Generally only the motifs of iconoclasts are studies by scholars of iconoclashes. I would like to talk about the policy, ideology and emotions of museum people who present the iconoclasts with their works of art, including my own thoughs and emotions as general director of the Rijksmuseum after the attack with hydrochloric acid of the Nightwatch on April 9, 1990. How do curators and restorers deal with 'meaningful damages'? Also I would like to make clear that the acquaintance with the emotions of Wim Beeren as director of the Stedelijk Museum after the destruction of Barnett Newman's painting, is crucial if one wants to understand the terrible scandal caused by Goldreyer's restoration.
Artists / Authors
- Henk van Os, Professor, Universiteit van Amsterdam
- July 12, 2002
Zentrum für Kunst und Medientechnologie Karlsruhe (ZKM) and Graduiertenkolleg "Bild-Körper-Medium" at the Staatliche Hochschule für Gestaltung Karlsruhe (HfG)
ZKM, Lorenzstrasse 19, 76135 Karlsruhe, Germany
The symposium "Image Wars and Image Floods" focuses on themes from the "iconoclash" exhibition which presents image conflicts both in historical situations and in the contemporary world.
Redaktion netzspannung.org, Nov 4, 2003
Additions to Keyword List
- Ikonoklasmus |