred: Veiling, Enveloping, Creating Space, and Aesthetics and Iconology: From Textile to Textility. Both projects will share each other’s international networks of scholars and research institutions related to textiles studies. The teams will meet together in yearly workshops and organize a final international conference as well as contribute to one exhibition and its catalogue.The previous research accomplishments of the Zurich team includes two SNSF and ERC grants along with two Ph.D. theses and several edited books, articles, conferences, workshops and papers. The research activity of the Berlin team consists of the PI’s numerous publications on textile imagery and cross-cultural exchange which is also the subject a ongoing research project funded by the Getty Foundation. The two PI’s not only share textile-related research topics, but their respective scholarly networks and contexts also promise excellent synergies.Committed to methodologically and historiographically reflected scholarly practice, the research tandem embraces a broad view across media, periods and cultures. At the same time, the project has a clearly and rigorously defined focus of interest and thus hopes to contribute to the further development of Art History towards a general History of Objects and their changing meanings.