Art Historians

"We do not exactly know the sociological reason for reverence for the past; it may be rooted in tribal and family solidarity or in the endeavour of the privileged classes to base their privileges on heredity. However that may be, the feeling that what is old must be better is still so strong that art historians and archaeologists do not shrink even from historical falsification when attempting to prove that the style of art which appeals to them most is also the oldest."

"Seeking an English equivalent for peinture relative, Fritz Glarner settled on the term 'relational painting' towards the end of 1946, which he applied retrospectively to some of his earlier paintings and all his subsequent works. It was a term that suited the kind of abstract painting he pursued, focused on relating geometric shapes and ground through colour in ways which would make shape and ground alternate to produce what he called 'pumping planes'. While acknowledging the influence of Piet Mondrian (1872-1944), with whom he was closely associated in New York, Glarner replaced the balancing of horizontality and verticality achieved in Mondrian's painting with interlocking rectangles and wedges that expand out towards the edges of the canvas."

"Roy Ascott was among the first artists to launch an appeal for total spectator participation: for him, the strict antinomy between action and contemplation needed to be abolished."

"One of the main reasons for my interest early on in the art and technology relationship was that during my studies of movement and light in art I was struck by the technical components in this art. Contrary to most, if not all, specialists in the field who put the stress on purely plastic issues and in the first place on the constructivist tradition, I was convinced that the technical and technological elements played a decisive part in this art. One almost paradoxical experience was my encounter with the kinetic artist and author of the book Constructivism, George Rickey, and my discovery of the most subtle technical movements in his mobile sculptures. But what seemed to me still more decisive for my option towards the art and technology problematic was the encounter in the early 1950s with artists like Nicholas Schöffer and Frank Malina whose works were based on some first hand or second hand scientific knowledge and who effectively or symbolically employed contemporary technological elements that gave their works a prospective cultural meaning. The same sentiment prevailed in me when I encountered similar artistic endeavors from the 1950s onwards in the works of Piotr Kowalski, Roy Ascott and many others which confirmed me in the aesthetic option I had taken, particularly when I discovered that this option was not antinomic (contradictory) to another aspect of the creative works of the time, i.e. spectator participation."

"As far as the sensory experience of the spectator goes, the most outstanding American kinetic artist is unquestionably the Chinese-born Wen-Ying Tsai. His pieces, which are perfect on the technological level, serve the primary purpose of giving a complete visual experience to the spectator, whose sound solicitations provoke a choreographic, chromatic and rhythmic response in the ‘cybernetic sculptures’. [...]"

"Roy Ascott... aimed to achieve a wider 'cybernetic' awareness through acting on the psychology of the spectator, who was invited to regroup the elements of the technological universe and exploit certain of its meanings."

"Frank, you are, without doubt, a scarcity. Anyone who looks at the historical record of the juncture of art and technology finds you nearly unaccompanied when it comes to documenting this historical record between the years of the late-1960's up to the early 1990s. Basically there is you, Jack Burnham's book Beyond Modern Sculpture (1968), and Gene Youngblood's reference work Expanded Cinema (1970). Specifically, your books Origins and Development of Kinetic Art (1968), Art, Action and Participation (1975) and Art of the Electronic Age (1993) are indispensable research tools in helping us figure out how art got to where it is today - in your terms virtualized."

"Actuality is when the lighthouse is dark between flashes: it is the instant between the ticks of the watch: it is a void interval slipping forever through time: the rupture between past and future: the gap at the poles of the revolving magnetic field, infinitesimally small but ultimately real. It is the interchronic pause when nothing is happening. It is the void between events."

"Instead of an idea of style, which embraces too many associations, [I] have outlined the idea of a linked succession of prime works with replications, all being distributed in time as recognizably early and late versions of the same kind of action."

"The history of art... resembles a broken but much-repaired chain made of string and wire to connect the occasional jeweled links surviving as physical evidences of the invisible original sequence of prime objects."

"Although inanimate things remain our most tangible evidence that the old human past really existed, the conventional metaphors used to describe this visible past are mainly biological."

"The universe has a finite velocity which limits not only the spread of its events, but also the speed of our perceptions. The moment of actuality slips too fast by the slow, coarse net of our senses."

