Zeitlos und weltumspannend?: "Weltkunst" in Museen moderner Kunst, 1922-1956
The article examines a rhetoric employed by some modern art collections from the beginning of the twentieth century until the late 1950s that drastically expanded the concept of modernism in time and space. Enabled by imperial and colonial access to a multitude of artifacts, contemporary Western wor...
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| Format: | Elektronisch Artikel |
| Sprache: | German |
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10.07.2024
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| Zusammenfassung: | The article examines a rhetoric employed by some modern art collections from the beginning of the twentieth century until the late 1950s that drastically expanded the concept of modernism in time and space. Enabled by imperial and colonial access to a multitude of artifacts, contemporary Western works were arranged with works from other epochs and continents in long genealogies, often spanning several thousand years, insisting on a shared "kinship" or "timelessness". The focus lies on two historical moments when such comparative displays were attempted: the German Weimar Republic with the newly opened Museum Folkwang in Essen (1922–1933), and the early post-war United States, with the anniversary exhibition Timeless Aspects of Modern Art (1948) at the Museum of Modern Art, New York, and the traveling show 4000 Years of Modern Art (1953/56) at the Walters Art Gallery and the Baltimore Museum of Art. To what extent do these projects echo the premises of a supposedly universal "world art", as developed from 1900 onwards by an increasingly anthropologically oriented art history and in popular albums? |
| Beschreibung: | Illustrationen |
| ISSN: | 2701-1550 |
| DOI: | 10.11588/xxi.2024.2.104831 |
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| 520 | 3 | |a The article examines a rhetoric employed by some modern art collections from the beginning of the twentieth century until the late 1950s that drastically expanded the concept of modernism in time and space. Enabled by imperial and colonial access to a multitude of artifacts, contemporary Western works were arranged with works from other epochs and continents in long genealogies, often spanning several thousand years, insisting on a shared "kinship" or "timelessness". The focus lies on two historical moments when such comparative displays were attempted: the German Weimar Republic with the newly opened Museum Folkwang in Essen (1922–1933), and the early post-war United States, with the anniversary exhibition Timeless Aspects of Modern Art (1948) at the Museum of Modern Art, New York, and the traveling show 4000 Years of Modern Art (1953/56) at the Walters Art Gallery and the Baltimore Museum of Art. To what extent do these projects echo the premises of a supposedly universal "world art", as developed from 1900 onwards by an increasingly anthropologically oriented art history and in popular albums? | |
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Datensatz im Suchindex
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| author | Ahlers, Lisa Anette |
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| id | DE-604.BV049890635 |
| illustrated | Illustrated |
| indexdate | 2024-12-06T13:15:38Z |
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| issn | 2701-1550 |
| language | German |
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| spelling | Ahlers, Lisa Anette Verfasser (DE-588)1023360772 aut Zeitlos und weltumspannend? "Weltkunst" in Museen moderner Kunst, 1922-1956 Lisa Anette Ahlers 10.07.2024 Illustrationen txt rdacontent c rdamedia cr rdacarrier The article examines a rhetoric employed by some modern art collections from the beginning of the twentieth century until the late 1950s that drastically expanded the concept of modernism in time and space. Enabled by imperial and colonial access to a multitude of artifacts, contemporary Western works were arranged with works from other