The ecological eye aims to align the discipline of art history with
ecology, climate change, the Anthropocene and the range of politics and
theoretical positions that will help to ground such an approach. It looks both
backwards and forwards in order to promote the capacities of close attention,
vital materialism, nonhierarchy, care and political ecology. The book seeks to
place the history of art alongside its ecocritical colleagues in other
humanities disciplines. Three main directions are discussed: the diverse
histories of art history itself, for evidence of exemplary work already
available; the politics of social ecology, Marxist ecologies and anarchy,
showing its largely untapped relevance for work in art history and visual
culture; and finally, emerging work in posthumanism and new materialism, that
challenges unhelpful hierarchies across the human, animal, botanical and
geological spheres. The ecological eye concludes with an appeal to the
discipline to respond positively to the environmental justice movement.
This edited collection explores how knowledge was preserved and reinvented in the Middle Ages. Unlike previous publications, which are predominantly focused either on a specific historical period or on precise cultural and historical events, this volume, which includes essays spanning from the eighth to the fifteenth centuries, is intended to eschew traditional categorisations of periodisation and disciplines and to enable the establishment of connections and cross-sections between different departments of knowledge, including the history of science (computus, prognostication), the history of art, literature, theology (homilies, prayers, hagiography, contemplative texts), music, historiography and geography. As suggested by its title, the collection does not pretend to aim at inclusiveness or comprehensiveness but is intended to highlight suggestive strands of what is a very wide topic. The chapters in this volume are grouped into four sections: I, Anthologies of Knowledge; II Transmission of Christian Traditions; III, Past and Present; and IV, Knowledge and Materiality, which are intended to provide the reader with a further thematic framework for approaching aspects of knowledge. Aspects of knowledge is mainly aimed to an academic readership, including advanced undergraduate and postgraduate students, and specialists of medieval literature, history of science, history of knowledge, history, geography, theology, music, philosophy, intellectual history, history of the language and material culture.
This article traces what Élie Faure believed to be the racial, ethnic and geographic
origins of art. Influenced by the writings of Gobineau and Taine, he asserts that the
taxonomisation of species provides a model for the taxonomisation of artistic
productions. The mixing of various races is evidenced in their artistic production,
with the relative presence or absence of the rhythmic serving as an index for the
presence or absence of certain types of blood, or racial/ethnic origins. Similarly,
the qualities of the land where art is produced results in visible effects upon the
(artistic) forms created by the people living in that geographic area. Métissage is
considered a positive characteristic, and cinema the apogee of modern artistic
production because of its integration of machine rhythms into the rhythms of human
Artists’ Printed Portraits and Manuscript Biographies in Rylands English MS 60
Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art.
Art and migration: revisioning the borders of community is a collective response to current and historic constructs of migration as disruptive of national heritage. This interplay of academic essays and art professionals’ interviews investigates how the visual arts – especially by or about migrants – create points of encounter between individuals, places, and objects. Migration has increasingly taken centre stage in contemporary art, as artists claim migration as a paradigm of artistic creation. The myriad trajectories of transnational artworks and artists’ careers outlined in the volume are reflected in the density and dynamism of fairs and biennales, itinerant museum exhibitions and shifting art centres. It analyses the vested political interests of migration terminology such as the synonymous use of ‘refugees’ and ‘asylum seekers’ or the politically constructed use of ‘diaspora’. Political and cultural narratives frame globalisation as a recent shift that reverses centuries of cultural homogeneity. Art historians and migration scholars are engaged in revisioning these narratives, with terms and methodologies shared by both fields. Both disciplines are elaborating an histoire croisée of the circulation of art that denounces the structural power of constructed borders and cultural gatekeeping, and this volume reappraises the historic formation of national identities and aesthetics heritage as constructed under transnational visual influences. This resonates with migrant artists’ own demands for self-determination in a display space that too often favours canonicity over hybridity. Centring migration – often silenced by normative archives or by nationalist attribution practices – is part of the workload of revisioning art history and decolonising museums.
oppression. Often assumed, but rarely
stated as such, this perspective has influenced formalist, social, and poststructuralist art history, perpetuating an atmosphere of anti-identity politics with
Conceived as an anti-subjective and therefore an anti-idenitiarian mechanism, in many ways Conceptual Art came to epitomise a Left-leaning outlook
within the historyofart, despite the many challenges to its claims. Aiming to
intervene into the structure of art’s meaning, Conceptual artists attempted to
Charles Gaines by way of conclusion
Pan ’, in Confronting Images: Questioning the Ends of a Certain HistoryofArt , trans. John Goodman ( University Park : Pennsylvania State University Press , 2005 ), 261 . The English-language translation is a reworking of an earlier article from 1986, Georges Didi-Huberman , ‘ L’art de ne pas décrire. Une aporie du détail chez Vermeer ’, La Part de l’Œil , 2 ( 1986 ), 102 – 19 .
4 Didi-Huberman, Confronting Images , 248. Here le pan is translated as ‘whack’.
5 Didi-Huberman, La peinture incarnée , 44. Didi-Huberman’s emphasis.
Anthropogenic climate change very clearly – in the sense that in this ‘knotted world of vibrant matter, to harm one section of the web may very well be to harm oneself. Such an enlightened or expanded notion of self-interest is good for humans.’ 23 I would venture, further, that something as specific as social historiesofart that we are familiar with since the 1970s could provide a basis for an enlarged vision, encouraged by Bennett’s proposition, in which the ‘public’ is not only the human but is heterogeneously constructed. Numerous works of art across territorial and
address the aesthetic processes and material resources of painting that
touch on the non-linguistic, hence the Imaginary and the psycho-somatic dimensions of
subjectivity that specific artistic practices may put into play. Social historiesofart and
structuralist readings of signs ignore the psychic freight that art practices not only
carry, but which are the driving force behind their emergence into visibility as not only the
resource for, but the topic of, the abstract practices of painting in the mid-twentieth