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This book undertakes a critical survey of art history across Europe, examining the recent conceptual and methodological concerns informing the discipline as well as the political, social and ideological factors that have shaped its development in specific national contexts.
Art history, aesthetics, and visual studies today find themselves in contested new philosophical and institutional circumstances. This fascinating and challenging volume explores the connections and differences among these three methods of investigating visual representation. What are the dominant aesthetic assumptions underlying art historical inquiry? How have these assumptions been challenged by visual studies? Are questions of quality, form, content, meaning, and spectatorship culturally specific? Can we still define the parameters of what should properly constitute the objects of the history of art? Fifteen distinguished scholars answer these and other questions, critically examining the relationships among these three scholarly fields from their founding moments through their contemporary practices.
Offering a conceptual framework for teaching the visual arts (K-12 and higher education) from a cultural standpoint, the author discusses visual culture in a democracy.
Almost thirty years ago, W.J.T. Mitchell's 'Iconology' helped launch the interdisciplinary study of visual media, now a central feature of the humanities. Mitchell's now-classic work introduced such ideas as the pictorial turn, the image/picture distinction, the metapicture, and the biopicture. These key concepts imply an approach to images as true objects of investigation-an 'image science.' Continuing with this influential line of thought, 'Image Science' gathers Mitchell's most recent essays on media aesthetics, visual culture, and artistic symbolism. The chapters delve into such topics as the physics and biology of images, digital photography and realism, architecture and new media, and the occupation of space in contemporary popular uprisings.
How can aesthetic enquiry contribute to the study of visual culture? There seems to be little doubt that aesthetic theory ought to be of interest to the study of visual culture. For one thing, aesthetic vocabulary has far from vanished from contemporary debates on the nature of our visual experiences and its various shapes, a fact especially pertinent where dissatisfaction with vulgar value relativism prevails. Besides, the very question ubiquitous in the debates on visual culture of what is natural and what is acquired in our visual experiences has been a topic in aesthetics at least since the Enlightenment. And last but not least, despite attempts to study visual culture without employing the concept of art, there is no prospect of this central subject of aesthetic theory ebbing away from visual studies. The essays compiled in this volume show a variety of points of intersection and involvement between aesthetics and visual studies; some consider the future of visual art, some the conditions and characteristics of contemporary visual aesthetic experience, while others take on the difficult question of the relation between visual representation and reality. What unites them is their authors' willingness to think about contemporary visual culture in the conceptual frame of aesthetics. This book will be of great interest to students and scholars of philosophical aesthetics, art history, and cultural studies.
Each of the five volumes in the Stone Art Theory Institutes series brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fifth and final volume in the series focuses on the identity, nature, and future of visual studies, discussing critical questions about its history, objects, and methods. The contributors question the canon of literature of visual studies and the place of visual studies with relation to theories of vision, visuality, epistemology, politics, and art history, giving voice to a variety of inter- and transdisciplinary perspectives. Rather than dismissing visual studies, as its provocative title might suggest, this volume aims to engage a critical discussion of the state of visual studies today, how it might move forward, and what it might leave behind to evolve in productive ways. The contributors are Emmanuel Alloa, Nell Andrew, Linda Báez Rubí, Martin A. Berger, Hans Dam Christensen, Isabelle Decobecq, Bernhard J. Dotzler, Johanna Drucker, James Elkins, Michele Emmer, Yolaine Escande, Gustav Frank, Theodore Gracyk, Asbjørn Grønstad, Stephan Günzel, Charles W. Haxthausen, Miguel Á. Hernández-Navarro, Tom Holert, Kıvanç Kılınç, Charlotte Klonk, Tirza True Latimer, Mark Linder, Sunil Manghani, Anna Notaro, Julia Orell, Mark Reinhardt, Vanessa R. Schwartz, Bernd Stiegler, Øyvind Vågnes, Sjoukje van der Meulen, Terri Weissman, Lisa Zaher, and Marta Zarzycka.
Heidegger and the Work of Art History explores the impact and future possibilities of Heidegger’s philosophy for art history and visual culture in the 21st century. Scholars from the fields of art history, visual and material studies, design, philosophy, aesthetics and new media pursue diverse lines of thinking that have departed from Heidegger’s work in order to foster compelling new accounts of works of art and their historicity.
This study focuses on anti-modernist artists, critics and political theorists in Belle Epoque France hostile to secular democracy and its allegedly decadent culture of individualism. It examines their reassertion of social and artistic values which, they claimed, had been distorted and repressed by the 1789 revolution. Exploring the cultural implications of the Catholic revival, the impact of the royalist movement Action francaise and nationalist calls for a 'Renaissance francaise', it challenges previous assessments of nationalists' artistic agenda and recasts ways of thinking about classicism and the notion of a 'return to order' in pre- and post-war French cultural discourse. The book offers the first comprehensive overview of nationalism's impact on pre-war French art, which it complements with synthetic studies of three figures affected by these political and artistic debates: the painters Maurice Denis (Catholic revival) and Emile Bernard ('Renaissance francaise), as well as the critic Joachim Gasquet (Action francaise). In such a way, the book goes beyond previous accounts to highlight contradictions and complexities in pre-war artistic discourse that enrich our understanding of the ideological stakes involved in clashes over modernity, tradition and identity in pre-war France.
This handbook explores key aspects of art and architecture in ancient Greece and Rome. Drawing on the perspectives of scholars of various generations, nationalities, and backgrounds, it discusses Greek and Roman ideas about art and architecture, as expressed in both texts and images, along with the production of art and architecture in the Greek and Roman world.