A handbook of new curatorial strategies based on pioneering examples of curators working to offset racial and gender disparities in the art world.
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• Introduction. The blackness of things
• Fred Wilson and the rhetoric of redress
• Lorna Simpson's figurative transitions
• Glenn Ligon and the matter of fugitivity
• Renée Green's diasporic imagination
• Epilogue. Alternate routes.

At the close of the twentieth century, black artists began to figure prominently in the mainstream American art world for the first time. Thanks to the social advances of the civil rights movement and the rise of multiculturalism, African American artists in the late 1980s and early '90s enjoyed unprecedented access to established institutions of publicity and display. Yet in this moment of ostensible freedom, black cultural practitioners found themselves turning to the history of slavery. "Bound to Appear" focuses on four of these artists - Renee Green, Glenn Ligon, Lorna Simpson, and Fred Wilson - who have dominated and shaped the field of American art over the past two decades through large-scale installations that radically departed from prior conventions for representing the enslaved. Huey Copeland shows that their projects draw on strategies associated with minimalism, conceptualism, and institutional critique to position the slave as a vexed figure - both subject and object, property and person. They also engage the visual logic of race in modernity and the challenges negotiated by black subjects in the present. As such, Copeland argues, their work reframes strategies of representation and rethinks how blackness might be imagined and felt long after the end of the "peculiar institution." The first book to examine in depth these artists' engagements with slavery, "Bound to Appear" will leave an indelible mark on modern and contemporary art.
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• Introduction: How to use this book
• Chapter 1: Thinking about theory
• Chapter 2: The analysis of form, symbol, and sign
• Chapter 3: Art's contexts
• Chapter 4: Psychology and perception in art
• Chapter 5: Taking a stance toward knowledge
• Chapter 6: Writing with theory Notes Acknowledgements Index Picture credits.
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Art historical theory is a forum of intense, often passionate debate. This book provides an accessible introduction to the range of critical theories used in analysing art. It covers a broad range of approaches, presenting individual arguments, controversies and divergent perspectives. This second edition has been updated to reflect recent scholarship in contemporary art. The book begins by introducing the concept of theory and explains why it is important to art historical practice. Each of the book's four core chapters presents a group of related approaches that are discussed and applied to one or more works of art. The book ends with some practical ideas about writing theoretically driven art history papers. Clearly written, this book is ideal for the undergraduate student or anyone interested in the world of ideas.
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• Acknowledgments 7 Introduction How to use this book 8
• Chapter 1 Introducing art history What do art historians do? The object of art history 11 What is "art"? / A working definition of art / What is "history"? Why is art history important? 16 Art history and related disciplines 19 Art criticism / Sociology / Anthropology / Aesthetics / Cultural studies / Visual culture studies / Connoisseurship Art history's toolbox: formal and contextual analysis 22 Museum accession numbers Reading captions for information 23 Conclusion 26
• Chapter 2 Formal analysis Formal analysis 27 Formal elements 28 Color / Line / Space and mass / Scale / Composition Two-dimensional art: painting, graphic arts, photography 31 Sculpture 35 Wolfflin and formal analysis 36 Architecture 40 Installation art 42 Performance and video art 43 Digital art 46 Textile and decorative arts 48 Patrick Heron analyzes a painting by Matisse 51 Conclusion 51
• Chapter 3 Contextual analysis Art and context 52 Contextual questions 53 Art out of context? Museums and art history 56 A brief history of museums / Museums and the experience of art Sarah Symmons analyzes a print by Goya 57 The process of interpretation: confronting your assumptions 61 The challenges of cross-cultural interpretation / The challenges of historical interpretation / Historical interpretation in practice Is African art anonymous? 65 Art and its controversies 69 Style and meaning 71 Conclusion 73
• Chapter 4 Writing art-history papers Art-historical arguments: opinion vs. interpretation 74 Formal-analysis papers 76 Taking notes / Structuring your paper / The comparison paper Research papers 83 Developing a topic and starting your research / Keeping notes Resources for research 91 Books / Periodicals / Websites / Reference works How many sources should I use? 91 Critical moments in art-history writing 97 Developing a thesis / Writing an introductory paragraph / Sustaining the argument / Dealing with intentions / The conclusion / Editing If you experience writer's block 107 Citations and bibliographies 108 MLA citations / Chicago citations / Bibliography or Works Cited / Plagiarism's gray zone Writing style 113 Common stylistic pitfalls of art-history writing / Finding a voice Putting together those illustrations 116 Conclusion 117
• Chapter 5 Navigating art-history examinations Slide identifications and short-answer questions 118 identifications Why are slide identificationsimportant? / How to succeed at slide identifications/ Three-step slide memorization / Memory aids / Unknowns Test-taking strategies for art-history exams 126 Art-history essays 128 Studying for essay tests / Types of essay question Effective note-taking 140 Taking good notes in class / Developing a consistent shorthand / Taking notes on readings Class participation--why bother? 142 Conclusion 143
• Chapter 6 Art history's own history Ancient world 144 Excerpt from Pliny's Natural History 145 Middle Ages 146 Renaissance 147 Excerpt from Vasari's Lives of the Artists 148 Seventeenth-century writers on art 150 Felibien in conversation with Poussin 151 Winckelmann on the Laocoon 153 Age of Enlightenment 154 The nineteenth century: foundations of modern art history 155 Twentieth-century formalists, iconographers and social historians 158 After 1970: the "new" art history 160 The feminist art-history revolution 163 Do other cultures practice art history? 165 China / West Africa Early art history in China 166 Conclusion 169 Glossary 170 Bibliography 172 Table of parallel illustrations in art-history surveys 178 Index 180 Picture credits 184.
