Search results
May 31, 2021 · For the art historian, perhaps studying architecture, scenographics can help accounting for how temporary interventional features – such as occupying the street actions or graffiti – reveal and expose the ideological charges and normativities underpinning the situations.
- Astrid von Rosen
- 2021
conventional art history topics, approaches and study objects, in resonance with new sce-nography theory. The art form of gardening provides an apt example of what a sceno-graphic – multisensory and holistic – approach can contribute to art history. As gardens are eventful, durational occurrences, felt and experienced with all senses, it can be
- Astrid von Rosen
- 2021
Sep 10, 2021 · The interface of scenography and art history provides an apt context from which to re-map and re-think the underlying borders and anti-theatrical biases that frame scenographic cultures.
- Rachel Hann
This special issue of Journal of Art History explores scenography’s current relevance to art history more broadly and looks into ways in which art history and scenography can interact and vice versa.
Dec 27, 2023 · To describe visual properties systematically, art historians rely on an established set of terms and concepts. These include characteristics such as format, scale, composition, and viewpoint; treatment of the human figure and space; and the use of form, line, color, light, and texture.
Scenography and Art History reimagines scenography as a critical concept for art history, and is the first book to demonstrate the importance and usefulness of this concept for art historians and scholars in related fields.
People also ask
What is a scenographic approach to art history?
Is scenography a marginalized sub-field of Art History?
How can scenographics help art historians?
Why is scenography important?
Can scenography theory help art historians understand the mis en scène process?
How do art historians analyze function?
Feb 23, 2024 · ‘Pluriversal scenographics’ is proposed as a critical framework for the staging of nondualistic, relational and more-than-human ‘possible reals’. Pluriversal concepts are proposed as a model for renewing the political purpose of scenographic practice as a methodology for investigating world feelings.
