By Dana Arnold
Art heritage: modern views on Method examines some of the styles and techniques to the self-discipline of artwork heritage exhibited around the scholarship of all classes over the past 30 years, leading to a go part of artwork heritage in all its complexities and a well timed survey of its historiography.
- Newly commissioned essays via a bunch of overseas students
- Takes a trans-disciplinary method of the heritage of paintings historical past
- Each essay provides unique and incisive arguments
- The essays mix to give a concept scary re-assessment of the equipment of artwork heritage
Chapter 1 artwork heritage: modern views on strategy (pages 1–7): Dana Arnold
Chapter 2 Sexing the Canvas (pages 8–33): Nicholas Chare
Chapter three Phenomenology and Interpretation past the Flesh (pages 34–55): Amanda Boetzkes
Chapter four Surveying modern artwork: Post?War, Postmodern, after which What? (pages 56–77): Dan Karlholm
Chapter five Michel Foucault and the purpose of portray (pages 78–98): Catherine M. Soussloff
Chapter 6 Karl Mannheim and Alois Riegl: From artwork background to the Sociology of tradition (pages 99–128): Jeremy Tanner
Chapter 7 paintings Fiction (pages 129–149): H. Perry Chapman
Chapter eight Dancing Years, or Writing as a fashion Out (pages 150–164): Adrian Rifkin
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Extra resources for Art History: Contemporary Perspectives on Method
Saslow, ‘‘‘A veil of ice between my heart and the fire’’’, 139. Saslow, ‘‘‘A veil of ice between my heart and the fire’’’, 141–3. Saslow, ‘‘‘A veil of ice between my heart and the fire’’’, 143. Adrian Stokes, Michelangelo, London, 2002, 153. Anthony Hughes, Michelangelo, London, 1997, 327. Hughes, Michelangelo, 327. Hibbard, Michelangelo, 128–9. Hibbard, Michelangelo, 129. 31 S E X I N G T H E C A N VA S 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 32 Joanna Frueh, Monster Beauty: Building the Body of Love, Berkeley, CA, 2001.
London: Tate Britain. Photo: r Tate, London 2009. in relation to the medium of watercolour at the time, however, we find the underlying motivation for the two practices to be the same. Girtin’s rough paper and Turner’s technique of abrading both act as masculine counters to the feminine medium the two artists employ. They both assuage the anxiety of the artists over their choice of material, an anxiety whose nature I will return to later. Paying greater attention to the sexing of media also assists the historian when it comes to reading past critical writings on art.
That is to say, the main concern is that the historian’s reading of the artwork cloaks it in a narrative that affirms her or his preconceived judgement of it, thus limiting the possibilities and power of its meaning. The spectre of solipsism is not merely present in the discipline of art history, but appears to have haunted phenomenology since its inception. Indeed, Maurice Merleau-Ponty’s ontology of the flesh, which is predicated on the entanglement of the subject with others and with things of the world, aimed to deflect various charges of solipsism.