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For one or two semester Introductory Art History Survey courses. This handbook is designed to accompany the major textbooks used in the art history survey, presenting various methods for analysis of art as well as extensive tips on writing about art. Professor Anne D'Alleva created this handbook to accompany the major textbooks used in art history survey courses. Because the main survey texts focus on the artworks themselves, she saw the need for a complementary handbook that introduces students to the methodologies of art history in an open, accessible way. Look! discusses basic art historical practices, such as visual and contextual analysis, and provides guidelines for writing papers and taking examinations in art history. It provides a short history of the discipline and provides links to related academic disciplines to provide students with a sense of intellectual context for their work.
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• Acknowlegments ix Introduction: The Idea of Provincializing Europe 3 Part One: Historicism and the Narration of Modernity
• Chapter 1. Postcoloniality and the Artifice of History 27
• Chapter 2. The Two Histories of Capital 47
• Chapter 3. Translating Life-Worlds into Labor and History 72
• Chapter 4. Minority Histories, Subaltern Pasts 97 Part Two: Histories of Belonging
• Chapter 5. Domestic Cruelty and the Birth of the Subject 117
• Chapter 6. Nation and Imagination 149
• Chapter 7. Adda: A History of Sociality 180
• Chapter 8. Family, Fraternity, and Salaried labor 214 Epilogue. Reason and the Critique of Historicism 237 Notes 257 Index 299.
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Exploring how post-colonial thinking impacts on the social sciences, this text examines the problems of thought that present themselves when we think of a place such as India through the categories of modern, European social science and, in particular, history.
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Can European thought be dislodged from the center of the practice of history in a non-European place? What problems arise when we translate cultural practices into the categories of social science? "Provincializing Europe" is one of the first book-length treatments on how postcolonial thinking impacts on the social sciences. This book explores, through a series of linked essays, the problems of thought that present themselves when we think of a place such as India through the categories of modern, European social science and, in particular, history. "Provincializing Europe" is a sustained conversation between historical thinking and postcolonial perspectives. It addresses the mythical figure of Europe that is often taken to be the original site of the modern in many histories of capitalist transition in non-Western countries. This imaginary Europe, Chakrabarty argues, is built right into the social sciences. The very idea of historicizing carries with it some peculiarly European assumptions about disenchanted space, secular time, and human sovereignty. Measured against such mythical standards, capitalist transition in the third world has often seemed either incomplete or lacking. Chakrabarty finds that "Nativism, " however, is no answer to Eurocentrism, because the universals propounded by European Enlightenment remain indispensable to any social critique that seeks to address issues of social justice and equity. "Provincializing Europe" proposes that every case of transition to capitalism is a case of translation as well - a translation of existing worlds and their thought-categories into the categories and self-understandings of capitalist modernity. Chakrabarty demonstrates, both theoretically and with examples from colonial and contemporary India, how such translational histories may be thought and written. "Provincializing Europe" is not a project of shunning European thought. It is a project of globalizing such thought by exploring how it may be renewed both for and from the margins.
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First published in 2000, Dipesh Chakrabarty's influential "Provincializing Europe" addresses the mythical figure of Europe that is often taken to be the original site of modernity in many histories of capitalist transition in non-Western countries. This imaginary Europe, Dipesh Chakrabarty argues, is built into the social sciences. The very idea of historicizing carries with it some peculiarly European assumptions about disenchanted space, secular time, and sovereignty. Measured against such mythical standards, capitalist transition in the third world has often seemed either incomplete or lacking. "Provincializing Europe" proposes that every case of transition to capitalism is a case of translation as well - a translation of existing worlds and their thought - categories into the categories and self-understandings of capitalist modernity. Now featuring a new preface in which Chakrabarty responds to his critics, this book globalizes European thought by exploring how it may be renewed both for and from the margins.
