In the mid-seventh century to the early fifth, life-sized standing marble statues of young women, often elaborately dress in gaily painted garments were created known as korai. The earliest korai is a Naxian women to Artemis. The statue wears a tight-fitted, belted peplos, giving the body a very plain look.
Next Writing Art History: Disciplinary Departures, by Margaret Iversen and Stephen Melville Spurred by global economic contractions, by the attention of politicians, legislators, and pundits, and certainly also by the historical curiosity and critical orientation of its ranks, the academy at present is in the thrall of self-scrutiny.
What is the past, present, and future of the research university, an invention of stunningly recent vintage and yet of remarkable structural resilience? Its resistance to iversen writing art history is alternatively admired and critiqued, while its tendency to self-replication is anxiously examined.
What should our relations to our nineteenth-century origins look like? And do even our anxieties belong rightly to us and to our time, or are they, too, part of the fabric that binds us to our late-eighteenth and nineteenth-century predecessors? These are some of the questions that many of us routinely encounter thanks to the efflorescence of writing and thinking on the topic in The Chronicle of Higher Education, in lectures and faculty meetings, and in conversations with academic peers around the globe.
What began as a critical reevaluation of the art history survey and its seductive, fully naturalized or at least ostensibly self-evident orientation to the West has been augmented ——and perhaps in the end eclipsed——by a more wide-ranging conversation about the means and ends of a world art history.
Where Do We Come From? Where Are We Going? As they did for Gauguin, these questions orient us to matters not only of historicity, but also of personal, or in this case, disciplinary mythology.
If art history were to paint such a manifesto picture, what would it look like? Which of our origins would we embrace? How would we envision our future? Disciplinary Departures intervenes in such large-scale deliberations. The authors intend the text to stimulate a newly emboldened, critically aware, and theoretically enriched future for art history.
For Iversen and Melville, this legacy of writing constitutes both the past and future of art history. Much hinges on the answer to the questions: For Iversen and Melville, such classes are the curricular symptom of a more widespread disciplinary blindness or, at a minimum, lack of self-consciousness.
As a result, in Writing Art History, the fundamental question is, what kinds of objects do and can art historians make?
Organized according to a series of thematic, critical circuitries, these chapters frame discussions that range widely across philosophical aesthetics, contemporary theory, and art history.
A set of repeating motifs provides a scaffolding for these investigations, and demonstrates the vitality of such topics as the nature of vision and spectatorship chapters 5 and 6 and the challenge of writing about seeing chapters 7 and 8. The chapters are constructed according to a logic of pairings, triangulations, and networks.
Kant on the one hand, Hegel and Heidegger on the other. Baxandall emerges as the clear and unsurprising victor in the contest, establishing the terms of an art history that embraces its proximity to criticism, shrugs off the mantle of expert objective authority, and refuses the lure of method.
The artist is first deployed in relation to Frans Hals as exemplar of the Baroque, only to later be mobilized in comparison with Martin Schongauer as an instance of the classical. Close reading, Melville shows us, yields a new appreciation of the striking mobility of meaning at the heart of the project.
This is no small matter. Painting and Beholder in the Age of Diderot. But this is one moment in which the Hegelian frame is limiting, since one of the voices Morris channels here is that of Johann Gottfried Herder. Rooting himself in the sensualist and empiricist tradition, Herder provided a blueprint in Sculpture: In its multivoiced complexity, its contrapuntal organization, and its deeply intellectual orientation, the book might be best described as operating according to a fugal logic.
The resulting book is thus at once thematically selective and capacious: It is also exceedingly artfully organized as the exposition above only begins to suggest.Iversen, Margaret and Melville, Stephen () Writing Art History: Disciplinary Departures.
Chicago University Press, Chicago. ISBN The University of Essex Research Repository is powered by EPrints 3 which is developed by the School of Electronics and Computer Science at the University of Southampton.
Margaret Iversen is professor of the history of art at the University of Essex and the author of Beyond Pleasure: Freud, Lacan, Barthes, among other titles. Stephen Melville is professor emeritus of the history of art at Ohio State University and the author of Seams: Art as Philosophical Context and other works.
Margaret Iversen is professor emerita of art history at the University of Essex. She is the author of several books, including Beyond Pleasure: Freud, Lacan, Barthes, and coauthor of Writing Art History: Disciplinary Departures, also published by the University of Chicago Press.
Writing Art History: Disciplinary Departures Faced with an increasingly media-saturated, globalized culture, art historians have begun to ask themselves challenging and provocative questions about the nature of their torosgazete.com: $ Why did the history of art come into being?
Is it now in danger of slipping into obsolescence?
And, if so, should we care? This book proposes that we might reframe the questions concerning art history by asking what kind of writing might help the discipline to better imagine its actual practices - and its potential futures. Margaret Iversen is professor of the history of art at the University of Essex and the author of Beyond Pleasure: Freud, Lacan, Barthes, among other titles.
Stephen Melville is professor emeritus of the history of art at Ohio State University and the author of Seams: Art as Philosophical Context and other works.