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Inspired by the thirteenth annual Artefacts meeting, held in Washington, DC in October 2008, Analyzing Art and Aesthetics (Artefacts series, Vol. 9) investigates the materiality of science and technology, focusing on art and aesthetics.
How have artists responded to developments in science and/or technology, in their own times, or from the past? Moreover, how have art forms as diverse as glassblowing, sculpture, drawing, and painting responded to discourse and achievement in the arenas of science and technology, or inspired innovation and discovery in these fields?
Rather than limiting the discussion to art alone, the conference organizers also invited participants to consider aesthetics, a field originally conceived as the philosophy of beauty, but reframed in recent years to include the scholarly consideration of sensory responses to cultural objects. When considered as aesthetic objects, how do scientific instruments or technological innovations reflect and embody culturally-grounded assessments about appearance, feel, and use? And when these objects become museum artifacts, what aesthetic factors affect how they are exhibited? For all of these questions, the participating scholars looked for answers in the material objects themselves. By doing so, the conference--and this volume--reconsidered how science, technology, art, and aesthetics impact one another.
This volume includes contributions from 19 leading scholars based in the academic arena as well as the museum world in a diverse range of disciplines who explore the significance of artistic interventions into scientific discourse as well as the impact of science and technology on the development of art ranging from the late eighteenth century to the present. The essays have been broken into three sections, each with its own introduction that will enable readers to focus on overarching categories: Artists Interpret Science and Technology; Aesthetics of Technology; and Models as Aesthetic Objects.
How have artists responded to developments in science and/or technology, in their own times, or from the past? Moreover, how have art forms as diverse as glassblowing, sculpture, drawing, and painting responded to discourse and achievement in the arenas of science and technology, or inspired innovation and discovery in these fields?
Rather than limiting the discussion to art alone, the conference organizers also invited participants to consider aesthetics, a field originally conceived as the philosophy of beauty, but reframed in recent years to include the scholarly consideration of sensory responses to cultural objects. When considered as aesthetic objects, how do scientific instruments or technological innovations reflect and embody culturally-grounded assessments about appearance, feel, and use? And when these objects become museum artifacts, what aesthetic factors affect how they are exhibited? For all of these questions, the participating scholars looked for answers in the material objects themselves. By doing so, the conference--and this volume--reconsidered how science, technology, art, and aesthetics impact one another.
This volume includes contributions from 19 leading scholars based in the academic arena as well as the museum world in a diverse range of disciplines who explore the significance of artistic interventions into scientific discourse as well as the impact of science and technology on the development of art ranging from the late eighteenth century to the present. The essays have been broken into three sections, each with its own introduction that will enable readers to focus on overarching categories: Artists Interpret Science and Technology; Aesthetics of Technology; and Models as Aesthetic Objects.
作者簡介
Anne Collins Goodyear, PhD, is Curator of Prints and Drawings at the National Portrait Gallery, Smithsonian Institution, and Professorial Lecturer in Art and Art History at George Washington University. She is coeditor, with James W. McManus, of Inventing Marcel Duchamp: The Dynamics of Portraiture (Washington, DC: National Portrait Gallery, 2009) and has published numerous essays exploring intersections between modern and contemporary art and portraiture with science and technology. Beginning June 1, 2013, she will assume her new position as Co-Director of the Bowdoin College Museum of Art.
Margaret A. Weitekamp, PhD, is a curator in the Space History Division at the Smithsonian’s National Air and Space Museum, where she oversees over 4,000 pieces of space memorabilia and space science fiction objects. She wrote Right Stuff, Wrong Sex: America’s First Women in Space Program (2004), winner of the Eugene M. Emme Award for Astronautical Literature from the American Astronautical Society. She earned her BA at the University of Pittsburgh and her PhD at Cornell University.
Margaret A. Weitekamp, PhD, is a curator in the Space History Division at the Smithsonian’s National Air and Space Museum, where she oversees over 4,000 pieces of space memorabilia and space science fiction objects. She wrote Right Stuff, Wrong Sex: America’s First Women in Space Program (2004), winner of the Eugene M. Emme Award for Astronautical Literature from the American Astronautical Society. She earned her BA at the University of Pittsburgh and her PhD at Cornell University.
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