This symposium is inspired by the round tables organised by James Elkins in Cork, Ireland and Chicago which aimed to create a dialogue between art historians and philosophers on concepts which are central to the way both disciplines conduct their respective endeavours. For our symposium, art historians and philosophers will discuss topics and concepts which are likely to be given different interpretations by the respective disciplines. We will attempt to bridge the gap between the respective interpretations by inviting a closer (...) consideration of the alternative perspective. The first topic will be the relation of aesthetic and moral considerations in evaluating the photography of Bill Henson. The second will be "Beauty" and the third, will be the nature of "Aesthetic Autonomy". (shrink)

The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting (...) to delve into the way Crane approaches painting in general and Siqueiros’ œuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—”Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 116-120 [Access article in PDF] Art History in the Age of Bellori: Scholarship and Cultural Politics in Seventeenth-Century Rome, edited by Janis Bell and Thomas Willette. Cambridge: Cambridge Universtiy Press, 2002, 396 pp. Giovan Pietro Bellori is a name familiar to all who have studied seventeenth-century Italian art. His magisterial book, The Lives of the Modern Painters, Sculptors, and Architects (Le (...) vite de' pittori, scultori, ed architetti moderni), published in Rome in 1672, continued in the grand tradition of artists' biographies established by Giorgio Vasari in the sixteenth century, while at the same time espousing a classical theory of artistic creation that has often been seen as the foundation of academic classicism, popular well into the nineteenth century. He is, in other words, an immensely significant figure, as a source of information on artists' lives, and, more importantly, as a cogent, early spokesperson for one of the dominant aesthetic modes of Western European culture.Given this importance, the relative dearth of publications dedicated toBellori, especially in the Anglo-American world, is surprising. PerhapsBellori's famously negative assessment of Caravaggio, or his complete avoidance of two of the most successful Italian artists of the seventeenth century, Pietro da Cortona and Gian Lorenzo Bernini, account for the scarcity ofscholarly treatments, or maybe his supposed insistence that all great art should be grounded in rules is to blame. The reasons are hard to pin down, but the volume of essays under consideration here goes some significant way towards rectifying the situation. Stemming from a 1996 conference organized by the Association for Textual Scholarship in Art History and held at the American Academy in Rome, the volume is divided into two roughly equal sections, one on "Bellori and the Republic of Letters in Seventeenth-Century Rome," and the other on "Bellori's Lives: History, Criticism, Theory." It comprises twelve essays, including a long and very useful introduction by Janis Bell, one of the editors of the book. The overall goal of the collection is to treat Bellori's activity as a whole, rather than focus single-mindedly on the Lives. After all, as Bell points out, the preponderance of Bellori's publishing was not dedicated to aesthetic theory, or even artists' biographies, but to antiquarian studies. In this, the present volume is very different from the other major new work on Bellori, a two-volume cataloguepublished in 2000 to accompany anexhibition held at the Palazzo delle Esposizioni in Rome, L'idea del Bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori. The exhibition did acknowledge Bellori's antiquarian interests, but was aimed principally at something else: making visible his aesthetic theory. Unfortunately, the authors of Art History in the Age of Belloriwere not able to take into account fully [End Page 116] the conclusions of this important study,although it should be noted that several authors are represented in both publications.The first group of essays in the book, six in number, treats a wide range of themes, with the intention of crafting a context, both literary and political, for understanding Bellori's achievement. Giovanna Perini's essay, the first of section one, describes Bellori's career trajectory, and, more significantly, how this path had an impact on his life as a scholar. Bellori did not come from the wealthiest stratum of society. On the contrary, he was of relatively modest means, which meant that he had to rely on employment income. One implication of being economically beholden to his employers was that his writing had to conform to their political agendas. The Vite, for instance, are famous for lionizing the French artist Nicolas Poussin, of obvious appeal to his Francophile patrons. Diego Velázquez, however, was not included in the Vite, perhaps because he was Spanish and would thus have appealed to the opposing political faction in Rome at the time, which was linked to Spain. At the same time, Perini convincingly argues that Bellori's own voice was not drowned out in the process... (shrink)

As visual art becomes more international, ways of writing about art become more uniform. This essay proposes that two disciplines concerned with contemporary visual art, art criticism and art theory, are on the verge of being effectively homogeneous around the world. They share concepts, artists, artworks, institutions, and bibliographic references. For comparison, I consider two other fields that may also be increasingly uniform: studio art instruction and the novel. The last, in particular, is the subject of a large literature; critics (...) and historians debate whether contemporary global novels are becoming more self-similar if not more predictable. The literature on the novel allows me to conclude that it is likely writing on art is following the same tendency. (shrink)

