By Professor Matthew Rampley, Thierry Lenain, Hubert Locher, Andrea Pinotti, Charlotte Schoell-Glass, C J M (Kitty) Zijlmans
Mirrored image at the historical past and perform of artwork heritage has lengthy been an important subject of analysis and scholarship, and this quantity builds in this culture via providing a severe survey of some of the significant advancements within the modern self-discipline, resembling the impression of electronic applied sciences, the increase of visible stories or new projects in conservation idea and perform. along those methodological matters this ebook addresses the usually ignored query of the effect of nationwide contexts at the improvement of the self-discipline. Taking quite a lot of case reviews, this booklet examines the influence of the categorical nationwide political, institutional and ideological calls for at the perform of artwork historical past. the result's an account that either attracts out universal positive factors and likewise highlights the variations and the plurality of practices that jointly represent paintings heritage as a self-discipline.
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Extra info for Art History and Visual Studies in Europe: Transnational Discourses and National Frameworks
25 Seen from this perspective, the value of images lies in their vitality, that is, in their capacity to proliferate from medium to medium, reproducing themselves continuously, and exercising some form of power in the elaboration of beliefs, identities and values which constitute a certain culture. Once more, value is examined in social and constructionist terms, within a paradigm which refers both to the constructionism of Nelson Goodman as well as to Marx’s theses on the fetishism of commodities and on surplus value: Perhaps the most interesting consequence of seeing images as living things is that the question of their value (understood as vitality) is played out in a social context.
The canon is, according to Assmann, ‘the principle of a collective constitution and stabilization of identity, which is at the same time the foundation of individual identity, as a medium of individuation by socialization, and of self-realization by insertion into the “normative conscience of an entire population” (Habermas). A canon constitutes a nexus between the identity of the ego and collective identity. 10 In this sense, canon formation is concerned with the formation and confirmation of individual and group identity.
An Introduction, ed. , Theories of Art Today (Madison, WI, 2000). 22 antonio somaini theories, in contrast, aimed at explaining how artworks or artistic movements such as the Duchampian ready-made or Pop Art have come to be legitimately included in the domain of art. The main problem is therefore that of understanding what establishes the distinction between art and non-art when such a distinction is not rooted in some clearly perceptible qualities of the artistic object. . What in the end makes the difference between a Brillo box and a work of art consisting of a Brillo Box is a certain theory of art.
Art History and Visual Studies in Europe: Transnational Discourses and National Frameworks by Professor Matthew Rampley, Thierry Lenain, Hubert Locher, Andrea Pinotti, Charlotte Schoell-Glass, C J M (Kitty) Zijlmans