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Rainer Crone is University Professor emeritus of Contemporary Art and History of Film at Ludwig Maximilian University in Munich and a specialist in the art of Andy Warhol.〔(【引用サイトリンク】title=Prof. Dr. Rainer Crone - Ludwig-Maximilians-Universität München )〕 He has previously taught at Yale University, the University of California, Berkeley, Columbia University, and New York University. ==Life and Works== It is useful to recall that when, as a young graduate student at the Freie University, Berlin, in 1968, Rainer Crone began to write his now classic scholarly study of Warhol that he would incorporate into what was to be the first catalogue raisonné of the artist’s work (''Andy Warhol'', Thames & Hudson, 1970), the field of contemporary art history was not even a recognized academic discipline in Europe; and in Germany, even less so. Until this work, and Crone’s successful efforts to compel the necessity of the recognition of its subject, the academic consensus had been that a work of art had to be at least one hundred years old in order to be an appropriate object of scholarship (Panofsky). Crone therefore not only was responsible for the first comprehensive European historically and scholarly relevant response to Warhol – the only of its kind until these days (“social painting/sculpture” Beuys; Moholy-Nagy's aesthetic theories of printed images in “Vision in Motion“, 1926/1946 ) and, by extension, the postwar displacement of the center of gravity of contemporary art from Europe to New York/Chicago („New Bauhaus“), but also, more than any other individual European historian of art and anthropology, Crone legitimized contemporary art history as an institutionally sanctioned field at major European (Berlin/Munich) and American Ivy League universities. In this sense, Crone’s pioneering influence recalls that of Alois Riegl of the Vienna School of the nineteenth century, who almost single-handedly secured the place of art history as a recognized independent discipline distinct from philosophy and history. For Crone, an indispensable means to achieve this derived from the work of a contemporary of Riegl’s, who most advanced the German tradition of phenomenology: Edmund Husserl. Early on, Crone recognized that Husserl’s work was necessary for any adequate account of the new art of the post war—''Informel'' in Europe (Tobey, Wols, Winter, Nay et al.) and ''Abstract Expressionism'' (Newman, Pollock, Still, Rothko et al.) in America. This proved especially true of Husserl’s distinction between two simultaneous facets of the perceptive event: the noetic or the perception of the object, and the noematic or the perception of the meaning of the object. A necessary intellectual component of this process was Crone’s integration of phenomenology with art historical methods so as to apply them to contemporary works that, by their nature, required this treatment in order for the works to become fully intelligible. By breaking with the excessive emphasis on positivistic data, historical minutiae, and subjective expressions of taste in the manner of bourgeois “connoisseurship” that had characterized so much academic art history of the nineteenth and early twentieth centuries, and by integrating the thought of Husserl and his successor in France, Merleau-Ponty, among others into a comprehensive treatment of important contemporary artists, e.g. Cy Twombly, Anish Kapoor, Crone advanced a vision of the contemporary that was compelling enough to assert itself in academic discourses until the field itself gradually became the international standard we have today. Crone recognized that the new emphasis on perception and its relation to the autonomy of the artwork—not only as a pervasive thematic current of the work and the significance in its artistic technique of execution (Paul Valéry), but also as a central means of its critical apprehension—demanded an equal attention to the strategy of art’s presentation. When - after his first major group show ''Numerals'' at Yale's Art Gallery, booked by 15 other university museums - he resigned his post at Yale University's art history and its School of Art (1976 to 1979) to become involved in filmmaking as Director's Fellow at AFI's Beverly Hills branch of Advanced Filmstudies (1979-1981) and subsequently to accept later what was to become a seven year tenure at Columbia University's art history in New York City from 1984 to 1991 - while alternatively serving six months a year as Vice-Director and Chief Curator at Germany's most recognized „Kunsthalle“ in Düsseldorf (Richter, Polke, Knoebel, Immendorf et al.) -, Crone founded in New York City I.A.C.A. (International Associates for Contemporary Art, Columbia University), the first institutionalized Curatorial Center in the U.S. and elsewhere at a world-wide recognized, cross-disciplinary major University with an aim to integrate in his seminars not only academic art history, but also a broad theoretical discourse (linguistics, semiotics, anthropology) with an emphasis on and vision of curatorial practice (contacts to leading artists, installations, fund-raising. organizing and conceiving exhibitions). When Dr. Crone returned to Munich in 1991 on the invitation of Hans Belting to accept the tenured chair for Modern and Contemporary Art, Film and Media at the for European standards renowned Institute of Art History (the former home of Wölfflin, Jantzen, Pinder, and Belting) at Ludwig Maximilians University, he founded in 1994 the successor to I.A.C.A., the International Center for Curatorial Studies & Services (ICCARUS), whose Kuratorium and Artists’ Committee still comprises many of those Crone originally invited to join I.A.C.A at Columbia. Ever since his earliest teaching posts and through the present day, Crone has continued to teach, to curate exhibitions, to write and direct documentary films on artists for German Television, and to publish numerous articles and artist’s monographs, mostly with Catalogue Raisonné attached. During his tenure at Columbia University he held also the position of Deputy Director and Chief Curator at Kunsthalle Düsseldorf (1986-1991) for a time-span of six months at each Institution and served from 1991 to 1995 as Adjunct Professor at Columbia's School of Art during fall and spring break at Munich. Especially notable among his many book-length publications since the Warhol monograph are his early study ''Malevich and Khlebnikov. Suprematism Reinterpreted'' (Artforum, 1978); first book publication on ''Kazimir Malevich: The Climax of Disclosure'' (with David Moos) (University of Chicago Press, 1991); ''Auguste Rodin. Eros and Creativity'' (Prestel, 1992 with numerous editions in four languages), accompanying Crone’s exhibition in Düsseldorf and Bremen; and ''Louise Bourgeois: The Secret of the Cells'' (with Petrus Schaesberg) (Prestel, 1998), the first comprehensive study and survey of the then 88-year-old artist. Currently University Professor Emeritus at Ludwig Maximilian University, Munich, Crone divides his time between residences in Munich and New York. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Rainer Crone」の詳細全文を読む スポンサード リンク
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