Arthur C. Danto is unique among philosophers for the breadth of his philosophical mind, his eloquent writing style, and the generous spirit embodied in all his work. Any collection of essays on his philosophy has to engage him on all these levels, because this is how he has always engaged the world, as a philosopher and person. In this volume, renowned philosophers and art historians revisit Danto's theories of art, action, and history, and the depth of his innovation as (...) a philosopher of culture. Essays explore the importance of Danto's philosophy and criticism for the contemporary art world, along with his theories of perception, action, historical knowledge, and, most importantly for Danto himself, the conceptual connections among these topics. Danto himself continues the conversation by adding his own commentary to each essay, extending the debate with characteristic insight, graciousness, and wit. Contributors include Frank Ankersmit, Hans Belting, Stanley Cavell, Donald Davidson, Lydia Goehr, Gregg Horowitz, Philip Kitcher, Daniel Immerwahr, Daniel Herwitz, and Michael Kelly, testifying to the far-reaching effects of Danto's thought. Danto brought to philosophy the artist's unfettered imagination, and his ideas about postmodern culture are virtual road maps of the present art world. This volume pays tribute to both Danto's brilliant capacity to move between philosophy and contemporary culture and his pathbreaking achievements in philosophy, art history, and art criticism. (shrink)

First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" (...) occupies the central position in the book — thoroughly discussing the basic philosophical outlook for the whole work. There are also further chapters on psychoanalysis, folk art and popular art. The chapter on the role of convention in the history of art points the way for further study. (shrink)

ABSTRACT In this article, I focus on Charles Sanders Peirce's viability for contemporary art history and criticism. I argue that in order to make sense of Peirce's published remarks on photographs they should be read in light of specific nineteenth-century uses of photography in experimental science. I argue that Peirce's comments on photography are consistent with a realist theory of science. It is only when these remarks are contextualized within a broader scientific project that we may begin to mine (...) Peirce for his art historical value. (shrink)

Proponemos analizar el alcance de las nociones roigeanas de "teoría y crítica" como categorías epistemológicas para un humanismo crítico latinoamericano desde una lectura alternativa de Teoría y crítica del pensamiento latinoamericano. Indagamos de qué forma estas categorías involucran la legitimidad del discurso filosófico, decisiones en torno del problema del sujeto y de la verdad y modos de entender la historia. Mostramos cómo Roig opera una ruptura, en el marco de lo que él denomina una ampliación metodológica en el campo del (...) quehacer filosófico, al imbricar conceptualizaciones epistemológicas con ejercicios reflexivos en los que el filosofar explora la experiencia vital, construye sus propias fuentes y se abre a una dimensión axiológica. En el marco de este desarrollo, Roig revisa el "legado", incorpora otras voces e interviene críticamente la estructura axiológica de los discursos y analiza sus formas de reconocimiento. Buscamos mostrar las herramientas teóricas y críticas que ofrece este libro en particular para discutir las condiciones y posibilidades del saber filosófico como saber práctico social, situado y liberador y los términos de los humanismos que supone o interpela. We propose to analyze the scope of Roig´s notions, "theory and criticism", as epistemological categories to reach a critical humanism of Latin America, based on the book Teoría y crítica del pensamiento latinoamericano, as an alternative reading. We evaluate how these categories involve the legitimacy of philosophical discourse, and the decisions taken on the subject´s problem, the truth and the possible ways to understand history. We also show how Roig, in the framework of what he identifies as methodological amplification within the field of philosophy´s task, fixes a rupture when interweaving epistemological concepts with reflective exercises in which the art of philosophy explores the vital experience, builds and rebuilds its own sources and opens up to an axiological dimension. In this framework, Roig revises the "legacy", adds other voices, handles critically the axiological structure of discourses and analyzes its ways of recognition. We aim to present the theoretical and critical tools of this book, especially to discuss the conditions and possibilities of the philosophical knowledge taken as practical, social, established and as liberator; and to discuss the terms of humanisms that the philosophical knowledge presents or interpellates. (shrink)