epochs and continents in long genealogies, often spanning several thousand years, insisting on a shared "kinship" or "timelessness". The focus lies on two historical moments when such comparative displays were attempted: the German Weimar Republic with the newly opened Museum Folkwang in Essen (1922–1933), and the early post-war United States, with the anniversary exhibition Timeless Aspects of Modern Art (1948) at the Museum of Modern Art, New York, and the traveling show 4000 Years of Modern Art (1953/56) at the Walters Art Gallery and the Baltimore Museum of Art. To what extent do these projects echo the premises of a supposedly universal "world art", as developed from 1900 onwards by an increasingly anthropologically oriented art history and in popular albums? Baltimore Museum of Art (DE-588)1019202-5 gnd rswk-swf Walters Art Gallery (DE-588)38843-9 gnd rswk-swf The Museum of Modern Art New York, NY (DE-588)1007559-8 gnd rswk-swf Museum Folkwang (DE-588)4018390-7 gnd rswk-swf Geschichte 1900-1960 gnd rswk-swf Sammlung (DE-588)4128844-0 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Ausstellung (DE-588)4129601-1 gnd rswk-swf Globalisierung (DE-588)4557997-0 gnd rswk-swf "Weltkunst" Moderne Ausstellung Geschichte der Kunstgeschichte Museum Folkwang (DE-588)4018390-7 b The Museum of Modern Art New York, NY (DE-588)1007559-8 b Walters Art Gallery (DE-588)38843-9 b Baltimore Museum of Art (DE-588)1019202-5 b Kunst (DE-588)4114333-4 s Globalisierung (DE-588)4557997-0 s Sammlung (DE-588)4128844-0 s Ausstellung (DE-588)4129601-1 s Geschichte 1900-1960 z DE-604 volume:5 number:2 year:2024 pages:401-422 21: inquiries into art, history, and the visual Heidelberg, 2024 Bd. 5, Nr. 2 (2024), Seite 401-422 (DE-604)BV046617927 2701-1550 (DE-600)3010740-4 https://doi.org/10.11588/xxi.2024.2.104831 Resolving-System Verlag kostenfrei Volltext https://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/104831 Verlag kostenfrei Volltext |
| spellingShingle | Ahlers, Lisa Anette Zeitlos und weltumspannend? "Weltkunst" in Museen moderner Kunst, 1922-1956 Baltimore Museum of Art (DE-588)1019202-5 gnd Walters Art Gallery (DE-588)38843-9 gnd The Museum of Modern Art New York, NY (DE-588)1007559-8 gnd Museum Folkwang (DE-588)4018390-7 gnd Sammlung (DE-588)4128844-0 gnd Kunst (DE-588)4114333-4 gnd Ausstellung (DE-588)4129601-1 gnd Globalisierung (DE-588)4557997-0 gnd |
| subject_GND | (DE-588)1019202-5 (DE-588)38843-9 (DE-588)1007559-8 (DE-588)4018390-7 (DE-588)4128844-0 (DE-588)4114333-4 (DE-588)4129601-1 (DE-588)4557997-0 |
| title | Zeitlos und weltumspannend? "Weltkunst" in Museen moderner Kunst, 1922-1956 |
| title_auth | Zeitlos und weltumspannend? "Weltkunst" in Museen moderner Kunst, 1922-1956 |
| title_exact_search | Zeitlos und weltumspannend? "Weltkunst" in Museen moderner Kunst, 1922-1956 |
| title_full | Zeitlos und weltumspannend? "Weltkunst" in Museen moderner Kunst, 1922-1956 Lisa Anette Ahlers |
| title_fullStr | Zeitlos und weltumspannend? "Weltkunst" in Museen moderner Kunst, 1922-1956 Lisa Anette Ahlers |
| title_full_unstemmed | Zeitlos und weltumspannend? "Weltkunst" in Museen moderner Kunst, 1922-1956 Lisa Anette Ahlers |
| title_short | Zeitlos und weltumspannend? |
| title_sort | zeitlos und weltumspannend weltkunst in museen moderner kunst 1922 1956 |
| title_sub | "Weltkunst" in Museen moderner Kunst, 1922-1956 |
| topic | Baltimore Museum of Art (DE-588)1019202-5 gnd Walters Art Gallery (DE-588)38843-9 gnd The Museum of Modern Art New York, NY (DE-588)1007559-8 gnd Museum Folkwang (DE-588)4018390-7 gnd Sammlung (DE-588)4128844-0 gnd Kunst (DE-588)4114333-4 gnd Ausstellung (DE-588)4129601-1 gnd Globalisierung (DE-588)4557997-0 gnd |
| topic_facet | Baltimore Museum of Art Walters Art Gallery The Museum of Modern Art New York, NY Museum Folkwang Sammlung Kunst Ausstellung Globalisierung |
| url | https://doi.org/10.11588/xxi.2024.2.104831 https://journals.ub.uni-heidelberg.de/index.php/xxi/article/view/104831 |
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