This two-day symposium explores Warburg's ideas and their adumbrations, e.g., his preoccupations with - and intuitions about - memory, both in relation to different forms of artistic creation and in anticipation of concepts related to neuroplasticity and neuroesthetics; the significance and fluency of the image - its elliptical and metaphoric functions - and of affect for the phenomena and qualia of chronology and memory, in concert with contemporary understanding of the dynamic unconscious; and the interdisciplinary mode of thought - the philosophical and art historical, cosmographic and historical - at the heart of Warburg's atlas. Schedule for Saturday, October 12th: 4:15 pm: Classical & Renaissance Art roundtable: Georges Didi-Huberman, Thomas DaCosta Kaufmann, François Quiviger, Dorothea Rockburne, and Christopher Wood
Georges Didi-Huberman, philosopher and art historian, teaches at the School for Advanced Studies in the Social Sciences (Ecole des Hautes Etudes en Sciences Sociales) in Paris, where he has been a lecturer since 1990. He is a winner of the Distinguished Lifetime Achievement Award for Writing on Art given by the College Art Association.
Thomas DaCosta Kaufmann is Frederick Marquand Professor of Art and Archaeology, Princeton University. He received degrees from Yale, the Warburg Institute, and Harvard, and has been awarded honorary doctorates by the Technical University, Dresden, and the Masaryk University, Brno. The holder of the Palacký medal from the Czech Academy of Sciences, he is a member of the Swedish, Flemish, and Polish Academies of Science, and has been a Fellow of the American Academies in Berlin and Rome, among other honors and Fellowships. He is the author or editor of many books and articles on historiography, geography of art, art and science, Central European art and architecture 1450-1800, and global exchange in art.He is now writing about global exchange in art and world art history.
François Quiviger took his Ph.D. from the Warburg Institute, London, where he works as curator of digital resources, librarian, and researcher. He has written, taught, and curated projects on early modern European academies, on mythology and on Renaissance material culture, art and art theory.His recent book, The Sensory World of Italian Renaissance Art (London, Chicago 2010), explores the presence and function of sensation in Renaissance ideas and practices, investigating their link to mental imagery and how Renaissance artists made touch, sound, and scent palpable to the minds of their audience.
Dorothea Rockburne was born in Montreal. She was educated at the Montreal Museum School and at Black Mountain College, where she studied with, among other contemporaries, Philip Guston and Franz Kline, as well as the German mathematician Max Dehn, whose teachings, merging the mathematical and natural worlds, provided her with new and complex approaches to her work. Her interests in the Golden Mean, astronomy, cosmology, and lifelong fascination with Egyptians' use of proportion and light, additionally shaped her oeuvre.Working with both industrial and natural materials, she paints, cuts, draws, folds and calculates to create complex works of art built upon mathematical foundations.
Christopher Wood (A.B., Harvard 1983, Ph.D., Harvard 1991) has been teaching at Yale since 1992. He is currently Visiting Professor in the German Department, New York University, and has taught as a visitor at the University of California (Berkeley), Vassar College, and the Hebrew University, Jerusalem.