New book: Circulations in the Global History of Art
(Regular price: £65.00)
Illustrations: Includes 16 b&w illustrations and 8 maps
Published: May 2015
Format: 234 x 156 mm
Extent: 262 pages
BL Reference: 709
LoC Number: 2014040727
Edited by Thomas DaCosta Kaufmann, Princeton University, USA, Catherine Dossin, Purdue University, USA and Béatrice Joyeux-Prunel, École normale supérieure, France
Series: Studies in Art Historiography
The project of global art history calls for balanced treatment of artifacts and a unified approach. This volume emphasizes questions of transcultural encounters and exchanges as circulations. It presents a strategy that highlights the processes and connections among cultures, and also responds to the dynamics at work in the current globalized art world.
The editors’ introduction provides an account of the historical background to this approach to global art history, stresses the inseparable bond of theory and practice, and suggests a revaluation of materialist historicism as an underlying premise. Individual contributions to the book provide an overview of current reflection and research on issues of circulation in relation to global art history and the globalization of art past and present. They offer a variety of methods and approaches to the treatment of different periods, regions, and objects, surveying both questions of historiography and methodology and presenting individual case studies. An ‘Afterword’ by James Elkins gives a critique of the present project. The book thus deliberately leaves discussion open, inviting future responses to the large questions it poses.
Contents: Introduction: reintroducing circulations: historiography and the project of global art history, Thomas DaCosta Kaufmann, Catherine Dossin, and Béatrice Joyeux-Prunel; Reflections on world art history, Thomas DaCosta Kaufmann; Art history and Iberian worldwide diffusion: westernization/globalization/Americanization, Serge Gruzinski; Circulation and beyond – the trajectories of vision in early modern Eurasia, Monica Juneja; Circulations: early modern architecture in the Polish-Lithuanian borderland, Carolyn C. Guile; Cultural transfers in art history, Michel Espagne; Spatial translation and temporal discordance: modes of cultural circulation and internationalization in Europe (second half of the 19th and first half of the 20th century, Christophe Charle; Mapping cultural exchange: Latin American artists in Paris between the wars, Michele Greet; The global NETwork: an approach to comparative art history, Piotr Piotrowski; Global conceptualism? Cartographies of conceptual art in pursuit of decentering, Sophie Cras; The German century? How a geopolitical approach could transform the history of Modernism, Catherine Dossin and Béatrice Joyeux-Prunel; Afterword, James Elkins; Index.
About the Editor: Thomas DaCosta Kaufmann is Frederick Marquand Professor of Art and Archaeology, Princeton University, USA. Catherine Dossin is Associate Professor of Art History, Purdue University, USA. Béatrice Joyeux-Prunel is Associate Professor of Art History, École normale supérieure, France.
Reviews: ‘Like people and ideas, art objects travel, and they have been doing so from time immemorial. Surprisingly, art history has largely neglected to systematically examine these artistic circulations and their various consequences. By analysing the traffic of material cultural around the globe, this volume boosts the study of a key dynamic feature of art worldwide, characteristically investigated by a modern-day art history that is increasingly rejuvenating itself by developing a global perspective in both time and space.’
Wilfried van Damme, Leiden University, The Netherlands, co-editor of World Art Studies: Exploring Concepts and Approaches.
‘Do globalisation studies in art history have a future? Thomas DaCosta Kaufmann in his fine introductory essay on the historiography of globalism proposes that the study of objects on the move, of their circulation across cultures, is the way forward. His essay is enhanced with the strength of multiple voices in the accompanying essays. Their approach allows art history to move forward, away from nationalism and away from the limits of Western art historical questions. The book is rich in new ideas and globalisation becomes a process rather than an ideology. This process is defined in the essay by Catherine Dossin and Béatrice Joyeux-Prunel on how a geopolitical understanding may transform modernism and lead us away from Paris and New York.’
Jaynie Anderson, Australian Institute of Art History, University of Melbourne, Australia
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