Bernhard Kerber

Bernhard Kerber (born May 9, 1938 in Steinheim am Main ) is a German art historian .

job

Kerber studied art history, classical archeology and modern German studies in Frankfurt am Main, Munich and Münster. He received his doctorate in 1963 on Burgundy and cathedral sculpture , received a scholarship from 1963–1965 at the Bibliotheca Hertziana in Rome and completed his habilitation in 1969 at the Ruhr University in Bochum on Andrea Pozzo . He became professor of art history at the Ruhr University in Bochum and at the Berlin University of the Arts (today: Berlin University of the Arts ).

Scientific work

With Max Imdahl, Kerber is one of the innovators in academic art history: In the 1970s, he incorporated contemporary art into art history. In terms of method, in addition to the artist biographical and work chronological investigations of works of art and architecture, he uses a formal and functional analysis. In doing so, he transgresses - see his habilitation thesis - the old genre boundaries between painting and architecture. His special approach is the exploration of the relationship between the work and the museum or everyday space it constitutes and the world of the viewer. The basis for this is Ernst Michalski's concept of the aesthetic limit . In doing so, he distinguishes himself from the arbitrariness of a reception aesthetic .

Fonts (selection)

• Burgundy and the development of French cathedral sculpture in the twelfth century. Recklinghausen 1966.
• Andrea Pozzo. Berlin 1971.
• American art since 1945. Stuttgart 1971.
• Erich Reusch. Hildesheim 1977.
• Jo Delahaut. Overview of works by the Belgian constructivist from 1945–1980. Cologne 1981.
• Bochum's buildings. Bochum 1982.
• The painter Eberhard Viegener. Soest 1982.
• Bodily injuries – body cuts ". Fragments and photo sequences. Berlin 1985.
• Barbara Heinisch . In: the artwork . Art scene Berlin ´85. September 1985, ISSN  0023-561X , p. 64 f.
• Eberhard Viegener. Printmaking. Soest 1990.
• Stocks Onnasch. Berlin 1992.
• Art space and living space. In: Cloud Cuckoo Land. International journal on the theory of architecture. Volume 1, Issue 1, 1996.
• Epilogue to: The meaning of the aesthetic limit for the method of art history by Ernst Michalski. In: Ernst Michalski. The importance of the aesthetic limit for the method of art history. New edition Berlin 1996.

Individual evidence

1. ↑ das kunstwerk, art scene Berlin ´85. Extract ( PDF file ).