Donald Preziosi – författare

The amazing discovery of the 'first European civilization' in Crete, Greece and the Aegean islands during the late nineteenth and early twentieth centuries was beyond what anyone had imagined. Beginning with the Neolithic period, before 3000 BCE, and ending at the close of the Bronze Age and the transition to the Iron Age of Hellenic Greece (c.1000 BCE), this is the first comprehensive introduction to the visual arts and architecture of this extraordinary era. This book introduces the reader to the historical and social contexts within which the arts - pottery, gold, silver, and ivory objects, gravestone reliefs, frescoes, and architecture - of the Aegean area developed. It examines the functions they served, and the ways in which they can be read as evidence for the interactions of many different peoples and societies in the eastern Mediterranean. It also provides an up-to-date critical historiography of the field in its relationship to the growth of ancient art history, archaeology, and museology in the nineteenth and twentieth centuries, giving a contemporary audience a clear appreciation of what has been at stake in the uncovering and reconstruction of this ancient society.

What is art history? Why, how, and where did it originate, and how have its methods changed over time? The history of art has been written and rewritten since classical antiquity. Since the foundation of the modern discipline of art history in Germany in the late eighteenth century, debates about art and its histories have intensified. Historians, philosophers, psychologists, and anthropologists among others have changed our notions of what art history has been, is, and might be. This anthology is a guide to understanding art history through critical reading of the field's most innovative and influential texts, focusing on the past two centuries. Each section focuses on a key issue: art as history; aesthetics; form, content, and style; anthropology; meaning and interpretation; authorship and identity; and the phenomenon of globalization. More than thirty readings from writers as diverse as Winckelmann, Kant, Mary Kelly, and Michel Foucault are brought together, with editorial introductions to each topic providing background information, bibliographies, and critical elucidations of the issues at stake. This updated and expanded edition contains sixteen newly included extracts from key thinkers in the history of art, from Giorgio Vasari to Walter Benjamin and Satya Mohanty; a new section on globalization; and also a new concluding essay from Donald Preziosi on the tasks of the art historian today.

A general overview of the theoretical and institutional history of the discipline of art history.  Refuting the image of art history as a discipline in crisis, Preziosi asserts that many of the dilemmas and contradictions of art history today are not new but can be traced back to problems surrounding the founding of the discipline, its institutionalization, and its academic expansion since the 1870s.“Donald Preziosi has written a timely and incisive study of the methods and assumptions of art history in the modern period.  As the book unfolds, one realizes that art history was never as unitary and monolithic as the phrase ‘the discipline of art history’ suggests, but is in fact a complicated and highly contradictory range of practices whose disciplinary coherence may be more mythical than real.  This is a deliberately discomforting book; however, for its clear-sightedness, rigor, and wit, it is a book to be welcomes by everyone concerned with the present condition and future direction of visual studies.”—Norman Bryson, Harvard University“An important and courageous book, Rethinking Art History is a rigorous and original contribution to the current post-structuralist and postmodernist debates in cultural studies here and abroad.”—Steven Z. Levine, Bryn Mawr College“Through this kind of reading of the discourse of art history, Preziosi provides some acute analysis of the metaphors and stratagems which continue to discipline the discipline of art history.”Donald Preziosi is a professor of art history at the University of California, Los Angeles

First published in 2004, this volume recognises that there is much more to museums than the documenting, monumentalizing, or theme-parking of identity, history and heritage. This landmark anthology aims to make strange the very existence of museums and to plot a critical, historical and ethical understanding of their origins and history. A radical selection of key texts introduces the reader to the intense investigation of the modern European idea of the museum that has taken place over the last fifty years. Texts first published in journals and books are brought together in one volume with up-to-the-minute and specially commissioned pieces by leading administrators, curators and art historians. The selections are organized by key themes that map the evolution of the debate and introduced by Donald Preziosi and Claire Farago, two considerable critics, who write with the edge and enthusiasm of art historians who have spent their lives working with museums. Grasping the World is an invaluable resource for students and teachers of art history and museum studies.

