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Title Statement Art history, aesthetics, visual studies
Publication, Distribution, etc. (Imprint) Sterling and Francine Clark Art Institute ; Yale University Press, Williamstown, Mass. New Haven : 2002
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Art history, aesthetics, and visual studies today find themselves in contested new philosophical and institutional circumstances. This fascinating and challenging volume explores the connections and differences among these three methods of investigating visual representation. What are the dominant aesthetic assumptions underlying art historical inquiry? How have these assumptions been challenged by visual studies? Are questions of quality, form, content, meaning, and spectatorship culturally specific? Can we still define the parameters of what should properly constitute the objects of the history of art? Fifteen distinguished scholars answer these and other questions, critically examining the relationships among these three scholarly fields from their founding moments through their contemporary practices.
Introduction p. vii In Time Defining "Aesthetics" for Non-Western Studies: The Case of Ancient Mesopotamia p. 3 National Stereotypes, Prejudice, and Aesthetic Judgments in the Historiography of Art p. 71 Romare Bearden: African American Modernism at Mid-Century p. 29 Chaos and Cosmos: Points of View in Art History and Aesthetics p. 47 Out of Time Darkness and the Demand for Time in Art p. 87 Censorship, Autonomy, and Artistic Form p. 105 Danto and Krauss on Cindy Sherman p. 122 With Time The Aesthetics of Difference p. 147 Recollections of Rembrandt's Jeremiah p. 175 Ghostwriting: Working Out Visual Culture p. 189 "Theory," Discipline, and Institution p. 203 Dialectics of Seeing p. 215 Showing Seeing: A Critique of Visual Culture p. 231 Current Issues in Art History, Aesthetics, and Visual Studies p. 251 Mixing Metaphors and Talking about Art p. 260 Contributors p. 269