Is Art History Global? (The Art Seminar)

Is Art History Global? (The Art Seminar)

James Elkins

Language: English

Pages: 472

ISBN: 0415977851

Format: PDF / Kindle (mobi) / ePub


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.

Manet: Biographical and Critical Study

Impressionist Painting for the Landscape: Secrets for Successful Oil Painting

The Nude: A Study in Ideal Form (A.W. Mellon Lectures in Fine Arts) (Bollingen Series XXXV-2)

Early Italian Painting

The Traveling Artist in the Italian Renaissance: Geography, Mobility, and Style

 

 

 

 

 

 

 

 

 

 

 

difference in what “infinity” means is thematized; it becomes the “dissimilarity of the similar” (Sklovsky). What has been established here for sculpture can be applied to painting, as well, as Kurt Badt claimed in Raumphantasien und Raumillusionen: “The organization of a partial view of a landscape achieving the image of a clearly limited, finite place is the only way to represent the notion of infinity,” he wrote: Infinity cannot be represented by orthogonals converging in a distance. These, on

myself, not about the question of delay, but about what it is that Wölfflin may have to offer to the analysis of Chinese art that Baxandall or Riegl might not. The idea that one must have complete knowledge of a discipline in order to make use of its instruments, that one must possess its entire genealogy, is Eurocentric. For an art ­historian in Latin America — and I suppose in China as well — the genealogy that is of interest has to do with reading cycles and patterns, and with the

circulation around the holy site — typically a stupa — that is part of the being-viewed-by-the-god widely known in Western literature as dars´ana.24 Pradaks.in.a involves honoring but holding oneself apart, seeing and being seen, and it is particular, I would think, to certain times and places that are distinct, in part, from examples of ambulatio such as Pompeii. RT7851x_C006.indd 144 10/19/06 11:00:19 AM The Art Seminar 145 An initial question with such terms is how they connect with

“Displacement” seems to me to be a fairly obvious description of that predicament. People may now be authentically and radically displaced in ways that were not possible before. To be sure, the premodern world had its problems, but it was not like that. SK: Can I take this up a bit further? There is a whole series of pieces that have appeared recently around the issues of ­asylum and migration. About 150,000,000 people have been displaced in the last several years. That raises interesting issues

intellectual contributions, art history has to abolish, not its passion for genealogy and history, but its internal ­hierarchies. What has to go is the unnecessarily limiting, ­ exclusive fine-art perspective. The field should be open to every class of image, to every type of imaging from the machinic to the mental, from the autonomous to the deliberate, from the shared to the unique, from the standardized to the variable. I have cited a few examples of the myriad new publications that are

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