Paths – Methods – Critiques: Women Art Historians 1880–1970

该网络旨在重新考虑大约1880年至1970年间第一批受过学术训练的德语女性艺术史学家对该学科的贡献。这需要分析他们的工作，将其置于科学和文化史的背景下，并重建他们的国家和国际代理领域。除了收集传记，该网络旨在研究妇女在该学科早期阶段遇到的社会和体制限制所产生的创新潜力。一个特别关注的问题是，他们对艺术的理论化和进步的方法在多大程度上铭刻在学科的历史和方法中，以及他们可以给今天的艺术史带来哪些推动力，特别是在面对对非欧洲艺术，物质文化，和建筑理论。虽然女性艺术史学家在世纪早期不仅数量众多，而且在出版、策展、教学和处理艺术方面都非常成功，他们的工作在今天几乎无人知晓。因此，该项目将重新调查和比较分析这些妇女提出的问题，他们解决的问题，他们发展的理论和方法，以及他们为艺术史开创的主题。G.在装饰艺术，设计和建筑，新媒体，现代和非欧洲艺术方面，它将进一步审查他们在一个明确的国际专业领域的机构。这将包括对排斥和歧视的体制、纪律和（性别）政治机制的调查，特别是在国家社会主义时期的起诉和流放背景下，这些机制导致了它们目前的隐蔽性。以及艺术史学科的文化多样性。只有我们重新审视第一批女性艺术史家因其特定的生活经历、社会背景、载体路径、网络和知识体系而处理的多种主题，重新审视她们发展或改良的方法，重新审视她们发展的媒介、文体和美学传播形式，艺术史的历史--从而艺术史的历史--才能在视角上得到丰富和发展。通过这个项目，该网络希望有助于对人文历史的批判性重新评估。

The network aims to reconsider the contributions of the first academically trained German-speaking women art historians to the discipline between circa 1880 and 1970. This entails analyzing their work, contextualizing it in the history of science and culture in general, and reconstructing their national and international field of agency. Beyond a mere collection of biographies, the network aims to examine the innovation potential arising from the social and institutional constraints women encountered in the early stages of the discipline. A special focus lies on the question in how far their approaches to the theorization and advancement of art are inscribed within the history and methods of the discipline, and which impulses they could give to art history today, especially in the face of the growing interest in non-European art, material culture, and architectural theory.While women art historians were not only numerous in the early 20th century but also highly successful in publishing, curating, teaching, and dealing with art, their work is almost completely unknown today. The project therefore will reinvestigate and analyze comparatively the questions these women raised, the problems they addressed, the theories and methods they developed, and the subject-matters they pioneered for art history—e. g. in regard to decorative arts, design and architecture, new media, and modern and non-European art. It will furthermore examine their agency within a decidedly international professional field. This will comprise a survey of the institutional, disciplinary, and (gender-)political mechanisms of exclusion and discrimination which, especially against the background of prosecu-tion and exile during National Socialism, contributed to their current invisibility.Far from partaking in a cult of genius and canonization, this act of ‘rediscovery’ is understood as a step towards expanding the methodological, material, and cultural diversity of the art-historical discipline. Only if we recall the manifold subject-matters treated by the first female art historians due to their specific life experiences, social backgrounds, carrier paths, networks, and knowledge systems, and only if we reconsider the methods they developed or modified, and the medial, stylistic, and aesthetic forms of communication they developed, can the history of art history—and hence of art—be perspectivally enriched and rendered more dynamic. With this project, the network hopes to contribute to a critical reevaluation of the history of the humanities.