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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.
Visual Time offers a rare consideration of the idea of time in art
history. Non-Western art histories currently have an unprecedented
prominence in the discipline. To what extent are their artistic
narratives commensurate with those told about Western art? Does
time run at the same speed in all places? Keith Moxey argues that
the discipline of art history has been too attached to interpreting
works of art based on a teleological categorization-demonstrating
how each work influences the next as part of a linear
sequence-which he sees as tied to Western notions of modernity. In
contrast, he emphasizes how the experience of viewing art creates
its own aesthetic time, where the viewer is entranced by the work
itself rather than what it represents about the historical moment
when it was created. Moxey discusses the art, and writing about the
art, of modern and contemporary artists, such as Gerard Sekoto,
Thomas Demand, Hiroshi Sugimoto, and Cindy Sherman, as well as the
sixteenth-century figures Pieter Bruegel the Elder, Albrecht Durer,
Matthias Grunewald, and Hans Holbein. In the process, he addresses
the phenomenological turn in the study of the image, its
application to the understanding of particular artists, the ways
verisimilitude eludes time in both the past and the present, and
the role of time in nationalist accounts of the past.
In "Peasants, Warriors, and Wives," Keith Moxey examines woodcut
images from the German Reformation that have often been ignored as
a crude and inferior form of artistic production. In this richly
illustrated study, Moxey argues that while they may not satisfy
received notions of "art," they nevertheless constitute an
important dimension of the visual culture of the period. Far from
being manifestations of universal public opinion, as a cursory
acquaintance with their subject matter might suggest, such prints
were the means by which the reformed attitudes of the middle and
upper classes were disseminated to a broad popular audience.
Many art historians regard poststructuralist theory with suspicion;
some even see its focus on the political dimension of language as
hostile to an authentic study of the past. Keith Moxey bridges the
gap between historical and theoretical approaches with the
provocative argument that we cannot have one without the other. "If
art history is to take part in the processes of cultural
transformation that characterize our society," he writes, "then its
historical narratives must come to terms with the most powerful and
influential theories that currently determine the way in which we
conceive of ourselves." After exploring how the insights offered by
deconstruction and semiotics change our understanding of
representation, ideology, and authorship, Moxey himself puts theory
into practice. In a series of engaging essays accompanied by
twenty-eight illustrations, he first examines the impact of
cultural values on Erwin Panofsky's writings. Taking a fresh look
at work by artists from Albrecht Dürer and Erhard Schön to
Barbara Kruger and Julian Schnabel, he then examines the process by
which he generic boundaries between "high" and "low" art have
helped to sustain class and gender differences. Making particular
reference to the literature on Martin Schongauer, Moxey also
considers the value of art history when it is reduced to artist's
biography. Moxey's interpretation of the work of Hieronymus Bosch
not only reassesses its intelligence and imagination, but also
brings to light its pragmatic conformity to elite definitions of
artistic "genius." With his compelling analysis of the politics of
interpretation, Moxey draws attention to a vital aspect of the
cultural importance of history.
This sequel to The Practice of Theory stresses the continued need
for self-reflective awareness in art historical writing. Offering a
series of meditations on the discipline of art history in the
context of major elements in contemporary critical theory --
semiotics, feminism, queer theory, postcolonial studies, and
deconstruction -- Moxey addresses such central issues as the status
of the canon, the nature of aesthetic value, and the character of
historical knowledge. The chapters are linked by a common interest
in, even fascination with, the paradoxical power of narrative.
Moxey maintains that art history is a rhetoric of persuasion
rather than a discourse of truth. Each chapter in The Practice of
Persuasion attempts to demonstrate the paradoxes inherent in a
genre that -- while committed to representing the past -- must
inevitably bear the imprint of the present. In Moxey's view, art
history as a discipline is unable to recognize its status as a
regime of truth that produces historically determined meanings and
so continues to act as if based on a universal aesthetic
foundation. His new book should enable art historians to engage
with the past in a manner less determined by tradition and more
responsive to contemporary values and aspirations.
This sequel to The Practice of Theory stresses the continued need
for self-reflective awareness in art historical writing. Offering a
series of meditations on the discipline of art history in the
context of contemporary critical theory, Moxey addresses such
central issues as the status of the canon, the nature of aesthetic
value, and the character of historical knowledge. The chapters are
linked by a common interest in, even fascination with, the
paradoxical power of narrative and the identity of the authorial
voice. Moxey maintains that art history is a rhetoric of persuasion
rather than a discourse of truth. Each chapter in The Practice of
Persuasion attempts to demonstrate the paradoxes inherent in a
genre that while committed to representing the past must inevitably
bear the imprint of the present. In Moxey's view, art history as a
discipline is often unable to recognize its status as a regime of
truth that produces historically determined meanings and so
continues to act as if based on a universal aesthetic foundation.
His new book should enable art historians to engage with the past
in a manner less determined by tradition and more responsive to
contemporary values and aspirations."
The Subjects of Art History provides an introduction to the
historiography and theory of the history of art. Examining a
variety of theoretical approaches, the editors and contributors to
this volume provide interpretations of the history and contemporary
relevance of such important methodologies as semiotics,
phenomenology, feminism, gay and lesbian studies, museology, and
computer applications, among other topics. Each essay, specially
commissioned for this volume, gives a fresh perspective on the
topic by demonstrating how a particular approach can be applied to
the understanding and interpretation of specific works of art. This
volume will be a timely contribution to the current debate on the
theory and practice of art history.
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Visual Culture (Paperback)
Keith Moxey, Michael Ann Holly, Norman 'Bryson
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R970
R707
Discovery Miles 7 070
Save R263 (27%)
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Out of stock
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"We can no longer see, much less teach, transhistorical truths,
timeless works of art, and unchanging critical criteria without a
highly developed sense of irony about the grand narratives of the
past," declare the editors, who also coedited Visual Theory:
Painting and Interpretation (1990). The field of art history is not
unique in finding itself challenged and enlarged by cultural
debates over issues of class, ethnicity, nationality, sexual
orientation, and gender. Visual Culture assembles some of the
foremost scholars of cultural studies and art history to explore
new critical approaches to a history of representation seen as
something
different from a history of art.
CONTRIBUTORS: Andres Ross, Michael Ann Holly, Mieke Bal, David
Summers, Constance Penley, Kaja Silverman, Ernst Van Alphen, Norman
Bryson, Wolfgang Kemp, Whitney Davis, Thomas Crow, Keith Moxey,
John Tagg, Lisa Tickner.
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