Alois Riegl () was an Austrian art-historian and philosopher. titled The Modern Cult of the Monument: Its Character and Its Origin. Alois Riegl’s classic essay “The Modern Cult of Monuments: Its Character and Origin” () is often cited as the first, and most profound, formulation of. Alois Riegl’s classic essay ”The Modern Cult of Monuments: Its Character and Origin” () is often cited as the first, and most profound, formulation of.
Politics and Culture [New York: If so, should this stop us from replicating?
Alois Riegl and the Modern Cult of the Monument
A Rieglian Analysis of Values in Replication. More generally, we ought to ask ourselves if the replica is what the public wants to see when the original is no longer exhibitable.
Age-value makes explicit a sense of the life cycle of the artifact, and of culture as a whole. Moving beyond the Rieglian analysis, I would like to raise one last issue. It makes it easy to scan through your lists and keep track of progress. Would their presence reinforce the sense of precariousness by highlighting the loss of the original or would it, instead, emphasise our desire to fight it?
Newness-value — Generally only new and whole things tend to be considered beautiful, and faded are thought to be ugly. But it also echoes the ideas of his contemporaries in the Austrian Secession. Toggle navigation ERA Architects. There is no ideal, absolute notion of artistic value independent of the relationship to the current cultural conditions.
But for Riegl the curator-conservator, it ends sixty years in the past. Age Value and Formalist Aesthetics Riegl acknowledged that all work, including that of the scientist and the historian, is conditioned by subjective judgment.
This process has, in effect, frozen large swathes of the built environment in time—a situation that is riehl in cultural, social, and economic terms.
In contrast to historical value, which links the monument to a particular national style, age value is appreciated by all and thus tran- scends narrow allegiances. MIT Press,3— Yet few have analyzed moddern dense and tremendously influential essay in its historical context.
It is in the present that we perceive them. An art historian, lawyer, and museum curator, Riegl wrote his essay with a practical aim: This leads to an explicit recognition of the value of the fragment, which in turn became moern fundamental construct of modern critical thought — as explored and expanded by Warberg, Benjamin, Adorno, etc. Later historicism remained indebted to Hegel while abandoning the notion of progress C. Built on the Johns Hopkins University Campus.
Riegl’s Modern Cult of Monuments and the Problem of Value | Michele Lamprakos –
The nineteenth century not only dramatically increased appreciation of historical value, but it also sought to give it legal protection… This in turn gave rise to an unprecedented surge of art-historical research.
The site of the former episcopium, believed to have been destroyed by arson in It seems to me that one key consideration is the need to ensure that the expectations and trust of visitors are not betrayed. Riegl defines the monument as an artefact that retains in itself, intentionally or unintentionally, an element of the past — a definition which effectively encompasses any object resulting from human activity.
The desire to create replicas for display purposes can tge interpreted mpdern the result of the museological trend to use collections primarily pf educational purposes, with an essentially utilitarian approach.
Log In Sign Up. Cambridge University Monmuents,92—96; and A. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. As Kurt Forster describes:. But the building itself exists across time: Assuming that replicas are generally made from deteriorated objects, is it possible to ensure that they are created without any degree of re-interpretation?
Each issue is dedicated to a particular theme as a method to promote critical discourse on contemporary monumdnts issues from multiple perspectives both within the field and across disciplines.
The Modern Cult of Replicas: A Rieglian Analysis of Values in Replication – Tate Papers | Tate
The Venice Charter reaffirmed the historicist principles of the Athens Charterrecasting them in terms of universal values. On the one hand, we have an art whose emphasis is on experimentation, ephemerality, exploration of material decadence and rejection of the traditional principles of conservation and collecting. Contact Contact Us Help.
Some consideration should also be given to the life of the replica after its creation.
This tremendously influential essay is generally seen as the beginning of the modern approach to monuments. In essence, Riegl recasts art history in terms of the theory of historicism: Both of these approaches drew on the increasing knowledge of ancient aloi made available by archeological and historical research. In fact, I would contend that the need to accept at least in some cases this precariousness should be part of the educational message found in the museum.
Informed by his training in law and art history and by his experience as a museum curator, it is a carefully crafted treatise with a practical aim: Riegl thought an absolute art-value completely independent of the culh Kunstwollen impossible to define. His attempt to write a history of subjectivity through an ostensibly objective minuments empirical method mirrored contemporary efforts in aesthetics and psychology.
But since we are discussing art works, the emphasis on use dovetails with that on art-valueand in particular newness. The problem is, of course, that buildings exist across time—and into the present.