Sarah Sandfort

Radiologische Bilder als Herausforderung einer bildwissenschaftlich interessierten Kunstgeschichte

Introduction

Radiologische bilder als herausforderung einer bildwissenschaftlich interessierten kunstgeschichte. Eine bildwissenschaftliche Kunstgeschichte untersucht radiologische CT/MRT-Bilder von Sarah Sandfort. Der Beitrag beleuchtet historische Narrative & Diskussionen digitaler Bilder.

Abstract

Sarah Sandfort nimmt aus einer bildwissenschaftlich interessierten Kunstgeschichte die deutschsprachige Radiologie und ihre computer- und magnetresonanztomografischen Bilder in den Blick. Aus einer zeitgenössischen Haltung heraus offenbaren sich unterschiedliche geschichtliche Narrative für die beiden Disziplinen (Kunstgeschichte, Radiologie), die bei einer Untersuchung der Bilder besonders zum Tragen kommen. Gerade digitale Bilder werden unterschiedlich diskutiert, wie der Beitrag aufzeigt und dabei übergreifende Gemeinsamkeiten des Bildes herausstellt.

Review

This paper by Sarah Sandfort addresses a compelling and timely topic at the intersection of visual studies, art history, and medical imaging. Taking a distinctly *bildwissenschaftlich* informed art historical perspective, the author investigates radiological images, specifically those generated by computer and magnetic resonance tomography within the German-speaking context. The premise posits these medical images not merely as scientific data, but as complex visual artifacts that present a significant challenge and new field of inquiry for contemporary art historical discourse. A central contribution of Sandfort's analysis lies in its exploration of the divergent historical narratives that emerge for art history and radiology when examining these images from a contemporary vantage point. This approach promises to illuminate how each discipline constructs meaning and context around visual representations. Furthermore, the paper highlights the differing ways in which digital images, in particular, are discussed and understood across these fields. Crucially, the author aims to bridge these disciplinary divides by identifying overarching commonalities in the very nature and interpretation of the image itself, thereby fostering a deeper, interdisciplinary understanding of visual culture. Overall, Sandfort’s work offers a valuable and insightful contribution to both visual studies and the history of science and medicine. By engaging with the 'challenge' presented by radiological images, the article not only expands the traditional scope of art historical inquiry but also enriches our understanding of digital imagery in a broader cultural context. The focus on uncovering shared visual principles despite disciplinary specificities is particularly promising, making this paper highly relevant for scholars interested in interdisciplinary approaches to visuality, the historical construction of images, and the evolving relationship between art and science.

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