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Available4.6
36 reviews
ISBN 10: 0415977851
ISBN 13: 9780415977852
Author: James Elkins
This is the third volume in The Art Seminar, James Elkin's series of conversations on art and visual studies. Is Art History Global? stages an international conversation among art historians and critics on the subject of the practice and responsibility of global thinking within the discipline. Participants range from Keith Moxey of Columbia University to Cao Yiqiang, Ding Ning, Cuautemoc Medina, Oliver Debroise, Renato Gonzalez Mello, and other scholars.
Section 1 Introduction
Art History as a Global Discipline
1 What counts as “art history” in many countries is newspaper art criticism.
2 Art history, as a named discipline and a department in universities, is principally known in North America and Western Europe.
3 Art history is closely affiliated with senses of national and regional identity.
4 Art history seems to be dissolving into image studies or visual studies.
4 My last reason to wonder about the worldwide coherence of the discipline is that there are different kinds of publications for different art historians.
1 It can be argued, against the previous claim, that some of the best scholarship in the field is done by writers who know a lot about theories, and conversely that scholars who are not conversant with theories run the risk of producing texts that are out of touch.
2 The distinction between art history and art criticism still holds.
3. Art history remains focused on a specific canon of artists.
4 Art history is guided by a stable series of narratives.
4 Art history depends on Western conceptual schemata.
Section 2 Starting Points
Notes on Art History in Latin America
On David Summers's Real Spaces
Notes
The Modality of Spatial Categories
Notes
Is a Truly Global Art History Possible?
Notes
Section 3 The Art Seminar
Notes
Section 4 Assessments
Ralph Ubl
Maria de Los Ángeles Taberna and Humberto Valdivieso A Contribution to the Seminar
Barbara Maria Stafford Another Kind of Global Thinking
Matthew Rampley From Big Art Challenge to a Spiritual Vision: What “Global Art History” Might Really Mean
Chika Okeke-Agulu Art History and Globalization
Keith Moxey Art History after the Global Turn
Suzana Milevska Is Balkan Art History Global?
1 Historicity
2 Translation
3 Educational Systems
Atta Kwami Art History in Ghana
Dan Karlholm “Does It Work?”: A Note on Pragmatic Parts and Global Wholes
Romuald Tchibozo A Point about the Seminar
Suman Gupta Territorial Anxieties
George Intsiful Art History in Ghana: A Letter
Shigemi Inaga Is Art History Globalizable? A Critical Commentary from a Far Eastern Point of View
Craig Clunas The Toolkit and the Textbook
David Carrier What Happens When Art History Travels
Kitty Zijlmans An Intercultural Perspective in Art History: Beyond Othering and Appropriation
Hans Dam Christensen Which Art History?
Jorgelina Orfila Southern Perspectives: About the Globalization of Art History
Charlotte Bydler A Local Global Art History
Frank Vigneron Damned If You Do; Damned If You Don't
Carol Archer Macao: An Art Historical Discipline Waiting to Happen?
Heie Treier Ideologies of Style (An International Experiment)
Atreyee Gupta and Sugata Ray Responding from the Margins
Thomas DaCosta Kaufmann Is Art History Global?
Sandy Ng Is Globalization Killing Art History?
Mariusz Bryl Translate/Transcend
Ekaterina Degot In a Globalist Era, Which Art is Not Global Enough ? The Good Old International One
Leonard Bell Is Art Global? Reflections from Another Place
Notes
Section 5 Afterword
Globalizing Art History
Three Issues
Art History: the Narrative
The Eurocentrism and Imperialism of the Master Narrative
A Satellite View (The Details Are Too Far Away, But You Can See the Continents) of “Art” in the Nineteenth and Twentieth Centuries
Everything Is Becoming Art (Or At Least a Collectible), and There Is More and More of It
Is Art History Globalizable Because It Is a Self-Fulfilling Prophecy?
Globalizing Art History
Notes
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Tags: James Elkins, History, Art, Global
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