This book provides a lively and stimulating introduction to methodological debates within art history. Offering a lucid account of approaches from Hegel to post-colonialism, the book provides a sense of art history's own history as a discipline from its emergence in the late-eighteenth century to contemporary debates.
This is the third volume in The Art Seminar, James Elkin's series of conversations on art and visual studies. Is Art History Global? stages an international conversation among art historians and critics on the subject of the practice and responsibility of global thinking within the discipline. Participants range from Keith Moxey of Columbia University to Cao Yiqiang, Ding Ning, Cuautemoc Medina, Oliver Debroise, Renato Gonzalez Mello, and other scholars.
"An invaluable handbook, How to Write Art History, will enable students to get the most from their art history course. Anne D'Alleva empowers readers to approach their coursework with confidence and energy." --Book Jacket.
Edited by Robert Nelson and Richard Shiff, Critical terms for art history is both an exposition and a demonstration of contested terms from the current art historical vocabulary. In individual essays, scholars examine the history and use of these terms by grounding their discussions in single works of art, reading each work through current debates and methods. This instructive combination of theory and practice allows readers to examine the terms as they are seeing them employed. In its wide representation of contemporary discourse, this book is a comprehensive effort to map historical and theoretical debates over the visual environment.
In this generously illustrated book, world-renowned Yale art historian Robert Farris Thompson gives us the definitive account of tango, "the fabulous dance of the past hundred years–and the most beautiful, in the opinion of Martha Graham.” Thompson traces tango’s evolution in the nineteenth century under European, Andalusian-Gaucho, and African influences through its representations by Hollywood and dramatizations in dance halls throughout the world. He shows us tango not only as brilliant choreography but also as text, music, art, and philosophy of life. Passionately argued and unparalleled in its research, its synthesis, and its depth of understanding, Tango: The Art History of Love is a monumental achievement. From the Trade Paperback edition.
Each of the chapters in this volume is a response to theoretical and practical questions regarding the relationship between the art object and language in art history. Accessible to readers of all social science disciplines, the issues discussed challenge the boundaries to thought that some contemporary theorizing sustains.
What is art history? Why, how and where did it originate, and how have its aims and methods changed over time? This work is a guide to understanding art history through a critical reading of the field's most influential texts over the past two centuries.
A collection of essays that reflect the breadth of twentieth-century scholarship in art history. Kleinbauer has sought to illustrate the variety of methods scholars have developed for conveying the unfolding of the arts in the Western world. Originally published by Holt, Rinehart, and Winston, 1971.
- Author : Hans (Professor of Art Belting, Science and Media Theory Karlsruhe's State College of Design Germany),Hans Belting,Professor for Art History and Media Theory Hans Belting
- Publisher : University of Chicago Press
- Release : 2003-08
- ISBN : 9780226041858
- Language : En, Es, Fr & De
"Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all. So begins Hans Belting's brilliant, iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier and highly successful volume, The End of the History of Art?. "Known for his striking and original theories about the nature of art," according to the Economist, Belting here examines how art is made, viewed, and interpreted today. Arguing that contemporary art has burst out of the frame that art history had built for it, Belting calls for an entirely new approach to thinking and writing about art. He moves effortlessly between contemporary issues—the rise of global and minority art and its consequences for Western art history, installation and video art, and the troubled institution of the art museum—and questions central to art history's definition of itself, such as the distinction between high and low culture, art criticism versus art history, and the invention of modernism in art history. Forty-eight black and white images illustrate the text, perfectly reflecting the state of contemporary art. With Art History after Modernism, Belting retains his place as one of the most original thinkers working in the visual arts today.
Find original research and interpretive studies of the relations between homosexuality and the visual arts. Evidence for the role of homosexuality in artistic creation has often not survived, in part because the direct expression of homosexuality has often been condemned in Western societies. Gay and Lesbian Studies in Art History presents examples of contemporary art historical research on homoeroticism and homosexuality in the visual arts (chiefly painting and sculpture) of the Western tradition from the ancient to the modern periods. Chapters explore the dynamic interrelation of sexuality and visual art and emphasize problems of historical evidence and interpretation and the need to reconstruct social and cultural realities sometimes quite different from our own. Gay and Lesbian Studies in Art History addresses contemporary art historians’interest in studying sexuality in the visual arts, examining such questions as: What are some of the present-day reasons for, and problems of, this research? How is it related to other research areas within art history and to wider public debates about the meaning, value, and propriety of works of art? While the book examines a variety of research problems and theoretical perspectives, most chapters focus on the historical interpretation of a particular work of art, artist, or visual convention. Chapters present new documentation of the importance of homosexuality in the production and reception of artworks in the Western tradition, develop models for approaching the question of how sexuality and visual creation are related, and explore researchers’experiences and obligations in working in the area of gay and lesbian studies in art history today. Contributing authors stress problems of historical evidence and reconstruction; the social and cultural construction of homosexuality; and the active role of visual conventions in shaping perceptions of homosexuals, homosexuality, and homosexual desire. They discuss both the biography of artists and the significance of individual works of art and the social reception and circulation of works of art in the context of wider religious, legal, medical, political, and economic relations. The book may revise readers’beliefs about the significance and value of a number of works of art hitherto forgotten, neglected, under-appreciated, or misinterpreted. Gay and Lesbian Studies in Art History is an enlightening and informative book for art historians, museum professionals, scholars in the field of lesbian and gay studies, and art history students and professors.