By Dana Arnold
Art background: modern views on Method examines many of the styles and methods to the self-discipline of paintings background exhibited around the scholarship of all classes over the past 30 years, leading to a go part of paintings background in all its complexities and a well timed survey of its historiography.
- Newly commissioned essays by way of a bunch of foreign students
- Takes a trans-disciplinary method of the historical past of artwork heritage
- Each essay provides unique and incisive arguments
- The essays mix to give a suggestion frightening re-examination of the tools of artwork background
Chapter 1 artwork heritage: modern views on technique (pages 1–7): Dana Arnold
Chapter 2 Sexing the Canvas (pages 8–33): Nicholas Chare
Chapter three Phenomenology and Interpretation past the Flesh (pages 34–55): Amanda Boetzkes
Chapter four Surveying modern paintings: Post?War, Postmodern, after which What? (pages 56–77): Dan Karlholm
Chapter five Michel Foucault and the purpose of portray (pages 78–98): Catherine M. Soussloff
Chapter 6 Karl Mannheim and Alois Riegl: From paintings background to the Sociology of tradition (pages 99–128): Jeremy Tanner
Chapter 7 paintings Fiction (pages 129–149): H. Perry Chapman
Chapter eight Dancing Years, or Writing as a fashion Out (pages 150–164): Adrian Rifkin
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Additional info for Art History: Contemporary Perspectives on Method
Rowley, ‘On viewing three paintings by Jenny Saville’, 101. Griselda Pollock offers a different reading of the technique of staining and soaking, suggesting that it is ‘useful to view [them] through the prism of sexual difference’ but that doing so reveals how they function to create a site through which to communicate the ‘feminine dimension of loss and separation’ that characterizes ‘the loss of the maternal body’. See Pollock, ‘Killing men and dying women’, in Fred Orton and Griselda Pollock, eds, Avant-gardes and Partisans Reviewed, Manchester, 1996, 258.
Hayden White, Tropics of Discourse: Essays in Cultural Criticism, Baltimore, 1978, 43. Theresa de Lauretis, Technologies of Gender: Essays on Theory, Film, and Fiction, Bloomington, 1987, 2. Kenneth Clark, The Nude: A Study of Ideal Art, London, 1956, 64. Elizabeth Grosz, Volatile Bodies: Toward a Corporeal Feminism, Bloomington, IN, 1994, 98. S E X I N G T H E C A N VA S 27 28 29 30 31 32 33 34 Whether the two photographs are of the same hand is uncertain. The first, dirty hand has no jewellery whereas the second, dirt-free, wears two rings.
81 Beaumont’s and Hazlitt’s silence on the question of gender, which Smith does not examine, can be read as a product of the anxiety caused by works in oil that do not announce their sex, their oiliness, or which could even be mistaken for the fairer sex, the watercolour. Turner’s oil painting Norham Castle: Sunrise (c. 1835–40), although of a later date than the criticism, provides a good example of such a work. Seen from a distance the fine, almost evanescent, tones of this landscape mean that it could pass for a watercolour.
Art History: Contemporary Perspectives on Method by Dana Arnold