Critical Terms for Art History, Second Edition
and over one million other books are available for Amazon Kindle .
Learn more
| ||||||||||||||||||||||||
Did you know you can trade in your old books for an Amazon.co.uk Gift Card to spend on the things you want? Visit the Amazon.co.uk Trade-In Store for more details. |
Frequently Bought Together
Product details
|
Product Description
Product Description
"Art" has always been contested terrain, whether the object in question is a medieval tapestry or Duchamp's "Fountain." But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of "Critical Terms for Art History" both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology.
Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from "sign" to "meaning," "ritual" to "commodity." Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's "To Fix the Image in Memory," a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica.
In addition to the twenty-two original essays, this edition includes nine new ones--"performance," "style," "memory/monument," "body," "beauty," "ugliness," "identity," "visual culture/visual studies," and "social history of art"--as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars.
Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young
Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from "sign" to "meaning," "ritual" to "commodity." Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's "To Fix the Image in Memory," a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica.
In addition to the twenty-two original essays, this edition includes nine new ones--"performance," "style," "memory/monument," "body," "beauty," "ugliness," "identity," "visual culture/visual studies," and "social history of art"--as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars.
Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young
Inside This Book
(Learn More)
First Sentence
This essay is a schematic history of the problem of representation, written with an eye toward explaining how it came to be possible to use this term in some of the ways we now do. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
This essay is a schematic history of the problem of representation, written with an eye toward explaining how it came to be possible to use this term in some of the ways we now do. Read the first page
Explore More
Concordance
Browse Sample PagesConcordance
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
Suggested Tags from Similar Products(What's this?)Be the first one to add a relevant tag (keyword that's strongly related to this product)
|
What Other Items Do Customers Buy After Viewing This Item?
Customer Reviews
Most Helpful Customer Reviews
10 of 10 people found the following review helpful
Format:Paperback
This book is an excellent companion for the art history student or anyone interested in thinking about art. The book is divided into essays on broad notions such as 'body' (written by amelia jones) or 'social history of art' (written by craig clunas). I feel like this book is almost a cheat sheet because the authors of each essay usually outline the arguments and key thinkers on each topic. This is a great introduction to the issues and a very clear indicator of where the reader can go to think about the topic in more depth without having to trawl through mounds of books to find a few key theories about the topic which they are interested in. I am currently writing an essay of the use of the artists body in certain art works and Amelia Jones has provided the tools with which I can begin my research, eliminating ideas and writers which I previously might have read only to find that they weren't necessary for my argument. I am really grateful to have been recommended this book in my undergraduate degree and I now use it extensively during my postgraduate work.
4 of 4 people found the following review helpful
Format:Paperback
Really useful book. Excellent selection of current, relevant and highly quotable texts. Always one of the first things I pick up when researching a new topic.
9 of 10 people found the following review helpful
Format:Paperback
This book is an essential read for anybody who wants to discuss seriously about the history of art and has vague ideas about big words attached to the discourse of art history.
Every author who contributed to the edited volume provides food for thought about concepts which often appears in everyday chats and columns but are often mistreated or misunderstood.
The essays collected in this volume are very valuable to offer a special insight about various concepts and provide a standing point from where the reader can move forward.
Every author who contributed to the edited volume provides food for thought about concepts which often appears in everyday chats and columns but are often mistreated or misunderstood.
The essays collected in this volume are very valuable to offer a special insight about various concepts and provide a standing point from where the reader can move forward.
Would you like to see more reviews about this item?
Were these reviews helpful?
Let us know
Listmania!
|
|
Look for similar items by category
Look for similar items by subject
Feedback
- Would you like to update product info or give feedback on images?
- I am the Author, and I want to comment on my book.
- I am the Publisher, and I want to comment on this book.
|
