Art Talk textbook488pgs (2024)

Objectives and course content: This course on art-historical method is designed to offer art history majors a historiographic overview of the discipline of art history, focusing on developments since the beginning of the twentieth century. The course will survey the most influential concepts of the discipline, the evolving tasks it has set itself, and the methods it has adopted for executing them. Its focus is therefore more theoretical than practical. Works of art will inevitably enter into our discussions, but the main objects of study will be texts about art, particularly texts about methods for a historical study of art. The majority will be theoretical or methodological texts offering models of interpretation and practice. A second, slightly smaller group of texts will be examples of concrete art-historical practice embodying a particular methodology. The most important part of the course is the assigned reading. The lectures, which will be held on Mondays, are intended to contextualize and explicate the readings. To get the most out of the lectures, it is imperative that you do all of the week's readings before the lecture. My expectation is that by the end of each week you will have acquired a detailed grasp of both the internal arguments and methodological significance of the required reading assignments. The reading packet also includes " short readings " on most of the weekly topics. These are excerpts taken from other texts— " appetizers " —that touch on the week's topic and are intended to provoke your own thinking as well as create a context for the longer readings. Discussion sections. Throughout the semester Thursdays will be devoted to discussion of the week's assigned readings. On one occasion during the semester, each of you will be assigned the task of speaking for approximately ten minutes at the beginning of the discussion section on at least one of the week's readings and why you found it provocative for thinking in new ways about an artist, an artwork, or related issues that interest you. You may meet with me in advance to discuss your presentation. Except for those giving a presentation in a given week, all students must post one question each for at least two different texts assigned that week. Folders for this purpose will be available on GLOW. All questions should be posted by 5:00 P.M. on the Wednesday prior to discussion. These questions will be addressed in the discussion section. Failure to post questions in any given week will reduce your overall course average by one percentage point. Required Papers. In order to foster your understanding of the readings and promote an engaged, focused, and productive discussion, each student is required to write a concise critical analysis, not to exceed 900 words, of the assigned reading every other week. Instructions for each paper will be posted on GLOW. One half of the class will submit papers on one week's readings; the other half will submit papers the following week on that week's readings. All short papers must be submitted to me as a Word document by e-mail attachment by 4:00 PM on the Friday of the

Oxford University Press, 2005

Very Short Introductions are for anyone wanting a stimulatingand accessible way in to a new subject. They are written by experts, and havebeen published in more than 25 languages worldwide.The series began in 1995, and now represents a wide variety of topicsin history, philosophy, religion, science, and the humanities. Over the nextfew years it will grow to a library of around 200 volumes – a Very ShortIntroduction to everything from ancient Egypt and Indian philosophy toconceptual art and cosmology

Caa.reviews, 2007

A History of Art History, 2019

In the fall of 2013 I began teaching my art history survey without the use of a textbook. Aside from cost considerations for students—which were significant—my motivations for making this change included a desire to teach objects from outside the traditional canon and the opportunity to use more primary and secondary texts. As successful as that semester was, teaching the survey textbook-free has highlighted both the advantages and the challenges of doing so. Some challenges, such as convincing students to do the readings, are familiar ones; others, such as finding organizational structures outside the textbook mold, are more novel. In this paper I will discuss the specifics of my textbook-free survey, focusing on my assignments, readings, and classroom activities. I will also consider the ways my courses—and many other surveys—are still limited and defined by the textbook tradition. Finally, I will propose new ways of considering the survey in order to more fully leave the textbook behind, such as teaching from local collections and exploring art history through video games, movies, and other artifacts of modern visual culture.

"Stories of Art" is an answer to E.H. Gombrich's "Story of Art." "Stories of Art" is a look at ways people have told the history of art outside the West, and outside the bounds of Gombrich's narrative of naturalism. The book is meant as a gadfly, an accompaniment to Gombrich's ubiquitous volume.Chapter 1, "Intuitive Stories," is about an exercise I have found very useful in seeing how people visualize the history of art. The exercise is to draw the history of art as a landscape or some other kind of picture, and label the parts of the landscape with the periods, artists, and styles that you feel most comfortable with. I have tried this with students at all levels, and with faculty; I've tried it throughout the U.S., and in Europe and China. The results are always fascinating. It is the opening chapter of the book because it's intended to help readers find their own sense of the shape of art history before they explore other people's ideas.Originally published as Stories of Art (New York: Routledge, 2002).

ART HISTORY FOR ARTISTS: Interactions between scholarly discourse and artistic practice in the 19th centuryInternational Conference TU Berlin July 7-9, 2016

Interpreeting Modernism in Korean Art: Fluidity and Fragmentation, 2022

Routledge Research in Art History is our home for the latest scholarship in the field of art history. The series publishes research monographs and edited collections, covering areas including art history, theory, and visual culture. These high-level books focus on art and artists from around the world and from a multitude of time periods. By making these studies available to the worldwide academic community, the series aims to promote quality art history research.

From ArtHist Redaktion[1] The Cavalcaselle Collection (Fondo Cavalcaselle)[2] The Met’s Leonard A. Lauder Research Center for Modern Art Launches Digital Archive Initiative[3] Bilddatenbank-REALonline relaunched: Mit Graphen zu Bilddetails

Review of "The Afterlife of Images" by Craig Clunas.

In contrast to theories of poetry or rhetoric, no complete ancient theory of the figurative arts survives. Renaissance authors wishing to underpin the “rebirth” of painting therefore had to resort to a variety of strategies to invent a new genre. Literary metaphors and fragments from artists’ biographies (mainly from Pliny) were joined with scientific discoveries such as the theory of perspective and the proportions of human anatomy. Leon Battista Alberti’s On Painting of 1435 was the first text to merge ancient conceptions and newfangled geometric insights into a coherent whole that professed to revive classical art theory. His efforts sparked the development of a sizeable genre in Italy in the 15th and 16th centuries. In 17th-century France, the Netherlands and (to a lesser extent) Spain and Britain developed their own traditions. These texts shared a prescriptive approach in combination with biographical information about artists. As a central tenet from Alberti onward, humanistic knowledge was tied to basic acquaintance with the artist’s studio. Only at the end of the 16th century did art theory become a topic for courtiers stylizing their texts in a literary fashion. In the 17th century, the role of learned art lovers and their symbiotic relationship to the painters became increasingly important. By comparing the figurative arts to respectable activities such as poetry, rhetoric, and antiquarianism, and by drawing humanistic interest to the painter’s workshop, these texts served an essential role in facilitating the communication between craftsmen and the lettered.Developing the ideal of the “learned painter,” the textual tradition thus developed synchronously to the artist’s changing social status. Whereas in the 16th century most authors were artists or had some link to studio practice, in the 17th century amateur-connoisseurs began to replace them; simultaneously, visual art and its theory were institutionalized in the first academies of art. Implicitly or explicitly, Renaissance treatises on painting have, therefore, as their main argument the inclusion of painting among the liberal arts, the intellectual activities worthy of the universal man. Other written sources relevant for the historical reconstruction of manners of speaking about the visual arts include poems, plays, and diaries.

Syllabus for a first-year course that aims to introduce BFA students to the field of global art history.