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• Introduction: Art and agency and art history / Jeremy Tanner and Robin Osborne
• Enchantment and sacrifice in early Egypt / David Wengrow
• Agency marked, agency ascribed : the affective object in ancient Mesopotamia / Irene J. Winter
• Portraits and agency : a comparative view / Jeremy Tanner
• The agency of, and the agency for, the Wanli emperor / Jessica Rawson
• The material efficacy of the Elizabethan jewelled miniature : a Gellian experiment / Jessen Kelly
• Representational art in ancient Peru and the work of Alfred Gell / Jeffrey Quilter
• Gell's idols and Roman cult / Peter Stewart
• Sex, agency and history : the case of Athenian painted pottery / Robin Osborne
• Abducting the agency of art / Whitney Davis.

Art's Agency and Art History re-articulates the relationship of the anthropology of art to key methodological and theoretical approaches in art history, sociology, and linguistics. * Explores important concepts and perspectives in the anthropology of art * Includes nine groundbreaking case studies by an internationally renowned group of art historians and art theorists * Covers a wide range of periods, including Bronze-Age China, Classical Greece, Rome, and Mayan, as well as the modern Western world * Features an introductory essay by leading experts, which helps clarify issues in the field * Includes numerous illustrations.
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Based on the 1999 Walter Neurath Memorial Lecture, this book uses the work of the Belgian artist Marcel Broodthaers to argue that the specifity of mediums, even modernist ones, can never be simply collapsed into the physicality of their support.
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In this major new book, renowned art historian Griselda Pollock makes a compelling intervention into a debate at the very centre of feminist art history: should the traditional canon of the Old Masters be rejected, replaced or reformed? What difference can a feminist approach to art history make? Differencing the Canon moves between feminist re-readings of modern masters - Van Gogh, Toulouse-Lautrec and Manet - and the canonical artists of feminist art history Artemisia Gentileschi and Mary Cassatt. Pollock asks both how women read and what might be different about art made by a woman. Pollock unpacks the representation of culturally resonant female figures in a range of texts, from Manets depiction of the model Jeanne Duval in his painting Olympia, to Charlotte Brontes Lucy Snowe, artists representations of Cleopatra and Angela Carters Black Venus . She argues that it is not enough simply to read as a woman; we must also acknowledge the differences between women shaped by racist and colonial hierarchies.
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Is the canon of art history a sacred collection of the best paintings by the greatest masters, or a construct turning its contents into products of mastery, and defining culture and creativity as essentially European and masculine? The question of the traditional, patriarchal canon, of whether it should be rejected, replaced or reformed, is a debate at the centre of feminist art history. In Differencing the Canon , Griselda Pollock examines the tenacity of the canon's appeal, and explores both the fantasies and desires served by traditional heroic narratives in art history, and those which drive feminist criticism to oppose them Using experimental formats and different voices, Differencing the Canon goes beyond the academic canon to get closer to the grain of the feminist voice, using difference as a dynamic force to open up the possibilities for reading complex visual art.
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• Foreword
• 1. The Problem Defined: The Need for an Anthropology of Art
• 2. The Theory of the Art Nexus
• 3. The Art Nexus and the Index
• 4. The Involution of the Index in the Art Nexus
• 5. The Origination of the Index
• 6. The Critique of the Index
• 7. The Distributed Person
• 8. Style and Culture
• 9. Conclusion: The Extended Mind
• Bibliography
• Index.
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Alfred Gell puts forward a new anthropological theory of visual art, seen as a form of instrumental action: the making of things as a means of influencing the thoughts and actions of others. He argues that existing anthropological and aesthetic theories take an overwhelmingly passive point of view, and questions the criteria that accord art status only to a certain class of objects and not to others. The anthropology of art is here reformulated as the anthropology of a category of action: Gell shows how art objects embody complex intentionalities and mediate social agency. He explores the psychology of patterns and perceptions, art and personhood, the control of knowledge, and the interpretation of meaning, drawing upon a diversity of artistic traditions-European, Indian, Polynesian, Melanesian, and Australian. Art and Agency was completed just before Alfred Gell's death at the age of 51 in January 1997. It embodies the intellectual bravura, lively wit, vigour, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generation.
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