The arts of poetry and the arts of criticism are uncovered and studied in their products, in poems and in judgments. Poetry and criticism, however, the making and judging of poems, are processes. The study of literature as a product - existing poems and existing interpretations and appreciations of poetry - develops a body of knowledge which is sometimes called "poetic sciences." The recognition and use of poetic and critical processes - producing and judging poems which did not (...) previously exist, and uncovering and analyzing aspects of existing poems which were not previously discerned or appreciated - develop things and values by use of arts which are sometimes called "heuristic arts." Knowledge or science is used in the processes of deliberate or artful making; art or criticism is used in the production of things or knowledge of things, natural or artificial. Knowledge is a product of inquiry; criticism is a process of judgment; the two are joined - knowledge of things and use of knowledge - in critical inquiries or critiques of judgment. Richard McKeon is Charles F. Grey Distinguished Service Professor Emeritus of Philosophy and Greek at the University of Chicago; he was a member of the U.S. delegations to the first three General Conferences of UNESCO and served as U.S. counselor to UNESCO. His numerous publications include The Philosophy of Spinoza, Freedom and History, and Thought, Action, and Passion; he also has edited The Basic Works of Aristotle and coedited the forthcoming critical edition of Abailard's Sic et Non. His contributions to Critical Inquiry include "Canonic Books and Prohibited Books: Orthodoxy and Heresy in Religion and Culture" and Pride and Prejudice: Thought, Character, Argument, and Plot". (shrink)

_Rediscovering Aesthetics_ brings together prominent international voices from art history, philosophy, and artistic practice to discuss the current role of aesthetics within and across their disciplines. Following a period in which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political, social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion and a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive, because it (...) provides a selection of significant but divergent positions. The diversity of the views presented here demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to emerge. Contributors include: Claire Bishop, Diarmuid Costello, Paul Crowther, Arthur Danto, Nicholas Davey, Thierry de Duve, James Elkins, Francis Halsall, Michael Ann Holly, Julia Jansen, Michael Kelly, Robert Morris, Tony O'Connor, Peter Osborne, Adrian Piper, David Raskin, Carolee Schneemann, Richard Shiff, Wolfgang Welsch, and Richard Woodfield. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 112-118 [Access article in PDF] Hong Kong Art: Culture and Decolonization, by David Clarke. Durham, North Carolina: Duke University Press, 2002, 240 pp. Paper. The issue of identity is a "vicious" circle in relation to Hong Kong's return to China in 1997. The more one talks about it, the more it is to be talked about as if it is a phenomenon (...) at a very special moment. But isn't not talking about Hong Kong identity in a certain period of time also a "vicious" circle, in which the lack of noise invites further silence?David Clarke's Hong Kong Art is, in a sense, an initiation of Hong Kong art as a "vicious" circle. In this sense, a concrete affinity between a text and its subject matter is significantly established. This is one of the ideals, potentials, and powers of all books written for the sake of being read and having actual effect. In this respect, this "vicious" circle is not vicious in a negative sense. It is through such interactivities that a book establishes a positive link with its subject matter.Hong Kong Art investigates "a particular historical moment in which HongKong art came into its own" (p. 10) and dwells upon the "local-ness of recent Hong Kong art" (p. 8). Nevertheless, Clarke deliberately avoids introducing a chronological survey of "Hong Kong art history as a whole" (p. 10). His solid research draws on the colloquial meanings of Hong Kong art in connection with the dynamics among different languages (Cantonese, Mandarin, and English), local receptions of art as reflected in local media, as well as backgrounds of artists, artworks, and political and cultural developments, among others. All this is necessary for a book that examines theemergence of Hong Kong identity. This is the case especiallyas "[n]o adequate survey exists of Hong Kong art as a whole," albeit surveying Hong Kong art as a whole is not the book's objective. Clarke's meta-survey about surveys on Hong Kong art is given in an endnote, which I also quote here in a note for the reader's reference. "The present author's Art and Place: Essays on Art from a Hong KongPerspective (Hong Kong, 1996) attempts to give a picture of the Hong Kong art world in the period immediately prior to the one covered by this text, and includes [End Page 112] some discussion of art from earlier periods as well. Petra Hinterthür'sModern Art in Hong Kong (Hong Kong, 1985) attempts a brief survey, but is of course unable to throw light on more recent developments. A chronology of Hong Kong art development from 1922 to 1994 is given in Hong Kong Artists. Volume 1 (Hong Kong, 1995), pp. 21-32. A rather patchy and sometimes imprecise chronology of Hong Kong artistic events from 1967 to 1998 isgiven in Gao Minglu, ed., Inside Out: New Chinese Art (Berkeley, 1998), pp. 207-11. The latter chronology also covers political and other broader historical events of the period. A valuable resource (in Chinese) for research on the early period of Hong Kong art is provided by Edwin Lai and Jack Lee, 'A Chronology of Visual Arts Activities in Hong Kong, 1900-1930,' in Besides: A Journal of Art History and Criticism 1 (1997): 135-230" (p. 211).With regard to the book's "ideal" link with its subject matter, I will now discuss the book's actualization of what it sets out to examine. The inadequacy of surveys on Hong Kong art (whether or not as a whole) manifests the relative tranquility in acknowledging that Hong Kong art is distinct. In view of this, the book itself is an intervention that (further) actualizes what it talks about. This is the case particularly in light of its predecessors' "vicious" circle of "silence," let alone those simplifications reducing Hong Kong art to either a Westernized product or a Chinese branch.The "Introduction" of Hong Kong Art begins with a critique of Western art history practices such as Gardner's... (shrink)

