The history of art and archaeology at the Institute of Fine Arts study role of visual arts in culture. Public historians expand on the methods of academic history by emphasizing nontraditional evidence. Ifa has a long history of working with archaeologists and archeologists.
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Art History and Archaeology at the Institute of Fine Arts
The history of art and archaeology at the Institute of Fine Arts study role of visual arts in culture. Public historians expand on the methods of academic history by emphasizing nontraditional evidence. Ifa has a long history of working with archaeologists and archeologists.
The history of art and archaeology at the Institute of Fine Arts study role of visual arts in culture. Public historians expand on the methods of academic history by emphasizing nontraditional evidence. Ifa has a long history of working with archaeologists and archeologists.
Art History and Archaeology at the Institute of Fine Arts
In our age of digital image proliferation, the history of art continues to
demonstrate that arresting images do not arise out of nowhere and that analysis of their material substrate and social context is necessary for a historical understanding of their function and visual power. Works of art are products of interactions between visually sensitive artists and specific historical circumstances, and the history of art and archaeology make this creative process manifest in multiple ways. These closely related disciplines seek to understand a particular aspect of human history, for they research how artists translated ways of seeing and experiencing space into tangible objects and powerful images, into works of art and architecture that help people shape, question, and make sense of their worlds. Large segments of our culture share this interest, as ever-increasing museum attendance figures and burgeoning media coverage of the visual arts attest. All faculty members and students the Institute of Fine Arts study the role of the visual arts in culture. Although the Institutes faculty and students have varied historical interests and methods of research, they share a conviction that the visual arts form a potent and unique cultural force that merits the closest study, and that such study should start from the examination of actual objects and, if possible, their original sites. This commitment is supported by the Institutes archaeological excavations and by close relations with the Metropolitan Museum of Art and New Yorks many other art institutions. As art history and archaeology are inherently interdisciplinary, the Institute also encourages students to take advantage of the excellent humanities courses offered by New York Universitys Graduate School of Arts and Science.
Public history is history that is seen, heard, read, and
interpreted by a popular audience. Public historians expand on the methods of academic history by emphasizing nontraditional evidence and presentation formats, reframing questions, and in the process creating a distinctive historical practice. The tools of public historians -- such as oral histories, photographs, documentary film, multimedia, performance, museum exhibitions, and experimental narratives -- allow them to challenge both scholars and public audiences to rethink their definitions of history and its significance in everyday life, both past and present. Such non-traditional methods draw together
students and scholars with diverse intellectual interests who
are united in their attempt to develop new historical arguments and communicate them in creative ways. Public history is also history that belongs to the public. By emphasizing the public context of scholarship, public history trains historians to transform their research to reach audiences outside the academy. The non-academic audiences we address contain many publics, and all claim their own stories about the past. Public historians actively engage and respond to those stories in their historical practice. Because the past is subject to multiple interpretations, politics are fundamental to the use and the production of public history. How are stories told and who gets to tell them? Which voices have been silenced and which have been heard? How can we better understand an event using several different points of view? What role should history and historians play in shaping public policy? How and where do students encounter history and what do they learn from it? In their efforts to link peoples and their histories, public historians continue to focus on these questions and seek creative ways to answer them.
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