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Addressed to students of the image—both art historians and students of visual studies—this book investigates the history and nature of time in a variety of different environments and media as well as the temporal potential of objects. Essays will analyze such topics as the disparities of power that privilege certain forms of temporality above others, the nature of temporal duration in different cultures, the time of materials, the creation of pictorial narrative, and the recognition of anachrony as a form of historical interpretation.
Art in Time is the first book to embed art movements within the larger context of politics and history. Global in scope and featuring an innovative present‐to‐past arrangement, the book’s accessible text looks back on the most significant art styles and movements, from the present day to antiquity. Pages of historical photographs, documents, newspaper headlines, and other ephemera evoke the times in which styles and movements arose. The book opens with The Information Age (Internet Art, Neo‐Expressionaism, Arte Povera) and closes with The Classical Age (Roman wall painting, Hellenistic Greek style), covering everything from Photorealism, Art Brut, Ukiyo‐e, and Byzantine style in between. An integrated timeline provides a linear thread throughout the book, while succinct, authoritative text illuminates key points.
C. Heck and K. Lippincott, Symbols of Time in the History of Art: Introduction; A. Acres, Small Physical History: Trickling Past of Early Netherlandish Painting; B. Winston Blackmun, 'From Time Immemorial': Historicism in the Court art of Benin, Nigeria; S. Blumenroder, Andrea Mantegna's Grisaille Paintings: Colour Metamorphosis as a Metaphor for History; K. Enz Finken, An Early Christian Construction of Time: Salvation History in the Catacomb of Callistus in Rome; M. Wellington Gahtan, Notions of Past and Future in Italian Renaissance Art and Letters; P. Gerrish Nunn, Time and Tide wait for no man: a Victorian apocalypse; J. M. Greenstein, Faces in Time: Temporalities of the Sitter in Renaissance Portraits; J. Berger Hochstrasser, Goede Dingen Willen Tijt Hebben: Time as a Meditation on Painting in Dutch Still Life of the Seventeenth Century; P. Junod, Figures du Temps au siecle de l'histoire; W. Pullan, Death and Praxis in the Funerary Architecture of Mamluk Cairo; S. Sun, The Symbols of Seasonal Changes from Winter to Spring in East Asian Paintings; D. Motycka Weston, 'The Hour of the Enigma': The Phenomenal Temporality in the Metaphysical Painting of Giorgio de Chirico.
An examination of how modern art was impacted by the concept of prehistory and the prehistoric Prehistory is an invention of the late nineteenth century. In that moment of technological progress and acceleration of production and circulation, three major Western narratives about time took shape. One after another, these new fields of inquiry delved into the obscure immensity of the past: first, to surmise the age of the Earth; second, to find the point of emergence of human beings; and third, to ponder the age of art. Maria Stavrinaki considers the inseparability of these accounts of temporality from the disruptive forces of modernity. She asks what a history of modernity and its art would look like if considered through these three interwoven inventions of the longue durée. Transfixed by Prehistory attempts to articulate such a history, which turns out to be more complex than an inevitable march of progress leading up to the Anthropocene. Rather, it is a history of stupor, defamiliarization, regressive acceleration, and incessant invention, since the “new” was also found in the deep sediments of the Earth. Composed of as much speed as slowness, as much change as deep time, as much confidence as skepticism and doubt, modernity is a complex phenomenon that needs to be rethought. Stavrinaki focuses on this intrinsic tension through major artistic practices (Cézanne, Matisse, De Chirico, Ernst, Picasso, Dubuffet, Smithson, Morris, and contemporary artists such as Pierre Huyghe and Thomas Hirschhorn), philosophical discourses (Bataille, Blumenberg, and Jünger), and the human sciences. This groundbreaking book will attract readers interested in the intersections of art history, anthropology, psychoanalysis, mythology, geology, and archaeology.
This classic book uses an exceptional art program, featuring impeccable accurate five-color illustrations, to introduce readers to the vast world of painting, sculpture, architecture, photography, and the minor arts. With its effectively written, balanced, and interesting narrative, this book presents art as a succession of styles--from Prehistory through the 20th century--and enlarges the readers' capacity to appreciate works of art individually. Written more than 40 years ago, this text has been constantly reworked to respond to the needs of this ever-changing field. A reference work suitable for those employed in all art media, including painters, sculptors, photographers, and architects.
The definitive survey of Western art is now available in a deluxe, one-volume slipcased edition, bound in rich cloth and stamped in gold foil. 1,243 illustrations, 736 in color. 111 line drawings. 12 maps.
"In this authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original and accessible account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. The book shows that the pioneering chroniclers of the Italian Renaissance--Lorenzo Ghiberti and Giorgio Vasari--measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however--Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich--struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Combining erudition with clarity, this book makes a landmark contribution to the understanding of art history."--from book jacket
The conditions of alienation and exclusion are inextricably linked to the experience of the migrant. This volume explores both the increasing emergence of the theme of migration as a dominant subject matter in art as well as the ways in which the varied mobilities of a globalized world have radically reshaped art's conditions of production, reception, and display. In a selection of essays, fourteen distinguished scholars explore the universality of conditions of global migration and interdependence, inviting a rethinking of existing perspectives in postcolonial, transnational, and diaspora studies, and laying the foundation for empirical and theoretical directions beyond the terms of these traditional frameworks.
Sandler discusses the major and minor artists and their works; movements, ideas, attitudes, and styles; and the social and cultural context of the period. He covers post-modernist art theory, the art market, and consumer society. American and European art and artists are included.
"In this anthology some of the most influential theorists, historians and artists that work within the field of real time + art, have been asked to describe and possibly even define it. The result is a kaleidoscopic play of ideas and art forms that together define a wide range of issues in art."--BOOK JACKET.