"The cultural clock runs mainly upon ruined fragments of matter. No matter to what hazardous lengths we let out our line they still withdraw again, and further, into the depths. ... however, runs mainly upon ruined fragments of matter recovered from refuse heaps and graveyards, from abandoned cities and buried villages. Only the arts of material nature have survived; of music and dance, of talk and ritual, of all the arts of temporal expression practically nothing is known elsewhere than in the Mediterranean world, save through traditional survivals among remote groups."

"Unless he is an annalist or a chronicler, the historian communicates a pattern which was invisible to his subjects when they lived it, and unknown to his contemporaries before he detected it."

"The historian's special contribution is the discovery of the manifold shapes of time. The aim of the historian, regardless of his specialty in erudition, is to portray time. He is committed to the detection and description of the shape of time."

"We always may be sure that every man-made thing arises from a problem as a purposeful solution."

"The seventeenth-century academic separation between fine and useful arts first fell out of fashion nearly a century ago."

"The notion of style has long been the art historian's principal mode of classifying works of art. By style he selects and shapes the history of art."

"However useful it is for pedagogical purposes, the biological metaphor of style as a sequence of life-stages was historically misleading, for it bestowed upon the flux of events the shapes and behavior of organisms."

"Purpose has no place in biology, but history has no meaning without it."

"Let us suppose that the idea of art can be expanded to embrace the whole range of man-made things, including all tools and writing in addition to the useless, beautiful, and poetic things of the world. By this view the universe of man-made things simply coincides with the history of art. It then becomes urgent to devise better ways to devise better ways of considering everything men have made. This we may achieve sooner by proceeding from art rather than from use, for if we depart from use alone, all useless things are overlooked, but if we take the desirableness of things as our point of departure, then useful objects are properly seen as things we value more or less dearly."

"I was surprised, while preparing this lecture, to notice how, among my friends who had read the book, a division into two groups appeared. Both groups are equally discerning and educated, and as far as I can tell, equal in numbers. One group is eager to say that they don't understand a word of it, and there are artists and historians among them. Those of the other group claim that they understood it all on first reading, without difficulty. Of course I believe them both, without understanding the combination that separates them so sharply. Perhaps distinctive and contrasting features in the comprehension of works of art are responsible. What I say speaks to some, but not to others. Some are ready, and others are not. But when both someday find that they agree in understanding it, that day may be its last as a book alive in the dissension over its intelligibility."

"Kubler was the foremost scholar of Pre-Columbian and Post-Columbian art of his generation and brought the area into consideration of the discipline of art history (Willey). The Shape of Time remains fundamental for the concept of art history as "material culture." Kubler argued in it that art "can be expanded to embrace the whole range of [hu]man-made things." But Kubler also controversially asserted in Shape of Time that "art stands outside culture" and warned about a linear-historical perspective that would interpret objects through historical precedent. History, Kubler contended, is a process that continually transforms human sensorial capacities and knowledge through ongoing discovery."

"Whether looming over the land as a symbol of a ruler’s authority or providing a setting for displays of wealth and power in spectacular feasts and tournaments, castles made a visual statement about their owners. All ar chitecture has symbolic overtones, and the castle is a potent image."

"It follows that if the function of ideology in general is to conceal contradictions, then the function of the dominant ideology, the ideology of the ruling classes, is a fortiori the same. This is bound to have serious consequences for all historical disciplines which are concerned with the various forms of ideology, including art history."

"Discussions of female spectatorship among feminist film critics over the last fifteen years have relentlessly pursued the elusive problem of gender and visual representation through various intriguing, but ultimately unsatisfactory, models in linguistic, psychoanalytic, and narrational convention."

"Such a strategy has a number of potential applications for feminist architectural theory. The persistence of a naturalized social history of architecture, which proposes that typical forms are an inevitable, logical response to natural conditions and preexisting structures, has obscured the role that architecture – as representation and as convention – plays in the cultural system. Within a naturalized architectural history and criticism, moreover, the representation (or, more accurately, the marginalization) of women in the established order has come to appear inevitable. Images of women as essentially recessive, nurturing, and domestic or as complicit, masquerading objects of narcissism and desire persist unchallenged."

"The castle was far more than a walled and turreted fortress; it was an instrument of social control and the symbol of power, authority, and wealth."