This article takes its shape from a recent conference at the School of Visual Arts in NYC on the theme, 'Tradition and the New: Educating the Artist for the Millennium'. Central to the way the conference was advertised and described was an implicit tendency to view tradition as wholly separate from the new. While the conference did not itself make a theoretical argument for the opposition of tradition and the new, Arthur Danto's recent elaboration of a thesis of the (...) 'end of art' does provide such a theoretical underpinning for the opposition that the conference seemed to presuppose. Danto's thesis of the end of art offers a compelling view of 'what' and 'where' art is today, but it also has troubling implications for how our relation to the past is configured and, in Danto's view of art's having come to an end, for what it means that we are now living in 'post-historical' times. That is, as a compelling contemporary reading of the history of art, Danto's thesis seems to be more implicated in the very modernist project that he, in other ways, seeks to move effectively beyond. This article, then, explores the problem of counterposing tradition and the new, specifically, in Danto's thesis, but also more generally. In the first part of the article, I present Danto's end of art thesis. Next, I will offer a counterweight to this tendency to separate tradition and the new by examining the concept of 'effective history', focussing here on the writing of Hans-Georg Gadamer. Gadamer's insights, which I will link to Nietzsche, provide a way of moving beyond some of the problematic implications of Danto's thesis, and also illuminate some of the ethical dimensions at stake. In concluding, I will look at some contemporary examples where the notion of effective history can be productively applied. Key Words: art theory • effective history • end of art • hermeneutics • modernism • tradition. (shrink)

Can we really trust the things our bodies tell us about the world? This book reveals how deeply intertwined cultural practices of art and science questioned the authority of the human body in the late eighteenth and early nineteenth centuries. Focusing on Henry Fuseli, Anne-Louis Girodet, and Philippe de Loutherbourg, it argues that Romantic artworks participated in a widespread crisis concerning the body as a source of reliable scientific knowledge. Rarely discussed sources and new archival material illuminate how artists drew (...) upon contemporary sciences and inverted them, undermining their founding empiricist principles. The result is an alternative history of Romantic visual culture that is deeply embroiled in controversies around electricity, mesmerism, physiognomy, and other popular sciences. This volume reorients conventional accounts of Romanticism and some of its most important artworks, while also putting forward a new model for the kinds of questions that we can ask about them. (shrink)

A perceptive and evocative mixture of memory, philosophical interrogation, and criticism, the essays in What Light Can Do, finely attuned to the pleasures and pains of being human, are always grounded in the beauty of the material world and ...

The first volume in the series Cambridge Studies in Philosophy and the Arts offers a range of responses by distinguished philosophers and art historians to some crucial issues generated by the relationship between the art object and language in art history. Each of the chapters in this volume is a searching response to theoretical and practical questions in terms accessible to readers of all human science disciplines. The editors, one a philosopher and one an art historian, provide an (...) introductory chapter which outlines the themes of the volume and explicates the terms in which they are discussed. The contributors open new avenues of enquiry involving concepts of 'presence', 'projective properties', visual conventions and syntax, and the appropriateness of figurative language in accounting for visual art. The issues they discuss will challenge the boundaries to thought that some contemporary theorising sustains. (shrink)

