Aron Vinegar

Professor - Kunsthistorie
English version of this page
Telefon +47-22857178
Rom 502
Brukernavn
Besøksadresse 31 Blindernveien Georg Morgenstiernes hus 0313 Oslo
Postadresse Postboks 1020 Blindern 0315 OSLO

Faglige interesser

Art History, Visual Culture, and Aesthetics; History and Theory of Modern and Contemporary Architecture, Design, and the Built Environment; Theories of Habit, Habitation, and Dwelling; Ethology; Philosophical approaches to architecture and the arts; Monuments and Community; Issues of Ontological Indifference and Suspended Judgment; History and Theory of Photography. These varied interests are driven by three intersecting constellations of concern: habit, automaticity and the ‘unthought’; issues of suspended judgment and ontological indifference; and counter-models to notions of “self-preservation”.

Undervisning

       *For courses taught at other institutions please see my website, http://aronvinegar.net

Bakgrunn

Before taking up my position as Associate Professor of Art History at the University of Oslo in 2016,  I was Director of History, Theory, and Criticism in the College of Architecture and Design, University of Houston, Director of Art History and Visual Culture at the University of Exeter, Assistant and Associate Professor in the Department of History of Art, Ohio State University, and an SSHRC Postdoctoral Fellow/Richard H. Tomlinson Postdoctoral Fellow, Department of Communication Studies and Art History, McGill University. I received my BA and MA from McGill University in Canada, and my PhD from the Department of Art History at Northwestern University, U.S.A. 

Utvalgte publikasjoner

Books and Guest Edited Journals

  • with Kirsten Thomas, Special Issue, Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft, on “Matters of Fact,” vol. 60, no. 1 (August 2015).
  • Aron Vinegar and Amanda Boetzkes, Heidegger and the Work of Art History (Ashgate Press, 2014).
  • Future Anterior: Journal of Historic Preservation History, Theory, and Criticism, on “Rethinking the Monument,” vol. 9, no. 2 (Spring 2012).
  • Future Anterior: Journal of Historic Preservation History, Theory, and Criticism, on “Rethinking the Monument,” vol. 8, no.2 (Fall 2011).
  • Aron Vinegar and Michael Golec, Relearning from Las Vegas (Minneapolis: University of Minnesota Press, 2009).
  • Aron Vinegar, I AM A MONUMENT: On Learning from Las Vegas (Cambridge, MA: The MIT Press, 2008).  

Articles and Book Chapters

  • “Introduction” and essay “Art History and Visual Culture without World” in Special Issue, Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft, on “Matters of Fact,” guest edited by Aron Vinegar and Kirsten Thomas, vol. 16.2 (August 2015).
  • “Introduction” and “Reluzenz: On Richard Estes,” in Heidegger and the Work of Art History, eds. Aron Vinegar and Amanda Boetzkes (London: Ashgate, 2014), 1-30 and 249-68
  • “Architecture and Collectivity” and “Habit,” in The Encyclopedia of Aesthetics, ed. Michael Kelly, 2nd ed, 6 vols. (New York: Oxford University Press, 2014).
  • “On Preserving the Openness of the Monument,” (introduction), Future Anterior, special issue on “Rethinking the Monument,” vol. 9, no. 1 (Spring 2012).
  • “Chatography,” Journal of the Society of Architectural Historians, vol. 71, no. 3 (September 2012): 362-385.
  • “What a Monument Can Do,” (introduction), Future Anterior, special issue on “Rethinking the Monument,” vol. 8, no. 2 (Fall 2011).
  • “La fantasme du Canard et du Hangar décoré,” Dreamlands: Des parcs d’attractions aux cites du futur (Paris: Editions du Centre Pompidou, 2010), 94-198. Catalogue essay for the Dreamlands exhibition at the Centre Pompidou, Paris, May 5-Aug 9, 2010.
  • “Ed Ruscha, Heidegger and Deadpan Photography,” Photography After Conceptual Art, eds. Margaret Iversen and Diarmuid Costello (Oxford: Wiley-Blackwell Press, 2010), 28-49. * Also published as “Ed Ruscha, Heidegger and Deadpan Photography,” Art History, vol. 32, no. 5 (December 2009): 852-873. Special issue, Photography After Conceptual Art, eds. Margaret Iversen and Diarmuid Costello.
  • “Viollet-le-Duc, Panoramic Photography, and the Restoration of the Château de Pierrefonds,” Eugène Emmanuel Viollet-le-Duc, ed. Werner Oechslin (Zürich: Eidgenossische Technische Hochschule-Geschichte und Theorie der Architektur Verlag/Berlin: Gebr. Mann Verlag, 2010), 90-109.
  • “Introduction” and “The Melodrama of Expression and Inexpression in the Duck and Decorated Shed,” in Relearning from Las Vegas, eds. Aron Vinegar and Michael Golec (Minneapolis: University of Minnesota Press, 2009), pp. 1-17 and 163-193.
  • “Panoramic Photography and the Restoration of the Château de Pierrefonds,” Colloque sur l'Oeuvre de Viollet-le-Duc (Paris: Editions du Patrimoine, 2008), 70-81. Online book, http://editions.monuments-nationaux.fr/en/online-books/bdd/livre/11.
  • “At the Limit,” in Horizons and Intersections III, catalogue essay, for an exhibition at the Bau-Xi Gallery, Toronto, Ontario, Canada, 2007, 1-8.
  • “Viollet-le-Duc and Restoration in the Future Anterior,” Future Anterior, vol.3, no. 2 (Fall 2006): 57-67. 

 

Emneord: Kunsthistorie, Visuell kultur, Estetikk, Kunstfilosofi, Modernisme, Postmodernisme, Kunstteori, Design og arkitektur, Fotografihistorie, Kunsthistorieforeleser
Publisert 5. juli 2016 12:03 - Sist endret 12. sep. 2016 16:26