"Were castles really as rough and rugged as their owners? The answer seems to be, “not necessarily.” Castles were indeed rough and rugged fortresses, the product of an essentially elite, masculine warrior society, what today we call a feudal society. But they were also among the finest buildings of their times—secure, well-built residences that supported the complex rituals of noble life. To understand how castle form came to meet castle function, we must look briefly at the castle’s social and economic underpinnings."

"Never as neat or well organized as many descriptions suggest, in essence feudalism involved the exchange of grants of land for military and political service, sealed by personal oaths between the lord and the vassal. The castle has been called the perfect architectural expression of the European feudal age."

"The Church attempted to regulate this rather violent society, and eventually a code of honor evolved known as the code of chivalry. (...) Those who aspired to be knights had to have aristocratic ancestors and wealth enough to own warhorses and armor and to provide for a team of supporters."

"Women played a greater role than might be expected in this elite warrior society, as heiresses and chatelaines in charge of castles (see Documents 44–53). Since land was the basis of status and power, estates were kept intact by being passed on to the oldest son rather than being divided among all the children. In spite of high infant mortality and short life expectancies, a family hoped that at least one son survived to inherit lands and titles. Younger sons hoped to gain an estate of their own by marrying an heiress."

"An alternate career path for a woman lay in the Church, where as a nun she escaped the dangers of childbirth. In the convent she could hold any position except that of priest, and as an abbess or prioress she had great power and responsibility."

"Before we continue our story we must stop to ask, “What is a castle?” Once a castle was defined simply as the fortified and self-sufficient dwelling of an individual feudal lord. Today we know that castles had many functions, both practical and symbolic. The castle was a new ar chitectural form—part fortress, part residence, part statehouse, part the atrical stage. Furthermore, every castle was different, depending on the wealth of the builder, the reason for the castle (control of territory, bor der, coastlines), the local geography (availability of naturally defensible sites), the knowledge of the master builder or patron, the available ma terials, the degree of urgency (speed), and finally the building traditions of the region (the techniques the workmen knew and used). In short, there is no such thing as a typical castle; a castle was a very special build ing whose form and function answered the needs of people living in Eu rope from the eleventh through the fifteenth century."

"When a strong central authority protects borders and reduces internal crime, people have little need for fortified dwellings, although the rulers may build walls and towers to define legitimate residents and defend the country against external threats. When central authority breaks down, however, individuals are more likely to fortify their homes. The presence of castles in the landscape indicates a decline in stability and peace."

"As they captured each territory, William and his men secured their camps with simple earth and timber defenses characteristic of northern Europe (...). These wooden structures have disintegrated, but sometimes their earthen mounds survive as rolling hills or picturesque elements in the landscape. Timber castles were especially useful to a warrior king like William the Conqueror who moved rapidly to bring new territories under control. The earth and timber castles could be built quickly, since the newly moved earth did not have to support great weight. Such structures were also relatively cheap because they required no specialized masons and expensive stone. Since the timber building tradition was widespread both in the British Isles and on the continent, the carpenters knew the building techniques. These castles were essentially towers and stockades; they provided garrison headquarters as well as residences."

"Ninth-century castles were relatively small and simple affairs designed to safeguard a relatively small number of people and intended as a refuge during times of trouble."

"A motte and bailey castle consists of a man-made hill (the motte) supporting a tower and a walled yard (the bailey). (...) Early castle builders looked for a natural hill on which to erect a timber tower, but since a hill might not be available where fortifications were needed, they raised a flat-topped, conical earthen mound by digging a circular trench or ditch the desired diameter and heaping up the dirt in the center."

"Wherever they went, William and his Norman lieutenants built castles. About 170 great vassals came to England with William. When the king rewarded his followers with grants of land, they also assumed the responsibility for its defense, so each built one or more castles. William and his men had several reasons for building castles. As hostile invaders they had to fortify their dwellings and camps in order to hold the territory and provide security for themselves. Their castles also secured borders and coastlines against other invaders and controlled the movement of people and goods at key transportation centers such as fords, bridges, and passes and along major roads."

"Stone towers appeared early in the Loire River valley. The massive ruin at Langeais, recently dated 992, was once a broad tower with four corner turrets. Today it stands in the park of a fifteenth-century chateau. Not far off, at Loches, the tower is the earliest surviving great tower to combine within its walls a hall, the lord’s chamber, and a chapel. Recent analysis of the wood used in the original building has dated this tower between 1012 and 1035."

