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Fragments of history: Rethinking the Ruthwell and Bewcastle
monuments is an innovative study of the two premier survivals of
pre-Viking Anglo-Saxon stone sculpture. Both monuments are rich in
finely carved images and complex inscriptions. Though in some way
related, in this book, they have very different histories. This
ambitious study draws the reader in through a vivid exposition of
the problems left by earlier interpretations, shows him or her how
to understand the monuments as social products in relation to a
history of which our knowledge is so fragmentary, and concludes
with a deeply persuasive discussion of their underlying premises.
Orton, Wood and Lees bring their research in art history and
antiquarianism, history and archaeology, medieval literature,
philosophy and gender studies into a successful and coherent whole,
organised around certain key notions, such as place, history and
tradition, style, similarity and difference, time, textuality and
identity. Theoretically astute, rigorously researched, vivid and
readable, Fragments of history is a model of how interdisciplinary
research can be conducted, written and published. It will be
required reading in a number of disciplines, including art history,
Anglo-Saxon studies, medieval language and literature, history and
ecclesiastical history, antiquarianism and archaeology. -- .
Fred Orton's teaching and writing has always combined theoretical
and formal-which is to say structural-analysis with historical
research and reflection. This collection of essays brings together
some of his most decisive contributions to thinking about fine art
practice and rethinking the theory and methods of the social
history of art. In this collection Orton brilliantly moves from
Paul Cezanne to Jasper Johns, from the American cultural critic
Harold Rosenberg to a discussion of Marx and Engels' notion of
ideology. What emerges is more than an anthology, this collection
offers a vivid demonstration of the way theory can work to generate
new interpretations and unsettle old ones.
In this stimulating collection of essays, John Roberts draws
together a wide range of work on some of the most important artists
of the post-war period. Written by leading art historians and
artist-writers, the essays take a sharply critical look at the
construction of modern art history. The artists discussed include
Francis Picabia, Robert Smithson, Ad Reinhardt, Andy Warhol,
Gerhard Richter, Mary Kelly, Cindy Sherman, Victor Burgin and
Laurie Anderson. The extensive influence of post-structuralism on
all schools of art history has brought about a widespread
derogation of questions around intentionality and social agency.
Free-ranging textual interpretation has come to outweigh causal
analysis. Art Has No History! reverses this bias. Putting the
artist back into art history, the essays reinstate the claims for
historical materialism as a theory of the conflictual socialization
of individuals. Acknowledging the dissemblances involved in the
representations of artistic invention, the book challenges the
self-image of traditional art history and the radical New Art
History alike. In his introduction, John Roberts gives a
fascinating account of the vicissitudes of Marxist writing on art,
from Max Raphael and Arnold Hauser to T.J. Clark and Griselda
Pollock. Placing the debates on intention and agency in their wider
political context, he refers to what he calls "the continuing
influence of historical materialism on the best Anglophone art
writing today." Art Has No History! is a lively and iconoclastic
contribution to that tradition.
Theorizing Anglo-Saxon Stone Sculpture significantly advances the
complex study of Anglo-Saxon carved monuments, such as the Ruthwell
Cross, by adopting more explicit theoretical approaches to the
subject. Scholars included here are explicit in describing how
their approaches complement (or, more often, contradict) the work
of others. "For too long the seas of [these] studies have been
traversed by powerful vessels, steered by an assortment of scholars
armed with liturgical, patristic and iconographical
instrumentation, who have totally ignored the fact that others are
on parallel or collision courses with them, " writes Richard Bailey
in his Introduction. This book comes as a shot across the bow of
these vessels. Contributors include the best scholars on this
subject matter in England, Ireland, and America. Thirty black &
white illustrations and four color plates.
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