Robert Kudielka

Robert Kurt Kudielka (born August 30, 1945 in Lindau (Bodensee) ) is a German art historian.

biography

Between 1967 and 1972, Kudielka studied philosophy with Dieter Jähnig and Walter Schulz , classical philology with Wolfgang Schadewaldt , as well as German and art history in Tübingen. In 1977 he received his doctorate with a study of Kant's criticism of judgment with Dieter Jähnig at the University of Tübingen. Between 1967 and 1977 Kudielka worked as a freelance art critic and exhibition curator. In 1978 he accepted a professorship for Aesthetics and Theory of Art at the University of the Arts in Berlin, where he retired in 2010. 1982–1984 Kudielka was a visiting lecturer at the Royal College of Art in London. He has been a member of the Berlin-Brandenburg Academy of the Arts since 1997 , where he was also director of the visual arts department from 2003 to 2012 . In 2000, Kudielka was a visiting professor at the University of Rio de Janeiro, Brazil. Since 1967, Kudielka has worked as a curator in numerous exhibitions. He is also a participant and organizer of many workshops, symposia and colloquia. In 1998, Kudielka was made an extraordinary member of the German Association of Artists for his services to art in public life.

Scientific work

An important focus of his scientific work is the examination of the theory of color in painting and the arts. Here, Kudielka emerged mainly with publications about the British artist Bridget Riley , with whom he has had a long friendship since the early 1970s.

From a philosophical point of view, Kudielka mainly deals with phenomenology and hermeneutics as well as the philosophical aesthetics and art theory of Immanuel Kant , Friedrich Wilhelm Joseph Schelling , Edmund Husserl , Martin Heidegger , Maurice Merleau-Ponty , but also with the works of Samuel Beckett .

position

In a contribution for Deutschlandfunk at the end of 2019, Kudielka stated that the visual arts had been "in crisis for three decades" - their "artistic means, the vocabulary of visual arts had not been further developed"; "Instead, visual arts have become addicted to comment" and a "confessional art" is promoted.

Fonts

Independent publications:

• Art studies today: Speech for the opening of the semester at the Academy of Fine Arts Mainz on October 22, 2007. Academy of Fine Arts, Mainz 2007.
• Robert Kudielka on Bridget Riley. Ridinghouse, London 2005.
• Paul Klee . The nature of creation. Hayward Gallery Publishing, London 2002.
• Judgment and Eros: Discussions on Kant's Critique of Judgment. Dissertation, Tübingen 1977.

As editor

• The desire for form: Neoconcretismo and contemporary art from Brazil. Academy of Arts, Berlin 2010.
• Out, drawn, draw: an exhibition of the visual arts section. Academy of Arts, Berlin 2009.
• Space - places of art. Academy of Arts, Berlin 2007.

Articles (selection)

• The black sun. Observations on the nature of the picture color. In: Christoph Wagner, Jakob Steinbrenner (Hrsg.): Colors in art and humanities. Oliver Jehle, Regensburg 2011.
• The sound of purple. On the meaning of color in Olivier Messiaen's music. In: La Cité céleste. Olivier Messiaen in memory, published on behalf of the Guardini Foundation by Elmar Budde a . a. Berlin 2006, pp. 13-23.
• Image-music: the “Canon” in Titian's Bacchanal der Andrier. In: Hannah Baader (ed.): In the agon of the arts: paragonal thinking, aesthetic practice and the diversity of the senses. Fink, Munich 2007 pp. 231–249.
• The intimate space and its exits: Matisse , Bonnard , Picasso and the finiteness of success. In: Matthias Flügge (Ed.): Space: Places of Art. Verlag für Moderne Kunst, Nuremberg 2007, pp. 23–29.
• Chromatic and plastic interaction. About the effect of picture color in Bridget Riley's work. In: Anne Hoormann, Karl Schawelka (Ed.): Who's afraid of. On the status of color research. Weimar 1998, pp. 132-156.
• The Liberation of Art from Art: Arthur C. Danto and the Happy Ending of the Educational Philosophical Novel. In: German Journal for Philosophy, No. 45 (1997), pp. 765–771.
• The pleasure of reflection and the festival of painting: on the relationship between Kant's aesthetics and Matisse's visual art. In: Birgit Recki, Lambert Wiesing (Hrsg.): Image and reflection: paradigms and perspectives of contemporary aesthetics. Fink, Munich 1997, pp. 241-269.
• To try to give a clear concept of Titian's color art through color illustrations. In: Theodor Hetzer : Tizian. The story of its color. The early paintings. Portraits (= writings of Theodor Hetzers, Volume 7), ed. v. Gertrude Berthold. Stuttgart 1992, pp. 15-35.
• About spoon carving, the confusion of images and a theory of the mountains . In: Walter Biemel (Ed.): Art and Technology, Martin Heidegger's centenary for his hundredth birthday. Frankfurt am Main 1989, pp. 287-310.
• Abstraction as an antithesis. On the sense of opposition in the painting of Piet Mondrian and Jackson Pollock . In: H. Poos (ed.): Art as an antithesis. Gebr. Mann, Berlin 1988, pp. 211-215.

Web links

• The natural sciences - a cultural phenomenon in its limits and possibilities. Radio feature with conversation partners Olaf Breidbach , Robert Kudielka and Albrecht Wagner , by Ilja Bohnet and Bernhard Kaufmann with speakers Ulrich Pleitgen and Claudia Rieschel , FSK Hamburg (1999)

Individual evidence

1. ↑ The visual arts have become addicted to commentary. deutschlandfunkkultur.de, published and accessed on December 30, 2019