"This companion is an essential contribution to the study of historical materialism in general and the social history of art in particular. Each chapter in the collection focuses on a key figure, concept or historical epoch. Increasingly, scholars adopt an array of Marxist methods intertwined with a host of other theoretical practices, particularly the historiography of key issues regarding hegemony, ideology and identity. Ideological issues of connoisseurship, patronage and analyses of the artwork as a form of labor and leisure are essential to the practice of Marxisms in art history. This collection spotlights a plurality of Marxian theories in which the ideas of such figures as Walter Benjamin, Guy Debord, T.J. Clark and many others are debated and developed through analyses of the socio-historical conditions that impact how art is produced, circulated and received. This ultimately underscores that the historical contextualization of artworks and their "markets" within a class-based society is crucialfor writing socially engaged art history. The book will be of interest to scholars working in art history, visual studies, visual sociology, communication studies, and the sociology of art"--
This companion is an essential contribution to the study of historical materialism in general and the social history of art in particular.
This companion is an essential contribution to the study of historical materialism in general and the social history of art in particular.
Each chapter in the collection focuses on a key figure, concept or historical epoch. Increasingly, scholars adopt an array of Marxist methods intertwined with a host of other theoretical practices, particularly the historiography of key issues regarding hegemony, ideology and identity. Ideological issues of connoisseurship, patronage and analyses of the artwork as a form of labor and leisure are essential to the practice of Marxisms in art history. This collection spotlights a plurality of Marxian theories in which the ideas of such figures as Walter Benjamin, Guy Debord, T.J. Clark and many others are debated and developed through analyses of the socio-historical conditions that impact how art is produced, circulated and received. This ultimately underscores that the historical contextualization of artworks and their "markets" within a class-based society is crucial for writing socially engaged art history.
The book will be of interest to scholars working in art history, visual studies, visual sociology, communication studies, and the sociology of art.
Introduction PART 1 Key Figures
1. Karl Marxs 1857 Introduction to
the Grundrisse and the Social History of Art
2. Arnold Hauser: The Social
History of Art and Beyond
3. Ugly and Out of Sight: Reconsidering the
Irrational in Walter Benjamins Theory of Allegory
4. Meyer Schapiro and the
Value of Modern Art
5. Georg Lukács: Marxism and Politics of Form
6. Henri
Lefebvre and Marxist Art History
7. Herbert Marcuses Repressive
Desublimation and Richard Hamiltons Healthy Vigo
8. Guy Debord and Marxist
Art History
9. Different Marxist Histories of Art Post-1968: T.J. Clark and
O.K. Werckmeister PART 2 Key Terms
10. Concepts of Labor in Marxist Art
History
11. Times Carcass: Art History, Capitalism and Temporality
12.
Artistic Use Value: Art, Aesthetics, Culture and the Commons
13. Deskilling
14. Romantic Anticapitalism
15. Marxism, Feminism and Art History
16. Do It
Yourself: Objective Form, Territory of Critical Struggle PART 3 Marxisms
Applied
17. Magritte, Marxism, Modern Art
18. No Environment Modernism:
Harold Rosenbergs Theory of Uneven and Combined Development
19. Bureaucracy
and Charisma: Chris Burden and the Figure of the University Artist
20. Equipo
Comunicacion: Marxism, Avant-garde and a Collective Publishing Venture for
Late Francoism to the Spanish Transition (1969-1979)
21. Affect, Attachment,
and Loss: The Material Objects of Art History and Psychoanalysis
22. Of Rocks
and Phantasmatic Hard Places: Art Criticism in the 1970s and 1980s
23. Soviet
Thaw-era Marxism: Revision of Stalin-era Discourse on Aesthetics and Art
History
24. Bogdanov, Prolekult, and Working-Class Culture in Revolutionary
Russia
25. Realism and the Politics of Emancipation in the 1920s and 1930s
Yugoslavia
26. How to Follow Marx with Class? Transformation and Marxist
Analysis of Post-Communist Art in a Post-Communist Europe
27. Invisible Art
Work, or Until When Will We Reproduce the Exploitation of Labor in the Arts?
28. Contemporary Art and the Neoliberal Global Art World: The Peoples
Republic of China and Palestine as Exemplars 29.Museums After Value-Form
Theory
30. The Vision and Practice of Zapatismo and the Zapatista Murals in
Chiapas PART 4 Marxist Methods in the Digital Age
31. The Courbet Conundrum,
and the Phantom Archive of Activist Art
32. Intermediality in Action: Tracing
Invisible Processes in Socio-Critical Video Art
33. The Visual Culture of
Gaming
34. Speculation
Tijen Tunal is a research fellow at the Aarhus Institute of Advanced Studies at Aarhus University.
Brian Winkenweder is Professor of Art History and Chair of the Art Department at Linfield University.
Rohkem infot Taylor & Francis e-raamatute kohta