Deconstruction and the Visual Arts brings together a series of new essays by scholars of aesthetics, art history and criticism, film, television and architecture. Working with the ideas of French philosopher Jacques Derrida, the essays explore the full range of his analyses. They are modelled on the variety of critical approaches that he has encouraged, from critiques of the foundations of our thinking and disciplinary demarcation, to creative and experimental readings of visual 'texts'. Representing some of the most (...) innovative thinking in the various arts disciplines, these contributions offer important challenges to existing disciplinary orthodoxies. Also included in this volume is a long interview with Derrida, published here for the first time. (shrink)

I begin by asking an engagingly naive question that a layman would have every right to put to us - and often has. Why should we interest ourselves seriously in the once-upon-a-time worlds of fiction - these unreal stories about unreal individuals? It has been a persistent question in the history of criticism - ever since Plato called the poet a liar - and it is a question at once obvious and embarrassing. It is obvious because, for the apologist (...) for imaginative literature, it becomes a prolegomenon to all further questions; and it is embarrassing because merely to ask it threatens to put literature out of business and, with it, all those who treat it as a serious and world-affecting art. Why, then, should we interest ourselves seriously in fictions? However elementary, it is a question that is more easily asked than answered. Murray Krieger is the author of The Tragic Vision and The Classic Vision, which have recently been reprinted in the two-volume paperback Visions of Extremity in Modern Literature. He is University Professor of English and director of the Program of Critical Theory at the University of California at Irvine. "Poetic Presence and Illusion: Renaissance Theory and the Duplicity of Metaphor," another contribution to Critical Inquiry, appeared in the Winter 1974 issue. See also: "The Dismantling of a Marionette Theater; or, Psychology and the Misinterpretation of Literature" by Erich Heller in Vol. 4, No. 3. (shrink)

DO SOCIOLOGY AND ANTHROPOLOGY STAND with the sciences or with the humanities? Most attempts to settle this question involve comparing these disciplines with the natural sciences on the one hand and with history on the other. If we take history as paradigmatic of the various forms of humanistic inquiry, we will certainly find many illuminating comparisons to be drawn between it and the social sciences, but history is not the only humanistic inquiry. In fact, there exists another (...) whole realm of the humanities that has been almost universally neglected as an area which might provide revealing comparisons with sociology and anthropology: that is aesthetic criticism. In the discussion which follows, I want to begin to remedy some of that neglect. (shrink)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a (...) new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition through the modern era of manifestos, Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible. (shrink)

In this chapter, the author considers a line of thought in Arthur Danto in that regard about the bearing of cognitive science on our construal of changes in art. For Danto, a key to the issue of how to understand change in art forms and artistic identities is found in his fundamental notion that both the meaning and the style of a work of art are historically indexed; that is, they depend on historical conditions. Danto's skepticism about facile changes in (...) world views is born out of his theory that the history of such changes has certain logic, defined over basic or fundamental forms of action and thought; a view that applies as much to science as it does to art. The author's claim has been that recent research shows that, logical deductions aside, advances in cognitive science suggest that the language of art criticism will have to change. (shrink)

Music's status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In the mid-nineteenth century, Friedrich Theodor Vischer and other Hegelian aestheticians kept insisting on art's (...) conceptual clarity, but they adapted the aesthetic system on which this requirement had been based. Their adaptations turned out to be decisive for the development of music criticism, to such an extent that music critics used them to point out musical content and to confirm music's autonomy as an art form. This book unravels the network of music critics and philosophers, including not only Hegel but also Franz Liszt, Franz Brendel, and Eduard Hanslick, whose works shaped public opinions of music."--Publisher's description. (shrink)

Having accepted the invitation to write a regular column about art from Elizabeth Pochoda, then the literary editor of The Nation magazine, Arthur Danto wrote a lot of criticism. Danto wrests himself free of the history of art criticism when, in writing about recent predecessors, he claims that their critical approaches must be understood as artifacts of their historical time. The lack of an autonomous history of art criticism, one that would make current practice intelligible in terms of (...) its own history, should puzzle us. Many other genres of criticism plainly have histories that shape their current practice in terms both of subject and method. The value of Danto's essay as criticism is exhausted in its relation to the moment of the art world in which it participated. (shrink)

This paper explores Zha Changping’s humanistic criticism of pioneering Chinese art as a new paradigm in art criticism after the postmodern disintegration of traditional art history with its linear art history writing. It introduces the “seven forming factors” at the heart of Zha’s “world relational aesthetics,” which, on one hand, gauges the pulse of the time, while on the other hand seeking to uncover the underlying relational logic informing this generation of pioneering artists’ intellectual outlook and artistic output.

