Ursula Ströbele

Buket Altinoba

Maria Männig

This anthology investigates scaling practices as a cultural technique, emphasizing measuring, scanning, transforming, and projecting objects in time and space. It explores the complex intersections between two- and three-dimensionality from the perspectives of art history, visual studies, and media studies. Special attention is paid to photography and (digital) sculpture, two increasingly intertwined fields. The concept of merging dimensions is now cutting-edge in both contemporary digitized photography and digital sculpture. The anthology also delves into the limits of scalability, the aesthetics of disruption, and the glitches that can occur when pushing these boundaries.

Scalability and its Limits in Photography and (Digital) Sculpture

Mara-Johanna Kölmel

Digital technologies have profoundly impacted the arts and expanded the field of sculpture since the 1950s. Art history, however, continues to pay little attention to sculptural works that are conceived and ‘materialized’ using digital technologies. How can we rethink the artistic medium in relation to our technological present and its historical precursors? A number of theoretical approaches discuss the implications of the so-called ‘Aesthetics of the Digital’, referring, above all, to screen-based phenomena. For the first time, this publication brings together international and trans-historical research perspectives to explore how digital technologies re-configure the understanding of sculpture and the sculptural leading into the (post-)digital age. Up-to-date research on digital technologies’ expansion of the concept of sculpture Linking historical sculptural debates with discourse on the new media and (post-)digital culture

The Sculptural in the (Post-)Digital Age

Guido Reuter

Während die kunsthistorische Forschung sich vielfach dem Phänomen Zeit in der Malerei widmete, ist die Untersuchung von Zeitphänomenen in der Skulptur bis heute ein Desiderat. Leon Battista Albertis frühneuzeitliches Diktum, die wichtigste Aufgabe der Malerei sei das Ereignisbild, hingegen die des Bildhauers der Koloss, die unbewegte Statue, zeigt bis heute seinen Einfluss. Die in diesem Sammelband vereinten Beiträge widmen sich aus unterschiedlichen Perspektiven der Zeitlichkeit in der Skulptur von Rodin bis zur jüngsten zeitgenössischen Kunst. Klassische Positionen der Moderne stehen dabei ebenso im Fokus wie die ?Skulptur im erweiterten Feld?.

Ursula Ströbele

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