Art History as Social Praxis


Book Description

Art History as Social Praxis: The Collected Writings of David Craven brings together more than thirty essays that chart the development of Craven’s voice as an unorthodox Marxist who applied historical materialism to the study of modern art. This book demonstrates the range and versatility of David Craven’s praxis as a ‘democratic socialist’ art historian who assessed the essential role the visual arts play in imagining more just and equitable societies. The essays collected here reveal Craven’s lifelong commitment to exposing interstices between western and non-western cultures by researching the reciprocating influences between First- and Third-World artists, critics and historians.




Socially Engaged Art History and Beyond


Book Description

What is socially engaged art history? Art history is typically understood as a discipline in which academics produce scholarship for consumption by other academics. Today however, an increasing number of art historians are seeking to broaden their understanding of art historical praxis and look beyond the academy and towards socially engaged art history. This is the first book-length study to focus on these growing and significant trends. It presents various arguments for the social, pedagogical, and scholarly benefits of alternative, community-engaged, public-facing, applied, and socially engaged art history. The international line up of contributors includes academics, museum and gallery curators as well as arts workers. The first two sections of the book look at socially engaged art history from theoretical, pedagogical, and contextual perspectives. The concluding part offers a range of provocative case studies that highlight the varied and rigorous work that is being done in this area and provide a variety of inspiring models. Taken together the chapters in this book provide much-needed disciplinary recognition to socially engaged art history, while also serving as a springboard to further theoretical and practical work.




Art History: The Basics


Book Description

Now in its second edition, this volume is an accessible introduction to the history of art. Using an international range of examples, it provides the reader with a toolkit of concepts, ideas and methods relevant to understanding art history. This new edition is fully updated with colour illustrations, increased coverage of non-western art and extended discussions of contemporary art theory. It introduces key ideas, issues and debates, exploring questions such as: What is art and what is meant by art history? What approaches and methodologies are used to interpret and evaluate art? How have ideas regarding medium, gender, identity and difference informed representation? What perspectives can psychoanalysis, semiotics and social art histories bring to the study of the discipline? How are the processes of postcolonialism, decolonisation and globalisation changing approaches to art history? Complete with helpful subject summaries, a glossary, suggestions for future reading and guidance on relevant image archives, this book is an ideal starting point for anyone studying art history as well as general readers with an interest in the subject.




Teaching Artistic Research


Book Description

With artistic research becoming an established paradigm in art education, several questions arise. How do we train young artists and designers to actively engage in the production of knowledge and aesthetic experiences in an expanded field? How do we best prepare students for their own artistic research? What comprises a curriculum that accommodates a changed learning, making, and research landscape? And what is the difference between teaching art and teaching artistic research? What are the specific skills and competences a teacher should have? Inspired by a symposium at the University of Applied Arts Vienna in 2018, this book presents a diversity of well-reasoned answers to these questions.




American Art in Asia


Book Description

This book challenges existing notions of what is "American" and/or "Asian" art, moving beyond the identity issues that have dominated art-world conversations of the 1980s and the 1990s and aligning with new trends and issues in contemporary art today, e.g. the Global South, labor, environment, and gender identity. Contributors examine both historical and contemporary instances in art practices and exhibition-making under the rubric of "American art in Asia." The book complicates existing notions of what constitutes American art, Asian American (and American Asian) art. As today’s production and display of contemporary art takes place across diffused borders, under the fluid conditions of a globalized art world since transformed by the COVID-19 pandemic, new contexts and art historical narratives are forming that upend traditional Euro-American mappings of center-margins, migratory patterns and community engagement. The book will be of interest to scholars working in art history, American studies, Asian studies and visual culture.




Collaborative Praxis and Contemporary Art Experiments in the MENASA Region


Book Description

This book examines the ways in which artists and arts organizations today forge collaborative, socially engaged situations that involve non-professionals in the process of making art, often over a period of time, through creating opportunities to examine collective concerns and needs. Collaborative art praxis is gaining prominence in the Middle East, North Africa, and South Asia (MENASA) region. This is a discursive method that is experimental, with results that often expand the notions of what art is—and how it can be produced. After an introduction to global approaches to such a practice, Ali examines the foundation of contemporary art in the MENASA that is linked to a longer history of colonialism. The book analyzes artist-led initiatives and community-based organizations through themes including relational aesthetics, war and violence, blight in marginalized places around the world, in addition to questions associated with art and its value in the fields of global contemporary art and society.




Aesthetic Temporalities Today


Book Description

This volume is dedicated to the interrelation between temporality and representation. It presumes that time cannot be conceived of as an abstract chronometric order, but that it is referring to materiality, being measured, represented, expressed, recognized, experienced and evaluated, and therefore is always closely related to cultural contexts of perception and evaluation. The contributions from various disciplines are dedicated to the present and its plural conditions and meanings. They provide insights into the state of research with special emphasis on the global present as well as on art and aesthetics from the 18th century until today. The anthology includes contributions by Mieke Bal, Stefan Binder, Maximilian Bergengruen, Iris Därmann, Gabriele Genge, Boris Roman Gibhardt, Boris Groys, Maria Muhle, Johannes F. Lehmann, Nkiru Nzegwu, Francesca Raimondi, Christine Ross, Ludger Schwarte, Angela Stercken, Samuel Strehle, Timm Trausch, Patrick Stoffel, and Christina Wessely.




Art History and Its Institutions


Book Description

"What is art history? The answer depends on who asks the question. Museum staff, academics, art critics, collectors, dealers and artists themselves all stake competing claims to the aims, methods, and history of art history. Dependent on and sustained by different - and often competing - institutions, art history remains a multi-faceted field of study. Art History and Its Institutions focuses on the professional and institutional formation of art history, showing how the discourses that shaped its creation continue to define the field today. Grouped into three sections, articles examine the sites where art history is taught and studied, the role of institutions in conferring legitimacy, the relationship between modernism and art history, and the systems that define and control it. From museums and universities to law courts and photography studios, the contributors explore a range of different institutions, revealing the complexity of their interaction and their impact on the discipline of art history." --BOOK JACKET.




Art's Agency and Art History


Book Description

Art's Agency and Art History re-articulates the relationship of the anthropology of art to key methodological and theoretical approaches in art history, sociology, and linguistics. Explores important concepts and perspectives in the anthropology of art Includes nine groundbreaking case studies by an internationally renowned group of art historians and art theorists Covers a wide range of periods, including Bronze-Age China, Classical Greece, Rome, and Mayan, as well as the modern Western world Features an introductory essay by leading experts, which helps clarify issues in the field Includes numerous illustrations




Horizontal Art History and Beyond


Book Description

This book is devoted to the concept of horizontal art history—a proposal of a paradigm shift formulated by the Polish art historian Piotr Piotrowski (1952–2015)—that aims at undermining the hegemony of the discourse of art history created in the Western world. The concept of horizontal art history is one of many ideas on how to conduct nonhierarchical art historical analysis that have been developed in different geopolitical locations since at least the 1970s, parallel to the ongoing process of decolonization. This book is a critical examination of horizontal art history which provokes a discussion on the original concept of horizontal art history and possible methods to extend it. This is an edited volume written by international scholars who acknowledge the importance of the concept, share its basic assumptions and are aware both of its advantages and limitations. The book will be of interest to scholars working in art history, art historiography and postcolonial studies.