After the Event

New Perspectives on Art History

AvCharles Merewether,John Potts

Inbunden, Engelska, 2010

Del i serien Rethinking Art's Histories

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Beskrivning

The event occurs in and over time; the aftermath concerns the traces, which are frozen into images, objects, re-presentations. Traditionally, art history is written in the aftermath as representational. A different perspective on the visual arts is opened up when scholars insist on exploring the status of the event itself, allowing temporality to remain in place. By focusing on the event, recognition of the complex character of the traces becomes all the more evident, challenging the singularity of representation itself. This book opens up debates on art history and theory to a broad range of perspectives, offering fresh approaches to art history and media culture alongside diverse investigations into cross-cultural and non-Western art practices. The essays draw together a wide and regionally diverse range of scholars from numerous areas, including film and documentary studies, philosophy, intellectual and cultural history, media theory and performance studies, as well as art history and theory.

Produktinformation

Utgivningsdatum:2010-11-01
Mått:156 x 234 x 18 mm
Vikt:714 g
Format:Inbunden
Språk:Engelska
Serie:Rethinking Art's Histories
Antal sidor:264
Förlag:Manchester University Press
ISBN:9780719081736

Utforska kategorier

Konsthistoria inom Kultur

Mer om författaren

Charles Merewether is an art historian and curator. John Potts is Associate Professor in Media, Music and Cultural Studies at Macquarie University, Sydney, Australia.

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Innehållsförteckning

Introduction: Charles Merewether and John PottsPart One: Rewriting Global Visual Culture1. Boris Groys: Two Cures: Making Art Visible2. Mitchell Dean: Land and Sea: ‘In the Beginning All the World Was America’3. Ackbar Abbas: Migration as Spatial Fantasy4. Paul Carter: Masters of the Gap: Art, Migration and Eido-Kinesis5. Rex Butler: The World Is Not Enough Part Two: New Art Histories: Other Modernities6. Lolita Jablonskiene: Wins and/or Losses in Recent Eastern European Art History7. Zdenka Badovinac: Interrupted Histories8. Antje Denner: Aesthetic Experience and the Power of the Network9. Lee Weng Choy: Intellectual Activism?: Crisis and ConveningPart Three: Memory: Documentary and the Archival10. Charles Merewether: Archival Futures: On Kawara and the Date From Which All Things Begin, Again11. Geeta Kapur: Mortal Remains 12. Michael Renov: Expressivity: The Art of Documentary Practice13. Kathryn Millard: Documentary in the Age of the Remix14. Laleen Jayamanne: Contact Lenses: Cinaesthesia in the MuseumPart Four: The Event and Re-Enactment15. John Potts: The Event and its Echoes16. Peter Osborne: The Truth Will Be Known when the Last Witness is Dead: Art as Evidence, or, History not Memory17. Edward Scheer: ‘What if Someone in New Zealand Wants to See It?’ Performance Art’s Cover Versions18. Jane Goodall: When the Present Comes to Get YouNotes on ContributorsIndex