591 pages
English language
Published 2009 by Oxford University Press.
Here is a new edition of Donald Preziosi's masterful selection of the most influential and innovative writing on art history of the past two centuries. The book includes over thirty pieces by seminal thinkers and writers from Winckelmann, Kant, and Hegel to Foucault, Carol Duncan, and Mary Kelly on such subjects as aesthetics and anthropology, postmodern automatons, semiotics and iconography, performative acts, the museum as ritual, digital art, and many others. Each of the book's eight thematic sections offers an introduction providing background information, further reading, and critical commentary on the issues at stake. This edition has been updated and expanded to include sixteen new selections by key figures from Giorgio Vasari to Walter Benjamin and Satya Mohanty, a new concluding essay from Donald Preziosi on the tasks of the art historian today, and an entirely new section on Globalization and Its Discontents. For students and teachers, artists and historians, …
Here is a new edition of Donald Preziosi's masterful selection of the most influential and innovative writing on art history of the past two centuries. The book includes over thirty pieces by seminal thinkers and writers from Winckelmann, Kant, and Hegel to Foucault, Carol Duncan, and Mary Kelly on such subjects as aesthetics and anthropology, postmodern automatons, semiotics and iconography, performative acts, the museum as ritual, digital art, and many others. Each of the book's eight thematic sections offers an introduction providing background information, further reading, and critical commentary on the issues at stake. This edition has been updated and expanded to include sixteen new selections by key figures from Giorgio Vasari to Walter Benjamin and Satya Mohanty, a new concluding essay from Donald Preziosi on the tasks of the art historian today, and an entirely new section on Globalization and Its Discontents. For students and teachers, artists and historians, and anyone interested in the evolution and purpose of art history, this anthology offers many fascinating insights.
Oftentimes history of criticism is a better source for history of ideas than history per se since criticism reflects the meta-historical consciousness of the age. This assemblage of articles, while certainly not complete, is an excellent map that charts possible historical narratives of art history, which are points of departure.