Until fairly recently, most of the attention of art historians and others in these debates has been paid to differences among the partisans of various disciplinary methodologies, or to the differential benefits of one or another school of thought or theoretical perspective in other areas of the humanities and social sciences as these might arguably apply to questions of art historical practice.1 Yet there has also come about among art historians a renewed interest in the historical origins of the academic (...) discipline itself, and in the relationships of its institutionalization in various countries to the professionalizing of other historical and critical disciplines in the latter part of the nineteenth century. These interests have led increasingly to wider discussion by art historians of the particular nature of disciplinary knowledge, the circumstances and protocols of academic practice, and the relations between the various branches of modern discourse on the visual arts: academic art history, art criticism, aesthetic philosophy, the art market, exhibitions, and musicology.2 What follows does not aim to summarize or characterize these developments but is more simply an attempt to delineate some of the principal characteristics of the discipline as an evidentiary institution in the light of the material conditions of academic practice that arose in the latter half of the nineteenth century in relation to the history of mueological display. In brief, this essay is concerned with the circumstances of art history’s foundations as a systematic and “scientific” practice, and its focus is limited to a single, albeit paradigmatic, American example. 1. An extended discussion of these issues may be found in Donald Preziosi, Rethinking Art History: Meditations on a Coy Science , pp. 80-121. See also The New Art History, ed. A. L. Rees and Frances Borzello .2. One important sign off these discussions has been a series of “Views and Overviews” of the discipline appearing in The Art Bulletin in recent years, of which the most recent has been perhaps the most extensive and comprehensive: Mieke Bal and Norman Byrson, ”Semiotics and Art History,” The Art Bulletin 73 : 174-208. Donald Preziosi is professor of art history at the University of California, Los Angeles, and, beginning in 1992, at the École des Hautes Études en Sciences Sociales in Paris. He is the author of Rethinking Art History: Meditations on a Coy Science and is currently completing a book on the history of museums entitled Framing Modernity. (shrink)

The existence of conflicting interpretations in literature, history, and art history casts doubt on the ability of any interpretation to be true to the facts. The role of the art historian is complicated by this reconsideration of what is valuable in interpretation. Progress in the history of art is difficult to ascertain. The scope and diversity of twentieth-century criticism of Piero della Francesca's Renaissance frescoes is difficult to compare to his less extensive Renaissance criticism by Vasari. While (...) the antirelativist would be comfortable setting individual interpretations against a set of ahistorical standards, the relativist avoids evaluating differing interpretations as more or less valuable. Both relativism and antirelativism steer evaluations away from the notion of truth in interpretation. The marginalization of truth is furthered by the lack of "facts" in art. The flexibility of the data in art history makes multiple interpretations unavoidable. Only by acknowledging the inevitable coupling of form with content and the meaninglessness of searching for truth outside of the limiting structures of form, can truthful representations occur in pictures and in narratives. (shrink)

Tracing the broad outline of European art history means presenting the different methods considered essential to the formation of this discipline. Historiographical research arrives quite naturally at a criticism of the methods themselves and at a search for a broader horizon.To the extent that the historian is involved with the thinking and the problems of his age, his methods reveal personal and conjunctural concepts and ideas which will guide the reflections of his successors ; these successors will modify and (...) correct the concepts received in order to adapt them to new experiences and questions. Or they will add others which are more apt to supply the answers sought. The means of analysing art history today are the fruit of four centuries of discussion during which certain normative criteria, traditional theories and underlying concepts were called into question while at the same time, though being sometimes exported to other areas of the world, they have demonstrated a tenacious degree of longevity. But perhaps a brief recapitulation might be helpful here. (shrink)

Has art theory any function and any importance? A function and importance for who? For the practising artist, theorists, writers on art? Art speak and its place in art theory, art criticism and artists’ statement. - Many tools to create an intersubjective and universal frame of reference to make sense of any art exist., for example art history, labels such as expressionism, impressionism, modern art, contemporary art, Fine art, Visual Arts, Northern Baroque Art, minimalist, post-minimalist, anti-art, anti-anti-art, New (...) Aesthetics, new media, slow art movement, etc and ‘art speak”. (shrink)

