In this lucid, witty, and forceful book, Shelly Errington argues that Primitive Art was invented as a new type of art object at the beginning of the twentieth century but that now, at the century's ...end, it has died a double but contradictory death. Authenticity and primitivism, both attacked by cultural critics, have died as concepts. At the same time, the penetration of nation-states, the tourist industry, and transnational corporations into regions that formerly produced these artifacts has severely reduced supplies of "primitive art," bringing about a second "death."
Errington argues that the construction of the primitive in the nineteenth and twentieth centuries (and the kinds of objects chosen to exemplify it) must be understood as a product of discourses of progress—from the nineteenth-century European narrative of technological progress, to the twentieth-century narrative of modernism, to the late- twentieth-century narrative of the triumph of the free market. In Part One she charts a provocative argument ranging through the worlds of museums, art theorists, mail-order catalogs, boutiques, tourism, and world events, tracing a loosely historical account of the transformations of meanings of primitive art in this century. In Part Two she explores an eclectic collection of public sites in Mexico and Indonesia—a national museum of anthropology, a cultural theme park, an airport, and a ninth-century Buddhist monument (newly refurbished)—to show how the idea of the primitive can be used in the interests of promoting nationalism and economic development.
Errington's dissection of discourses about progress and primitivism in the contemporary world is both a lively introduction to anthropological studies of art institutions and a dramatic new contribution to the growing field of cultural studies.
A trailblazing look at the historical emergence of a
global field in contemporary art and the diverse ways artists
become valued worldwide Prior to the 1980s, the postwar
canon of "international" ...contemporary art was made up almost
exclusively of artists from North America and Western Europe, while
cultural agents from other parts of the world often found
themselves on the margins. The Global Rules of Art
examines how this discriminatory situation has changed in recent
decades. Drawing from abundant sources-including objective
indicators from more than one hundred countries, multiple
institutional histories and discourses, extensive fieldwork, and
interviews with artists, critics, curators, gallerists, and auction
house agents-Larissa Buchholz examines the emergence of a
world-spanning art field whose logics have increasingly become
defined in global terms. Deftly blending comprehensive historical
analyses with illuminating case studies, The Global Rules of
Art breaks new ground in its exploration of valuation and how
cultural hierarchies take shape in a global context. The book's
innovative global field approach will appeal to scholars in the
sociology of art, cultural and economic sociology,
interdisciplinary global studies, and anyone interested in the
dynamics of global art and culture.
The classic book on William Blake as prophet of the New
Age William Blake (1757-1827) inhabited a remarkable inner
world, one that he brought vividly to life in his poetry, painting,
and printmaking. ...Blake and Antiquity situates this
brilliant and enigmatic artist within the Western esoteric canon,
revealing his indebtedness to Neoplatonism, the Gnostics, alchemy,
and astrology. In this book, Kathleen Raine demonstrates how Blake
rejected conventional orthodoxy and went in search among the occult
traditions of antiquity for symbols that might expand the mind's
awareness into a spiritual state where space, time, and even death
are transcended.
An illuminating look at the iconography of the early
church and its important place in the history of Christian
art In this book, historian André Grabar demonstrates how
early Christian iconography ...assimilated contemporary imagery of the
time. Grabar looks at the most characteristic examples of
paleo-Christian iconography, dwelling on their nature, form, and
content. He explores the limits of originality in such art, its
debt to figurative art, and the broader cultural climate in the
Roman Empire, drawing a distinction between expressive images-that
is, genuine works of art-and informative ones. Throughout, Grabar
establishes the importance of imperial iconography in the
development of Christian portraits and sheds light on the role they
played alongside other forms of Christian piety in their day.
At a time when crises—ecological, migratory, pandemic—all have to do with the question of inhabiting and habitability, the history of art can allow us to look at this issue of common, at the ...confluence of the sensitive and representations, imaginations and forms of life. It is the journey towards this observation that the ecological crisis is above all a crisis of representations that Bruno Latour retraces here, in the company of Matthieu Duperrex, by taking a retrospective look at the fruitful links he maintained throughout his life with the environment. 'the history of art.
Schools of art represent one of the building blocks of art history. The notion of a school of art emerged in artistic discourse and disseminated across various countries in Europe during the early ...modern period. Whilst a school of art essentially denotes a group of artists or artworks, it came to be configured in multiple ways, encompassing different meanings of learning, origin, style, or nation, and mediated in various forms via academies, literature, collections, markets and galleries. Moreover, it contributed to competitive debate around the hierarchy of art and artists in Europe. The ensuing fundamental instability of the notion of a school of art helped to create a pluriform panorama of both distinct and interconnected artistic traditions within the European art world. This edited collection brings together 20 articles devoted to selected case studies from the Italian peninsula, the Low Countries, France, Spain, England, the German Empire, and Russia.
PDF
