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Addressed to students of the image-both art historians and students
of visual studies-this book investigates the history and nature of
time in a variety of different environments and media as well as
the temporal potential of objects. Essays will analyze such topics
as the disparities of power that privilege certain forms of
temporality above others, the nature of temporal duration in
different cultures, the time of materials, the creation of
pictorial narrative, and the recognition of anachrony as a form of
historical interpretation.
Addressed to students of the image-both art historians and students
of visual studies-this book investigates the history and nature of
time in a variety of different environments and media as well as
the temporal potential of objects. Essays will analyze such topics
as the disparities of power that privilege certain forms of
temporality above others, the nature of temporal duration in
different cultures, the time of materials, the creation of
pictorial narrative, and the recognition of anachrony as a form of
historical interpretation.
To survey art history as a whole was a pressing task for a
generation of German scholars around the mid-nineteenth century.
Their projections of a historicist chain of artworks ranged from
textual narratives without illustrations, to separate picture
compendia as well as images of a more allegorical kind. Other means
with which to picture art history as part of a virtually
all-encompassing cultural history were the museums of art erected
in Germany at the time, in Berlin and Munich especially. This book
deals with practices of representing art history in various media.
This includes post-Hegelian texts and engravings of art history
from the 1840s onwards, by Franz Kugler, Julius Schnorr and others.
In addition, works of art of the late twentieth century, by Andy
Warhol, Anselm Kiefer and others, provide opportunities to
speculate on the after-effects and discursive traces of the old
regime. Extending the concept of historiography to include not just
textual or institutional endeavours, but a host of different images
as well, from reproductive prints to pop paintings and visual
archives of the digital era, this study is intended to contribute
in new ways to a critical historiography of the field of art
history and visual culture today.
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