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 Wölfflin: 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

`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

`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