Cover des Bandes Hyperframes

How to Cite

Schneider, Stefanie et al. (Eds.): Hyperframes: Kunsthistorische Bezugsgefüge: Hubertus Kohle zur Verabschiedung, Heidelberg: arthistoricum.net, 2025. https://doi.org/10.11588/arthistoricum.1598

License

Creative Commons License

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

Identifiers

https://doi.org/10.11588/arthistoricum.1598
ISBN 978-3-98501-348-7 (PDF)
ISBN 978-3-98501-349-4 (Softcover)

Published

07/23/2025

Downloads

Download book (PDF/8MB)
Statistic

Authors

Stefanie Schneider (Ed.), Ricarda Vollmer (Ed.), Henry Kaap (Ed.), Christa Syrer (Ed.)

Hyperframes

Kunsthistorische Bezugsgefüge: Hubertus Kohle zur Verabschiedung

Hubertus Kohle is among the most distinguished art historians of his generation. As a scholar and university professor, he has had a lasting impact on the discipline, advancing modern art history, and providing trend-setting impulses as a pioneer of digital art history. Published on the occasion of his retirement, the volume Hyperframes refers to the many frameworks that shape our understanding of art—whether aesthetic, political, or media-related—and to the overarching structures that characterize Kohle’s scholarly work. In addition, the contributions situate the honoree within the art-historical frameworks that are the focus of his research and academic practice.

Stefanie Schneider is an assistant professor at the Institute of Art History at Ludwig-Maximilians-Universität in Munich. After studying Statistics, Computer Science, and Sociology, she earned her PhD in Art History in 2024. Since 2016, she has been working in the field of Digital Humanities, with her research interests lying at the intersection of traditional hermeneutics and contemporary quantitative methods in art-historical research.

Ricarda Vollmer is studying Art History at Ludwig-Maximilians-Universität in Munich. Her Master’s thesis explores the reception of Caspar David Friedrich in the GDR. During her studies, she worked as a student assistant at the Institute of Art History and the Institute of Romance Philology, and is currently employed as a non-scientific assistant at the Chair of Medieval and Modern Art History.

Henry Kaap is an assistant professor at the Institute of Art History at Ludwig-Maximilians-Universität in Munich. In 2019, he earned his PhD from the Free University of Berlin. His research has taken him to institutions including the Kunsthistorisches Institut in Florence, the Deutsches Studienzentrum in Venice, and the Museo del Prado in Madrid. His work focuses on early modern art, as well as the aesthetics of resistance and alternative narratives of art and the museum.

Christa Syrer is a research associate at the Institute of Art History at Ludwig-Maximilians-Universität in Munich. In 2020, she earned her PhD with a dissertation on the architecture and function of princely widow’s residences in the Early Modern period. Her research focuses on architectural history, particularly on the intersection of art-historical and environmental questions.

Chapters

Table of Contents
Pages
PDF
Titelei
Inhaltsverzeichnis
Stefanie Schneider, Ricarda Vollmer, Henry Kaap, Christa Syrer
Vorwort
9-11
Wolfram Siemann
Die Antrittsvorlesung von Hubertus Kohle: Kontinuität, Erweiterung und Neubeginn der kunsthistorischen Forschung am 13. November 2000 in München
13-17
Matthias Krüger
Der Eiffelturm als Souvenir
19-24
Daniela Stöppel
Erstkontakte: Hubertus Kohles Anfänge am Institut für Kunstgeschichte der Ludwig-Maximilians-Universität München
25-30
Thomas Moser
Extraktivistische Frankreichforschung: Kohle, Kraft, Werk
31-38
Alexis Joachimides
«Un-Höflichkeit» als politische Strategie unter französischen Künstlern des 18. Jahrhunderts
39-44
Lavinia Hunder
Mimi, le chien favori de madame de Pompadour: Der Hund als bester Freund des Kunsthistorikers?
45-52
Ulrich Pfisterer
Die Zeit enthüllt die Wahrheit der Malerei: Pierre Mignard und die Versatzstücke des Ruhms
53-59
Fabian Jonietz
Fuuuuumare! Futuristische Rauchwolken und der Rausch der Bewegung
61-67
Klaus Rainer Brintzinger
Hubertus Kohle und die (Universitäts-)Bibliothek
69-75
Maria Effinger
Publish first ...! Hubertus Kohle und das Open-Access-Publizieren
77-84
Nils Büttner
Open Peer Review als Kunstform: Wie Hubertus Kohle die Kunstgeschichte an die Digitalität gewöhnte
85-90
Heinrich Theodor Grütter
Von hier aus: Hubertus Kohles frühe Jahre in Bochum und die Anfänge der Medienwissenschaften
91-94
Peter Bell
Die Erfindung der digitalen Kunstgeschichte durch einen Bochumer Assistenten 1996
95-103
Sonja Gasser
Digitale Kunstgeschichte: Ein Spaziergang
105-111
Maximilian Westphal
Der Twitter-Professor
113-117
Antoinette Maget Dominicé
Über Grenzen hinaus: Provenienzen und das Digitale als Contact Zone
119-123
Lisa Dieckmann, Holger Simon
«prometheus als Prinzip»: Hubertus Kohle und sein Plädoyer für Unfertigkeit
125-128
Hubert Locher
«Anschluss an die Zukunft»
129-133
Leonie Groblewski, Florian Henrich, Johannes Michael Stanislaus
Auf der Suche nach dem digitalen Bild: Sechs Jahre Schwerpunktprogramm Das digitale Bild zwischen Isar und Lahn
135-141
Burcu Dogramaci, Fabienne Liptay
Her Digital Image: Eine fiktionalisierte Bildgeschichte der Tech-Pionierinnen
143-149
Stephan Hoppe
Memetics for Art History? Addressing Cultural Information Replication
151-156
Ursula Frohne, Reinold Schmücker
Going Digital: Neue Zugänge zur Kunstgeschichte auf dem Weg ins 21. Jahrhundert
157-161

Comments