Научные метоты изучения искусства / arnold_dana_iversen_margaret_art_and_thought

Art and Thought

New Interventions in Art History

Series editor: Dana Arnold, University of Southampton

New Interventions in Art History is a series of textbook mini-companions – published in connection with the Association of Art Historians – that aims to provide innovative approaches to, and new perspectives on, the study of art history. Each volume focuses on a specific area of the discipline of art history – here used in the broadest sense to include painting, sculpture, architecture, graphic arts, and film – and aims to identify the key factors that have shaped the artistic phenomenon under scrutiny. Particular attention is paid to the social and political context and the historiography of the artistic cultures or movements under review. In this way, the essays that comprise each volume cohere around the central theme while providing insights into the broader problematics of a given historical moment.

Art and Thought

edited by Dana Arnold and Margaret Iversen (published)

Art and its Publics: Museum Studies at the Millennium edited by Andrew McClellan (published)

After Criticism: New Responses to Art and Performance edited by Gavin Butt (forthcoming)

Architectures: Modernism and After

edited by Andrew Ballantyne (forthcoming)

Envisioning the Past: Archeology and the Image

edited by Sam Smiles and Stephanie Moser (forthcoming)

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First published 2003 by Blackwell Publishing Ltd

Library of Congress Cataloging-in-Publication Data

Art and thought / edited by Dana Arnold and Margaret Iversen. p. cm. – (New interventions in art history; 1)

Includes bibliographical references and index.

ISBN 0-631-22714-8 (hardcover: alk. paper) – ISBN 0-631-22715-6 (pbk.: alk. paper)

1. Arts – History. 2. Arts – Philosophy. I. Arnold, Dana. II. Iversen, Margaret. III. Series.

NX440.A78 2003

2002011112

A catalogue record for this title is available from the British Library.

Set in 10.5/13pt Minion

by Graphicraft Limited, Hong Kong Printed and bound in the United Kingdom by MPG Books Ltd, Bodmin, Cornwall

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Contents

Notes on Contributors

Dana Arnold is Professor of Architectural History at the University of Southampton and Director of the Centre for Studies in Architecture and Urbanism. She is the series editor of New Interventions in Art History, general editor of two further series published by Blackwell, Companions to Art History and Anthologies in Art History, and editor of the journal Art History. Her recent publications include Reading Architectural History (Routledge, 2002), Re-presenting the Metropolis: Architecture, Urban Experience and Social Life in London (Ashgate, 2000), The Georgian Country House: Architecture, Landscape and Society (Sutton, 1998), and the edited volumes The Metropolis and its Image: Constructing Identities for London c.1750–1950 (Blackwell, 1999) and The Georgian Villa (Sutton, 1996). She is the author of the forthcoming A Very Short Introduction to Art History

(Oxford University Press, 2003).

J. M. Bernstein is presently University Distinguished Professor of Philosophy at the New York School for Social Research, having taught previously at Vanderbilt University. He is author of the Fate of Art (Polity Press, 1991), Recovering Ethical Life (Routledge, 1995), and most recently, Adorno, Disenchantment and Ethics (Cambridge University Press, 2001). A book of essays on aesthetics and painting provisionally entitled Against Voluptuous Bodies, and Other Essays for a Late Modernism is forthcoming.

Diarmuid Costello is Senior Lecturer in Contemporary Art Theory in the School of Humanities, Arts and Languages at Oxford Brookes University. He has published “Lyotard’s Modernism” in To Jean-Francois Lyotard (a

viii Notes on Contributors

special issue of Parallax, October 2000) and “ ‘Making Sense’ of Nonsense: Conant and Diamond Read Wittgenstein’s Tractatus” in Barry Stocker (ed.), Post-Analytic Tractatus: A Reader (Ashgate, 2001). He is currently working on a book on aesthetic theory and contemporary art.

Margaret Iversen is Professor of Art History and Theory at the University of Essex, England. She is author of a book on a founder of the discipline,

Alois Riegl: Art History and Theory (MIT, 1993), and one on the feminist artist Mary Kelly (with Douglas Crimp and Homi Bhabha) (Phaidon, 1997). She edited a special issue of Art History called Psychoanalysis in Art History (vol. 17, no. 3, September 1994) which included her article, “What is a Photograph?” A book entitled Art Beyond the Pleasure Principle, on psychoanalytic art theory, is forthcoming.

