Michael Diers

from Wikipedia, the free encyclopedia

Michael Diers (born March 15, 1950 in Werl , Westphalia ) is a German art historian and university lecturer in Hamburg and Berlin .

Live and act

Diers studied art history , literary studies and philosophy in Münster and at the University of Hamburg , where he received his doctorate in 1990 with a study on Aby Warburg . It was there that he completed his habilitation in 1994. From 1990 to 1992 he was a research assistant at the cultural studies institute of the North Rhine-Westphalia Science Center in Essen, which was dissolved in 2008, and then a research assistant at the “Political Iconography” research center at the Art History Department of the University of Hamburg. From 1994 to 1999 he was a university lecturer at the art history seminar at the Friedrich Schiller University in Jena and from 1999 to 2004 he was a research assistant and lecturer at the art history seminar at the Humboldt University in Berlin , where he also served as managing director from 2000 to 2002. From April 2004 until his retirement, Michael Diers was professor of art and visual history at the Hamburg University of Fine Arts and an adjunct professor of art history at Humboldt University. He was a fellow at the IKKM (Weimar), the German Forum for Art History (Paris), the Bard College Center (New York), the German Study Center Venice (Venice) and the Getty Research Institute (Los Angeles, 2017/18). He is also a freelance critic and exhibition maker. As a freelance author, Diers writes for the Frankfurter Allgemeine Zeitung , Süddeutsche Zeitung , Neue Zürcher Zeitung , Die Zeit and Die Tageszeitung .

His teaching and research as an art historian follow the motto of a neon sculpture by Maurizio Nannucci from 1999: "All art has been contemporary". His main research interests include the art of the Renaissance , the modern age and the present with a focus on photography, film and new media, political iconography , art, image and media theory and the history of science.

From 1991 to 2001 Diers was initially co-editor and then sole editor of the paperback series “kunststück” at Fischer Taschenbuch Verlag, in which over 100 monographs were published. From 2005 to 2007 he was the editor of the FUNDUS books series at Philo Fine Arts, Hamburg. He is co-editor of the study edition Aby Warburg, Gesammelte Schriften and was co-editor of the Humboldt-Schriften on art and picture history from 2004 to 2016 .

Fonts (selection)

Monographs

  • Warburg from letters. Comments on the copy books for the years 1905–1918 . Weinheim 1991.
  • Impact patterns. On the political iconography of the present . Frankfurt / M. 1997.
  • Photography film video. Contributions to a critical theory of the image . Hamburg 2006.
  • In front of everyone. Studies on art, image and politics . Paderborn 2016.

As editor

  • Portrait from books. Library Warburg & Warburg Institute, Hamburg - 1933 - London . Hamburg 1993.
  • Mo (nu) ments. Forms and functions of ephemeral monuments . Weinheim 1995.
  • Martin Warnke, near and far to the picture. Contributions to art and art theory . Cologne 1997.
  • Aby Warburg, Collected Writings . Study edition. Vol. I, 1.2 (= reprint of the two-volume edition Leipzig / Berlin 1932), new ed. and initiated (together with Horst Bredekamp ), Berlin 1998.
  • "The population". Essays and documents on the debate about the Reichstag project by Hans Haacke. Cologne 2000 (together with K. König).
  • Topos SPACE. The topicality of space in the contemporary arts . Berlin and Nuremberg 2005 (together with R. Kudielka, A. Lammert and G. Mattenklott ).
  • Dissimulazione onesta or the honest dissimulation. From the wisdom of the hidden alarm in words, pictures and deeds. In honor of Martin Warnke. A symposium. Hamburg 2007 (together with H. Bredekamp , R. Tesmar and F.-J. Verspohl).
  • Topos Atelier. Workshop and form of knowledge . Berlin 2010 (together with Monika Wagner ).
  • The interview. Forms and forums of artist talk . Hamburg 2011 (together with Lars Blunck, Hans Ulrich Obrist ).
  • Max Liebermann: The Art Collection. From Rembrandt to Manet. Munich 2013 (together with Bärbel Hedinger and Jürgen Müller ).
  • Focus on BLOW-UP. The presence of the pictures at Antonioni. Hamburg 2018 (together with Denis Grünemeier and Beat Wyss ).
  • O Superman. Thoughts on film, art, politics (and teaching). Hamburg 2019.