"By the time Henry II Plantagenet (r. 1154–89) was crowned king of England in 1154, baronial castles outnumbered royal castles. A tough, dynamic ruler, Henry began to rectify the situation at once. In the north, King Malcolm of Scotland surrendered to him, giving Henry significant castles in Scotland and in the border territory. Many older castles like Windsor were strengthened. At Dover the masonry great tower and fore building were built in the 1180s, and concentric walls with half-round towers were added by Richard the Lion Hearted seventeen years later."

"As castle design evolved, the great tower was eventually replaced by walled enclosures, which permitted more effective use of troops and better living conditions. The future of castle design lay with the curtain wall, that is, a wall “hung” like a curtain between towers, each of which functioned like a keep."

"Warfare had become endemic in eleventh- and twelfth-century Europe. Castle building used up the resources of the land as every landholder from the king and great nobles to the small landholders fortified their dwellings. Constant skirmishing, brigandage, and open warfare at home and abroad meant that people poured vast resources into training and equipping warriors and building castles and siege machines. The motte and bailey castle with its great tower, as the keep or donjon is called in medieval documents, was admirably suited as a defense against local skirmishes."

"The siege warfare of the Middle Ages consisted of blockading the castle in hopes of destroying it or taking it over for one’s own use. In peacetime castles controlled the surrounding land, but when hostilities broke out they provided passive resistance and served as a base of operations."

"When an attacking force laid siege to a castle, they used techniques and weapons not unlike those developed by the ancient Romans. First they surrounded the castle in order to cut off all avenues of escape and resupply. They also built a camp ringed by ditches and palisades to secure their own position. Then they built siege engines—great stonethrowing devices—which they hoped would break down the castle walls. Although the knights’ chivalric code gave pride of place in warfare to a charge on horseback with lance or to hand-to-hand combat with swords, military engineers skilled in the mechanics of offensive engines had to first break through the walls. To breach the walls the army used battering rams, various kinds of projectiles, and mines. In other words they tried to go through, over, or under the walls."

"Richard the Lion Hearted, who became king of England in 1189, had inherited Aquitaine (western France) from his mother Eleanor and Normandy and Anjou—and England—from his father Henry. As Duke of Normandy and Anjou, Richard was a vassal of the king of France, but he controlled more land in France than did the French king. Although Richard had been an ally of Philip Augustus in the Third Crusade, in 1192 he went to war with the king over his French lands. Richard built Chateau Gaillard (he called it the “cocky castle”) on a cliff above the Seine north of Paris to defend his claims to Normandy. (...) Richard chose an excellent site, in the territory of the archbishop of Rouen, who objected strenuously until Richard paid him a handsome sum for the land. (...) Richard also raised money by selling rights of citizenship to residents of the town."

"Chateau Gaillard had utilized the last of the newly built, huge great towers, and Rochester had depended on its early twelfth-century tower. During the course of the thirteenth century defense shifted to a towered wall, the enceinte or enclosure castle. Two plans emerged: the castle could rely on a series of courtyards, which had to be taken one after another, or on a concentric defense in which a second wall entirely surrounded the inner wall."

"Constant warfare, especially against the Muslims, gave rise to a new type of military man—one who combined the character and role of both monk and warrior. These knights, organized into military orders, served officially under the Pope but were essentially independent. Their grand master was both an abbot and a general. They lived under a modified Cistercian rule, and they took monastic vows of obedience, poverty, and chastity. As monks, in theory they owned nothing; for example, their horses and armor were loaned to them by the order. In practice they became a wealthy and often arrogant standing army. Having studied Byzantine and Muslim castles and warfare, they built huge castles that changed castle design in Europe."

"Castles were more than military posts; they were the centers of political and economic power. As government headquarters they were built to impress the local population as well as visitors and rivals. While power was spread among great tenants-in-chief in a system of delegated government, castles in each territory were places where local lords collected taxes, settled disputes, and administered justice."

"Castles continued to be the focus of economic activity as the center of an agricultural domain. Wealth continued to be measured in land and its produce. The only access the lord had to his wealth was to move from one estate to another consuming products from the harvests. Housing and feeding a household including retainers and servants required vasts amount of food and space for food preparation."