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The Art of Art History
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Table of Contents

Donald Preziosi: Introduction to the New Edition Donald Preziosi: Art History: Making the Visible Legible 1. Art as History Introduction Giorgio Vasari: Preface to Part III of 'The Lives' Johann Joachim Winckelmann: Reflections on the Imitation of Greek Works in Painting and Sculpture Whitney Davis: Winckelmann Divided: Mourning the Death of Art History Michael Baxandall: Patterns of Intention 2. Aesthetics Introduction Immanuel Kant: What is Enlightenment? G.W.F. Hegel: Philosophy of Fine Art D. N. Rodowick: Impure Mimesis, or the Ends of the Aesthetic Wilhelm Pietz: Fetish 3. Form, Content, and Style Introduction Heinrich Woelfflin: Principles of Art History Ernst Gombrich: Style David Summers: 'Form', Nineteenth-Century Metaphysics, and the Problem of Art Historical Description David Summers: 'Style' 4. Anthropology and/or Art History Introduction Alois Riegl: Leading Characteristics of the Late Roman 'Kunstwollen' Aby Warburg: Images from the Region of the Pueblo Indians of North America Edgar Wind: Warburg's Concept of 'Kunstwissenschaft' and its Meaning for Aesthetics Claire Farago: Silent Moves: On Excluding the Ethnographic Subject from the Discourse of Art History 5. Mechanisms of Meaning Introduction Erwin Panofsky: Iconography and Iconology: An Introduction to the Study of Renaissance Art Hubert Damisch: Semiotics and Iconography Mieke Bal and Norman Bryson: Semiotics and Art History: A Discussion of Contexts and Senders Stephen Bann: Meaning/Interpretation 6. The Limits of Interpretation Introduction Stephen Melville: The Temptation of New Perspectives Martin Heidegger: The Origin of the Work of Art Meyer Schapiro: The Still Life as a Personal Object - a Note on Heidegger and van Gogh Jacques Derrida: Restitutions of the Truth in Pointing [Pointure] 7. Authorship and Identity Introduction Michel Foucault: What is an Author? Craig Owens: The Discourse of Others: Feminists and Postmodernism Mary Kelly: Re-Viewing Modernist Criticism Judith Butler: Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory Rey Chow: Postmodern Automatons Amelia Jones: 'Every Man Knows How Beauty Gives Him Pleasure': Beauty Discourse and the Logic of Aesthetics Jennifer Doyle: Queer Wallpaper 8. Globalization and its Discontents Introduction Timothy Mitchell: Orientalism and the Exhibitionary Order Carol Duncan: The Museum as Ritual Walter Benjamin: The Work of Art in the Age of its Technological Reproducibility (Third Version) Satya Mohanty: Can Our Values be Objective? On Ethics, Aesthetics, and Progessive Politics Marquard Smith: Visual Culture Studies: Questions of History, Theory, and Practice Maria Fernandez: 'Life-Like': Historicizing Process in Digital Art Donald Preziosi: Epilogue: The Art of Art History Coda: Plato's Dilemma and the Tasks of the Art Historian Today

About the Author

Author of a dozen books on art, architecture, museology, and critical and cultural theory, Donald Preziosi received his doctorate in art history from Harvard and has been a professor of art history at Yale, MIT, UCLA, and Oxford, where he was the Slade Professor of Fine Art in 2000-2001. He is a member of the History Faculty at Oxford University and Emeritus Professor of Art History and Critical Theory at UCLA. In 2005-2006 he was an Andrew Mellon Foundation Distinguished Emeritus Faculty Fellow and in 2007 a MacGeorge Fellow at the University of Melbourne, Australia. He is currently working on a study of the complex relations between art and religion in the Western tradition.

Reviews

This masterly collection of texts interrogates the raging academic question, What is art history? Editor Preziosi, who directs ground-breaking critical studies of art history and museology, provides introductions to 35 challenging readings gathered in nine chapters. This plethora of alternatives is curiously complicated, even obfuscating. Covered here are the most current and relevant approaches to aesthetics, style, iconography and semiology, feminism, gender studies, formalism, postmodernism, deconstruction, museography, hybridity, and multiculturalism; those offering critical analysis range from Winckelmann, Kant, Wolfflin, Panofsky, Schapiro, Gombrich, and Derrida to Rosalind Krauss and Carol Duncan. Ultimately, this book is best suited to upper- and graduate-level collections and to the reference shelf of specialized art collections, as it proposes the discipline of art history itself as an art.ÄMary Hamel-Schwulst, Towson Univ., MD

`Review from previous edition vivid and inspiring... a flamboyant book ' Johanne Lamoureux, University of Montreal `Definitely the best introduction to art history currently available' Norman Bryson, Havard University `Inspires productive debate and contemplation. What makes this anthology more than an arresting assemblage is the author's critical stance toward what he has wrought. Robert S. Nelson, Yale ' Robert S. Nelson, Yale

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