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Critical Shift
American Civil-War era art critics James Jackson Jarves, Clarence Cook, and William J. Stillman classified styles and defined art in terms that have become fundamental to our modern periodization of the art of the nineteenth century. In Critical Shift, Karen Georgi re-reads many of their well-known texts, finding certain key discrepancies between their words and our historiography, pointing to unrecognized narrative desires. The book also studies ruptures and revolutionary breaks between “old” and “new” art, as well as the issue of the morality of “true” art. Georgi asserts that these concepts and their sometimes-loaded expression were part of larger rhetorical structures that gainsay the uses to which the key terms have been put in modern historiography. It has been more than fifty years since a book has been devoted to analyzing the careers of these three critics; and never before has their role in the historiography and periodization of American art been analyzed. The conclusions drawn from this close re-reading of well-known texts are significant for more than just our understanding of nineteenth century criticism. They challenge the fundamental nature of “historical context” in American art history.
eBook
Art, annotated : your expert guide to 500 of the world's greatest works of art
Combining reproductions of each work of art with precise annotations and visual analysis, it is an expertly curated selection of the finest paintings, sculptures, and prints in history. Immerse yourself in this book spanning 3,000 years of art.
BOOK
Postwar Italian Art History Today
Postwar Italian Art History Today brings fresh critical consideration to the parameters and impact of Italian art and visual culture studies of the past several decades. Taking its cue from the thirty-year anniversary of curator Germano Celant’s landmark exhibition at PS1 in New York – The Knot – this volume presents innovative case studies and emphasizes new methodologies deployed in the study of postwar Italian art as a means to evaluate the current state of the field. Included are fifteen essays that each examine, from a different viewpoint, the issues, concerns, and questions driving postwar Italian art history. The editors and contributors call for a systematic reconsideration of the artistic origins of postwar Italian art, the terminology that is used to describe the work produced, and key personalities and institutions that promoted and supported the development and marketing of this art in Italy and abroad.
eBook
The Incurable-Image
From the 1990s onwards the 'ethnographic turn in contemporary art' has generated intense dialogues between anthropologists, artists and curators. While ethnography has been both generously and problematically re-appropriated by the art world, curation has seldom caught the conceptual attention of anthropologists. Based on two years of participant-observation in Mexico City, Tarek Elhaik addresses this lacuna by examining the concept-work of curatorial platforms and media artists. Taking his cue from ongoing critiques of Mexicanist aesthetics, and what Roger Bartra calls 'the post-Mexican condition', Elhaik conceptualises curation less as an exhibition-oriented practice within a national culture, than as a figure of care and an image of thought animating a complex assemblage of inter-medial practices, from experimental cinema and installations to curatorial collaborations. Drawing on Gilles Deleuze and Paul Rabinow, the book introduces the concept of the 'Incurable-Image,' an antidote to our curatorial malaise and the ethical substance for a post-social anthropology of images.
eBook
Consuming Painting
In Consuming Painting , Allison Deutsch challenges the
pervasive view that Impressionism was above all about visual
experience. Focusing on the language of food and consumption as
they were used by such prominent critics as Baudelaire and Zola,
she writes new histories for familiar works by Manet, Monet,
Caillebotte, and Pissarro and creates fresh possibilities for
experiencing and interpreting them.
Examining the culinary metaphors that the most influential
critics used to express their attraction or disgust toward
painting, Deutsch rethinks French modern-life painting in relation
to the visceral reactions that these works evoked in their earliest
publics. Writers posed viewing as analogous to ingestion and used
comparisons to food to describe the appearance of paint and the
painter's process. The food metaphors they chose were aligned with
specific female types, such as red meat for sexualized female
flesh, confections for fashionably made-up women, and hearty
vegetables for agricultural laborers. These culinary figures of
speech, Deutsch argues, provide important insights into both the
fabrication of the feminine and the construction of masculinity in
nineteenth-century France. Consuming Painting exposes the
social politics at stake in the deeply gendered metaphors of sense
and sensation.
Original and convincing, Consuming Painting upends
traditional narratives of the sensory reception of modern painting.
This trailblazing book is essential reading for specialists in
nineteenth-century art and criticism, gender studies, and
modernism.
eBook
Why Art Criticism? A Reader
How is art criticism to be understood within an expanding artistic field? A look at its history and its manifestations within globalized conditions shows the variety of the genre, of the criteria and of the styles of writing. This reader is an attempt to bring a diverse range of art-critical voices and perspectives into conversation with each other, with texts from the 18th century to the present. The editors Beate Söntgen and Julia Voss have invited colleagues from various geographical and intellectual backgrounds to present and discuss the art critics of their choice, choosing one example from their respective bodies of work to comment upon. How have these writers approached art criticism? Which styles do they employ? What makes them extraordinary? What can we learn from their writings today, and why is it important in its contemporary context?
BEATE SÖNTGEN (*1963) is professor of art history at Leuphana University Lüneburg. She studied art history, philosophy, and modern German literature in Marburg and Berlin. She is director of the DFG Research Training Group \"Cultures of Critique: Forms, Media, Effects\" and co-director of the program \"PriMus - Doctoral Studies in Museums.\"
JULIA VOSS (*1974) is an honorary professor at Leuphana University Lüneburg. She studied art history, modern German literature, and philosophy in Berlin and London. She is herself an art critic and journalist and was deputy head of the arts section of the Frankfurter Allgemeine Zeitung.
eBook