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Time in the History of Art Temporality, Chronology and Anachrony Edited by Dan Karlholm, Keith Moxey

7 June 2018

Studies in Art Historiography


Addressed to students of the image–both art historians and students of visual studies–this book investigates the history and nature of time in a variety of different environments and media as well as the temporal potential of objects. Essays will analyze such topics as the disparities of power that privilege certain forms of temporality above others, the nature of temporal duration in different cultures, the time of materials, the creation of pictorial narrative, and the recognition of anachrony as a form of historical interpretation.

Table of Contents:

Introduction: Dan Karlholm and Keith Moxey

Part I. Historical Time

Chapter 1: Is History to Be Closed, Saved, or Restarted? Considering Efficient Art History

Dan Karlholm

Chapter 2: What Time is it in the History of Art?

Keith Moxey

Part II: Post-Colonial Time

Chapter 3: Time processes in the history of the Asian Modern

John Clark

Chapter 4: Colonial Modern: A Clash of Colonial and Indigenous Chronologies

Partha Mitter

Chapter 5: Artists, amateurs and the pleated time of Ottoman modernity

Mary Roberts

Chapter 6: The Time of Translation: Victor Burgin and Sedad Eldem in Virtual Conversation

Esra Akcan

Part III: Artist’s Time

Chapter 7: Arresting What Would Otherwise Slip Away: The Waiting Images of Jacob Vrel

Hanneke Grootenboer

Chapter 8: Twisted Time: Fernando Bryce’s Art of History

Miguel Ángel Hernández Navarro

Part IV: Narrative Time

Chapter 9: Heterochronies: The Gospel According to Caravaggio

Giovanni Careri

Part V: Ontological Time

Chapter 10: The Phenomenal Sublime: Time, Matter, Image in Mesopotamian Antiquity

Zainab Bahrani

Chapter 11: Resisting Time: On How Temporality Shaped Medieval Choice of Materials

Avinoam Shalem

Chapter 12: Sarah Sze’s The Last Garden and the Temporality of Wonder

Christine Ross

Part VI: Photographic Time

Chapter 13: Showtime and Exposure Tie. The Contradictions of Social Photography and the Critical Role of Sensitive Plates for Rethinking the Temporality of Artworks

Emmanuel Alloa

Chapter 14: ‘Objects moving are not impressed’: Reading into the blur

Amelia Groom

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