Middlebury Language Schools

 

Till Busse, geb. 1965 in Bonn, studierte Kunstgeschichte, Philosophie, Spanisch und Italienisch in Siena, Köln, Oxford und Bonn.1999 Promotion in Köln mit einer Arbeit über Domenico Ghirlandaios Marienbilder. 2000-2002 Lektor beim Könemann Verlag in Köln. Nach 2002 freie Lektoratstätigkeit. 2005-2006 Forschungsprojekt der Deutschen Forschungsgemeinschaft („Giorgio Vasari als religiöser Maler"). Lehraufträge an der Universität Bonn, für Philadelphia Colleges in Cologne und Middlebury College. Im Moment ist er als Museumspädagoge für den Kölner Museumsdienst tätig.

Till Busse, born 1965 in Bonn, studied history of art, philosophy, Spanish and Italian in Siena, Oxford, Cologne and Bonn. 1999 Ph.D. in Cologne with a thesis about Domenico Ghirlandaio's Marian paintings. 2000-2002 editor for Könemann Publishing Inc. in Cologne. Since 2002 free lance editor for various publishing houses. 2005-2006 research project of the German Research Foundation ("Giorgio Vasari as religious painter"). Teacher at the University of Bonn, Philadelphia Colleges in Cologne (PCIC) and Middlebury College. He works as teacher for the Museum Service in Cologne.

 

Courses

Courses offered in the past four years.
indicates offered in the current term
indicates offered in the upcoming term[s]

GRMN 6614 - Albrecht Dürer and his Time      

There are few moments in the history of art in Germany which are as important as the years between 1470 and 1540. These years mark an interface between a refined late Gothic sculpture, painting, architecture on the one hand and the Italian Renaissance style on the other hand. Germany's most famous Renaissance painter and his city, Nuremberg, embody this time and this epochal change in rather unique ways. This time of change not only caused new forms of artistic expression to develop, but also new artistic themes and content. The country went through dramatic changes in language, politics, philosophy and religion, and this change is reflected in the work of Albrecht Dürer. Dürer and his contemporaries in the arts and humanities will be presented in this seminar, but also other important key figures of the years around 1500 A.D.

Required texts: Norbert Wolff: Dürer (Taschen); other materials.

Area Studies

Summer 2013

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GRMN 6628 - German Artists after 1960      

Here and Now? 20 Post-War Positions in Germany after 1960

After World War II, after dictatorship and deep provincialism, an internationalization of the German art scene began. Art in the West developed close ties to France and the USA, whereas in the East first of all the doctrine of socialist realism seems to have prevailed. Apart from international attention German Art also obtained considerable economic success.
Artists such as Richter or Kiefer appear in all major international collections. On the other hand there are now and then constant specifically German topics: world war II, guilt, the Holocaust, German myths – German art seems to present a dance on a tightrope between cosmopolitanism and questions of identity.
The course will follow the chronology of events, presenting the following 20 individual artists, but we also will try to discuss the question whether there could or should be such a thing as typically German or National Art at all.
Georg Baselitz
Bernd und Hilla Becher
Joseph Beuys
Carl Otto Götz
Andreas Gursky
Johannes Grützke
Hans Haacke
Rebecca Horn
Jörg Immendorf
Anselm Kiefer
Kippenberger
Markus Lüpertz
Jonathan Meese
Sigmar Polke
Neo Rauch
Gerhard Richter
Salome
Thomas Schütte
Werner Tübke
Wolf Vostell

Required text: Thomas: Kunst in Deutschland seit 1945 (Dumont Verlag, Köln 2004).

Area Studies

Summer 2014 Language Schools

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GRMN 6647 - German Art & Culture 1905-1945      

Modernity and Anti-Modernity in German Art and Culture: 1905-1945

Avantgarde movements arrived late in German art, but after 1905 the country saw an explosion of an avantgarde which was closely linked to international movements such as fauvism and cubism. Until 1933 the country lived a particularly radical art manifesting itself especially in the Brücke group in Dresden and Berlin, the Blaue Reiter group in Munich, the Bauhaus academy and the realistic tendencies of the 1920s. All of this was interrupted when the national socialists seized power in 1933. They prosecuted and forbid most forms of contemporary art. Nevertheless there are certain continuities before and after 1933. Looking at the works of art and certain key texts we are going to explore the explosion of the modernity and its destruction until 1945, a key period in German art, which still affects our aesthetic way of thinking in Germany until today. (1 unit)

Required texts: A coursepack will be made available.

Area Studies

Summer 2011

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