Infantile History is a group exhibition at the Department of History at York University, featuring children’s and childlike art to examine core questions faced by the discipline of history. It also explores art as an effective tool to delve into methodological challenges in creating and communicating historical knowledge. Noa Yaari (photo: Lee Waddington) The exhibitionContinue reading “Photos from the Exhibition Infantile History”
Category Archives: My Art
I think that…
Noa Yaari, I think that I’m a Cerebral Subject! 2016
Infantile History – Exhibition in the Department of History at York University
Dear all, Have you ever been described as “infantile”? Have you ever classified someone or something as such? As part of exploring what history is, whether it has a goal, age and direction, and what the means to answer these questions are, you are invited to submit artworks to be displayed in the Department ofContinue reading “Infantile History – Exhibition in the Department of History at York University”
Dates and Places in the List of Illustrations
When the list of illustrations informs about the times in which the artworks were produced, and their location at the time of conducting the research or publishing the book, the readers can gain a perspective on the sources’ temporal and geographical scope, right from the beginning. In the case of Colin Morris’ The Discovery ofContinue reading “Dates and Places in the List of Illustrations”
Interdisciplinary Method and Human Behavior
Interdisciplinary method in research on human behavior is the other side of working with a diverse group of participants in a social experiment; both halt reductionism in our perception of “human being.” If the perception of the examined phenomenon and its agents is not restricted by the examiner by narrowing down the tools of inquiry,Continue reading “Interdisciplinary Method and Human Behavior”
Everything!
Noa Yaari, Everything! 2005. Letterset on a mirror. Tel Aviv. Photographer: Kfir Harbi.
Visual Quoting
When historians work with images, they might benefit from thinking like artists when they embed visual evidence in their research and publications. Quoting a visual text is like quoting a verbal one; it comes from the realization that there are places where the original text would benefit from using someone else’s work. The advantage ofContinue reading “Visual Quoting”
Place in Image Captions III
But… ethically, if we think about the caption more as part of the book than as an element that accompanies the artwork, the historian has a say. For example, the caption of Fig. 181 in Burckhardt’s Civilization raises interesting questions about the responsibility of the historian, editor and publisher for updating locations of artworks thatContinue reading “Place in Image Captions III”
Place in Image Captions II
In my last post, I suggested to indicate in captions “any location that contributes to the meaning of the work” when the artwork has no body. Upon reflection I realize that it’s problematic and, unfortunately, I have to disagree. Artworks do not begin and end with a place in which their materiality and physicality settle.Continue reading “Place in Image Captions II”
Place in Image Captions I
Informing readers about the location of the artwork in the caption emphasizes the artworks’ physicality; its existence beyond the printed image somewhere in the world. From the readers’ point of view, identifying a name of a place in proximity to the image and the date of production is perceiving the visual evidence as part ofContinue reading “Place in Image Captions I”
Noa Yaari 