Many years ago Degas said "Il faut décourager les arts." I am far from agreeing, but I am ready to say that critics of a certain kind are in need of active discouragement. Too much is written about matters that should be taken in by the beholder as he hears or scans the work. It is not desirable that his conscious mind should entertain - or be prepared to entertain - clear statements of what he experiences under the spell (...) of a masterpiece. The very reason why art is finer when it shows rather than tells is that comprehension is then immediate, not discursive. Ideally, the spectator must absorb - in order to be absorbed; and this means that the critic should shut up until he is wanted. We have no need of a study of "Punctuality in Thomas Hardy." I am making up the subject, but everybody can think of dozens of comparable works of pseudo-scholarship and pseudo-criticism. Their only excuse is that the authors wrote them under Ph.Duress and cannot be blamed for being coerced. Jacques Barzun is University Professor at Columbia University. Among his numerous books are Classic, Romantic and Modern, Berlioz and the Romantic Century, The Use and Abuse of Art and, most recently, Clio and the Doctors: Psycho-History, Quanto-History, and History. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eclipsing Art: Method and Metaphysics in Coleridge’s Biographia Literaria *Tim MilnesColeridge’s PredicamentIn his self-addressed “letter” which precipitates the abrupt end to the thirteenth chapter (and with it, the first volume) of the Biographia Literaria, Coleridge likens the current state of his argument to “the fragments of the winding steps of an old ruined tower.” 1 The suggestion of intellectual ascent in this is revealing and is echoed a few (...) years later by his explanation of the pedagogical function of the “Landing-Places” between the essays in The Friend (1818). 2 The underlying idea, as usual with Coleridge, is akin to that of an exercise in intellectual and spiritual mountaineering. The thinker, having established a safe base camp in fixed first principles, gradually ascends to higher truths, which are at the same time taken to be foundational and which form the ground of the whole process. The logical return here is what Coleridge elsewhere explains as the “seeming argumentum in circulo, incident to all spiritual Truths.” 3 In the Biographia, however, this process of simultaneous levitation and descent remains notoriously incomplete, left over for the projected but never completed “great book on the constructive philosophy.” 4 Thus, the procedure initiated in the philosophical [End Page 125] theses of chapter twelve having been arrested, the project of chapter thirteen, “in which the results [of the theses] will be applied to the deduction of the imagination, and with it the principles of production and genial criticism in the fine arts,” 5 is left as a fragmentary exposition in the hugely influential but attenuated and gnomic sequence of distinctions between primary and secondary imagination, and fancy.Consequently, students of Coleridge have been left to puzzle over the “missing” argument for themselves and to explain why Coleridge seems to give up at this point. At least since Thomas McFarland’s Coleridge and the Pantheist Tradition it has been accepted that a significant part of the problem lies with the “counter-pull” 6 exerted upon Coleridge’s thought at this point in time between Kant and Schelling (or, as McFarland sees it, between Kant and Schelling / Spinoza). In other words, it is the pull between a system in which free will is preserved at the price of being declared noumenal and one in which free will is imperilled but set against the goal of a system of total and undivided philosophy at ease with the infinite. The difference between the methodologies of Kant and Schelling, as Gian Orsini noted, is the product of their contrasting first postulates, or philosophical starting-points. While Kant sets out from the epistemological problem of to what extent objects can be said to conform to human knowledge, Schelling asks, “do we deduce Mind from Nature or Nature from Mind?” 7 Each of these presumes a completely different kind of enquiry from the other, and thus a different method; a fact Coleridge appears to have fully appreciated only during the composition of the Biographia.The Biographia’s problems have provoked a diverse range of critical responses over the years. 8 Among these, however, there is a more or less settled [End Page 126] opinion that Coleridge’s failure at this stage to come to terms with the Kant / Fichte / Schelling debate merely added to the difficulty of a work which, having begun its life as a reply to and a rebuttal of Wordsworth’s empirical and associative definition of imagination as set out in the Preface to his Poems (1815), had already far exceeded its initial plan both in scope and size. As the statement of his poetic principles and critique of Wordsworth had turned into a literary life, and this into a broader exploration of his developing views on epistemology, religion, and the history of language, so the “Preface” to the Sibylline Leaves (as it had originally been conceived) now dwarfed that work. Coleridge’s printer’s decision to produce the Biographia in two volumes only served to emphasize the break between its “philosophical” and literary-critical planes and the failure of Coleridge’s declared intention to apply the rules of art, “deduced from philosophical principles, to poetry and criticism.” 9Yet there was always something... (shrink)