First published in 2004, this volume recognises that there is much more to museums than the documenting, monumentalizing, or theme-parking of identity, history and heritage. This landmark anthology aims to make strange the very existence of museums and to plot a critical, historical and ethical understanding of their origins and history. A radical selection of key texts introduces the reader to the intense investigation of the modern European idea of the museum that has taken place over the last fifty years. Texts first published in journals and books are brought together in one volume with up-to-the-minute and specially commissioned pieces by leading administrators, curators and art historians. The selections are organized by key themes that map the evolution of the debate and introduced by Donald Preziosi and Claire Farago, two considerable critics, who write with the edge and enthusiasm of art historians who have spent their lives working with museums. Grasping the World is an invaluable resource for students and teachers of art history and museum studies.

By juxtaposing issues and problems, Donald Preziosi's latest collection of essays, In the Aftermath of Art, opens up multiple interpretive possibilities by bringing to the surface hidden resonances in the implications of each text. In re-reading his own writings, Preziosi opens up alternatives to contemporary discourses on art history and visual culture. A critical commentary by critic, historian, and theorist Johanne Lamoureux complements the author's own introduction, mirroring the multiple interpretations within the essays themselves.

Art, Religion, Amnesia addresses the relationship between art and religion in contemporary culture, directly challenging contemporary notions of art and religion as distinct social phenomena and explaining how such Western terms represent alternative and even antithetical modes of world-making.In this new book, Professor Preziosi offers a critique of the main thrust of writing in recent years on the subjects of art, religion, and their interconnections, outlining in detail a perspective which redefines the basic terms in which recent debates and discussions have been articulated both in the scholarly and popular literature, and in artistic, political and religious practice. Art, Religion and Amnesia proposes an alternative to the two conventional traditions of writing on the subject which have been devoted on the one hand to the ‘spiritual’ dimensions of artistry, and on the other hand to the (equally spurious) ‘aesthetic’ aspects of religion. The book interrogates the fundamental assumptions fuelling many current controversies over representation, idolatry, blasphemy, and political culture. Drawing on debates from Plato’s proposal to banish representational art from his ideal city-state to the Danish cartoons of Mohamed, Preziosi argues that recent debates have echoed a number of very ancient controversies in political philosophy, theology, and art history over the problem of representation and its functions in individual and social life.This book is a unique re-evaluation of the essential indeterminacy of meaning-making, marking a radically new approach to understanding the inextricability of aesthetics and theology and will be of interest to students and researchers in art history, philosophy and religion and cultural theory.

Art, Religion, Amnesia addresses the relationship between art and religion in contemporary culture, directly challenging contemporary notions of art and religion as distinct social phenomena and explaining how such Western terms represent alternative and even antithetical modes of world-making.In this new book, Professor Preziosi offers a critique of the main thrust of writing in recent years on the subjects of art, religion, and their interconnections, outlining in detail a perspective which redefines the basic terms in which recent debates and discussions have been articulated both in the scholarly and popular literature, and in artistic, political and religious practice. Art, Religion and Amnesia proposes an alternative to the two conventional traditions of writing on the subject which have been devoted on the one hand to the ‘spiritual’ dimensions of artistry, and on the other hand to the (equally spurious) ‘aesthetic’ aspects of religion. The book interrogates the fundamental assumptions fuelling many current controversies over representation, idolatry, blasphemy, and political culture. Drawing on debates from Plato’s proposal to banish representational art from his ideal city-state to the Danish cartoons of Mohamed, Preziosi argues that recent debates have echoed a number of very ancient controversies in political philosophy, theology, and art history over the problem of representation and its functions in individual and social life.This book is a unique re-evaluation of the essential indeterminacy of meaning-making, marking a radically new approach to understanding the inextricability of aesthetics and theology and will be of interest to students and researchers in art history, philosophy and religion and cultural theory.

Art Is Not What You Think It Is utilizes original research to present a series of critical incursions into the current state of debate on the idea of art, making manifest what has been largely missing or unsaid in those discussions. Links museology, history, theory, and criticism to the realities of contemporary social conditions and shows how they have structurally functioned in a variety of contextsDeals with divisive and controversial problems such as blasphemy and idolatry, and the problem of artistic truthAddresses relations between European notions about art and artifice and those developed in other and especially indigenous cultural traditions

Art Is Not What You Think It Is utilizes original research to present a series of critical incursions into the current state of debate on the idea of art, making manifest what has been largely missing or unsaid in those discussions. Links museology, history, theory, and criticism to the realities of contemporary social conditions and shows how they have structurally functioned in a variety of contextsDeals with divisive and controversial problems such as blasphemy and idolatry, and the problem of artistic truthAddresses relations between European notions about art and artifice and those developed in other and especially indigenous cultural traditions

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