Amelia Jones is Professor in the Department of Art History at University of California, Riverside. She has published most recently the book Body Art: Performing the Subject (University of Minnesota Press, 1998), a co-edited anthology entitled Performing the Body/Performing the Text (Routledge, 1999) and has edited the volume Feminism and Visual Culture Reader

(Routledge, 2002). She is currently completing a book rethinking the historic avant-garde, focusing on New York Dada.

Stephen Melville is Professor of the History of Art at Ohio State University. His research interests include contemporary art theory and historiography. He has published widely on contemporary art as well as on issues in contemporary theory and historiography. Recent publications include

As Painting: Division and Displacement, with Laura Lisbon and Philip Armstrong (MIT, 2001), Seams: Art as a Philosophical Context, edited and introduced by Jeremy Gilbert Rolfe (Gordon and Breach, 1996), Vision and Textuality, (editor, with Bill Readings) (Duke University Press and Macmillan, 1995), and Philosophy Beside Itself: On Deconstruction and Modernism, Theory and History of Literature, vol. 27 (1986).

Michael Podro’s academic achievements lie in the fields of aesthetics, art theory, and the historiography of art history. His work has initiated a fruitful dialogue between art historians and philosophers. He is the author of three books: The Manifold in Perception: Theories of Art from Kant to Hildebrand (Oxford University Press, 1972), The Critical Historians of Art

(Yale University Press, 1982), and Depiction (Yale University Press, 1998). He is Professor Emeritus at the University of Essex.

Notes on Contributors ix

Griselda Pollock is Professor of the Social and Critical Histories of Art and Director of AHRB Centre for Cultural Analysis, Theory and History at the University of Leeds. She has published widely on the issues of gender, race, and class in the formations of modernism in late nineteenth-century Europe and America and the history of women in the visual arts. Her new research areas include issues of trauma, history and memory after the Holocaust, and Jewish Art and Modernity, focusing on the work of Charlotte Salomon, on which she is preparing a monograph. Recent publications include Looking Back to the Future: Essays on Art, Life and Death (Routledge 2000), Differencing the Canon: Feminist Desire and the Writing of Art Histories (Routledge, 2000), Generations and Geographies in the Visual Arts: Feminist Readings (Routledge, 1996), Avant-Garde Gambits: Gender and the Colour of Art History (Thames and Hudson, 1992), Vision and Difference: Femininity, Feminism and the Histories of Art (London: Routledge, 1988), Framing Feminism: Art and the Women’s Movement, 1970–1985

(co-authored with Rozsika Parker) (Pandora Books, 1987), Old Mistresses: Women, Art and Ideology (co-authored with Rozsika Parker) (Pandora Books, 1981), and Mary Cassatt (Jupiter Books, 1980).

Alex Potts is Professor of Art History at the University of Michigan at Ann Arbor and an editor of History Workshop Journal. He is author of Flesh and the Ideal: Winckelmann and the Origins of Art History (Yale University Press, 1994) and The Sculptural Imagination: Figurative, Modernist, Minimalist (Yale University Press, 2000), and contributor to G. Johnson (ed.),

Sculpture and Photography (1998), A. Rifkin (ed.), About Michael Baxandall

(Blackwell, 1999), and J. Pemble (ed.), John Addington Symonds: Culture and the Demon Desire (Palgrave, 2000).

Thomas Puttfarken, Professor of the History and Theory of Art at the University of Essex, England, is internationally recognized as a leading expert on Italian and French art and theory before 1800. He is the author of Roger de Piles’s Theory of Art (Yale University Press, 1985). His latest book, The Discovery of Pictorial Composition: Theories of Visual Order in Painting 1400–1800, was published in 2000 by Yale University Press.

Adrian Rifkin is Professor of Visual Culture and Media at Middlesex University. His recent books include Ingres Then, and Now (Routledge, 2000) and Street Noises (Manchester University Press, 1993), and the edited volumes Other Objects of Desire: Collectors and Collecting Queerly (with