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The project of global art history calls for balanced treatment of
artifacts and a unified approach. This volume emphasizes questions
of transcultural encounters and exchanges as circulations. It
presents a strategy that highlights the processes and connections
among cultures, and also responds to the dynamics at work in the
current globalized art world. The editors' introduction provides an
account of the historical background to this approach to global art
history, stresses the inseparable bond of theory and practice, and
suggests a revaluation of materialist historicism as an underlying
premise. Individual contributions to the book provide an overview
of current reflection and research on issues of circulation in
relation to global art history and the globalization of art past
and present. They offer a variety of methods and approaches to the
treatment of different periods, regions, and objects, surveying
both questions of historiography and methodology and presenting
individual case studies. An 'Afterword' by James Elkins gives a
critique of the present project. The book thus deliberately leaves
discussion open, inviting future responses to the large questions
it poses.
The project of global art history calls for balanced treatment of
artifacts and a unified approach. This volume emphasizes questions
of transcultural encounters and exchanges as circulations. It
presents a strategy that highlights the processes and connections
among cultures, and also responds to the dynamics at work in the
current globalized art world. The editors' introduction provides an
account of the historical background to this approach to global art
history, stresses the inseparable bond of theory and practice, and
suggests a revaluation of materialist historicism as an underlying
premise. Individual contributions to the book provide an overview
of current reflection and research on issues of circulation in
relation to global art history and the globalization of art past
and present. They offer a variety of methods and approaches to the
treatment of different periods, regions, and objects, surveying
both questions of historiography and methodology and presenting
individual case studies. An 'Afterword' by James Elkins gives a
critique of the present project. The book thus deliberately leaves
discussion open, inviting future responses to the large questions
it poses.
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