Essays

  • Living pictures. Practical forms of classical art theory . In: D. Burdorf and W. Schweickard (eds.): The beautiful confusion of fantasy. Ancient mythology in literature and art around 1800 , Tübingen 1998, pp. 175–205.
  • "Infinite conversation" or the interview as an art form . In: Hans-Ulrich Obrist: Interviews . Vol. I, ed. by Thomas Boutoux, Milan 2003, pp. 13-25.
  • Dis / dance room. An art historical attempt on the political iconography of Pina Bausch's “Le Sacre du Printemps” . In: G. Brandstetter and G. Klein (eds.): Methods of Dance Studies. Model analyzes of Pina Bausch's “Le Sacre du Printemps” , Bielefeld 2007, pp. 215–238.
  • The author is in the picture. Idea, form and history of the poet and scholar portrait . In: Yearbook of the German Schiller Society, Vol. LI, 2007, pp. 551-586.
  • Atlas and Mnemosyne. From the practice of image theory with Aby Warburg . In: K. Sachs-Hombach (ed.): Image theories. Anthropological and cultural foundations of the Visualistic Turn , Frankfurt / M. 2009, pp. 181-213.
  • Germania a margine. The German Pavilion in Venice and the Interventions of Art - An Historical Survey . In: E. aus dem Moore, Ursula Zeller (Ed.): Germany's Contributions to the Venice Biennale 1885–2007 , Cologne 2009, pp. 33–53.
  • The double (disappointing) disappointment. Pictures after pictures at Thomas Demand. In: Deceptively real. Illusion and Reality in Art . Exhib. Cat., Arr. by B. Hedinger, Bucerius Kunst Forum Hamburg, Munich 2010, pp. 52–59.
  • A broken dish. On the political iconography of Heinrich von Kleist's comedy “Der Zerbrochne Krug” . In: A. Honold, R. Simon (eds.): Das narrelling and das narrierte Bild , Munich 2010, pp. 193–216.
  • Mode in the picture, mode of the picture . In: Philipp Zitzlsperger (Ed.): Clothes in the picture. The garb depicted on the iconology . Emsdetten / Berlin 2010, pp. 195–211.
  • Gang à part. The outside (r) of art history: G. Simmel, C. Einstein, S. Kracauer, M. Raphael, W. Benjamin and R. Arnheim . In: H. Bredekamp, ​​AS Labuda (ed.): In the middle of Berlin. 200 years of art history at Humboldt University . Berlin 2010, pp. 273-292.
  • The building as an attribute of the person. Street View before the days of Google: A little history of the cityscape on the occasion of a current picture dispute . In: Süddeutsche Zeitung. No. 194 of August 24, 2010, p. 11.

literature

  • Michael Diers. In: Kürschner's German Scholars Calendar. Biobliographical directory of contemporary German-speaking scientists . 22nd edition, Munich 2009, Vol. I, p. ??.
  • S. Haug, HG Hiller von Gaertringen, C. Philipp, SM Schultz, M. Ziegler, T. Zürn (eds.): Work on the picture. An album for Michael Diers . Bookstore Walther König, Cologne 2010 (with bibliography).
  • Tina Zürn, Steffen Haug, Thomas Helbig (eds.): Image view touch. Optical and tactile perception in the arts [for Michael Diers]. Paderborn 2019.

Web links

Individual evidence

  1. ^ Getty Research Institute. Accessed January 30, 2020 .
  2. ↑ HFBK: Dr. Michael Diers. Retrieved February 10, 2020 .
personal data
SURNAME Diers, Michael
BRIEF DESCRIPTION German art historian and university professor
DATE OF BIRTH March 15, 1950
PLACE OF BIRTH Werl