Bazon Brock's Visitors’ School on Documenta in Kassel: Training for Reception of Contemporary Art

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Bazon Brock's Visitors’ School on Documenta in Kassel: Training for Reception of Contemporary Art. / Biryukova, Marina.

In: International Journal of Art and Design Education, Vol. 34, No. 2, 23.09.2018.

Research output: Contribution to journal › Article › peer-review

BibTeX

@article{253d81f6e83e42e5ad297fa757232e49,

title = "Bazon Brock's Visitors{\textquoteright} School on Documenta in Kassel: Training for Reception of Contemporary Art",

abstract = "This article analyses the problem of reception and interpretation of contemporary art exhibition in the context of Besucherschule (Visitors{\textquoteright} School) invented by Bazon Brock: German philosopher, art historian and a follower of Theodor Adorno. He implemented this practice for the first time on documenta 4 in Kassel (1968) and organised such schools of reception until documenta 9 (1992). The aim of the Visitors{\textquoteright} School was to explain works of contemporary art on display to the public. Brock understood this process as {\textquoteleft}mediation{\textquoteright} in aesthetic education, arguing that dependence on theory was no less problematic for contemporary art perception than the lack of traditional art form. The main symbolic task of art – {\textquoteleft}claim for reality{\textquoteright}, was demonstrated by Brock in two ideas: {\textquoteleft}new image-war{\textquoteright} and {\textquoteleft}speaking image{\textquoteright}.",

keywords = "Bazon Brock, Visitors{\textquoteright} School, action teaching, aesthetics, art mediation, contemporary art education, documenta in Kassel",

author = "Marina Biryukova",

note = "This article analyses the problem of reception and interpretation of contemporary art exhibition in the context of Besucherschule (Visitors{\textquoteright} School) invented by Bazon Brock: German philosopher, art historian and a follower of Theodor Adorno. He implemented this practice for the first time on documenta 4 in Kassel (1968) and organised such schools of reception until documenta 9 (1992). The aim of the Visitors{\textquoteright} School was to explain works of contemporary art on display to the public. Brock understood this process as {\textquoteleft}mediation{\textquoteright} in aesthetic education, arguing that dependence on theory was no less problematic for contemporary art perception than the lack of traditional art form. The main symbolic task of art – {\textquoteleft}claim for reality{\textquoteright}, was demonstrated by Brock in two ideas: {\textquoteleft}new image-war{\textquoteright} and {\textquoteleft}speaking image{\textquoteright}.",

year = "2018",

month = sep,

day = "23",

doi = "https://doi.org/10.1111/jade.12172",

language = "English",

volume = "34",

journal = "International Journal of Art and Design Education",

issn = "1476-8062",

publisher = "Wiley-Blackwell",

number = "2",

}

RIS

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T1 - Bazon Brock's Visitors’ School on Documenta in Kassel: Training for Reception of Contemporary Art

AU - Biryukova, Marina

N1 - This article analyses the problem of reception and interpretation of contemporary art exhibition in the context of Besucherschule (Visitors’ School) invented by Bazon Brock: German philosopher, art historian and a follower of Theodor Adorno. He implemented this practice for the first time on documenta 4 in Kassel (1968) and organised such schools of reception until documenta 9 (1992). The aim of the Visitors’ School was to explain works of contemporary art on display to the public. Brock understood this process as ‘mediation’ in aesthetic education, arguing that dependence on theory was no less problematic for contemporary art perception than the lack of traditional art form. The main symbolic task of art – ‘claim for reality’, was demonstrated by Brock in two ideas: ‘new image-war’ and ‘speaking image’.

PY - 2018/9/23

Y1 - 2018/9/23

N2 - This article analyses the problem of reception and interpretation of contemporary art exhibition in the context of Besucherschule (Visitors’ School) invented by Bazon Brock: German philosopher, art historian and a follower of Theodor Adorno. He implemented this practice for the first time on documenta 4 in Kassel (1968) and organised such schools of reception until documenta 9 (1992). The aim of the Visitors’ School was to explain works of contemporary art on display to the public. Brock understood this process as ‘mediation’ in aesthetic education, arguing that dependence on theory was no less problematic for contemporary art perception than the lack of traditional art form. The main symbolic task of art – ‘claim for reality’, was demonstrated by Brock in two ideas: ‘new image-war’ and ‘speaking image’.

AB - This article analyses the problem of reception and interpretation of contemporary art exhibition in the context of Besucherschule (Visitors’ School) invented by Bazon Brock: German philosopher, art historian and a follower of Theodor Adorno. He implemented this practice for the first time on documenta 4 in Kassel (1968) and organised such schools of reception until documenta 9 (1992). The aim of the Visitors’ School was to explain works of contemporary art on display to the public. Brock understood this process as ‘mediation’ in aesthetic education, arguing that dependence on theory was no less problematic for contemporary art perception than the lack of traditional art form. The main symbolic task of art – ‘claim for reality’, was demonstrated by Brock in two ideas: ‘new image-war’ and ‘speaking image’.

KW - Bazon Brock

KW - Visitors’ School

KW - action teaching

KW - aesthetics

KW - art mediation

KW - contemporary art education

KW - documenta in Kassel

UR - http://www.scopus.com/inward/record.url?scp=85053703643&partnerID=8YFLogxK

U2 - https://doi.org/10.1111/jade.12172

DO - https://doi.org/10.1111/jade.12172

M3 - Article

VL - 34

JO - International Journal of Art and Design Education

JF - International Journal of Art and Design Education

SN - 1476-8062

IS - 2

ER -

ID: 34629436